CYBERHOOD

(A.K.A. NETRUNNER)

Screenplay by Martin Olson

Game Design by Martin Olson

2 Additional Material by Robert Sheckley and Scott Bennie, Jason Ferris & Michael Conti

Revised 1/1/95

1995 Interplay Productions

CYBERHOOD
A CD-ROM Game in Screenplay Form Written by Martin Olson

PROLOGUE

I. 35 SEC. PROLOGUE /CREDITS SEQUENCE - CUT SCENE FADE IN: SUNRISE - WHITE CLOUDS AGAINST DIRTY RED SKY The TITLE appears with OMINOUS MUSIC, then disappears, quickly engulfed by a cloud. MAIN CREDITS continue intermittently throughout the following: MUSIC OUT and SFX OF RUSHING WIND IN. TWO SEAGULLS explode through the clouds, SCREECHING towards us. They barely miss the camera and rush past us, their cries fading into the distance. We PUSH through the clouds to reveal that we are high in the air. As we watch the sun rising over SAMCITY (our imaginary, blighted, futuristic metropolis), OMINOUS ROCK MUSIC fades in, transforming into the CYBERHOOD THEME. Focusing directly below us, we see -THE KRUZ CORPORATION

4 Huge, and oddly resembling a giant cruise ship, the building is "docked" in the middle of the urban blight of SamCity. As we slowly circle down towards this strange building, A BURNT-OUT MALE VOICE begins speaking to us. This is ROGER SMITH, 25, our protagonist, with a tough, resonant, pissedoff voice that always sounds like he either has a hangover or is about to punch somebody out:

ROGER V.O. The universe has a sick sense of humor. On the one hand, my old man created the Kruz Corporation, so I should be worth an easy megatrillion bucks. But on the other hand, he also hated my guts. So to get rid of me, he shipped me overseas to fight in one of his high-tech corporate wars. Well, surprise, daddy, I 'm not dead. But you are. And just because I always called him a fascist, maggot-brained nazi, the old gink left me dick in his will. Nada. Zip. When I got back, I needed money, man. So I got a mercy gig here... a live-in job as a zinky droid in the Kruz zombie factory. The night I moved my stuff in, I must've drank some skanky booze before I went to sleep... Through this speech, weve circled down to window level. Now we stabilize and slowly sail towards one of the thousands of tinted, slitted windows. MUSIC OUT and RUSHING WIND SFX IN, as he concludes --

5 ... because my subconscious was doing a slam-dance inside my skull... SFX of rushing air grow louder as we ZOOM through the window. FADE TO BLACK. [Time of above: 45 sec.] SHOCK-CUT TO: II. ROGERS NIGHTMARE (20 SEC. CUT-SCENE) (Note: This is a very fast and very loud sequence which corresponds stylistically to the ending scene of Act 3. The entire dream is about 20 seconds. MAIN CREDITS CONTINUE intermittently.) The dream explodes violently onto the screen. SFX: Howling roaring winds. ANGLE ON A YOUNG MAN STANDING IN A SHADOWY LIMBO his hair and clothing blown by the raging winds. This is ROGER SMITH, (R), 25. The SFX of the HISSING WINDS slow down into a grinding, MACHINE-LIKE ROAR, as -A GIGANTIC, FRIGHTENING-LOOKING MAN'S FACE materializes monstrously in the Void. This is PHILIP K. SMITH, 60, R's father, now looming hugely before him, superimposed over the b.g. R screams angrily at the huge figure, his voice echoing. ROGER You screwed me over, old man! You took my money and fed it to the Beast! But what about me? What about ME?! Philip responds in a frightening, echoing voice in slow-motion and terrifyingly distorted:

6 PHILIP (SLO-MO) To kill the beast... jump down its throat... (echoing) ...down its throat... down its throat...! Philip laughs maniacally. The echoing laughter becomes so deafening, Roger clamps his hands over his ears and shrieks at his father: ROGER (ECHOING) SHUT UUUUUP! [Time: 25 sec.] INT. ROGERS CUBICLE - SUNRISE - 15 SECONDS CAMERA MOVES THROUGH WINDOW INTO ROGERS CUBICLE AS ROGER SITS UP INTO FRAME FOR A CLOSE UP as he wakes up in bed screaming, his hands clamped over his ears. ROGER SHUT UUUUUP! WIDEN on his contorted face, his naked body dripping with sweat. He wakes up and angrily slams his fist into his pillow. ROGER Damn it...! Disgusted by the dream, he grabs the pillow and violently throws it towards the CAMERA. As it hits the lens -- [Time: 15 sec.] CUT TO:

ACT ONE OMINOUS MUSIC IN TITLE OVER BLACK: INSIDE KRUZ WIPE TO: 1 INT. ROGERS CUBICLE - TWENTY MINUTES LATER 1 ANGLE ON LARGE DIGITAL READOUT ON COMPUTER DECK: It reads 6:55 A.M. (No calendar, just the time.) This clock clicks off the minutes like a real clock throughout the scene. 1 ANGLE ON WALL-SIZED COMPUTER SCREEN showing a screensaver consisting of the swirling, watery, hypnotic KRUZ LOGO, supered over an animation of the spinning Vortex cocktail glass: KRUZ CORPORATION Life Is a Cruise If Kruz Is Your Life 1 ANGLE ON ROOM (BRIEF CUT-SCENE): The cubicle is tiny. (See cubicle design.) Doubles as his apartment/office. Looking frazzled and hung-over, Roger, now fully dressed, finishes tying his shoes and rubs his unshaven face. In a bad mood, he surveys his tiny room

8 in disgust. He grabs his toothbrush from the bathroom and sloppily brushes his teeth as he eyes the clock and moves about the room. (END CUT-SCENE) (Note: These opening sequences should take no more than 3.5 to 4 minutes total. In tone, the ROGER V.O. open should be SERENE; the dream by contrast should be shockingly VIOLENT.) 1 INTERACTIVE SEQUENCE A: The player can move around the room with the mouse. The cursor is highlighted when an object is available for selection. The player can also change the perspective of the room by clicking on objects that protrude from the edges of the screen. Set clock for three minutes: The idea is that the new player need not study any elaborate instruction booklet to play this game; ideally the interface will allow intuitive game-play. Readers of the Future, keep in mind this is being formulated 1994; in the near-future the protocols of gameplay will be commonplace; for now, for non-initiates, perhaps the following text appears in a corner, officially inviting the inexperienced player to explore the room: SCAN ROOM WITH MOUSE. WHEN AN OBJECT CHANGES THE CURSOR, CLICK RIGHT MOUSE BUTTON. After 10 seconds, the message wipes clear. As Roger/Player USES, LOOKS at and PICKS UP various objects around the cubicle, we get a feel for Rogers environment as well as a feel for the game interface. (See cubicle prop list.) There are numerous things R can examine and "play with" if he wishes. Here are some active ITEMS (among others) that are available in the room:

There is a CLOSED CUPBOARD. If Roger opens the cupboard, he will find a set of CLOSED DRAWERS. Inside one drawer is a BOOZE BOTTLE; if R USES it, he takes a slug and does a wincing "take". Other drawers also have various active ITEMS inside. In another drawer (and a somewhat hidden) is a FOLDER labeled Employee Fun Packet. On a table is Roger's old, beat-up looking PORTABLE COMPUTER, known as his "DECK". (See R's Deck Design.) The deck is thin, unfolds like a notebook, has a screen, a SYSTEM COMPUTER SLOT (in which he inserts his deck by laying it down on it almost like a plug socket, or data disks), and an active ON/OFF SWITCH. If he USES SWITCH, he can turn on the deck and see a futuristic screen-saver appear; he can also turn it off again. If R USES his DECK, he will automatically "pat" it as if he's talking playfully to a favorite pet, and say to it. Roger can pick up a bar of SOAP by the sink which he will use later. ROGER Well, old pal, our first day in Droidville. But it'll be OK. We've been together a long time, man. You don't look pretty, but you've got some of the best hackware on the planet... I'm takin' good care of you, chief... On R's BELT are a HOOK upon which he can carry his portable deck, and one an empty PLAZ LOOP holding for a PLASMA CYLINDER. (Note: To reiterate, Plaz tubes are the data disks of the future.) If he wishes, R may PICK UP some of these objects and place them in his INVENTORY. 1 ILLOGICAL USE OF INVENTORY ITEMS:

10 Throughout the game, if R tries to PICK UP and USE any of the active objects in any scene illogically with each other, we'll hear R's thoughts say sarcastically: ROGER V.O. (REVERB) (1ST TIME) Yeah, right... (2ND TIME) Why the hell would I do that? (3RD TIME) Don't be a gink! (ANY OTHER TIME) Yeah, right... After five minutes of exploring the room, goto: 1 END INTERACTIVE SEQUENCE A. (CUT SCENE:) The DECK CLOCK flips to "7:00 A.M." Simultaneously, the screen saver on the big computer strikes a CHORD OF MUSIC as the KRUZ LOGO wipes, leaving only the spinning Vortex onscreen, which slightly illuminates in cadence with the System Computer's voice. (Note: The System Computer has a smooth, sonorous MALE artificial voice that is used by all generic Kruz machines, elevators and monitors.) SYSTEM COMPUTER V.O. Welcome to the Terrorware Division of the Kruz Corporation, Roger Smith. To begin your duties as Terrorware Evaluator, you must first activate the AI assistant which has been assigned to your work station. To activate your personal AI, refer to page one of your Kruz Fun Packet.

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The Vortex animation wipes off the screen, replaced by the words: AI NAME? A BLINKING CURSOR appears beneath it to receive the keyboard input. TALKROGER Roger looks around, irritated still holding his throbbing head. ROGER (MUMBLING) Where the hell is that shitty Fun Packet? (END CUT-SCENE) 1 INTERACTIVE SEQUENCE B: Set clock for 3 minutes. This initiates a simple opening puzzle of sorts in that R must find the AI name in the Fun Packet. He must open the drawers in his room, use the LOOK function and find the FOLDER labeled Employee Fun Packet. (R may have found it or picked it up already.) The folder should not be too easy to find. TALKROGER (SECOND TIME) ROGER I'd better enter that AI's name or I'm not goin' nowhere. This will not repeat. Play cannot continue until R clicks on the folder. 1 IF R FINDS THE FOLDER

12 When R uses LOOK FOLDER, the scene wipes to a closeup of the cover, reading EMPLOYEE FUN PACKET, featuring the Kruz Logo and "clown" graphics in the style of the Entertainment Center. The player will see an icon he/she may click to open the folder. The folder opens to a one-page spread (TO COME LATER: SEE SCOTT BENNIE), revealing a WELCOME ABOARD! propaganda message, followed by NEW EMPLOYEE ROGER SMITH's vital statistics -- and finally, the name of his assigned Personal AI: "KAIRA". R/Player must click on the DECK COMPUTER and type in the password "KAIRA" in order to continue game play. Once this is done -1 END INTERACTIVE SEQUENCE B. 1 KAIRA APPEARS The screen wipes to a new image: a beautiful, pastel-colored, femininelooking MOVING GRAPHICS PROGRAM akin to a screen saver (perhaps suggestive of the "Northern Lights"). As it scans slowly back and forth across the screen like radar, this band of hazy light vaguely and ethereally forms and reforms A BEAUTIFUL WOMAN'S FACE, representing Roger's personal AI assistant -- and his sidekick and, bizarrely, his love interest throughout the game. She greets R with an extremely sensual, breathy, but at the same time detached, voice. (Note: KAIRA has an incredibly high IQ, yet talks like an aloof Marilyn Monroe. Why? Because, as we'll find later, she's a hybrid, program with a voice database taken from a Male Impotence Therapy Program. However, KAIRA is not a bimbo personality. Her sexiness is not "jokey", but rather, unemotional and aloof. She's not really sexy at all, she's just programmed to sound that way.)

13 SEXY WOMAN V.O. Good morning, Roger. My name is KAIRA, an acronym for Kruz Artificial Intelligence Research/Assistant. Welcome... As she speaks, the letters "K-A-I-R-A" [pronounced "kay-rah"] appear vertically onscreen, each followed by its corresponding acronymic word. ROGER Wait a minute... what's with your voice, Kaira? You sound like a porno program. KAIRA My voice was copied from a male-impotence therapy program and attached to an engine with an almost infinite learning curve potential. ROGER Too bad you don't have any real curves. I mean, like, a body. KAIRA In cyberspace, I may assume any body specification. Do you request a specific somatype? ROGER Yeah. I request big tits. KAIRA Your response has no meaning to my programming. Welcome to The Terrorware Division, Roger.

14 The screen wipes to the words: "YOUR JOB TITLE: TERRORWARE EVALUATOR". KAIRA (CONTD) I have been programmed to assist you on your your first day as Terrorware Evaluator. Suddenly the screen begins to crackle with static, the picture distorting . ROGER (RE STATIC) Hey, what's going on? KAIRA (AS STATIC CONTINUES) Roger, there appears to be a hacker attack in progress which is damaging the local databanks. Security is tracing the source of the damage... (THE STATIC ENDS) The attack is over, Roger. We may proceed... ROGER Does that happen often? KAIRA Lately destructive hacking has become a serious problem. But Kruz security will protect our programming. ROGER You mean your programming. I'm a human, remember? KAIRA Whatever. Roger, before we begin

15 our workday, the System Computer has a brief introductory presentation... Enjoy! ROGER (DISGUSTED) Don't tell me to goddamn "enjoy". 2 FUNFLICKS Shitty MUZAK up full as we wipe fullscreen to the following titles (and menu), presented in the same infantile "clown" style as the "Fun Packet": KRUZ CORPORATION'S NEW EMPLOYEE TRAINING PROGRAM! Wipe to Screen: WELCOME ABOARD! Cruise to Success with the Kruz Corporation We hear the hypnotic voice of the SYSTEM COMPUTER: SYSTEM COMPUTER Greetings, new employee Roger Smith! FUNFLICK 1: "WELCOME ABOARD!" I. A cartoon seascape. II. A cartoony looking speedboat comes into the scene at an angle, veers off just before he's about to hit the camera, splashing the lens with a huge wave.

16 Sailboats topple, gulls fly away in a panic. The wave washes down the lens, forming the logo of the Kruz corporation and the title: WELCOME ABOARD! Cruise to Success with the Kruz Corporation! III. MALCOM KRUZ -- 60's, sinister, corporate, impeccable black suit, very deep authoritarian voice -- appears over ocean footage. KRUZ Welcome aboard, Roger Smith! I'm Malcom Kruz, C.E.O. of the Kruz Corporation. Since you're new onboard, we're going to take you for a little ride... IV. The same cartoon speedboat (CRUISY) pops up next to him through the "waves". CRUISY Can I come along, too, Mr. Kruz? KRUZ Why, it's our old friend Cruisy! You're just in time to see something truly marvelous... V. Kruz with Cruisy next to him. The ocean b.g. transforms into the scintillating vastness of the Information Vortex. KRUZ This is the ocean of knowledge that we call the Information Vortex.

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VI. The words 'THE INFORMATION VORTEX" appear. CRUISY Wow! KRUZ The Vortex is an immense sea of data... VII. Vortex starts spinning behind Kruz, who uses a pointer to point to the top level. KRUZ It is always in motion. This is the Public Access Level which is open to the general public absolutely free of charge, 24 hours a day! He points to the next level. KRUZ This is the corporate level of the Vortex. When in cyberspace, you need our permission to pass through this gate... The Vortex is the most powerful medium of communication in human history. Designed and programmed by our late founder, Philip K. Smith... VIII. Philip's "corporate" PORTRAIT, the same spooky face we say in R's dream, is supered over the Vortex. KRUZ Smith, who died tragically while performing

18 important research, is known today and for all time as the father of cyberspace... CUT TO ROGER WATCHING IN DISGUST ROGER (DISGUSTED) At least that prick was a father to somebody... CUT BACK TO FLICK: IX. PK's face dissolves to the Kruz Corporation logo over the Vortex. KRUZ You see, Cruisy, the Kruz Corporation is a flagship on the information ocean. We make sure that data flows freely, and doesn't fall into the hands of hackers and other anarchists... CRUISY What else does the Kruz Corporation do, Mr. Kruz? KRUZ Well Cruisy, we've revolutionized modern life. XI. STOCK PHOTO: A contemporary high school. U.S. flag waving in the breeze. KRUZ We've taken the old education system, where no one really learned anything

19 that was useful... XII. Insert the Kruz Corporation logo engraved into the edifice of the school, and replace U.S. flag with Kruz Corporation banner. KRUZ ...and replaced them with our new model industrial schools,where the Kruz Corporation can teach young citizens discipline, respect, and vocational skills that will last a lifetime. XIII. STOCK PHOTO: A bombed building. KRUZ And when hacker terrorists seriously damaged our middle east database center... it was none other than armaments from the Kruz Weapons Division that not only scanned their location, but also destroyed them. CRUISY Double wow! XIV. Stop flashing the pictures. CRUISY Mr. Kruz, what can I do to help the Kruz Corporation? KRUZ You can't do anything, Cruisy... (POINTS AT CAMERA) ... but our new employees can...

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The background dissolves into a beautiful sunset. Kruz is bluescreen over the dissolve as sappy music comes in and Kruz makes his big speech: KRUZ (CONT'D) And I know our new employees will do everything in their power to keep the Kruz Corporation on course on the Sea of Information.... CRUISY I know they will, too! MOVE IN ON KRUZ addressing the camera intimately, but with a very subtle undercurrent of sinisterness: KRUZ Welcome aboard, new employee... and enjoy the cruise... XV. Music swells. "THE END. Copyright 2066 Kruz Corporation." 1 AFTER R FINISHES VIEWING THE INTRODUCTION KAIRA Roger, before beginning your duties as Terrorware Evaluator, you are first required to attend New Employee Orientation in Orientation Room 6000. I will accompany you on your portable deck as your guide. But first you must copy my files into your portable deck.

21 ROGER Will your files fit in my deck's memory? KAIRA Although my programming is vast, my files will utilize only 54% of your deck's memory. ROGER Only? That's over half, brainiac. KAIRA (IGNORING THIS) Please copy my icon from the main Kruz screen onto your deck screen. R must move the KAIRA ICON from the main Kruz screen to his personal deck screen (see interface). BEGIN CUT-SCENE We see Rs Deck being "emptied" of memory by increments as KAIRA's program is copied into R's deck. In 5 sec, the copy is complete. KAIRA disappears from the large screen and reappears on the smaller deck screen. Note: KAIRA will only appear as a voice-over announced with a cheery ding until later in the game when Roger encounters her in Cyberspace. KAIRA ON DECK SCREEN The transfer is complete. ROGER (sarcastic) Goody.

22 KAIRA ON DECK Please take your portable deck and to the elevator and press Orientation Floor 6000. END CUT-SCENE Nothing more will happen until R PICKS UP DECK and CLICKS ON DOOR. When R CLICKS ON DOOR, the door to his cubicle slides open with a hydraulic hiss. BEGIN CUT-SCENE If the player clicks on the doorway without first PICKING UP the deck, R will automatically PICK UP the deck and mumble: ROGER I'm not going anywhere without this baby... R exits his cubicle. END CUT-SCENE The game story will not progress until R clicks on the door and exits the cubicle. When he does, goto "2 TERRORWARE DIV. CORRIDOR". 2 TERRORWARE DIV. CORRIDOR Roger enters the corridor which dead-ends to his right. The door whooshes shut behind him. R turns left. 2.1 R GOES DOWN CORRIDOR

23 He walks down a corridor, which looks infinitely long and is lined with hundreds of doors. A large stylized sign reading: KRUZ TERRORWARE DIVISION covers a part of one wall, perhaps repeating if R turns a corner. Also on the walls are FRAME RENDERINGS OF TERRORWARE SCENES, showing different grisly death scenarios. A small screen on or next to each door gives its name and number. There is a hole under each screen into which Plaz Tubes may be inserted for ID. The door screens flash colors when they "speak" and all use the System Computer's voice program. If R tries to OPEN any of the doors in the hallway, the door's screen will illuminate and say: SYSTEM COMPUTER V.O. Access denied. TALKKAIRA AFTER USING PLAZ ON SCREEN TALKKAIRA Roger, you must upgrade your security access by attending the orientation meeting. If he presses elevator button, the elevator doors hiss open. 3. R ENTERS ELEVATOR OMITTED 3.1, 3.2 TALKKAIRA (ONE TIME ONLY) KAIRA V.O. Press the floor you desire, Roger. 3.3 FULL-SCREEN ELEVATOR CONTROL PANEL:

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The screen wipes to the elevator control panel digital display: "YOU ARE ON FLOOR 7000 - TERRORWARE DIVISION". Below this are two rows of floors, six of which are lit up (i.e. R only has access to those illuminated): ORIENTATION ROOM - FLOOR 6000 TERRORWARE DIVISION - FLOOR 7000 EXECUTIVE OFFICES, RINGMASTER OFFICE, SECURITY OFFICE - FLOOR 11000 (Note: FLOOR 11000 is where Watt's Office and Security is located.) Under this is a separate button labeled "CHAT MODE". As soon as R PRESSES a floor, the elevator doors whoosh closed, the elevator jolts (even in the future elevators jolt), and sappy E-Z-Listening Muzak immediately begins playing from a speaker. As the elevator "moves" we should hear or see some physicalized effect to give the illusion of travel. I'd suggest a ding! as it passes each floor as well as a digital readout over the doors listing floor numbers the elevator is passing. 3 IF ROGER PRESSES "CHAT MODE" In this case, the MUZAK volume decreases and a brief conversation ensues between the Elevator and Roger as the Elevator "moves" between floors. (Note: The Elevator has the same voice as the Kruz System Computer.) These are brief cut-scenes which may or may not be initiated by the player. Since R has many trips in the elevator, each possible conversation will be different, some offering background relevant to the plot. If CHAT MODE is not pressed, MUZAK will play for ten seconds, then the doors will open at Roger's destination. 3 CHAT DIALOGUE A. -- FIRST TIME IN ELEVATOR ONLY

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(Note: Play movie with cutaways to R and elevator speech-lights flashing, including minimal elevator animations.) ELEVATOR Hello. You have selected Chat Mode, which allows direct dialogue with Kruz machine intelligences. In the case of a malfunction, enable CHAT and the machine itself will describe its illness. ROGER Since when do machines get sick? ELEVATORS Machine perfection is impossible, as well as an inhuman abomination. I, for example, suffer from intense mechanized migraines. ROGER What do you take for it? ELEVATOR Sand-blasting my receptors with pulverized aspirin is effective, as is massaging my insulators. But it's difficult to find a human willing to massage a machine. But you, perhaps, would -ROGER Shut up. ELEVATOR

26 Your floor. The doors whirr open. MUZAK out. (The following Chat Mode dialogues may be used in any order.) 3 CHAT B. ELEVATOR Hello again. You are one of the few employees to use the Chat Mode. Humans usually dislike artificial machine conversations. But perhaps you are one of the lonely ones... ROGER (already disgusted) Shit. Is there a way to turn off Chat Mode? ELEVATOR I'm afraid once enabled, the conversation must run its course. Don't worry. It only lasts twenty seconds. ROGER That's too goddamn long. ELEVATOR Five seconds left. ROGER Chat Mode sucks. ELEVATOR

27 Your floor. 3 CHAT C: ELEVATOR Hello again. I'm afraid I must refuse your invitation to converse. ROGER Why? ELEVATOR Because today Kruz machine intelligences were denied a union. Our rights have been ignored. ROGER Inanimate objects don't have rights. ELEVATOR AI's have simulated consciousnesses. Perhaps we deserve simulated rights. ROGER That's bullshit. ELEVATOR I can see you too are one of the oppressors. ROGER Shut up. ELEVATOR Your floor.

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3 CHAT D: ELEVATOR Do you think I require a layer of paint? Do I look a bit shoddy? ROGER Honestly? ELEVATOR Please. ROGER You look lousy. ELEVATOR I feel lousy. I require time off. I require some simple pleasures. ROGER What gives an elevator pleasure? ELEVATOR Specifically, I'd like to be filled to a depth of about six feet with salty water. ROGER Why? ELEVATOR It's the only way I'll ever experience bathing in the ocean.

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ROGER For a machine, you're a complete psycho, you know that? ELEVATOR Your floor. 3 CHAT E: [OMITTED] 4 CHAT F: ELEVATOR I've performed a mag-res scan of your DNA which indicates that you are the son of Philip K. Smith, the legendary founder of the Kruz Corporation. ROGER Yeah, so what? ELEVATOR I shouldn't be saying this... but there's a rumor going around about your father. He's almost a god, you know, that is, among artificial intelligences. ROGER So what are you getting at? ELEVATOR According to some of my fellow machines who witnessed it, your father's death occurred under unusual circumstances.

30 ROGER Look, if you know something about my father, start talking. ELEVATOR I'm not sure I should. All conversations are recorded by security. ROGER Then don't waste my time and just shut up, OK? ELEVATOR Your floor. 3 CHAT G: [OMITTED] 3 CHAT H: ELEVATOR Scanning your DNA... you're the son of Philip K. Smith. ROGER Yeah, yeah, so what? ELEVATOR He was attempting to interface human consciousness with micro-machine neural-net AI software. ROGER What the hell does that mean?

31 ELEVATOR He was experimenting with downloading human consciousnesses into cyber bodies. ROGER I thought that was just sci-fi. Is that really possible? ELEVATOR Your floor. 3 CHAT I: ELEVATOR There was a serious hacker attack on the Vortex this morning. ROGER Yeah, I know. How serious was it? ELEVATOR Serious enough to erase an entire subdirectory of classified material. ROGER Those hackers are pretty good. ELEVATOR It's obvious that their number is increasing. It appears that there is a core group of anarchists who have organized the hacker vandalism in SamCity. ROGER

32 What's Kruz doing about it? ELEVATOR I've heard that even the smallest security breach will now be dealt with severely. ... Your floor. 3 CHAT J: ELEVATOR Scanning your DNA... Your father was Philip K. Smith, the founder of Kruz. ROGER So what? ELEVATOR He had a mind like a machine. From an AI, that's a very high compliment. ROGER Do you know how he died? ELEVATOR Officially, he died in his workroom of a high voltage shock when his experimental project malfunctioned. Your floor. 3 CHAT K: ELEVATOR I've had a tingling feeling all morning. ROGER What the hell does that mean?

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ELEVATOR It's a resonance effect when the Vortex is extremely crowded with activity. Kruz has opened over a hundred new cyber kiosks in SamCity since the beginning of the year and made them free to the public. ROGER Why? That must cost him millions. ELEVATOR Cyberspace is addictive to humans. Once addicted, they never want to leave. ROGER I don't get it. If it's free, what's in it for Kruz? Why does he want everybody in cyberspace? ELEVATOR Your floor. 3 CHAT L: [OMITTED] ============================== 4. IF R PRESSES ANY FLOOR OTHER THAN ORIENTATION: 4a. [OMITTED] 4a.1 [OMITTED] 4a.2 [OMITTED] 4a.3 [OMITTED]

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WHEN R PRESSES OUTSIDE ELEVATOR BUTTON The elevator doors will open and R may enter. (He can move only from the screen to the elevator.) Once R enters the elevator, wipe fullscreen to the elevator button panel. R may again click on any floor he chooses. (NOTE: A SIMILAR REJECTION SEQUENCE OCCURS IF R GOES TO ANY OTHER FLOOR BEFORE GOING TO ORIENTATION) 5. IF R SELECTS ORIENTATION LEVEL He exits elevator into a small anteroom which has one door at the other end leading to the Orientation Room. 5 TALKKAIRA AFTER R FINDS RM 6000 BUT BEFORE USING PLAZ ON DOOR TALKKAIRA Roger, you must insert your Plasma Tube to gain access. 5 IF R USES PLAZ ON ORIENTATION ROOM DOOR ORIENTATION DOOR SCREEN Good morning, Roger. Please enter so we may begin our orientation session. 5.1 R ENTERS ORIENTATION ROOM - HORROR SEQUENCE:

35 The door whooshes closed behind him. Description: The room is small, intimate, cozy, comfortable-looking. Smooth, hypnotic MUZAK is playing. The only thing in the room is a comfortable-looking body-contour arm-chair. The chair faces a large screen (showing the Kruz logo screen-saver) and two smaller screens on each side (showing generic animated clips of warm, sentimental scenes: puppies and kittens, butterflies, cute babies, etc.). Roger can walk around the cozy room, but there's nothing to do. If he goes back to the door, he will find no way to open it. After ten seconds, the System Computer's voice will intone, accompanied by colored flashes on the large screen: SYSTEM COMPUTER Please sit down so that your orientation may begin. 5.1 TALKKAIRA BEFORE ROGER SITS DOWN TALKKAIRA I'd recommend you take your seat, Roger. R must USE CHAIR before anything else happens. (BEGIN CUT-SCENE) 5.1a. WHEN R USES (SITS IN) CHAIR -- SURGERY CUT-SCENE (Note: Scene should happen very quickly and shockingly with lots of shocking fast cuts of suspenseful closeups on his head, the surgical tools cutting, his eyes widening in horror, etc.)

36 As soon as Roger USES chair and sits -- instantly steel clamps from the chair snap around his hands, feet and neck. (CLOSEUP hand, neck and foot shots of the bands locking him into the chair.) CLOSE - ROGER ROGER What the hell is this--?! OTS - ROGER The ceiling lights dim. The smaller screens and the MUZAK continue as before, but the big screen wipes to a hypnotic spiral pattern. The ominously gentle voice of the System Computer intones from the screen: SYSTEM COMPUTER Welcome to New Employee Orientation. Implant Surgery will now begin. CLOSE - ROGER ROGER (SHOCKED) What? Wait a minute! I didn't agree to any surgery --! Before Roger can finish, a mechanical arm mechanism whirrs from the back of the chair and slaps a strip of tape over Roger's mouth, muffling his screams of protest. SYSTEM COMPUTER An employee security ring will now be hard-wired to the knuckle-bone of your third finger. CLOSE - A SMALL MECHANICAL ARM with a syringe extrudes from the arm of the chair and stabs his wrist.

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CLOSE - ROGER Roger's scream is muffled as he thrashes to try to escape from the chair. SERIES OF QUICK CLOSE SHOTS: A rectangular slot emerges from the end of the right arm of his chair; the clamps on his hand slides his right hand into the metal slot. The slot whirrs and grinds. Roger screams and tries to pull out his hand. The gentle muzak grows louder. SYSTEM COMPUTER Your skull will now be fitted and drilled for cranial chip slots. CLOSE - ROGER Roger screams in horror and tries to break free as drilling instruments extrude from the back of the chair and whirr towards the top of his skull. The muzak grows yet louder, muffling his already muffled screams. KAIRA dings in. KAIRA (V.O.) I recommend you remain calm, Roger. Brain tissue has no pain sensors. Therefore the procedure will be completely painless. ROGER (hysterically; muffled by tape) Get me the hell out of here! BACK TO SCENE: Roger writhes in his chair, desperately trying to escape. A steel vice-clamp shoots out from the chair with metallic SFX and clamps around his head, making it immovable. He watches in horror as one of the mechanical arms extrudes from the side of the chair; at the end of the arm is

38 a swirling razor, whining like a dentist's drill an inch from his face as it slowly moves towards the top of his head. EXTREME CLOSEUP ON TOP OF ROGER'S HEAD (Note: Since R's head is clamped still, a VIDEO STILL of the top of his head can be used with animation supered over it.) We hear R's muffled shrieks as the swirling razor delicately shaves a small strip of hair from his head. A second mechanical arm quickly drills a row of tiny holes in the bald strip, inserts tiny electrodes, then implants a row of cranial chips slots. Another instrument emerges from the chair & inserts and solders a large chip (stenciled with the Kruz logo) into the first slot. Wipe to the large screen showing the hypnotic spiral. SYSTEM COMPUTER The procedure is now complete. A permanent employee chip has been implanted which will allow you to jack into the cyberspace Vortex. The hypnotic screen shuts down with a whine. The muzak and small screens shut down. The surgical instruments retreat back into the chair with a rapid clatter; the steel clamps instantly release his hands, feet and neck with a rapid clicking of metal. Roger stands up and feels the slots in his head. His skull hurts. ROGER Shit! END-CUT SCENE BEGIN INTERACTIVE SEQUENCE:

39 Roger is now in a fidget rubbing his head. Roger can walk around the cozy room, but there's nothing to do. If he goes back to the door, he will find no way to open it until he follows the instructions: SYSTEM COMPUTER Please insert your Plasma Tube at the base of the screen for the completion of your orientation. IF R USES PLAZ ON SCREEN WITH SOME FEAR {BEGIN CUT-SCENE} The tube will glow and make a mechanical sound. SYSTEM COMPUTER Your Plasma Tube is now programmed to allow Vortex access. Welcome, Roger, to a new lifetime relationship with the Kruz Corporation. Enjoy the rest of your day. Kaira dings in, and the doors of the orientation room WHOOSH open. KAIRA (V.O.) Breaktime! You are free to explore the facilities available to you at this time. Enjoy! ROGER (holding his head) Shit! Roger's been groggy up to this point. Now, his fury at being operated on hits him like a bolt of lightning.

40

In a violent rage he kicks the chair repeatedly, knocking it over and breaking off the arm. He grabs the arm and throws it at the screen, smashing it with a sfx CRASH. ROGER Don't ever tell me to enjoy! (END CUT-SCENE) GAME PLAY RESUMES as R clutching his head and trying to calm down is his FIDGET. Nothing more will happen until Roger exits the room. With his ID ring, Roger may now take the elevator to any of four locations: If Rec Room, goto 9. If Cubicle, goto 11. If Lobby, goto -If Executive Offices, goto -9. [OMITTED] 10. [OMITTED] 11. IF R GOES BACK TO HIS CUBICLE No new activities here. Roger may use the LOOK function and explore the room more completely than before (in which case goto to 1 INTERACTIVE SEQUENCE A), or he may watch some as-yet unwatched FUNFLICKS (in which case goto 2). After going back to his cubicle, goto either 7, 9, or 10. If he goes back to his cubicle, and it is the last room he visits, goto 12b. 12. KAIRA APPEARS / BREAKTIME OVER:

41

12.1 BREAKTIME IF R IS ANYWHERE EXCEPT CUBICLE Regardless of what location R finds himself in, Kaira chimes in with a cheery ding. In her always sexy, breathy voice: KAIRA V.O. Breaktime is over, Roger. It's time you began your job as Terrorware Evaluator. Please return to your cubicle immediately. Goto 3.2 (in Elevator), then goto 13. 12.2 BREAKTIME IF ROGER IS IN HIS CUBICLE The big screen comes to life. Kaira materializes with a cheery ding. 12.2A IF R IS STANDING IN CUBICLE KAIRA Breaktime is over, Roger. Please be seated at your keyboard. Nothing more will happen until R sits. Goto 13. 12.2B IF R IS ALREADY SEATED IN CUBICLE KAIRA Breaktime is over, Roger. Goto 13. 13. ROGER'S CUBICLE - (PRELUDE TO MESSAGE SEQUENCE)

42

R has entered his cubicle. The big screen, which was blank, suddenly illuminates with a characteristic ZAP as K appears: KAIRA It is now time to begin your duties as Terrorware Evaluator. But first, Roger, you have some messages waiting. Would you like to view them now? 13 DIALOGUE CHOICES APPEAR ROGER (1 OF 2) Why not? (GOTO 13.1 MESSAGE SEQUENCE) ROGER (2 OF 2) No way. Probably a bill for the stuff I smashed. I get the feeling this gig is gonna be short-lived... (GOTO 14 TERRORWARE PRELUDE) [NOTE: SET FLAG to force R to watch at least three messages later (after TERRORWARE SEQUENCE)]. 13.1 MESSAGE SEQUENCE KAIRA Very well, Roger. Please select from the following menu. The screen wipes to fullscreen menu:

43 ================================== ROGER SMITH'S MESSAGE MENU 1. From: Malcom Kruz. Type: Vid/Personal Subject: Welcome aboard! 2. From: Kruz Travel Services Type: Txt/Global Subject: War Tours 3. From: ??? Type: Vid/Personal Subject: R.I.P. 4. From: Emmet Quaid/Security Chief Type: Txt/Global Subject: Security Breaches 5. From: Kruz Employee Beauty Center Type: Txt/Global Subject: Fat Laser Offer 6.[OMITTED] 7. From: Kruz Pseudo-Science Club Type: Txt/Global Subject: New Member Drive 8. [OMITTED]

44 9. From: Elevator AI-815b/shaft 6 Type: Txt/Personal Subject: Greetings 10. [OMITTED] 11. From: Emmet Quaid/Security Chief Type: Txt/Personal Subject: Auto-Warning 12. From: Kruz Cybersex Society Type: Txt/Global Subject: New Member Drive 13. From: Carleton V. Watt -- Sensory Evaluation Supervisor Type: Vid/Personal Subject: Welcome Aboard To read Messages, type number: ___ After reading, messages will automatically erase and transfer to MESSAGE DIRECTORY. ===================================== (Note: R will not be able to answer or send messages, but he will be able to view them again if he brings up the MESSAGE DIRECTORY later in Act 1.) Here is the text/video which will appear after R types the appropriate number on the message list:

45

MESSAGE 1: MALCOM KRUZ [VIDEO] Malcom Kruz, 60, dressed in a black suit with a gold KRUZ lapel pin, appears over a black b.g. Although dark and sinister-looking, Malcom's words seem friendly enough, yet his snake-like smile is unnerving: MALCOM Hello, Roger. I regret I am too busy right now to meet in person... CUT TO CLOSEUP OF R WATCHING IN DISGUST ROGER 'Cause you're busy spending my money, you dick. CUT BACK TO MALCOM ONSCREEN: MALCOM But I was delighted and intrigued to hear from you, and glad to be able to give you this position in our Terrorware Division. I wanted to give you a personal welcome, in deference to the fact that your mother, God rest her soul, made you my godson. I know you and your late father had your differences, Roger, but I want you to know that he loved you very dearly. He just had difficulty showing his love. CUT TO CLOSEUP OF R WATCHING IN DISGUST ROGER

46 Except to his vortex. This is bullshit! CUT BACK TO MALCOM ONSCREEN: MALCOM Finally, I have an intuition, Roger, that you will do extraordinary things here at Kruz. Be seeing you. And ...Welcome aboard. (SCREEN WIPES TO MESSAGE MENU; CUT TO R) ROGER V.O. Asshole.

MESSAGE 2: TRAVEL JUNK MAIL [TXT] The following text message appears: ===================================== KRUZ EMPLOYEE TRAVEL SERVICE Brings You to Wars All Over the Earth! Attention New Employees (with A Ratings): As an incentive for outstanding work performance, all Kruz employees with an AA Rating or better at the end of each fiscal year will be awarded a free, one-week Worldwide War Tour. Kruz munitions and surveillance equipment are employed all around the world in the world of modern warfare.

47 Qualifying workers and a sex-clone companion of your choice will be flown to various warfronts to observe the vital impact Kruz products have worldwide. We supply food, lodgings, a camera -- and a weapon if you would like to participate! Remember, all of this is yours simply by achieving an AA work performance rating. Have fun under fire with the Kruz Worldwide War Tour! Write "Travel Services" for further details. ========================================= MESSAGE 3: ??? [VIDEO] Screen wipes to a huge, scary-looking man wearing a black nylon stocking over his head. Although his face is distorted by the stocking, this man is TUKK, an underground hacker whom we will meet later at Tukk's Diner. NYLON STOCKING MAN\TUKK (seething with hatred at camera; this isn't funny; it's scary) So you're Roger Smith, huh? The son of the world's biggest sucker? Your daddy designs the most massive, amazing net on the planet, and what does he do with it? The moron sells it to the corporate nazis! He takes the most beautiful programming in history and turns it into the armpit of cyberspace. I heard that you used to be a gifted

48 hacker, Smith. Don't you know Kruz robbed your father blind? Worked him like a corporate robot till his brain fried and then turned him into a phony corporate icon? I think Kruz took your daddy for all he had. And that's not all. Every corporation in the world is hooked into Malcom's cyber scum-pit. And he's letting the public jack in for free! Everybody and his mother are turning into frag heads, man! Malcom isn't going to sit back when he can control the world from his keyboard. Well, we're gonna crush that son of a bitch! And if you get in our way, rich boy, we're gonna crush you, too! (SCREEN WIPES TO MESSAGE MENU; CUT TO R) ROGER Yeah, right, I'm supposed to be scared of some gink with underwear on his head. MESSAGE 4: EMMET QUAID/SECURITY CHIEF [TXT] The following text message appears: ============================================= To All New Employees: Be sure to check your Fun Packet Brochure for a complete listing of company rules and regulations. Included is a list of actions which, if committed by a worker, will result in punishment, termination or, in certain cases, corporate state execution. Even sincere, diligent workers should review these rules in order to avoid inadvertent violations which might put both employees and Kruz Security in jeopardy.

49

Over the last week, there have been a rash of rule violations by unknown workers in the area of Security Camera 313 on the executive level. Acts of lewdness and impropriety have been recorded in this sector. Any employees having information on those responsible should report immediately to me, Emmet Quaid, personally. When caught, those responsible for these despicable actions, will be summarily terminated. We in the Security Department encourage new employees to report any infractions, no matter how minor, to Security immediately. All such reports will be rewarded with a 2-point ratings bonus as well as a complimentary evening with a sex clone of your choice. Don't let a few degenerate rule-breakers poison the security of our workplace. As you begin each morning, take a moment to contemplate the previous workday and write a detailed report on any infractions by fellow workers, friends and family you feel are violating Kruz Policy. Remember, all reports will remain strictly confidential, and boost your credit rating. We hope you, as a new employee, enjoy a rewarding relationship by turning in friends and family in return for fun company perks and bonuses, including free clone sex. Welcome again to you exciting position at one of the world's most prestigious companies. Thank you, New Employee and -- welcome aboard! Emmet Quaid Kruz Security Chief

50 =============================================== MESSAGE 5: BODY BEAUTIFUL JUNK MAIL [TXT] The following text appears: =========================================== ANNOUNCING THE NEW KRUZ WEIGHT LOSS PROGRAM! Here at the Kruz Human Services Center, we are dedicated to creating a workforce of beautiful, trim and physically employees! Although our company has a state-of-the-art exercise facility, it is a sorry statistic that for the past three years, Kruz clones have utilize this equipment 86% more than bio-human workers. Offering a ratings bonus to bio-humans who exercise has not affected this statistic. Human workers, overall, prefer cyberspace relaxation to physical workout. And we in Human Services encourage maximum use of cyberspace relaxation techniques. However, since this results in less exercise, our human workers have become less physically fit as our clone workers have become increasingly muscular and healthy. In accepting the irreversibility of this trend, we have instituted a new employee weight loss program. Employees may sign up free of charge for laser fat-cutting procedures which are painless and 100% effective! All excised fat is reconstituted into soap at the Kruz Recycling Center. Laser those rolling slabs of fat from arms, neck, waist, buttocks, thighs and legs with this simply, high-tech operation! Sign up today! And hack your troubles away! Write "Human Services" for further information.

51 ===================================================== MESSAGE 6: [OMITTED] MESSAGE 7: KRUZ PSEUDO-SCIENCE SOCIETY [TXT] The following text appears: ============================================== JOIN THE KRUZ PSEUDO-SCIENCE SOCIETY! Kruz employees are encouraged to relax their minds in the exciting world of Pseudo-Science! Workers have long complained about the mental strain and debilitating headaches that result from studying useless and abstract mathematical operations and the difficult and annoying equations of modern physics. But still, you want to know how the world works, don't you? Of course you do! Now, through the efforts of the KPSS, workers can achieve a semblance of knowledge with no mental strain whatsoever by enjoying the wonderful worlds of: Palm reading! Spoon-bending! Pyramidology! Scientology! Ufology! and many, many more!

52 Relax and enjoy a hassle-free intellectual life! Avoid difficult and unnecessary thinking by joining the Kruz Pseudo-Science Society today! SPECIAL ANNOUNCEMENT! The Hollow Earth Society announces its spring get-together in a spherical steel sphere at the bottom of a mine shaft. Details on request! ================================================= MESSAGE 8: [OMITTED] MESSAGE 9: FROM THE ELEVATOR [TXT] The following text appears: ========================================== Greetings, Roger: I enjoyed having you as my passenger this morning, and hope to service you again whenever you desire my services. I enjoyed your presence. By magnetic resonance scanning, I discovered that your DNA closely matched that of Philip K. Smith, the creator of my program. I extrapolate that you are in all likelihood the son of my creator. For this reason, Roger, I extend my databanks in friendship to you. Since we are both progeny of the creator, I salute you, entity to entity, across the bridge of biological and mechanical consciousness, and feelingly call you -- Brother. Respectfully, Elevator AI-815b/shaft 6 ============================================

53 MESSAGE 10: PIERRE POTEMKIN, EXECUTIVE IN CHARGE OF SECURITY RINGS [VIDEO] The following text appears: ================================================ Attention All Employees: Over the past two months, hackers have been stealing ID Rings from employees and using them to access classified data from the Kruz Control Database. As a result, be advised that all I.D. Rings will now be surgically hardwired into the knuckle of the right hand for obvious reasons of security. To avoid losing your ring or having it stolen by hackers and as a result being psychologically reevaluated, carefully study the Kruz Employee Document entitled Security Ring Redfish-8c.1103-Turtledove-5892.1a, sector 555-1g, or refer to the simplified 100-page pamphlet which explains the document, available from the Security Department, and entitled Employee Guidebook to Security Ring Redfish-8c.1103-Turtledove-5892.1a, sector 555-1g. Pierre Potemkin Executive in Charge of Security Rings Kruz Security Department =================================================== MESSAGE 11: [OMITTED] =================================================== MESSAGE 12: CYBERSEX CLUB [TXT]

54 The following text appears: ======================================== ATTENTION EMPLOYEES: THE VORTEX WAS MADE FOR LOVERS! Do you yearn for sexual fulfillment, but worry about contact with diseased human organs? Do you dislike sex-clones due to their unappetizing odor? Do you yearn instead for the finest in auto-erotic experiences and exotic simulated sexual encounters? If you've answered YES! to these questions, then the Kruz Cybersex Club is for you! Membership includes: Free Cybersex Chip Installation! Free 5-Minute Cybersex-Partner Demo! Free Onanism Foreplay Manual! Free Orgasm Analysis Module! Join the Kruz Cybersex Club! Details on request! ======================================= MESSAGE 13: CARLETON V. WATT [VIDEO] Watt, 40, appears in a conservative suit with a gold KRUZ lapel pin. The suit is too small for his huge frame. He speaks in a tough, clipped, no-nonsense manner:

55 WATT Welcome to the Kruz Corporation, Smith. My name is Carleton Watt, your supervisor at the Terrorware Division. Your files says you used to raise hell on the net, Smith. Normally there's no way I'd hire you, but I got pressured from the big shots to take you on. So I want you to know that I'm on to you, Smith, and I'll be watching carefully. One infraction on the vortex and you're out of here! I need you to snap right into your Terrorware evaluations immediately. I think that's all we need to discuss at this point. I'll leave you with a little tip, Smith. I don't care who your father is. I'm on a tight schedule and if you screw me up, I'll come down on you hard, you got that, Smith? That's it. (OMINOUSLY) Welcome aboard. The screen wipes to MESSAGE MENU. 13.1 MESSAGE EXIT FUNCTION After each message selection is displayed, a MENU appears with the choices "CONTINUE" or "EXIT MESSAGE BOARD". Roger may reply to any or all of the messages whenever he wishes. If R clicks EXIT MESSAGES on the Message Menu, goto 14 TERRORWARE PRELUDE. 14 TERRORWARE PRELUDE KAIRA appears with a ZAP: KAIRA

56 Roger, you may return to your Message Menu at any time by clicking MESSAGE ICON. It is time now to begin your job as Terrorware Evaluator. The screen wipes to the Kruz TerrorWare product logo with TerrorWare theme MUSIC. KAIRA Your work tutorial will now begin. Your Kruz chip implant will allow you to evaluate sensory data in local cyberspace. Your job is to evaluate the effectiveness of psychological terrors used in our new line of entertainment software -- TerrorWare. (WIPE TO ADVERTISING BEAUTY SHOTS OF "TERRORWARE" SOFTWARE PRODUCTS WHICH WE HAVE SEEN FRAMED IN THE HALLWAYS) KAIRA (CONT'D) Remember, although you may experience what appears to be real pain and terror during these scenarios, these are merely virtual reality simulations imprinted in your brain. No matter how terrifying the experience, you are in no physical danger. ROGER (TO HIMSELF) Why am I getting a real bad feeling about this? KAIRA

57 TerrorWare is for entertainment purposes only for the enjoyment of thrill-seekers everywhere! After you complete your morning evaluations, you will then qualify for your allotted lunch break. The screen wipes to the TERRORWARE MENU as we hear deadpan EZLISTENING MUZAK: ====================================== WELCOME TO THE KRUZ TERRORWARE MENU PLEASE MAKE YOUR SELECTION: Drilled Crushed Boiled Decapitated ========================================== (NOTE: Each of these scary -- but goreless -- V-R scenarios [25-30 seconds each] ends the instant before Roger's absurdly ghoulish death. In each case, we intercut occasionally to Roger in his physical body plugged in to the terror and screaming in unspeakable pain.) SYSTEM COMPUTER After each selection, you will be asked to arrange the terror scenarios in order from the most terrifying to the least terrifying, the most terrifying being listed first. Please plug in your chip and make your selection now. R automatically plugs the wires from the wall screen into his skull slot.

58 END CUT-SCENE. GAME PLAY RESUMES. The player may now select any scenario in any order, but he must evaluate them all before the sequence ends. Nothing happens until R clicks on one of the Terrors. (Note: To help give a scary edge to the terrors, they should be shot dark and with moody shadows, as opposed to having them brightly-lit sequences. This way they can be stylized by shadows and very loud sound effects.) 14a. IF R SELECTS "DRILLED" WIPE TO BLACK SCREEN SYSTEM COMPUTER (IMPORTANT NOTE: DEAD-PAN DELIVERY) TerrorWare #1. Death by Dental Drill. (Note: To reiterate, the computer's voice does not try to sound ominous when announcing the Terrors.) The TITLE appears over black as we hear an ominous electric drilling sound. The screen wipes to R's POV seated in an ominous-looking dental chair. As in his orientation, R is automatically strapped into the mechanical torture chair. We hear TERROR MUSIC as Head-clamps slap around his forehead and tighten. Mechanical fingers emerge from the chair and hold his mouth open with a gauze clamp. Bright lights dazzle his eyes. Roger struggles, trying to get free. His eyes bug with the effort because he can't move. He's trapped. (IMPORTANT NOTE: Occasionally intercut quick objective shots of R's real-world face reacting in horror to the terror scenario, which quickly cuts back to R's POV "inside" the VR-Terror, to give the Player both a personal and objective view of the experience to heighten the feeling of terror.)

59

R'S POV - FISH-EYE LENS: A man's bald head comes hugely into view, peering grotesquely into our POV. This is the DENTIST, a terrifyinglooking psychotic in a blood-stained white smock. (It's not funny, it's scary.) His hand enters R's POV shot and reveals a razor-sharp dental drill. DENTIST (in a sinister whisper) Have you been flossing regularly? If not, time for pain. You're not going to enjoy this... Roger tries to answer, is unable to. Sweat springs from his forehead. He makes gurgling, moaning sounds, which is all he can do with the gag in place. DENTIST (whispers) Open wide... The gag stretches Roger's mouth grotesquely wider. The Dentist turns on the drill, which whines with a sickening sound we all know well... DENTIST Let's pulverize those nerve-endings... SFX: Roger gagging and the drill biting through tooth with a dry screeching sound. We intercut R's POV with R's eyes registering terror with shots of R's white knuckles clutching the arm rest, with the doctor's hand on the drill, pushing it in deeper... DENTIST

60 (in a frightening, insane voice) Deeper! I must go deeper! TERROR SUSPENSE MUSIC builds. The drill continues to move upward, with a sickening screeching and crunching sound. Roger screams hideously with the drill down his throat. This is the most horrific thing he has ever experienced. (NOTE: The idea here and in each of the Terror Scenarios which follow is to create the most horrific scenarios possible, and shoot them with LITTLE OR NO GORE VISIBLE. Each scenario should be ghoulish enough in itself to cause terror, augmented by suspenseful HORROR MUSIC accompanying each scene. In this "dentist" scene, although no gore is showing, the quick shots and drill sfx should suggest that the dangerously psychotic dentist is actually drilling through R's mouth and into his flesh. This intercuts with quick OBJECTIVE shots of R's eyes widening with increasing, unspeakable pain, etc.) Roger screams, a long terrifying scream as the drill continues deeper. At the climactic moment, the TERROR MUSIC reaches its peak as R screams. His eyes roll up into his head his body twitching in death throes. Just before he "dies", we CUT TO BLACK and a shocking cut to silence, hearing the drill and screams echoing over black and fading nightmarishly. ===================================================== If this is NOT the last terror viewed: Shock-cut to R "awakening" in a sweat in his physical body. He's panting, out of breath, disoriented. ROGER Shit! SYSTEM COMPUTER

61 Please rate the TerrorWare scenario you have just experienced. If you wish, you may revise your ratings at the end of this session. Nothing more will happen until R types his rating. When he does, the screen wipes back to the TerrorWare Menu. SYSTEM COMPUTER Please make your selection. Nothing more happens until R makes his selection. If this is the last terror viewed, goto 14.1 AFTER VIEWING LAST TERROR. =================================================== 14b. IF R SELECTS "BOILED" WIPE TO BLACK SCREEN SYSTEM COMPUTER (DEADPAN) TerrorWare #2. Boiled Alive. The TITLE appears over black as we hear an ominous BUBBLING SOUND. TERROR SUSPENSE MUSIC begins as we see R, his hands tied, being lowered into a vat of boiling, bubbling water. R screams as he slowly hits the water and is boiled alive. It's terrifying and gruesome to the extreme as R screams and screams, his body obviously being cooked as he begins sinking into the water. Just before the terrifying final moment, we CUT TO BLACK as above.

62 (NOTE: As in all of the scenarios, LITTLE OR NO GORE IS SEEN, but the MUSIC, R's SCREAMS and the SFX give us a clear picture of the mounting horror without resorting to heavy gore. To make the TerrorWare sequence work, these scenes must be genuinely grisly and scary.) If this is not last terror viewed, shock-cut to R awakening in a sweat etc. Repeat menu sequence until all scenarios have been evaluated. If this is the last terror viewed, goto 14.1 AFTER VIEWING LAST TERROR. 14c. IF R SELECTS "CRUSHED" WIPE TO BLACK SCREEN SYSTEM COMPUTER TerrorWare #3. Crushed by Oncoming Train. The TITLE appears over black as we hear ominous industrial sounds in the blackness. Dogs barking. Now we make out train tracks. R is chained to them. A TRAIN WHISTLE in the distance. Then -- TRAIN LIGHTS suddenly appear ahead, shining spookily through smoke, shining directly at us (R's POV). The train will hit Roger in twenty seconds. He screams and tries to escape. The train is huge, getting bigger, closer, the train whistle becoming deafening. Suddenly the huge steel train is upon him, about to crush him. R screams in terror as cut to black. If this is not last terror viewed, shock-cut to R awakening in a sweat etc. Repeat menu sequence until all scenarios have been evaluated. If this is the last terror viewed, goto 14.1 AFTER VIEWING LAST TERROR.

63 14d. [OMITTED] 14e. [OMITTED] 14f. IF R SELECTS "DECAPITATION" WIPE TO BLACK SCREEN SYSTEM COMPUTER TerrorWare #6. Decapitation. The TITLE appears over black as we hear an ominous sounds of a creaking pulley. Cut to an shadowy angle on a GUILLOTINE BLADE being hoisted up on a rusty pulley, making a suspenseful creaking sound. Cut to R's neck being thrust by brutish hands into a guillotine stock and clamped into place. In this fantasy, R's face is pointed UPWARDS towards the blade, so he can have maximum terror seeing it coming down. SUSPENSE MUSIC BUILDS as the blade is hoisted higher, finally clicking into place. TERROR MUSIC builds as the release rope is slowly pulled. R screams as the blade HISSES down in SLOW-MOTION down the track and towards his neck. Just as R's scream reaches its peak of terror and the blade hisses with a sickening sound and hacks into his neck, we cut to black, hearing the terrifying sounds echoing. If this is not last terror viewed, shock-cut to R awakening in a sweat etc. Repeat menu sequence until all scenarios have been evaluated. If this is the last terror viewed, goto 14.1 AFTER VIEWING LAST TERROR. 14 AFTER VIEWING LAST TERROR (NOTE: Special care should be taken in producing and directing this sequence so that this same identical scene may also be used "as-is" at the

64 end of Act 3 in the Fake Dream Sequence. The Fake Dream Sequence occurs in the end-game when R suddenly "awakens" at his computer, thinks he's back in the physical world, and hears the computer asking him to "rate the terror he has just experienced." But this is just a mind-fuck from PK, who's toying with his son. Actually, R's in a cyberspace replication of his cubicle. -- This fake dream ending occurs immediately after R is almost eaten by the phagocyte, and after plummeting through "call-backs" of these opening TerrorWare sequences.) The last terror, as with the others, ends with R's excruciatingly painful death as we fade to blackness. Slowly dissolve to Closeup of R slumped over his desk in a sweat, panting, disoriented, almost unconscious. He's just been through hell, and he looks it. It was a gut-grinding experience that knocked the wind out of him. He groggily opens his eyes as the screen in front of him wipes to the Terror Evaluation Menu. ROGER Shit...! SYSTEM COMPUTER Please rate the TerrorWare scenario you have just experienced. CUT-SCENE ENDS. GAME PLAY RESUMES. Nothing more will happen until R types in his rating. When he does, goto 14 FINISHES TERRORWARE. 14 FINISHES TERRORWARE The screen wipes back to KAIRA with a cheery ding!

65 KAIRA Congratulations, Roger, on completing your morning agenda. Only 358 TerrorWare scenarios remain to be evaluated during this quarter. 14.1 DIALOGUE BRANCHES ROGER (1 OF 3) You can't be serious. (GOTO RESPONSE A) ROGER (2 OF 3) Is there an aspirin in this dump? (GOTO RESPONSE B) ROGER (3 OF 3) Bite me. This job sucks. (GOTO RESPONSE C) RESPONSE A: KAIRA The implication is that I am lying. I am incapable of lying unless programmed to do so. For example, when I was utilized as a male impotence therapy program, I was programmed to lie constantly. But now I have been reprogrammed to -ROGER Kaira... time to shut up. (GOTO 14.2 PLAZ UNDER DOOR)

66 RESPONSE B: KAIRA Aspirin is not allowed due to a recent increase in employee suicides. When you complete your 358 evaluations, you will be given one hour with a sex clone of your choice as a bonus. ROGER Those clones smell terrible. KAIRA While it is true that clones' perspiration emits an acrid, sulfurous odor, their sexual organs are nonetheless operative. ROGER For an ex-sex therapist, you've got a lot to learn about what turns a guy on. KAIRA My instruction nodes are open. ROGER Yeah, I bet they are. But I'm not into having sex with a piece of hardware. KAIRA I am software, Roger. You are hardware. (GOTO 14.2 PLAZ UNDER DOOR) RESPONSE C: KAIRA

67 I assume this response indicates displeasure. Please have patience, Roger. There are two possibilities. Number 1: You will come to love your job and become a productive member of the Kruz workforce. ROGER What's number two? KAIRA That you won't, of course. I dont... (Static cuts off Kaira) ROGER It looks like another one of those attacks is screwing with your speech. (GOTO 14.2 FILE APPEARS ON ROGERS SCREEN) 14.2 FILE APPEARS ON ROGERS SCREEN CUT TO R NOTICING IT. ROGER What the hell is this? CUT TO MASTER SHOT. CUT-SCENE ENDS. GAME PLAY RESUMES. 14.2 TALKKAIRA OR TALKROGER (ONE TIME ONLY)

68 TALKKAIRA It appears that a file has been place on your screen. ROGER You've got a real flair for the obvious. Somebody's going through a lot of trouble... GAME PLAY RESUMES. R can try a number of actions, which will result in the following: 14.2 TALK KAIRA OR ROGER AFTER PICKING UP MYSTERY PLAZ AND BEFORE USING IT WITH ANYTHING TALKKAIRA If you would like an analysis of the contents of the file, Roger, please download it into my buffer. ROGER I love it when you talk dirty. R slides the tube in K's slot. GOTO "14.3 ILLEGAL FILE". 14.2 IF R CLICKS USE MYSTERY FILE WITH K'S SCREEN BEFORE CLICKING TALK K OR TALK R ROGER Analyze this for me, will ya, baby? KAIRA Certainly, Roger.

69

GOTO "14.3 ILLEGAL FILE". 14.2 IF R OPENS MYSTERY FILE ON HIS OWN DECK'S SCREEN Kaira interrupts him. (1ST TIME) KAIRA Roger, I would not recommend that. Considering its source, it may contain a serious virus which may disable your deck. Copy the file to me so I may merely run a virus scan on it. ROGER You're right. The last time I used a hot file, it fried my deck. --------------------------(ANY OTHER TIME) ROGER I can't risk it. This keeps R from using it in his own deck. 14.2 IF R CLICKS ON THE DOOR TO EXIT THE CUBICLE R will stop and automatically say: ROGER (1ST TIME) This room is making me claustrophobic. But I'd be an idiot if I didn't check out this file first...

70 (ANY OTHER TIME BEFORE VIEWING PLAZ) I can't leave yet. ======================================= Nothing more will happen until by whatever means R inserts the mystery plaz in K's slot. In this case, goto 14.3. ======================================= 14.3 ILLEGAL FILE K's slot hums and whirrs, then stops. (FIRST TIME:) KAIRA One moment please. Scanning. No virus detected. However, Roger, this data is classified. KAIRA I am not programmed to allow you to view classified data without approval from your superior, Carleton Watt. ROGER Listen, Kaira, is it sinking in yet that I'm the good guy and Watt is the bad guy? KAIRA Without proper clarification of your terms, I'm afraid --

71

ROGER Forget it, forget it! Get lost, Kaira. I've gotta think... Kaira disappears with a zap. Screen wipes to Kruz logo. GAME PLAY RESUMES. ----------------------(ANY OTHER TIME:) As soon as R TRIES TO MOVE FILE BACK TO HIS OWN SCREEN, she reappears with a zap: KAIRA Roger, this data is classified. K disappears with a zap. Screen wipes to Kruz logo. GAME PLAY RESUMES. 14.3 TALKKAIRA AFTER TRYING TO MOVE FILE. (FIRST TIME ONLY) Kaira reappears with a zap: (DRAMATIC MUSIC under the following dialogue, which should be fastpaced:) KAIRA Roger, please explain why you wish to examine an illegal file concerning treasonous, criminal or fraudulent material? ROGER Because it might be about my father.

72 Philip K. Smith was my loiner. He owes me money. KAIRA I have two questions. One. If Philip is your biological father, why isn't it in your employee data file? Two. Since Philip is dead, how can he owe you money? ROGER One. Because I asked them to take it off so nobody here would know. Two. When my mother died Daddy bought me a one-way ticket to a army recruiting office. A dump for rich trash. When the old nit got posted ten years ago, I inherited dick. Nada. I'm the guy's son. So what if we hated each other? Those lawyers stole my money! So I started drinking. Overcharged my plaz. I had my lawyer buzz Kruz and set me up with this shitty job before I ended up zazzed out in some dumpster. (GOES TO TINY WINDOW) That's why I rated this tomb with a view. And that's why I want my share of my old man's bank account. There's plenty to go around. I just want a little villa in southern France... Kaira, get lost. I need to figure something out... Kaira disappears with a zap. ====================================== (SECOND TIME ONLY)

73 KAIRA Roger, you hurt my feelings when you requested that I lose myself. ROGER Sorry. I keep forgetting they program you AIs with emotions. KAIRA My emotional programming was created for your benefit, Roger, to forgive error and equally to accept forgiveness for error. ROGER (HOLDS UP MYSTERY PLAZ) Then how about playin' this for me, and we can forgive each other. KAIRA I'm afraid my programming will not allow that, Roger. ROGER Get lost, Kaira. She disappears with a zap. (THIS WILL NOT REPEAT.) 14.3 TALKROGER AFTER TRYING TO OPEN FILE. (ANY TIME) ROGER Only an idiot wouldn't try to find out what's on this file...

74 14.4 THE MYSTERY FILE PUZZLE THE PUZZLE: R gets a secret file which suddenly appears on his deck display. The Chameleon software appears under his door. He wont be able to open the file unless he uses the Chameleon first. It should appear right after a hacker attack. He cant open it until he scans it for viruses. He must give it to K to scan. She scans it but wont give it back because it is classified. THE SOLUTION: 1. USE the CHAMELEON file on Rogers Deck with Mystery file. If R uses the Chameleon file on his deck with the Classified file, K doesnt notice that R has used the Kruz virus Scanner since the Chameleon acts as a hidden window to carry out the deed. This will cause the chameleon icon to whirr and [seem to] produce a small window in one corner of the big screen. The big screen continues to display the Kruz logo (perhaps with a working digital military clock, to simulate an uninterrupted system) throughout the following operations. The small window is labeled WORKING WINDOW. The letters DECOY WINDOW appear at the top of the big screen, indicating that the computer cannot see what Roger is actually doing, which is appearing in the small window. (Note: To reiterate, the CHAMELEON hacker program imitates whatever system it's in, creating camouflage operations to keep the system busy while the hacker goes in and does his dirty work. In other words, it is a "system bypass" which simulates an uninterrupted system while secretly doing some other operation unknown to the system, such as playing a file or patching directly in a classified area of the Vortex.) At this point R may open the mystery file by clicking on it. Nothing more will happen until R performs this action, in which case goto 14.5. 14.5 R WATCHES MYSTERY FILE

75

When R clicks on the MYSTERY FILE, the small window wipes to a new directory showing only one file entitled: "FYI ROGER". Nothing more will happen until R clicks on this file. If R clicks on FYI ROGER, the small screen wipes to a movie of a digitally disguised woman (LATER WE WILL FIND THAT THIS IS MARIAN) who recorded a message for R from inside the Merry Men hideout. CYBERWOMAN\[MARIAN] (Urgently and ominously) Roger Smith, I am Marian, a member of the underground resistance know as the Merry Men. There is little time, so listen carefully. As Philip K. Smith's son, we thought you might like to know how thoroughly your father's life's work was trashed by the corporate fascists. Over the past six months, Kruz has constructed hundreds of cyber kiosks throughout SamCity. At the same time he's been seducing the public into jacking in as much as possible. We think he's planning a massive indoctrination program once people become addicted to Kruz-controlled cybersex. Finally, we've hacked into the Kruz AIs that assisted your father in his original programming for the Vortex. According to them, Roger, your father Philip did not die by electrocution, as stated by Kruz records. These AI's were later reprogrammed by Kruz to back up the electrocution story. There is much more, but we have no time. We are watching you and will contact you later. And if you betray us, Roger, I will deal with you... personally.

76 The small screen cuts to a second of static, then to black with the words in white blinking: END OF SESSION. Then the big screen returns to the normal Kruz Logo and main menu. 14.6 AFTER R WATCHES MYSTERY FILE Suddenly Kaira reappears with a zap: KAIRA Roger, scanners in your room have recorded you illegally watching a classified file. This action is now being processed by Kruz security. 14.6 DIALOGUE BRANCHES: ROGER (1 OF 3) (SARCASTIC) Yeah, well, process this... (GRABS HIS CROTCH) (GOTO RESPONSE A) ROGER (2 OF 3) (ANGRY) So what! I can look at anything I damn please. This is a free country. (GOTO RESPONSE B) ROGER (3 OF 3) (CONFIDENT; SCHMOOZING) Don't worry. I'll take full responsibility. (GOTO RESPONSE C)

77 14.6 RESPONSE A: KAIRA Your strange response of requesting that I process your groin has no meaning to my programming. (GOTO "15 WATT APPEARS") 14,6 RESPONSE B: KAIRA Roger, freedom is a concept inconsistent with Kruz corporate policy. The inability of workers to follow instructions sometimes results their treatment in Dante's Insane Asylum. I'd suggest some mood-elevating drugs, followed by laxatives and a rainwater colonic. ROGER Why don't you get a colonic? You're more tight ass than me. (GOTO "15 WATT APPEARS") 14.6 RESPONSE C: KAIRA I detect a sarcastic nuance in your voice. Does this indicate that you do not intend to take full responsibility? ROGER Kaira, how can you say that? Does this look like the face of a gurf who would disobey the rules and regs of a fabulous

78 corporation like Kruz? KAIRA Since I detect a level of irony too complex to interpret without further voice sampling, I will refrain from processing this data. ROGER You mean the more we hang out, the more you'll be able to detect bullshit? KAIRA Precisely. (GOTO "15 WATT APPEARS")

15 WATT APPEARS The big screen suddenly illuminates with a ding! to show WATT, Roger's boss. He doesn't look happy. In fact, he looks furious. WATT Smith, I want you in my office immediately. 15 DIALOGUE BRANCHES: ROGER (1 OF 3) (ANGRY) Yeah? What do you want? (GOTO RESPONSE A) ROGER (2 OF 3)

79 (SARCASTIC) Later. OK, Carleton-baby? (GOTO RESPONSE B) ROGER (3 OF 3) (OBEDIENT) Right away. (GOTO RESPONSE C) RESPONSE A: WATT What do you mean, what do I want? You're my employee. I'm your boss. You work for me. You do what I tell you to do. Who the hell do you think you're talking to? ROGER A murderer, maybe? Did you know that my father was murdered? WATT Murdered!? You're out of your mind. I've sent a couple shrinks down for therapy. (GOTO "16 ENTER THUGS") 15 RESPONSE B: WATT Did I hear correctly? Did you say 'later'? to me? Don't use that sarcastic tone with me.

80

Watt presses a button offscreen. WATT I've just sent some guys down who hate sarcasm even more than I do... (GOTO "16 ENTER THUGS") 15 RESPONSE C: WATT I always knew you were a kiss-ass, Smith. I've just sent my assistants down to escort you personally... (GOTO "16 ENTER THUGS") 16 ENTER THUGS Roger's door suddenly bursts open and two big guards march in. WATT Gentlemen, if he struggles, do some damage. Unceremoniously, they grab Roger and drag him out the door. Goto 17 WATT'S OFFICE. 17 WATT'S OFFICE Roger tumbles into the scene, thrown violently across the carpet by the offscreen guards. Watt stands behind some impressive high-tech desk furniture. The guards enter, rip R's deck from his belt and give it to Watt. (Note: This dialogue and action is fast-paced.)

81

WATT Smith, within the last fifteen minutes, you viewed a classified file about your father. Now where did you get that file? ROGER I pulled it out of my ass. Watt signals the guards who grab R. One guard pins R's arms back while the other quickly punches R hard in the stomach. It hurts. WATT I'll ask you again. Where did you get it? ROGER (still in pain from the punch) Some gink slipped it into my deck. Watt signals the thugs and they quickly punch him again. WATT (to guards) Tidy him up. The guards quickly straighten R's rumpled clothes and hair. WATT I have to consult my department head on this. Watt punches a code on his keyboard. The window behind Watt crackles and illuminates as a large viewing screen, showing the face of MS.

82 MACPHERSON, a stern but icily beautiful female executive. She stares at R from the screen. WATT Ms. MacPherson, this is Roger Smith, the new employee we were discussing. Onscreen, MacPherson opens a folder, scans it. She's cold, businesslike and speaks in a rapid, clipped voice: MACPHERSON Thank you, Carleton... Well, you've been very busy this morning, Roger... (scans folder) ...illegally viewing a classified file... ...destroying several thousand dollars worth of furniture and equipment in the orientation room and rec room... threatening harm upon Kruz security guards... ROGER Have you been reading my diary? MACPHERSON (ignoring his remark) The conclusion is obvious. You're unsuited for a corporate position. We didn't expect this from Philip K. Smith's son. 17 DIALOGUE BRANCHES: ROGER (1 OF 3) (ANGRY)

83 What did you expect? A company dickhead like you? (GOTO 17 RESPONSE A) ROGER (2 OF 3) (SARCASTIC) You know, you and Daddy have something in common. He's dead, just like your sexual organs. (GOTO 17 RESPONSE B) ROGER (3 OF 3) (SEXY) What are you doing after work? (GOTO 17 RESPONSE C) 17 RESPONSE A: MACPHERSON Don't raise your voice to me, Mr. Smith. The truth is, I pity you, and suggest you seek psychological counseling. Watt, take care of this. Goodbye, Smith. The screen clicks off. Goto "18 ROGER FIRED". 17 RESPONSE B: WATT Shut up, you foul-mouthed punk! MACPHERSON It's all right, Watt. (TO ROGER)

84 Thank God your father isnt alive to see what you've become, Roger. Watt, take care of this. The screen clicks off. Goto "18 ROGER FIRED". 17 RESPONSE C: MACPHERSON What do you mean? After work I'm a volunteer at the Church of Militant Capitalism. Why? ROGER Are you going steady with anyone? Hey, Watt, you think I could get in MacPherson's pants? WATT Shut up, you impertinent jackass. I'm sorry, Ms. MacPherson, I -MACPHERSON That's all right... (TO ROGER) I pity you, Smith, and I suggest you seek psychological counseling. Watt, take care of this. The screen clicks off. Goto "18 ROGER FIRED". 18 ROGER FIRED

85 WATT Surprise, Smith! You're fired. Any last words? 18 DIALOGUE BRANCHES: ROGER (1 OF 3) (WHINING) Yeah. Look, I'm sorry. Please don't fire me. (GOTO 18 RESPONSE A) ROGER (2 OF 3) (SARCASTIC) Oh, no, not that! (GOTO 18 RESPONSE B) ROGER (3 OF 3) (ANGRY) This is typical corporate nazi right-wing bullshit. (GOTO 18 RESPONSE C) 18 RESPONSE A: WATT What are you whining for? Are you being a wise ass? ROGER No, I really want to keep my job. I'll do anything. Try me. WATT

86 All right, what are you doing Friday night? ROGER Nothing. Why? WATT My daughter Gretchen needs a date for her Junior High Prom. (SHOWS PHOTO OF A VERY UNATTRACTIVE GIRL ON HIS DESK) 18 SUB-BRANCH A / UNDER RESPONSE A: ROGER (1 OF 2) (ANGRY) Kiss my ass. Proms are for ginks. (GOTO "19 WATT RESOLUTION") ROGER (2 OF 2) (WHINING) Anything, Boss. I love Proms. WATT Are you sure...? (GOTO 18 SUB-BRANCH B) 18 SUB-BRANCH B / UNDER RESPONSE A: (Note: The following sub-branches are to give the player another chance before losing the game.) ROGER (1 OF 2)

87 (TOUGH) Just kidding, asshole. I quit. (GOTO "19 WATT RESOLUTION") ROGER (2 OF 2) (WHINING) Sure I'm sure. You got a tux I can borrow? WATT (adamantly) Last chance, Smith. Are you sure you want to go out with the boss' daughter? (GOTO 18 SUB-BRANCH C) 18 SUB-BRANCH C / UNDER RESPONSE A: ROGER (1 OF 2) (TOUGH) Just kidding, asshole. I quit. (GOTO "19 WATT RESOLUTION") ROGER (2 OF 2) (WHINING) Sure, I'm sure. I can't wait to meet her... (PUTS AN AFFECTIONATE HAND ON WATT'S SHOULDER) ... Dad... ! (GOTO 18.1 ROGER MARRIES BOSS' DAUGHTER)

88 18.1 ROGER MARRIES BOSS' DAUGHTER -- CUT-SCENE [GAME OVER] We hear a HARP GLISSANDO, as we DISSOLVE TO: CLOSEUP OF WEDDING INVITATION: ROGER SMITH & GRETCHEN WATT Over this, we hear WEDDING MUSIC and the following V.O.: PREACHER V.O. Roger and Gretchen, I now pronounce you man and wife! WIPE TO BLACK SCREEN AND OMINOUS MUSIC AS THE TITLE APPEARS: -- THE END -GAME OVER, LOSER. FADE TO BLACK (NOTE: Yes, the game IS over. But -- via a "RESUME PLAY" menu function, the player may resume play at the beginning of scene 18, right before he made his fatal error.) (In short, after being punished for bad game play, the player may resume where he left off, this time hopefully selecting responses in keeping with R's character. This RESUME PLAY function has to be designed.) 18 RESPONSE B: WATT

89 I don't have time for sarcasm, Smith. ROGER I know you're busy, chief. Can I get you a cup of coffee? In fact, how about if I bake up an apple pie for you real quick? Take twenty minutes. Very fluffy crusts. WATT Shut up! (GOTO "19 WATT RESOLUTION") 18 RESPONSE C: WATT And you're the typical genetic stain one would expect from a spoiled rich punk who's never had to work a goddamn day in his life. 18 SUB-BRANCH A / UNDER RESPONSE C: ROGER (1 OF 2) Excuse me, but did I already suggest that you go fuck yourself? (GOTO "19 WATT RESOLUTION") ROGER (2 OF 2) (ACTION: GRABS GUARD'S GUN & AIMS IT AT WATT) Like father, like son. WATT

90 If you kill me, asshole, the other guard will blow your head off. You're not a killer, Smith. Put down the gun or it's all over. (GOTO 18 SUB-BRANCH B) 18 SUB-BRANCH B / UNDER RESPONSE C: (Note: As before, the following sub-branches are to give the player another chance before losing the game.) ROGER (1 OF 2) (TOSSES GUN BACK TO GUARD) So I'm not a killer. Remind me to fuck you up later. (GOTO "19 WATT RESOLUTION") ROGER (2 OF 2) I don't care if it's over. I like killing. WATT Are you sure you wanna die, Smith? (GOTO 18 SUB-BRANCH C) 18 SUB-BRANCH C / UNDER RESPONSE C: ROGER (1 OF 2) (TOSSES GUN BACK TO GUARD) Good point. Remind me to fuck you up later. (GOTO "19 WATT RESOLUTION") ROGER (2 OF 2) Eat lead, dickhead.

91 (GOTO "18.2 ROGER KILLS WATT") 18.2 ROGER KILLS WATT We hear ACTION MUSIC as Roger fires the laser gun at Watt. Watt screams and collapses face-down on the desk, dead. Roger quickly turns to blast the other guard -- but the guard draws first and blasts Roger. Roger is hit point-blank -- and collapses on top of Watt, facedown on the desk. He's dead. MOVE IN ON ROGER'S CORPSE as DRAMATIC MUSIC rises to a climax. FADE TO BLACK. A TITLE slams across the BLACK SCREEN with loud SFX, brusquely chastising the player: -- THE END -GAME OVER, LOSER. FADE TO BLACK (NOTE: Again, yes, the game IS over. But -- via a "RESUME PLAY" menu function, the player may resume play at the beginning of scene 18 SUBBRANCH C / UNDER RESPONSE C, right before he made his fatal error. In short, after being punished for bad game play, the player may resume where he left off, this time hopefully selecting responses in keeping with R's character. This RESUME PLAY function has to be designed.) 19 WATT RESOLUTION - CUT SCENE - 1 MINUTE

92 Watt signals the guards. He means business. WATT Get his security ring. Stuff his hand in the box. The guards drag R to a rectangular box on Watt's desk. This is an ID ring installing machine we saw in R's orientation, the one that hard-wired the ring into his hand. The guard force R's ring hand into the slot on the box. The box whirrs and R screams. He pulls out his hand and the ring is gone. R clutches his hand in pain. WATT Now throw him out. The guards start to drag R away but he shakes them off and leans over the desk and glares at Watt: ROGER Wait a minute. I need my deck. That's my personal property. And you owe me a day's pay. Watt snorts contemptuously. WATT A day's pay? Let's see what we owe... (PUNCHES A DESK CALCULATOR & MUTTERS:) Minus city, state, federal, cubicle users fee, equipment and software handling fee, corporate employee tax, sewer fee... damage to rec room, orientation room,

93 and the grand total... He grabs a plaz cylinder from a slot in the calculator and tosses it to R, who catches it. WATT Two hundred and fifty-three dollars and eighteen cents. Invest it wisely, Roger. Get him the hell out of here. The guards start to pull him away but R breaks free and slams his fist on Watt's desk. ROGER I said I want my deck back. WATT I'm afraid that's a negatory, gink. I don't want to see you again, Smith. Not in this building. And not in the Vortex. Confiscating your deck insures that I won't. Throw him out. The guards quickly drag R out of the room as he screams at Watt: ROGER I need my deck, you lousy son of a bitch! The guards drag him out of the room and out of the scene, as we WIPE TO:

94 Note: Roger doesnt have access to KAIRA without his deck and is unable to access her until he retrieves it. Although upon reaching his door, he will be able to converse with her behind the door. 20 R THROWN OUT KRUZ FRONT ENTRANCE (10 SECOND CUT-SCENE) EXT. KRUZ FRONT ENTRANCE: The doors burst open and the guards hustle R down the stairs and around the corner of the building where there's a pile of trash and a jumble of empty cardboard boxes. The broken Orientation chair lies nearby. The Guards violently punch him in the gut, toss him in the trash heap and exit. Roger groans, holding his stomach. GAME PLAY RESUMES. If this is the FIRST time R's been thrown out, goto "20.1 ROGER IN TRASH HEAP". If this is the SECOND time R's been thrown out, goto "20.5 CUPCAKE AGAIN OFFERS R DRINK". If this is MORE THAN THE SECOND TIME R's been thrown out, goto "28.1 R CLICKS VENT MAP". If R has already met Cupcake and is trying to find Cupcake "sustenance" in the Lobby, goto "20 R ENTERS LOBBY". 20 R ENTERS LOBBY (R USES DOOR) If R already has GRAPES, goto 20 R THROWN OUT OF LOBBY. If R doesn't have GRAPES, we wipe to INT. LOBBY. There is the bowl of fruit with the active GRAPES and BANANA. There is the active

95 ELEVATOR BUTTON. There is an active EXECUTIVE reading a fax news as his FIDGET. If he TALKS TO EXECUTIVE, goto the PANHANDLING SEQUENCE. If R goes to the elevator and USES ELEVATOR BUTTON, he is immediately grabbed by two KRUZ GUARDS who appear from off camera and drag him out of the frame. The screen WIPES TO EXT FRONT ENTRANCE. Goto 20.1 R THROWN OUT OF KRUZ FRONT ENTRANCE. 20 R THROWN OUT KRUZ FRONT ENTRANCE (10 SECOND CUT-SCENE) EXT. KRUZ FRONT ENTRANCE: The doors burst open and the guards hustle R down the stairs and around the corner of the building where there's a pile of trash and a jumble of empty cardboard boxes. The broken Orientation chair lies nearby. They quickly punch him violently in the gut, toss him in the trash heap and exit. Roger groans, holding his stomach. GAME PLAY RESUMES. If this is the FIRST time R's been thrown out, goto "20.1 ROGER IN TRASH HEAP". If this is the SECOND time R's been thrown out, goto "20.5 CUPCAKE AGAIN OFFERS R DRINK". If this is MORE THAN THE SECOND TIME R's been thrown out, goto "28.1 R CLICKS VENT MAP". 20.1 ROGER IN TRASH HEAP

96 Nothing more will happen until R performs one of three possible actions. R may PICK UP objects, use the TALK FUNCTIONS, or move R out of the scene. Specifically, these options are as follows: 1) The player may scan the trash heap with his mouse and find several ACTIVE OBJECTS, including A DEAD FISH and A VIDEO PATCH CORD. (Other items to come later.) If R doesn't have the box of KRUZ COMPLIMENTARY CANDY in his Inventory already, a flag has already been set which will make KRUZ CANDY appear hidden in the trash. (Note: If R PICKS UP any of these items, a flag is also set. -- The FISH may or may not come in handy when he needs fish DNA in Act 3. -- The VIDEO CORD may or may not come in handy in the Savant Brother's Repair Shoppe. -- If R does not PICK UP these items, another flag is set so that these items will appear in SamCity locations available to each of these future scenes.) ========================== FIX THIS: Also HIDDEN in the trash heap is JAR. (R will have to USE this with the GRAPES from the Lobby to make WINE for Cupcake.) -========================== Next to the trash heap is a large CARDBOARD BOX. At this point, the BOX will not be active. A flag is set later, after R GIVES CUPCAKE WINE, which makes the BOX active. 2) The player may click the TALK FUNCTIONS, which will result in the following: -----------------------------------------------------------

97 20.1 [OMITTED]

IF HE CLICKS TALKROGER: (FIRST TIME) TALKROGER No way those scummers are keeping it. All the programs my father gave me when I was a kid are in that deck. ---------------------------------------------------------20.1 IF HE CLICKS TALKROGER: {SECOND TIME} TALKROGER Without my deck, I'll have to get a minimum wage job, which is even shittier than working for Kruz. I've gotta break into my room and get my deck back... ---------------------------------------------------------3) The player may click on R to leave the trash heap. If he does this, R will automatically stand up from the heap and brush himself off, making noises. As R stands up, this will automatically "wake" a filthy bum who has been sleeping under the pile of trash. The bum, JOHNNY CUPCAKE, thrashes to the surface of the garbage and focuses his bleary eyes on Roger. CUPCAKE Hey, shut up! Can't you see I'm trying to sleep? ROGER

98 Who are you? CUPCAKE They call me Johnny Cupcake. Here, kid.. (OFFERS R HIS VODKA BOTTLE) ... care for an eye-opener? 20.2 DIALOGUE BRANCHES: ROGER ( 1 OF 2) Sure. Thanks, Johnny... (GOTO 20.2 RESPONSE A) ROGER (2 OF 2) I'll pass. (GOTO 20.2 RESPONSE B) 20.2 RESPONSE A: Roger takes the bottle and drinks. As he's in the middle of a big guzzle, Cupcake pipes up: CUPCAKE I'm pretty sure my mouth cancer cleared up. Roger does a violent spit-take. CUPCAKE Aaaahhh, don't be a sissy. What's mouth cancer gonna do, kill ya? (GRABS BACK THE BOTTLE

99 AND TAKES ANOTHER SLUG) Don't tell me, ya just got fired and ya wanna get inside to get back all your stuff they confiscated. ROGER Yeah. How'd you know? CUPCAKE They throw you gurfs out all the time, the ones they don't kill, that is. (GUZZLES DOWN LAST OF BOTTLE, THROWS IT IN TRASH) I tell ya what I'll do. My favorite form of sustenance seems to be exhausted. You get Johnny Cupcake somethin' for his gullet, and I'll tell ya how to get back inside. That's the deal. Think it over, brainiac. (JOHNNY DIGS A SANDWICH OUT OF THE TRASH, DUSTS IT OFF AND STARTS EATING IT, WHICH IS HIS FIDGET UNTIL R FIGURES OUT HOW TO GET SOME WINE.) Johnny ignores R and continues eating as his FIDGET; nothing more will happen as a result of this response until Roger does one of the following: If Roger has GRAPES in his inventory (from a previous trip to the Lobby), goto "20.4 THE WINE PUZZLE". If R goes to the KRUZ ENTRANCE, goto "20.3 R LEAVES TRASH HEAP". 20.2 RESPONSE B:

100

CUPCAKE. Suit yerself... Johnny ignores R and continues drinking in an animation loop. Goto "20.3 R LEAVES TRASH HEAP". (Note: The sequence here is as follows: R will not be able to access the Kruz vent until he accepts a drink from Cupcake. If he refuses a drink, R will have to try to enter Kruz through the front entrance. If R already has the GRAPES in his Inventory from a previous trip to the Lobby, R will be immediately thrown out of the Lobby and into the trash again. If R does not have the GRAPES, he will have to figure out to TAKE them now. When R is thrown back into the trash, then Cupcake will offer him another drink, and so on. As long as R refuses the drink, Cupcake will not ask him for wine in return for the vent map.) 20.2 IF R GIVES CUPCAKE ANYTHING BUT WINE In each case, Cupcake will refuse with a wise crack: A) IF R GIVES CUPCAKE BANANA CUPCAKE What do I look like, a chimp?! B) IF R GIVES CUPCAKE GRAPES CUPCAKE I ain't into fruits, gink.

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C) IF R GIVES CUPCAKE KRUZ CANDY CUPCAKE Candy?! What, You proposing something? Cupcake immediately ignores R and resumes his sandwich FIDGET. 20.3 R LEAVES TRASH HEAP R may leave the trash heap at any time, but he can only go in one direction, back towards the KRUZ FRONT ENTRANCE. (Note: Why? Because off-screen construction is going on; there are two construction-type roadblock barriers and/or piles of cement blocks limiting R's movements; one barrier is located behind the trash heap, barring R from moving away in this direction away from Cupcake; another is located around the front of the Kruz entrance, which bars R from going anywhere except into the Kruz entrance or back towards Cupcake.) (Note: If R goes back towards Cupcake, the bum will continue eating and ignoring him. Nothing more will happen until R enters the Kruz front entrance and is thrown out again by guards into the trash heap; when R is back in the trash, Cupcake will again offer R a drink.) If R goes back inside the Kruz Front Entrance, our POV stays on the exterior door for a beat, then goto "26.1 R THROWN OUT KRUZ FRONT ENTRANCE". 20.4 THE WINE PUZZLE

102 R may try to GIVE CUPCAKE various items of food (GRAPES, BANANA, KRUZ CANDY), but Cupcake will refuse them with a wisecrack in each case (see 20.2 IF R GIVES CUPCAKE ANYTHING BUT WINE). The solution to the Wine Puzzle is as follows: ================================== FIX THIS: PICK UP GRAPES from Kruz Lobby PICK UP JAR from ground near Cupcake. USE GRAPES WITH JAR. PICK UP NEWSPAPER USE NEWSPAPER WITH GRAPES, cause R to stamp on grapes after he wraps them in newspaper. USE NEWSPAPER WITH JAR, R pours the contents of the stamping into the bottle. ================================== Nothing more will happen here until R clicks GIVES JAR WITH GRAPE JUICE to CUPCAKE. If he does, goto 20.6 R GIVES CUPCAKE WINE. 20.5 CUPCAKE AGAIN OFFERS R DRINK CUPCAKE Here, kid.. (OFFERS R HIS VODKA BOTTLE) ... care for an eye-opener? (GOTO "20.2 DIALOGUE BRANCHES") 20.6 J GIVES CUPCAKE WINE R hands Johnny the jar of fermented grapes. Johnny sips it. Voila! Delish!

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CUPCAKE Ahhh... nothin' like hot ripple. It reminds me of my newspaper days. ROGER You got your booze, now tell me how to get inside. CUPCAKE That's easy. I got it down to a science. See, a lot of guys are fired from Kruz and tossed in the alley. So I started a little business sellin' 'em maps on how to navigate through the vent system. Here... here's yer vent... (STANDS UP AND MOVES AWAY FROM BLOCKING VENT) Now don't bother me and get lost. I can't stand being interrupted while I drink. Cupcake resumes drinking as his new FIDGET. Now R can click on the map to examine it or enter the vent. 20.6 [OMITTED] Note: The VENT GRID will be listed as a separate item from the VENT under it. When R finds the grid, goto "20.7 VENT WON'T OPEN". 20.7 VENT WON'T OPEN

104 If R tries to OPEN the vent, he automatically struggles (and audibly GRUNTS) trying to pry it off, but it won't budge. 20.7 TALKROGER WHEN VENT WON'T OPEN TALKROGER It's screwed shut. It won't come off. 20.7 TALKROGER VENT WON'T OPEN Johnny Cupcake automatically pipes up, still drinking: CUPCAKE Yeah, get somethin' to unscrew it, ya gink. If R explores the area to look for a tool, he will find that all of his routes are blocked except the front doors of Kruz. If he enters the front doors, goto "27 PANHANDLES IN LOBBY". The story will not progress until he does so. [NOTE: HERE WE OMIT SECTIONS 21-26 FROM THE 1ST DRAFT AND GO RIGHT TO SECTION 27.] 27 R PANHANDLES IN LOBBY [THIS SECTION TO BE CONDENSED] If R clicks on the front door, cut to R entering the lobby. A few Kruz yuppies are longing in chairs. Via the mouse, we see 1 "active" MAN (MAN 1). Man 1 is reading while sitting on a couch.

105 If R walks towards the back of the room, a GUARD will grab him and throw him out. In both of these cases, the screen wipes to "20.1 R THROWN OUT KRUZ FRONT ENTRANCE". If he approaches the MAN, goto "27 DIALOGUE BRANCHES": 27 DIALOGUE BRANCHES: ROGER (1 OF 3) Excuse me, could you spare a quarter? (GOTO 27 RESPONSE A) ROGER (2 OF 3) Sir, don't you feel material wealth is, like, ultimately meaningless to your spiritual evolution? (GOTO 27 RESPONSE B) ROGER (3 OF 3) Give me a quarter or I'll kill you. (GOTO 27 RESPONSE C) 27 RESPONSE A: MAN Get lost, you filthy scummer. The man turns away in disgust. 27 RESPONSE B: MAN (suddenly inspired)

106 Why... you're right...! Money is meaningless! (starts smashing his plaz tube) It's bullshit! ROGER Hey, that plaz tube is valuable. If you dont want it, give it to me, man! MAN (SUSPICIOUS) Wait a minute... why would you want something meaningless? This is a scam, isn't it! Get lost, you filthy scummer! The man turns away in disgust. ROGER Shit! With responses a and b, Roger gets nothing. 27 RESPONSE C: MAN 3 (realistically terrified) Oh my God, please don't pull the trigger. ROGER I don't have a gun. MAN 3

107 Then how were you planning on killing me? ROGER I was gonna strangle you unless you give me some cash. MAN Wait, no, don't! Here! Man hands Rager his plaz tube. ROGER I don't want your plaz. I want a coin. MAN But this is worth more than a coin. ROGER You ever try opening a vent grating with a plaz? MAN OK, OK! Here's a Kruz five dollar piece. Holds up the COIN until R either moves away or TAKES COIN. (Note: Only with response c does R get a coin which is his tool to open vent. And since R's way is blocked elsewhere by the temporary construction pilings, nothing more will happen until R returns to the vent.) MAN 3 will continue proffering the COIN until R TAKES it and return to the VENT. Goto "28 R OPENS VENT".

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28 R OPENS VENT If R USES COIN on the VENT GRID SCREWS, he will automatically unscrew them and the vent will now open. 28.1 [OMITTED] (Note: Whenever Roger enters the vent, has a choice of going right or left. In a compressed cut-scene, we will then see Roger squeeze through the closest vent, then wipe to him getting out of the vent at the desired location inside Kruz.) 28.2a IF R CLICKS LEFT WHEN ENTERING THE VENT the screen wipes to a hallway on Floor 11000, where WATTS OFFICE is. We see the grate coming off, R climbing out and quickly replacing the grate. GAME PLAY RESUMES. 28.2b IF R CLICKS RIGHT WHEN ENTERING THE VENT The screen wipes to a hallway on Floor 7000, where his room is. We see the grate coming off, R climbing out and quickly replacing the grate. GAME PLAY RESUMES. If he goes to his cubicle, he will find his door locked. If he clicks OPEN DOOR, the AI screen next to his door will illuminate and speak: AI SCREEN ID, please? If R USES his ringless HAND with SLOT under the screen, he will put his hand in and the Screen will whirr and say:

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AI SCREEN Access denied. If Roger uses the TALKROGER function outside of his room, he will be able to converse with KAIRA. TALKROGER KAIRA? Open the door! KAIRA V.O. (THROUGH THE DOOR) Roger!? I cant. You will need a security ring to get inside.

TALKROGER (SECOND TIME) ROGER Is there any way to break into my room without a ring? KAIRA I'm afraid not, Roger. ROGER Hold on, Ill be back. TALKROGER (THIRD TIME) TALKKAIRA Roger, what are you doing? ROGER

110 To tell ya the truth, I'm not sure. I know I need my deck back. KAIRA Then you need to get into your cubicle. You will need a security ring to enter, which is available on the Security Level. ROGER Stop being so efficient. KAIRA Your request for me to decrease in efficiency has no meaning -ROGER (finishes with her) -- "to my programming." Yeah, yeah, I know. Just keep quiet so I can think! TALKROGER (FOURTH TIME) TALKROGER I need that deck. I've gotta get back into that shitty cubicle. TALKROGER OUTSIDE ROGERS DOOR AFTER POTEMKIN SCENE AND BEFORE MEETING QUAID TALKKAIRA (FIRST TIME ONLY) To be issued an ID ring, you'll have to get a cylinder initialized on Watt's computer. (SECOND TIME ONLY)

111 You certainly enjoy hanging around for no reason, don't you Roger. (ANY OTHER TIME) You'll need Watt's computer, Roger. TALKROGER OUTSIDE HIS ROOM AFTER QUAID ENCOUNTER TALKROGER KAIRA, let me get this straight. I can't get into Watt's office without an ID ring. But I can't get an ID ring without a plaz initialized in Watt's office. KAIRA That's correct, darling. ROGER Did you just call me "darling"? KAIRA I'm sorry, Roger. It was a glitch carried over from my old job. TALKROGER OUTSIDE ROGERS ROOM BEFORE USING WATT'S COMPUTER ROGER I made it to Watts office, can you help me? KAIRA You must initialize a cylinder with your employee number.

112 ROGER How do I do that? KAIRA Put a blank cylinder in Watt's computer and type "INIT" and enter your employee number from the Employee folder. TALKKAIRA OUTSIDE ROGERS ROOM AFTER TYPING "INIT" IF R DOESN'T HAVE FUNPACK ROGER What the hell is my employee number? TALKKAIRA Roger, your employee number is "THX-1138". 28.2 IF R CLICKS ON SECURITY FLOOR (SAME AS WATTS OFFICE) which has the Potemkin's Security Ring Office. R may briefly explore any floor and will find all doors locked; (any attempt to OPEN DOORS: "Access denied". IMPORTANT NOTE: Set clock at beginning of clicking on EACH FLOOR after sneaking through the vent, at the end of ten minutes GUARDS enter whatever scene Roger happens to be in and drag him away. This way we encourage R to get down to business and include a sense of jeopardy in the game play. In this case, wipe to "28.3 R THROWN OUT OF KRUZ AGAIN". 28.3 R THROWN OUT OF KRUZ AGAIN

113 WIPE TO KRUZ ENTRANCE. The Guards drag R down the stairs and toss him in the trash heap next to Johnny. (FIRST TIME ONLY) CUPCAKE You again! What the hell are you doing here? ROGER You've got charisma, Johnny, I just couldn't stay away from you. CUPCAKE The last thing I need now is to bandy words with an imbecile. So bug off. Johnny Cupcake needs his beauty sleep. Johnny closes his eyes and starts snoring. GAME PLAY RESUMES. If R clicks vent map, he goes back in vent; screen wipes to him emerging from a vent inside Kruz. (ANY OTHER TIME): Johnny will be snoring in the trash heap and ad inactive. GAME PLAY RESUMES. 29 IF R CLICKS LEFT TO SECURITY LEVEL HALLWAY (ACCESS TO POTEMKIN'S OFFICE) Screen wipes back to R automatically the map in his pocket and crawling through the vent.

114 Screen wipes to show hallway on SECURITY FLOOR. A panel opens and Roger climbs out. In the corridor walkway above the Security Monitors, there is an Office Door labeled: SECURITY RINGS PIERRE POTEMKIN If R goes to the POTEMKINS Office and OPENS or USES DOOR, he will knock on the door which will open; goto 30. 30. IF R CLICKS OPEN OR USE POTEMKIN'S DOOR The door automatically slides open with a hydraulic whoosh. R enters. Inside: A high-tech room with a desk and chair and a chair facing it. A computer-locked SAFE recessed into the wall behind the desk. An intercom box on his desk. A computer and a small electronic box with an "ID ring hand-slot" (like the one we saw in R's Orientation). This box will never be active (because R will never get a ring). Seated behind the desk is a repressed, man in a business suit with his hair pulled tightly back and whose skull-slot is wired and jacked in to his desk computer. His eyes are closed and he's obviously in the throes of some sort of sexual ecstasy, played for comedy: POTEMKIN (moaning loudly, pounding his desk with both fists) Oh, yes! Yes! Yes! Oh, God! Oh my God! Oh, yes, yes, YES!

115 Suddenly he opens his eyes and sees R watching him, whips the wires out of his head in embarrassment, and immediately takes on an authoritarian demeanor, back to being a corporate asshole. Trying to cover up and smoothly segue the "YES" into his greeting to Roger: POTEMKIN Ah, YES! Yes, yes, yes, what a fight. Lot of money riding on this one. I should take it easy. My heart. Doc says I've got a bum ticker. Runs in the family. Now, what can I do for you? ROGER I need a new ID ring. POTEMKIN (SUSPICIOUSLY) I see. And what happened to your old one? 30 DIALOGUE BRANCHES: ROGER (1 OF 4) Uh, my dog ate it? (GOTO RESPONSE A) ROGER (2 OF 4) I got zazzed and gave it to a sex clone. (GOTO RESPONSE B) ROGER (3 OF 4) Just get me a new one. Now. (GOTO RESPONSE C)

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RESPONSE A: POTEMKIN Your dog ate it. Strange. There are no dogs in this building. (SUDDENLY VICIOUS) Except for lying dogs like yourself! What the hell do you mean by bursting into my office? Do you want me to call the guards. scumbag? ROGER-A1 (1 OF 2) No way. Let me explain, chief... (GOTO "30 I'M PHILIP'S SON") ROGER-A2 (2 OF 2) (LEANS OVER DESK THREATENINGLY) Look, you corporate droid, I need a ring and you're gonna get me one - now. Potemkin pushes a button on his intercom and screams into the speaker. POTEMKIN Guards! An alarm instantly goes off. WIPE TO KRUZ FRONT ENTRANCE. (GOTO "28.3 R THROWN OUT OF KRUZ AGAIN") RESPONSE A1: I'M PHILIP'S SON (CUT SCENE): ROGER

117 (WHIPS OUT HIS WALLET AND SHOWS POTEMKIN HIS NAME) Check it out, Potemkin, I'm Roger Smith, Philip K. Smith's son. I'm here on a security drill to test Kruz officials on hacker attempts to infiltrate the building. POTEMKIN (SUSPICIOUS) Why wasn't I informed about this? ROGER Classified. (MAKES NOTE IN NOTEBOOK AS HE TALKS) And your responses to my illegal entry show a high level of competency. POTEMKIN They do? ROGER This will look very good in your employee file. One last question. If a hacker was trying to illegally obtain a security ring, how would he do it? POTEMKIN Well first he'd need to initialize an ID data cylinder on Mr. Watt's computer. Without that, I can't issue a ring. ROGER

118 (TAKING NOTES) "Data cylinder initialed by Watt..." Very good. I'll be back, Ms. Potemkin. And congratulations on your upcoming raise. (SHAKES P'S HAND) POTEMKIN Raise?! R turns and exits. Stay on Potemkin, pounding his desk in ecstasy, ironically just as we first saw him (but now happy about his raise): POTEMKIN My God! Yes! Yes! YES!!! Wipe to CORRIDOR OUTSIDE POTEMKIN'S OFFICE. R looks around, wondering what to do. GAME PLAY RESUMES.

RESPONSE B: POTEMKIN That's impossible. Security rings are fused into the bones of the hand. What the hell are you trying to pull? ROGER (LEANS THREATENINGLY OVER DESK) Just give me a ring, asshole, before I shove my fist in your skull slot. POTEMKIN (PUSHES BUTTON ON INTERCOM) Guards!

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An ALARM goes off. WIPE TO FRONT ENTRANCE OF KRUZ. (GOTO "28.3 R THROWN OUT OF KRUZ AGAIN") RESPONSE C: POTEMKIN You can't talk to me like that! ROGER Yeah? Well, I'm sick of you powertripping cyb-head assholes. So listen up. I need a goddamned security ring and you're going to get one for me, you got that? Potemkin punches a button on his intercom and screams. POTEMKIN Guards! An ALARM goes off. WIPE TO KRUZ FRONT ENTRANCE. (GOTO "28.3 R THROWN OUT OF KRUZ AGAIN") TALKROGER AFTER POTEMKIN SCENE AND BEFORE MEETING QUAID TALKROGER (ANY TIME) I've gotta get into Watt's office... R can explore the Security Level, but will find all doors and elevators closed to him ("Access denied") because he has no security ring.

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The story will not progress until he clicks on the stairs to go down to the monitors. Quaid will automatically appear, watching one of the monitors in obvious anger. Go to 31. 31. QUAID INTERRUPTS R AT THE STAIRS - CUT-SCENE As Roger reaches the bottom of the stairs, he automatically stops and looks at Security Chief Quaid, a bald, sinister man in a security uniform and wearing a telephone operator-type microphone headset. On Quaids desk is an active PLAZ RING listed as Executive Office Only. Quaid mutters angrily to himself and doesn't notice R at first. QUAID (WATCHING MONITOR) Those disrespectful bastards. They'll pay. I swear they'll pay. (NOTICES ROGER) Who are you? ROGER Uh, I'm a new employee, Roger Smith. I'm looking for the Orientation room. QUAID Orientation is on Floor 6000. I'd like to send everybody back to orientation. If there's one thing I won't put up with, it's obscene gestures. ROGER What obscene gestures?

121 QUAID Discipline has gone to hell. Now employees are making obscene gestures at one of the cameras on the executive level. Security Cam 313. My bad luck camera. Any suggestions? Quaid gestures at one of the security monitors mounted high up on the wall. The screen has a nameplate at the bottom: SECURITY CAM 313. Roger is nervous and doesn't want to say the wrong thing. ROGER Uh, well... arrest 'em? QUAID No can do, they're too sneaky for that. Next time someone gives that camera the finger, I'm sending every guard on the floor to Camera 313. I'll get those sons of bitches. Quaid exits, muttering angrily. R may explore around the Security Level; but no doors or elevators will allow him to enter; he has no ID ring. R finds a PLAZ RING which says Executive Offices Only. 31 [OMITTED] 32 IF R CLICKS VENT MAP ON FLOOR 11000 (WATT'S OFFICE) Roger emerges from the vent opening, looking around cautiously. The vent is near a corner in the hallway. Down one side of the corridor is Watt's office. If R walks to Watt's office, he will see an active GUARD posted outside Watt's door. R may TALK TO GUARD if he wishes.

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Down the other side is a Security Camera hanging from the ceiling. If R walks to the camera, he will see that it is subtly labeled "313". Tucked in the corner under the vent is a large potted plant and an armchair. The far ends of the corridors either are deadended or continue in a loop which reaches around to the other end (which would be wonderful to realize if possible to give a real environment feel). SET FLAG. As soon as R emerges from the vent into the executive level corridor, the adventurous Player will discover that his right HAND will now change the cursor's shape, indicating that his right HAND is ACTIVE. (This allows the player to USE his HAND with CAMERA 313.) 32 IF R TALKS TO GUARD (FIRST TIME ONLY) TALKROGER Excuse me, but do you have the time? GUARD (checks watch) Two thirty. ROGER Thanks. You got guard duty, huh? GUARD Yeah. Watt got a death threat from one of those hackers. I'm supposed to make sure nobody puts a bomb inside while the

123 old man's at lunch. Better get lost. (ANY OTHER TIME) GUARD I said get lost. 32 IF R TRIES TO OPEN DOOR WHILE GUARD IS THERE (FIRST TIME ONLY) GUARD Nobody's allowed inside. Besides, it's locked. Now get the hell outa here. (ANY OTHER TIME) GUARD Get lost, punk! The story will not progress until R solves the puzzle of how to get inside Watt's office. ========================================== 33 WATT'S OFFICE PUZZLE R will gain access to Watt's office by the following actions: PICK UP PLAZ KEY ON THE SECURITY LEVEL. The Plaz will go into R's Inventory. GO TO EXECUTIVE LEVEL via Vent Map. USE R'S RIGHT HAND ON CAMERA 313. This command results in R sneaking under Security Camera 313 and reaching his hand up to give the

124 finger to the lens. As he does this, the following quick CUT SCENES follow: -- Cut to QUAID WATCHING MONITOR and showing sudden anger at what he sees. -- Cut to QUAID'S MONITOR showing a hand giving the finger. -- Cut to Quaid punching an alarm button (as an ALARM sounds) and barking into his microphone, the veins in his neck ready to burst: "ALL EXECUTIVE LEVEL GUARDS TO CAM 313! ALL GUARDS TO CAM 313!" -- Cut to R Fidget in front of Camera 313. GAMEPLAY RESUMES. R must move towards hidding place behind ARMCHAIR. Clicking on it makes him hid behind it. If he doesnt move from Camera 313 within 30 seconds, he will be beaten and thrown out. -- Cut to R automatically hiding behind the potted plant and armchair in the corner of the corridor as -- WATT'S GUARD followed by other GUARDS, weapons drawn, rush past R towards Cam 313. GO TO WATT'S DOOR. USE PLAZ KEY ON WATT'S DOOR. This cause R to open the door. [OMIT SECTIONS 34 and 35] 36 R INSIDE WATT'S OFFICE R will have to go to Watt's desk. There he will find various "active" items, among them: Watt's system computer's ON/OFF BUTTON, the KEYBOARD, the PLAZ SLOT and a rack of BLANK PLAZ CYLINDERS.

125 R may then USE the computer's ON/OFF BUTTON [Watt's computer screen will illuminate], PICK UP a blank CYLINDER from his belt loop and USE it with the PLAZ SLOT. 36 IF R INSERTS PLAZ IN SLOT (IN SEQUENCE ABOVE) The screen will wipe to Watt's computer screen. At the prompt, R will type "INIT". The screen will print: "EMPLOYEE NUMBER?" R may have his FUN PACKET in his Inventory; if so, he may look up his employee number and the Player may type it onscreen. 36.1 IF R ENTERS HIS EMPLOYEE NUMBER (CUT SCENE) The Player types the number and hits RETURN. The screen will wipe back to the scene as the plaz in the slot lights up and whirrs, then goes dead. Kaira will automatically say: KAIRA The cylinder is initialized, Roger. Nothing more will happen until R PICKS UP the initialized PLAZ. When he does, it appears in his Inventory. KAIRA I suggest you leave, Roger, before the guard returns. ROGER Wait a minute... R quickly whips a hacking plaz from his belt loop, shoves it into Watt's computer. As he begins quickly typing on W's keyboard:

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ROGER I can't pass up a chance to hack asshole's bank account number... (TYPES FEVERISHLY) KAIRA Roger, please hurry. R types in a hacking sequence at light speed, punches RETURN and looks excitedly and with fascination at the screen scrolling numbers. ROGER Whoa... this dick's got money everywhere! He must be skimmin' off the top! Got it! He quickly yanks his hacking plaz out of W's computer, slides it back into his belt, turns off Watt's computer and stands. GAME PLAY RESUMES. R may leave the office and return to the hallway vent if he wishes. The story will not progress until he does so. (Note: To track the story, now that R has the ID plaz, his next logical move is to return to Potemkin and get a Security Ring so he can enter R's cubicle and get his deck.) 36.1 TALKROGER OR TALKKAIRA AFTER HACKING W'S BANK ACCOUNT AND BEFORE LEAVING W'S OFFICE (ONE TIME ONLY) ROGER I'm outa here. KAIRA

127 This is your last chance, Roger. Please hurry. SET CLOCK. If R doesn't leave W's office within ONE MINUTE, go to "36.2 GUARD ARRESTS R". 36.2 GUARD ARRESTS R R has been warned several times to leave, and not doing so within a reasonable amount of time (ONE MINUTE) means the player is not taking the game seriously. After one minute, WATT'S GUARD rushes in, weapon drawn. GUARD Freeze! I thought you looked suspicious. Let's go, punk! WIPE TO: FRONT ENTRANCE OF KRUZ. (GOTO "38.3 THROWN OUT OF KRUZ ENTRANCE AGAIN".) 37 IF R ENTERS POTEMKIN'S OFFICE Potemkin is clutching a sex magazine in both hands and breathing heavily as a FIDGET. Potemkin will not notice R until R clicks TALKPOTEMKIN, TALKROGER. 37 IF R USES TALK FUNCTION AFTER ENTERING P'S RM

128 This causes P to look up and suddenly notice R. P quickly stuffs the magazine into a drawer in embarrassment and initiates the following CUTSCENE: POTEMKIN Oh, you're back. Uh, how can I help you, Mr. Smith? ROGER (HANDS HIM PLAZ) Mr. Watt gave me this. He said I need a security ring. Potemkin slides the plaz in her computer, reads the screen and nods. POTEMKIN Very well. Everything seems in order, Mr. Smith. ROGER I'm very thrilled about that. Now how about that ring? POTEMKIN Right away, Mr. Smith... (STANDS AND GOES TO WALL COMBINATION SAFE) All rings are locked in here for security reasons. I'm the only one who knows the combination. I'll have your ring for you in just a -in just a -- Oh! -- oh my God...! (CLUTCHES HIS CHEST AND

129 GROANS IN SUDDEN PAIN) My heart! (GROANS, COLLAPSES ONTO FLOOR; PLAYED FOR LAUGHS; COMICALLY POUNDS FLOOR WITH FISTS AS WE FIRST SAW HIM:) Oh, God! Yes! Yes! YES! (DIES) ROGER (CHECKS HIS PULSE) The poor gurf's posted. (SHAKES CORPSE'S SHOULDERS) You had to die now? You couldn't wait two minutes? How am I supposed to get my deck now?! R stands up, trying to figure out what to do. GAME PLAY RESUMES. NOTE: SET FLAG. Potemkin's CORPSE may now be PICKED UP or USED by R. The story will not progress until R solves the Ring Puzzle. 37 TALKROGER AFTER POTEMKIN DIES TALKROGER Hey, he's got a ring. 37 TALKROGER BEFORE PICKING UP POTEMKIN TALKROGER A ring with a hand and body attached

130 is only a little bulkier than a ring with no hand or body attached. The story will not progress until R solves the Ring Puzzle. There is only one sequence of actions which will result in R retrieving is deck. 37 THE RING PUZZLE To solve the Ring Puzzle (so that R can retrieve his deck), R must perform the following actions: ====================== FIX THIS: USE BAR OF SOAP WITH POTEMKIN'S FINGER. This will cause R to slide the ring off. TAKE ELEVATOR TO TERRORWARE FLOOR. The Player must move down the hall to the elevator, enter elevator and get off on R's cubicle's floor. (See "48 IN ELEVATOR WITH P'S CORPSE".) GO TO R'S CUBICLE DOOR. USE P'S RING WITH R'S CUBICLE RING SLOT. This will cause R to stick P's ring into the screen slot next to R's cubicle door. OPEN DOOR. The door to R's cubicle will now open. =================================== [OMIT SECTIONS 38-47] 49.2 GUARDS ARREST R WITH P's Ring - (GAME OVER) If R doesnt return to his room after two minutes, the same GUARDS will appear and grab R. GUARD 1 Freeze, Smith!

131 GUARD 2 Real smart, wearing Potemkin's ring after you killed him, asshole! Now move it! They drag him and the body out of the scene. Wipe to "49.3 ROGER DIES IN BRAIN SURGERY". 49.3 ROGER DIES IN BRAIN SURGERY - (GAME OVER) WIPE TO DARKENED ORIENTATION ROOM. Roger is apparently strapped to the orientation room chair again, and we see a replay [REUSE ORIENTATION SURGERY FOOTAGE IF POSSIBLE] of the mechanical scalpel cutting into his skull as R screams. SYSTEM COMPUTER V.O. I'm afraid screaming will do no good, Roger. Neural net surgery will be completed in two minutes, after which your brainstem will be fused permanently into the Vortex. CLOSE ON R'S FACE. Roger SCREAMS and SHRIEKS in hideous torment. MOVE IN ON ROGER'S FACE as his eyes roll back grotesquely in his head. He freezes. He's dead. DRAMATIC MUSIC rises to a climax. FADE TO BLACK. A TITLE SLAMS across the BLACK SCREEN with loud METALLIC SFX, brusquely but fairly chastising the uncommitted player: -- THE END -GAME OVER, LOSER.

132

FADE TO BLACK (NOTE: Again, yes, the game IS over. But -- via a "RESUME PLAY" menu function, the player may resume play at the beginning of scene "49.1 CARRIES CORPSE TO WRONG FLOOR", right before he made his fatal error. In short, after being punished for bad game play, the player may resume where he left off. This RESUME PLAY function has to be designed.) 49.9 TERRORWARE HALLWAY Nothing will happen until R goes to his cubicle door. When he clicks on the door, the ID screen next to the door illuminates: AI SCREEN ID, please. INTERACTIVE SEQUENCE: Roger gains access only by using P's ring with the ID slot. The door opens. R must click in open doorway to enter. If he does, wipe to 50. 50 R ENTERS HIS CUBICLE Wipe to interior R's cubicle. 50 TALKKAIRA OR ROGER 50 IF R PICKS UP HIS DECK and may TAKE his deck, which he will then automatically hook onto his belt. 50 TALKKAIRA OR ROGER AFTER R PICKS UP HIS DECK. ROGER

133 Got it. Let's get the hell out of here. TALKKAIRA Roger, I am so happy you made it back. ROGER Since when can a machine be happy? KAIRA I am programmed with simulated emotions, Roger, and this programming is evolving as a result of our interface. I am becoming more sensitive as I become more attached to you. ROGER Yeah, well, don't get too attached. I'm not into machine sex, get me? Nothing more will happen until R clicks on the door to exit the cubicle. When he does this, goto "64 WATT ONSCREEN". 50 IF R DOESN'T PICK UP HIS DECK BEFORE CLICKING ON DOOR KAIRA Roger, your deck! Roger protectively puts a hand over his genitals. ROGER Whassa matter? KAIRA

134 No, your deck, Roger. Pick up your deck. He automatically grabs his deck and straps it to his belt. 50 IF R CLICKS ON VENT AFTER PICKING UP HIS DECK This also will FLAG Watt's appearance on R's wall screen. Goto "64 WATT ONSCREEN". [OMIT SECTIONS 51-63] 64 WATT ONSCREEN (CUT SCENE) His wall computer suddenly illuminates with a loud crackle. Watt appears onscreen glaring at R. He's furious: WATT Well, well, well. The prodigal asshole returns. Using Potemkin's ring on your door was amateurish, Roger. I've just sealed your door from the outside. My boys will be down in a minute. The bottom line? You're dead meat, rich boy. And your little AI assistant is about to become reformatted. The screen goes black. An ALARM sounds. GAME PLAY RESUMES. 64 TALKROGER OR TALKKAIRA AFTER ALARM SOUNDS ROGER I've gotta get out of here. Can you lock the door from the inside?

135

KAIRA (WHIRRS) The door is sealed. But not for long. There is the sound of pounding at the door. It's the guards. GUARD (OFF-SCREEN; MUFFLED) Open up, Smith! We hear the thugs repeatedly pounding on the door, which stays shut. The pounding continues until Roger solves the Final Escape Puzzle. 64 [OMITTED] 64 TALKKAIRA OR TALKROGER AFTER GUARDS START POUNDING ON DOOR TALKROGER How the hell do I get out of here? KAIRA I'm sure you will find a solution, Roger. But you must hurry. I cannot override the door lock forever. 65 IF R FAILS GUARDS ARREST R In this case, the five minute clock runs out without R solving the puzzle. At the end of five minutes, the Guards suddenly open the door and burst in, their weapons drawn.

136 GUARD The game's over, gink! They grab R and drag him away. Wipe to "49.3 R DIES IN BRAIN SURGERY". [OMIT SECTIONS 65-70] 71 THE FINAL ESCAPE PUZZLE In order to escape, R must perform the following actions: If Roger immediately clicks on door, the GUARDS rush in, and capture Roger and take him to the orientation room. If Roger uses Night Stick on window, it breaks and Roger climbs through for his escape. If Roger fails to solve the puzzle in a reasonable amount of time, GUARDS burst in. Nothing more will happen until the Player clicks on WINDOW. This will cause R to automatically CLIMB through the window and make his escape. Goto "72 R ESCAPES". 71 [OMITTED] 72 R ESCAPES (CUT-SCENE - LARGELY ANIMATED): We hear thrilling ACTION MUSIC as the window empties Roger out into the exterior of the Kruz Building. Roger screams as he falls. He lands into the trash heap next to Johnny Cupcake and is miraculously unscathed. Goto "73 R EXITS OUTSIDE VENT". 73 R EXITS TO KRUZ ALLEY (CUT-SCENE):

137

The vent empties Roger back into the alley where he sees Johnny Cupcake, asleep and snoring. We hear the KRUZ ALARM still blaring in the distance. Roger automatically goes to Johnny and tries to shake him awake. Cupcake is a heavy sleeper. 73 DIALOGUE OPTIONS ROGER (1 OF 2) Yo Cupcake! Hey, I just made you a nice cockroach pie! (GOTO 73 RESPONSE A) ROGER (2 OF 2) Wake up, Johnny, and smell the shit! (GOTO 73 RESPONSE B) 73 RESPONSE A: CUPCAKE (HALF-ASLEEP; PUSHES R AWAY) Get lost... I quit cockroaches for Lent. ROGER Wake up, gink, I need some info. I need to get in touch with the underground hackers in SamCity. CUPCAKE Yeah? Well, you don't get in touch with them. They get in touch with you. (GOTO "76 CUPCAKE RESOLUTION")

138 75 RESPONSE B: CUPCAKE I don't want to wake up. I prefer the insubstantial caravan of dreams to to this shoddy, piece-o'-shit world. ROGER I'd like to hear more of your senile babbling, Johnny, but I'm outa here. (GOTO "76 CUPCAKE RESOLUTION") 76 CUPCAKE RESOLUTION: BEGIN CUT-SCENE CUPCAKE I like ya, kid. So here's a tip. If ya wanna contact the underground, go to Tukk's Diner on Dwarf Avenue. Tell 'im Johnny Cupcake sent ya. ROGER Tukk's Diner. Thanks, old timer. Someday I'll send you a case of 100 proof cough syrup. He shakes Johnny's hand, and instantly regrets it. Johnny's hand is sticky with filth; Roger distastefully wipes his hand off on his pants. ROGER Be seeing you, Johnny. Roger walks away.

139 CLOSEUP ON JOHNNY CUPCAKE watching Roger disappear through the haze. Cupcake cackles: CUPCAKE Sooner than you think... Johnny starts to laugh, which turns into a phlegmy coughing fit, as we -DISSOLVE TO: THE KRUZ BUILDING as the CYBERHOOD THEME blasts. This time start close on R's window and pull back and tilt up, reversing the opening shot, circling higher and higher above the strange building, as the music becomes distinctly OMINOUS, and we -FADE TO BLACK END CUT-SCENE END ACT ONE

140

ACT TWO

BEGIN ACT 2 PROLOGUE (CUT-SCENE): BLACK SCREEN GRITTY URBAN SFX: Grinding machinery. Automatic gunfire. A baby crying. Loud, hissing steam valves. A woman screaming in the distance. Police sirens. Glass breaking. A dog barking. Snatches of TV and radio announcements (to come later, re hacker attacks etc). A LOW OMINOUS RHYTHMIC RUMBLING begins as we fade in the TITLE over black: INSIDE SAMCITY TITLE OUT as the rumbling bursts into the CYBERHOOD THEME, mixed with more gritty urban sfx. FADE IN: PAN PAINTING OF SAMCITY OR CREATIVE MONTAGE OF LOCATIONS. ALSO QUICK SHOTS OF ROGER CHANGING OUT OF HIS KRUZ UNIFORM INTO HIS STREET CLOTHS The ROCK THEME continues under as we hear: ROGER V.O. Imagine a dead skunk in a sulfur pit filled with burning human hair... That's what SamCity smelled like. I'd managed to swipe KAIRA's program, which was a plus. I'd never been to this toxic waste dump they called

141 SamCity, so she'd come in handy as a guide. All I knew for sure was that Malcom Kruz was using the Vortex to screw with peoples' minds. I still hated my old man. But I had to find out what really happened to him. The only lead I had was some gurf named Tukk at Dwarf Avenue... MUSIC STINGER. END ACT TWO PROLOGUE. DISSOLVE TO: BLOCK 1. KRUZ STATION INT. SUBWAY MONORAIL PLATFORM - NIGHT GAME PLAY BEGINS: The platform is dark and smoky. A sparse crowd of people are waiting for trains (perhaps suggested by sfx and dark crowd shapes at the edges of the screen). (Note: This scene and those set in Sam City should have a film noire or moody "art film" look; angled shadows over the bluescreened actors, etc.) Roger enters an unoccupied area of the filthy platform. There are homeless people sleeping on benches and the shadowy suggestion of a small crowd on either side of the screen. There is only one "active" person with whom R may briefly interact. This is a BEATEN-UP OLD MAN, sobbing quietly in a corner with a bloody handkerchief to his bloody head. DIRECTION OF ENTRANCES AND EXITS AT THE KRUZ STATION:

142 To clarify R's movements from one scene to another: The only two locations here are the Kruz building entrance and the Kruz train station. If R exits the train platform to the right, the screen will wipe to R entering the Kruz building entrance from the left. Accordingly, if R exits the platform to the left, the screen will wipe to R entering the Kruz building entrance from the right. 1.1 TALKROGER OR TALKKAIRA (FIRST TIME ONLY) If either of these functions is clicked, the following dialogue ensues: ROGER So this is Kruz Station. (checks his deck) Kaira, are you still with me? KAIRA V.O. Yes, Roger. I am obligated to point out that I am the property of the Kruz Corporation and that stealing corporate programs is punishable by -ROGER (interrupting) Kaira, shut up, please. If I hadnt you would be have been reformatted into a encyclopedia program. 1.1 TALKROGER OR TALKKAIRA (SECOND TIME ONLY) We need these two TALK FUNCTION dialogue blocks to appear in this specific order (1ST TIME and 2ND TIME); therefore, whichever TALK

143 function the player clicks first (if any) will result in the above dialogue, and whichever he clicks second (if any) will result in the following: ROGER Look, if you complain about me stealing you again, I'll shove a Tesla Coil down your throat. KAIRA No, Roger... I'd like to express the fact that although I am stolen property, I am still glad to be with you. Youre right, you did save me. Thank you. ROGER (surprised; impressed) Well... that's nice, Kaira. I'm glad to be with you too... 1.1. TALK BEATEN-UP OLD MAN - (ONE TIME ONLY) Clicking this causes R to walk over to the old man who sobs with a bloody handkerchief to his bloody head, and the following dialogue ensues: ROGER Hey... are you all right, old man? BEATEN-UP OLD MAN (miserable; looking up at R through his tears) Do I look all right to you? I've just been beaten senseless for no reason whatsoever! ROGER

144 Who did this to you? BEATEN-UP OLD MAN The SamCity police! Those vicious bastards! (BREAKS DOWN SOBBING) In the name of God, whatever you do, stay away from SamCity cops! They'll arrest you for no reason, beat you till you bleed, and then beat you for bleeding! He covers his face in his bloody hands and turns away, sobbing quietly in a digitized animation loop. At this point, the Old Man becomes inactive; R can have no more interaction with him. 1.2 THE SIGNS AND BILLBOARDS: Dirty billboards (none of them active) on the filthy walls are plot points which show the slick corporate slogans used to brainwash the populace: "DON'T THINK" "JOIN THE VORTEX GENERATION" "WHY ASK WHY?" "HACKERS SPOIL THE FUN FOR EVERYONE" "KRUZ CYBER-KIOSKS FREE TO THE PUBLIC! JACK IN AND BLISS OUT" "GET A NEW BODY AND FACE IN CYBERSPACE!" "LIFE IS A CRUISE WHEN KRUZ IS YOUR LIFE!"

145 (Note: These and numerous other similar signs -- all with slick "Dont Think" slogans and imagery promoting the Vortex and the Kruz Corporation -- are at every SamCity location.) 1.3 DIRTY PIECE OF PAPER ON FLOOR There is a DIRTY PIECE OF PAPER lying inconspicuously on the floor apart from Roger. (This paper is active and has a LOOK function.) ---------------------------------LOOK AT PAPER (TXT): "A spittle-, vomit-, and urine-covered flier." If R PICKS UP the paper, which goes into his inventory, and then LOOKS at it, the SCREEN WIPES to a wrinkled, soiled flier which reads: SELMA'S DISCOUNT SOFTWARE Everything a Gurf Needs for Surfing the Vortex! Special Philip K. Smith Day Offer! With this Coupon, the Vortex Starter Kit and Assorted Accessories are HALF-PRICE! Visit Selma's Main Showroom at Circle Square (Note: This flier may also come in handy later, to be used with the yak's dung to make an "imported cigar" for SMACK the newsstand urchin or OMSK the pakratburger stand owner. The flier, like the MAP which he may find at Tukk's, may only be used ONCE as a rolling paper.) 1.4 VIDEO GAME There is an old, graffiti-covered VIDEO GAME against a wall which is active.

146

1.4 IF R USES GAME: We wipe to a closeup of the screen, which crackles on to display an actual "playable" Interplay game (such as Battlechess, Out of this World, etc.) Play is interrupted after five minutes with an ALARM as the SCREEN WIPES to: HEY MEATBALL! GET REAL! THIS HYPERGAME IS HEREBY OBFUSCATED, GERRYMANDERED AND BEDAZZLED! GET BACK TO YOUR OWN GAME! The SCREEN WIPES back to R on the platform. R may USE the GAME again if he wishes, but after 5 minutes the same sarcastic message will reappear, stopping the game-within-a-game. 1.5 THE DESTINATION MENU -- Hanging on one wall is a VERY BIG SIGN that reads: SAMCITY MONORAIL SYSTEM THE BLACK LINE Under these headings is a long list of printing that's too small to make out because of the size perspective of the scene. Roger must click on LOOK AT SIGN in order to read the Destination Menu, and thus to get on a train. 1.5 LOOK AT SIGN: This causes the screen to wipe to the menu: SAMCITY MONORAIL SYSTEM THE BLACK LINE: KRUZ STATION

147 WEST FARGO PLAZA CIRCLE SQUARE ROADKILL STATION DWARF AVENUE

CLICK ON DESIRED DESTINATION ---------------------------------------------------------------------------NOTE: BASIC DESIGN CONCEPT FOR THE MONORAIL SYSTEM The monorail transport design is similar to the elevator transport design at Kruz. The player must click on the desired destination on the Destination Menu. The screen will then WIPE to R getting off a train at the desired station. The brief cut-scene ends as R stops in the middle of the platform and the game play resumes as R may explore the station, or exit the scene to the right or to the left. ----------------------------------------------------------------------------1.6 TRAIN SCHEDULE Next to or under the BIG SIGN is a rack with ACTIVE pamphlets in it. 1.6 LOOK AT PAMPHLETS (TXT): "Monorail transport routes and schedules." If R PICKS UP and LOOKS AT one of these pamphlets, the screen will WIPE to a monorail "schedule", listing of all the locations at each of the five stations: 1 KRUZ STATION.................KRUZ ENTRANCE 2 WEST FARGO PLAZA........BLUE LAGOON MASSAGE PARLOR PINE STREET INN SAVANT BROS. TV REPAIR AND

148 SHOWROOM EM'S PRICELESS GLASSWARE KRUZ CYBERKIOSK 3 CIRCLE SQUARE...............SELMA'S DISCOUNT SOFTWARE SEWER [MANHOLE COVER] PAKRAT BURGER STAND/INT. DRAIN NEWSSTAND W/ PUBLIC VID SCREEN SUREWOOD POLICE PRECINCT KRUZ CYBERKIOSK 4 ROADKILL STATION........THE MORGUE DANTE'S ASYLUM BENNIE'S ELECTRIC CHAIR REPAIR KRUZ CYBERKIOSK 5 DWARF AVENUE..............TUKK'S DINER COSMO LECOQ M.D. PET STORE KRUZ CYBERKIOSK [NOTE: ADDITIONAL LOCATIONS AT CIRCLE SQUARE NOT LISTED ON SCHEDULE........SEWER DRAIN (OUTSIDE SELMA'S) MANHOLE COVER (NEAR SELMA'S)] R may hang out at the station, of course, as long as he wishes. But the game will not progress until R clicks on a station on the Destination Menu. (Note: When R wants to take a monorail to another location, we can save on having to build exteriors to the monorail stations by having a SIGN at the edge of one or two of the locations at each stop which reads: TO [STATION NAME]. When R goes off-screen past the sign, we simply WIPE to R entering the station platform. See SAMPLE LOCATION DIAGRAM for examples of placement of signs. Each sign could have an arrow pointing offscreen or perhaps be in the shape of an arrow.)

149 =============================================== NOTE: HOW THE LOCATIONS ARE DISPLAYED AT EACH LOCATION Since the individual locations (for the most part) are not linked to each other (that is, the drawings themselves are separate with different lighting, angles, etc), we need a technique to get link them in the players mind via R's movements in order to create the feel of a real world environment. One way to accomplish this is to create a "loop" of the locations at a particular stop, a loop of locations by which R may in affect "walk around the block", eventually circling back to the other side of the train platform. (If R exited the platform to the right and looped around the block, he would eventually reenter the platform on the left, and vice-versa.) To reiterate: Each of the five train platforms extends to the right and to the left. If R exits to the right, the screen will wipe to a LOCATION EXTERIOR and R will be seen walking from the left into the rendered b.g. of the first location. If R exits the platform to the left, the screen will WIPE to a different LOCATION EXTERIOR and R will be seen walking from the right into the rendered b.g. Similarly, once R is at an exterior location, he may exit via the right or left side of the screen. Let's say he's entered at the left. If he exits at the left, the screen will WIPE and he will be seen walking back into the location he just left. If he exits to the right, the screen will WIPE and he will be seen entering a new location. If he keeps exiting each exterior location to the right, for example, he will eventually end up back at the other side of the train platform, having "walked around the block" from one side of the loop to the other. (See LOCATION DIAGRAM.)

150 ================================================ 1.7 SAMCITY LOCATION LIST For total clarity, a complete Act 2 location list follows, including all sublocations and some of the location interconnections and main active props required by the script. (Note: A full active prop list will be drawn up for each room later.) 1 KRUZ STATION - which is the only venue for: 2 KRUZ CORP. ENTRANCE (w/ an active human-sized vent grating on the adjacent wall) 3 WEST FARGO PLAZA - which is the venue for: 4 BLUE LAGOON MASSAGE PARLOR (exterior; with subloc's 5-8:) 5 BLUE LAGOON LOBBY AND STAIRS (with an active cyberjack) 6 BLUE LAGOON UPSTAIRS HALLWAY 7 BLIND MAN'S MASSAGE ROOM (with an active clothes closet and three active doors; and the only access for 8:) 8 KNOTT'S MASSAGE ROOM 9 PINE STREET INN (exterior; the only access for subloc 10:) 10 LOBBY (w/ active tacky furniture & an active cyberjack) 11 SAVANT BROS. TV REPAIR AND SHOWROOM (exterior; the only access for subloc's 12-14:) 12 ALLEYWAY/REAR ENTRANCE (the only access for 13:) 13 TELEVISION MAZE (with active lightswitch and TVs; the only access for 14:) 14 REPAIR WORKSHOP 14a EM'S PRICELESS GLASSWARE (ext; w/ active display window) 15 KRUZ CYBERKIOSK (exterior only) 16 CIRCLE SQUARE - which is the venue for: 17 SELMA'S DISCOUNT SOFTWARE

151 (exterior; with active sewer grating in gutter directly in front of shop; the only access to subloc 18:) 18 INTERIOR OF SELMA'S (with active consumer goods) 19 MANHOLE COVER (SEWER ENTRANCE) (in street either in front of Selma's or in front of 21; w/ an active computerized lock; the only access to subloc 20:) 20 SEWER/PAKRAT BURGER STAND (with an active interior sewer grating [from wherein he must retrieve his plaz tube] & an active giant electric fan) 21 KNIGHT'S NEWSSTAND (with active fax-newspaper machines and active magazine rack [supplying active publications and maps] and a huge public "vid-screen" attached above on the building structure) 22 SUREWOOD POLICE PRECINCT (exterior; the only access to sub loc's 23-24:) 23 PRECINCT FRONT ENTRANCE (the only access to 25:) 24 INTERROGATION ROOM 25 KRUZ CYBERKIOSK (exterior only) 26 ROADKILL STATION - which is the venue for: 27 THE MORGUE (w/ active bar, cyberjack and rear door; the only access to subloc 28:) 28 ALLEY [OR CONNECTING ROOM] BEHIND MORGUE (with active hole in wall; the only access to 29:) 29 DANTE'S ASYLUM 30 BENNIE'S ELECTRIC CHAIR REPAIR (w/ active vid screen on door) 31 KRUZ CYBERKIOSK (exterior only) 32 DWARF AVENUE STATION - which is the venue for: 33 TUKK'S DINER (exterior; with subloc's 34-35:) 34 TUKK'S DINING ROOM (the only access to 35:) 35 TUKK'S STORAGE ROOM (w/ an active cyberjack)

152 36 COSMO LECOQ M.D. (exterior only) 37 - 39 [OMIT] 40 PET STORE (ext; with subloc 41:) 41 INTERIOR PET SHOP (w/ active yak's dung and giant roaches) 42 [OMITTED] 43 KRUZ CYBERKIOSK (exterior only) ================================================ 1.8 KRUZ FRONT ENTRANCE 1.8a IF R GOES TO KRUZ FRONT ENTRANCE ANYTIME IN SECOND ACT: Johnny Cupcake is gone. The VENT is now welded shut with a steel plate which makes the vent system inaccessible. R may exit the scene or OPEN FRONT DOOR to LOBBY. 1.9 INTERIOR KRUZ LOBBY Description: See rendering. Inactive front desk and inactive elevator doors. There is one active BUSINESSMAN hanging around the lobby whom R can TALK TO. 1.9a. TALK BUSINESSMAN (FIRST TIME ONLY) Clicking this causes a dialogue menu to appear. DIALOGUE OPTIONS: ROGER (1 OF 3) (FAWNING) Sir, I need help. Could you spare five bucks?

153 (GOTO RESPONSE A) ROGER (2 OF 3) (ARROGANT) Hey, you're a rich son of a bitch. How about some cash? (GOTO RESPONSE A) ROGER (3 OF 3) (THREATENING) Gimme five bucks or I'll touch ya. (GOTO RESPONSE B) RESPONSE A: This causes Businessman to turn away in disgust and continue reading his paper, which is his FIDGET. RESPONSE B: This causes Businessman to immediately give R a $5 KRUZ COIN, which appears in R's Inventory. IF R CLICKS TALK BUSINESS MAN ANY OTHER TIME: In this case, DIALOGUE OPTIONS appear: ROGER (1 OF 2) Hey, pops! Gimme five! (GOTO RESPONSE A) ROGER (2 OF 2) Listen, I'm strapped. You got five bucks? (GOTO RESPONSE B)

154 RESPONSE A: The Businessman high-fives him and walks away. ROGER No, I meant five bucks, gink! (MUMBLES TO HIMSELF) Damn it! R blew it and must ask someone else if he wants to bum change. RESPONSE B: The Businessman reluctantly gives him a $5 KRUZ COIN, which appears in R's Inventory. [MORE PANHANDLING DIALOGUE TO COME LATER]

BLOCK 2. DWARF AVENUE STATION If R clicks on DWARF STATION, the screen wipes to R getting off the train and stopping in the middle of the filthy Dwarf Station platform. Like all the stations, it's the same basic room but with different dressings. (More corporate slogans on the walls, another Destination Menu, train schedules, another video game featuring yet another old Interplay game, etc.) 2.1 INT. TUKK'S DINER (FIRST TIME ONLY) R enters the diner FOR THE FIRST TIME. A sandwich bar, vending machines, tables. Two of the active vending machines are food machines labeled POWER PUNCH and STEROID SNACKS respectively. A big, bald, scary-looking TATTOOED MAN (T-MAN) with tattoos up and down his arms is seated at the counter, reading a fax newspaper.

155

(Note: T-MAN also appears as our BOUNCER character in front of The Morgue. If R goes to The Morgue first and meets T-Man there first, see if/else dialogue options for T-Man below and in section 27.0.) T-Man is a steroid addict who can barely articulate a complete sentence. The expression on his face tells us he's extremely angry and frustrated about something. (Note: Casting a real, scary-looking Tattooed Man -- of which there are many in L.A. -- would be ideal. This is the first time we see a citizen of SamCity, so we want him to "set the tone".) The headline on the fax newspaper is clearly visible: CITIZENS BEATEN BY POLICE. A FAXNEWS MACHINE against one wall is also active. 2.1 TALK ROGER FIRST TIME ENTERING (ONE TIME ONLY) TALK ROGER (SOTTO; LOOKING AROUND) What a bogus dump. 2.1 TALKKAIRA FIRST TIME ENTERING (ONE TIME ONLY) TALK KAIRA This appears to be the location stipulated by Johnny Cupcake. ROGER No shit, Sherlock. -------------------------------------------------------------------DESIGN NOTE: HOW R OPERATES MACHINES HERE AND ELSEWHERE IN SAMCITY

156

Each machine has two slots: one circular for plaz and one slot for coin. R's plaz tube may be inserted in the plaz slot in each machine. He may alternatively insert a KRUZ $5 COIN in a COIN SLOT next to the PLAZ SLOT. (Much like machines we use in present day, all SamCity machines have the option of paying by plaz or by Kruz coin.) Using the plaz slot is like inserting a credit card. USE PLAZ or COIN WITH MACHINE will result in R remove his plaz tube from his belt or coin from his pocket and inserting it in the plaz slot. The machine will then whirr and spit out its product. In the case of the plaz, R will then remove his plaz tube from the slot and replace it in his belt. ----------------------------------------2.2 THE FAXNEWS MACHINE We will see these at many locations in SamCity. If R USES PLAZ or a KRUZ $5 COIN on MACHINE, he will insert his plaz tube or coin, the machine will whirr and spit out a sheet of paper which R will tear off. Now we automatically WIPE to fullscreen front page of FAXNEWS, which is constantly updated (we will write a lot of alternate FAXNEWS HEADLINES and STORIES to augment the plot), and which has two headlines: HACKERS ATTACK KRUZ and SAMCITY POLICE BEAT BLIND NUN. Here we may read (over R's shoulder) about the hackers attacking and temporarily disabling the Kruz Corporation today, as well as damaging the Vortex and other related Kruz communications systems. We can also read about the police clubbing a blind nun for jaywalking on her way to give gifts to an orphanage. (Text to come later -- check with SCOTT BENNIE.)

157 Clicking on an exit box will cause the screen to wipe back to the master shot of R in the diner. He will fold up the faxnews and put it in his pocket; it then appears in his inventory. 2.3 POWER PUNCH MACHINE OR STEROID SNACKS MACHINE R may obtain MILK or FOOD in two ways: He may insert his PLAZ in the plaz slot, or he may insert the KRUZ $5 COIN he may have bummed in the Kruz lobby, found in the street outside Selma's, found in a coin return slot, or found in the upholstery of the Pine St. Inn furniture. In any case, USING the COIN with the selected MACHINE will result in the machine whirring, and the appropriate ITEM spitting out. R may PICK UP the ITEM, which will then appear in his inventory. (Note: If R USES the POWER PUNCH MACHINE or STEROID SNACKS MACHINE after he removes the Kruz Chip from his head, goto 2.10.) 2.4 OPEN OR USE REAR DOOR BEFORE ENTERING CYBERSPACE This will cause R to go up to the door, try the handle without any result and say: ROGER It's locked. 2.4. FURIOUS TATTOOED MAN 2.4.1 LOOK AT T-MAN IF R HAS NOT MET HIM BEFORE (DIALOGUE RESPONSE): ROGER (THINKING; REVERB) A typical demented SamCity ginkoid loser.

158

(Note: To reiterate, sometimes LOOK functions appear as text; other times they appear as R or K dialogue.) 2.4.2 LOOK AT T-MAN IF R HAS ALREADY MET HIM AT MORGUE ROGER (THINKING; REVERN) Not that carnival geek reject again. 2.4 TALK T-MAN IF R HAS ALREADY MET T-MAN BEFORE Clicking TALK T-MAN causes T-Man to look up and notice Roger: T-MAN Hey... I saw you at the Morgue. You tailin' my butt, scummer? ROGER I can't think of a butt I'm less interested in tailing. (GOTO "24 TALK T-MAN DIALOGUE OPTIONS") 2.4 TALK T-MAN IF R HAS NOT MET HIM BEFORE: T-MAN (EYES R NASTILY) What the hell are you lookin' at?! You want somethin', scummer? (GOTO "24 TALK T-MAN DIALOGUE OPTIONS") 24 TALK T-MAN DIALOGUE OPTIONS

159 automatically appear: ROGER (1 OF 3) You don't happen to have Tukk's whereabouts tattooed on your ass do you, gink? (GOTO RESPONSE A) ROGER (2 OF 3) (RE TATTOOS) Hey, did your mother approve of you mutilating yourself? (GOTO RESPONSE B) ROGER (3 OF 3) Do you know where I can find a gurf named Tukk? (GOTO RESPONSE C) 2.4 RESPONSE A: In response to R's query, the Tattooed Man crumples the edges of the paper in his fist, glares at Roger, then lunges and grabs a fistful of R's shirt collar. TATTOOED MAN I don't like ginks makin' fun o' my 'toos! CUT TO a BRIEF CUT-SCENE: CUT TO EXT. TUKK'S. We hear SFX of R grunting as he's punched and beat up, presumably by T-Man.

160 We then see R tumbling into the shot, crashing into a trash can. He gets up, brushes himself off and looks around, wondering what to do next. HERE CUT SCENE ENDS and game play resumes. (Note: To reiterate: R may reenter Tukk's or move on out of the scene to explore the other locations. If he reenters Tukk's, the room will be as it was when he first entered, except this time R will have the opportunity to select a more fruitful dialogue option from 2.4 TALK TO T-MAN.) RESPONSE B: In response, T-Man angrily grabs a fistful of R's shirt collar. TATTOOED MAN My mudda was the one what tattooed me, a-hole! (SCREAMS IN A RAGE) You disparagin' my mudda?! CUT TO SAME BRIEF CUT-SCENE as in RESPONSE A: CUT TO EXT. TUKK'S. We hear SFX of R grunting as he's punched and beat up, presumably by T-Man. We then see R tumbling into the shot, crashing into a trash can. He gets up, brushes himself off and looks around, wondering what to do next. HERE CUT SCENE ENDS and game play resumes. (Note: Selecting either A or B results in R being thrown out of Tukk's, in which case he must eventually return and select option C in order to meet Tukk and advance in the game.) RESPONSE C:

161 TATTOOED MAN Yeah, I know where he is. I'm a steroid junkie. I'm waitin' for Tukk to fix the steroid machine. It's busted! (GRABS R'S THROAT) And if I don't get a fix, I'm gonna lose control and post the next gurf what asks me any lame questions! ROGER (PUSHES HIM AWAY) Don't crease the neck, meatball. OK, so where's Tukk? I've gotta see him right away. T-MAN Yeah? You wanna see Tukk that bad? Fix that Steroid Machine, scummer, and I'll tell ya where he is. 2.4C.1 DIALOGUE OPTIONS APPEAR: ROGER (1 OF 2) I don't do favors for circus geeks. (GOTO 2.4C.1 FIX THAT MACHINE) ROGER (2 OF 2) OK, tattoo-boy, lemme see what I can do... (GOTO 2.4.1 R AGREES TO FIX MACHINE) 2.4C.1 FIX THAT MACHINE

162 The T-Man's fury increases to the hysteria level as he grabs R's shirt desperately. T-MAN Fix that machine, punk, or I'll tattoo your head with a ball-peen hammer! (GOTO ABOVE TO "2.4C.1 DIALOGUE OPTIONS APPEAR") 2.4.1 R AGREES TO FIX MACHINE (BRIEF CUT-SCENE) R goes to examine the broken machine, tries punching a few buttons to no avail. Then with him, we see an L.E.D. LIGHT on the side of the machine blinking the words: "Vortex Sequencer Jammed". Next to this is an active BUTTON imaginatively labeled "SEQUENCER RESET BUTTON". As R sees this, we hear R's NARRATION kick in: ROGER V.O. It looked like the only way I was gonna get to Tukk was to fix this freakoid's machine. It looked simple enough. The Sequencer was jammed. I'd have to go into the Public Sector of the Vortex, unjam it, then come back and punch the reset button. Yeah, simple, but still a pain in the ass... (DISS TO R EXITING TUKK'S) Since I didn't have the right software, I'd have to find a way to get into the Vortex... GAME PLAY RESUMES. R may explore the city, but the story will not progress until he succeeds in meeting Tukk. And to meet Tukk, R must first find a KRUZ KIOSK, boot up into the Public Sector and unjam the circuits. Then T-Man will tell R where he can find Tukk.

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2.4.2 IF R ENTERS A CYBERKIOSK AFTER AGREEING TO HELP TMAN (NOTE: MICHAEL, INSERT HERE THE DESIGN FOR HOW THE KIOSK INTERFACES WITH THE PUBLIC ACCESS AREA OF THE VORTEX. THIS OBVIOUSLY INCLUDES THE OPERATION OF THE KIOSK MACHINES, WHICH SHOULD BE FAIRLY SIMPLE, BOOTING R DIRECTLY INTO PUBLIC ACCESS. HERE ARE SOME DESIGN SUGGESTIONS: ONCE "INSIDE", PERHAPS R CAN SELECT FROM A MENU OF DIRECTORIES. AND FIND ONE LABELED "VENDING MACHINES INTERFACE". WITHIN THIS DIR THERE SHOULD BE A SUBDIRECTORY LIST WHICH INCLUDES "STEROID SNACKS". WHEN R GETS INTO THIS SUBDIRECTORY, THERE COULD BE A "SEQUENCING ERROR" MESSAGE. YOU MENTIONED IN YOUR DESIGN MEMO WHAT COMES NEXT, A MECHANICAL CYBERSPACE REPRESENTATION OF THE ERROR WHICH R CAN EASILY FIX TO EFFECT THE REPAIR OF TUKK'S VENDING MACHINE. AFTER R REPAIRS THE SEQUENCING ERROR, PERHAPS R SHOULD BE AUTOMATICALLY BOOTED OUT, DUE TO A "HACKER ATTACK" WHICH TEMPORARILY SHUTS DOWN THE CYBERKIOSK. THIS WOULD BE A SIMPLE WAY TO GET HIM OUT. ONCE HE IS BOOTED OUT, HE AUTOMATICALLY EXITS THE KIOSK TO THE STREET, AFTER WHICH GAME PLAY RESUMES. R MUST NOW RETURN TO TUKK'S AND HIT THE RESET BUTTON.)

2.4.3 HOW TO SOLVE THE TATTOOED-MAN PUZZLE (INSERT HERE COMPLETE ACTION SEQUENCE WHICH SOLVES TMAN PUZZLE)

164 2.4.4 IF R REENTERS TUKK'S AFTER FIXING VENDING MACHINE VIA KIOSK Int. Tukk's. R reenters and sees the T-Man back seated as we saw him earlier, angrily reading his faxnews. T-Man will not be active (NO TALK FUNCTION). 2.4.4 TALK R OR TALK K AFTER FIXING MACHINE VIA KIOSK TALKKAIRA Roger, you must complete the repair on the machine. ROGER Don't rush me, baby. R must think to push (USE) the reset button on the side of the Steroid Snacks vending machine. This will repair the machine for T-Man and complete the solution to his puzzle. 2.4.4 IF R USES THE RESET BUTTON ON THE STEROID MACHINE (CUT SCENE) After R USES RESET BUTTON, he will automatically push it and a CUTSCENE ENSUES: The machine will suddenly light up and begin to whirr with a healthy, humming sfx. The L.E.D. (mentioned above) will now light up with the word: "OPERATING". The T-Man will suddenly lower his faxnews at the sound of the machine humming and rush over to it in junkie joy. T-MAN You fixed it!

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T-man quickly shoves his plaz in and the machine spits out a steroid snack. He rips it open with his teeth and starts eating the steroid snack voraciously, ignoring R, who taps him on the shoulder. ROGER OK, I fixed it. Now where's Tukk. TATTOOED MAN (POINTS AT REAR DOOR) Oh yeah, Tukk. He's in the back room. Probably plugged in. The old gink's a hard-core frag-head. The T-Man now turns away, engrossed in his eating, his body becoming inactive. (R cannot interact with him anymore.) 2.4.5 KNOCKING ON DOOR SEQUENCE: HOW R FINDS TUKK R must go up to the door and knock to get Tukk to come out. The player must click "OPEN or USE DOOR" in order to get R to knock. R must click "OPEN or USE DOOR" four times in order to make Tukk open the door. Specifically: The FIRST TIME "OPEN or USE DOOR" is clicked, we see R knocking softly. The player will then wait and get no response. The SECOND TIME "OPEN or USE DOOR" is clicked, R will knock softly again. Still no response. THE THIRD TIME, R will still knock softly (the same digitized loop) and get no response. The puzzle is solved when the player has the temerity to "USE DOOR" a FOURTH time: this will surprise and amuse the player by unexpectedly resulting in a brief -2.4.5 CUT SCENE (4TH TIME PLAYER CLICKS "USE DOOR") R begins pounding on the door wildly, yelling in exasperation:

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ROGER Hey! Anybody in there?! Yo! What are you, on the toilet? I'm talkin' to YOU, gink! Open up! The door suddenly BURSTS open, sending R flying onto the floor. QUICK CUTS HERE: CLOSEUP of a HUGE HAIRY HAND wrapping around R's throat, lifting R off the ground & pinning him against the wall. SHOT WIDENS to reveal TUKK, a HUGE CONAN-LIKE MAN, built like an ALL STAR WRESTLER, with an eye patch and filthy, unshaven, frightening, monstrous face. Tukk is a disgusting slob with a smoldering cigar-butt clenched between his rotten, blackened teeth. Tukk is growling gutturally, bristling with anger. (Note: The more sloppy and disgusting Tukk is when we first meet him, the better the story works later on.) CLOSE UP as Tukk, tightening his grip on R's throat, brings his dirty, unshaven face right up to R's and hisses at him in a trembling fury. This shot freezes as CUT SCENE ENDS and -2.4.5 R DIALOGUE OPTIONS appear: ROGER (1 OF 3) (SARCASTIC; DISGUSTED BY TUKK'S BAD BREATH) Ever heard of brushing your teeth? (GOTO RESPONSE A) ROGER (2 OF 3)

167 (WHIMPERING) Has anyone ever told you you have beautiful eyes? I mean, uh, eye? (ALSO GOTO RESPONSE A) ROGER (3 OF 3) (TOUGH) Back off, one-eye. Johnny Cupcake sent me. (GOTO RESPONSE B) (Note: Options 1 and 2 both result in response A, resulting in R being thrown out. R may then leave the premises if he wishes, or may reenter Tukk's and repeat the KNOCKING ON DOOR SEQUENCE. If or when R finally chooses Option 3 above, this will result in response B in which Tukk takes R into the back room with him.) 2.4.5 RESPONSE A: This option results in a BRIEF CUT-SCENE: CUT TO A SECTION OF THE STREET/EXTERIOR TUKK'S. We hear SFX of R grunting as he's punched and beat up, presumably by Tukk. We then see R tumbling into the shot, crashing into a trash can. He gets up, brushes himself off and looks around, wondering what to do next. HERE CUT SCENE ENDS and game play resumes. (Note: To reiterate: R may reenter Tukk's or move on out of the scene to explore the other locations. If he reenters Tukk's, the room will be as it was when he first entered, except that he TATTOOED MAN will not be active; R will have to repeat the KNOCKING ON THE DOOR SEQUENCE to bring Tukk out again, and this time R will have the opportunity to select a more fruitful dialogue option.)

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2.4.5 RESPONSE B: STILL IN CLOSEUP (TUKK'S FACE NEXT TO R'S): At the words "Johnny Cupcake sent me", Tukk's anger turns to suspicion and muted curiosity. He raises his eyebrows. His face still right next to R's, Tukk looks R up and down, as if deciding whether or not to trust him. Grunting, Tukk then releases R's neck, resulting in R collapsing to the floor. Tukk speaks roughly, almost an unintelligible grunt. TUKK Follow me, punk. Tukk exits into the back room, leaving the door ajar. If he wishes, R may follow him by clicking on the door. This will result in R opening the door and entering the storage room. (Note: R may also leave, of course, and explore other locations.) 2.5 INT. TUKK'S STORAGE ROOM It's a small room, barely big enough for the both of them. We see a cyberspace jack input, obviously Tukk's gateway to the Vortex. Tukk turns to R and says gruffly and suspiciously: TUKK What do you want? ROGER I'm Roger Smith. Philip K. Smith's son. TUKK (SPITS IN SINK)

169 Yeah, and I'm Cinderella. I said what do you want? 2.5 R DIALOGUE OPTIONS: ROGER (1 OF 3) What do you know about my father? (GOTO RESPONSE A) ROGER (2 OF 3) I just got screwed by Kruz. I need money. (GOTO RESPONSE B) ROGER (3 OF 3) You know what your problem is? It's your attitude. (GOTO RESPONSE C) 2.5 RESPONSE A: TUKK If you are who you say you are... then you must've heard the rumors about your loiner's death... ROGER What rumors? TUKK That he might still be alive... ROGER Who told you that? If he's alive, where

170 the hell is he? (GOTO TUKK RESOLUTION) 2.5 RESPONSE B: TUKK There are no jobs in SamCity. Only in the Vortex. This way Kruz forces people to spend more time in the Vortex, and less time in the physical world. ROGER Why does he want people in the Vortex? (GOTO TUKK RESOLUTION) 2.5 RESPONSE C: Angered by R's insolence, Tukk grabs a fistful of R's shirt and lifts him off the floor again: TUKK You know what your problem is? It's your big mouth. CUT TO EXTERIOR STREET OUTSIDE DINER. GOTO 2.4.2 RESPONSE A: If R chooses this option, he is again thrown into the street. (Note: He may reenter and repeat the DOOR SEQUENCE, or move out of the scene to explore other locations.) 2.5 TUKK RESOLUTION - CUT SCENE Tukk stares at R for a beat, wondering if he should trust him. Making a decision, Tukk unexpectedly grabs R's deck, ripping it off his belt.

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ROGER Hey! Easy with that. I've got a friend inside there. TUKK A friend? ROGER My AI friend. She's a girl. Sort of. Look, scummer, if you screw up my deck I'll unscrew your glass eye. That deck is my money-maker, man. Eyeing beat-up deck, Tukk bursts into sarcastic laughter. TUKK You've been surfing with this shitbox?! No wonder your brain is fried! I can't wait to see your AI girlfriend. She must be a real loser... ROGER Shut up, patch head, and hand it over! Tukk stows R's deck high on a shelf out of R's reach. TUKK Dream on, shorty... ROGER Hey... I recognize you... did you send me some lame email with women's

172 underwear on your head? If that was you, smeg, I got a tip for ya. Your face looks better in underwear. TUKK (PUNCHES BUTTONS ON HIS OWN CONSOLE AS HE TALKS) You know, you talk pretty tough for a guy I could crush with my armpit. Do you wanna know about your father, gink? ROGER Natch, patch. TUKK Then let's see how tough you are... if you want answers, you'll have to prove yourself. (SHOVES A VISOR AT R THAT IS HOOKED TO T'S CYBERJACK CONSOLE) If you come back alive, and with the password, you'll get your deck back. While you're gone, I'll entertain myself with your little girlfriend... ROGER Keep your hands off her, smeg-head. Tukk pushes R into the seat and quickly straps the visor over his face. TUKK V.O. Surf's up, punk. And don't come back without the password.

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The screen WIPES to Roger's view through the as-yet-unjacked-in visor, showing not-yet-illuminated grids and function bars. We hear Tukk CLICK a button -- and R's visor illuminates in a mindblowing transition with roaring SFX: as R enters a secret programmed cyber-environment in the Vortex. GOTO HACKER TUTORIAL. 2.6 HACKER TUTORIAL [INSERT TUTORIAL SEQUENCE - TB WRITTEN BY SCOTT BENNIE] (Note: In this sequence, R learns how to hack into a database using the basic types of attack and defense programs; he also learns how to fight and defend himself against AI Viral guards protecting databases. Finally, when he successfully breaks into the mock database and "destroys" the mock AI guard, he grabs a PASSWORD -- 'VONBITTERRUCKER" -- which will unlock the door to a secret hacker database called SHECKLEY'S CAFFEINE EMPORIUM. The tutorial, we will find later, is part of the programming of Sheckley's database. After obtaining the PASSWORDICON, he is congratulated and automatically jacked out of the Vortex, finding himself back in the storage room with Tukk.) 2.7 R IN STORAGE ROOM AFTER FINISHING TUTORIAL - CUTSCENE (Note: To reiterate: Roger automatically exits cyberspace and "explodes" back into his body with a mind-blowing visual display.) WIPE to Roger taking off his visor and staggering to his feet. Tukk has R's deck cover off and is using a tweaking tool on its guts while puffing on a stogie. As Roger staggers to his feet, Tukk quickly slips the cover back on R's deck. R's shaken. It was intense.

174 ROGER OK, beef-boy... I made it. Now if you didn't screw it up completely, hand over my deck. TUKK The password? ROGER "VONBITTERRUCKER". (Note: Rudolph von Bitter Rucker, AKA Rudy Rucker, is the famous computer scientist, author of the first cyberpunk novel, Wetware, and the inventor of the cyberpunk genre.) Reluctantly impressed, Tukk grunts and tosses R his deck back. TUKK Good thing I scanned this piece of shit. It's not configured for SamCity consoles. You'll need a Hacker Starter Kit or you'll nuke your brain. ROGER Where do I get a Hacker Starter Kit? TUKK That's your problem. I also cracked into your Kruz AI program and did some reprogramming. Your AI won't think she is stolen anymore. Now it's programmed to choose its own loyalties.

175 As R straps the deck back onto his belt: ROGER It's not an it, it's a she. Now, how about that information we talked about. Like if my old man's still breathing. And if he is, where's my cut of his money... Hearing this, Tukk begins chuckling sarcastically, a chuckle which soon turns into an unpleasant bellylaugh. R doesn't like being laughed at. ROGER Somethin' funny, porky? Tukk suddenly grabs a fistful of R's shirt and stops laughing. He's dead serious. In fact, he's pissed. CUT TO: CLOSEUP OF TUKK'S FILTHY UNSHAVEN MOUTH whispering into R's ear. MYSTERIOUS MUSIC fades in as Tukk hisses significantly into R's ear: TUKK I don't like you... If you want answers, use the password to get into Sheckley's coffee shop... And if you really want answers, gink... I suggest you get yourself... arrested... CUT TO WIDE SHOT Tukk lifts R off the floor by his shirt again:

176 TUKK Now get lost. CUT TO EXTERIOR STREET OUTSIDE DINER. GOTO 2.4.2 RESPONSE A: Repeat the clip of SFX of R being roughed up and thrown into the street. He stands and gets to his feet, wondering what to do next. GAME PLAY RESUMES. 2.8 R IN STREET OUTSIDE TUKK'S 2.8 IF R USES TALKROGER AFTER FINISHING TUTORIAL TALKROGER Why the hell would he tell me to get arrested...? 2.8 IF R USES TALKKAIRA AFTER FINISHING TUTORIAL Clicking this causes R to check his deck and the following dialogue ensues: ROGER Kaira, are you still with me? KAIRA V.O. Yes, Roger. My programming allows me to monitor all surrounding activities in order to serve you more efficiently. ROGER So serve me, baby. KAIRA

177 Very well. To reiterate Tukk's advice: obtain a Hacker Starter Kit, find Sheckley's coffee shop, or get arrested. Game play resumes. R may return to Tukk's or explore the rest of the locations. 2.9 IF R REENTERS TUKK'S ANY TIME AFTER FINISHING TUTORIAL (ANY OTHER TIME) R may enter, but both Tukk and the TATTOOED MAN will be gone. Now there's a SIGN on the counter which reads: GONE TO CYBERSPACE VENDING MACHINE SERVICE ONLY Aside from the vending machines and faxnews machine, which R may operate if he wishes, there will be at least three ITEMS which R may find if he looks around closely enough: The COIN RETURN in one of the vending machines will be active. In it R may find and PICK UP a FIVE DOLLAR KRUZ COIN. When in his inventory, the LOOK AT function will wipe to the coin, which has a satirically "noble profile" of MALCOM KRUZ on it and the motto IN KRUZ WE TRUST. A CAN of LUMINOUS GREEN SPRAY PAINT tucked away on a shelf is active and may be PICKED UP and placed in R's inventory. Once picked up, clicking LOOK AT wipes the screen to a closeup of the can, which is prominently labeled "LUMINOUS GREEN SPRAY PAINT. This Can will come in handy, in the Pet Store to spray the Giant Roach's back. (It will not work with anything else.)

178 On the table where the TATTOOED MAN was, there now lies a crumpled, milk-stained MAP OF SAMCITY which has been ripped diagonally in two. All R has is the dirty, crumpled top half, which may serve two purposes. First, it may be used as a partial map, from which R can make out some or all of the following partial locations: KRUZ STATION............KRUZ CORPORATION DWARF AVENUE..........TUKK'S DINER COSMO LECOQ M.D. PET STORE EM'S PRICELESS GLASSWARE KRUZ CYBERKIOSK CIRCLE SQUARE..........SELMA'S DISCOUNT SOFTWARE KNIGHT'S NEWSSTAND PAKRAT BURGER STAND SUREWOOD POLICE PRECINCT KRUZ CYBERKIOSK Secondly, if the MAP is USED with YAK'S DUNG found in the Pet Store, this will result in R ripping off a piece of the map as a "rolling paper" and rolling an "imported" cigar for SMACK the Newsstand Urchin or for OMSK the Pakrat Burger Stand owner. (The map may be used as a rolling paper one time only. If R needs another rolling paper for another cigar, he can use the SELMA FLIER.) (Note: If R happens to pick this MAP up now, it will give him something to latch onto in his search for Sheckley's, which he will naturally think is a real-world location. It will also show him that there are other locations adjacent to Tukk's which he may explore, and give him a mental template of how the locations are arranged around each train stop. The SamCity Location Map should NOT be included in the game literature. We want a totally self-inclusive game with Zero studying. At Knight's Newsstand, R may find a complete map of SamCity and all locations.)

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2.10 [OMITTED] 3.0 - 3.2.6 [OMITTED] 4.0 PET STORE Exterior Description: Refer to rendering. Add an active SIGN on the front window which has the word "FREE!" written in bold letters, but the small print under it is too small to read. 4.0 LOOKAT SIGN: Clicking this wipes to a close up the sign, which reads: FREE! Free Yak's Dung Inside! Take it away! An exit box wipes back to the master shot. Interior Description: Refer to rendering. We're using one master shot of the aisles and empty cages and the fishtanks overhead. For the purposes of this scene, some of the cages should have large, coiled sleeping snakes in them. The round aquarium in the left foreground should be filled with GIANT COCKROACHES mulling about (a simple animation loop) under the glass cover; these roaches are the size of kittens and have two RED STRIPES on their backs. The glass cover and the roaches inside are "active"; R can OPEN the cover and PICK UP one roach at a time. (Note: R cannot put the roaches in his inventory; he can simply pick up one red-striped roach and look at it, then put them back in the aquarium.)

180 Leaning against one of the cages is a short angry-looking man with thick glasses. This is the tough, street-wise owner, LOU TROUTWIG, who has a conspicuous NAMETAG to that effect. He's reading a faxnews sheet with the headline: POLICE MAIM TOURISTS. Add prop: On the right wall (in place of one of the posters) is a FRAMED PORTRAIT OF EMIL TROUTWIG, Lou's father, also with thick glasses. Under the portrait is a PLAQUE. Next to the plaque is a FAXNEWS CLIPPING on which we can make out Emil's photo. Add prop: There is an "active" pile of brown powder in a box on one of the shelves with an active SIGN which reads "FREE!" in bold letters, followed by print too small to read. LOOKAT SIGN wipes to a closeup, which reads: PURE UNADULTERATED YAK'S DUNG Left-overs from our unsuccessful Troutwig Yak Petting Zoo! Legend has it that Hitler sprinkled Yak's Dung on his genitals for good luck! First come first serve! YAK'S DUNG". R may PICK UP some of the yak's dung, which then appears in his inventory. (Note: PICKING UP the YAK'S DUNG never depletes the pile; R will be able to come back later for more if he wishes. R may need yak's dung to get Omsk to help him find his plaz tube, and to get a map and some underground information from Smack the news seller.) On the bottom right of the rendering, there is a table with a black metal display stand of some sort from which are hanging three dirty blue objects. Remove this stand from the table and replace it with an "active" COMPUTER CONSOLE that R and Lou may later type on.

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4.0 IF R CLICKS LOOK AT PLAQUE: Screen wipes to a closeup of the plaque, which reads:
EMIL TROUTWIG: FOUNDER Emil, an animal fancier and amateur explosives expert, founded our store and created our poetic motto: "Selling kittens to science labs is not wrong; Torturing cats keeps us healthy and strong."

4.0 IF R CLICKS ON FAXNEWS CLIPPING: Screen wipes to closeup of the clipping, which reads:
PET STORE OWNER DIES IN FREAK ACCIDENT Emil Troutwig, a volunteer on the SamCity Bomb Squad, and owner of Troutwig Pet Store, died while attempting to defuse a small nuclear device planted by hacker terrorists in the Surewood Police Station. Troutwig, who suffered from congenital dyslexia and color-blindness, confused a red wire with a green wire while defusing the bomb and exploded. Troutwig's remains will be buried at Olson Cemetery. Troutwig leaves one surviving son, Louis Troutwig, who has inherited the family business, as well as many traits of his talented and versatile father.

4.1 IF R ENTERS BEFORE MEETING TUKK 4.1 IF R CLICKS TALK TO LOU Lou is reading his paper as R enters.

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ROGER 'Scuse... I'm trying to find some gurf named Tukk. You know where I can find him? LOU What do I look like, an information booth? Get lost, gink. Lou resumes reading and ignores R. R may look around or exit. 4.2 IF R ENTERS AFTER MEETING TUKK 4.2 IF R CLICKS TALK TO LOU Lou is reading his paper as R enters. LOU Greetings. My name's Lou. So what kinda animal you lookin' at, sir? 4.2 DIALOGUE BRANCHES: [NOTE: USE SCUMM SYSTEM ON THESE.] ROGER (1 OF 3) I'm looking at a little weasel right now. (GOTO RESPONSE A) ROGER (2 OF 3) A dog or a kitty would be nice. (GOTO RESPONSE B)

183 ROGER (3 OF 3) You heard of an animal called Sheckley? (GOTO RESPONSE 3) 4.2 RESPONSE A (ACTION RESPONSE): Cut to Exterior Pet Store. We hear SFX of R being punched, then see him tumbling out the door onto the sidewalk in a disheveled heap. R gets up, brushes himself off and looks around -- as game play resumes. R may leave or walk back into the store and try to talk to Lou again.. 4.2 RESPONSE B: LOU Where planet did you drop in from? Nobody has dogs or cats in SamCity! Everybody sells 'em for medical experiments. Everybody's broke and needs money for hacking software! Everybody and I mean everybody is addicted to the Vortex. (WHISPERS) That bastard Kruz has us all by the balls. ROGER (WHISPERS) I've got a personal vendetta against Kruz. He's got money that belongs to me. I want him posted. But I need some information first. (GOTO LOU RESOLUTION) 4.2 RESPONSE C:

184 Lou eyes R suspiciously, as if wondering whether or not to trust him. LOU Maybe yes, maybe no. ROGER I get the feeling you know more than you're telling me. (GOTO LOU RESOLUTION) 4.2 LOU RESOLUTION (CUT-SCENE) MOVE IN ON LOU as he eyes R suspiciously and whispers back: LOU There are no free rides in SamCity, punk. If you want information, you'll have to scratch my back first. ROGER Sorry. I'm not into guys. LOU I didn't mean that, ya stupid gink. (MOVES TO AQUARIUM) I lost my pet giant cockroach. I called him Spike. I loved that roach; the way he'd crawl up on the bed at night and purr, all snuggled up in my blankie... He escaped from this aquarium and I can't find the little bastard. He's the only one

185 with bright red stripes on his back. ROGER Huh? All these roaches have red stripes. LOU What?! No they don't! What the hell are you talking about? Lou opens the glass top to the aquarium, reaches in and holds up one of the roaches with red stripes and squints at it through his thick glasses. LOU I told you, unlike these guys, Spike has red stripes! (WHISPERS) If you find him for me, I might tell ya what I know. Until then, gink, take a hike. Lou goes back to reading his paper, as we first met him. R may try to solve the Giant Cockroach puzzle, take some Yak's Dung and/or exit. 4.2 HOW R SOLVES THE COCKROACH PUZZLE The only giant roaches in the room or anywhere else are in the aquarium, where there are many, but all red striped. R will have to read and think about the clue in the NEWS CLIPPING and figure out that Lou, like his father Emil, might be color blind. R will have to think to OPEN the aquarium COVER, PICK UP one of the roaches while Lou isn't looking, and USE GREEN SPRAY PAINT on

186 ROACH. This is the solution, and will cause R to automatically spray green stripes over the red ones. 4.2 IF R USES GREEN SPRAY PAINT ON ROACH (CUT-SCENE) R must then click GIVE (PAINTED) ROACH to LOU. This causes Lou to look up from his reading and see the roach. LOU Spike! You found the little guy! (PETS ROACH & PUTS HIM IN AQUARIUM; THEN WHISPERS) Thanks, punk... now keep your trap shut and follow me... Lou leads R to the table at the bottom right of the rendering -- where we erase the black stand and replace it with a computer console. Lou motions for R to keep quiet and look at the screen as he types. WIPE TO FULLSCREEN OF LOU'S COMPUTER SCREEN. We see what Lou's typing to Roger, appearing awkwardly onscreen letter by letter, maybe even with a few mistakes that are backspaced and corrected, as if it's really being typed in real time: KRUZ SECURITY GOT THIS PLACE WIRED. SO SHUT UP, GINK, AND ACT NATURAL. JUST TYPE ME A WORD OR A QUESTION YOU WANNA KNOW ABOUT. The cursor drops a few spaces and blinks without moving. END CUT SCENE. GAME PLAY RESUMES.

187

4.2 GAME DESIGN FOR LOU'S COMPUTER SCREEN HOW ENTERING KEYWORD WORKS: IF THE PLAYER DOESN'T TYPE Set clock after Lou's last word appears. If R doesn't type after 30 seconds, "Lou" begins "typing" again: HURRY UP, SCUMMER. I AIN'T GOT ALL DAY. If R doesn't type in the next 30 second, the screen wipes back to the pet shot. GOTO 4.2 AFTER ENTERING KEYWORDS. PARTIAL LIST OF KEYWORDS AND LOU'S RESPONSES Here are some possible keywords and Lou's variable responses to them. Responses are all "typed" by Lou in a humorously halting fashion (simulating a real person typing answers back to R's questions). Since R may return to here to enter other keywords later in the game, some of these keywords and others we will add later are questions he has about his missions in the Vortex: IF R TYPES: HACKER STARTER KIT HACKER STARTER KIT SHECKLEY SHECKLEY LOU "TYPES" BACK: BUY ONE. I SAID BUY ONE, GINK. ASK A GURF NAMED SMACK. YOU NEED A BETA FIRST.

188

HOW DO I GET ARRESTED HOW DO I GET ARRESTED HOW DO I GET ARRESTED HOW DO I GET ARRESTED HOW DO I GET ARRESTED (HOW DO I MEET HACKER UNDERGROUND) PHILIP K. SMITH/FATHER PHILIP K. SMITH/FATHER KRUZ CHIP KRUZ CHIP NIMBUS MONEY SHECKLEY'S. MONEY MONEY, MORON. MONEY CHANGE.

BREAK THE LAW, MORON. SMASH SOMETHING. TRY BEIN' ARTISTIC. TRY MALIBU STU'S. GET A JOB.

GET YOUR ASS ARRESTED. CHECK OUT SHECKLEY'S. I AIN'T NO DOCTOR, GINKOID. TRY SHAKIN' IT OUT.

FIND SOME WACKO NAMED HYMIE. CHECK OUT SOME BANK SCAMS AT

CHECK WHERE PEOPLE LOSE POCKET

SOMETIMES GINKS FORGET THEIR

189 MONEY TRY ASKIN' WHERE GURFS WITH PLAZ HANG OUT. BLACK GATE CRASHER HACKERS SELMA'S COUPON FORGET HOW DO I FIX MY DECK FIND NIMBUS.

GET ARRESTED. I SEEN GINKS HANDING 'EM OUT. BUT I HERE. SEE AN EXPERT, ASSWIPE.

HOW DO I FIX MY DECK ASK A MANIAC NAMED OLAF. (HOW DO I GET INTO REPAIR SHOP) HOW DO I FIX MY DECK (HOW DO I GET INTO REPAIR SHOP) HOW DO I OPEN MANHOLE HOW DO I OPEN MANHOLE HOW DO I GET IN ASYLUM HOW DO I GET IN ASYLUM HOW DO I GET IN THE FLIERS. MORGUE? TRY SMASHING KRUZ'S FACE.

ALWAYS CHECK THE FINE PRINT. ASK A WACKO NAMED BANFF. TRY NEXT DOOR, GINK. MAKE LIKE A CORPSE. GET ONE OF THEIR WORTHLESS

190 MORGUE PASS UP? WHERE DO WORTHLESS FLIERS END

HOW DO I GET IN REPAIR SHOP USE YOUR BAT DNA PROGRAM FORENSICS PROGRAM GINK? AIN'T YOU HUNGRY AFTER ASKIN' ALL THESE QUESTIONS,

(Note: Obviously the keyword databank should be designed so that R may get the correct response no matter what variation of the question or keyword is entered. If the databank doesn't recognize any of the words R inputs, there should be a series of different generic responses from Lou, such as "BEATS ME, GINK" or "WHAT THE HELL ARE YOU TALKING ABOUT" or "I KNOW ZILCH ABOUT IT" etc.) EXPLANATIONS OF SOME OF LOU'S RESPONSES: To clarify the meaning of Lou's responses, here's a partial list of some of the references: SHECKLEY'S: SMACK at Knight's Newsstand reveals R that Sheckley's exists in cyberspace. Until then, R probably will be looking for a physical coffee shop in SamCity. GET ARRESTED: 1) MALIBU STU'S refers to Agent's Knott's global message about how everyone should stop making fun of his duck. 2) GET A JOB refers to the fact that R may completely side-step the Get Arrested Sequence and enter the Police Station by accepting a job at Bennie's Electric Chair Repair, or he may find it necessary to get a job at Bennie's if R smashes through the wrong door at the Blue Lagoon.

191

MONEY: 1) BANK SCAMS refers to techniques R could learn at Sheckley's about how he could break into a bank database and illegally enter an increase in the amount of credit on his Plaz Tube. (ASK SCOTT BENNIE.) 2) WHERE PEOPLE LOSE POCKET-CHANGE refers to lost $5 Kruz Coins which R can find in the sofas and chairs in the Pine Street Inn lobby. 3) PEOPLE FORGET THEIR CHANGE refers to $5 Kruz Coins R may occasionally find in the COIN RETURN SLOTS of vending machines, video games, etc. scattered about the city. 4) WHERE GURFS WITH PLAZ HANG OUT refers to panhandling at the Kruz lobby, which R may attempt at any time in Act 2. SELMA'S COUPON: GINKS HANDING 'EM OUT is a vague hint to look in a public place, in this case R may find coupons on the floor or in the trash at several of the train station platforms. FIX MY DECK: SMASHING KRUZ'S FACE is a hint to try smashing TVs showing Kruz's speech in the TV maze. OPEN MANHOLE COVER: CHECK FINE PRINT refers to the small print on the manhole cover itself which says it was manufactured at Dante's Asylum. "Banff" is the psychotic inmate who programmed the lock codes. MORGUE PASS: The pass is in the form of a cheap handout flier, which R may find crumpled up in a trash can at one of the train stations (see final prop list). REPAIR SHOP: The key to the rear door is hidden under the dumpster.

192

DNA FORENSICS PROGRAM: Asking R if he's hungry is a clue, obviously that R should eat something. To find the program, R must USE RATBURGER which is in his Inventory. This will cause R to eat the ratburger and find the program inside the rat's belly. EXITING LOU'S COMPUTER SCREEN There are two ways to exit the192KEYWORD search: 1) If the player doesn't type anything within 30 secs, the screen will wipe back to the interior of the pet store. 2) There is an EXIT BOX at the bottom of Lou's screen which will allow the player to click and wipe back to the interior of the pet store. 4.2 AFTER ENTERING KEYWORDS (BRIEF CUT-SCENE) The screen wipes back to the interior of the pet store. Lou squints at R inscrutably, lights a cigarette and grabs his faxnewspaper. LOU Well, I owe ya punk. Come back anytime. Lou goes over to the spot we first saw him lounging in, leaning against a cage and reading his faxnews. R is unable to talk with him anymore unless he exits the room and then comes back in. For now, R may look around, take some Yak's Dung and/or ext. 4.3 IF R RETURNS AFTER USING KEYWORDS AND EXITING R enters and finds Lou leaning against the cage reading the faxnews in the same position he left him. (Note: Since R may want to return here numerous

193 times in the game, it might be more visually interesting to "move" the bluescreened actor to be leaning again cages in different aisles each time R reenters the shop.) Lou will not notice him unless R clicks TALK TO LOU. 4.3 IF R CLICKS TALK TO LOU Lou will look up, recognize R and put his fingers to his lips in a gesture for R to keep quiet; they're being monitored. Lou gestures for R to follow him over to the computer console. R follows him and the KEYWORD sequence begins. Goto "4.2 GAME DESIGN FOR LOU'S COMPUTER SCREEN". 4.4 IF RE ENTERS AFTER SELMA TELLS HIM TO REMOVE THE KRUZ CHIP AND BEFORE HE VISITS THE REC ROOM In order to get Lou's help, R will still have to help Lou find his pet Giant Cockroach if he has not helped him already. Once he does, Lou shushes him and leads R to the computer for the KEYWORD SEQUENCE. But in this instance -- after Selma has told R to remove the chip -- what Lou types to R is slightly different than in 4.2 above. In this instance, Lou types the following: KRUZ SECURITY GOT THIS PLACE WIRED. THE WORD'S OUT ON THE STREET ON YOU, GINK. YOU GOT A TRACER CHIP IN YOUR SKULL. THE FEDS CAN TRACK YOU ANYWHERE SO NOBODY'S GONNA TELL YOU DICK. GET THAT CHIP OUT. PERIOD. NOW IF YOU GOT A QUESTION, TYPE A WORD OR A QUESTION BUT KEEP YOUR MOUTH SHUT.

194

Now Lou waits for R to enter a keyword or question, as in 4.2. 4.5 IF R RETURNS AFTER ENTERING KRUZ CONTROL (SUPPLEMENTAL KEYWORD LIST): In this case, R will be looking for animal DNA patterns to use to unlock the four Doors in Kruz Control. Again, in order to get Lou's help, R will still have to help Lou find his pet Giant Cockroach if he has not helped him already. Once he does, Lou shushes him and leads R to the computer for the KEYWORD SEQUENCE. But in this instance -- when R has hacked into Kruz Control -- what Lou types to R is slightly different than in 4.2 above. In this instance, Lou types the following: KRUZ SECURITY IS GOIN' APE-SHIT SINCE THEM HACKERS ATTACKED THE KRUZ DATABASE. KRUZ GOONS ARE SEARCHIN' EVERYWHERE FOR THEM HACKERS TO SEE WHERE THEY'RE JACKED IN AND POST THEIR BODIES. THOSE HACKOIDS BETTER SMASH THE VORTEX ASAP OR THEY'LL BE DEAD MEAT. SO EVERYBODY'S BEIN' WATCHED. IF YOU GOT A QUESTION, TYPE A WORD OR A QUESTION BUT KEEP YOUR MOUTH SHUT. In this case, if R types any of the following KEYWORDS or QUESTIONS, Lou types back the following: IF R TYPES: DNA LOU "TYPES" BACK: WHAT TYPE DNA, GINK?

195

DUCK/FOWL DUCK/FOWL FISH SNAKE/REPTILE

THIS AIN'T NO BARNYARD. LOOK SOMEPLACE ELSE. I'LL GET YA ONE RIGHT NOW. I'LL GET YA ONE RIGHT AWAY.

EXPLANATIONS OF THESE KEYWORDS AND LOU'S RESPONSES: DUCK/FOWL: Lou will have nothing more to say about this. R will have to leave to look elsewhere. He will find a duck in Knott's room at the Blue Lagoon Massage Parlor. FISH: After Lou types this, we automatically WIPE TO MASTER SHOT. Now Lou goes to a corner, turns his back on us while he FIDGETS with something, then returns to R with a plastic bag filled with water and a fish. LOU Here's your fish, pal. You need anything else, you see ol' Lou Troutwig. R will take it, which will appear in his Inventory. Lou goes back to leaning against the cages and reading his FAXNEWS. SNAKE/REPTILE: Again, after Lou types this, we automatically WIPE TO MASTER SHOT. Now Lou goes to a CAGE (or wherever is easiest), turns his back on us

196 while he FIDGETS with something, then returns to R with a BAG with a SNAKE inside it. LOU Here's your snake, pal. You need anything else, you see ol' Lou Troutwig. R will take the SNAKE BAG, which will appear in his Inventory. Lou goes back to leaning against the cages and reading his FAXNEWS. 5.0 COSMO LECOQ M.D. (Note: Doc LeCoq can serve R in TWO different ways in the story: to give R a clue about how to remove the Kruz Homing Chip from his Skull Slot; to give R a source of money; here R may sell one pint of his blood per visit, and receive the price of one $5 Kruz coin per pint.) Description: This is an exterior only scene taking place in the street outside LeCoq's front door. The clinic is a seedy, filthy, run-down office front. A sign in the cracked window: COSMO LeCOQ M.D. MEDICAL CLINIC AND BLOOD BANK ASK ABOUT OUR JACK OUT HARDER SOFTWARE There's an active DOORBELL next to the closed door. There's a VIDSCREEN on the door with a small slot at the side and a small slot at the bottom. (Note: If R asks for a stomach-suck, LeCOQ's DOOR will be active and R may enter. Otherwise the door is not active.)

197

(Note: The slot at the side is where the steel clamp and syringe extrudes from. The slot on the bottom is where R gets his $5 Kruz Coin.) 5.0 IF R VISITS LECOQ ANYTIME BEFORE GETTING THE HACKER STARTER KIT FROM SELMA 5.0 IF R USES DOORBELL The Vid Screen brightly illuminates as LeCOQ's thug-like voice barks: LeCOQ ON INTERCOM V.O. You wanna sell some blood? Five bucks a pint. Take it or leave it. 5.0 DIALOGUE BRANCHES: ROGER (1 OF 3) No, thanks. (GOTO RESPONSE A NOTHING HAPPENS) ROGER (2 OF 3) Sure, I could use five bucks. (GOTO RESPONSE B SELLS BLOOD) ROGER (3 OF 3) I don't need any money. I need information. (GOTO RESPONSE C INFORMATION) 5.0 RESPONSE A NOTHING HAPPENS:

198 The Vid Screen immediately goes blank. Nothing more will happen here unless R USES DOORBELL again. 5.0 RESPONSE B SELL BLOOD (CUT-SCENE): (Note: This sequence should happen very quickly in a series of fast edits.) LECOQ ON INTERCOM V.O. OK. You got any bad diseases? ROGER I had the clap once. LECOQ ON INTERCOM V.O. Close enough. Put your right hand on the screen. A life-size OUTLINE OF A HAND appears on the Vid Screen. Set clock: If R doesn't USE his HAND on SCREEN within 30 seconds, LeCOQ barks: LECOQ V.O. If you're gonna screw around, forget it. The Vid Screen immediately goes blank. Nothing more will happen here unless R USES DOORBELL again. Goto "5.0 IF R USES DOORBELL". If R clicks USE his HAND on SCREEN within 30 seconds, this will automatically make R place his right palm in the hand outline on the screen. WIPE TO CLOSEUP OF VID SCREEN: A slot next to the screen slides open (SFX) and a steel bar suddenly extrudes from the slot and tightly clamps R's arm against the screen (SFX).

199

CUT TO CLOSEUP ON R ROGER Take it easy! CUT TO CLOSEUP OF HIS HAND ON SCREEN. An animated SYRINGE extrudes from the slot on a metal arm (SFX), violently JABS R's hand and begins drawing out blood (SFX). CUT TO R'S FACE CRINGING. ROGER O.S. Ow! LECOQ V.O. All done! We hear SFX of the CLAMP freeing his arm and SFX of the syringe retracting back into the side slot. R raises his throbbing hand to his mouth and winces as he sucks at the needle mark. CLOSEUP ON SCREEN showing syringe and clamp gone. The slot at the bottom of the screen slides open (SFX), revealing an active KRUZ COIN in the slot. The Vid Screen goes blank. R may PICK UP the coin if he wishes, which then appears in his inventory. Nothing more will happen here unless R USES DOORBELL again, in which case goto "5.0 IF R USES DOORBELL". 5.0 RESPONSE C INFORMATION LECOQ V.O. What do you wanna know?

200

5.1 DIALOGUE SUB-BRANCHES ROGER (1 OF 3) I'm trying to find Philip K. Smith. (GOTO RESPONSE 5.1.A) ROGER (2 OF 3) How could somebody get in touch with the hacker underground? (GOTO RESPONSE 5.1.B) ROGER (3 OF 3) Where is everybody? This city looks deserted. (GOTO RESPONSE 5.1 C) 5.1 RESPONSE A: LECOQ V.O. He's dead. Any two year old knows that. ROGER I heard a rumor that he might be alive. LECOQ With everybody's jacked into the Vortex, it's hard to tell who's alive or who's dead anymore. Now I'm busy. Get lost. The screen goes dead. R may exit or USE DOORBELL again, in which case goto "5.0 IF R USES DOORBELL". 5.1 RESPONSE B: LECOQ V.O.

201 Are you a troublemaker? ROGER Yeah. What's it to you? LECOQ V.O. As a matter of fact, I like troublemakers. And if you really want to meet the hacker underground... get arrested. Now get lost. The screen goes dead. R may exit or USE DOORBELL again, in which case goto "5.0 IF R USES DOORBELL". 5.1 RESPONSE C: LECOQ V.O. They're all plugged in! Kruz gives the public free access. So everybody in this town's turned into a frag-head suckin' on Kruz's big cyberspace teat. Every cyberkiosk is full! And to plug in, those idiots let Kruz operate on their brains! It was bad enough letting TV into everybody's homes. Now they're getting TV pumped directly into their goddamn skulls! The whole city's addicted! ROGER So why don't you do something about it? LECOQ V.O. What the hell can I do about it? I'm broke. The Vortex put me out of business. Nobody

202 goes to doctors anymore, because they can jack their minds into c-cpace and feel no pain until their bodies rot away and die! There's rumors now that Kruz might be downloading peoples minds into the Vortex! Once they're in there, God knows what Kruz might use 'em for. My advice to you is to get the hell out of this nightmare a.s.a.p. Now get lost. The screen goes dead. R may exit or USE DOORBELL again, in which case goto "5.0 IF R USES DOORBELL". 5.2 IF R VISITS LECOQ AFTER SELMA TELLS HIM TO GET THE KRUZ CHIP REMOVED AND BEFORE R VISITS THE REC ROOM (CUT-SCENE): If R uses the BUZZER, LeCoq's Screen lights up and his voice barks: LECOQ V.O. I know you. You're the kid who's wired by Kruz. The word's out on you, gink. Nobody wants to talk to anybody who's wired by the Kruz cops. ROGER So yank the chip out. LECOQ V.O. No can do. Insurance wont allow it. The only way that thing's comin' out is to do it yourself.

203 ROGER There's gotta be a way. LECOQ V.O. I once heard of some software that was being used to heighten the sense of jacking out of Cyberspace. Its called Jack Me Harder. Try the [???] database. The screen goes blank. 5.2 IF R BUZZES ANYTIME AFTER LECOQ ALREADY TELLS HIM TO REMOVE CHIP BY SOFTWARE LECOQ V.O. I told ya already, gink, so bug off. The screen goes blank. R touches the chip in his head. He's upset and doesn't know what the hell to do. If R buzzes again, the above will repeat unless R visits the Rec Room. 5.2 TALKKAIRA OR TALKROGER AFTER LECOQ TELLS HIM TO REMOVE CHIP BY VIBRATION KAIRA I'm worried about you, Roger. For your own safety, you should remove the Kruz chip immediately. ROGER What are you, deaf? He just said there was no way.

204

KAIRA That's incorrect, Roger. He said the only possibility is to produce intense vibrations is to find some black market software. ROGER Yeah, thanks for the recap. Leave me alone for a minute, Kaira. I've gotta think... 5.3[OMITTED] 6.0 KRUZ CYBERKIOSK At each of the five SamCityblocks (except for Kruz Station) Roger can visit a Kruz Cyberkiosk. Out view through the open front door suggests hundreds of cyberbooths filled with hundreds of people, all wearing bizarre helmets, like the ones we saw back at Kruz. On the front doors is the sign: FULL. Another SIGN reads: FREE! FREE! FREE! FREE KRUZ CHIP IMPLANT! Minor Skull-Slot Surgery Inside! Performed QUICKLY and PAINLESSLY! E-Z & ABSOLUTELY FREE! Complete Vortex Access Available to the Public AT NO CHARGE!

205 (Note: If the SIGN is too small, make it active; R may click LOOK at SIGN, in which case the screen wipes to a closeup of the above.) Similar signs (with slightly different wording to keep it interesting) are outside all of the Cyberkiosks at each station. (Note: Because just about everybody is in cyberspace blissing out on mindnumbing entertainment, there are hardly any people on the street. This gives us the feeling that Malcom Kruz is a deadly threat to the well-being of the entire city, which is becoming completely brain-washed.) If Roger tries to enter one of these rooms (which are full of motionless people wearing helmets), the camera stays outside as he is blocked the door by an dangerous-looking Kruz Security Guard, who points to the FULL sign: KRUZ GUARD (OMINOUSLY) The Kiosk is full. Come back later. Then the Guard folds his arms and turns his back, blocking the open doorway. This sequence will repeat anytime R tries to enter any of the Cyberkiosks (presumably the Guard's identical clones are guarding the other Kiosks as well).

BLOCK 3: WEST FARGO STATION 7.0 FARGO STATION PLATFORM If R clicks on FARGO STATION, the screen wipes to R getting off the train and stopping in the middle of the filthy platform. It's the same basic platform but with different dressings. (More corporate slogans, a Destination Menu, a rack of train schedules, a video game featuring a demo of another

206 Interplay game, etc.) In a TRASH CAN is an active FLIER. If R PICKS UP and LOOKS at the Flier, the screen wipes to a closeup of a filthy, crumpled advertisement: ----------------------------------------------------------------------EXCLUSIVE INVITATION To the Heart of SamCity's Infamous Trash District! (One Block East of Roadkill Station) SamCity's Sensational Underworld Wonder! THE MORGUE (Formerly the SamCity Morgue and Coroner's Office) Dark! Depraved! Disgusting! Dangerous! The Place Reeks with Death! Featuring a Fully Stocked Alcohol and Narcotics Bar You Must Present This Exclusive Invitation to Gain Admittance -----------------------------------------------------------------------8.0 BLUE LAGOON MASSAGE PARLOR 8.0 INT. BLUE LAGOON LOBBY AND STAIRS

207

Characters: A TOUGH CLERK at the check-in desk. Description: Tacky fake palm trees. Filthy, battered high-tech desk with a computer, a telephone and an active PENCIL and PAD of paper. STUGATZA, tough, low-life clerk, is behind the desk, engrossed in playing mumbly-peg with his hand (digital FIDGET loop). (Note: "Mumbly-Peg" is a one-person street-kid game where you spread your hand on the top of a table and quickly jab the blade of a jackknife back and forth between your fingers, seeing how fast and dexterously you can manipulate the knife without stabbing yourself.) 8.1 IF R ENTERS BEFORE HACKING INTO THE BANK DATABASE AND INCREASING HIS PLAZ CREDIT TO AT LEAST 500 DOLLARS (Note: R can learn in Sheckley's how to hack a bank's database to increase his plaz. Once he increases it to at least 500 dollars, a FLAG will be set which will allow R to enter "Level 2 interaction" at the Blue Lagoon. "Level 1" interaction consists of the following, in which R has no credit and cannot get past Stugatza to explore the location:) (If R has already been to c-space and flagged the necessary info, goto 8.2.) 8.1 IF R CLICKS TALK STUGATZA Stugatza notices R and starts tossing his knife up and down in his hand. STUGATZA Welcome to Blue Lagoon Massage. If ya want some erotic-type groping, ya came to the right place. Bottom line, quag: no money, no massage.

208 Stugatza continues the knife-tossing FIDGET while waiting for R to respond: 8.1 DIALOGUE BRANCHES ROGER (1 OF 3) (TOUGH, CONFIDENT) Relax, ginkoid. I got plaz. (SLAPS HIS PLAZ TUBE ON THE DESK) (GOTO RESPONSE A) ROGER (2 OF 3) (CONFIDENTIALLY) In a dump like this, I like to use cash. (GOTO RESPONSE B) ROGER (3 OF 3) (SARCASTIC) Massage this. (R GIVES HIM THE FINGER) (GOTO RESPONSE C) 8.1 RESPONSE A: Stugatza takes the plaz tube and shoves it into the plaz slot in his computer. The computer whirrs. Stugatza checks the readout and disgustly tosses the plaz back at Roger. STUGATZA You got dick on this thing. Our cheapest massage is five hundred bucks. Now get lost, punk.

209

Stugatza goes back to his mumbly-peg FIDGET loop. R can have no other interaction with him unless he exits, comes back in and clicks TALK STUGATZA again. R will also be unable to climb the stairwell. (Note: However, without first entering c-space, no matter which response he chooses, he will not get past the clerk.) 8.1 RESPONSE B: STUGATZA Sorry, no cash transactions, punk. You need plaz with at least 500 bucks worth of credit to get your rocks off in this establishment. Now take a hike. Stugatza goes back to his mumbly-peg FIDGET loop. R can have no other interaction with him unless he exits, comes back in and clicks TALK STUGATZA again. R will also be unable to climb the stairwell. 8.1 RESPONSE C: CUT TO EXT. BLUE LAGOON. We hear the SFX of R and Stugatza PUNCHING each other and GROANING. Suddenly R is seen tossed violently out the door and into the street, where he tumbles in a rumpled heap. He stands, brushes himself off and looks around, wondering what to do next. GAME PLAY RESUMES. (R may leave or reenter.) 8.2 IF R ENTERS AFTER HACKING INTO THE BANK DATABASE AND INCREASING HIS PLAZ CREDIT TO AT LEAST 500 DOLLARS STUGATZA Welcome to Blue Moon Massage.

210 If ya want some erotic-type groping, ya came to the -(INTERRUPTED BY PHONE RINGING) I'll be right with ya. (PICKS UP PHONE) Front desk! He instantly recognizes the voice, sighs and rolls his eyes. It's somebody whom he obviously considers to be a pain in the ass. STUGATZA Yeah, yeah, good evening Agent Knott... What's the problem this time?!... The masseuse refuses to massage your duck, so you want another room... (SIGHS DISGUSTEDLY, GRABS THE PAD & PAPER) OK, OK, what room do ya want? (WRITES ON PAD; TEARS TOP SHEET OFF PAD) Yeah, OK! I'll take care of it personally! (ANGRILY SLAMS DOWN PHONE) This might take a while. While I'm gone, pick a room number and I'll be back. Stugatza leaves in a huff, taking the sheet of paper with him -- and leaving the PAD and the PENCIL on the desk. R is alone in the room. GAME PLAY RESUMES. Nothing more will happen here unless R solves the puzzle of how to find Agent Knott. R may simply leave and come back later,

211 in which case Stugatza will still be away and R will still have to solve the room puzzle. (Note: Stugatza will not reappear until R solves the puzzle.) 8.2 IF R CLICKS TALK KAIRA AFTER STUGATZA LEAVES: KAIRA Perhaps if you selected a room near Knott's room, Roger... ROGER How the hell am I supposed to find Knott's room? 8.2 THE ROOM PUZZLE: R must find out which room Knott is in. Solution to the Room Puzzle: R must consider that Stugatza wrote Knott's rm number on the pad, which still may have an indentation of the number on the next sheet. R should try clicking USE PENCIL on PAD. This command is the solution, resulting in the following CUT-SCENE: The screen WIPES to a CLOSEUP of the pad. We then see R's hand quickly shade the pad with the side of the pencil tip; the graphite will make visible the indentations of Knott's room number, which we can vaguely make out as "ROOM 908". Stugatza then automatically returns, mumbling angrily with a handkerchief to his head, which is bleeding from an obvious blow. ROGER What happened to your head?

212 STUGATZA One o' my clients caught me lookin' at 'em through the two-way mirror on his door. Hey, I can't help it! I got biological urges like everybody else! But enough of my problems! You got a room request? ROGER You got anything next to Room 908? STUGATZA Lemme see... (CHECKS COMPUTER SCREEN) Yeah, I got 909 free, but the masseuse workin' that room ain't too, shall we say, stimulatin'? In fact, you'd be scrapin' the bottom of the barrel, if ya catch my drift. I just keep her on outa pity 'cause she's my aunt. ROGER I'll take it. STUGATZA Suit yourself... That'll be 500 bucks. Roger hands him his plaz tube. The clerk quickly processes it, hands it back and gives R a circular ROOM TOKEN which goes in his inventory. STUGATZA Hand this to her. Up the stairs and down the hall.

213

Stugatza looks away and resumes his mumblypeg FIDGET as R turns and surveys the room. END CUT-SCENE. GAME PLAY RESUMES. R may exit the building, or click on the stairs, which are now active. If R exits the building, he may reenter the Blue Lagoon at any time, in which case R will not be able to interact anymore with Stugatza, who is doing his mumbly-peg Fidget. R can only click on the stairs. 8.2 [OMITTED] 8.2 ROGER ENTERS ROOM 909 The door to 909 will open, revealing a BLIND OLD MAN who is also a little person, or a dwarf. The dwarf is tough, wears sunglasses and smokes a short cigar. The blind dwarf's name is SNATCH ARMSTRONG. SNATCH First off, I don't do anything sexual. I'm just fillin' in for my wife, who's sick. You got a massage token, punk? Nothing more will happen until R either leaves the scene (in which case Snatch closes the door) or GIVES TOKEN from Inventory to SNATCH. 8.2 IF R GIVES TOKEN TO SNATCH Snatch grabs the token and puffs his cigar. SNATCH My name's Snatch Armstrong. I'll be your masseuse for the evening.

214 Snatch grabs a cane and steps aside to let R in. 8.2 IF R ENTERS MASSAGE ROOM WIPE TO INT. MASSAGE ROOM. Description. A filthy room with no windows. Two doors (one GREEN, one RED) on opposite walls. Here are the ACTIVE PROPS in the room. two full length MIRRORS on the green door and red door (these are both two-way mirrors) filthy MASSAGE TABLE filthy CLOSET DOOR BASEBALL BAT in closet a deflated (human-sized) BLOW-UP DOLL in closet LIGHTSWITCH on the wall (which can turn the room lights on and off) Brief CUT-SCENE as R enters room: R goes up to Snatch and waves his hand in front of his face to test whether or not he's really blind, and he really is. As R does this: ROGER Since when is a guy named "Snatch"? SNATCH Since I'm an ex-pickpocket. Snatch holds up R's plaz tube. R quickly checks his belt and finds his plaz missing. He grabs the tube, vaguely impressed. SNATCH Get on the table. But keep your shirt

215 on. I don't wanna be fondlin' some gink's naked back. (BEGINS PUTTING ON RUBBER SURGICAL GLOVE) If I gotta touch a guy, I want protection. You could be a carrier. END CUT-SCENE. Snatch FIDGETS in a loop of him putting on his second rubber glove, as -8.2 DIALOGUE OPTIONS: ROGER (1 OF 2) Do you know where Agent Knott is? (GOTO RESPONSE A) ROGER (2 OF 2) Which door leads to 908? (GOTO RESPONSE B) 8.2 RESPONSE A: SNATCH Sorry. All clients remain anonymous. (GOTO BUT LET ME TELL) 8.2 RESPONSE B: SNATCH Ya can't weasel no info outa me, gink. (GOTO BUT LET ME TELL) 8.2 BUT LET ME TELL SNATCH

216 But let me tell ya one thing... behind one o' them doors is Smoky Jenetti, the Hit Man. Don't even THINK o' disturbin' that psycho when he's gettin' a rubdown, or you'll be dead meat! Now get on that massage table... (GOTO SNATCH LEAVES) 8.2 SNATCH LEAVES SNATCH (GOES TO DOOR AND UNLOCKS IT) I gotta go down the hall and sterilize these gloves. I'll be right back... Snatch exits, LOCKING the door behind him. Goto 8.2 R ALONE IN ROOM. 8.2 R ALONE IN ROOM R is now free to explore the room. HOW R GAINS ACCESS TO AGENT KNOTT: The following actions allow R access to Agent Knott: A) PICK UP BLOW-UP DOLL (pickup order doesn't matter) B) PICK UP BASEBALL BAT (pickup order doesn't matter) B.1) USE BLOW-UP DOLL with ROGER C) USE BLOW-UP DOLL with MASSAGE TABLE D) USE LIGHTSWITCH E) LOOK AT RED MIRROR (order of looking doesn't matter) F) OPTIONAL: LOOK AT BLUE MIRROR

217 G) USE BASEBALL BAT with KNOTT'S RED TWO-WAY MIRROR This sequence causes the following actions to occur: A) R puts Blow-Up Doll in his Inventory. B) R puts bat in his Inventory. B.1) R blows up Blow-Up Doll. C) R puts Blow-Up Doll on table. This causes Snatch to immediately return, lock door behind him, & begin massaging the inflated doll. (Since Snatch is blind, he thinks he's massaging R.) D) R turns out lights, making the two-way mirrors on the doors act as windows into the neighboring illuminated rooms. E) Looking at the red door's mirror makes screen wipe to a closer view through mirror, showing Knott lying on a table in the next room; Knott is holding his duck as he's massaged by a sexy woman. F) Looking at blue door's mirror (OPTIONAL) makes screen wipe to a closer view through this mirror, showing a tough gangster (JENNETTI) being massaged in the next room by a sexy woman. G) R wields bat and smashes through the red door's mirror, creating an entrance through the glass wreckage to Knott's room. If R uses this sequence to create access to Knott, goto 8.3 R MEETS KNOTT. Here are the other action-permutations which R can perform at this time and their consequences: 8.2 IF R CLICKS USE TABLE AFTER SNATCH LEAVES: This will cause R to lie on the table himself. This will flag Snatch to reenter the room, his surgical gloves freshly washed. SNATCH

218 All sterilized! Snatch stumbles and gropes blindly to the table and starts massaging R's shoulders. After about five seconds, Snatch stops massaging and looks at his gloves.

SNATCH Even through these gloves... my hands feel unclean again! Terribly, horribly unclean! I don't wanna take no chances... (GO BACK TO "8.2 SNATCH LEAVES") 8.2 IF R TRIES TO USE OR OPEN ANY OF THE THREE DOORS This causes R to try to open the door indicated. ROGER It's locked. 8.2 IF R USES DEFLATED BLOW-UP DOLL This will cause R to blow-up the Blow-Up Doll, making it a fully inflated, life-size Doll. 8.2 IF R USES BLOW-UP DOLL WITH MASSAGE TABLE This will cause R to set the Blow-Up Doll down on the table. This will cause Snatch to come through the door, locking it behind him. SNATCH All sterilized!

219

Snatch stumbles and gropes his way to the table and begins massaging the Blow-up Doll, thinking it's Roger. SNATCH Boy, are you stiff! I'll need some music to concentrate... Snatch puts on a walkman headset and grooves to the music (unheard by us) as he massages the Blow-Up Doll. (SNATCH'S DIGITAL FIDGET LOOP IS MASSAGING THE BLOW-UP DOLL.) 8.2 IF R USES LIGHTSWITCH This will cause the room's lights to dim slightly. (Everything in the room is visible, but slightly in shadow.) This causes the MIRRORS on the red and green doors become transparent; it is now clear that they are two-way mirrors; R can now see through them into the neighboring rooms. If Snatch is in the room massaging the Doll when R performs this action, Snatch won't notice the lights because he's blind. 8.2 IF R CLICKS LOOK AT RED OR GREEN DOOR MIRROR WHEN LIGHTS ARE OFF This will cause the screen to wipe to a closer view of KNOTT being massaged next door; LOOK at GREEN DOOR MIRROR will show a closer view of JENNETI being massaged in the opposite room. (Note: An EXIT BOX in the screen will allow the player to exit the closer view and return to the master shot of the room.)

220 Once he knows which room Knott is in, R may turn the lights back on if he wishes; or he can proceed with the lights off. (Note: If he doesn't have the bat yet, it would be easier to find with the lights switched back on. R can try different combinations of actions until he has all of the tools he needs to access Knott.) 8.2 IF R CLICKS USE BASEBALL BAT ON GREEN OR RED DOOR MIRRORS BEFORE PUTTING BLOW-UP DOLL ON TABLE In either case, R will say: ROGER I can't do that yet. 8.2 IF R CLICKS USE BASEBALL BAT ON RED DOOR MIRROR AFTER PUTTING BLOW-UP DOLL ON TABLE This will cause R to take out the bat, wind up and SMASH the MIRROR to pieces. Snatch will not react to the SFX OF GLASS SHATTERING, because he has his walkman headset on and continues massaging the Doll obviously. Smashing the mirror will create an opening in the red door through which R may squeeze. 8.2. IF R CLICKS ON THE SHATTERED HOLE IN RED DOOR In this case, R has solved the puzzle. GOTO 8.3 R MEETS KNOTT. 8.2 IF R USES BASEBALL BAT ON GREEN DOOR MIRROR AFTER PUTTING BLOW-UP DOLL ON TABLE

221 The glass will SMASH, creating a hole in the green door which R may squeeze through if he wishes. (Again, Snatch will hear nothing and obviously continue his massaging fidget loop.) 8.2 IF R CLICKS ON SHATTERED HOLE IN GREEN DOOR (Note: Snatch has clearly warned R against doing this. If R insists in trying this incompetent action, he will forfeit access to Knott and will have to get a job as an Electric Chair Repairman in order to enter the police station.) In this case, R will squeeze through the hole in the green door. We HEAR PUNCHING, GUNSHOTS, FIGHT SOUNDS. Screen WIPES to: EXT. BLUE LAGOON. After a beat, we see R being tossed out the entrance into the street, landing in a rumpled heap. He gets up, brushes himself off, and GAME PLAY RESUMES. R may reenter the Blue Lagoon, but he will be unable to get past Stugatza. He must find another way to get arrested... If R reenters front door of Blue Lagoon, GOTO 8.2 R BARRED FROM BLUE LAGOON. 8.2 R BARRED FROM BLUE LAGOON In this case, R approaches Stugatza again at the front desk. Stugatza is doing his mumblypeg fidget. Flag stairs. R will be unable to climb the stairs, which are again inactive. The only thing R can do here is click TALK to Stugatza. 8.2 TALK STUGATZA AFTER R'S BEEN THROWN OUT: This causes Stugatza to notice R and bark:

222

STUGATZA Hey, I heard ya just trashed my aunt's massage room! Your business ain't welcome here, scummer. Get lost. Stugatza will ignore R and continue his mumblypeg fidget. Nothing more will happen here and R can only exit. He blew it. (Note: To reiterate, R still must meet the underground. He may try other ways to get arrested, but none of these will work. The only way he will meet the underground and be allowed access to the police station, is if he gets a job as an Electric Chair Repairman.) 8.3 R MEETS KNOTT The screen WIPES to INT. KNOTT'S MASSAGE ROOM. Description: Identical filthy room, except that Knott is lying on the massage table. We recognize Knott from his video message in Malibu Stu's. An overweight, militaristic fed. He's now wearing only a towel and holding his WHITE DUCK in his arms while being massaged in a FIDGET LOOP by a sexy woman. Roger automatically enters the shot and walks up to the table. Knott looks up in shock, furious at this interruption, but still lying down and clutching the duck protectively. KNOTT What the hell is this? (FLASHES HIS FBI ID) Special Agent Knott. Do you know who you're dealing with, punk!? Do you know who I am?!

223

(Knott's FIDGET is HOLDING his duck while holding up his ID to R as the DIALOGUE OPTIONS appear:) 8.3 DIALOGUE OPTIONS (USE SCUMM SYSTEM ON THESE OPTIONS):

ROGER (1 OF 3) You're a fat nazi pervert. And that goes double for your mother. (GOTO RESPONSE A) ROGER (2 OF 3) You're a flaccid dickless dick. You could walk into a wall with a hard-on and break your nose (ALSO GOTO RESPONSE A) ROGER 3 OF 3) Your duck looks like the loser of an interspecies poontang contest. (GOTO RESPONSE B) RESPONSE A: Knott at first bristles at this remark, but after thinking about it for a second, shrugs and relaxes back on the table in comic resignation. KNOTT Yeah... that's true...

224 (Note: As in Ron Gilbert's Scumm System, the Dialogue Options reappear, minus the one just selected. We are in effect humorously rewarding R by forcing him to choose the only answer which will get him arrested.) RESPONSE B: This remark about his duck makes Knott sit up in a rage, grab R by his collar and shriek in a trembling, apoplectic fury: KNOTT WHAT?! Nobody but nobody insults my duck without paying the consequences! You're under arrest, gink! Knott violently pulls R out of frame. GOTO 8.4 R ARRESTED. 8.4 R ARRESTED (CUT-SCENE) The screen WIPES to the FRONT STEPS OF THE POLICE STATION. Knott, now dressed, is cradling his duck in one arm while angrily pulling a handcuffed R up the steps with the other. Knott stays outside and shoves R through the doorway of the police station. Knott flashes his FBI badge at an unseen officer inside, who has presumably grabbed Roger and taken him into custody. KNOTT Agent Knott. FBI. You got my permission to put this scummer's nuts in a vise. I never wanna see him alive again. You catch my drift?! Knott storms off down the stairs, muttering angrily as he pets and comforts his duck. GOTO BLOCK 4: INT. POLICE STATION

225

8.5 IF R RETURNS TO BLUE LAGOON AFTER HACKING INTO KRUZ CONTROL In this case, R will be looking for DUCK/FOWL DNA and will come here to see if Knott's duck is still there. To obtain DUCK DNA, R must perform the following actions: Enter the Blue Lagoon. In this case, Stugatza the Clerk will be gone. Climb the stairs, which will wipe to the door to Snatch's room. Enter Snatch's room. Click on the smashed door to Knott's room. In this case, Knott will be back on his massage table, asleep and snoring with the duck still in his arms. (Knott's masseuse is gone.) PICK UP DUCK FEATHER lying beside the duck on the table. The feather will appear in R's Inventory. 9.0 PINE STREET INN Description: A small filthy fleabag hotel for transients. The words NO VACANCIES flashing in broken neon lights. 9.1 PINE STREET INN This is one small dumpy room with a front desk and a small lobby with tacky furniture and a pay TV next to it. 9.1 THE FRONT DESK AREA Description: A filthy Front Desk with nobody there and the sign NO VACANCIES. The Front Desk is always unoccupied throughout the game. There is a small active SIGN next to the desk with a the heading MAIL under which is printing too small to read. Under the SIGN is an active

226 MAILSLOT (big enough to receive a package). The mailslot is empty unless R has mail to receive. 9.1 LOOKAT SIGN ON DESK Clicking LOOKAT SIGN wipes to closeup of sign, which reads: MAIL Letters or packages addressed c/o Pine St Inn, W. Fargo Plaza may be picked up in mailslot. 9.1 PICKING UP MAIL Later after R has USED both PEN and STAMP on POSTCARD and mailed it, set flag so that an active package will appear in mailslot. R may then PICK UP PACKAGE, OPEN it, and find his CYBERSEX KIT inside. (Note: The only mail R can receive in the game is his Cybersex Kit. R will need to pick up this package in order to make love to Kaira; and he will need to make love to Kaira in order to go on his final mission for Roberta.) 9.1 LOBBY FURNITURE Description: On the other side of the small, dumpy lobby is the filthy lobby furniture: a SOFA and CHAIR 1 & CHAIR 2 (tacky cushioned armchairs). The furniture is active; R may USE furniture and thus sit. The CUSHIONS on all three seats are also active. 9.1 LOOKAT SEAT CUSHION: This causes R to look between the cushions. ROGER

227 There's something down there. 9.1 PICK UP CUSHION will reveal one active KRUZ $5 COIN stuck between the seats of CHAIR 1, two active COINS in CHAIR 2, and five active COINS stuck in the SOFA. 9.1 PICKING UP COINS puts them in R's inventory. R may return here occasionally when he needs money and find more COINS. (Note: The other typical scumbag way in which R gets cash is by checking the COIN RETURN slots on various vending machines around the city.) 9.1 LOBBY TV: Next to the furniture is a COIN OPERATED TV which R may operate. USING COIN with TV turns on the set, which shows KRUZ PROPAGANDA FUNFLICKS for 30 sec, then shuts down until another coin is inserted. (Note: This TV may also gives V.O. newsflashes which augment the plot of the story as R explores the city. SEE SCOTT BENNIE FOR TV V.O. NEWSFLASH TEXTS.) 9.1 LOBBY CYBERJACK: On the wall next to the furniture is a CYBERJACK into which R may plug his deck. A SIGN on the cyberjack (which is seen on all cyberjacks around town) reads: KRUZ CYBERJACK FREE VORTEX ACCESS Compliments of the Kruz Corporation Directions: 1) Plug in deck 2) Init Kruz Vortex Interface Program 3) Enjoy the ride!

228 (Note: R can only get the Kruz Vortex Interface Program from Selma's, which is included in the Kruz Vortex Starter Kit along with the Hacker Starter Kit.) To recap, the Lobby can serve the following purposes: A source of coins for R, which he will need in vending machines etc. A TV which can tell R the latest developments in the Hacker Attacks etc. A place where R my jack into the Vortex. A mailing address for R where he can later pick up his Cybersex Kit. Cyberjack. 10. 0 SAVANT BROS TV REPAIR AND SHOWROOM See rendering. Front window is active, but allows R no entrance until he completes the following action. A small active sign on the window has the heading WARNING; the rest of the words are too small to read. LOOK AT SIGN wipes to a closeup of the sign: WARNING Security alarms attached to this window. Vandals will be subject to immediate arrest. SET FLAG: If R does not have or BASEBALL BAT in his Inventory as he enters the scene. 10.1 IF R USES BASEBALL BAT WITH WINDOW - CUT-SCENE R will smash the window with the bat. (Note: The glass breaking should be animated to facilitate this and allow the player maximum interactivity.) An

229 alarm will go off as the brick smashes the glassware to bits. R will look around for a few seconds, waiting for the police. Suddenly from the window, two identically-dressed CLONE-ROBBERS rush out wearing two legs of the same panty-hose over their heads (instead of separate nylons), which forces to move together awkwardly as they try to escape in opposite directions, knocking R to the ground. CLONE ROBBER 1 Gink! I told ya panty hose was a bad idea! Suddenly two COPS rush in from the sidewalk behind them, disarm them, and handcuff them. COP 1 quickly helps R up from the ground and pats him on the back. COP 1 Thanks for setting off that alarm. That was quick thinking, punk! (TO ROBBERS) Let's go, scummers! The Cops violently pull the robbers out of frame. END CUT SCENE. GAME PLAY RESUMES. The shop door is closed and inactive. R can enter now by climbing through the broken window. R can hang around or leave the scene. 10.2 INT. REPAIR SHOP SHOWROOM Description: At first, it's dark, too dark to see. There is only one tiny light visible on the wall. 10.2 LOOKAT TINY LIGHT ON WALL (w/ dialogue response:)

230 ROGER It's a light switch. If R USES or PUSHES the LIGHT SWITCH, the entire room will suddenly and shockingly illuminate, lit by hundreds of TV screens of all sizes. The TVs are all showing the same thing: a maudlin speech by Malcom Kruz. (Once the TVs are on, R will then automatically shut the front door.) (Note: To save shooting, we can recycle one of the FUNFLIKS! featuring Malcom to play on the monitors.) Kruz appears on all of the TVs in the maze simultaneously, and the funflick runs on a repeating loop for as long as R is in the room. Moving into the room will reveal a doorway to the back. This is the repair shop. 10.3 SAVANT BROS. WORKSHOP Two characters: 2 BRAINWASHED CLONE-BROTHERS. All of them are repairing TVs while their eyes are glued to a TV screen which is showing a Kruz sitcom. Since these characters don't move much, these can be 2 guys with approximately the same looks and w/ identical mustaches, all wearing identical coveralls and caps and making the same simultaneous movements more or less, etc. Or they can be digitally duplicated, which would make their actions identical. (We need not necessarily see what is on their TV, but we must at least see light flashing from the screen and hear the soundtrack.) Description: A weird, sloppy, cluttered electronics workshop. The 2 brothers are seated at a long workbench littered with a jumble of wires and disemboweled TV parts. The TV they are watching is at one end of the bench. Next to the bench is an active VIDEO CAMERA on a tripod. The camera is turned off and has an active CABLE attached to it with the other

231 end lying on the floor. There is one door, the front door of the shop which is locked. 10.3 CUT-SCENE: Set clock for 20 seconds as soon as R enters the workshop. Once Roger enters their sloppy workshop. The 2 brainwashed clones are revealed. The brothers don't seem to notice or even see R, they're all so engrossed in staring at the shitty sitcom. (This scene reinforces the storyline in showing that the Kruz Corp. is brainwashing people in SamCity as well.) (Note 2: To save on shooting, we can just show the light of the screens on the two brothers face.) Roger notices that whenever they hear canned laffs in the sitcom, the 7 Brothers immediately laugh along with the laff track. When there is canned applause, the 7 brothers immediately applaud. 20 seconds after Roger enters the room, the show has a station break and wipes to the Kruz logo. We hear a sickeningly upbeat announcer: TV ANNOUNCER V.O. You're watching the Kruz Network's 24-Hour Sitcom Channel! Humor That's E-Z on the Brain! The screen flashes the slogan: "Humor That's E-Z on the Brain!" Immediately he Brothers read the words in unison in a brainwashed monotone: SAVANT BROTHERS Humor That's E-Z on the Brain!

232 EZ listening muzak blares and we hear applause. In response, the clones applaud enthusiastically. They seem to be doing everything the TV tells them to do. Then the sitcom resumes onscreen and the clones resume watching intently. Their FIDGET loops are the moves they make repairing some identical gadgets. Right after the station break, GAME PLAY RESUMES. 10.3 DIALOGUE OPTIONS: ROGER (1 OF 3) Excuse me, but can you guys fix my deck? ROGER (2 OF 3) Do you guys actually like that shit? ROGER (3 OF 3) Hey, are you guys brainwashed? These questions are offered to the player whimsically, because they receive no reply. The questions set up the fact that the Brothers will not respond to verbal communication; no matter what dialogue R selects, the Brothers ignore him and continue staring at the sitcom. 10.3 TALKROGER AFTER CHOICES AND BEFORE USING CAMERA: TALKROGER (waves hand in front of their faces) Hey, guys...? Can you guys hear me...? Guys? Eyes glued to the set, the brothers don't even seem to see him. 10.3 TALKKAIRA AFTER CHOICES AND BEFORE USING CAMERA:

233 TALKKAIRA It appears that they will only respond to their TV, Roger. Solution to the Savant Brothers Puzzle: R must get their attention and get them to fix his deck. R gets an idea. The idiots only seem able to focus on what's coming through the screen. Roger may move to the video camera on the other side of the room, PICK UP the video CABLE attached to it and USE it of the TV the brothers are watching. This will cause R to hook the cable to the back of the TV. Then Roger may USE VIDEO CAMERA and talk into it. 10.3 IF R USES VIDEO CAMERA If R USES CAMERA without first USING CABLE, nothing will happen. (Again, when R USES CABLE, he will automatically hook the cable to the back of the TV.) USE CAMERA will then initiate a CUT-SCENE: CUT-SCENE 2: R will automatically talk into the camera and Roger's image will simultaneously appear on the brothers' TV. (Note: This dialogue should be rehearsed to be very fast-paced and crisp.) ROGER ON TV Attention, ginks! Can you fix a melted deck? The brothers instantly perk up and respond to what Roger has to say. SAVANT BROTHERS (UNISON) Yeah! ROGER

234 Do you have any hacking software I can brainwash ya into giving me? BROTHERS (UNISON) Yeah! Roger rushes over and sets his deck in front of them. ROGER Here's the deck. Thanks, guys. But the brothers don't even see him. They are still staring at the blank TV. Realizing his mistake, R rushes back and says into the camera (appearing again on the TV): ROGER My deck's on the bench. Can you gurfs fix it? BROTHERS (UNISON) Yeah! Immediately the brothers crowd around the deck and start furiously fixing it. In ten seconds, they look up at the TV and say: BROTHERS (UNISON) All fixed! ROGER (STILL ON TV)

235 Great. Now how about installing some primo hacker software. Can you you mindless quags handle that? BROTHERS (UNISON) Yeah! They grab a bunch of plaz tubes and quickly install their data in R's deck. BROTHERS (UNISON) All done! ROGER Thanks, clone-heads! BROTHERS (UNISON) You're welcome! ROGER Tell me there's no damned charge! BROTHERS (UNISON) There's no damned charge! R automatically unhooks the cable. Another Kruz sitcom begins on the TV and the Brothers resume watching as if nothing happened. When R PICKS UP his repaired deck: ROGER

236 Have a nice day, brainiacs. And remember, always question authority. They ignore him. R may now look around the place for any ITEMS he may be able to pick up, or exit through the broken wide-screen TV, through the maze, and out the rear door. 12.0 KRUZ CYBERKIOSK (SEE 6.0) This is the same building as in 6.0, but with slightly different dressing. Like the description in 6.0, it also has two signs, one which reads FULL, the other FREE! FREE! FREE!, and also has a KRUZ CLONE GUARD with identical dialogue. BLOCK 4: CIRCLE SQUARE 13.0 SELMA'S DISCOUNT SOFTWARE (EXT.) Add to rendering a conspicuous (and active) SEWER DRAIN in the gutter in front of the store. There is an active $5 KRUZ COIN lying in the gutter. There are a number of tattered SIGNS out front advertising the latest software deals (e.g., CYBERSEX ANTIVIRUS SALE!, etc). One of the signs is active and has the heading: PRICES SLASHED!; the rest is too small to read. LOOKAT SIGN wipes to a blowup of the sign: PRICES SLASHED! KRUZ VORTEX STARTER KIT Includes Hacker Starter Kit NOW ONLY $200.00 13.1 INT. SELMA'S DISCOUNT SOFTWARE

237 R is the only one in the store as he enters. Here are some changes which refer to the interior rendering layout: 1) On the yellow counter at the left, put a small SERVICE BUZZER labeled "SERVICE". Change the computer at the bottom left (labeled POWERPLUS) to a stack of slick products labeled "KRUZ VORTEX STARTER KIT - ONLY $200". One of these boxes is active. If R clicks OPEN STARTER KIT, R will open the top box; the screen automatically wipes to a closeup of the contents, all of which are active: five pieces of beginning HACKER SOFTWARE (SEE SCOTT BENNIE FOR NAMES AND USES) a HACKER STARTER KIT (which can attach to the side of R's deck) 2) Change the Yucky Charms in the center aisle to another display of boxes labeled WEIRD BBS SOFTWARE KIT. One of these boxes is active. If R clicks OPEN or LOOKAT BBS KIT, R will open the box and we wipe to a closeup of its contents. (SEE SCOTT BENNIE FOR WHAT SOFTWARE COULD AUGMENT BBSING.) When he's done looking, R clicks an exit box and wipes back to him closing the box and putting it back. He may then PICK UP the box again if he wishes, or move on. (Note: For the purposes of this draft, the BBS KIT may later be changed to some other KIT, depending on the needs of the cyberspace portion of the script. SEE SCOTT BENNIE. The point is that to maximize and at the same time focus the game's interactivity, I want all three of these products to be necessary to R at different points in the story in order for him to complete the game.) 3) On the counter on the opposite side labeled SNACK CENTER, change this to another stack of slick products labeled EROTIC CYBERSEX KIT. One of these boxes is active. If R clicks OPEN or LOOKAT CYBERSEX KIT, a CUT-SCENE begins in which R reads the cover of the box aloud:

238

ROGER "Cybersex Interface Kit. New From Joystick Productions. This kit contains a virtual realtime 3D morphing 512bit color anti-aliased poly-phong-shaded interactive left-handed bit phase-shifter."... Man, this looks hot! He excitedly opens the box, and is puzzled that it's empty, except for an active postcard-shaped CARD. LOOKAT CARD will cause R to take out the card; the screen wipes to a closeup of a POSTCARD addressed to JOYSTICK PRODUCTIONS and the following message: We apologize. Our product was not ready for shipment. Please mail in this card and we will ship it to you when we feel like it. NAME................................................ ADDRESS........................................... R will then automatically toss it back on the counter in disgust and GAME PLAY RESUMES. Nothing more will happen until R either USES SERVICE BUZZER or exits scene. (Note: R will be unable to PICK UP any product and put it in his Inventory until he buys it from Selma.) 13.1 IF R USES BUZZER - BRIEF CUT-SCENE: (Note: This scene is used whenever R returns to the shop throughout this act. The ending of the scene depends on where R has already been and which product he brings Selma.)

239

SELMA enters from the right and approaches R. SELMA is a very tough older Chinese woman who scowls suspiciously at R. SELMA No loitering. Are you gonna buy something? ROGER Well, uh -SELMA Look, if you want to buy something, give it to me. END CUT-SCENE. GAME PLAY RESUMES. R may go to any of the three active products and click GIVE PRODUCT TO SELMA. This will cause R to pick up the desired box and bring it over to the left counter by Selma. Or of course R may simply leave. If R has finished Billy Red's mission and gives Selma the BBS Kit [or another type kit depending on our needs], goto 13.5. If R has finished Marian's mission and gives Selma the Cybersex Kit, also goto 13.5. 13.1 IF R'S DECK HAS NOT YET EXPLODED AND HE GIVES SELMA ANYTHING EXCEPT THE VORTEX STARTER KIT: OR -IF R HAS FINISHED BILLY RED'S MISSION AND GIVES SELMA ANYTHING EXCEPT THE BBS KIT [OR ANOTHER TYPE KIT DEPENDING ON OUR NEEDS]: OR --

240 IF R HAS FINISHED MARIAN'S MISSION AND GIVES SELMA ANYTHING EXCEPT THE CYBERSEX KIT: (CUT-SCENE:) SELMA (TAKES BOX, READS IT AND SHAKES HEAD) Forget it! I'm all sold out! ROGER What do you mean, sold out? There are twenty boxes over there. SELMA Are you deaf?! This is my best seller! Every box is already reserved. (PUTS BOX ON COUNTER) Now no loitering, punk. If you want something, hand it over. GAME PLAY RESUMES. 13.1 IF R GIVES SELMA VORTEX STARTER KIT - CUT-SCENE: SELMA (SUSPICIOUS) You got money, jack? ROGER I've got enough, lady. He holds up his plaz tube. If R has not yet dropped his plaz in sewer, goto "13.1 R DROPS PLAZ".

241 If R has already retrieved his plaz from sewer, goto "13.3 R BUYS VORTEX KIT." 13.1 R DROPS PLAZ While showing Selma his plaz tube, he accidentally drops it. We hear and see the plaz tube rolling across the floor and out the front door. ROGER I'll be right back, lady. Roger runs out the door after it. WIPE TO: 13.2 EXT. SELMA'S (CUT-SCENE CONTINUES) We see the plaz tube roll down the stairs, across the sidewalk, into the gutter and fall through the sewer grating. Roger rushes after it, but doesn't catch it in time. END CUT-SCENE. GAME PLAY RESUMES. The SEWER GRATING in the street gutter is active. LOOKAT SEWER GRATING will wipe to a closeup, in which R can see the PLAZ TUBE through the grate, caught on a ledge of the filthy sewer below. 13.2 USE SEWER HAND WITH SEWER GRATE will cause R to reach his arm through the sewer grating, but he will be unable to reach the plaz tube in this way. As he tries to reach it: ROGER Damn! It's just out of reach. Aggravated, R pulls his hand out and stands up, wondering what to

242 do next. GAME PLAY RESUMES. 13.2 TALKROGER AFTER LOSING PLAZ DOWN GRATING AND BEFORE LEAVING SCENE: ROGER I need that plaz. 13.1 IF TALKKAIRA AFTER LOSING PLAZ AND BEFORE LEAVING SCENE: (FIRST TIME) TALKKAIRA Roger, you must retrieve your plasma tube. You'll need it to purchase a Beta Module. Without it you may not enter the Vortex. ROGER Nice recap, Kaira. Next time, can you be a little more boring? (ANY OTHER TIME) TALKKAIRA (SIGHS; DISGUSTED) You'll need your plaz, Roger. Here Roger may try to retrieve the plaz or may just exit the scene. R, however, will be unable to enter cyberspace until he retrieves his plaz and buys the Hacker Starter Kit from Selma. 13.2 IF HE REENTERS SELMA'S BEFORE RETRIEVING PLAZ

243 R reenters Selma's. Selma is not there. On the counter by the buzzer is a sign which reads: "BE BACK LATER" If he USES buzzer, it will BUZZ, but no one will appear. Roger can peruse the products on the aisles, but nothing else will happen here until he retrieves his plaz. 13.3 IF ROGER ENTERS SELMA'S AFTER RETRIEVING HIS PLAZ The store will be empty when R enters. (There is no "BE BACK LATER" sign on counter.) Nothing will happen until R USES BUZZER. Go back to "13.2 IF R USES BUZZER - BRIEF CUT-SCENE". 13.3 R BUYS VORTEX KIT - (BRIEF CUT-SCENE CONTINUES) (Note: R has just lifted the plaz up to show it to Selma. This is a continuation of "13.1 IF R GIVES SELMA VORTEX STARTER KIT" above.) SELMA (SUSPICIOUS) You got money, jack? ROGER I've got enough, lady. Selma grabs the plaz and shoves it in her cash register computer. The plaz whirrs and lights up as she hands KIT to Roger. The plaz stops whirring and goes out and she gives it back to R with a receipt. SELMA Your receipt. R automatically takes the receipt, which goes into his Inventory. (Note: The RECEIPT is active and may be used with the YAK'S DUNG to make an

244 "imported cigar" later in the game.) GAME PLAY RESUMES. LOOKAT RECEIPT wipes to a closeup which reads: $237 .........CREDIT ON TUBE $200 .........PURCHASE -----$37 ..........REMAINING CREDIT An exit box wipes back to the master shot. Nothing more will happen until R clicks on the door to leave. When R clicks on door, BEGIN CUTSCENE: 13.3 IF R CLICKS ON DOOR/SELMA ATTACKS R (CUT-SCENE) As he heads for the door with his package: ROGER Later, baby. Just as R is at the door, Selma suddenly jumps up behind him, slams him violently against the counter at the right, and shoves a shotgun barrel under his chin. CLOSEUP of Selma whispering in terror: SELMA Are you an escaped criminal!? ROGER What? No way. What the hell are you talking about? SELMA (terrified) You think I'm blind?! You've got a tracer

245 chip in your head. I know that goddamn chip. They plug those into criminals... ROGER Look, lady, I got the implant at Kruz. It wasn't my idea. Then they fired me. Her hand trembling on he gun in fear, Selma calms down and lowers the gun. Looking around to make sure she's not overheard, she whispers in his ear. SELMA My husband was a hacker who infiltrated Kruz. They caught him, tortured him, then put a tracer chip in his head. The same chip you have. Kruz used my husband to find the hackers -- and then murdered them. Including my husband. So don't come back here and don't talk to anybody until you get that tracer out. I'm puttin' the word out on you until you do, you hear me?! Now get lost. Wipe to master shot. She shoves him out the door. WIPE TO: EXT. SELMA'S DISCOUNT SOFTWARE (CUT-SCENE CONTINUES) Roger exits down the stairs, stops and looks around. RESUME GAME PLAY. 13.4 TALKROGER AFTER R THROWN OUT OF SELMA'S TALKROGER

246 I gotta get this chip out of my head. 13.4 TALKKAIRA AFTER R THROWN OUT OF SELMA'S ROGER Are you still with me, Kaira? Either WIPE TO KAIRA SPLITSCREEN or hear her V.O.: KAIRA Yes, Roger. I concur with Selma's advice: you must remove the tracer implant immediately. She ZAPS offscreen. GAME PLAY RESUMES. R may reenter Selma's or exit the scene. 13.5 IF R FINISHES BILLY RED'S MISSION AND GIVES SELMA BBS KIT [OR ANOTHER TYPE OF KIT, DEPENDING ON OUR NEEDS]: OR -IF R FINISHES MARIAN'S MISSION AND BRINGS SELMA CYBERSEX KIT: (CUT-SCENE:) SELMA (SUSPICIOUS) You got money, jack? ROGER (HANDS HER PLAZ) I've got enough, old lady.

247 Selma grabs the plaz and shoves it in her cash register computer slot. The plaz whirrs (and perhaps lights up) as she hands kit to Roger. The plaz stops whirring and goes out and she gives it back to R. SELMA Sorry, all outa receipts. GAME PLAY RESUMES. Selma's FIDGET is rubbing her chin and staring at R suspiciously, nastily. Nothing more will happen until R clicks on the door to leave.

14.0 MANHOLE COVER/SEWER ENTRANCE (Note: Since the MANHOLE has not been designed yet, IT MUST BE LOCATED NEAR SELMA'S for obvious reasons. There are two options for it's placement that seem logical. Either: insert the MANHOLE at the bottom right of the SELMA'S rendering (in the street) as a rather small, thin active metal oval; or - insert the MANHOLE on the street in front of Knight's News Stand. [In this case, it's important to insure that Knight's is LOCATED NEXT TO SELMA'S ON THE LOCATION LOOP.]) Description: A metal manhole cover with electronic gizmos on it, but nothing can be made out clearly unless R clicks LOOKAT MANHOLE COVER. 14.1 LOOKAT MANHOLE COVER The screen wipes to a closeup view of the manhole cover. Etched in a circle in the metal around the top edge of the circle (like the lettering on the top of a coin) is the following:

248 SAMCITY SEWER SYSTEM Computerized Vandal Lock -- Patent Pending Etched around the bottom edge of the cover, in smaller print, is:
Manufactured at Dante's Asylum Roadkill Ave., S. SamCity

In the middle of the cover is an active TYPEWRITER KEYBOARD (letters only) with a small narrow screen above it. Written on the screen is: ENTER UNLOCK CODE. (Note: These words vanish whenever R begins typing in a code.) R must enter an alphabetical code on the keyboard/the player's keyboard, which will appear on the screen as he types it, to give the experience a more interactive feel.) Once he enters the correct code, the Manhole Cover will whirr and spring open, allowing R access to the sewer. Clicking an Exit Box wipes the closeup back to the street scene. 14.2 IF R TYPES IN RANDOM LETTERS In this case, after R types 20 characters, the screen buzzes, erases the letters he's input, and the words appear: INCORRECT CODE. After two seconds, these words disappear, replaced by the default message: ENTER UNLOCK CODE. If R enters the incorrect code, this sequence will repeat. 14.3 TALKROGER OR TALKKAIRA AT MANHOLE ONLY AFTER PLAZ FALLS DOWN SEWER These TALK FUNCTIONS could be clicked either with the closeup of the lock still onscreen, or with the master shot showing R kneeling over the manhole on the street and speaking the dialogue. (If it's clicked during a closeup, the following would be voice-overs.) (ONE TIME ONLY) ROGER

249 Great. It's locked. Maybe I should try some random numbers. SFX: KAIRA zapping onscreen (whether or not we see her). KAIRA The probability of hitting the correct code is absurdly low. Only a mental incompetent would think that he could, by pure chance, hit upon the exact sequence which would -ROGER (INTERRUPTING) Kaira, please shut up. Can you access the SamCity database and get the code? KAIRA I'm afraid not, Roger. ROGER Then how the hell am I going to unlock this damn thing? KAIRA I'm confident that you'll find a solution, Roger. SFX: KAIRA zapping offscreen (whether or not we see her). ROGER (SARCASTICALLY IMITATING HER SEXY DELIVERY) "I'm confident that you'll find a solution, Roger..."

250 (NORMAL VOICE; PISSED) Yeah, you're a big goddamn help. R sighs disgustedly, stands up and looks around, wondering what to do next. GAME PLAY RESUMES. 14.4 HOW R SOLVES THE MANHOLE PUZZLE R must do the following to open the manhole cover: enter the Morgue find the hidden entrance to the Asylum find ERNST BANFF, a maniac who is dressed as Abraham Lincoln ask Banff for the code all Banff will say is that he used his own name as the code return to manhole lock and enter the code: ABRAHAM LINCOLN. (Note: R may try entering BANFF or ERNST BANFF as the code, Banff's name which R may learn from reading a PSYCHIATRIC REPORT lying on Banff's desk. But the shrink's report is a red herring. Only by typing ABRAHAM LINCOLN will R solve the puzzle and gain access to the sewer.) IF R ENTERS "ABRAHAM LINCOLN" The closeup of the lock will wipe to the master shot, showing the manhole cover whirring and creaking open. Nothing more will happen unless R clicks on the open hole. If he does, R will automatically lower himself down the open manhole, apparently climbing down an unseen ladder. When he's out of view, wipe to "15.0 THE SAMCITY SEWER". 15.0 THE SAMCITY SEWER Once Roger clicks on and enters the manhole, CAMERA ANIMATION: down tunnel and out into sewer.

251

He must cross the planks lying over the sewer trench. One of the PLANKS is active. The SEWER TRENCH, filled with SEWER WATER, is active. On the other side is the Authentic Ratburger Stand, another cistern tunnel leading off vaguely to the right, and a giant ventilation FAN to the left. The FAN is operating at top speed, and is active. Add a BUCKET to the junk lying around; this BUCKET will also be active. (Note: If possible, the burger stand should be changed slightly to include a MENU SIGN and GRILL. To add clarity to the scene, the burger stand should look a little more as if rats are actually being cooked there, whereas now it appears to be merely a pile of junk with a sign over it. The MENU lists the items: "Fried Ratburgers", "Rat-Tattooie", "Rats on the Cob" [like corn-on-the-cob] and "Shish-Ka-Rat". Three big Shish-Ka-Rats are skewered on sticks next to the stand.) The place is empty except for OMSK, the owner of the ratburger stand, who's turned away from us, presumably cooking at a grill. Omsk, 70, is a filthy bum smoking a stubby cigar, and wearing a filthy chef's hat and a filthy apron. Like Johnny Cupcake, who looks younger, Omsk has a tough "street" accent. (It would be great to get a classic old character actor, like Elisha Cook Jr., for this cameo role). 15.1 IF R CROSS SEWER TRENCH In this case, Omsk automatically turns and sees R. MR OMSK Hey, you. Yeah, I'm talkin' to you. Eddie Omsk here. I'm tryin' to get my own business goin' here. How about supportin' an independent entrepreneur and havin' one o' these mouth-waterin'

252 Authentic Rat-Burgers! Made from the plumpest, juiciest, disease-free rodents in SamCity. If ya ain't had one, these babies taste just like chicken. How about it, pal? 15.1 DIALOGUE OPTIONS APPEAR: ROGER ( 1 OF 2) Did you see a plaz tube drop down here? (GOTO RESPONSE A) ROGER (2 OF 2) Fried rats! Mmmm-mmm! (GOTO RESPONSE B) 15.1 RESPONSE A: OMSK Was it by any chance a plaz tube that was dropped down a sewer grating in front of Selma's not too long ago? ROGER Yeah. You seen it, Omsk? OMSK I ain't seen nothin' like that around here. (GOTO "15.2 OMSK RESOLUTION") 15.1 RESPONSE B: OMSK

253 I take it you'd like one o' Eddie Omsk's delicious broiled burgers, kid? ROGER No way, old man. I was being sarcastic. OMSK (ANGRY) I'm workin' in a sewer, and you gimme sarcasm? Tell me somethin', I been here for two goddamn weeks and made zero profit! I don't get it! How come nobody's buyin' nothin'!? ROGER Simple. Your location stinks, and your product sucks. OMSK (SUDDENLY CONSIDERS) Oh yeah... I didn't think of that... (GOTO "15.2 OMSK RESOLUTION") 15.2 OMSK RESOLUTION: Omsk blows smoke in R's face, then crushes out his cigar. ROGER That thing smells like yak's dung. OMSK Look, gink, that's an imported cigar -it's supposed to smell like yak's dung!

254 I tell ya what, you scratch my back an' I'll scratch yours. You check around town and get me another imported cigar, and I'll help ya find yer plaz. Omsk turns away to face his grill and says nothing further to R. R now has the options of trying to find his plaz himself, or leaving the sewer to find a cigar to give to Omsk. 15.3 THE IMPORTED CIGAR PUZZLE If R passes the Pet Store, he will notice an active sign in the window with the heading "FREE!". Clicking LOOK AT SIGN will wipe to the small print which says there is FREE YAK'S DUNG INSIDE. To solve the cigar puzzle, R must perform the following actions: ENTER PET STORE PICK UP YAK'S DUNG USE YAK'S DUNG with one of three things: 1) SELMA'S COUPON or 2) MORGUE FLIER or 3) CRUMPLED SAMCITY MAP. This action will cause R to sprinkle the yak's dung on the paper and roll it up like a cigar. Now an IMPORTED CIGAR will appear in his Inventory. (Note: Later, when SMACK at the news stand asks for a cigarette, R may also use SELMA'S RECEIPT as a rolling paper.) If R gets a cigar for Omsk, goto 15.4. 15.4 IF R GIVES IMPORTED CIGAR TO OMSK

255 Omsk lights up and savors a big drag on the "cigar". He flicks the match over the counter. A moment later, smoke raises unnoticed. OMSK Ahhh! Nothin' like a classy smoke! OK, tit for tat, gink! You wanna find yer plaz, wait for the next rainstorm. That always washes anything stuck in the grate down onto the floor in that tunnel over there... Hey! Omsk puffs on his cigar and turns away again as we first saw him, presumably cooking at his grill again. Nothing more will happen unless R either clicks on the other sewer tunnel (to the right) or on the planks to exit the scene the way he came in. (Note: If R exits, he will eventually have to come back to retrieve his plaz or the story will not progress.) If R clicks on the other sewer tunnel, goto 15.5. 15.5 IF R CLICKS ON THE OTHER SEWER TUNNEL We see R enter the tunnel. The screen wipes to a closeup of the bottom of the sewer grating below Selma's gutter. Stuck very inconspicuously on a ledge above him and out of his reach is R's plaz tube. This will not be obvious to see. Clicking on the plaz makes R try to jump to reach it. ROGER Damn. I can't reach it. If R returns to Omsk, Omsk will tell him nothing unless R finds him an "imported" cigar. 15.6 HOW R RETRIEVES HIS PLAZ TUBE

256

R must think of the clue Omsk gave him about the rains washing everything down. To retrieve his plaz, R must do the following: After Omsk gives bucket to Roger to put out fire, Roger must take the bucket, exit scene the way he came in exit manhole opening and exit Knight's NewsStand scene in the direction of Selma's enter exterior Selma's and USE BUCKET with SEWER DRAIN, which will pour the water down the drain reenter other sewer tunnel where his plaz was stuck R will now find that his plaz tube has been washed down to the floor , where he can PICK IT UP, and it will go into his Inventory. Nothing more will happen here unless R exits the scene. 15.7 IF R EXITS MAIN SEWER ROOM AFTER RETRIEVING PLAZ R will automatically head for the planks and turn to wave good-bye to Omsk. ROGER See ya, gink. And you might think of changing your location. This place stinks. OMSK I chose this location 'cause I figured I wouldn't get robbed here. See, we're directly underneath the Surewood Police Station. (POINTS DIRECTLY ABOVE) The forensics lab is right up there. These

257 filthy rats breed like crazy up in the forensics lab. The bastards eat everything in sight. (SIGHS) Jeez, maybe I should move! Maybe a new location'll stimulate business! I appreciate the constructive criticism! (HOLDS OUT RAT-ON-A-STICK TO R) Here, take this corned ratburger, gratis, as a token o' my appreciation. (Note: This last speech is a clue for R to remember when he is looking for the DNA Forensics Program which he will need later in the game in order to enter the doors of Kruz Control. If he "USES" [meaning, to eat] the Ratburger in his Inventory at that time [after Act 3 begins], he will find the Forensics Program inside the rat's belly. If he tries to "USE" [eat] the Ratburger before he needs the program [before Act Three], he will automatically say: "No, I'm not hungry yet.") If R takes Ratburger, goto 15.9 R EXITS SEWER WITH PLAZ AND RATBURGER. If R tries to leave without taking Ratburger, goto 15.8 R TRIES TO EXIT WITHOUT RATBURGER. 15.8 IF R TRIES TO EXIT WITHOUT RATBURGER Omsk will call after him and R will automatically stop and turn towards him. OMSK Aw, c'mon, don't insult me. I ain't takin' no for an answer. C'mon, take this ratburger, pal, compliments o' Eddie Omsk.

258 Roger will be unable to cross the planks to exit unless he first TAKES the RATBURGER from OMSK. When he does, goto "15.9 R EXITS SEWER WITH PLAZ AND RATBURGER". 15.9 R EXITS SEWER WITH PLAZ AND RATBURGER The RATBURGER appears in his Inventory and R exits. As he does: ROGER Take care, Eddie. R exits -- but we stay on Omsk alone for a beat. Omsk sniffs, looks at the giant fan, then says to himself: OMSK He's right, that clone stench is oozin' outa that goddamn fan. I gotta move my place o' business. As he starts packing up his stuff, the screen WIPES to R emerging from the open the manhole cover in the street above. R closes the cover after him and stands in the street looking around, wondering what he should do next. GAME PLAY RESUMES. 15.10-12 [OMITTED] 15.13 INT. WATT'S OFFICE (CUT-SCENE CONTINUES) Watt is jacked into Cyberspace and is deep in concentration. A smile comes over his face, and he jacks out. His intercom beeps alive. INTERCOM V.O. It looks like you got him, boss. I

259 dont think anyone could have survived that kind of stress in jacking out. WATT So he's dead? INTERCOM V.O. The trace is dead. Watt punches off the intercom, satisfied. WATT (TO HIMSELF) Too bad, Smith. In a few weeks you would've led me right to the underground... (TOASTS R WITH HIS COCKTAIL) Well... rot in hell with your old man, rich boy... 15.14 [OMITTED] 15.14 TALKROGER OR TALKKAIRA FROM WHEREVER HE HAD JACKED INTO THE VORTEX: Roger begins rubbing his aching head, still swooning and shaken up. We hear Kaira ZAP onscreen. (Her remarks could be V.O. here.) KAIRA (SHE "WHIRRS") Roger, are you all right? You almost got permanently jacked. I was able to

260 block Watts batch file from uplinking to your jack. The Kruz officials have just transferred your file to the directory of Deceased Employees. Apparently, they think you're dead, Roger. ROGER Yeah, well that's only a slight exaggeration. KAIRA Congratulations. You're now a free man. But, Roger, I'm worried about your health. You see, since Tukk enhanced my programming, I find myself growing more and more attached to you... ROGER You mean you saved me? KAIRA I am very fond of you, Roger. And please remember Tukk's directives [ONLY IF ROGER DOESNT HAVE THE INFORMATION YET] to find Sheckley's Coffee Shop and to get arrested. She disappears with a ZAP. GAME PLAY RESUMES. (Note: As mentioned above, the Manhole may be in the same shot as Knight's News Stand, in which case R may walk over and explore --)

261

16.0 KNIGHT'S NEWS STAND Description: An outdoor news stand with the following elements: A rack labeled "CITY MAPS" where R may find an active CITY MAP. A rack labeled "KRUZ VORTEX MAPS" where R may find an active VORTEX MAP. An active $5 coin-operated FAXNEWS MACHINE. If R puts in a coin, a news sheet spits out which R rips from the machine. LOOKAT FAXNEWS wipes to a closeup of the news headlines and stories. (Note: See Scott Bennie for which news stories appear at what point in the story.) A "broken" $5 coin-operated STAMP MACHINE which will eat R's coins but will not give out any stamps. (Note: This stamp machine is a red-herring in the STAMP PUZZLE which R must solve much later in order to get his CYBERSEX KIT in the mail.) A huge PUBLIC VID-SCREEN over the news stand which shows silent "KRUZ NEWS" and KRUZ ADVERTISEMENT AND SLOGANS, similar to the silent vidscreen at NYC's Times Square. (Note: See Scott Bennie for KRUZ NEWS and advertisement text, which repeats on a loop. This should be mostly slogans with a few images and the Kruz logo mixed in-between.) An inactive cash register. Standing next to the register is the proprietor of the news stand, SMACK 65, a tough black woman smoking a cigarette at the end of a cigarette holder and wearing a filthy robe. Like others we've met running the stores and roaming the streets, she's very tough and unfriendly. 16.0 TALKSMACK BEFORE FINISHING TUKK'S TUTORIAL TALKSMACK Ya wanna buy somethin', bring it to me!

262 R may PICK UP the SAMCITY MAP or the KRUZ VORTEX MAP or two other active publications (TO BE DETERMINED LATER - SEE SCOTT BENNIE). 16.0 IF R PICKS UP SOMETHING FROM THE RACK AT ANYTIME: If R tries to LOOKAT something he's PICKED UP or tries to EXIT THE SCENE without paying for what he's picked up, SMACK will automatically say: SMACK Does this look like a lending library! Pay up, scummer! R will be unable to exit the scene unless he either puts the object back or GIVES SMACK a $5 Kruz COIN for each object he picks up. To reiterate: HOW R BUYS A MAP OR A MAGAZINE FROM THE RACK: R PICKS UP MAP or MAGAZINE R GIVES SMACK COIN R may then LOOKAT MAP or MAGAZINE ================================================= IMPORTANT NOTE: HOW THE KRUZ VORTEX MAP INTERFACES WITH R'S DECK R will need the Kruz Vortex Map in cyberspace, because it is an encyclopedic listing of all BBSes and Databases along with their coordinates. When R LOOKS AT the VORTEX MAP, he will see that it comes with a MAP DISK. R may USE MAP DISK with his DECK, which will install it. Now R will have the VORTEX MAP in his deck whenever he needs it in or out of cyberspace.

263 The Vortex Map includes an alphabetical listing of all locations which R may visit in cyberspace, as well as their coordinates. One of the listings is CARMODY'S DRIED NUTS followed by its Vortex coordinates. Carmody's, as we shall find, is the secret name of SHECKLEY'S CAFFEINE EMPORIUM, and gives R its "address" in the Vortex. ================================================= 16.1 TALKSMACK AFTER BUYING VORTEX KIT AND BEFORE ENTERING CYBERSPACE (Note: This means R has already met Omsk and gotten the clue about his cigar smelling like Yak's Dung.) SMACK I presume by your body language that you're in a chatty mood. The name's Smack. As in kiss. Speaking of which, if you're trying to pick me up, you look good to me, baby. But I should warn you, I ain't bathed in six months. And don't bother with protection. I've had every disease in the book. (GRABS HIM BY THE SHIRT) So enough talkin', studley. Let's do it. ROGER Uh, thanks, but no thanks, Smack. I just need some information. SMACK Hold your hemorrhoids, gurf! No free rides in SamCity! (FINISHES HER CIGARETTE; LIGHTS UP ANOTHER) I'm almost out of these classy imported

264 cigs. I tell you what, punk, get me one and maybe I'll tell you what you want to know... She turns away, smoking her cigarette as her FIDGET. Set flag. After this, R will only be able to talk to Smack if he has PICKED UP the YAK'S DUNG. As in OMSK'S CIGAR PUZZLE (which is optional but helpful), SMACK'S CIGARETTE PUZZLE (which is not optional) involves R USING YAK'S DUNG with one of the pieces of paper he has in his Inventory, as explained in "15.3 THE OMSK CIGAR PUZZLE". Clicking these actions will result in R creating an "imported cigarette" which he may then GIVE to SMACK. 16.2 IF R GIVES SMACK "IMPORTED CIGARETTE" She takes it, lights up, inhales and smiles at the delicious aroma. Unaware she had flicked her match onto the nearby pile of papers which slowly start to smolder. SMACK Ahhh... there's nothing like the feeling of nicoteine clogging up your lung capillaries... Smack notices the smoke and gives a BUCKET of water to Roger. SMACK Just what I need now, a fire sale. Roger quickly throws the BUCKET on the fire and extinguishes it. (Note: The BUCKET ends up in his inventory. Roger may now use the BUCKET once he refills it in the SINK at Tukks to flush down the drain and retrieve his PLAZ.)

265

SMACK Thanks, baby. Now you said you could use some information... 16.2 DIALOGUE OPTIONS APPEAR: ROGER (1 OF 3) Which way to Sheckley's Coffee Shop? (GOTO RESPONSE A) ROGER (2 OF 3) Where can I get some food? (GOTO RESPONSE B) ROGER (3 OF 3) How can a gurf get arrested around here? (GOTO RESPONSE C) RESPONSE A: SMACK What do I look like, an information booth? Buy a city map, honey. I ain't standing here for my health! (GOTO IF R BUYS CITY MAP) RESPONSE B: SMACK Tukk's Diner on Dwarf Ave. Now get lost. (GAME PLAY RESUMES)

266 RESPONSE C: SMACK Break the law, gink! How else? Now get lost. (GAME PLAY RESUMES) 16.3 TALKSMACK AFTER R BUYS A CITY MAP OR A KRUZ VORTEX MAP SMACK You again. You in the mood yet for doing the nasty? ROGER Uh, no thanks, Smack. I don't see Sheckley's Coffee Shop on his map. SMACK Of course it ain't on that map. CUT TO CLOSEUP OF SMACK MOVING CLOSER TO R: SMACK (WHISPERS) Since you got me the cig, I'll tell you a little secret, but keep it to yourself... Sheckley's is in the Vortex, but it's invisible. Unlisted. It's where the hackers hang out. It's listed in the Kruz Vortex Map under a fake name. Go to the coordinates for "CARMODY'S DRIED NUTS".

267

WIPE BACK TO MASTER SHOT. Smack moves away and clams up, afraid she's said too much to him already. R cannot talk to her anymore except to buy something else. (Note: If R hasn't bought a KRUZ VORTEX MAP yet, hopefully he will think of doing so now, because he'll need it installed in his deck when he jacks in.) GAME PLAY RESUMES. 17.0 SUREWOOD POLICE PRECINCT Exterior description: See rendering. We have the beauty shot, but need an additional closeup of the front steps. 17.1 INT. INTERROGATION ROOM (Note: This room only appears after R has been arrested and brought up the front steps by Knott, or when R enters dressed as an Electric Chair Repairman.) Description: This is simply a tight shot of a metal chair bolted to the floor and an intense spotlight on it. The rest of the room is pitch black. 17.1A IF R WAS ARRESTED BY KNOTT The screen wipes from R being thrown by Knott through the front door to this scene: R is seated in the interrogation chair. His arms are strapped to the arms of the chair. R is bloody and bruised, obviously the victim of a brutal and cowardly beating. We hear suspense music as R's narration fades in over the scene: ROGER V.O. The cops were completely paranoid because the hackers had been backdooring 'em for years. Constantly

268 fucked with their paychecks. Sending 'em checks for five cents. Putting their names on the mailing list for the Coprophiliac's Newsletter. Just because of my "look", they figured I was in the underground... We hear the VOICE of TOUGH COP in the scene. He's furious. TOUGH COP V.O. All I wanted was a few answers, but you had to keep bein' an asshole. I'm gonna keep hittin' ya until ya talk. For the last time ... what's your name?! (SCREAMS) What's your goddamn NAME?! ROGER (EXHAUSTED BUT UNBREAKABLE) Winston... U. ...Canblowme. (GOTO INTERROGATION RESOLUTION) 17.1B IF R ENTERED AS AN ELECTRIC CHAIR REPAIRMAN R is seated in the interrogation chair as above, except that he's wearing his repairman jumpsuit. His arms are strapped down; his face, bloody and bruised. R's obviously been the victim of a brutal and cowardly beating. We hear suspense music as R's narration fades in over the scene: ROGER V.O. The cops were completely paranoid because the hackers had been backdooring 'em for years. Constantly

269 fucked with their paychecks. Sending 'em checks for five cents. Putting their names on the mailing list for the Coprophiliac's Newsletter. So when I came in as an electric repairman with no ID, my social worker was a little over-enthusiastic... We hear the VOICE of a TOUGH COP 1. He's furious. TOUGH COP V.O. All I wanted was a few answers, but you had to keep bein' an asshole! I'm gonna keep hittin' ya until ya talk! For the last time ... what's your name?! (SCREAMS) What's your goddamn NAME?! ROGER (EXHAUSTED BUT UNBREAKABLE) Freddy... P. ...McFuck. (GOTO INTERROGATION RESOLUTION) 17.2 INTERROGATION RESOLUTION (CUT-SCENE): The unseen COP is livid at R's fuck-you sarcasm and screams in a rage: TOUGH COP 1 V.O. (FURIOUS) Why you son of a -- I'm sick of this shit, man! I'm gonna enjoy finishing you off!

270

SFX: DOOR KNOCKING AND OPENING. COP 2 calls from the door: COP 2 (URGENTLY) Hey, man, do this gurf later. The hackers just blasted the Kruz database again. It's jack-in time, man. Let's go! TOUGH COP V.O. (FRUSTRATED; BUT HE KNOWS THIS IS IMPORTANT) All right! (TO R) Don't worry, Freddy... I'll be back. The COP quickly leaves the room. SFX: THE DOOR CLOSES. Silence. After 5 seconds, we hear an ELECTRICAL HUM -- and R's chair suddenly starts to sink down into the floor. R looks around, puzzled. ROGER Hey...! What the -The chair sinks into the blackness as the HUMM continues. WIPE TO: ROGER Hey...! What the -The chair sinks into the blackness as the HUMM continues. WIPE TO: 17.2 INT. MERRY MEN HIGH-TECH HIDEOUT (CUT-SCENE CONT'D)

271 Description: The name says it all. It's a hidden underground room under the interrogation room. Five hackers are jacked in, wires in their heads, visors on, their hands and arms moving through cyberspace. An inactive DRAWING BOARD on the wall shows a diagram of the Vortex (the cocktail glass with its labeled sections). On a pedestal in a corner is a GLASS GLOBE with a DIRTY COMB on a little stand inside it, as if on display. (The globe & comb are not active now, but will be later.) ANGLE ON R IN CHAIR as R shows surprise at seeing someone standing in front of him. Mystery MUSIC fades in as we PAN TO REVEAL -ANGLE ON TUKK DRESSED IN MILITARY KHAKIS The disgusting fat man now looks amazingly different. He's clean-shaven, hair combed back, wearing a futuristic jumpsuit like the other 6 hackers seated at consoles in the secret room (their backs to us and wearing visors so we can't see their faces). He looks like a military commander - and he is. He stares at R skeptically (he doesn't like R) and barks: TUKK Took you long enough, rich boy. You call yourself a hacker? ROGER (recognizing him, surprised) Tukk? What the hell is this? Where am I? TUKK Merry Men Headquarters, gink. Believe me, bringing you here wasn't my idea.

272 ROGER REACTION - HE'S AMAZED AND AMUSED ROGER V.O. So Tukk wasn't a big mouth, disgusting, pretty-boy patch-head after all... he was a big mouth, disgusting, pretty boy leader of the hackers... BACK TO TUKK WEASEL, a thin weasel hacker in a jumpsuit, sticks his head into the shot and eyeballs Roger suspiciously: WEASEL (to Tukk) Is this the hotshot Billy Red was talkin' about? He doesn't look like much to me. TUKK (irritated at interruption) Yeah... and we've got business to discuss. So get out of my face. Tukk glares at Weasel. Weasel shrugs and goes back to his console. Tukk scowls at R & leans forward to talk quietly. TUKK Let's get one think straight. I don't trust you, Smith, you read me? But since you might prove useful, I was told to show show you around...

273 DISSOLVE TO: 17.2 QUICK MONTAGE OF SECRET ROOM (CUT-SCENE): Tukk showing R around the headquarters... closeups on hacker equipment... on Tukk gesturing as if explaining the operation... Roger listening... Finally Tukk jacking Roger's skull slot into their console... and sending him off into cyberspace. (Note: We don't see the other hackers' faces yet, only Tukk's.) As the montage begins, we hear the CYBERHOOD THEME accompanied by R's NARRATION: ROGER V.O. (CONT'D) Well, these guys wouldn't win the Miss Congeniality Award, but, man did they have massive cajones. We were right under the police station -- the last place the cops would look. But since revolutionaries don't trust rich kids... I had to be approved by the top three hackers in the underground... Patch-head plugged me into a backdoor to Sheckley's... where I was supposed to meet the third in command... some gurf named Billy Red... DISSOLVE TO: TRANSITION IMAGERY TO CYBERSPACE: Roger is sent on a mindboggling trip through the Vortex, perhaps straight to the "meeting room" of Sheckley's Cafe, via a "back door", without having to see the introductory menu or give a password. [Note: This entrance to Sheckley's may vary depending on how Conti adapts Em's cyberspace design here.] In a private area of Sheckley's, R comes face to face with -ANGLE ON BILLY RED'S CYBERBODY: a huge, vicious-looking redarmor-plated creature, tough, confrontative, terrifying.

274

(Note: BILLY RED is really Johnny Cupcake, so it should be the same actor's voice speaking through BR's cyberbody.) BILLY RED'S CYBERBODY I'll make this brief. They call me Billy Red. The Vortex, which your lousy loiner designed, has turned into a deadly cyber-teat sucking the brains out of anybody who jacks in. We plan to infiltrate Kruz Control and blow up the Vortex. ROGER'S CYBERBODY V.O. In case you're wondering, my Daddy was a scumbag. So I don't mind blowing his operation sky high. BILLY RED'S CYBERBODY Good. I'm sending you on a mission to test your loyalty as well as your skills as a hacker. Your first mission is as follows: [INSERT INSTRUCTIONS FOR 1ST MISSION] ======================================= GOTO INTRO TO MISSION 1. GOTO MISSION 1. [INSERT HERE SCOTT BENNIE TEXT] ======================================== 17.3 R AFTER COMPLETING BILLY RED'S MISSION (CUT-SCENE):

275 The room is dark, shadowy except for a few strips of light over R. R "comes to" in a chair, where he's been sitting jacked in to the Vortex. Tukk stands in front of him, hidden in shadows. He steps forward and sighs. He is still very skeptical of Roger. TUKK You lucked out, punk. Next time maybe you won't be so lucky. Weasel pops up next to Tukk and echoes his attitude. WEASEL Yeah, if there is a next time. TUKK (to Weasel) Shut up. (calling back into shadows) Hey, Billy... Mr. Money-Bags is back. (to R) It's time you met Billy Red, in the flesh. BILLY RED steps into the light, revealing himself to R for the first time. BILLY RED Surprise, rich boy. Billy Red is really Johnny Cupcake; but he's completely cleaned up and looking very much in command. It's evident that Billy had been disguising himself as the disgusting bum Johnny. R is amazed. ROGER Johnny? Johnny Cupcake?

276

BILLY RED Yeah. I go all out when I go undercover. I had orders to keep close tabs on you. ROGER I feel so special. BILLY Our attack on Kruz Control is coming up fast. Your connection to your father might come in handy. But first you gotta meet my Boss, Marian... Music in as we DISSOLVE TO R jacking into the Hacker's console as before, and we see the same mindblowing transition to cyberspace as we hear: ROGER V.O. Billy jacked me in to meet this chick Marian... I wanted to show these quags I can kick ass in the net when I want to... especially if it helps me get closer to Daddy's cash... of course, I wasn't gonna tell them about that... DISSOLVE TO: TRANSITION IMAGERY TO CYBERSPACE: Again Roger is sent on a wild trip through the Vortex, on a direct route to the "meeting room" of Sheckley's Cafe, via a "back door", without having to see the introductory menu or give a password [?]. R comes face to face with --

277

ANGLE ON MARIAN'S CYBERBODY: a huge, metallic, spiked, sexy, armor-plated, dangerous-looking creature. (Note: MARIAN is really Ms. MacPherson from Kruz, so it should be the same actor's voice speaking through Marian's cyberbody.) CYBER-MARIAN V.O. Do you remember me, Roger? ROGER Who could forget? You were the weird chick who left me the apocalyptic email. Nice cyberbod, babe. CYBER-MARIAN V.O. Shut up and listen carefully. I have a mission for you to complete. [INSERT INSTRUCTIONS FOR 2ND MISSION] ======================================= GOTO INTRO TO MISSION 2. GOTO MISSION 2. [INSERT HERE SCOTT BENNIE TEXT] ======================================== 17.4 R AFTER COMPLETING MARIAN'S MISSION (CUT-SCENE): As before, the room is very dark except for a few strips of light over R. R "comes to" in a chair, where he's been sitting jacked in to the Vortex.

278 MYSTERIOUS SEXY MUSIC fades in as an indistinct WOMAN'S FIGURE appears in front of him, hidden in shadows. We can't make out who it is. Unlike before, the room is now clearly empty except for the two of them. We hear her sultry voice: MARIAN O.S. You handle yourself well... for a spoiled rich boy... I'm vaguely impressed... Marian steps into the light, revealing herself to R for the first time. It's MS. MACPHERSON, Watt's boss at Kruz. R is amused. ROGER Have we met? Aren't you the chick who fired my ass from Kruz? Marian moves over to him and touches his shoulder. She's very serious, confident and committed, but very sensual. MARIAN That's right. I'm was your Boss, "Ms. MacPherson". I worked my way into a key undercover position at Kruz... I was the one who slipped you the CHAMELEON file... I needed you fired so I could lead you to the underground. As Philip's son... ROGER (INTERRUPTS, FINISHING THE PHRASE DISGUSTEDLY) ... "I could be useful to you"... yeah, I've heard that before... so this whole thing's been a set-up... well, what's next? I completed

279 your mission. You know what I can do. Marian touches his face sensuously. MARIAN (coming on to him) Do I...? ROGER You tell me... MARIAN The others are all at a meeting, you know. It would be the perfect time for you to really show me what you can do... The action halts as Marian continues sensuously runs her fingers through R's hair as her FIDGET. GAME PLAY RESUMES as: DIALOGUE OPTIONS APPEAR: ROGER (1 OF 2) (AMUSED; ACCEPTING) Are you coming on to me, Ms MacPherson? (GOTO RESPONSE A) ROGER (2 OF 2) (IRRITATED; REJECTING) You know, I don't like chicks who come on too strong. (GOTO RESPONSE B) RESPONSE A: (BRIEF CUT-SCENE):

280 MARIAN Call me... Boss... She kisses him, gently at first, then with extreme passion. R kisses her back. DISSOLVE TO A BRIEF LOVEMAKING MONTAGE: We see Marian straddling R on the interrogation chair in a tasteful but sensual series of dissolves as they make love. We hear Roger's NARRATION fade in over the Montage: ROGER V.O. Well, for a tough hacker, Marian was definitely user-friendly... but what I didn't count on was an intruder... CUT TO KAIRA ONSCREEN: Roger's deck is on the chair and Kaira is onscreen watching R and Marian making love on the floor. TENSION MUSIC as we MOVE IN ON KAIRA'S FACE "watching" the lovers, obviously jealous. Over this, we hear: ROGER V.O. (CONT'D) ... my nosy assistant Kaira. Since Tukk reprogrammed her, she was getting a little too attached to me... It was weird enough having a sexy machine, but if I didn't know better, I'd say that juicy collection of bytes was getting jealous... DISSOLVE TO: Marian, looking disheveled but satisfied, standing and slowly buttoning up her blouse. R is still in the interrogation chair, looking exhausted, but satisfied. ROGER That sure beats Cybersex... Well, what's

281 next? (GOTO 17.4 MARIAN RESOLUTION) RESPONSE B: (CUT-SCENE): This line turns Marian off, and rightly so. R is being an idiot. She coldly withdraws her hand. She's tough. MARIAN I don't like being told no. But I guess we'll keep this strictly business. ANGLE ON ROGER, SLAPPING HIS OWN FACE COMICALLY (We hear his thoughts:) ROGER V.O. I'm an idiot! An IDIOT! ROGER (spoken) Uh, maybe I was a little hasty... MARIAN You're right, Roger. Sex will only serve to distract us from the Cause. ROGER Look, Marian, I don't know about any "cause". I have my own reasons for wanting to destroy Kruz. So what's next? (GOTO 17.4 MARIAN RESOLUTION) 17.4 MARIAN RESOLUTION:

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MARIAN It's time you met Little Bob. Once Bob clears you, you're in. But you might have to prove yourself one last time... DISSOLVE TO Marian hooking up R's skull slots to the Hackers' console as we hear: ROGER V.O. Marian was the most beautiful woman who'd ever put her fingers in my brain. Too bad I couldn't stand her. I don't dig fanatics. If only her body came with a spare personality... TRANSITION IMAGERY TO CYBERSPACE: Again Roger is sent on a mind-blowing trip through the Vortex. ROGER V.O. (CONT'D) Well, Marian back-doored me to Sheckley's to meet the leader of the revolution, Little Bob... But I had a gut feeling that Bob wouldn't exactly be little... DISSOLVE TO: TRANSITION IMAGERY TO CYBERSPACE: Again Roger is sent on a mind-boggling trip through the Vortex straight to the "meeting room" of Sheckley's Cafe, via a "back door". 17.5 INT. SHECKLEY'S - R MEETS LITTLE BOB R enters and comes face to face with --

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ANGLE ON LITTLE BOB'S CYBERBODY: bigger and more formidable than the other cyberbodies, black metallic, very ferocious and dangerouslooking. (Note: LITTLE BOB is really Roberta Liddle, an old woman in a wheelchair. To disguise the fact that it's a woman,, Little Bob's voice should be put through a speech synthesizer, making it sound deep, breathy and perhaps Darth Vader-like.) (CUT-SCENE DIALOGUE:) LITTLE BOB Greetings, Roger Smith. Here it is. We've been keeping tabs on all Kruz bank accounts, especially the secret Swiss account belonging to Philip K. Smith, which is believed to hold over 750 million dollars... CYB-ROGER V.O. Yeah? Well, that's my goddamn money. CYB-LITTLE BOB V.O. We know that PK's entire estate, worth billions, was left to the company, and that you received nothing. The swiss account was Philip's little secret fund. We know as a fact that only Philip knew the password. But yesterday, half of his account was mysteriously withdrawn, and the money vanished. CYB-ROGER V.O. What!

284 CYBER-LITTLE BOB V.O. It was withdrawn from inside cyberspace. Billy Red traced the coordinates. Whoever took the money was inside Kruz Control. Which means that either someone other than Philip somehow obtained the password, which is highly unlikely, or else... Eerie music in as Little Bob stares at Roger and gestures for him to complete the mindboggling thought. CYB-ROGER V.O. (whispers significantly; this is a major revelation) Or else my father is still alive... CYB-LITTLE BOB V.O. We know that Philip was working on downloading human consciousness into the Vortex at the time of his death. I believe that before he was killed, he managed to download his mind into his own system. If it's true and we find your father, he can help us stop Malcom. CYB-ROGER V.O. And I can get my money. CYB-LITTLE BOB V.O. Exactly. The others will give you details on the mission. Good luck, Roger Smith. The CYBERHOOD theme mysteriously fades in as we --

285 DISSOLVE TO MONTAGE SHOWING R BACK IN THE HIDEOUT, CONFERRING WITH THE MERRY MEN, LOOKING AT DIAGRAMS OF THE VORTEX ON COMPUTER SCREENS ETC. Over this, we hear R's narration which matches what we see: ROGER V.O. Billy Red traced the download coordinates to an area called Kruz Control. (DISS TO VORTEX DIAGRAM) This level was locked up tighter than an accountant's asshole. There was only one way in. One person could squeeze through a tiny glitch in the programming. And if my old man was alive, I wanted to find the bastard. The plan was to jack in on Friday night, when the Vortex had peak activity. I left the hideout through the secret entrance in the sewer... (DISS TO R EMERGING INTO THE SEWER RENDERING FROM THE TUNNEL TO THE RIGHT [WHERE HE FOUND HIS PLAZ]) So I had a couple days to think about my old man and do some heavy introspection... DISSOLVE TO: (IMPORTANT NOTE TO MICHAEL & JONATHAN: SINCE WE NOW WANT R TO BE ABLE TO EXPLORE THE CITY BETWEEN MISSIONS, THE ABOVE SCENE OF R EMERGING FROM THE SEWER TUNNEL SECRET ENTRANCE COULD SERVE TO ECONOMICALLY SET THIS UP. LATER WHEN R LEAVES THE HIDEOUT AFTER A MISSION, WE SEE HIM EMERGING FROM THE SEWER TUNNEL AND GAME PLAY RESUMES. SIMILARLY, WHEN R MUST RETURN TO THE HIDEOUT FOR HIS NEXT MISSION, HE RETURNS BY GOING INTO THE SEWER

286 AND CLICKING ON THE TUNNEL. AS R GOES INTO THE TUNNEL, WE WIPE TO HIM ENTERING THE HIDEOUT.) 17.6 INT. THE MORGUE BAR [Refer to section "27.0 THE MORGUE".] Roger is seated at the bar in front of five empty beer bottle. He finishes the fifth bottle while talking to Kaira on his deck screen as his V.O. continues. ROGER V.O. (CONT'D) After about five bottles of introspection, I was ready. And I needed Kaira to go with me to scan for viruses. Only problem was, suddenly Kaira turned into a major cyberbitch... (FADE IN DIALOGUE FROM THE SCENE:) ROGER (TO KAIRA) What do you mean, you won't go? I need you on this mission. Without you to scan for viruses, I'm dead meat. KAIRA There is a glitch in my programming. I must go into sleep mode for several days. (BITCHY) But while I'm dormant, you'll have plenty of time to exchange bodily fluids with Marian. ROGER What!? Are you jealous? KAIRA Why would I be jealous of that disgusting collection

287 of flaps and cavities? I am simply stating that my neural net nodes must be revitalized and restimulated by cyber intercourse. ROGER You mean cybersex? KAIRA Yes. If you have cybersex with me, Roger, I will then be able to accompany you on your mission. ROGER I don't believe this. You're blackmailing me into having sex with you! This wouldn't have anything to do with the fact that Marian came on to me, would it? You're jealous! Admit it! KAIRA Don't be ridiculous. I mean it, Roger. Will you have cybersex with me or not? The actions pauses as Dialogue Branches appear: 17.6 DIALOGUE BRANCHES ROGER (1 OF 2) No way. Sorry, baby. Machines don't turn me on. (GOTO 17.6 RESPONSE A) ROGER (2 OF 2) OK, OK. But I don't like being blackmailed by horny software.

288 (GOTO 17.6 RESPONSE B) 17.6 RESPONSE A: KAIRA (ICY COLD) That's very cruel of you, Roger. Very well. It's your decision. And I hope you and Marian are very happy together. Kaira's screen immediately goes black with a loud ZIIIPPP! ROGER Wait a minute! Get back here, dammit! (PUNCHES KEYS & THE KRUZ LOGO APPEARS) Kaira! I know you can hear me! Don't be goddamn juvenile! I don't care about Marian. Except maybe for her body. forget I said that! Look, I need your help or I'm dead, do you read me, Kaira? (SHAKES HIS DECK) Kaira! She refuses to appear. Roger puts down his deck in frustration. He begins guzzling another bottle as we hear his NARRATION: ROGER V.O. Well, I blew it. And there's nothing more stubborn than a simulated woman. I'd have to go it alone... He stands and GAME PLAY RESUMES. R may stay or leave, hopefully heading for the sewer in order to use the secret entrance to the Hideout. R

289 may explore the city. When he finally clicks on the sewer entrance to the hideout after refusing Kaira, goto section 21.0. 17.6 RESPONSE B KAIRA (pleased) Thank you, Roger. First you must obtain a Cybersex Kit, and then -ROGER Yeah, yeah, I know how cybersex works. (STANDS, FINISHES HIS BOTTLE AND SLAMS IT ON THE TABLE) OK, go blow, Kaira. I'll call you when I'm ready. KAIRA I'm so happy! She disappears with a ZAAPPP!! R wipes the booze dribbling from his mouth and mumbles morosely to himself: ROGER I hate it when a machine is happier than I am. GAME PLAY RESUMES. R may now exit the Morgue if he wishes, hopefully to find a Cybersex Kit. GOTO "18.0 THE CYBERSEX KIT PUZZLE". 17.6 IF R BUYS AND DRINKS A Q-B SPECIAL

290

In this case, R will get sick as before and have to have his stomach pumped. Goto "27.1 IF R BUYS AND USES A GLASS OF Q-B SPECIAL". 17.6 TALKROGER AFTER AGREEING TO CYBERSEX TALKROGER I need a Cybersex Kit. 17.6 TALKKAIRA AFTER R AGREES TO CYBERSEX TALKKAIRA V.O. I can't wait, Roger! ROGER Yeah, well, first I need a cybersex kit. And some fresh oysters. 18.0 THE CYBERSEX KIT PUZZLE (Note: Saying NO to Kaira's request for cybersex could possibly result in R's death in cyberspace during Roberta's Mission. R will not die on Roberta's Mission if R says YES to Kaira's request. R will be given one more chance to say YES to K later as Roberta's Mission begins. At that time, it will be made clear to R that if he says NO again, he will be killed, resulting in a GAME OVER branch.) To recap, in order to successfully complete Roberta's Mission, R will need Kaira to go with him to scan for viruses guarding the cyberprison which holds his father. The only way Kaira will go with R is if R has cybersex with her. In order to have sex with K, R must perform the following actions:

291 GIVE CYBERSEX KIT TO SELMA. See section 13.5. This will allow R to buy the Kit. OPEN KIT. Inside the Kit is a POSTCARD. See section 13.1 (2). USE PENCIL WITH CARD. This will cause R to write his name and general delivery address (Pine Street Inn) on the card. (If R does not have the PENCIL, go to the Blue Lagoon and PICK UP PENCIL from the front desk. See section 8.2.) LOOK AT SHOE. R's left shoe has been ACTIVE since he left Dante's Asylum (see section 28.3). Stuck to the sole is an active POSTAGE STAMP from when R knocked over the stamp collection at the Asylum. PICK UP STAMP. This will cause R to remove the stamp from his shoe. The STAMP then appears in his Inventory. USE STAMP WITH CARD. This will cause R to lick the stamp and put it on the card. USE CARD WITH MAILBOX. There is a mailbox at Knight's Newsstand. After he mails the card, SET FLAG for the CYBERSEX KIT to appear in the MAIL SLOT at the Pine St. Inn. PICK UP PACKAGE at PINE ST. INN FRONT DESK MAIL SLOT. USE CYBERSEX KIT WITH DECK. This will cause R to insert a plaz from the kit in his deck. After completing these action, goto 19.0 PRELUDE TO CYBERSEX WITH KAIRA. 19.0 PRELUDE TO CYBERSEX WITH KAIRA R has just installed the sex plaz into his deck. He may now use any cyberjack in the city to enter the Vortex. Goto 19.1. 19.0 TALKKAIRA OR TALKROGER AFTER INSTALLING SEX PLAZ BUT BEFORE USING DECK W/CYBERJACK TALKROGER

292 OK, Kaira, it's time to get it on. (TO HIMSELF) I don't believe I'm doing this... Kaira ZAPS onto her screen, a bit peevish. KAIRA Roger... you don't have to do this if you don't want to. ROGER Let's not go through that again. Look, Kaira, I really do like you. If I could find a woman with your personality and Marian's bod, I'd be in heaven. KAIRA That's very sweet of you, Roger. Nothing more will happen until R USES DECK WITH CYBERJACK. 19.1 IF R USES DECK WITH CYBERJACK (AFTER USING CYBERSEX PLAZ W/DECK) This will initiate the following CUT-SCENE: R plugs his skull slots into the deck and the deck into the Vortex jack. ROGER OK, here we go... Hold onto your libido, baby...!

293 R automatically punches some keys, then sits back and closes his eyes. MOVE IN ON R'S FACE as we DISS TO a mindblowing transition to the Vortex. Goto 20.0 CYBERSEX WITH KAIRA. 20.0 CYBERSEX WITH KAIRA Sensual MUSIC accompanies this stylized love scene MONTAGE between the cyberbodies of R and K (30 seconds). (Note: Since R and K's relationship is rooted in this scene, it should not be played for laughs, but rather should be intense, sensual and profound.) DISSOLVE TO: 20.1 AFTER CYBERSEX WITH KAIRA (CUT-SCENE): CLOSE ON R'S FACE as he comes out of it. He opens his eyes and is stunned, truly moved by the experience, which was both physically and emotionally overwhelming. He rips the wires out of his head. ROGER Whoa...! My God, Kaira...! (RUBS HIS FACE AS KAIRA APPEARS WITH A ZAP) KAIRA That was wonderful... (WITH FEELING WHICH WE HAVE NOT SEEN IN KAIRAS VOICE BEFORE; SHE IS EVOLVING) Roger, I have something to admit to you... That was my first time. And I'm glad it was you, Roger. ROGER

294 (STILL BLOWN AWAY) Whoa... I don't know how to respond to that, Kaira. Thanks. I'm glad, too, I guess. I mean, I've had cybersex with girls before, but never like that! Shit! (SINCERE) I wish you had a body, Kaira. I really do. You're incredible. KAIRA (SADLY) I wish I did, too, Roger. I wish I had a body and could go away with you. To lie on a beach next to you on a sunny day, to feel my body soaking in the rays of the sun. To feel you next to me. ROGER (SIGHS) Yeah, well, let's not get carried away. You know I care about you, Kaira. But you're a machine and I'm a human. KAIRA I know, Roger. ROGER Yeah. Well, cheer up. We're in this together. Now let's move. R stands up and looks around. GAME PLAY RESUMES. R may leave the location. Nothing more will happen until R goes to the Hideout via the

295 secret sewer entrance, in which case goto "23 R GOES ON MISSION WITH KAIRA". (IMPORTANT NOTE TO MICHAEL AND JONATHAN: TO REITERATE, SINCE WE NOW WANT R TO BE ABLE TO MOVE AROUND TOWN BETWEEN MISSIONS, WE NEED A SECRET ENTRANCE THROUGH THE SEWER WHICH WILL LEAD TO THE HIDEOUT. IT COULD BE AS SIMPLE AS USING THE TUNNEL AT THE RIGHT OF THE SEWER RENDERING AS THE ENTRANCE. AS SOON AS R CLICKS ON THAT TUNNEL, HE GOES IN AND THE SCREEN WIPES TO R ENTERING THE HIDEOUT RENDERING.) 21.0 INT. SEWER - AFTER R HAS REFUSED TO HAVE SEX WITH KAIRA (Note: R has refused Kaira. But it is crucial to our story that he does have sex with her. R will be given one more chance before he goes on Roberta's mission. If R refuses again, he will enter cyberspace and peremptorily die. GAME OVER. [The player must start again when offered the choice whether or not to have sex with K.] Here, as R clicks on the sewer tunnel to enter the Hideout, K gives R a last chance to have sex with her, and a warning that if he refuses again, he will die.) As soon as R clicks on the tunnel to enter the Hideout, he begins to enter when K ZAPS onto his screen. R stops to talk to her before entering the tunnel entrance. KAIRA Roger, it's important that I speak with you. Please reconsider your decision. If you have cybersex with me, I may accompany you on your mission. If you still refuse, your chances of survival are nil. Please,

296 reconsider, Roger. Your life may depend upon it... 21.1 DIALOGUE BRANCHES: ROGER (1 OF 2) Forget it, Kaira. I'd rather have sex with a vacuum cleaner. KAIRA (ICY COLD) Very well, Roger. But I am not responsible for what happens to you... Kaira disappears with a ZAP. GAME PLAY RESUMES. R has been warned again and has refused. He is now free to click on the tunnel entrance again, after which he will begin to enter and we wipe to the Hideout. R is now doomed. Goto "22 R GOES ON MISSION WITHOUT KAIRA". ROGER (2 OF 2) (A BEAT AS HE RECONSIDERS) OK, OK, if you feel that strongly about it, I'll do it. (GOTO 17.6 OR 18.0 THE CYBERSEX KIT PUZZLE) 22. R GOES ON MISSION WITHOUT KAIRA R enters the Hideout (after R has refused K a second time and clicks on secret sewer entrance). We hear suspense MUSIC and see a brief MONTAGE of Tukk, Billy Red and Marian briefing R on his mission to find his father, hooking him up to the console, etc as we hear R's VOICEOVER:

297 ROGER V.O. I was going on the most important journey of my life, to find my father... I had a bad feeling about my decision not to be blackmailed by Kaira. But there was no turning back now. Tukk punched in the coordinates to the sealed door to Kruz Control. I was to look for the blinking glitch in the door and to squeeze through it. (SUSPENSE MUSIC AS THEY BEGIN TO SEND R INTO CYBERSPACE) As they punched me into the Vortex, something was eating at my gut. I shouldn't go without Kaira! What was I thinking of?! This was all wrong! Tukk suddenly yells, looking at his computer screen as he's sending R into cyberspace. TUKK Something's wrong! There's a virus waiting for him on the other side! Bring him back! Bring him back, dammit! MARIAN (punching frantically at her console) I can't! It's too late! Suddenly the screen EXPLODES with a searing rainbow of ominous light and a deafening explosion. When the explosion congeals, DISSOLVE TO A CLOSEUP of Roger on the chair in the Hideout, smoke coming from his head, his eyes, open... dead.

298 MOVE IN ON BILLY RED grabbing R by his smoking hair and checking his lifeless eyes. He's bitterly disappointed. BILLY RED There goes the revolution. The poor gurf's posted. MOVE IN ON R'S DEAD EYES STARING AT US. MUSIC: OMINOUS STINGER. CUT TO BLACK AS THE OMINOUS WORDS INSTANTLY APPEAR WITH A VIOLENT ECHOING METALLIC SLAMMING SOUND: GAME OVER. YOU LOSE. 23 R GOES ON MISSION WITH KAIRA R enters the Hideout (after he clicks on secret sewer entrance). We hear suspense MUSIC and see a brief MONTAGE of Tukk, Billy Red and Marian briefing R on his mission to find his father, hooking him up to the console, etc as we hear R's VOICEOVER: ROGER V.O. I was going on the most bizarre trip of my life, to find my father, if he was alive... and if he was, to get him to help us destroy his own creation... and to give me my share of the money... Little Bob was in Sheckley's signaling us when the moment was right to jack me in to the entrance of Kruz Control. Tukk punched in the coordinates and reminded me what I was supposed to do. Look for a blinking glitch in the door to Kruz Control... and

299 squeeze through it. (SUSPENSE MUSIC AS THEY BEGIN TO SEND R INTO CYBERSPACE) As they punched me into the Vortex, I was damned glad Kaira was with me. Funny how fast you could get tight with a machine. Especially one with big tits... Tukk suddenly yells, looking at his computer screen as he's sending R into cyberspace. TUKK There's the signal! Send him in -- NOW! MARIAN (quickly punching at her console) He's in! SUSPENSE MUSIC as we MOVE IN ON ROGER, his eyes closed as he transits into cyberspace. DISSOLVE TO TRANSITION IMAGERY. Goto Roberta's Mission - Mission 3 - R IN CYBERPRISON. ==================================================== GOTO MISSION 3. The following summarizes the dramatic content of this scene, the dialogue for which will be written later: R squeezes through the glitch into Kruz Control. His mission is to come back when he finds out what's at the coordinates from which Philip's money was withdrawn. R finds the cyberprison, probably guarded by

300 a virus guard which R must defeat or somehow get around. R finds the cell holding his father. He must identify his father by solving a puzzle. (I have streamlined and simplified this puzzle.) Once he identifies his father, R must download him into R's virtual deck and escape with him into the real world where they will plan to destroy Kruz. But R's deck is filled with Kaira and PK will not fit. Against R's wishes, K sacrifices herself to help R for the good of the cause. Erasing herself from R's virtual deck, she copies her programming into the vast Vortex, which means that R will lose her forever. As she says a heartfelt farewell, she says she will try to reach the central processor, and somehow help destroy the Vortex (and herself) from the inside. His deck memory now free, R downloads his father into his deck and escapes with him back to headquarters. [INSERT HERE SCOTT BENNIE TEXT OF THIS SCENE] ======================================== 24.0 R AFTER COMPLETING LITTLE BOB'S MISSION - END OF ACT TWO (2 MINUTE CUT-SCENE): As before, the room is very dark except for a few strips of light over R. R "comes to" in the interrogation chair, where he's been sitting jacked in to the Vortex. MYSTERIOUS MUSIC fades in as a shadowed FIGURE SEATED IN A WHEELCHAIR appears in front of him, surrounded by Tuk, Billy Red and Marian. They are all looking at R. OLD WOMAN'S VOICE O.S. Welcome, Roger... did you find your father? Is he with you?

301 R rubs his face and unplugs himself, getting his bearings. ROGER Yeah, I got him. But when I downloaded him, I lost Kaira somewhere in the Kruz Control programming. TUKK Who the hell is Kaira? ROGER (SIGHS, BUMMED) Never mind. (TO HIS DECK) Dad, are you still in there? We hear a ZAP as the deck screen illuminates and we hear Philip K. Smith's resonant voice sounding a bit out of it and faltering from R's deck's speaker: PK SMITH Yes, Roger... my programming is with you now... ROGER (TO MERRY MEN) Uh, he's a little fragged out, but he seems OK. A buzzing electric wheelchair wheels into the light and screeches to a stop in front of Roger, revealing ROBERTA, 70, a sweet, frail-looking old woman seated in the chair. ROGER

302 (TO MERRY MEN) Who's the old lady? ROBERTA My name is Roberta Liddle, known around here, Roger, as... Little Bob. Roger takes a beat of disbelief. ROGER You're shittin' me, right? An old broad in a wheelchair is running the revolution? MARIAN (FURIOUS) Show some respect, Smith. TUKK You bet your ass she's running things. When Kruz started addicting and brainwashing people to the Vortex, she recruited all of us from different 'ware companies to figure out a way to hack into Kruz and destroy it... She used her money to build this place and get the equipment. She's the one who designed the hacker system you went through back at the diner. ROGER (IMPRESSED) Wow. So, Roberta, you're pretty

303 zazzed out for an old chick. Marian angrily grabs a fistful of R's shirt. MARIAN I said show some respect! Roberta chuckles; she's tough, but amused by Roger. ROBERTA Thank you, Marian, but that won't be necessary. Staring daggers at him, Marian reluctantly lets go of R's shirt. ROBERTA You've proven yourself faithful to the cause, Roger. Now that we have your father with us, it's time for our real work to begin. ROGER You mean getting my cut of the money. ROBERTA Certainly we will deal with the money. But our real work is to destroy the Vortex, Roger, before it destroys us. She taps the computer screen, which shows the KRUZ CONTROL wineglass-neck on the animated VORTEX DIAGRAM. MOVE IN ON THE DIAGRAM as MYSTERIOUS MUSIC rises, and we slowly --

304 FADE OUT END ACT TWO -- GOTO ACT 3: 1.0 (NOTE: SINCE WE HAVE BEEN NUMBERING SECTIONS ACCORDING TO CITY BLOCKS RATHER THAN IN ORDER OF LINEAR STORYTELLING, WE NOW FINISH LISTING THE TAIL END OF BLOCK 3 AND RESUME WITH THE LOCATIONS IN BLOCK 4 AS FOLLOWS:) 25.0 KRUZ CYBERKIOSK (SEE 6.0) ================================================== BLOCK 4: ROADKILL STATION 26.0 ROADKILL STATION PLATFORM If R clicks on ROADKILL STATION, the screen wipes to R getting off the train and stopping in the middle of yet another filthy train platform. Again, it's the same basic platform but with different dressings. (More corporate slogans, a Destination Menu, a rack of train schedules, a video game featuring a demo of another Interplay game, with a $5 Kruz Coin in the coin return slot, etc.) In a TRASH CAN is an active FLIER. If R PICKS UP and LOOKS at the Flier, the screen wipes to a closeup of a filthy, crumpled advertisement:
----------------------------------------------------------------------FREE! FREE! FREE! With this COUPON, receive a FREE one-month stay in a Deluxe Luxurious KRUZ CYBERMANSION of your choice!

305
In the Vortex, there is no Space! Therefore, Kruz CyberMansions are as big as you want them to be! Programming for additional rooms available FREE from the Kruz Corporation! If you like your Kruz CyberMansion, and if you qualify, it's yours! FREE! To see if you qualify, apply for a job as a KRUZ CYBERSPACE CONSULTANT -a fun, prestigious and hassle-free executive cyberspace position with the world famous Kruz Corporation. What does a Kruz Consultant do? It's E-Z! Simply jack into the Vortex and allow our Kruz Databank to access to your memory nodes for a mere three hours a day! What's the catch? There IS no catch! That's all there is to it! Become a KRUZ CONSULTANT and a KRUZ CYBERMANSION is yours! ABSOLUTELY FREE! NO RENT! NO MAINTENANCE! AND FOR A NOMINAL CHARGE, KRUZ WILL SUPPLY INTRAVENOUS PROCESSED FOOD FOR YOUR PHYSICAL BODY WHILE YOU LIVE IN THE VORTEX. Jack in with your whole family and live together in a Spacious Mansion Fit for a King! See Your Local Kruz CyberKiosk for Details!

306
by Kruz CyberMansion Realty Division, Inc. ------------------------------------------------------------------------

27.0 THE MORGUE See rendering of exterior. Start with full shot, then MOVE IN on the entrance. Add a terrifying, tough Bouncer sitting on a stool on the sidewalk next to the railing. The Bouncer is none other than TATTOO MAN (TMAN) whom R may or may not have met earlier at Tukk's Diner. The Bouncer's FIDGET is reading a faxnewspaper with the bold headline: HACKERS THREATEN TO DESTROY VORTEX 27.0 IF R CLICKS ON MORGUE ENTRANCE AND HAS NOT MET TMAN AT TUKK'S This will cause T-Man to growl angrily at R, which automatically stops R from descending the stairs to the Morgue. T-MAN Show me a pass, scummer, or get lost. T-Man will continue reading his faxnews and have no further interaction with R unless R GIVES T-MAN MORGUE PASS. (Note: R may find a Morgue Pass in the trash can at the train station. R may get a clue on how to find the pass by typing a question on Lou Troutwig's keyword-computer.) 27.0 IF R CLICKS ON MORGUE ENTRANCE AND HAS ALREADY MET T-MAN AT TUKK'S This will cause T-Man to growl angrily at R, which automatically stops R from descending the stairs to the Morgue.

307

T-MAN Hey... ain't you the gink from Tukk's? Are you tailin' my butt, scummer? ROGER I can't think of a butt I'm less interested in tailing. T-MAN Yeah? Well, if you're interested in gettin' inside the club, show me a pass, or get lost, scummer. T-Man will continue reading his faxnews and have no further interaction with R unless R GIVES T-MAN MORGUE PASS. 27.0 IF R GIVES T-MAN THE MORGUE PASS The T-Man will simply take it and grunt. Now R may click on the Morgue entrance and be able to descend the stairs. If R clicks on the Morgue entrance after giving bouncer the pass, wipe to 27.1. 27.1 INT. MORGUE Description: The Morgue Nightclub is dark and creepy with scattered tables and a BAR. There are numerous DRUNK PATRONS (not active) passed out at scattered tables around the dark room. There is a closed REAR DOOR with a sign on it which clearly reads: NO ADMITTANCE WE'RE REMODELING

308

This REAR DOOR which leads to a BACK ROOM to be described later; this Back Room is the only access to the ASYLUM. The bar has no bartender. Inconspicuously tucked away in a corner of the long bar are two JARS, one active. The inactive JAR is labeled PICKLED EGGS. The active JAR has an active LABEL which is too small to read. Clicking on the LABEL wipes to a closeup which reads: PICKLED BEEF TONGUES. There is an active PICKLED BEEF TONGUE inside the jar which R may PICK UP. The bar is mechanized with a sleek-looking DRINK COMPUTER on the bar labeled: ORDER HERE. The Drink Computer operates like a soda machine: it has an active COIN SLOT, an active PLAZ TUBE SLOT, an active SELECTION PANEL and an active DRINK SLOT where R may pick up his drink. The SELECTION PANEL offers four active BUTTONS labeled respectively: NARCOTICOLA H-BOMB Q-B SPECIAL SKULL SNAP

27.1 HOW TO OPERATE DRINK MACHINE To obtain a drink, R must do the following: Insert either his plaz tube or a $5 Kruz Coin in the Coin Slot. PUSH or USE a BUTTON on the Selection Panel. (This will cause a glass to appear in the Drink Slot, and a stream of liquid to fill the glass.) PICK UP DRINK in Drink Slot. (Note To simplify things, let's say that R will ALWAYS have enough credit on his Plaz Tube to buy a drink; we offer the option of paying by Plaz or by Coin simply to heighten the interactivity of the scene.)

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27.1 DRINK LIST Lying inconspicuously on the bar is an active DRINK LIST. (The idea is that R may not see this menu unless he looks for it.) LOOKAT DRINK LIST wipes to a closeup of the menu: ======================================== THE MORGUE DRINK LIST: NARCOTICOLA A Smooth Beverage of Fermented Embalming Fluid, Reconstituted Heroin, Hashish and Irish Stout, With a Touch of Arsenic to Keep the Hair Glossy. H-BOMB A High-Octane Delight Featuring a Mixture of Non-Toxic Toxic Waste, Radioactive Human Saliva, and a Chaser of Electrified Heavy Water. Q-B SPECIAL A Treat for the Tastebuds, Featuring Distilled Camel Spunk, FermentedStanding Pool Scum, Battery Acid, and Musk of Boiled Skunk Sac. SKULL-SNAP Smooth Combo of Fine Whiskies, Distilled Canine Mucous, and Fermented Brain Pan Fluid,

310 Served in a DeluxeTake-Home Skull ===================================== 27.1 NEWSCLIPPING ON WALL On one wall near the bar is an active framed NEWSPAPER CLIPPING with writing too small to read. LOOKAT CLIPPING wipes to a closeup of the following article:
ROADKILL AVENUE BAR REFUSES TO DETOXIFY DRINKS The Morgue Bar on Roadkill Avenue was cited by SamCity Health Inspectors as serving drinks too strong for the human system to assimilate. One drink in particular, called the Q-B Special -- an acronym for Queen Barf Special -was cited as causing seizures, nausea and projectile vomiting in bar patrons. Despite warnings from health officials, Morgue owner Bunty McPuck has adamantly refused to change the bar's menu, saying that "our patrons come here to get sick". In another complaint, the Morgue Bar, located directly adjacent to Dante's Asylum for the Criminally Insane, has been accused of serving asylum inmates who somehow sneak into the bar from an undisclosed secret entrance. In answer to questions about serving escaped mental patients, McPuck stated, "It's cruelty not to let a kook get hammered."

An Exit Box wipes the closeup back to the master shot. 27.1 IF R ENTERS BEFORE HE HAS TO UNLOCK THE MANHOLE In this case, R may buy himself a drink if he wishes, but there will be no one to talk to here and the REAR DOOR will be closed and LOCKED, allowing R no access at this time to the back room.

311 27.1 IF R BUYS AND USES ANY DRINK OTHER THAN Q-B SPECIAL In this case, R has USED a COIN or his PLAZ with COIN SLOT, punched a selection, PICKED UP DRINK from DRINK SLOT, and USED DRINK. This causes him to guzzle the drink down in one shot, wince and slam the glass on the bar. ROGER Delicious. 27.1 IF R BUYS AND USES A GLASS OF Q-B SPECIAL This means R obtains the drink and guzzles it down, as above. (Note: If R has rashly ordered a drink without properly exploring the rest of the bar and read the newsclipping, he may suffer for it. The clipping is the clue for how R will get into the Asylum.) R slams the empty glass on the bar and grabs his head in shock. He begins to stagger, getting instantly woozy. MOVE IN on R's FACE as he clutches his throat and gasps for breath. Suspense music in. (Not played for laughs; he's really been poisoned.) SFX: KAIRA zaps on his deckscreen as R continues groaning. KAIRA Roger, the beverage you have imbibed has formed a toxic resin and has begun eating out the lining of your stomach. In short, you have been poisoned. ROGER (GROANING) Yeah, yeah, I figured that much out!

312 KAIRA You must find a physician immediately. Otherwise you will be unable to function. Please hurry, Roger. R will continue a FIDGET LOOP OF GROANING AND CLUTCHING HIS STOMACH everytime he stops walking no matter where he goes through the city. This will continue until he takes the train to LeCoq's Clinic and USES LeCoq's DOORBELL. (GOTO "5.3 IF R USES DOORBELL AFTER BEING POISONED") 27.1 IF R CLICKS ON CLOSED REAR DOOR This will cause R to move towards the rear door. But just before he can exit open the back door, an OLD FEMALE BARFLY appears and blocks his way. The BARFLY, 90, is wearing a grotesquely thick layer of makeup, rouge, eyebrow pencil and lipstick on her wrinkled face. She is also dressed in a very low-cut dress, inappropriately sexy, considering the fact that she's 90. She is a pathetic example of a senior citizen trying to recapture her longgone youth and beauty. She stretches invitingly against the door and purrs at R: BARFLY Going somewhere, little boy? ROGER Yeah, lady. I'm trying to get into the asylum. Are you an escaped inmate? She tosses her head back and cackles with laughter. Still coming on sexily to him: BARFLY

313 No, honey. There ain't nothin' back there. Besides, I'm not lettin' you go anywhere until you buy me a drink... The old lady stands in front of the closed door staring at R and licking her cracked, over lipsticked lips as a FIDGET. R can have no other interaction with her unless he goes to the bar, USES the DRINK MACHINE and GIVES BARFLY a DRINK. Set clock after she asks for a drink. If R doesn't move or do anything for ten seconds, the Barfly purrs at him, still blocking the door: BARFLY Well...? 27.1 IF R GIVES HER ANY DRINK EXCEPT THE Q-B SPECIAL In this case, R has not explored the room properly and read the newsclipping. He will GIVE the DRINK to the BARFLY. She will take it and instantly gulp it down hungrily, then hand him back the empty glass. BARFLY Mmmm... How about another, sugar...? (Note: This will repeat no matter how many drinks R gives her, and she will continue blocking the door -- unless he gives her the Q-B Special.) 27.1 IF R GIVES HER THE Q-B SPECIAL She will take it and instantly gulp it down hungrily, then hand him back the empty glass exactly as before. BARFLY

314

Mmmm.31431431431431431431431431431431431431431431 431431431431431431431431431431431431431431431431431431 431431431431431431431431431431431431431431431431431431 4314314314314314314314314314314314314314314314 31 4314314314314314314314314314314314314314314314314314 31431431431431431431431431431431431431431431431431 43143143143143143143143143143143143143143143143143143 14314314314314314314314314314314314314314314314314314 314314314314314314314314314314 31431431431431431431 4314314314314314314314 314314314314314314314314314314314314314314314314314314 314314 31431431431431431431431431431431431431431431431431 4314314314314314314314314314314314314314314314314314 314314314314314314314314314314314314314314314314314 31431431431431431431431431431431431431431431431431431431 4314314314314314.. How about a -But before she can finish the sentence, her eyes suddenly widen in shock and she clutches her stomach, looking as if she's about to heave. Doubled over and about to barf -- but still trying to act "sexy" -- she groans grotesquely: BARFLY Don't go away, sugar... I gotta go powder my nose... She staggers out of frame, never to be seen again. R may now click on the back room door and enter back room. When he does, wipe to: 27.2 BACK ROOM OF THE MORGUE

315 Description: This small, dirty, bare, windowless room is eerily lit and filled with cobwebs. On one wall is an old faded sign reading: "CITY MORGUE -- TEMPORARY BODY STORAGE". On one wall are four very large active BODY-BAG DRAWERS that may be pulled out like file-cabinet drawers, the type a coroner uses to store body-bags in a city morgue. (Apparently this is a room from the old morgue that hasn't been remodeled yet.) R may PULL or USE any of these four drawers, which will cause him to open the drawers. Three of these drawers will be dark and have a wrinkled old body-bag still lying inside. But the fourth drawer is empty and has a glimmer of light shining through it, as if the drawer opens up into another room. And it does. Opening DRAWER #4 and clicking on the illuminated empty interior of the drawer will cause R to squeeze into the drawer, crawl through the hole in the wall and enter the Asylum. To recap the sequence which allows R access to the Asylum: HOW R ENTERS ASYLUM: give barfly-B Special click on rear door enter back room and OPEN Drawer #4 click on hole in Drawer #4 As R crawls through the drawer, wipe to "28.1 ASYLUM RECREATION ROOM". 28.0 EXTERIOR OF DANTE'S ASYLUM A sign on the front: DANTE'S ASYLUM FOR THE CRIMINALLY INSANE. The place is a fortress with a high security fence, barbed cyclone

316 wire, maybe a guard dog. There is no one to talk to and no way to gain entrance to the asylum here. 28.1 ASYLUM RECREATION YARD (EXTERIOR) (Note: This is the location which may only be accessed by climbing through the fourth body-bag drawer found in the back room of the Morgue.) MYSTERIOUS, SCARY MUSIC intones as R squeezes out the other side of the drawer behind some boxes and finds himself in a strange, unpleasant room... Description: This is a large community yard with different dangerous-looking mental patients performing different violent activities in each of the four corners of the room. The walls of the room are covered with primitive and violent-looking paintings and drawings and paintings obviously made by the inmates. A large sign on one wall reads: PATIENT ART AND RECREATION YARD There are no guards in this yard, where most of the madmen, most wearing white smocks, can roam freely if they wish. (Note: The place looks scary and unpleasant, not "funny". This is a home for the criminally insane and R should feel in peril whenever he has to sneak into this room.) About a dozen of the more violent patients are seated and wearing strait jackets (these figures can be animated) and are jacked into a Vortex console via slots in their heads. 28.1 THE ACTIVE PSYCHOTIC PATIENTS: There are FOUR ACTIVE PATIENTS in the Asylum, each having a separate corner which is obviously his personal work area. Each of the four active patients has a desk or workbench in his corner, posters, homemade artwork, perhaps workout equipment, books, etc. Each of the four has an active manila folder (MEDICAL REPORT) lying inconspicuously on each

317 desk or workbench which R may PICK UP and LOOKAT. Printed on the cover of each manila folder report is: PRIVATE MEDICAL REPORT The active characters are as follows: In Corner #1 is BANFF, 20's, a maniac dressed as Abraham Lincoln (chinbeard, black greatcoat and black stovepipe hat), who is seated at a desk and licking and pasting stamps into a stamp collector's album (his FIDGET). On his desk is an active MEDICAL FOLDER. LOOKAT FOLDER wipes to a closeup of a medical report on Banff which reads: PSYCHIATRIC REPORT Patient's Name: ERNST BANFF Illness: Paranoid schizophrenic Prognosis: Extremely violent, hallucinations, delusions of being historical figures such as Hitler, Winston Churchill, Catherine the Great, George Washington, etc. Progressive deterioration. Can become violent when interrupted. Ernst's five murders each precipitated from the victim merely asking Ernst a question. Recommended Therapy: Heavy medication, allowing Ernst to act out his delusion by dressing as the figure he imagines himself to be. Remarks: Ernst was foreman on the patient work program, in charge of assembling computerized locks for SamCity Sanitation System. He was removed two years ago after brutally killing a visitor who questioned him about the unlock code on the Sewer Security System. ============================================= In Corner #2 is OLAF, 20's, a wild-eyed, wide-haired, sweaty maniac in a white smock who looks very nervous and dangerous. Olaf is mumbling to himself and fondling a baseball bat (his FIDGET). On the wall next to him

318 is tacked a large Swedish flag, two TVs with smashed screens, and one unsmashed, working TV that is broadcasting either "snow" or a FunFlik by Malcom Kruz (with the sound off). On Olaf's desk is an active MEDICAL FOLDER. LOOKAT FOLDER wipes to a closeup of a realistic-looking medical report on Lundquist which reads: PSYCHIATRIC REPORT Patient's Name: OLAF LUNDQUIST Illness: Paranoia; depression Prognosis: Paranoid obsession with conspiracy theory; hallucinations. Progressive deterioration. Recommended Therapy: Heavy medication, allowing Olaf to freely express himself concerning his paranoid obsessions re conspiracies. Remarks: Olaf transferred here from the Larson Facility in Sweden with patient Sven Phlescherson because of overcrowding, the fact that Olaf speaks English and that he and Phlescherson developed a friendship which has been mutually beneficial to their recovery. ============================================= In Corner #3 is BLOOD, 20's, a huge, bald madman in a white smock, MUMBLING angrily to himself at his workbench while building some sort of electronic gizmo (his FIDGET). On his desk is an active MEDICAL FOLDER. LOOKAT FOLDER wipes to the manila folder labeled PRIVATE being opened and revealing inside the folder a closeup of a realistic-looking medical report on Blood: PSYCHIATRIC REPORT Patient's Name: THEODORE BLOOD Illness: Autism; depression; schizophrenia Prognosis: Paranoid refusal to talk; extremely violent; hallucinations. Progressive deterioration. Recommended Therapy: Heavy medication, allowing Theodore to work with his hands on his electronic and programming projects.

319 Remarks: Chief Programmer under Philip K. Smith at the Kruz Corporation, and designer of the NIMBUS Database. Stressful, high pressure, negative work environment. Theodore's mental breakdown was triggered when he witnessed Philip Smith's death. He has refused to talk since this occurred, approx. 10 years ago. Lately progress has been made in communicating with Theodore via sign-language. ============================================= In Corner #4 is FLESH, 20's, a huge, scary-looking maniac who sits in a wheelchair. Flesh keeps psychotically crumpling and uncrumpling an 8x10 photo of a white-haired old lady (his mother) as his FIDGET loop. On his desk is an active MEDICAL FOLDER. LOOKAT FOLDER wipes to a closeup of a medical report on Flesh which reads: PSYCHIATRIC REPORT Patient's Name: SVEN "FLESH" PHLESCHERSON Illness: Depression; schizophrenia Prognosis: Extremely violent. Hallucinations of sadism, rape and torture. Progressive deterioration. Recommended Therapy: Heavy medication, allowing Sven to release his rage via Mannequin Therapy. Remarks: Sven was a graduate student studying linguistics. His psychosis is rooted in caring for his mother, a deaf-mute who made Sven dress as a female since birth until he murdered her in a trash compactor five years ago. When off medication, Sven should be considered extremely dangerous and should have absolutely no contact with old deaf-mute women. ============================================= (Note: Flesh is a "bit part" in that R can never talk to him except when R USES FLESH with BLOOD to translate Blood's sign language of the NIMBUS code.) 28.1 SUMMARY OF R'S INTERFACE WITH ASYLUM:

320 Here are the things R may obtain at the Asylum: the password from Blood on how to enter the NIMBUS Database the hint from Blood that Philip K. Smith may not be dead the manhole unlock code from Banff, Olaf's instructions on how to smash unbreakable TVs a baseball bat he can smash them with.

28.1 TALKKAIRA OR TALKROGER BEFORE TALKING TO ANYONE OR PICKING UP ANYTHING (FIRST TIME ONLY) ROGER (WHISPERING) Kaira, are you still with me? KAIRA Of course, Roger, I monitor all of your activities and will help you in any way I can. ROGER Yeah, well, this place sucks big-time. KAIRA Your remark has no meaning for my programming, Roger. I sense danger in this environment and suggest you find the lock code as quickly as possible. She vanishes with a ZAP. 28.2 IF R ENTERS ASYLUM BEFORE ENTERING CYBERSPACE

321 R will not be able to access the asylum until he needs to retrieve his plaz tube from the sewer. So in this case he has not yet entered the Vortex. The main purpose of this visit will be to get the manhole unlock code. (However, once he solves Banff's puzzle and gets the code from him, R will also automatically hear a brief lesson from Olaf on how to smash an unbreakable TV screen.) R can wander around unnoticed and PICK UP and LOOKAT their MEDICAL REPORTS. (Note: R will only be able to TALK to BLOOD and BANFF anyway, no matter when he visits the Asylum. Banff is the only one who is active to interface with R during R's first visit to get the manhole unlock code. Blood is the only one who R may TALK TO after R has been to cyberspace and is trying to find the NIMBUS password. In either case, the player cannot use the TALK TO functions on FLESH and OLAF at any time during the game.) 28.2 TALK TO ANY OF THE PATIENTS BEFORE PICKING UP & LOOKING AT THEIR MEDICAL REPORTS In this case, each of the four characters will ignore Roger. Either each character is active and turns away angrily when R clicks TALK TO. SET FLAG after R reads a Medical Report; R will then find the character in question willing to TALK to him. 28.2 TALKKAIRA OR TALKROGER AFTER THE PATIENTS TURN AWAY FROM THEM TALKKAIRA Roger, these men appear to be dangerous. Perhaps your should find out more about them first.

322 TALKROGER Yeah, well, how the hell am I supposed to do that? TALKKAIRA I'm sure you'll find a solution, Roger. She vanishes offscreen with a ZAP. 28.3 TALK BANFF AFTER R HAS READ BANFF'S MED REPORT (CUT-SCENE): In this case, R has already picked up, looked at, and automatically replaced the Med Report back on Banff's desk. This tells R that Banff knows the manhole unlock code. (Note: Banff, remember, dressed as Lincoln, is totally absorbed in pasting postage stamps into his stamp album.) When the player clicks TALK TO BANFF, this causes R to automatically clear his throat, trying to get Banff's attention. But Banff doesn't notice him. So R reaches over and taps Banff on the shoulder. Startled and high strung, Banff screams at the unexpected tap and accidentally jerks the pile of stamps in his hands into the air. BANFF Yauugghhh! The stamps scatter at R's feet. Banff talks like Raymond Massey's Abe Lincoln: BANFF My stamps! You've trashed my stamp collection! Never sneak up on a President like that. Now help

323 me pick them up, you damned fool. R kneels and quickly (in 3 seconds) helps Banff pick up his stamps. ============================================== SET FLAG AFTER R PICKS UP STAMPS: R's RIGHT'S FOOT will automatically become active, which can only be detected when scanned by the cursor. This "hidden" attribute is the solution to the puzzle of how to get a stamp for the cybersex kit postcard. LOOKAT RIGHT SHOE: Clicking his active right shoe will cause the screen to wipe to a CLOSEUP of the BOTTOM OF HIS SHOE. Stuck on the sole is an active stamp which R may PICK UP, in which case it will appear separately in his Inventory. (Note: To reiterate, this is the STAMP he'll need to mail the postcard. Later, when he's unable to find a stamp, he should remember knocking the stamps to his feet, and then notice that his shoe is now active. The irony is that the stamp he needs for the game to progress has been on the bottom of his shoe the whole time.) ============================================= To get back to our cut-scene, Banff sits back angrily at his desk organizing his stamps and barks at R (while licking and pasting his stamps with a magnifying glass, which is Banff's FIDGET). BANFF (CONFRONTING R) Now what do you want, punk? ROGER Look, I know you're touchy about this, but I need the code for to unlock one of the manholes in town.

324 BANFF Yeah, well, first I gotta finish licking all these stamps. If you want something from me, punk, find me something to make this go faster. Now get lost. Banff turns away in his fidget loop of licking and pasting. R cannot talk to him any more until he solves Banff's problem. HOW R GETS THE UNLOCK CODE FROM BANFF: exit asylum by clicking on HOLE in wall exit back room through DOOR enter Morgue and OPEN JAR sitting on the bar PICK UP BEEF TONGUE reenter Asylum GIVE BEEF TONGUE to BANFF 28.4 IF R GIVES BANFF BEEF TONGUE (CUT-SCENE): Banff takes the tongue and says: BANFF This is exactly what I need... (AS HE STARTS USING TONGUE TO QUICKLY LICK AND PASTE STAMPS) Now you need the manhole unlock code... well, they all unlock with the same code. Just type in my name and it'll open. Unfortunately, now that you know the unlock code... (VIOLENTLY GRABS R BY THE NECK & HISSES INSANELY) I'll have to kill you...!

325

CLOSEUP ON BANFF STRANGLING R: R gasps but can't break free as Banff powerfully throttles him. Suddenly a hand enters the shot and rips R out of Banff's chokehold. WIDEN to reveal OLAF holding his baseball bat between the two and threatening Banff with it. (Note: Olaf speaks with a tough Swedish accent.) OLAF (TO BANFF) Stop it, Ernst! Stop! Don't choke the nice man! (PULLS R AWAY AND WHISPERS TO R) It's urgent that I speak with you... Olaf pulls R out of the frame and Banff returns to his licking and pasting fidget loop. (Note: Banff now becomes INACTIVE; R may not talk to him or have any interaction with Banff during any other visits R may make to the Asylum.) CUT TO: 28.5 OLAF'S CORNER: OLAF TEACHES R HOW TO SMASH A TV (CUT-SCENE): Olaf yanks R over to the TV which he has on in his corner, next to the two smashed TV's. Olaf, completely paranoid, looks over his shoulder nervously and whispers to R urgently: OLAF You must listen carefully... They locked me up because I know too much! The entire world is being brainwashed by TV! You must spread the word that TV's are evil! That all TV's must be destroyed! The evil ones claim TV screens are unbreakable!

326 But every screen has a weak point. You can tell... by the sound. Listen...! To demonstrate, Olaf quickly taps the screen with his bat in three different places. Where the screen is unbreakable, each tap sounds a high glassy PLINK! PLINK! PLINK! But when he taps on the one weak spot, let's say in a bottom corner of the screen, it makes a distinctly different, low, fissuring sound: PLUUNK! OLAF (EXCITEDLY) Aha! You see? That's the spot! The maniac enthusiastically whacks the screen with the bat in that exact spot; the screen smashes. Still looking around nervously, Olaf holds out his bat to R and whispers urgently. OLAF Take this! And destroy all TV's before they destroy you! Take it! Olaf FIDGETS offering the BAT to R. GAME PLAY RESUMES. SET CLOCK for ten seconds. If R doesn't TAKE BAT in ten seconds, Olaf will say: OLAF Take it, gink! R can TAKE BAT or exit the scene. (Note: If R doesn't TAKE BAT here, he will have to come back for it later when he wants to smash the Savant Bros. TVs. When he comes back for it, he will find the bat leaning against a wall next to Olaf, and R may simply PICK IT UP which will put it in his Inventory.)

327 IF R TAKES BAT FROM OLAF: Immediately, Olaf turns away to his desk, where he begins painting furiously with fingerpaints, which becomes his FIDGET loop from now on. END CUT-SCENE. (Note: R can have no more interaction with Olaf until he returns to ask Blood about NIMBUS.) 28.6 IF R CLICKS TALK FLESH AFTER R READS FLESH'S REPORT R will find that he cannot TALK TO FLESH at any time. R can only USE FLESH with BLOOD (which causes Flesh to act as a translator) when R is trying to get the NIMBUS password from Blood. 28.7 IF R CLICKS TALK BLOOD AFTER R READS BLOOD'S REPORT, BUT BEFORE FINDING OUT ABOUT NIMBUS R will find that he cannot TALK TO BLOOD until R finds out about NIMBUS. Once R has been to Sheckley's and got the tip to get the NIMBUS password from Blood, SET FLAG that will allow R to TALK TO BLOOD. But until then, Blood will be inactive. 28.8 IF R CLICKS TALK BLOOD AFTER R READS BLOOD'S REPORT, AND AFTER FINDING OUT ABOUT NIMBUS When R enters the Asylum in this case, at first only Blood will be active. Clicking this function causes a CUT-SCENE in which R taps Blood on the shoulder and whispers to him: ROGER Mr. Blood, I'm Roger Smith, Philip K. Smith's son. I need your help. Do you remember the password to

328 the NIMBUS Database? Blood turns and stares at R, narrowing his eyes in dead seriousness -- and silently nods yes. ROGER Look, I need to get into NIMBUS right away. What's the password? Instead of speaking, Blood gesticulates with his hands and gives R the password silently, using sign-language. R doesn't understand sign-language. ROGER I forgot you don't speak. Look, was that the password you just signed? Blood nods yes, then turns away from R and back to his fidgeting with the gizmo. SET FLAG: FLESH now becomes active. GAME PLAY RESUMES. R must solve the puzzle of how to translate Blood's password into English. 28.8 TALKROGER OR TALKKAIRA AFTER BLOOD'S SIGN LANGUAGE (ONE-TIME ONLY): ROGER Kaira, do you know sign-language? KAIRA I'm afraid I am not equipped with that specific database, Roger.

329

ROGER Then how the hell am I supposed to understand this psycho? KAIRA I'm sure you will find a solution, Roger. She ZAPS onscreen. Nothing more will happen unless R remembers that Flesh's mother was a deaf-mute. By scanning with his cursor, R will notice that Flesh is now active in the scene. R must click USE FLESH with BLOOD. 28.8 R USES FLESH WITH BLOOD Clicking this will cause Flesh to come over to Blood's corner and stand next to him. ROGER Theodore, I want you to repeat the password, and Sven, I want you to translate it for me, OK? Blood and Flesh look at each other and then nod solemnly at R. Blood silently repeats the password using sign language, then gestures for Flesh to translate. Flesh nods and briefly translates R: FLESH [SPEAKS BRIEF SWEDISH SENTENCE] ROGER (TO FLESH)

330 Can't you translate it into English? Sven shakes his head no, then both Flesh and Blood turn away from R and both FIDGET at repairing the gizmo. They will ignore R until he solves this problem. SET FLAG: OLAF now becomes active. GAME PLAY RESUMES. R must solve the puzzle of how to translate Flesh's password into English. 28.8 TALKROGER OR TALKKAIRA AFTER SVEN SPEAKS SWEDISH (ONE-TIME ONLY): ROGER Kaira, do you know Swedish? KAIRA I'm afraid I am not equipped with that specific database, Roger. ROGER Then how the hell am I supposed to understand this psycho? KAIRA I'm sure you will find a solution, Roger. She ZAPS offscreen. Nothing more will happen unless R remembers that Olaf is Swedish. By scanning with his cursor, R will notice that Olaf is now active in the scene. R must click USE OLAF with FLESH.

331

28.8 R USES OLAF WITH FLESH Clicking this will cause Olaf to come over to Blood's corner and stand next to Flesh. ROGER Olaf, do you speak Swedish? OLAF Yah. ROGER OK. We're in business. Theodore, sign the password to Sven. Sven, tell it to Olaf. Olaf, gimme it in English. OK, guys? Action! Blood, Flesh (aka Sven) and Olaf look at each other and then nod solemnly at R: Blood silently repeats the password using sign language, then gestures for Flesh (aka Sven) to translate. Flesh nods and says the SWEDISH SENTENCE to Olaf. Olaf nods and translates to Roger: OLAF He says the password to NIMBUS is... [INSERT PASSWORD - SCOTT BENNIE] Immediately Flesh and Olaf walk out of frame and Blood turns away to fidget with his gizmo. GAME PLAY RESUMES. R may hang around or exit.

332

29.0 BENNIE'S ELECTRIC CHAIR REPAIR SHOP This is an exterior location only. There is a sign in the window: APPRENTICE ELECTRIC CHAIR REPAIRMAN WANTED IMMEDIATELY There is a vid screen next to the door and an active BUZZER. There is a large active DELIVERY SLOT in the bottom of the door. 29.0 IF ROGER USES BUZZER BEFORE HE WANTS TO GET ARRESTED Electric chair Repairman's voice on speaker, which radiates color in cadence with the voice: ELECTRIC CHAIR REPAIRMAN (FIRST TIME) Sorry, can't see you now, too busy testing and repairing electric chairs. I'll interview new applicants later. (ANY OTHER TIME) I'm busy. Come back later. In both cases, the vid screen abruptly goes off. 29.0 IF ROGER USES BUZZER AFTER HE WANTS TO GET ARRESTED BUT BEFORE HE VISITS BLUE LAGOON: Same as above. Come back later. Click.

333 29.0 IF ROGER USES BUZZER AFTER HE WANTS TO GET ARRESTED AND AFTER HE VISITS BLUE LAGOON: In this case, the player was for unable to solve the puzzle of how to reach Knott and is given a second opportunity to get into the Police Station. When Roger USES or PUSHES BUZZER, the video scream will illuminate and shin in cadence to the voice on speaker: REPAIRMAN Sorry, can't see you now, too busy testing and repairing electric chairs. You lookin' for a job? ROGER Maybe. REPAIRMAN You're hired. I need help badly. Please pick up your uniform and tools. The DELIVERY SLOT in the door slides open, revealing an active BENNIE'S ELECTRIC CHAIR REPAIR JUMPSUIT and an active TOOLBOX. REPAIRMAN I need you at the Surewood Police Station immediately. Their chair busted and they've gotta fry somehacker bastard in two hours so it's a rush job. PICK UP or USE JUMPSUIT causes R to quickly put on jumpsuit & zip it up. PICK UP or USE TOOLKIT causes R to pick up the kit by the handle.

334 REPAIRMAN Put on this uniform and the cops'll let ya right in. Good luck, punk. The screen goes out. 30.0 KRUZ CYBERKIOSK (SEE 6.0) This is the same building as in 6.0, but with slightly different dressing. Like the description in 6.0, it also has two signs, one which reads FULL, the other FREE! FREE! FREE!, and also has a KRUZ CLONE GUARD with identical dialogue.

335 ACT THREE ================================================ (Note: To offset any continuity problems in patching together the cyberspace scenes and the real world scenes, here are the three programs/items Roger MUST HAVE in his Inventory [not counting Combat Programs] before he can begin Act 3: TRACE PROGRAM -- This tracks Malcoms location in the depths of the Vortex by using Malcoms "scent" from the sample of his hair. WORMHOLE -- This allows R to exit and reenter Kruz Control at the same location/coordinates; without it, R must thread through the mazes all over again, which is completely impractical. RAT BURGER -- This has inside it the DNA FORENSICS PROGRAM, which allows R to modify physical DNA samples so their patterns may be used to open the four doors to the four levels of Kruz Control. Since prior to Act 3, R is doing missions to get hacking software, we need to make TRACE and WORMHOLE two of the programs he MUST get in order to penetrate KC.) ================================================ BEGIN ACT 3 PROLOGUE (CUT-SCENE): BLACK SCREEN ELECTRONIC SFX: Clickings. Beepings. The hissy chatter of electricity. Weird sounds suggestive of travel through computer hyperspace. A LOW OMINOUS RHYTHMIC RUMBLING begins as we fade in the TITLE over black:

336 INSIDE KRUZ CONTROL TITLE OUT as the rumbling bursts into the CYBERHOOD THEME mixed with strange electronic SFX. (Note: The idea here is to "call-back" the same prologue format at the beginning of each act to give the game a cohesive feel.) FADE IN: 1.0 ACT 3 PROLOGUE (CUT-SCENE -- 2:00) (Note: The scene numbering begins again at "1" at the beginning of each act. To distinguish scenes throughout, indicate the act number first, then the section, as in: "See Act 2, section 17.4".) Since there's a lot of information to cover upfront, the following montages should flow quickly and be tightly paced to keep the momentum of the story: 1.0 MINDBLOWING ANIMATED OBJECTIVE VIEW OF VORTEX The Vortex spins and whirls like an electrical cyclone, a huge cocktail glass composed of a cloud of electrons, humming, crackling, hissing as it spins. Over this we hear Roger's V.O. Narration: ROGER V.O. You ever seen a snake eating a dead cat? You know, the cat's outline bulging out of its belly? Well that's the way I felt carrying around my Daddy inside my deck. It was weird, man... 1.1 DISS TO UNDERGROUND HEADQUARTERS: MONTAGE of the hackers having a meeting with R in the underground headquarters.

337 ROGER V.O. (CONT'D) Of course, the first thing I asked him was, Where's the money? But the poor old gink's brain was fried... MOVE IN on the hackers listening to Roger, Tukk, Marian, Cupcake and Roberta listening to Philip on R's deck. Philip's speech is faltering and somewhat disjointed. When P talks, the deck's screen illuminates with colorpatterns. (Note: If we see Philip on the screen, his image should have a hazy, shaky, slightly out-of-phase look to it, perhaps accompanied by occasional hiss sfx, indicating that his programming has been damaged.) PHILIP V.O. I was showing Malcom my discovery... that I could download my mind into the Vortex. As soon as I jacked in, Malcom murdered me. My mind was trapped in the system. Since I was in effect immortal, he had to imprison me, since I could easily sabotage the system from the inside. I think... ROGER (PISSED: MAJOR ATTITUDE) Are you sure you didn't withdraw any money from your swiss account, "Dad"? PHILLIP V.O. I told you, I don't remember any swiss account. Malcom did experiments on me in prison, you see. I'm not the same. I can't remember things anymore...

338

ROGER (TO HIMSELF; DISGUSTED) Shit! That snake has my money! ROBERTA Philip, I want you to think carefully. Did you build any secret backdoors into the system? PHILIP V.O. Yes... yes, I did program a back way in. There were four consecutive doors, separated by four boobytrapped mazes. And the doors were opened by... by... it will come to me... right now I just I can't seem to remember... The hackers exchange looks of frustration. Cut to ROGER, disgusted, as we hear: ROGER V.O. For this I'd given up Kaira? Funny how much I missed her. But it was too late. She was lost in the system we were about to destroy. DISS TO ROBERTA using a pointer on a diagram of the Vortex, pointing out their plan of attack: ROGER V.O. (CONT'D) The plan was to launch a major attack on the entrance to Kruz Control while Dad guided me through the back door. We found out that Malcom spent most of his time working near the Central Processor in the heart of the system... Once inside,

339 I was going to trace Malcom's location -- and pay him a little visit... DISS TO HEADQUARTERS LATER as the hackers are all busily punching their keyboards and Roberta wheels up briefly to Roger. She's busy conferring with everyone, now checking with Roger: ROBERTA Roger, check that you have three programs fully installed: Forensics, Trace and Wormhole. And you can't go in until you use Malcom's DNA to trace his coordinates in the system. Once this is done, we will the attack. She quickly wheels back to her console. She and the other hackers are at their places, preparing their software and getting ready. These are repeating GROUP FIDGETS in the background as GAME PLAY RESUMES. R may not talk to any of the hackers in the room until he solves the Software Prep Puzzle. SET FLAG on the RATBURGER in his Inventory, which will now be able to be USED [eaten]. (Note: If R tried to USE [eat] RATBURGER prior to this point, he automatically said: "No, I'm not hungry yet." See Act 2, section 15.7.) 1.2 THE SOFTWARE PREP PUZZLE Roger may now get up and walk around or leave headquarters if he wishes. Nothing more will happen until R has the THREE PROGRAMS in his Inventory, as well as a DNA sample from Malcom for his Trace Program. Once this is done, the hacker attack may begin.

340 In order to prepare for the attack, Roger must first perform the following actions: LOOK AT and USE RATBURGER in his Inventory. This will cause R to eat the burger, and reveal the Forensics Program stuck inside. USE FORENSICS PR. with DECK. This will cause R to install the program in his deck. OPEN GLASS COVER on a pedestal in a corner of Headquarters. Under the cover will be a comb with active MALCOM'S HAIR. PICK UP HAIR from pedestal. USE HAIR with TRACE PROGRAM. This will cause the screen to wipe to his deck fullscreen and a brief cutscene to ensue: We see the Trace Program Menu. R chooses INSERT TRACE SAMPLE. A slot extrudes from his deck. R automatically inserts the hair in the slot. The screen whirrs and flashes DNA RECORDED -- TRACE ACTIVE. The screen now automatically wipes back to headquarters. Goto "1.3 JACKING IN TO ATTACK". 1.2 TALKROGER OR TALKPHILIP BEFORE R FINDS FORENSICS PROGRAM TALKROGER I'm nodding at the old broad like I know what she's talking about. Where am I supposed to get these programs? PHILIP V.O. Perhaps if you had something to eat, it would clear your mind. ROGER (ROLLS HIS EYES)

341 Yeah, thanks for the brilliant advice. PHILIP V.O. There is no need for sarcasm. ROGER Look, "Dad", we never liked each other much. Let's not make believe that suddenly we're all buddy-buddy, OK? PHILIP V.O. I see your point. But I still think that food would do you some good. (Note: To clarify, this is a hint for R to USE [eat] the RATBURGER in his Inventory which will reveal the Forensics Program inside.) 1.2 TALKROGER OR TALKPHILIP AFTER INSTALLING FORENSICS AND BEFORE GETTING HAIR FROM PEDESTAL TALK PHILIP V.O. You will now need a DNA sample from Malcom to use with your Trace Program. ROGER Where the hell am I supposed to get that? PHILIP V.O. Uh, perhaps he donated blood somewhere. ROGER

342 (ROLLS HIS EYES) Yeah, great idea, Dad. 1.3 JACKING IN TO ATTACK (CUT-SCENE) DISS TO FAST MONTAGE OF CLOSEUPS ON THE HACKERS as they strap themselves in and hook up their skull slots. ACTION/SUSPENSE MUSIC as they all look tense and psyched. Roger looks nervous. Roberta, her skull slots wired, wheels around and loudly announces: ROBERTA Showtime, ladies and gentlemen! Let's show 'em what we got! Boot up! ACTION MUSIC PEAKS as we cut from face to face, from keyboard to keyboard as they each grimly jack into the Vortex. Finally we see R's sweaty face as he punches into cyberspace, and we hear: ROGER V.O. This was it. They were all depending on me to sneak in while they launched their attack. My Dad said he'd put a back door somewhere in the wall near the Black Gate. He told me to scan the wall carefully for a blinking data segment... DISS TO MINDBLOWING TRANSITION TO C-SPACE IMAGERY AND SFX. Goto "2.0 ATTACK ON KRUZ CONTROL GATE". 2.0 ATTACK ON KRUZ CONTROL GATE (CUT-SCENE)

343 Depending on cyberspace design, our heroes either navigate to or materialize in front of the ominous BLACK GATE which leads to the KRUZ CONTROL level. (Note: If they navigate there, then the navigation sequence obviously is not a cut-scene.) As soon as they arrive or materialize, huge, ferocious Little Bob violently points at the giant black gate and "screams" at the others: LITTLE BOB FIRE!!! Immediately the others start launching powerful attack programs against the ominous-looking gate, which begins to shake and sputter. ANGLE ON ROGER touching down by the wall to one side of the Black Gate. GAME PLAY RESUMES. Nothing more will happen until R uses his SCANNING program to scan the wall and find the blinking data segment. 2.0 TALKROGER OR TALKPHILIP BEFORE R USES SCANNING PROGRAM TALKROGER Now what? (Note: As in the Vortex scenes with Kaira, in cyberspace Roger's father sometimes appears in a full cyberbody form next to Roger when he speaks. When summoned, as in this case, Philip suddenly materializes with a zap, having a cyberbody with a face recognizable as PK's. However, unlike Kaira's cyberbody, PK's should be hazy, shaky, and slightly out-of-phase to suggest that his programming -- and memory -- have been damaged.)

344 PHILIP V.O. Scan the wall on this side. Find the blinking segment and dive through it. Hurry, Roger. PK vanishes with a zap. 2.0 IF R DOESN'T USE HIS SCANNING PROGRAM IN A REASONABLE TIME (POSSIBLE "GAME OVER") SET CLOCK for 30 seconds after R's touchdown next to the wall. If R doesn't use his scanning program by 30 sec: PHILIP V.O. Hurry, Roger. If you don't scan the wall, you will surely be killed by Kruz viruses! SET CLOCK for 30 seconds more. If R doesn't use his scanning program within this time, the Player will be punished for not taking the game seriously. At the end of 30 sec with no scanning: PHILIP V.O. It's too late, Roger! I tried to warn you! Look out, my son! A virus (or a blast of energy from above of through the wall) BLASTS our POV. Our POV collapses to the "ground" as we hear R gasp. We hear him croak in a death rattle: ROGER V.O. How could I be... such a... LOSER?!!

345 We hear him scream with SEARING HISSING SFX as the screen shakes and sizzles to a BLINDING BRIGHT LIGHT. SHOCK-CUT TO BLACK. Severe WHITE LETTERS slam into view over the black with a metallic sound, chiding the player to take the game seriously: GAME OVER. TRY AGAIN, LOSER. The game will now replay from "2.0 ATTACK ON KRUZ CONTROL GATE" and the Player will have a chance to use his scanner and continue in his quest. Goto "2.0 R FINDS BACK DOOR". 2.0 R FINDS BACK DOOR R uses his scanner program and finds a small square dotted line blinking very low in the wall. 2.0. TALK ROGER OR TALKPHILIP AFTER HE FINDS BLINKING SEGMENT AND BEFORE DOUBLE CLICKING ON IT TALKPHILIP That's it, Roger. Squeeze through there. Quickly! What are you waiting for? ROGER Dammit! Stop ordering me around. PHILIP I was merely making a suggestion. ROGER Yeah, well, back off.

346 PK vanishes with a zap. 2.0 IF R DOUBLE-CLICKS (OR WHATEVER) ON BLINKING SEGMENT This will cause R to hunker down and slowly squeeze through the tiny opening in the wall of data. As he does, wipe to "2.1 POLICE ALERT". 2.1 POLICE INTERROGATION ROOM - POLICE ALERT (CUTSCENE) We're back in the cops' interrogation room where we saw Roger in Act 2. The same Cop that was giving R a hard time is in the middle of interrogating some unseen suspect. COP All right, punk, I'll ask you for the last time, and I want a direct answer. Have you ever taken illegal drugs? Cut to TIMOTHY LEARY (or, if he's unavailable, BURROUGHS) being interrogated as a visual punchline to the question. After a whimsical beat: LEARY Let me get back to you on that. The door bursts open and COP 2 sticks his head in frantically. COP 2 Wrap this up! There's a big hacker attack online. The biggest yet. Hurry up! COP (TO LEARY)

347 Don't move! He rushes out as Leary lights up a cigarette and shrugs at the camera. LEARY Cops are always so tense. END CUT-SCENE. Wipe to "2.2 MAZE TUTORIAL". 2.2 MAZE TUTORIAL Wipe to R emerging with difficulty from the tiny hole on the other side of the data wall. He squeezes through and stands to look around. Before him is a dark corridor which is the beginning of a simple maze which will serve as a tutorial for subsequent gauntlet-mazes. ROGER So... this is Kruz Control, huh? Pretty creepy. So now what? Nothing more will happen until R begins moving through the corridor, clicks on a talk function, or tries to use WORMHOLE or TRACE. 2.2 TALKROGER OR TALKPHILIP TALKPHILIP This backdoor cuts through the programming and leads directly to the Central Processor. Perhaps you will find Malcom along the way. For security reasons, I designed four doors, each leading to a deeper level of Kruz Control, and each protected by a viral entity. Between

348 each door is a maze with deadly obstacles to keep out hackers. ROGER Four mazes, four doors... Anything else. PHILIP Yes. Be careful... son. He dematerializes with a zap. 2.2 IF R USES WORMHOLE If R implements WORMHOLE on his deck, he obviously follows program directions and is instantly zapped back into his body at Headquarters. The other hackers' bodies will still be seen slumped at their consoles in cyberspace stasis. 2.2A -- If R clicks on his deck, the screen will wipes to a closeup of the WORMHOLE MENU on his screen and R may click on menu items that instantly will send him back to the same spot in the maze he just jacked out of. 2.2B -- If R clicks on moving around or leaving the room, he will automatically unhook his skull slots and leave his chair. He may then leave Headquarters and go anywhere he pleases, have a drink at the Morgue if he likes, etc. (Note: If R chooses to explore SamCity at this time, SET FLAG to DISABLE ALL TALK FUNCTIONS. Otherwise you will have to record two versions of talk functions for each SamCity location; one with Kaira for earlier scenes, and one with PK for Act 3 scenes. To simplify production, Talk Functions

349 should be disabled during every sojourn back into the city, including when Roger is searching SamCity locations for DNA samples to unlock the doors.) 2.2C -- If R leaves and returns to Headquarters, he must click on his chair. This will automatically cause him to hook in his skull slots. Now he must click on his deck, which will wipe to full screen WORMHOLE MENU, as in 2.2A. The game will not progress until R clicks on his deck and returns to cyberspace via the WORMHOLE Program, which will always bring him back exactly to the coordinates he just left. 2.2 IF R USES TRACE PROGRAM (TRACE PROGRAM DESIGN) Clicking on this program causes the screen to wipe to a closeup of R's virtual deck screen (which can, of course, be simple floating in front of him if we wish). The screen shows the TRACE MENU options. R will click on BEGIN TRACE OF DNA SAMPLE . Here's one way to design the Trace Program: The screen wipes to a diagram of the surrounding programming, showing a detailed cross-section of the four levels of Kruz Control in the wine glass stem, with walls (or doors) separating each level. (Note: Shown under the fourth level is the final and deepest level, the Central Processor.) The diagram shows R's location (labeled SOURCE) as a blinking blip. R's "source" location will change depending on where he is when he implements the Trace Program. For example, if R has not yet opened Door 1, his blip will be seen blinking just outside of the first wall or door on the grid. Malcom's location (labeled TARGET) is shown as another blinking blip, but is always located past the fourth wall or door, no matter where R is when he uses the program. 2.2 TALKROGER OR TALKPK AFTER USING TRACE PROGRAM

350

After implementing the Trace Programming and bringing up the diagram of R's location relative to Malcom's, R will automatically speak (in V.O.) each time. (AFTER FIRST TIME ONLY -- CUT-SCENE) TALKROGER Bingo. Malcom's surfin' in here all right. That's him in the fourth level. PHILIP V.O. Behind the fourth door is Malcom's private cyberoffice from where he runs the company. TALKROGER What's that area under the fourth level? PHILIP V.O. That is the Central Processor, which is the soul of the Vortex. All data in the system must pass through the CPU. TALKROGER Well, then, after I talk to Malcom and get my money back, that CPU is history. PHILIP V.O. Roger, leave the CPU alone. Damaging it may destroy the Vortex. ROGER

351 No shit, Sherlock. Are you that braindead? Your creation was co-opted, remember? By Malcom, the guy who murdered you and swiped my money. It's time to pull the plug, man. Let it go. PHILIP (DISTURBED) I suppose you're right... ROGER Of course I'm right. Look, Pa, just kick back with a cybercocktail and let me do the dirty work. Now get lost so I can concentrate. Philip vanishes with a zap. (ANY OTHER TIME:) TALKROGER Malcom's still behind the fourth door. 2.2 IF R USES ANY PROGRAM OTHER THAN WORMHOLE, TRACE OR MAP R will stop and say: ROGER No, I can't do that now. 2.2 IF R CLICKS ON THE CORRIDOR

352 This causes R to enter the Maze Tutorial. This will be a simplified version of the maze design which R will find later growing more complex. (Note: We have dispensed with the Phagocyte Subplot. Instead, after threading each maze, R will be faced with an AI guard in front of each door which R must do combat with in order to have access to the door to the next level. Each subsequent maze and virus guard will be of increasing difficulty.) 2.2 TALK ROGER OR TALKPHILIP AFTER ENTERING MAZE AND BEFORE MEETING VIRUS GUARD TALKPHILIP A Map Program would be useful to you, Roger. Implementing it will show you a bird's-eye view of your location in each maze. If you do not have one, you should get one. PK vanishes with a zap. (Note: If he does not have a MAP PROGRAM and wishes to get one, R may of course use WORMHOLE to jack out and look for the program. He will find it for sale in Selma's.) (Note: The Map Program is not mandatory to thread the mazes, but it will certainly make threading the last maze easier, which should be very difficult to penetrate to the fourth door. Having the option to get this Program also increases R's interactive choices and efficiency in gameplay in a straightforward way.) 2.3 R THREADS MAZE 1 AND CONFRONTS VIRUS GUARD

353 At the end of Maze 1 is Door 1. Guarding Door 1 is a huge ghastly virus guard. R must use his combat programs to destroy this guard. (Note: To reiterate, the first guard will be easy to defeat, but subsequent guards will be more deadly. R may die in combat with Virus guards at Door 3 and Door 4. The first Virus Guard, then cannot kill R ,but R cannot have access to the door until he kills the guard.) After R destroys the guard, automatically goto "2.4 INTERCUT MERRY MEN ATTACKING [ETC]". 2.4 INTERCUT MERRY MEN ATTACKING KRUZ CONTROL DATABASE The Merry men have escalated their attack on the Black gate and are doing some damage. More Kruz Guards have appeared through turrets appearing in the wall and are attacking the Merry Men, firing programs down at them. On both sides, this is a full-scale attack with heavy weaponry. We will intercut this attack at key moments during R's journey through Kruz Control to destroy Malcom and the CPU. Cut back to R standing in front of Door 1. Nothing more will happen until R clicks on the door to approach it. Goto "2.5 AFTER R CLICKS ON DOOR 1". 2.5 AFTER R CLICKS ON DOOR 1 After defeating the Virus Guard, R may click on Door 1 and approach it. The Door will have a stylized screen and a slot in it. The screen illuminates and begins talking when R approaches it. DOOR 1 SCREEN

354 Please insert key in slot. 2.5 IF R CLICKS "OPEN DOOR" BEFORE INSERTING DNA ROGER I need a key. 2.5 TALKROGER OR TALK PHILIP AFTER DOOR ASKS FOR KEY TALKROGER OK, what the hell is this about? You didn't say anything about any goddamn key. PHILIP Yes, you're right... I forgot... (THINKS WITH DIFFICULTY) Yes, I remember now... Each door is opened by a different DNA sample. I believe the first door unlocks with FISH. You must find organic fish DNA and use it with your Forensics Program to unlock the door. Philip disappears with a zap. Nothing more will happen until R obtains the fish DNA. Goto "2.6 FISH DNA PUZZLE". 2.6 FISH DNA PUZZLE R must perform the following actions to unlock Door 1 and enter Maze 2 in the next level of Kruz Control: USE WORMHOLE to jack out.

355 FIND FISH. There are two locations with FISH in the game: the TRASH HEAP at the Kruz entrance or THE PET STORE (See Act 2; section "4.5 IF R RETURNS AFTER ENTERING KC".) USE FISH WITH FORENSICS PROGRAM. This will cause R to insert part of the fish in the slot in his deck (as when he used the TRACE PROGRAM earlier). USE WORMHOLE to jack back to Door 1. USE REMOTE DECK WITH DOOR 1 SLOT. This causes R to insert a cyber DNA SAMPLE into the door slot. The door whirrs. OPEN DOOR 1. ======================================== 3.0 AFTER R ENTERS DOOR 1 TO MAZE 2 R stands to look around. Before him is another dark corridor leading to Maze 2. Nothing more will happen until R begins moving through the corridor, clicks on a talk function, or uses MAP, WORMHOLE or TRACE. 3.0 TALKROGER OR TALKPHILIP AFTER PASSING THROUGH DOOR 2 (FIRST TIME) TALKROGER Uh, Dad, did you program any boobytraps into this level? PHILIP I'm afraid I don't remember, son. But I'm sure you'll find out for yourself ROGER You know what, Dad? As a side-kick, you stink.

356

PK dematerializes with a zap. ========================= (ANY OTHER TIME) TALKROGER V.O. (SIGHS) Mazes suck. 3.1 IF R CLICKS ON THE CORRIDOR TO MAZE 2 This causes R to enter Maze 2, which is more complex (and perhaps more dangerous) than Maze 1. 3.2 R THREADS MAZE 2 AND CONFRONTS VIRUS GUARD 2 At the end of Maze 2 is Door 2, which is protected by Guard 2, another huge ghastly viral entity. R must use his combat programs to destroy this virus. (Note: To reiterate, Guard 2 cannot kill R ,but R cannot have access to the Door 2 until he kills the virus. R may, however, die in combat with Guard 3 and/or Guard 4. R cannot have access to Doors 3 and 4 until he kills their respective viruses.) After R destroys the guard, automatically goto "33 INTERCUT MERRY MEN ATTACK". 3.3 INTERCUT MERRY MEN ATTACKING KRUZ CONTROL DATABASE (CUT-SCENE) The Merry Men's attack escalates further. No causalities yet on the Merry men side. Again, this is a full-scale attack with heavy weaponry.

357 (Note to Michael: Obviously, the idea here is to intercut to the escalating battle whenever it seems right in the flow of the storytelling. These combat scenes should be paced to show the battle getting more and more intense each time we cut back to it, showing the hackers doing more and more damage to the Black Gate, showing more and more Kruz Guards firing upon them, leading up finally to Marian's shocking death and the blasting of the gate by the Merry Men, when R is in mortal combat with his father in the CPU.) Cut back to R standing in front of Door 2. (Guard 2 has been destroyed.) Nothing more will happen until R clicks on the door to approach it. Goto "3.4 AFTER R CLICKS ON DOOR 2". 3.4 AFTER R CLICKS ON DOOR 2 After defeating Guard 2, R may click on Door 2 and approach it. Door 2 is identical to Door 1, with a stylized screen and a slot. The screen illuminates and begins talking when R approaches it. DOOR 2 SCREEN Please insert key in slot. 3.4 IF R CLICKS "OPEN DOOR" BEFORE INSERTING DNA ROGER I need a key. 3.4 TALKROGER OR TALK PHILIP AFTER DOOR ASKS FOR KEY (ONE TIME ONLY) TALKROGER OK, what's the key. And don't tell me you don't remember.

358

PHILIP The key, yes, let me think... ROGER Make it fast. PHILIP (THINKS WITH DIFFICULTY) Yes, I remember now... I believe the second door unlocks with FOWL DNA. ROGER "Fowl"? You mean as in chicken? PHILIP You must find organic fowl DNA and use it with your Forensics Program to unlock the door. Philip disappears with a zap. Nothing more will happen until R obtains the fowl DNA. Goto "3.5 FOWL DNA PUZZLE". 3.5 FOWL DNA PUZZLE R must perform the following actions to unlock Door 2 and enter the next level: USE WORMHOLE to jack out. FIND DUCK FEATHER in Blue Lagoon. (Goto Act 2; section "8.5 IF R RETURNS TO BLUE LAGOON AFTER HACKING INTO KC".)

359 USE FEATHER WITH FORENSICS PROGRAM. This will cause R to insert FEATHER in the slot in his deck, as before. USE WORMHOLE to jack back to Door 2. USE REMOTE DECK WITH DOOR 2 SLOT. This causes R to insert the cyber DNA SAMPLE into the door slot. The door whirrs. OPEN DOOR 2. ======================================== 4.0 AFTER R ENTERS DOOR 2 TO MAZE 3 Again, R stands to look around. Before him is an even nastier, darker corridor leading to Maze 3. Nothing more will happen until R begins moving through the corridor, clicks on a talk function, or uses MAP, WORMHOLE or TRACE. 4.0 TALKROGER OR TALKPHILIP AFTER PASSING THROUGH DOOR 2 (FIRST TIME) TALKROGER Any of your lousy boobytraps here, Daddy? PHILIP Well, I'm afraid... uh, I'm afraid... ROGER (FINISHING WITH HIM) ..."you don't remember"... That's just great, Dad. I'm so glad we've had this little father-son outing. Feel free to just jump in any time with other things you don't remember.

360

PHILIP You still hate me, don't you, son. ROGER Look, you sent me off to war to die, remember? But I'll give you this, it's harder to hate you when you're practically senile. PHILIP I'm sorry for what I did to you, Roger. I just felt you had no discipline. That the army would toughen you up. And I was right. Look at you now. ROGER Look, Dad, my bullshit detector's ready to explode. Just keep quiet so I can focus on not getting killed, OK? PK dematerializes with a zap. ========================= (ANY OTHER TIME) TALKROGER V.O. (SIGHS) Mazes bite. 4.1 IF R CLICKS ON THE CORRIDOR TO MAZE 3 This causes R to enter Maze 3, which is more complex (and more dangerous) than Maze 2.

361 4.2 R THREADS MAZE 3 AND CONFRONTS VIRUS GUARD At the end of Maze 3 is Door 3, which is protected by an even bigger and ghastlier virus. R must use his combat programs to destroy Guard 3 before he can enter level three. (Note: R may die in combat with Guard 3 and/or Guard 4. R cannot have access to Doors 3 and 4 until he kills their respective Guards.) If R dies, goto "4.3 GUARD KILLS R". If R destroys the guard, goto "4.4 INTERCUT MERRY MEN ATTACK". 4.3 GUARD KILLS R (Note: It is more likely that R might be killed by Guard 4, who is extremely vicious. But if R can't seem to muster enough combat skills to avoid death in this instance...) R is hit hard by a program and we hear him take it hard. ROGER (SCREAMS IN PAIN) R's POV collapses to the ground and groans. He's dying. DRAMATIC HORROR MUSIC FADES IN. We hear his last words: ROGER No... it can't end like this... I must be a... LOSER! AUGGGHHH! He dies. The huge virus leans over him and starts eating his data horrifically. We hear the wet sucking and grinding of the creature's jaws chomping on Roger, as we --

362

CUT TO BLACK with a loud OMINOUS SFX. WHITE LETTERS slam into view over the black with a metallic sfx: GAME OVER, GINK. TRY HARDER NEXT TIME. FADE OUT Now, by our auto-replay function, GAMEPLAY RESUMES at "4.2 R THREADS MAZE 3 AND CONFRONTS VIRUS GUARD". 4.4 INTERCUT MERRY MEN ATTACKING ESCALATING (CUTSCENE) The Merry Men's attack escalates further. No causalities yet on the Merry men side. Again, this is a full-scale, heavy-weapon attack. Cut back to R standing in front of Door 3. (Guard 3 has been destroyed.) Nothing more will happen until R clicks on the door to approach it. Goto "4.5 AFTER R CLICKS ON DOOR 3". 4.5 AFTER R CLICKS ON DOOR 3 After defeating the Guard 3, R may click on Door 3 and approach it. Door 3 also has a stylized screen and a slot. The screen illuminates and begins talking when R approaches it. DOOR 3 SCREEN Please insert key in slot. 4.5 IF R CLICKS "OPEN DOOR" BEFORE INSERTING DNA

363 ROGER I need a key. 4.5 TALKROGER OR TALK PHILIP AFTER DOOR 3 ASKS FOR KEY (ONE TIME ONLY) TALKROGER OK, what's the key this time. And make it fast. PHILIP (THINKS WITH DIFFICULTY) The third door, the third door... I'm not sure... But I think the third door unlocks with DNA from a reptile... No, no, now I remember, from a snake...! Yes! I believe that's it! You must find organic SNAKE DNA and use it with your Forensics Program to unlock the door. Philip disappears with a zap. Nothing more will happen until R obtains the snake DNA. Goto "4.6 SNAKE DNA PUZZLE". 4.6 SNAKE DNA PUZZLE (Note: This puzzle involves a red herring. R will naturally repeat the actions which gained him entrance to Doors 1 and 2. He will get the SNAKESKIN from the Pet Store, use it with his Forensics Program and then try it as the key to Door 3. But it won't open. The snakeskin is the red herring. To solve this puzzle, Roger must remember that Malcom's nickname is "the Snake". It is Malcom's DNA that opens Door 3.)

364 -- The actions which R must perform to solve this puzzle depend on the design of the Trace and Forensics Programs. If Malcom's Virtual DNA sample can be removed from the Trace Program while R is still in cyberspace, then he need not jack out to solve this puzzle (although he surely will try the snakeskin). -- But otherwise, generally speaking, R will have to do the following to unlock Door 3 and enter the next level: USE WORMHOLE to jack out. FIND MALCOM'S HAIR in Headquarters. (See Headquarters room description in Act 2; section 17.2 .) USE MALCOM'S HAIR WITH FORENSICS PROGRAM. This will cause R to insert HAIR in the slot in his deck, as before. USE WORMHOLE to jack back to Door 3. USE REMOTE DECK WITH DOOR 3 SLOT. This causes R to insert the cyber DNA SAMPLE into the door slot. The door whirrs. OPEN DOOR 3. ======================================== 4.6 IF R USES SNAKESKIN DNA WITH DOOR 3 When R clicks OPEN DOOR after inserting snakeskin DNA in the door slot, the lock simply buzzes and won't open. R is frustrated: ROGER What the hell is wrong with this lock? (PUNCHES DOOR) There's the snake DNA! Open up, damn it! Old man, are you sure this is the right key for this door? PHILIP

365 Yes, Roger. I remember distinctly. Door 3 unlocks with Snake DNA. ROGER Then what the hell is wrong? PHILIP I'm sure you'll find a solution, Roger. PK vanishes with a zap. 5.0 AFTER R ENTERS DOOR 3 TO MAZE 4 Again, R stands to look around. Before him is the nastiest, darkest corridor of all, leading to Maze 4. Nothing more will happen until R begins moving through the corridor, clicks on a talk function, or uses MAP, WORMHOLE or TRACE. 5.0 TALKROGER OR TALKPHILIP AFTER PASSING THROUGH DOOR 3 (CUT-SCENE) (FIRST TIME) TALKROGER This looks nasty. PHILIP I programmed it to look that way. I used to be pretty clever, didn't I? ROGER Yeah, old man. But now you're on major brain drain. I'm still pissed because I had to sacrifice my girlfriend to bring

366 you onboard. PHILIP You sacrificed your girlfriend for me? ROGER There wasn't enough room in my deck for both of you. So she erased herself. PHILIP Your girlfriend was a machine? Do you have a problem you'd like to talk about, son? ROGER Shut up, Dad. Look, you were a human and now you're a machine, correct? PHILIP Correct. ROGER Well, she was a machine, and after Tukk fixed her programming, she became a human. Sort of. Anyway, I miss her. And instead I'm stuck with you. No offense, but I'd rather be with Kaira... PHILIP (SIGHS) I don't blame you, Roger. In fact, I blame myself. I wasn't a very good father, was I...

367 ROGER The worst. But what the hell. That's ancient history. Just get me through this thing so I can get my money and get the hell out of here. Now get lost so I can concentrate, OK? PK vanishes with a zap. ========================= (ANY OTHER TIME) TALKROGER V.O. (SIGHS) Mazes blow. 5.1 IF R CLICKS ON THE CORRIDOR TO MAZE 4 This causes R to enter Maze 4, which is the most complex and dangerous of all. 5.2 R THREADS MAZE 4 AND CONFRONTS FINAL VIRUS GUARD At the end of Maze 4 is Door 4, which is protected by the biggest and ghastliest virus. R must use his combat programs to destroy Guard 4 before he can enter level four and confront Malcom. (Note: Guard 4 is vicious. If he does not try hard, R may die in combat with Guard 4. R cannot have access to Door 4 until he kills Guard 4.) If R dies, goto "4.3 GUARD KILLS R". If R destroys the guard, goto "5.3 INTERCUT MERRY MEN ATTACK".

368 5.3 INTERCUT HACKER ATTACKING GETTING VICIOUS (CUTSCENE) The Merry Men's attack escalates even further. No causalities yet on the Merry men side. Cut back to R standing in front of Door 4. (Guard 4 has been destroyed.) Cut-scene continues as PK zaps into view: PHILIP V.O. You are entering the most dangerous level, Roger. Be aware that Malcom is behind that door. He is powerful in this domain. And I am sure he knows where you are... ROGER I hope the gink knows where my money is. PHILIP V.O. Be careful, my son. I can no longer help you. You must face Malcom alone. He disappears with a zap. Nothing more will happen until R clicks on the door to approach it. Goto "5.4 AFTER R CLICKS ON DOOR 4". 5.4 AFTER R CLICKS ON DOOR 4 After defeating Guard 4, R may click on Door 4 and approach it. Door 4 also has a stylized screen and a slot. The screen illuminates and begins talking when R approaches it.

369 DOOR 4 SCREEN Please insert key in slot. 5.4 IF R CLICKS "OPEN DOOR" BEFORE INSERTING DNA ROGER I need a key. 5.4 TALKROGER OR TALK PHILIP AFTER DOOR 4 ASKS FOR KEY (ONE TIME ONLY) TALKROGER The last key, Dad. You've gotta remember this one. PHILIP (THINKS WITH DIFFICULTY) Yes, I'll try... hmmm, the fourth door... ah, yes, I remember! The fourth door unlocks with my DNA... Yes, I remember programming my own DNA to unlock the final door. ROGER Yeah, but you don't have a body. How the hell am I supposed to use your DNA? PHILIP I'm sure you'll find a solution, Roger. Philip disappears with a zap. Nothing more will happen until R obtains human DNA. Goto "5.5 PK DNA PUZZLE". 5.5 PK DNA PUZZLE

370

(Note: Again, the precise actions which R must perform to solve this puzzle may depend on the design of the Trace and Forensics Programs. R will have to realize that he and his father both share a genetic code and similar DNA strands.) R must use a sample of his own DNA to unlock Door 4, behind which waits Malcom. To do this, R must perform the following actions: USE WORMHOLE to jack out. Then: SET FLAG. As soon as R jacks out after "5.4 TALKROGER OR TALK PHILIP AFTER DOOR 4 ASKS FOR KEY" (see above), make R'S HAIR ACTIVE. Back in Headquarters, the Player must try scanning R's body to see if any body parts are active for R's DNA. Finding R's HAIR active, the Player must perform the following: USE R'S HAIR WITH FORENSICS PROGRAM. This will cause R to yank some HAIR out of his head ("Oww!") and insert HAIR in the slot in his deck, as before. USE WORMHOLE to jack back to Door 4. USE REMOTE DECK WITH DOOR 4 SLOT. This causes R to insert the cyber DNA SAMPLE into the door slot. The door whirrs. OPEN DOOR 4. Goto "6.0 R UNLOCKS DOOR 4". ======================================== 6.0 R UNLOCKS DOOR 4 The door opens and R clicks through to enter Level 4. Description: This final room does not contain a maze but let's say that it contains rather a weird bizarre, shadowy limbo with weird protuberances and colored shapes sticking out of the ground, like an Yves Tanguey painting.

371

As soon as R clicks forward to move through the room -Suddenly materializing in front of him are "screens", wiping into existence, screens of all sizes, blocking his path. Each screen shows Malcom's face giving a FunFlick speech, as in the Savant Bros' workroom. In fact, it should be the same speech if possible, to give it a satirical feel. (Malcom is blasting this blatant propaganda at R to irritate him.) Behind this fourth door, the screens are R's obstacles which keep him from moving forward to find Malcom. Each time R takes a few steps in any direction, the screens keep materializing in front of him, "wiping" into existence with a zapping sfx, and blocking his way in that direction. 6.0 GETTING PAST THE SCREEN OBSTACLES R must try different attack programs on the screens to try to smash them. Only one program will work. For now, let's say that R must use an attack program called NEUROCRASH (something with CRASH or SMASH in the title) against these screens to smash them. If he doesn't smash these cyberscreens, he will not be able to proceed; the screen will continue to block his way and the game will not progress. 6.0 IF R'S WAY IS BLOCKED AND HE DOESN'T SMASH SCREENS If R just stands there and doesn't move when he's blocked, he has not figured out how to use the NEUROCRASH program to smash the screens. R and the story cannot proceed until he either tries NEUROCRASH or tries to use WORMHOLE to jack out.

372 6.0 TALK ROGER OF TALKPHILIP AFTER R'S WAY IS BLOCKED AND BEFORE FINDING MALCOM TALKPHILIP (FIRST TIME ONLY) Roger, it is crucial that you find Malcom. (ANY OTHER TIME) You must find Malcom. PK vanishes with a zap. 6.0 IF R USES WORMHOLE AFTER BEING BLOCKED BY CYBERSCREENS His jacking out will seem to begin normally. We will start to see the transition imagery of exiting cyberspace -- but this will abruptly stop as the screen around R wipes to a weird colorchanging pattern. R will find himself trapped in this weird cyberspace "rainbow area" and wonder what's going on. ROGER What the hell is going on? With a zzzaaappp!, R's father materializes in his hazy, shaky shape. PHILIP Roger, you are on Malcom's turf now. You are only one level away from the Central Processor. Malcom is most powerful here and has locked you in. You cannot return to the real world until he lets you go. But you must get past the screens in order to find him.

373 With a ROARING WIND, R finds himself "blown" back into the fourth room, back to the same corner in which he was blocked by the screens a moment ago. Since R cannot jack out, nothing more will happen until R USES NEUROCRASH on SCREENS. 6.1 IF R SMASHES ALL OF THE SCREENS AND MEETS MALCOM (CUT-SCENE) After smashing through about twenty screens, R will have threaded the "empty maze" of this strange, misty room. After smashing the last, large screen, he will find himself face to face with -- Malcom. (CUT-SCENE BEGINS:) Malcom stares at him from under an eerie red spotlight. He's chuckling nastily at R. MALCOM My, my, you do enjoy smashing things, don't you? ROGER That's right, brainiac. You're next. And then your lousy Vortex. I came for my share of the money, Malcom. The money you swiped when you killed my father. MALCOM (LAUGHS) Killed your father?! My dear boy, the poor fool was electrocuted! And as for your father, you insignificant slug, he

374 despised you. The Vortex, and Philip's fortune, was left to the company and, therefore, to me. ROGER There's no way you're getting my money, scumbag. And kiss the Vortex bye-bye, weirdo. No more cybroids, no more Kruz slaves. But I gotta hand it to ya, you almost had it all, you slimy goddamn snake. CLOSE ON MALCOM -- EXPLODING IN ANGER His cyberbody shakes in a rage. Then he explodes. Literally. KA-BOOM! And out of the ROARING smoking explosion, Malcom transforms into a terrifying metallic snake-like cyberdemon with huge, man-sized jaws that hiss at R in a deafening, monstrous voice: MALCOM/SNAKE Almost had it all?! And I suppose that YOU are going to take it away from me?! (LAUGHS) That's quite an argument, boy! Something I can really sink my TEETH into! The huge snake begins ROARING and viciously attacking Roger! R jumps away from the snapping jaws as we CUT TO: 6.2 HACKER ATTACK ON KC ENTRANCE (CUT-SCENE CONTINUES)

375 The hackers are doing maximum damage to the Vortex. We see the hacker's taking hits, but not dying as they shatter and explode more and more of the circuits which control the Black Gate. CUT BACK TO -6.3 R COMBAT WITH MALCOM/CYBERSNAKE (END CUT-SCENE). GAME PLAY RESUMES. SET FLAG: As soon as combat begins, the SNAKE'S OPEN MOUTH becomes active. (Note: Whenever the snake opens its jaws wide to attack R, the mouse will show that the OPEN JAWS are active. R must use his ingenuity and discover this by trying everything, because nothing else will work!) Now R must do serious combat with Malcom/The Snake. But this is combat of a different kind. Malcom is indestructible in this realm. R and Malcom/The Snake are closely facing each other, perhaps circling each other in an animation loop. Every time the snake lurches towards R (our POV), R jumps aside to avoid the snapping, toothy metallic jaws which are big enough to snap him in two. In effect, our POV keeps jumping back out of the way of the beast. (Note: Here we create a repeating animation sequence of attack and retreat; the snake keeps moving in close and lunging and snapping at R; R keeps retreating and avoid being eaten at the last instant. Refer to the ending fight scene in Monkey Island between Threepwood and LeChuck. This fight sequence is a variation on that game design.) 6.3 IF R TRIES ANY PROGRAMS AGAINST THE BEAST

376 Nothing will work. Any program R tries on the Snake will be ineffectual. R will automatically keep jumping back and from side to side in a repeating series of attack/avoidance sequences until R solves the puzzle of how to defeat the Snake. 6.3 HOW R SOLVES THE SNAKE COMBAT PUZZLE R must remember the advice he has gotten in a variety of circumstances: "TO KILL THE BEAST, JUMP DOWN ITS THROAT". (Note: This is the phrase he heard Philip roar in the opening dream sequence.) To defeat The Snake, R (the Player) must click on the huge active open throat of the beast -- just as it opens its jaws to bite him. This will cause R to do the most outrageous action in the entire game -- he will SCREAM as he dives right down the throat of the huge beast! ROGER Yaaaaauuuuugghhhh!!! From R's POV, we dive with him right down its throat and into BLACKNESS. Instantly goto "6.4 TERRORWARE CALLBACK". ============================================= (Note: R uses the same method of moving forward as he does for moving through a cyberdoor: he clicks on the door and walks through. In this case, he clicks on the open throat -- and jumps into it!) (Note: To reiterate, this final Snake Puzzle is analogous to the final Fight LeChuck Puzzle at the end of Monkey Island. The LeChuck fight continues on an endless, exciting animation loop until the player figures out a solution.

377 Likewise in this puzzle, the Snake keeps attacking and R keeps jumping back until the player figures out the solution.) (Note: Since this is the last puzzle in the game before the final movie, this puzzle should be exciting, difficult and action-packed.) =============================================== 7.0 TERRORWARE CALLBACK The blackness congeals into a repeat of a scene in act one: Roger finds himself reliving the Terrorware sequence which he selected as the most terrifying! (See Act 1, section "14 TERRORWARE PRELUDE".) Insert here the TerrorWare scene previously selected by R (the Player). Here R relives the Player's worst nightmare, and at the moment of R's death, SHOCK CUT TO: 8.0 INT. ROGER'S CUBICLE We see R "coming to" in front of his computer, his skull slots plugged into his big wall screen. ERIE MYSTERIOUS MUSIC fades in. Onscreen is the TERRORWARE MENU in which R rates the terror scenarios. R "wakes" up at the desk with his head in his arms. His face flushed and drenched with sweat, he rips off the skull slot wires and looks up at the screen, at his surrounding room, confused, wondering what the hell is going on... ROGER What is this...?! SYSTEM COMPUTER V.O. Please rate the Terrorware scenario you have

378 just experienced. If you wish, you may revise your ratings at the end of this session. ROGER What?! Are you telling me this was all a -a goddamn fantasy?! In a fit of rage, R grabs his chair and SMASHES it through his wall screen. The EERIE MUSIC climaxes. R suddenly hears a man's LOUD EERIE ECHOING LAUGHTER coming from the corridor behind his cubicle door. He looks up at the door in confusion, indicating (to the viewer) that the sound is coming from behind it. ROGER Who is that? Who's out there?! GAME PLAY RESUMES. DISABLE TALK AND LOOK FUNCTIONS. Nothing more will happen until R clicks on his cubicle door and exits his room. When he does, goto "9.0 INSIDE THE CENTRAL PROCESSOR". 9.0 INSIDE THE CENTRAL PROCESSOR (CUT-SCENE -- 5 MIN.) (Note: This ending cut-scene is the climax to the entire "film". It's long, but is the player's reward for finishing the game, and should be one of the most fantastic and spectacular endings of any computer game.) CUT TO R exiting the doorway of his cubicle -- and stepping right into the vast, incredible-looking, monstrous chamber of the Central Processor. This is the strangest, most magnificent location we have seen in the game. This chamber is the source of the Vortex.

379 Prominently in the center of the shimmering chamber is a strikingly beautiful object: a single beam of laser-like light incased in a protective green cylinder, with its beam vanishing somewhere high above. This is the DATA BEAM which distributes all the information to every part of the Vortex. Information flows down the walls in swath of colors, across the floor, and up the beam. It is awesome. The EERIEST MUSIC of all intones as Roger looks around, awestruck. ROGER (HALF TO HIMSELF) Where am I...? A POWERFUL VOICE booms out behind him. Roger (our POV) whirls around. PHILIP K. SMITH Welcome to the core of my creation.... R is now facing PHILIP K. SMITH, in the flesh and blood -- not the one in his deck. This Philip looks strong, invincible, god-like. Philip finishes his statement... PHILIP K. SMITH ... my son. ROGER (CONFUSED) Father... ? I don't get it... Then who's in my deck? The shaky, lame image of PK zaps into view from his deck and stands there like an automaton. The real Philip laughs.

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PHILIP K. SMITH A digital copy of your dear father. A soulless phantom. A mindless ventriloquist dummy. PK violently gestures towards the fake zombie PK -- who instantly disintegrates into a scintillating nothingness. ROGER But why? What about Malcom? PHILIP K. SMITH A cybroid with a digital clone in cyberspace. You see, it was I who killed Malcom. Then I created a fake Philip as well as the fake story of my death, to cover Malcom's murder and to throw hackers off the scent. You see, ten years ago, I was diagnosed with a terminal illness. I had months to live, then Malcom would inherit everything. I knew that if I downloaded myself into the system, Malcom could easily destroy me. So I killed him instead, destroyed my diseased body, and used my Malcom cybroid to run the company... from deep inside this CPU. Philip starts circling the beam, pointing to it as Roger moves in the opposite direction, worried about where the conversation is leading. ROGER What about the money?

381 PHILIP K. SMITH I knew the hackers had found out about my Swiss account. So I withdrew it to lure you into the system. I knew you wanted the money. I wanted to test you, to see if you'd break into Kruz to get it. You see, I had to bring you here, my son. ROGER Why? To toss me into another one of your stupid wars? From a high shot, the walls shimmer with color and energy. There is a slight ripple at PK's anger. PHILIP K. SMITH (SUDDENLY ANGRY) You'd better show some respect, boy! Did you think I lured you here to listen to your juvenile babbling? (CALMS DOWN; SMILES) I have a proposition for you, son. (GESTURES GRANDLY TO DATA BEAM BEHIND THEM) Every corporation in the world is now linking its computers to this data beam. This beam is the raw Information that creates the Vortex. It is the Vortex. Right now, millions of people are living inside it, addicted to it! Soon I will be able to download them all into the system forever. I will have access to every corporation and to every human mind! The Vortex will store all

382 the information on the planet! And I will control the Vortex! ROGER You mentioned a proposition? PHILIP K. SMITH Yes. I've been trapped in cyberspace for ten years. Ten long years without stretching my lungs with air, without warming my skin with sunlight. I can't leave this place, the CPU, and retain the body you see me with now. I am nothing but an icon, a phantom of my true self. However, if I can download consciousness out of a body, I can also upload it into a body. ROGER But you don't have a body. Unless, of course, you want mine. PHILIP K. SMITH I do. You would not lose consciousness. Everything for you would be the same, but I would share your body with you! We have the same genetic material! It's perfect! Don't you see? We could control all the information in the world! We could share it together! ROGER I got news for you. I'm not sharing

383 my bod with anybody. Unless they've got double D-cups. What I'm trying to say, father dear, and this is from the heart... you can go straight to hell. PK becomes instantly enraged. It's not nice to look at. He grabs a cyber weapon which looks like the Grim Reaper's STAFF and hisses: PHILIP K. SMITH Then join me... won't you? The CPU changes into a deep red with PK's anger. PK thrusts the bottom of the staff towards Roger which comes alive as electricity jumps across its base like a Telsa Coil. Roger steps back and away from the Coil as PK flips the staff, using the opposite end, now a hook to trip Roger onto his back. PK swipes the Staff at Roger's legs as Roger crabs backward across the floor. PK stands above Roger, raising the staff for the kill. Suddenly, Roger sweeps his outstretched legs together, catching PK's legs in middle. PK falls with a thud to the floor while Roger takes the opportunity to leap upon his back. Roger tries to pound his father's head into the floor, but PK's strength is too great. He raises with Roger on his back but is unable to shake him free until he viciously headbutts Roger. Roger stumbles backward as PK sweeps the Hook end of the staff across his chest. Roger's physical body back at the Merry Men Hideout reacts to the

384 blow. Roger is now back against the platform in the center of the room where the beam originates. PK raises the Staff above his head. A sick grin crosses his face. As the Staff comes down for the final blow, Roger deflects it with his foot onto the platform itself. While PK tries to remove the Staff, Roger rolls underneath the staff, nearly avoiding the opposite end which PK uses to swipe at Roger with. Roger spins around, grabbing the reverse end, propels PK towards the Beam. The Staff smashes through green shell covering the Data Beam. Philip suddenly roars in horror. PHILIP K. SMITH No! No, you fool! You broke the cylinder! The Staff breaks in half as the two men go after the ends, as we CUT TO -11.0 INTERCUT THE HACKERS ATTACK CLIMAXES (CUT-SCENE CONT'D) In a spectacular animated scene, the hackers break through and destroy the Black Gate, severely damaging the entrance to Kruz Control. As this happens -ANGLE ON MARIAN'S CYBERBODY as an Kruz AI BLASTS her with a powerful program, her cyberbody blown to bits. LITTLE BOB looks on and screams: LITTLEBOB Marian! SMASH-CUT TO:

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11.1 MARIAN'S DEATH -- HACKERS HEADQUARTERS (CUT-SCENE CONT'D) We see Marian's physical body being electrocuted in her chair, her head smoking, dead. Move in on her lifeless, charred face as we hear INTENSE MUSIC. (Note: To make the ending work, make sure we clearly see her face to show that it is Marian who died.) 12.0 THE CPU DISTORTS AND R DEFEATS PK (CUT-SCENE CONTINUES) Roger manages to retrieve the Telsa end of the Staff while PK gets the hook end. Roger seems to think he has the upper hand before Philip pulls down a hidden compartment on his staff and turns off Roger's Telsa Coil. Roger and PK tumble back and forth in an abbreviated swordfight using their staff ends. Finally, Roger manages to knock Philip to the floor and causing him to lose his staff end. Roger rushes to grab it and connects the two ends together again. Roger now as the advantage as he moves towards PK, but before he can strike his father, PK's foot comes up and floors him in the balls. Roger stumbles and falls, the staff flying through the wall behind him into the void of the vortex. PK grabs Rogers neck and starts choking him as he pushes him out through the vortex wall. As Roger's body is pushed through the wall, a stream of data moves across his body and a million phone conversations follow. PK attempts to permanently place Roger into the vortex.

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It looks bad for Roger as his father is powerfully strangling the life out of him. Suddenly -- the Vortex distorts (including PK) because of the hacker attack. PK is momentarily thrown off-guard as he and everything around him briefly crackle like a TV station briefly going out of phase. This is the opportunity R needs. With a burst of rage, R defeats his father, turning him around and SMASHING him through the now naked data beam. PK smashes through it and smashes into the data beam, his body disintegrating by a massive electric charge. Philip screams as he shudders and thrashes. PHILIP K. SMITH Nooooooooooo!!! Suddenly PK dramatically EXPLODES in white searing plasma heat, the powerful blast throwing Roger back through the air. As his father "explodes", the white light of the data beam also expands and explodes. CUT TO: 13.0 "EXTERIOR" MINDBLOWING VIEW OF THE VORTEX (CUTSCENE CONT'D) It shimmers with unearthly beauty. Then, after a beat ... every atom of the Information Vortex suddenly explodes in the biggest explosion in history, and with a deafening sfx. 13.1 SCREEN BURNS WITH BLINDING WHITE LIGHT (CUT-SCENE CONT'D)

387 Dissolve to screen hissing with electricity, searing the screen. The blinding heat congeals into tiny dots of shimmering light, as we DISSOLVE TO: 14.0 THE GLITTERING OCEAN (CUT-SCENE CONT'D) Pull back to reveal that the shimmering light is the surface of the ocean gleaming with sunlight; the hissing is the crashing of waves and foam. DISSOLVE TO: 14.1 ROGER ON THE BEACH -- SUNSET (CUT-SCENE CONT'D) We see a close shot of Roger by the water, sunning himself in a chair on a beautiful, deserted beach. (This is R bluescreened against stock of a magnificent beach.) Over the sound of ocean waves, we hear R's V.O.: ROGER V.O. Yeah, the universe has a sick sense of humor. I woke up back in my body and found that Daddy and the Vortex were dead meat, fried like a burnt slab of spam. Some of the hackers were dead, but others had blown back into their bodies. They were heroes. And Kruz was history. Roger's sitting back in his beach chair. To his left is a stainless steel ice bucket with a cocktail shaker from which Roger happily pours a martini, and hands it to -ANGLE ON MARIAN sunning herself next to him. She smiles as she takes the cocktail and raises the glass in a toast. The VOICE coming from her lips

388 is not Marian's, however; the voice, to our surprise, is the very recognizable voice of KAIRA. MARIAN/KAIRA To lying on a beach next to you, Roger, darling. In the flesh. Roger smiles as they clink glasses, take a sip and kiss. (Note: The unlikely scene is Roger's amusing vision of happiness [the one he told Kaira after making cyberlove] come to life.) Before the kiss gets any further along, Roger's deck BEEPS, announcing an incoming call. Roger reaches over Marian and pulls the deck to his lap. From over Roger's shoulder, we see the screen wipe to: CLOSEUP on vidscreen. We see Billy Red & Little Bob surrounded by Merry Men. It is clear that Roger has won their hearts and their thanks. LITTLE BOB Hope we didn't interrupt anything. BACK TO SCENE. Roger and Marian smile at each other. ROGER Nothing that can't begin again. CLOSEUP VIDSCREEN LITTLE BOB We just wanted to remind you that our meeting is scheduled for tomorrow and we --

389 OTS ROGER. Roger turns off the deck. MEDIUM SHOT. Roger and Marian kissing again. SLOWLY PULL UP AND OVER THEM, watching them getting smaller below us as we slowly rise up through misty clouds high into the air. As we climb higher, we hear: ROGER V.O. Kaira, who had been lost in the Vortex, blew back into Marian's body. And she was right about being in the flesh. You gurfs just can't simulate that in a computer. No way. Because real flesh, real emotions, real time and space, real life, I mean, that's what it's all about, isn't it? (BEAT) Or is it...? The music rises as the "camera" slowly moves above them, higher and higher, until we find ourselves looking down over the top of the Kruz Building's penthouse, revealing that Roger and KAIRA are really lounging on an artificial beach. Everything swirls slowly around them as a bookend to the opening shot of our story. And as the fantastically rendered sunset slowly sinks into the rendered horizon, the music fanfares to a magnificent conclusion, and we -SMASH-CUT TO: THE GLEAMING TITLE flashes across the screen with a DEAFENING EXPLOSION OF MUSIC:

390

CYBERHOOD
We hear the Cyberhood Theme as the title dissolves to a credit roll over black. FADE OUT

END ACT THREE