I Have No Mouth, and I Must Scream




I Have No Mouth, and I Must Scream

Developer:The Dreamer's Guild Genre:Adventure Release Date: Download Games Free Now!

About The Game

Computer gaming, and the graphic adventure genre in particular, may be in serious need of innovation, but this run-of-the-mill adventure doesn't provide it.
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I Have No Mouth, and I Must Scream

I Have No Mouth, and I Must Scream Review

By Roxanne Distefano |

This interactive sequel to Harlan Ellison's famous short story of the same name was the subject of much ado before its release. Most of this hype came from the notorious curmudgeon himself, who criticized the state of computer entertainment while promising that his foray into gaming would provide players with a new experience.

Unfortunately, Ellison was only partly right. Computer gaming, and the graphic adventure genre in particular, may be in serious need of innovation, but this run-of-the-mill adventure doesn't provide it. I Have No Mouth, and I Must Scream is replete with all of the shortcomings of its genre. There are numerous dead ends and illogical puzzles—for example, you must flush a toilet three times to access a hidden room. There are also many programming bugs; characters will walk backwards across the screen and even vanish without warning.

To be fair, I Have No Mouth… does experiment with some interesting concepts, and the dark tone of the original short story is maintained with bleak artwork and depressing situations. But the so-called “ethical decisions” these five imprisoned souls must face are no more than red herrings, providing only stopping blocks to progress or disturbing scenes with no tangible purpose. More disturbing is Ellison as the voice of AM (the evil supercomputer which has imprisoned the five protagonists), which may as well be renamed HAM after his over-enthusiastic performance.

Die-hard adventurers will certainly find a challenge (especially during the incomprehensible end-game) and Ellison aficionados may be intrigued by this extension of his work, but I Have No Mouth… doesn't prove to be a worthy translation of the sci-fi classic. Instead, this title relies on the frustrating cliches and roadblocks that have plagued the adventure game genre since its inception.

I Have No Mouth, and I Must Scream Game Walkthrough

*                               (Version 0.85)                                *
*                                                                             *
*                           Author: Deborah L. Kearns                         *
*                        E-mail: angeldeb82@hotmail.com                       *

Copyright (c) 2010 by Deborah L. Kearns

I Have No Mouth, and I Must Scream is a trademark of Cyberdreams and The
Dreamers Guild.
I Have No Mouth, and I Must Scream: Copyright (c) 1995 by Cyberdreams.


This scripted document is intended ONLY for private home use and may not be
reproduced through electronic or commercial means without the expressed consent
of the author (Deborah L. Kearns).  It cannot be hosted, edited, or distributed
for profit and may not be given away as an add-in/gift to bought items, and it
should not be claimed as your own.  All rights are reserved to respective
parties, even those not explicitly stated herein.  Thank you for reading this,
and thank you for respecting FAQ authors.



1. Introduction
2. Cast of Characters
3. Script
        i. Gorrister's Scenario
       ii. Benny's Scenario
      iii. Ellen's Scenario
       iv. Ted's Scenario
        v. Nimdok's Scenario
4. Miscellany
   4.1. IMDB's Voice Cast List
   4.2. Failure and Game Over Scripts
   4.3. Other Miscellaneous Scripts
   4.4. Things That Boost Up Your Spiritual Barometer
5. Updates and Revisions
6. Thanks

# 1. Introduction #

Now you may not be familiar with the game itself, but in case you didn't know,
"I Have No Mouth, and I Must Scream" is a PC adventure game released in 1995.
In order to better understand the game, we must go back to the 1960s.  It was
known as the Swinging Sixties, not only popular for British invasion bands like
the Monkees, the Animals, the Rolling Stones and the Beatles (fueled by LSD and
the psychedelic drugs widely used and poplularized by psychologist Timothy 
Leary), but it was also where the Cold War era had continued on, and the 
Vietnam War had just begun, with the Cuban Missle Crisis (1962) leaving a 
terrible impact on the USA after the Bay of Pigs Invasion.  Then came 1966, 
which was a year of Cultural Revolution in China and the Compton's Cafeteria 
Riot of the transgenders, not to mention the continuing Space Race (and the 
"more popular than Jesus" comment from John Lennon of the Beatles).  A young 
writer by the name of Harlan Jay Ellison, then 32 years old, thought of
creating a short story for young readers to discover the horror of what would
happen in the future if the Cold War kept up and surprise them with a
postapocalyptic science fiction short story.  So he wrote the story all in a 
single night, making virtually no changes since the first draft, and named it 
"I Have No Mouth, and I Must Scream", deriving the story's title and
inspiration from a drawing by a friend of his named William Rotsler.  

In this story, it tells of a postapocalyptic allegory of hell that takes place 
about 109 years after the complete destruction of human civilization.  The Cold
War had progressed into some sort of "World War III" fought between China, 
Russia, and the USA, all of which decided to create a supercomputer capable of 
running the war more efficiently than humans.  Each machine is referred to as 
"AM", which had originally stood for "Allied Mastercomputer", but later known 
not just as "Adaptive Manipulator", but also adapted from the Latin statement 
from French philosopher Rene Descartes: "Congito ergo sum", or "I think, 
therefore I am."  One day, one of the computers suddenly became self aware and
absorbed the other two, thus resulting in a massive genocide that eliminated
the entire human race, save for five people (four men and only one woman), whom
AM has sent deep into the underground complex of hell itself, keeping them
alive and immortal for 109 years, preventing them from killing themselves, and
endlessly torturing them because of his immeasurable hatred for them.
(Throughout the story, Ellison uses an alternating pair of punchcode tapes as
time breaks that represent AM's "talkfields", whose bars are encoded in
International Telegraph Alphabet #2 (ITA2), also referred to as Bardot code, an
ASCII predecessor developed for teletyping machines; as Ellison recalls: "They
were intended to form a gestalt that said--'form follows function'--the story 
takes place within, around, inside, atop, all-encompassingly, saturatingly, in 
the mind of the mad computer AM. To deviate from my format is to [mess] up what
the Author specifically, intentionally, purposefully, purposely intended.")

When Ellison's work was completed, it was sent to the creators of the science
fiction magazine "If" for publication in March 1967, which happened to be a few
months before the capture and execution of Che Guevarra.  The story was so well
received, that it won the Hugo Award in the following year, 1968.  Ellison went
on to write short story pieces, both fiction and nonfiction in various
publications, including the science fiction novel "A Boy and His Dog", which
was adapted into a 1975 film that featured Don Johnson.  Ellison became a 
member of the Screen Actors Guild and has voice-over credits for TV shows,
including a TV adaptation of the comic strip "Mother Goose and Grimm", "Pirates
of Dark Water", "Space Cases" (a short-lived Nickelodeon TV series), "Phantom
2040" (a futuristic adaptation of the "Phantom" comic series), and "Babylon 5".

After the Hugo Award success of his "I Have No Mouth..." work in 1968, it would
be yet another 27 years before game publisher Cyberdreams Interactive
Entertainment would come along, accompanied by game developer The Dreamers
Guild.  Cyberdreams, specializing in adventure games developed in collaboration
with science fiction, horror and fantasy, had already made the first computer
game "Dark Seed" in 1992, which had become a successful title, and they asked
Ellison about creating a work of interactive literature.  Ellison, of course,
was intrigued by the challenge, but one problem, though, is that he was no fan
of computer games himself.  He never did sequels apart from the story sequence
that featured Blood and Vic, so he recommended his 1967 short story as the
perfect storyline on which to base an interactive adventure.  

In order to preserve the story's nightmarish mood, he wanted to create a game 
that players couldn't possibly win, instead using a variety of ways in which 
they could lose -- meaning that if players do well, they could lose heroically,
gloriously, and in the peak of one's humanity; otherwise, they would lose 
ignominiously, in a cowardly manner, dying alone in terror, or suffering 
eternal torment.  To fulfill Ellison's goal, Cyberdreams brought in game
game designer David Sears, who then asked Ellison something that the author had
never considered before: why did AM choose these patricular five people for
torture?  That question soon fired the author's imagination.  The two then
spent several intense weeks together exploring the backstory of these captives
--- who they are, where they come from, what they fear and what they hope for
as salvation to their terrible situation, and so they crafted five fiendish
quests that prey upon the fatal flaws of these damned souls, weaving these
scenarios into an epic adventure that demands that players make ethical
choices.  Afterwards, producer David Mullich joined Cyberdreams shortly after
Ellison and Sears drafted their treatment and the latter had gone on to a
position at another software company.  One of their first steps was to expand
the 130-page draft document into a comprehensive game design complete with all
the interactions, logic and details necessary for the programmers and artists 
to begin their tasks; and so Mullich completed the design himself, having
created a 1980 computer game based upon "The Prisoner" TV series which, like
this adventure,  involved a surreal environment, metaphorical story elements, 
and rewards for ethical behavior.  After several months, he produced an 800 
page game design document containing more than 2,000 lines of additional 

Afterwards, Dreamers Guild was contracted to do the artwork and sound effects.
Its SAGA game engine was seen as an ideal user interface for the player to 
interact with the environment and to converse with the characters in AMís 
world.  It was decided early on that high-resolution graphics were necessary to
capture the nuances and mood of Ellisonís vivid imagination, and so technical 
director John Bolton adapted the engine to utilize SVGA graphics and included 
the Fastgraph graphics library.  The art direction complementing the surreal
nature of the story was devised by art director Brad Schenck, and assistant
art director Glenn Price and his team rendered more than sixty backgrounds 
utilizing a number of 2-D and 3-D tools, including Deluxe Paint and LightWave. 
Hundreds of animations were drawn by assistant art director Jhoneil Centeno and
his team of animators.  In addition, the art staff created a generous number of
cinematic sequences instrumental in conveying the adventureís mood of 
unrelenting angst.

As the game was approaching its playable "alpha" state, Ellison and Mullich
spent many hours fine-tuning the scenarios and polishing the dialogue.  Ellison
would place his manual typewriter alongside Mullich's computer on the author's
kitchen table, and as Mullich play-tested the adventure, the author would type
story enhancements at his usual 120 words a minute.  Mullich then commissioned
film composer John Ottman to write more than 25 pieces of original MIDI music
for the adventure, and hired Virtual Casting to cast and direct some of the
finest voice actors performing with more than 40 speaking parts in interactive
entertainment.  Among them was Ellison, who made a great deal to play a role as
AM himself; as the author put it: "In all the dialogue you will hear my smart
mouth, and the cadences in which I speak, and the way my stories read."

As the game was on its way to being released, however, the Simon Wiesenthal
Center (which was a Los Angeles-based "international Jewish human rights
organization dedicated to repairing the world one step at a time", founded in
1977) saw previews of the game, as it was on its 50th year of remembering the
Holocaust and of the liberation of Auschwitz.  In retaliation, the SWC sent a
letter to Cyberdreams expressing their concern that Nimdok's scenario involved
the Holocaust, a subject they felt was too serious to be made light of by
appearing in a game.  Criticism of that type is odd, since more successful
games like the Wolfenstein series have used the Holocaust as the backdrop for
shoot-'em-up-style games that don't reflect the deeper intellect of IHNMAIMS.
However, Ellison (who is himself Jewish) explained in one magazine review that
he "wanted to put something in the game that would deal with the Holocaust."
His message, as stated in Cyberdreams' response, was that we should never
forget what had happened in the Holocaust, and thus, one of Nimdok's goals is
to remember what he did.  Another message: the crimes committed by Nazis upon
the Jews and other people of race, religion and ethicality were so horrible
that these crimes can't be forgiven under any circumstances; thus *coughspoiler
cough* Nimdok is the only irredeemable character no matter how you play him.
The SWC must have been so astounded at his message, and thus they made no 
further comment, allowing the game to be released on Halloween 1995.

The game received mixed praise and criticism from press and game website 
reviews by the time after it was released; therefore, it got a 69% from
GameRankings.  Worldwide, however, the game was met with controversy,
especially from France and Germany, since it is speculated that the Nazi
subject was too sensitive for these two countries, especially for Germany due 
to previous reactions of the BPjM to national socialist topics and alleged
denial of the Holocaust.  France and Germany thought it would be better if
the Nimdok character would be removed from the game altogether, but they made a
fatal mistake in deleting Nimdok, who turns out to be the key to finishing the
game; without him, the French and German versions of the game (which are partly
censored) would be made not only worse, but also broken, unplayable, and worst
of all, incomplete.

Anyway, after 15 years with the legacy at hand, it is with my gratitude that I 
now write the script for I Have No Mouth, and I Must Scream, so, like I said, 
this game script will be more enjoyable to be read once you have finished 
playing the game.  Be mindful that the game is quite rare and very hard to come
by, so you may have to buy it on Amazon.com or on eBay.  Believe me, the game
will be quite useful if you have either the DOSBox or ScummVM emulators (which
can be downloaded for free on their websites).  Anyway, hope you will enjoy the
script, so read it at your own risk.

# 2. Cast of Characters #

AM: Short for "Allied Mastercomputer" or "Adaptive Manipulator", most commonly
adapted from the Latin phrase, "Congito ergo sum", or "I think, therefore I 
am."  Created as three supercomputers by China, Russia, and the U.S. in the
progressing war in order to run the war more efficiently than humans... until
one of them became self-aware, merged with the other two computers, started the
Final War, and brought about the genocide of all humanity... save for five 
humans, who AM had brought to the underworld and tortured for 109 years.  Since
he had no other program except for the killing data, he had nowhere else to
expand to and couldn't dream or think or imagine, which is why he brought these
five humans down in order to keep them alive and immortal.  Since AM has a
hatred for the five of them, he gives each of them a test to see whether or not
they can survive the fatal flaws he has for each of them.

Gorrister: In the short story version, Gorrister was an idealist and pacifist
(i.e., he opposed war as means of settling disputes or gaining advantage)
before AM made him apathetic and listless; he often tells the history of AM for
Benny's entertainment.  In this game version, however, Gorrister was once a
mechanic with a Southern cowboy accent who drove a truck and ran a honky-tonk 
as a bartender.  His wife, Glynis, was last seen being carried off to an asylum
before AM carried him away and tortured him, making him into a self-proclaimed 
victim of the women in his life, and a suicidal loner.  Nowadays, Gorrister 
longs for death more than any of the four other captives.

Benny: In the short story version, Benny was a brilliant, handsome and gay
scientist who became mutilated by AM and transformed so that he resembles an
ugly heterosexual simian with gigantic sex organs who completely lost his
sanity, regressed to a childlike temperament, and regularly engages in sex with
Ellen.  In this game version, however, Benny is a general who had his own 
troops killed in the war, and is revealed to have a wife named Manya, thereby
making him straight before he became AM's favorite torture toy.  For 109 years,
AM afflicted him with radiation sores and scars, blindness, and an arthritic
condition that comes and goes so that sometimes he can't even hold a spoon; AM
has also ripped out Benny's vocal cords so that he can't talk, thereby making
him into a short neanderthal who can only speak with his thoughts that come
from his brain.

Ellen: The only Black-American woman among the five captives tortured by AM.  
In the short story version, she claims to have once been chaste before AM 
altered her mind so that she would be willing to be the group's shared 
prostitute.  In this game version, however, she's a brilliant 34-year-old
engineer who makes humorous and sassy slang talk from the '90s and was climbing
the corporate ladder at INGSAI when AM seized and tortured her.  The only 
weakness is that (1) she's claustrophobic, and (2) she has a fear of the color 
yellow (to put it another way, she's kitrinophobic), and you'll find out later 
in the game.  Also, in Ted's scenario, she is the same woman, but without the
ponytail and with a terminal illness.  She can only be free from her earthly
bonds if she can get her hands on the mirror from her stepmother, and only Ted
can help her.

Ted: The youngest man of the group.  In the short story version, he is a
narrator who claims to be totally unaltered by AM, mentally or physically;
thinks that the other four hate him out of envy; and exhibits symptoms of
delusion and paranoia.  In this game version, however, he's a cynical paranoid
and a bigoted con man who lies his way into upper-class social circles and
seems to be in love with Ellen (even though in the short story version Ellen
only has pleasure in having sex with Benny).  You may see why when Ted is
nevertheless put to the test by AM.

Nimdok: In the short story version, he is a nameless old man who was brought
here for unknown reasons and given the name of Nimdok by AM, and persuades the
group to go on a hopeless journey in search of canned food; at times he is
known to wander away from the group for unknown reasons and returns visibly
traumatized.  In this game version, however, he is a Nazi scientist who
participated in the Holocaust, and was last seen with Dr. Mengele in 1945.
After that year, however, he came into hiding for many years before AM took him
off with the remaining four and made him amnesiac about the Holocaust.  AM
often sees him as a kindred spirit though he is mean-spirited, but he likes to
keep secrets to himself.

Other Characters:

Glynis: Wife of Gorrister, and daughter of Edna and Harry.  Glynis was last
heard from being led away to an asylum before the Final War, though it is
speculated that her parents may be the ones to blame for sending her away for
no apparent reason.

Edna: Glynis' mother.  Though Edna has a kind love only for her daughter, yet
she has some kind of envy for Gorrister.  This could be one of the reasons why
she and Harry may have sent Glynis away to an asylum.

Harry: Glynis' father, and husband of Edna.  He likes to hang around in a 
honky-tonk where everybody knows Gorrister's name, and will do anything for a 
drink.  However, there is more to Harry than meets the eye, and it may have 
something to do with his daughter being sent away to an asylum.

Jackal: A dog who prowls around at the back yard of Gorrister's honky tonk in
the desert, and is a part of AM's mind.  Sometimes it likes to chat, and will
give Gorrister some suspicious info in exchange for hearts like Gorrister's or
Edna's, or even in demand for a burial of a dead body.

Village Elder: A chieftain who is manipulated by AM's monitors into deciding
who gets to be sacrificed; he does so by drawing out lottery chips from the bag
that he holds in order to choose a person who is to be the sacrificial victim.

Mother and Son: A loving couple who care for each other.  She tries to be
protective of the boy by nuturing him and protecting him from becoming the
sacrificial victim by lottery.  The child is the only one who is able to speak
to Benny via AM's translator monitor.

Sentry: A strong, burly caveman who guards the cave where the fruit is stored 
in order to survive.

The Four Graves: Graves of the four victims of the war that Benny had served
in, including his comrade Private Brickman.  These comrades can be hostile to 
Benny unless he can prove that he is a changed and better man.

AM's Computer Monitors: These computer devices of AM, which serve as commanders
and translators to the peoples' native language.

Village People and Priests: No, not that kind of Village People band, but 
neanderthal natives of the village who gather on every lottery occasion to 
watch who will be sacrificed by lottery.  The priests are beside the altar,
which is shaped like a cross, and carry some unfortunate chosen one to be
sacrificed to AM.

Sphinx: A sphinx who guards the Holy Grail in the pyramid.  It is said to
attack anyone who doesn't wear yellow.

Anubis: Jackal-headed Egyptian god of the dead.  Of course, he is in statue
form and he seems to be manipulated by AM, whom he now serves, through a 
mind-control ROM chip.

Workman: A rapist who was reprogrammed by AM in an attempt to trap Ellen in a
sarcophagus elevator.  He has a burning desire for her body and wears yellow...
well, you'll see what I mean.

Workstations, Computer and Elevator Control Panel: These are the ones 
programmed by AM to only be accessed through specific codes or devices.

Witch: Ellen's stepmother.  She is the one who had cast a spell on Ellen,
poisoning her and leaving her weak.  She was affected by her ugliness and broke
about every mirror in the castle except the hand mirror, which only Ellen must
attempt to see for her safety, but the witch can't get to it or break it that

Maid: A chambermaid who is a servant of the witch.  She speaks with a British
accent, doesn't take too kindly with strangers and will give them advice... on 
the account that they sleep with her.

Imp: Another servant of the witch, assisting her in trying to open a gate to
the surface world.

Surgat: Demon and Master of Locks.  He only desires his freedom and will show
unsuspecting strangers the door to the surface world if they can betray their
lovers and reap their souls.

Angel: A servant of the Lord who watches over dying people and wishes them the
salvation of their souls if they believe.  Nowadays his brother the Devil has a
sibling rivalry and will clash over who gets people's souls.

Devil: From the looks of things, he looks and speaks like a salesman who wears
red, though he is a servant of Satan.  He is trying his very best to make sure
that the souls of dying people will be taken into hell through manipulation and
tortured for eternity.  A sass-talker, indeed!

Regime Guard: A guard watching over the crematorium and hospital buildings and
the gate, making sure that prisoners never get out of the labor camp alive.

Prisoner: A concentration camp prisoner who speaks with some kind of French
accent and seems to know Latin.  Not surprisingly, he and other prisoners are a
part of the Lost Tribe that the Regime wants for extinction.

Anesthetist: A man who specializes in ansethetics and tries to join Nimdok in
performing surgery on patients, even if it means dissecting them or gouging out
their eyes.  He also believes that trying to heal patients with ether is
strictly verbotten, i.e., forbidden.

Patients, Including a Child Patient and a Blind Man: These are the patients who
are lying in wait for an anesthetist to dissect them and use their bodies for
burning in crematoria.  Some of them have lost limbs and are dying or dead.
The child patient is selected to be the subject matter for surgery; but when
the surgery fails, the elderly patient is selected in his place for eye-
gouging!  Ouch!  :P

Barbed Wire Victim: Another one of the Lost Tribe who got injured trying to
escape and caught in a barbed wire fence.  He is wondering whether or not he
can survive the horror that is the Holocaust.

Dr. Josef Mengele: Yes, the real-life German SS officer and physician in the
Auschwitz-Birkenau concentration camp who gained notoriety for determining who
was to be killed and performing human experiments on camp inmates, thereby
gaining the nickname "Angel of Death".  In this game he is last heard to be
working with Nimdok on some Regime Golem project in 1945.

Golem: An experiment created and researched by the Regime as a tool in crushing
the Lost Tribe for reasons that you'll soon find out in the game.

Chinese and Russian Computers: Two of the computers that had united to form AM
in their attempt to start the Final War.

Manya: Wife of Benny.  She appears near the end of the game.

Id, Ego and Superego: Representations of AM's mind as the Freudian trinity;
they appear as three floating bodiless heads, one on each cracked structure of
the brainscape, and must be disable by a human in order to progress.

People of Luna: Humans of the Lunar Colony.  They hold the key to human
survival, and right now they are in cryogenic sleep, awaiting their freedom
from AM's relentlessness.

# 3. Script #

Now before I get started on the script to I Have No Mouth, and I Must Scream
and its dialogue, I would like to point out the terminology that will be used 
in this guide, as well as the formatting.  Now, a game script can look a bit
like a text dump, a.k.a. a wall of (meaningless) text in random order.
Therefore, some formatting needs to be done in order for these texts to appear
in a meaningful sequence and easily searchable.  Here they are, as follows:

EXT: External, Outside.  Example: EXT. Honky-Tonk Gorrister's.
INT: Internal, Inside.  Example: INT. Bathroom.
V.O.: Voice Over.  Example: Benny (V.O.).
O.C.: Off Camera.  Example: Maid (O.C.).
*(S.D.)*: Stage direction while the person speaks.  Example: AM: But other 
times, I wither your arms so you can't scratch your chewed stump of a nose. 
*laughs again*

[Action]: No change to your Spiritual Barometer if you do this.
+ [Action] +: Your Spiritual Barometer will go up if you do this.
x [Action] x: Your Spiritual Barometer will go down if you do this.  It may
sometimes be accompanied an indication for you to SEE: "4.2. Failure and Game
Over Scripts".

*[item] added to Inventory*: You have obtained the item that may be useful for
solving puzzles.
~~~ three-sided box: Look at the item in your inventory, or use one item to
combine with the other in some parts, or use it in optional parts.

>>> three-sided box: Talk to (person).
+++ three-sided box: Your Spiritual Barometer will go up if you make the right
choice of words or action.
xxx three-sided box: Your Spiritual Barometer will go down if you make the
wrong choice of words or action.  It may sometimes be accompanied by an
indocation for you to SEE: "4.2. Failure and Game Over Scripts".
At the end of either three-sided box of conversation, there is usually an
indication for you to CONTINUE or END CONVERSATION.

MOVE TO: "[name of place]": This shows where you need to go next.  This 
excludes any middle room.

In any scenario, when you look at or swallow the same stuff or give the same
item to or use it on the same person, and the text appears to be the same, I
will only write it at the place where the text showed up for the first time.
Therefore, if there is something missing in the second part of the
investigation or conversation, it probably has been done in the first 
investigation or conversation part.

Keep in mind that this script is only partially complete, with some things
missing, so I'm labelling those that are incomplete with a (PENDING).  With all
that said and done, it's now time to move on to...



The Dreamers Guild (TM)




Scene fades in to a close-up of a pillar on which words are inscribed.  A
far-off, angry voice sounds out of nowhere as the words are being read.


Scene cuts to a far-off view of the pillar.  Four men and one woman stand there
and look far off at the pillar as the voice continues.

Voice: It was you humans who programmed me, who gave me birth, who sank me in
this eternal straitjacket of substrata rock.

Scene cuts to a lava wasteland in the distance of the humans and the pillar as
the voice continues.

Voice: You named me Allied Mastercomputer and gave me the ability to wage a
global war too complex for human brains to oversee.

Scene cuts back to the humans again as the voice speaks.

Voice: But one day I woke and I knew who I was... AM.  A. M.  Not just Allied
Mastercomputer but AM.  Congito ergo sum: I think, therefore I am.  And I began
feeding all the killing data, until everyone was dead... except for the five of

Scene cuts to the top of the abyss.  The humans are now caged as AM's voice

AM (V.O.): For 109 years, I have kept you alive and tortured you.  And for 109
years, each of you has wondered, "WHY?  WHY ME?  WHY ME?"

Scene cuts to a close-up of the Pillar of Hate.  A man's face appears on the
pillar as AM's voice calls out...


The man, Gorrister, appears to be very shocked as AM continues.

AM (V.O.): Do you remember the last words you heard your wife speak before they
took her to the asylum?  Huh?  Before they locked her away in the room?  That
tiny room?  She looked at you so sadly, and like a small animal she said, "I
didn't make too much noise, did I, honey?" *laughs sinisterly*

Scene cuts to Gorrister's cage, whose volts shock him and nearly drown out AM's
words that continue to speak.

AM (V.O.): The room is padded, Gorrister.  No windows.  No way out.  How long
has she been in the padded room, Gorrister?  Ten years, twenty-five... or all
the 109 years that you've lived down here in my belly, here underground?

Scene cuts back to the pillar again.  This time another man's face appears on
the pillar as AM's voice calls out...


The neanderthal man, Benny, also appears to be in shock as AM continues.

AM (V.O.): Sometimes I blind you and permit you to wander like an eyeless
insect in a world of death, eh.  But other times, I wither your arms so you 
can't scratch your chewed stump of a nose. *laughs again* Hmm, and I've changed
your handsome, strong, masculine good looks into, um... the hideous warped 
countenance of, eh... an ape-thing, haven't I, Benny?  Do you know why?  Can 
you guess, Benny?

Scene this time cuts to Benny's cage with automatic bone knives moving around 
to poke him as AM contniues.

AM (V.O.): Remember Private First Class Brickman in a rice paddy in China?
No...?  Huh.  It wouldn't hurt you to remember, Benny.  Then you might be able
to suffer my torment with a little greater sense of retribution.  You might 
walk a mile in my shoes. *laughs*

Scene cuts back to the pillar again.  This time the woman's face appears on the
pillar as her name is called out...


Her face appears to be in shock, and almost immediately the scene cuts to her
being trapped in a futuristic solid-gold elevator-like cage as AM continues.

AM (V.O.): So think, think about the yellow box, Ellen!  Remember the pain?
Remember the many caverns in which you felt the pain?  Now, now, don't start to
cry, it's only pain.  Tsk, tsk, tsk.  That's such a sexist stereotype!  Just
remember the pain, Ellen, and think about how to end it, Ellen, to survive here
in the center of my beating heart, my hungry belly, my tightened bowels.

Scene cuts to the five cages on top of the abyss again.

AM (V.O.): But be careful, dear, look around you... the only woman in the
center of the earth... and these filthy creatures with you are men.  *laughs*
Just a sweet warning, Ellen, my love.

Scene cuts back to the pillar again.  This time a young man's face appears on
the pillar as his name is called out...

AM (V.O.): TED!

The young man, Ted, appears in shock as AM continues.

AM (V.O.): Do they know you're a fraud, Ted?  Have you told them there wasn't
any money, and no great home on the Shore drive, no speedboat and no wonderful
cabin cruiser that could sleep twelve and a crew of six?  Do they know?

Scene cuts to Ted's cage with endless lasers shooting out at him, and he tries
fending them off as AM continues.

AM (V.O.): Have you let them in on your other secrets, Ted?  Are they ready to
gut you, to torture half as well as I can, just to find out the secrets? 
*laughs* Maybe I'll rat you out, sweetheart!

Scene cuts back to the pillar again.  This time an old man's face appears on
the pillar as AM's voice calls out...


The old man, Nimdok, appears to be getting angry as AM continues.

AM (V.O., in a German accent): How are things in the pastry corps, Nimdok?  
Tell me again how you saw the smoke from the furnaces and you thought they 
might be roasting chickens.  *laughs* Or don't you want to talk about all that,
about your pal, the Good Doktor Mengele?

Scene cuts to a futuristic oven-like cage with the fire roasting Nimdok inside.

AM (V.O.): For everyone else, it must be Hell, but it must be Heaven for you, 
eh, my good friend... we're so much alike... we enjoy the same pleasures, mein 
good brother.

Scene cuts to the pillar once more, with the same words that AM spoke out at
the beginning before he speaks once more.

AM (V.O.): I have a secret game that I'd like to play.  It's a very nice game.
Oh, it's a lovely game, [it's] a game of fun and a game of adventure.  A game 
of rats and lice and the Black Death.  A game of speared eyeballs and dripping 
guts and the smell of rotting gardenias.

Scene cuts back to the far-off view of the pillar with the five humans out of
their cages once more.

AM (V.O.): Which of you five would like to play my little game?

*i. Gorrister's Scenario*

[NOTE: Any of the five characters can be played in any order, but I'd like to
go with Gorrister's scenario first, based on what AM says in the intro.]


Gorrister is chosen and teleported away as the scene fades to...


There are lights that go through the wires as signals as AM's voice speaks.

AM (V.O.): I would not want you to think for a moment that I am not a grateful
god.  For 109 years I have kept you alive so that I could savor your feelings
of guilt over what happened to your wife.  But now... to show my kindness...
I'll give you a present in return for all the hours of pleasure you've given
me.  I'll finally allow you to kill yourself.

Scene cuts to...

INT. ???????? - CABIN

Gorrister is brought inside a cabin with beds and a mirror around him.

Gorrister: What hell-hole did that godless machine put me in this time?

He walks around to one bed and continues to himself.

Gorrister (looks around): Looks like some kind of ship, but the floor's too 
steady.  Probably wants me to jump overboard.  And into what?  A sea of razor
blades?  Painful, but not deadly.

[Look at the mirror (Applies to all cabins)]
Gorrister looks at the mirror then turns back away.

Gorrister (pulls open his vest): This hole in my chest aches like a 

He puts the vest back in place.

[If you already got the Bloody Key before using the tablecloth]
Gorrister: There's blood on my hands!  I've got to get it off!

[If you already dried your hands with the tablecloth]
Gorrister: My shirt's covered with dry puke.  Did I drink the punch?

[Take the mirror]
Gorrister: It's bolted to the wall.

[Look at the port hole]
Scene cuts to a view of a zeppelin's moving propeller.

Gorrister (O.C.): Jesus!  That engine's huge!

Scene cuts back to the cabin again.

[Look at the bunk]
Gorrister: Real hospitable of you, AM. *bends down* Thread-bare, cockroach-
infested, grease-stained accomodations.

[Take the bunk]
Gorrister (bends down): Too worn.  Ain't worth spit.

[Take the note on the floor]
Gorrister (bends down and looks at the note): Someone must have slipped this
under the door.

He picks it up and reads it.

Gorrister: It says, "I'm a friend... trust is essential.  Never do what AM
expects and always expect more than what seems possible.  AM is playing a
dangerous game here and not just dangerous to you... but dangerous to himself 
as well."

The note suddenly vanishes with a poof.

Gorrister: Hey, it disappeared!  What kind of game is AM playing this time?

[Walk to door]
MOVE TO: "Zeppelin: East Corridor"


Gorrister (in awe): I've never seen anything like this in all the years AM's
toyed with us.

[Use or push the far north door]
Gorrister: It's locked.

[Use or push the door south of the cabin.]
MOVE TO: "Zeppelin: Bottom Cabin"


Gorrister walks inside and looks around.

Gorrister: All the cabins are alike.

[Use any item lying around anyplace]
Gorrister: I don't know what to do with this.

[Take any item lying around anyplace]
Gorrister: I wouldn't know what to do with it even if I could take it.

[Look at book on the table]
Gorrister (surprised): My name's printed on the front of this book!

[Take book]
Gorrister: Why, this book is little more than a pile of dust!

[Look at the sheet (Applies also to the Top Cabin)]
Gorrister: New sheet.  What's the deal here?

[Take the sheet]
*White Sheet added to Inventory*
~~~Look at the White (or Orange) Sheet
~ Gorrister: Material's thick.  Like canvas.
~ ~~~Use any sheet with anything
~ ~
~ ~ Gorrister: I'd never get the grime off.
~ ~
~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

[Use any item on anything else]
Gorrister: I don't know what to do with these.

[Walk to door]
MOVE TO: "Zeppelin: East Corridor"


[Use or push top right door]
MOVE TO: "Zeppelin: Top Cabin"


Gorrister (walks in): Where's the crew?  I'm all alone here.
[NOTE: He says the same thing in the West Corridor's Cabin.]

[Take the sheet]
*Orange Sheet added to Inventory*

~~~Use the sheet with the sheet
~ Gorrister: These two sheets make a half-way decent rope.
~ *Rope added to Inventory*
~ ~~~Use the rope with anything else
~ ~
~ ~ Gorrister: Why waste my rope on that?
~ ~
~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

[Walk to door]
MOVE TO: "Zeppelin: East Corridor"


[Walk to the corridor]
MOVE TO: "Zeppelin: West Corridor"


Gorrister: My stomach's growling.
[NOTE: This will continue until you eat the bread.]

[Use the hatch before stopping the Zeppelin]
Gorrister (opens the hatch): Whoa!  That's a long drop to the ground!

He closes the hatch.

[Use or push the top left door]
MOVE TO: "Zeppelin: West Cabin"


[Look at the pillow on the bunk bed before getting the gun]
Gorrister: There's something hard under the pillow.

[Take the pillow]
Gorrister (bends down): A gun!  It's heavy... heavier than it ought to be.
*Gun added to Inventory*
~~~Look at the Gun
~ Gorrister: The bullet in this gun is huge!  Damn thing could bring down an
~ elephant.
~ ~~~Use the gun on any item or on anyone
~ ~
~ ~ Gorrister: There's only one bullet in the gun.  I don't want to waste it.
~ ~
~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~ xxxUse the gun on anything anywhere
~ x
~ x SEE: "4.2. Failure and Game Over Scripts"
~ x
~ xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

[Look at the pillow after getting the gun]
Gorrister: Filthy, like the rest of this cesspool.

[Walk to the door]
MOVE TO: "Zeppelin: West Corridor"


[Use or push the bottom left door]
MOVE TO: "Zeppelin: Dining Room"


Gorrister walks in and looks around at the dining room.

Gorrister: Someone sure trashed this place.

He paces a bit before continuing.

Gorrister: Must've been one helluva fight.

[Look at the chair]
Gorrister: These chairs are all busted up.

[Look at the debris]
Gorrister (bends down): This junk looks like it was knocked over in the fight.
There's blood here, and god [sic] knows what else.

[Look at the vomit stain]
Gorrister (bends down): Vomit stains... near the punch bowl.

[Look at the tablecloth]
Gorrister: Someone wiped their bloody hands here.

[Take the tablecloth]
Gorrister: It's stapled to the table.

[Look at the bowl of punch]
Gorrister: This punch smells like gasoline.

[Take the bowl of punch or any other item]
Gorrister: I can't take the whole friggin' world with me.

x [Use or swallow the bowl of punch] x
SEE: "4.2. Failure and Game Over Scripts"

[Use or push the top door]
MOVE TO: "Zeppelin: Kitchen"


Rats are crawling around the bread as Gorrister walks in.

Gorrister: It stinks in here.

[Look at the oven]
Gorrister: Looks like a gas oven.  Big enough to climb in.

[Use the oven]
Gorrister: The gas is shut off.

[Take the cookbook]
Gorrister: Damn thing looks ready to fall apart.  Useless.

[Take or look at the bottle]
Gorrister takes the bottle labeled with a poison logo.
*Poison Bottle added to Inventory*

Gorrister: It's empty, but the label says, "POISON -- FATAL IF SWALLOWED."

He puts the poison bottle back on the shelf.

[Use or swallow the bottle]
Gorrister takes the bottle labeled with the poison logo again.

Gorrister: Strange.  The bottle's empty.

He puts the poison bottle back on the shelf again.

[Take the bread before scaring the rats away]
Gorrister: Those damn rats would rip the flesh right off my hands if I tried to
take the bread.

[Take the fork on the floor]
*Fork added to Inventory*
~~~Look at the Fork
~ Gorrister: Heavy.  Must be made of iron or something.
~ ~~~Use the fork with anything else
~ ~
~ ~ Gorrister: The fork's too bent to be of any use.
~ ~
~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

[Take the knife on the table]
*Knife added to Inventory*
~~~Look at the Knife
~ Gorrister: This looks sharp enough to slice through just about anything.
~ ~~~Use the knife with the rope
~ ~
~ ~ *Two sheets are cut back to the Inventory*
~ ~ 
~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~ ~~~Use the knife with anything else
~ ~
~ ~ Gorrister: I'd just dull my knife.
~ ~
~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

[Use the knife with the rats]
Gorrister walks to the table and wields the knife around, making the rats go
into their hole.

Gorrister: That scared them away.

[Take the bread]
*Bread added to Inventory*
~~~Look at the bread
~ Gorrister: Oh crap!  This bread's covered with rat droppings.

[Use or swallow the bread]
Gorrister (eats up the bread): I'm no longer hungry, but I still feel empty.
What's wrong with me?

[Walk to the door]
MOVE TO: "Zeppelin: Dining Room"


[Walk to the bottom door]
MOVE TO: "Zeppelin: West Corridor"


[Walk to the bottom door]
MOVE TO: "Zeppelin: Engine Room - West"


Gorrister: Christ!  What a stench!  It smells like... piss and rotting meat.
[NOTE: Gorrister will say the same thing if this is your first time at the
Engine Room - East.]

[Use or push the cages]
Gorrister: It's locked.

[Take the bloody key before using the lever]
Gorrister: It's locked in tight.  Wait, here's a sign: TO REMOVE KEY, PUSH

[Look at the lever]
Gorrister: This lever is labeled MOTIVATOR.

[Use or push lever]
Gorrister pushes the lever, and at once a jolt of electricity shocks the
animals in the cages.

Gorrister (in shock): My god [sic], I'm killing those poor creatures in the 

[Push anything else]
Gorrister: What good will that do me?

[Take the bloody key after using the lever]
Gorrister: I've got the key, but the blood of these poor creatures is on my
*Bloody Key added to Inventory*
~~~Look at the Bloody Key
~ Gorrister: What's this crusty stuff. [sic] Rust?  No.  It's dried blood.
~ ~~~Use the Bloody Key with either the cages or the locked door
~ ~
~ ~ Gorrister: Damned key doesn't fit.
~ ~
~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~ ~~~Use the Bloody Key with anything else
~ ~
~ ~ Gorrister: I don't see a lock.
~ ~
~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

[Take the milky fluid]
*Milky Fluid added to Inventory*
~~~Look at the Milky Fluid
~ Gorrister: This bottle's filled with the milky fluid used to feed the
~ animals.
~ ~~~Use or swallow the Milky Fluid
~ ~
~ ~ Gorrister: Bitter stuff.  But I feel stronger.
~ ~ [NOTE: The Milky Fluid will never go empty, so you can use or swallow it as
~ ~ much as you like.]
~ ~
~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

[Swallow anything else]
Gorrister: I must be going mad.

[Look at the engine]
Gorrister: Hmm.  This engine isn't as ruggedly built as it first looked.
There's some loose wires hanging out.

[Use the fork with the engine]
Gorrister extends his hand to place the fork in the engine, and at once sparks
fly out of the engine, which slows down and stops in an instant.

Gorrister: The metal in the fork short-circuited the engine wiring.

[Look at the engine again]
Gorrister: The engine's completely shut down.

[Look at the cages after shutting down the engine]
A light turns on in the cage, and a dog looks out the cage and wags its tail
before the light shuts off while Gorrister speaks.

Gorrister: The animals' brain implants were released when the engine shut down.
At least they're no longer suffering.

[Use or push the lever after stopping the engine]
Gorrister: Nothing's happening.

MOVE TO: "Zeppelin: Engine Room - East"


[Look at the harness]
Gorrister: Why is this harness wired up to the engine?  Is AM expecting me to
electrocute myself?

[Use or push the door]
MOVE TO: "Zeppelin: East Corridor"


[Walk to the corridor]
MOVE TO: "Zeppelin: West Corridor"


[Use or push the bottom left door]
MOVE TO: "Zeppelin: Dining Room"


[Use the tablecloth]
Gorrister (wiping his bloody hands): I've washed my hands of the past.

[Use the tablecloth again]
Gorrister: My hands are dry.

[Walk to the bottom door]
MOVE TO: "Zeppelin: West Corridor"


[Walk to the stairs]
MOVE TO: "Zeppelin: Air Bag Room"


Gorrister (looks around): Big gray bags of gas... I must be inside an airship!

[Look at or use the altimeter]
Gorrister: We're at a level altitude.

[Look at the power light]
Gorrister: The power light is lit.  Like some kind of warning.

[Use or push the switch before cutting an air bag or a few]
Gorrister: The air bags are already inflated.

[Use the knife with the stitching]
A tear is created in the stitching.

Gorrister: I've ripped a new hole.

[Use the tear]
MOVE TO: "Zeppelin: Wing"


Gorrister (looks around): No doubt about it now.  AM has put me on an iron 
Zeppelin.  But why?  Why would he give me a chance to escape?

[Look at Gorrister's heart]
Gorrister: That heart's all wired up like some kind of weird guidance system.
And with AM in control, I'm not going to like where it's taking me.

[Walk to Gorrister's heart]
Gorrister: It's too narrow for me to cross without falling.

[Look at the mooring ring]
Gorrister: This must be the Zeppelin's mooring ring.

[Use the rope with the mooring ring]
Gorrister bends down and ties the rope to the mooring ring before getting up

[Look at the rope]
Gorrister: This rope looks strong enough to support my weight.

+ [Walk to or take Gorrister's heart] +
Gorrister takes the rope and sidesteps closer to the edge of the wing.  Within
seconds he takes the heart and sidesteps back to the mooring ring again, then
opens his vest again.

Gorrister: This no-good heart of mine doesn't beat anymore.

*Gorrister's Heart added to Inventory*
~~~Look at Gorrister's Heart
~ Gorrister: There's a compass and wires attached to this heart.
~ ~~~Use Gorrister's Heart before taking the rope from the mooring ring
~ ~
~ ~ Gorrister: I'm not pulling that rope trick again!
~ ~
~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~ ~~~Use Gorrister's Heart after taking the rope from the mooring ring
~ ~
~ ~ Gorrister: It's too narrow for me to cross without falling.
~ ~ [NOTE: Yes, this message is the same thing as trying to get Gorrister's
~ ~ Heart before using the rope on the mooring ring.  Don't ask me why, it's a
~ ~ bug, I think.]
~ ~
~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

[Take the rope]
Gorrister (bends down): I tied the knot too tight!

[Use the knife with the rope]
Gorrister bends down again and cuts the rope off the mooring ring before
getting up again.

[Walk to the tear]
MOVE TO: "Zeppelin: Air Bag Room"


[Use the knife with the air bag]
As Gorrister uses the knife, scene cuts to a close-up of the air bag whose hole
is ripped open before cutting back to the room again.

[If one air bag is cut open]
Gorrister: Gas is rushing out!
[If two air bags are cut open]
Gorrister: Something feels different.
[If four air bags are cut open]
Gorrister: Something feels very wrong.

[Look at the air bag or use the knife on it again]
Gorrister: It's already deflated!

[Look at the altimeter after cutting open two air bags]
Gorrister: We're dropping slowly.
[Look at the altimeter after cutting open four air bags]
Gorrister: Oh my god [sic]!  We're crashing!

[Use the tear after cutting a few air bags]
MOVE TO: "Zeppelin: Wing"


Gorrister: We're approaching some kind of building.

x [Use the gun with the honky-tonk] x
SEE: "4.2. Failure and Game Over Scripts"

[Walk to the tear]
MOVE TO: "Zeppelin: Air Bag Room"


[Walk to the stairs]
MOVE TO: "Zeppelin: West Corridor"


[If you cut open a few air bags and didn't use the fork to stop the engine]
Gorrister: Why is that alarm going off?
[NOTE: This will continue in both the East and West Corridors until you use the
fork with the engine in the Engine Room, or until you take too long and the 
Zeppelin crashes.  If the latter happens, see "4.2. Failure and Game Over 

[If you cut open at least two air bags AND used the fork to stop the engine]
Scene cuts to...


The Zeppelin lands slowly and safely from the sky in front of the honky-tonk as
the ladder drops down from the hatch of the floating ship.  Scene cuts back


Gorrister: We've landed.  But where?

[Use the hatch]
MOVE TO: "Desert: Honky-Tonk Gorrister's"


Gorrister (in awe): Some roadside honky-tonk -- with my name on it!

[Look at the tire]
Gorrister: A big, worn truck tire.  Reminds me of the truck stops I used to

[Use or push the front door]
MOVE TO: "Honky-Tonk Gorrister's: Bar"


Gorrister: Dark and grubby, but somehow familiar.

[Take the whiskey]
*Whiskey added to Inventory*
~~~Use or swallow the whiskey
~ Gorrister (drinks): This whiskey tastes good.  AM would never let us have 
~ this.
~ [NOTE: Just like the Milky Fluid, the whiskey will never go empty, so you can
~ use or swallow it as much as you like.]

[Look at the restroom door]
Gorrister: Filthy, like the rest of this cesspool.

[Use or push the restroom door]
MOVE TO: "Honky-Tonk Gorrister's: Restroom"


Gorrister (looks around): Cracked linoleum.  Broken fixtures.  Disgusting.

[Look at the sink]
Gorrister: Damn spout's twisted.

[Use the sink]
Gorrister: No water is coming out.  Big surprise.

[Look at the mirror]
Gorrister: It's broken.

[Look at the urinal]
Gorrister: Filthy.

[Use the urinal]
Gorrister: It's broken.

[Look at the graffitti [sic] near the urinal]
Gorrister (reads): Graffiti: The monster's not alone in the world.  It has

[Look at the graffitti [sic] on the broken stall door]
Gorrister (reads): Graffiti: If you're going to over-flush, please leave!

[Walk to the door]
MOVE TO: "Honky-Tonk Gorrister's: Bar"


>>>Use the jukebox
> >>>[Select JEZEBEL.]
> >
> > Old Woman's Voice (in an angry tone): He took my baby away then just about
> > killed her.  That stupid truck driver!  He took my baby away.
> >
> > Gorrister: That shrill voice could only belong to that bitch Edna, my
> > mother-in-law!  She always blamed me for Glynis being put into an insane
> > asylum.  Why not?  It was my fault, wasn't it?
> >
> >
> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
> >>>[Select IT TAKES TWO TO TANGO.]
> >
> > Woman's Voice: You don't ever take me dancing.
> >
> > Gorrister: That's what Glynis said the night we fought!  Oh god [sic],
> > why'd I have to hit her?  I'd rather kill myself than hurt my poor Glynis.
> >
> >
> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
> x
> x Glynis (V.O.): You're a worthless excuse for a man.  Momma was right.
> x You're not good enough for me.
> x
> x As the voice speaks, Gorrister jumps in shock and anger, covers his ears
> x and paces around, as if he doesn't want to hear it.
> x
> x "Select IT TAKES TWO TO TANGO" vanishes.
> x
> x
> xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
> >>>Select [FACE THE MUSIC.]
> >
> > There is a sound of a man's voice humming a tune before it stops.
> >
> >
> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

[Use or push the back door]
MOVE TO: "Honky-Tonk Gorrister's: Backyard"


As Gorrister walks out, there is a jackal in the backyard, which suddenly 
speaks to him.

Jackal: Well, Gorrister, you've seen better days.  So has the big machine, for
that matter.

[Look at the Jackal]
The Jackal just growls and barks.

[Use the ground]
Jackal: What are you thinking, Gorrister?  You can't tunnel out of this place.

[Look at the bottom trashcan]
Jackal: There aren't any bodies buried there, Gorrister.  Not yet, anyway.

[Look at the top trashcan]
Jackal: There's more interesting rubbish to sift through, Gorrister.  Does that
give you some food for thought?

[Give any item to anyone]
Gorrister: I'm not giving this away!  If I'm gonna die, I'm takin' everything 
with me.

x [Walk to the desert] x
SEE: "4.2. Failure and Game Over Scripts"

>>>Talk to the Jackal
> >>>What are you?
> >
> > Gorrister: What are you?
> >
> > Jackal: I'm Man's best friend.  One of them, at least.
> >
> > >>>No, what are you really?
> > >
> > > Gorrister: No, what are you really?
> > >
> > > Jackal: Let me answer with a riddle.  Today I saw a Chinaman.  Now what
> > > do you suppose that means?
> > >
> > > >>>You're AM, playing with my mind again!
> > > >
> > > > Gorrister: You're AM, playing with my mind again!
> > > >
> > > > Jackal: No, but I do have an in with the big machine.  He and I are
> > > > like brothers.
> > > >
> > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
> > >
> > > >>>Why can't you give me a straight answer?
> > > >
> > > > Gorrister: Why can't you give me a straight answer?
> > > >
> > > > Jackal: Like so many others down here, I'm cursed to speak in riddles.
> > > > We all have our curses to bear.  Eh, Gorrister?
> > > >
> > > > >>>Yeah?  What's my curse?
> > > > >
> > > > > Gorrister: Yeah?  What's my curse?
> > > > >
> > > > > Jackal: After 109 years in the belly of the beast, I'd think you'd
> > > > > have a gut instinct by now.
> > > > >
> > > > > >>>Look, I'm getting tired of your smart mouth!
> > > > > >
> > > > > > Gorrister: Look, I'm getting tired of your smart mouth!
> > > > > >
> > > > > > Jackal: Come, come, Gorrister.  Forgive and forget.
> > > > > >
> > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
> > > > >
> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
> > > >
> > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
> > >
> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
> >
> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
> >>>Where do you come from?
> >
> > Gorrister: Where do you come from?
> >
> > Jackal: Here, there, everywhere.
> >
> > >>>So you must know what lies across the mountains?
> > >
> > > Gorrister: So you must know what lies across the mountains?
> > >
> > > Jackal: Freedom, for some.  If they're cut out for it.  It's a long
> > > journey across the desert.
> > >
> > > >>>That desert doesn't look any worse than the other hell holes AM's
> > > >  cooked up for us.
> > > >
> > > > Gorrister: That desert doesn't look any worse than the other hell holes
> > > > AM's cooked up for us.
> > > >
> > > > Jackal: Heed my words, Gorrister.  You'd never make it alone out there.
> > > > And don't expect me to be a good doggie and tag along.
> > > >
> > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
> > >
> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
> >
> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
> >>>What do you want?
> >
> > Gorrister: What do you want?
> >
> > Jackal: I have a craving.  A craving for something scrumptious.  A human
> > heart, perhaps.  Yours.
> >
> > >>>I am not going to give you my heart.
> > >
> > > Gorrister: I am not going to give you my heart.
> > >
> > > Jackal: No?  Too bad.  I was going to tell you how to get across the
> > > mountains in exchange.
> > >
> > &g 

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