Shadow Vault Website

The PK Girl by Hanadorobou [Robert Goodwin]

CHAPTER 1

An Evening of Incident

>
Two tires roll to a halt on pavement. As you switch off the engine of your motorcycle, the hum decreases to a terminal choke that is replaced without interval by the sound of conversation and carefree laughter. Around you people are moving to and from an open double doorway up a ways to the north; the inviting entrance to Majesty Mall.

It is relatively early in the evening; the air is cool but not cold, and the night is not yet dark. This is that time when friends are want to meet together and pursue wholesome recreation in and around the grounds of the mall. Having an atmosphere conducive to pleasant joviality, Majesty Mall has always been a popular hangout, especially among the youth of Rittersburg City. However, your particular reason for stopping in tonight is to sample again the ice cream served by the best ice cream parlor in town.

Although four-wheeled vehicles do pass through, this autonomous spot of pavement is too narrow a place for them to stall. It is just right for bicycles and motorbikes such as yours. Beyond the capillaries and side streets that run off in three directions, the more major roads that make up the city can be seen, buildings of all shapes mingled among them. It's the heart of the metropolis that you've come to, or the equivalent for a city of this size. The object of your interest, Majesty Mall, lies north. Your motorcycle is properly parked on the pavement.

> north
(Getting off your motorcycle first) You move north.
Rittersburg may not be your hometown, but its nearness to your place of dwelling has made it possible for you to take this detour on your way back this evening. If what you have seen of the city so far is representative of it, quality ice cream parlors are only one element of an altogether agreeable place to live.

You stand at the mall's canopied entrance. There are retaining walls on either side leading up to an open double doorway just northward. These doors are always open. Perhaps because there are no other malls in this city, this one is always open late. A steady bi-directional stream of shoppers bustles about the entrance, while now and then a vehicle pulls up momentarily to pick up passenger or party.

> north
As you attempt to enter the mall, somebody bumps into you quite intentionally. "Well, don't I know you?", asks a dry voice. It's Jerrick, the snide rich boy whom you only know because you had the privilege of running into him the last time you were at this mall's ice cream parlor. And his same two buddies, Vin and Gill, are with him. What terrible luck to be running into them all again. "Life in the loser lane as usual?", he asks. And before you can say anything, "No, don't answer. I can tell just from looking at you. Well, I didn't come here to dawdle with his kind. Let's go, fellows." And with that he pushes his way past you and departs with his two friends. You step into the mall.

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>
The interior of the mall is spacious, with several yards separating the shops on the west from the shops on the east. The ceiling, too, reaches to a good height. The lighting is dim, but not excessively so. There is a bookstore to the west, a software shop to the east, and more mall extending to the north. The mall's exit is south.

> north
You move north.
This, the center of the mall, is occupied and graced by a beautiful fountain around which is a bench that patrons may sit on to rest or to wait for acquaintances. It is the focal point of the building. An ice cream parlor is to the west, a women's clothing store is to the east, and the mall continues on north and south.

A girl is sitting on the bench with her hands in the lap of her dress.

> west
You move west.
The ice cream served in this shop is excellent; it more than justifies a trip to this mall, even if the route is slightly out of the way. Ordering a cone is easy but deciding on a flavor sometimes proves time-consuming. There are wooden stools by the counter for patrons to sit on while they eat and order, and a couple tables a little farther back. The exit to the ice cream parlor is east.

The shopkeeper is behind the counter, tending to duties. "Welcome!" says the shopkeeper in a highly friendly tone of voice.

> wait
Time passes...

Three girls enter the ice cream parlor and take a table a little ways off. One of them is the girl you saw sitting by the fountain earlier.

> wait
Time passes...

The shopkeeper is wiping the counter.

> wait
Time passes...

You can hear the girls talking, although you can't tell exactly what they are saying.

> wait
Time passes...

The three girls are chatting and giggling away.

> wait
Time passes...

The girls are still giggling but they seem to have quieted a bit.

> wait
Time passes...

The shopkeeper is pacing back and forth behind the counter, performing various tasks.

In the corner of your vision you glimpse one of the girls eyeing you, but her head is turned by the time you take a look.

> wait
Time passes...

You're mostly sure you just caught another girl looking at you, but now they are talking amongst themselves quietly, smiles on their faces.

> wait
Time passes...

You feel the eyes of all three girls on you from across the room.

> wait
Time passes...

Suddenly there is a flurry of noise. Two men dressed in dark raincoats burst into the parlor and rush towards the table where the girls are sitting. In an instant they have the younger girl by her arms and are hauling her away. So unexpected is this occurrence that no one, not even yourself, is there to check the malefactors as they move for the exit.

Female screams ring out in the parlor as the young girl and her kidnappers disappear out into the mall. "Cassie!!!", they cry.

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>
The golden-haired girl comes running up to you and grabs hold of your arm. "Help!!", she pleads.

1) "I'll do my best."
2) "I'm sorry. There's nothing I can do for you."
3) "No time to chat, we've got to go after those men!"

> 1
"Thank you", she replies emphatically. "We must hurry." She is ready to follow you.

"Be careful, Laurie!", her friend says from behind.

> east
You rush out into the mall...
This, the center of the mall, is occupied and graced by a beautiful fountain around which is a bench that patrons may sit on to rest or to wait for acquaintances. It is the focal point of the building. An ice cream parlor is to the west, a women's clothing store is to the east, and the mall continues on north and south.

South in the distance, amidst surprised onlookers, you can make out the flurry of kidnappers exiting the mall.

Laurie follows you from the west.

People pass by on both sides of you, enjoying the commercial atmosphere of the mall.

> s
You run in the direction that the kidnappers have fled...
The interior of the mall is spacious, with several yards separating the shops on the west from the shops on the east. The ceiling, too, reaches to a good height. The lighting is dim, but not excessively so. There is a bookstore to the west, a software shop to the east, and more mall extending to the north. The mall's exit is south.

Laurie follows you from the north.

> south
You move south.
As you leave the mall you can see a helicopter lifting off ahead. You stand at the mall's canopied entrance. There are retaining walls on either side leading up to an open double doorway just northward. These doors are always open. Perhaps because there are no other malls in this city, this one is always open late. A steady bi-directional stream of shoppers bustles about the entrance, while now and then a vehicle pulls up momentarily to pick up passenger or party. Laurie follows you from the north.

> south
You move south.
The helicopter elevates and turns to face west in the direction of the city. Perhaps you could follow it on your...?! Someone has sabotaged your motorcycle!
Although four-wheeled vehicles do pass through, this autonomous spot of pavement is too narrow a place for them to stall. It is just right for bicycles and motorbikes such as yours. Beyond the capillaries and side streets that run off in three directions, the more major roads that make up the city can be seen, buildings of all shapes mingled among them. It's the heart of the metropolis that you've come to, or the equivalent for a city of this size. The object of your interest, Majesty Mall, lies north. Your motorcycle is properly parked on the pavement.

Laurie follows you from the north.

> wait
Time passes...

The helicopter shrinks as it continues westward. Will the criminals get away so conveniently?

> wait
Time passes...

"Try starting the motorcycle anyway", says Laurie.

1) "That would be pointless!"
2) "All right, I'll try it."

> 2
There is both relief and gratitude in her expression.

The helicopter is now barely visible in the sky. There is still a chance for some kind of pursuit.

> ride the motorcycle
(Sitting on the motorcycle first)
Laurie gets on behind you. Putting your faith in Laurie's improbable hope that the motorcycle will somehow work despite its current condition, you try starting up the engine....and it works! Laurie seems not to be surprised at all by such a miracle. As you zip through the city streets in pursuit of the helicopter that you can see far ahead in the night sky, she mutters only, "My sister...they finally got you..."

Press enter to continue

>
After you have raced through much of the city, you see the helicopter begin to descend beyond a hill by a bridge up ahead. You pass over the bridge and bring your bike to a halt. By the time your engine dies, only the sound of sparse traffic passing over the bridge can be heard. The helicopter is nowhere to be seen.
This is the north side of a road that runs east to west on the outskirts of the city. Traffic on this road is moderate, with every now and then a vehicle zooming past and leaving the sound of its passage reverberating in the air. Langston Bridge, which you recently passed over, is to the east. Your motorcycle is parked here.

> east
(Getting off your motorcycle first) You move east.
The bridge that supports the road that you traveled by to reach these parts of the city begins here and continues on to the east. It is possible to climb over the north railing and onto a hill beyond which you can just barely see the lights of the city.

Laurie follows you from the west.

Laurie has climbed down from your motorcycle.

> north
Laurie climbs over the railing with you...
You are at the top of a grassy hill that overlooks the city to the north and west, and the river to the east. The view might be considered romantic under different circumstances. To the south is Langston Bridge. Not far off below the hill, in the immediate parts of the city, some buildings are visible, one of which is larger than the rest.

Laurie steps forward and looks out over the darkened city below where her sister must surely be, shivering a little because the night has grown noticeably colder.
"I had almost managed to convince myself that they wouldn't come again, that we could finally live in safety." Her voice is faint. She seems to be talking to herself as much as to you.
"It isn't the first time that they tried to kidnap her. It's just the first time that they succeeded. They finally succeeded. And now with our parents away.... " Her voice trails off.

1) "You owe me an explanation."
2) "Who are they?"
3) "We'll get her back. I promise."

> west
You move west.
Down here where the hill ceases to slope, very little can be seen of the city, the river, or anything. The hill looms above you like a tolerant titan. A vacant lot can be reached by travelling to the west.

Laurie follows you from above.

> west
You move west.
This is a small parking lot, or something of that nature. It is not clear exactly what the space is used for, if anything, as there are no vehicles or buildings directly near it. However, a large building can be seen farther west. A darkened back street to the north frightens away lone travellers and old ladies.

Laurie follows you from the east.

> north
You move north.
This back street runs through a mostly deserted part of town. The neighborhood is not a nice one and probably not a friendly one either. The general condition of buildings and the street itself is poor. If there were people sitting about it, which there aren't, it would be difficult to picture them smiling. North is a run-down gas station and south is an empty lot. To the east the river is almost visible. The street continues on west.

Laurie follows you from the south.

"I do not like this street. It is too quiet", she whispers.

> west
You move west.
The street continues on east and west. The area north is occupied by a dingy bar. To the south is an alley. A solitary lamppost stands at a corner, partially lighting this darkened street. It could do with some company.

Laurie follows you from the east.

> south
You move south.
This is the east side of the large grey building. It is especially dark here in the shadows provided by the building's wall. The alley continues into an urban wilderness to the south, but is not worthy of exploration beyond this point. There is a large dumpster here, enclosed on three sides by a brick wall.

Laurie follows you from the north.

> stand on dumpster
Using hands and feet you clamber up onto the dumpster lid. From there it is a simple matter to step over to the brick wall. The small window is in reach. Laurie comes up after you.

> open window
You press against the window and to your surprise it opens with the most minimal effort. You crawl through it as quickly and nimbly as you can, then drop to the floor inside the foyer. Laurie lands next to you a moment later. The security officer whirls around in a flash.
"You weasels, how did you get in here!"
And then several things happen in quick succession. The officer begins rushing in your direction. A banging sound from behind causes the officer to turn his neck. Was that the front door slamming shut? Right at that moment the officer trips over his own chair and stumbles to the ground.
While you are registering all this Laurie grabs your arm and pulls you towards the hallway. "Hurry!" she cries. As you dash towards the hall a loud alarm goes off, ringing throughout the whole building. Gunshots soon accompany it. The two of you run for your lives . . .

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CHAPTER 2

The Rescue of Cassandra

>
You are in the hallway of an office building running north to south and you don't have a lot of time to look around! Rather than entering one of the rooms that are to the west or east, you would be best off continuing south until you get to a place where you can throw your pursuers off.

A loud alarm is ringing.

> south
You move south.
You are in the hallway of an office building running north to south and you don't have a lot of time to look around! Rather than entering one of the rooms that are to the west or east, you would be best off continuing south until you get to place where you can throw your pursuers off... like that junction up ahead.

Laurie follows you from the north.

A loud alarm is ringing.

> south
You move south.
This is where the north-south hallway ends. Running perpendicular to it is a similar-looking hallway which extends east and west for an indeterminable distance.

Laurie follows you from the south.

An officer far down the hallway to the west notices you and immediately runs in your direction.

A loud alarm is ringing.

You can hear the sound of more than one set of feet chasing you from behind.

> east
You move east.
The hallway continues east and west, with the entrance to some darkened room to the south.

Laurie follows you from the west.

You hear what sounds like a window being opened abruptly.

"In there!", says Laurie, indicating the room to the south, "We can hide in there!"

A loud alarm is ringing.

> south
You move south.
Light from the hallway north of you allows you to quickly observe the following features in this closet-type room. There is a filing cabinet in one corner. Against one wall is a wide shelf containing office supplies. A window with curtains stands to the south.

Laurie follows you from the north.

An alarm can be heard in the halls outside.

> south
You push aside the curtains and step through the window.
You are standing on a windowsill that continues to the west. North through the window is the room from which you stepped out of. South of you is the exterior wall of some other part of the building. It must have been built on a hill of some sort. Though you entered this building at ground level, there is a short drop from the windowsill to the ground beneath.

Laurie follows you from the north.

Laurie looks like she is on the verge of screaming.

> west
You move west along the windowsill. As you do so, you hear the curtains close in the room you came from.
You are standing on a windowsill, hugging the north wall to keep from falling. South of you is the exterior wall of some other part of the building. The windowsill continues east and west.

Laurie edges her way along the windowsill slowly. There is terror in her eyes.

You hear the sound of shuffling feet and voices in the room you just left.
"They can't be in here. There's nowhere to hide and the curtains are closed."
"Funny, I thought they turned in this way."
"Look somewhere else--hurry!"
The voices fade out.

> west
You move west.
You are standing on a windowsill that continues to the east. North through the window is a darkened room. Opposite you to the south is the wall of some other part of the building.

Laurie follows you from the east.

> north
You step through the window.
There are no furnishings here other than a copy machine in one corner and stacks of papers all around. To the north is the main hallway. There are also rooms to the east and west. To the south is a window.

Laurie follows you through the window and then stops.

An alarm can be heard in the halls outside.

> wait
Time passes... An alarm can be heard in the halls outside.

Laurie looks like her legs are about to give, and tears are beginning to well up in her eyes. Finally, she falls to her knees.

> wait
Time passes... An alarm can be heard in the halls outside.

"I can't go on!", she cries softly.

1) "Yes you can!"
2) "What happened back there?"
3) "But if we stay here they'll find us!"

> 1
"You don't understand!", she bursts out. But somehow, gradually, she manages to gather herself.

An alarm can be heard in the halls outside.

> west
You move west.
This is a one-person office with a nice carpet and a desk. There is a swivel chair beside the desk. Underneath the desk is a large cardboard box.

Laurie follows you from the east.

> move box
Moving the cardboard box reveals an open hatchway smack in the middle of the carpet. An underground vein of some sort can be seen below.

Laurie eyes light up and she glances at you in astonishment.

> down
You hop down the hatch and help Laurie down afterwards...

Press enter to continue

>
You stand in a short cellar passageway full of shadows cast by light from around a corner up ahead. Except for the hatchway from which you dropped, the ceiling is practically concealed by the criss-crossing of a myriad of pipes. This area appears to be a dead end from which the only way one can go is north.

> north
As you move forward you can hear the cries of a girl from up ahead. You and Laurie crouch behind some furniture that is at hand and survey the scene. This is where the cellar passageway from the south opens into a spacious room to the west. Pipes hang from the ceiling. Some miscellaneous furniture provides cover.
Over to the west you see that Laurie's sister is being held down in a chair in the center of the room.
Three kidnappers are standing near her.
"Cassie!", gasps Laurie.

> west
You stand up and run to the west.

Cassie sees you and gasps aloud. The kidnappers notice you immediately. All three move to confront you, one after the other. The last one has a blackjack in his hand. Is this not an opportunity to be a hero?

> wait
Time passes... The kidnappers quickly surround you. You realize that you are about to be gang-beaten mercilessly.

At that moment, Laurie stands up and shouts "NO!!!" Enraged, she glares at the men.
"Laurie", shrieks Cassie in delight, "I knew you'd come!"
Laurie steps forward with mad determination.
The Kidnappers, now aware of everyone's presence, ignore both you and Cassie and focus all of their attention on Cassie's older sister. As one Kidnapper nears her, he is struck on the side of the head by a pail that comes flying seemingly out of nowhere. Its origin is not difficult to account for; it must have been lying behind some furniture nearby. But as for being airborne--?! Cassie yells for you to duck and you do.
The pail continues to circles through the air in a random pattern and at a tremendous speed. It crashes repeatedly into the heads of each of the Kidnappers. A groan accompanies each collision, but the pail goes on soaring back and forth like a vindictive harpy.
Eventually it falls to the floor, rolls for awhile, then is still. By that time, there is not a single of the men groaning. They have all been rendered unconscious.
Laurie sinks to her knees in relief while Cassie lets out a squeal of joy.

> wait
Time passes... Cassie runs into her sister's arms. "Laurie!", she cries. "Are you all right?", asks Laurie. "I'm fine!", Cassie responds. "I'm so glad that you came. But I knew that you would!"
And then she runs into your arms. "Thank you!", she cries with much feeling. And then, "Um.. sister, who is he? Wait", she says, turning to look at you again, "Weren't you the one in the ice cream parlor?"
Laurie nods her head in enthusiastic affirmation.

> wait
Time passes... Laurie thinks for a moment, then asks you, "I never learned your name, did I?"
"Nice to meet you, Garret!", Cassie says cheerfully upon learning your name.
"Garret", begins Laurie, "Without you... I... I don't know if I ever could have... I..."
Cassie, who has been looking at the fallen Kidnappers, interrupts Laurie's train of speech and speaks up. "D'you think it's safe?"
"I...", begins Laurie again,"...I hit them pretty hard, I think." "Yeah, you were incredible, sis! The way you kept that object in the air all that time--I've never been able to do anything like that!" Laurie shrugs modestly.

1) "Laurie, you didn't tell me that you also had PK!"
2) "It's okay. I basically had it figured out already."
3) "How come you didn't use your power sooner?"

> 1
"I'm...sorry", she apologizes. "I didn't know how you would take it. How could I know if you would have helped me then? Although, thinking about it now, I think that you would have. I'm sort of surprised that you didn't figure things out anyways. I thought...I gave it away on many occasions. Like when I distracted the security officer and made his chair trip his legs, or when I opened and closed windows and curtains upstairs. And your motorcycle--I had to fix that, didn't I?"

1) "Laurie, you really are impressive."
2) "Cassie, you did some amazing things tonight, too."
3) "So which of you is stronger?"

> 1
Laurie just blushes and Cassie says, "That's my sister for you. You're going to keep teaching me how to do all the things that you can do, right, Laurie? Like levitate things and bend metal. I don't know if I'll ever be able to do all that."
"I'll try, I guess", smiles Laurie.

1) "There's one thing I don't get--How come you needed me at all?"
2) "C'mon, let's get you girls to safety."

> north
You move north.
Light cast from the large room to the south permits some visibility in this dark cellar passageway that leads north. Pipes hang from the ceiling. There is a door set in the east wall. Also here is the chest freezer.

Laurie follows you from the south.

Cassie follows you from the south.

> north
You move north.
The passageway ends here at a ladder ascending to a circular hatch on the ceiling. In fact, it is the underside of a manhole. Not shocking since the passage has had the feel of being in a damp, forgotten sewer all along.

Laurie follows you from the south.

Cassie follows you from the south.

"We can go up that way", remarks Laurie, pointing to the ladder.

> up
As you come near the hatch, the manhole cover slides off seemingly by itself. The three of you climb up the ladder one after another, yourself in the lead.

Laurie replaces the manhole cover. "It isn't safe for us to be here either", she whispers. Holding her shoulders in the cold night air, she looks around.
"Can we return to our own house?", asks Cassie.
Laurie shakes her head. "I think that is too dangerous. They know where that is. They must have known that our parents were out of town and that's why they waited until tonight to...take you away."
Cassie giggles. "It didn't help that I made those ice cream spoons dance on the table, huh?"
"Oh, that's how they were able to pinpoint your exact location!", She groans girlishly. "Cassie, I told you not to do that! You know that they can hear us do those kind of things by wearing those things in their ears!"
"Oops", says Cassie sheepishly.
"Oh", cries Laurie, "what will we do? If we keep running...they'll only find us again. We can't go on like that. In order to ever feel safe again...oh, what can we do?"
Laurie looks at you with the same pleading expression that you saw in the ice cream parlor.

1) "Gee...I dunno..."
2) "For now let's get out of here."
3) "I don't intend to leave you."

> 1
Cassie looks sort of disappointed. Laurie simply looks forlorn.

Laurie gazes at the sky, pondering. By and by she turns to speak to you again.
"We can go to my friend's house. She'll let us stay there, I know she will. Until...until it is safe to go home again. Garret, will you take use there? I can show you the way to her house once we get to your motorcycle."
"Let's hurry", agrees Cassie, "I've had enough of this place."

> north
The three of you make your way back to your motorcycle without further incident. Smaller than her sister, Cassie is able to squeeze into the seat with Laurie and hold onto her back while Laurie holds onto yours. You start the engine and take off into the night, leaving Langston Bridge and its dark alleys behind...

Press enter to continue

>

CHAPTER 3

Friends and Clues

>
You and your passengers arrive at the front of a house that Laurie indicates is the place where her friend lives. You park your motorcycle and the girls dismount.
The house before you is not large, nor is it attractive in any way other than in the domestic atmosphere that permeates it, made possible by cleanliness and simple feminine decor. A mat lies at the foot of the front door, which is east. A mailbox is attached to the wall beside the door. Your motorcycle is parked close by.

> wait
Time passes...

Laurie goes up to the front door, followed by her sister.
"Will she be home?", asks Cassie.
"I'm sure she will be", replies Laurie. "It's been several hours since we were in the ice cream place. She wouldn't have stayed there and she wouldn't have gone to the police either, I don't think."

> wait
Time passes...

Laurie knocks on the front door.

> wait
Time passes...

> wait
Time passes...

Cassie looks at her sister. Laurie knocks on the door a little louder.

> wait
Time passes...

You hear the door being opened from the other side. A moment later, a girl is standing there looking very surprised. In fact, it is the same girl that was in the ice cream parlor with Laurie and Cassie.
"Laurie!", she cries. "And Cassie! You're both okay! I can't believe it!"
"Monika", Laurie responds. An exchange of hugging ensues.

> wait
Time passes...

"Come in!", insists Monika. Noticing you with a cordial smile she adds, "You too of course." The girls enter the house.

> east
You enter the house.Monika's living room is satisfactorily filled with the amenities that any home sweet home must include, such as a couch, a coffee table, a rug, and wall decorations adorning the walls. All that is lacking is the hearth. The space opens up to a dining area to the south, and an area with a stairway east. The front door is west.
Laurie is standing here.
Monika is standing here.
Cassie is also standing here.

"Are you all right, Cassie?", asks Monika. "I was so worried. What happened? Where did they take you? And how did you get her back?" The last question is addressed to Laurie.
Laurie answers, "Well, to begin with, we never would have done it without Garret."
"You remember him from the ice cream shop, don't you Monika? The one you were saying was--"
Blushing, Monika interrupts her, "Right! Um, Hi, Garret. I'm Monika, Laurie's friend."

1) "I do remember you."
2) "Nice to meet you, Monika."
3) "What were you saying about me?"

> 1
Monika seems genuinely happy to hear this. "Really?", she asks.

"So anyway", continues Laurie, "We found Cassie in the cellar of a suspicious-looking office building in a mostly deserted area of the city. It was them of course..."
Laurie proceeds to give her friend an account of the events that transpired since Cassie was kidnapped up until the present hour. Laurie and Monika sit down on the couch and Cassie sits down on the floor.

> wait
Time passes...

While relating the story, Laurie downplays her own heroic contributions to the rescue effort, resting the credit primarily on you. It is not for fear that her friend might find out about her powers, though, as she does mention the use of PK. Presumably Monika has already been privy to her friend's secret. She listens in amazement.
"So is that building their secret hideout then?"
"I don't think so", replies Laurie. If it was, I think it must be a temporary one."
Cassie says, "They were going to take me somewhere else. I heard them talking about it in the cellar."
"Thank goodness we found you before then." Unconcealed relief shows in Laurie's voice.

> wait
Time passes...

"What will you do now?", asks Monika.
"Monika,", Laurie addresses her best friend sincerely, "would you mind if we stayed here for awhile? Until it is safe to go back home? I fear what they will try next."
"Laurie! Of course you can! And you too, Cassie. And Garret, too! You can stay here as long as you like."
Laurie faces you. "Garret, I think that would be a great idea...I mean...um...well, if you don't mind it, I'd like to...have you nearby. For safety, you know. And also, there's something you could help me with tomorrow....If you don't mind, that is..."
"Yeah, are you going to stay with us, Garret?", asks Cassie excitedly.

1) "For you, Laurie, anything."
2) "You bet."
3) "Oh, sure."

> 1
Laurie frowns and says, "You don't need to talk that way."
"You're going to stay then? Right on!", says Cassie.
"Is it really okay?", asks Laurie.
"Of course it's no problem, Laur! You and Cassie can stay in that extra bedroom next to the stairway. There's a fold-up mattress in the closet upstairs that one of you can sleep on. And the other can sleep on the bed. Garret, will you come move the mattress? I'll show you where it is."
The girls all stand up.

> wait
Time passes...

Monika walks away to the east.

> wait
Time passes...

> wait
Time passes...

Laurie walks away to the east.

Cassie walks away to the east.

> sleep
You lie down on the couch and try to fall asleep. Although you are tired from the activities of the night, you remain awake for some time, tossing and turning. It could be that part of your inability to sleep is due to the couch and the unfamiliar setting. Likely, it has more to do with your mind's insistence in reviewing the unexpected course of events that the day brought you, and the people that they involved. Tenaciously, like a grindstone turning, the events replay over and over until you manage to drift off...

Press enter to continue You rested well, quite well. Your body feels thoroughly refreshed. Whatever it is that you dreamt of fades from your memory quickly, and your mind is clear and untroubled when your eyelids finally slide open and the morning breaks...

Press enter to continue

>
Monika's living room is satisfactorily filled with the amenities that any home sweet home must include, such as a couch, a coffee table, a rug, and wall decorations adorning the walls. All that is lacking is the hearth. The space opens up to a dining area to the south, and an area with a stairway east. The front door is west.

You become aware of the sounds and smells of....yes, breakfast.

> south
(Getting off the couch first)
You move south.

Here a dining table stands before a broad window with curtains. When the curtains are open and the weather is nice, mealtimes are especially pleasant. When not, they are simply comfortable. To the north is the living room and to the east is the kitchen. Some chairs are pushed in around the table. A fruit bowl serves as a centerpiece.

You smell good food nearby.

> east
You move east.

Monika's kitchen sports the usual accommodations, including a counter, a sink, and a stovetop. A toaster sits at one end of the counter like a book end. There is a drawer beneath the counter, and several cupboards above it. There is also a cabinet underneath the sink. A refrigerator that includes a freezer stands against the opposite wall. The dining room is west and the stairway north.
Laurie is by the stovetop cooking something.

"Good morning", says Laurie cheerfully. "I hope I didn't awaken you. I was thinking you might like some hashbrowns. They should be done soon."

Laurie turns on the toaster.

> wait
Time passes...

"Monika left early. She said that she had to run some errands but that she would be back later today."

> wait
Time passes...

> wait
Time passes...

You hear the toaster pop.

> wait
Time passes...

Laurie takes the bread from the toaster.

> wait
Time passes...

> wait
Time passes...

Cassie walks in from the north.

Cassie sniffs the air, moving closer and closer to the vicinity of the stovetop.
"Hang on Cassie, it's almost done", Laurie says to her.

> wait
Time passes...

"I may never become a great cook but at least there are some things I can sort of make with confidence", says Laurie.

> wait
Time passes...

Cassie walks away to the west.

Laurie turns off the grill. "I think it's done", she says.

> wait
Time passes...

Laurie puts the hashbrowns and toast onto a plate with an egg omelette.

> wait
Time passes...

Laurie walks away to the west.

> west
You move west.

Here a dining table stands before a broad window with curtains. When the curtains are open and the weather is nice, mealtimes are especially pleasant. When not, they are simply comfortable. To the north is the living room and to the east is the kitchen. Some chairs are pushed in around the table. A fruit bowl serves as a centerpiece. A plate is on the dining table.
Laurie is sitting at the table.
Cassie is sitting at the table.

Laurie puts the plate of hashbrowns and egg omelette down in front of you. She brings some food for herself and Cassie as well. Then she sits down at the table.

> wait
Time passes...

"There's more bread in the cupboards if you want more toast after this", says Laurie.
After finishing a few bites of hashbrowns Cassie says, "It's not ice cream but I'm eating it."
"Um, thanks, Cassie, I think."
"No, Laur, it's not bad. I'm just saying that it isn't quite the same as ice cream. Nothing is. Except ice cream."

1) "It's delicious, Laurie."
2) "Cassie is a sweet tooth, huh."
3) "So what do you need me for today?"

> 1
"Thank you", she replies appreciatively.
Cassie laughs. "Well then, you can make breakfast for him anytime, right Laurie?"
Laurie changes the subject.

"I've been thinking. The only way that Cassie and I are ever going to get them off our back for good is if they lose whatever information they have on us. They don't really know us. I think that may be our advantage." She tilts her head in thought.

"If we could somehow delete the records that they have of us..."

1) "...then they can't come after you anymore!"
2) "Do you know where to find such records?"

> 1
"Good idea, eh?", chimes Cassie, "Sis, you're brilliant."

Then Laurie says, "I have a friend that lives nearby whose name is Ethan. He can do anything with computers, or so he tells me. Perhaps he can find a way to delete these records. Garret, will you go over to his place and see if he can't help us?"

1) "Why don't you come along yourself?"
2) "Is it all right if I just show up like that?"
3) "Does he know that you have PK?"

> 1
"I, um...I'd prefer not to..."
Cassie laughs. "It's because she and Ethan--"
No, Cassie, don't say anything bad about Ethan. He's a nice guy."
"Then why did you tell--"
"Please, Cassie." She looks at her sister sternly.

"So anyways, I'll tell you how to get to his place." Laurie does so.

> north
You move north.

Monika's living room is satisfactorily filled with the amenities that any home sweet home must include, such as a couch, a coffee table, a rug, and wall decorations adorning the walls. All that is lacking is the hearth. The space opens up to a dining area to the south, and an area with a stairway east. The front door is west.

> west
You leave the house, closing the door behind you. The house before you is not large, nor is it attractive in any way other than in the domestic atmosphere that permeates it, made possible by cleanliness and simple feminine decor. A mat lies at the foot of the front door, which is east. A mailbox is attached to the wall beside the door. Your motorcycle is parked close by.

> ride the motorcycle
(Sitting on the motorcycle first)
Where will you go?
a) Majesty Mall
b) Langston Bridge
c) Monika's House
d) Ethan's Apartment

> d
You start up your motorcycle and depart for Ethan's...

Press enter to continue

>
You arrive and park in front of Ethan's...
You stand at a plain concrete apartment complex. The door to the south of you is where, according to Laurie's directions, Ethan lives. There are also apartments to the west and east, spaced at a less than neighborly distance apart. Your motorcycle is parked here.

> south
You open the door and enter the apartment. The interior of Ethan's apartment is hopelessly messy. Boxes of junk, appliances, furniture, and miscellaneous objects have been heaped up or left lying around slovenly. Dirty laundry spreads over everything. Smells in the air combine to produce new odors like a chemist's compound. The room continues to the south, but access is completely blocked by the piles of junk. As it is, you can barely make your way down the stairway from which you hear the sounds of typing at a keyboard. The exit to the apartment is north.

> down
You move down.

The downstairs of Ethan's apartment is only slightly less cluttered than above. Since the room is smaller, it actually feels even more crammed down here. Trash indiscriminately covers the floor. Standing among the trash you see an open fish tank. There is computer hardware lying all about. There is a table on which sits a computer monitor.
Ethan is seated at a chair in front of the computer.

Gradually, Ethan turns in his seat to look at you dully, clearly wondering what kind of sale you have come to push today.

> talk to ethan
"You're a friend of Laurie's? How is she? You haveta tell me."
Ethan listens to your story with the highest interest. Every time you mention Laurie's name he closes his eyes as if trying to visualize how she would have looked like at that particular time.
"Isn't she something?", he says with a smile. "There's no girl quite like her, even with PK powers aside. I've told her that myself, but....anyway, so why didn't she come in person?"

1) "She has claustrophobia."
2) "She feels safer not going out."
3) "She had to work today."

> 1
"That isn't true. Vertigo she has, but not claustrophobia."

1) "So can you help us?"
2) "How do you know so much about Laurie?"
3) "What are Laurie's three sizes?"

> 1
"Yes, of course. I'm concerned about her."
Ethan turns to his computer for a second and hits a few keys and then turns right back to you.
"What do you know about these guys, this organization that is after Laurie? I need some kind of information, something I can use to track them down. Even just a single name might be enough. If you can provide me with that, I'll tell you everything you want to know about this organization from what their taxes were last year to where they go to do their laundry."

> up
You move up.

The interior of Ethan's apartment is hopelessly messy. Boxes of junk, appliances, furniture, and miscellaneous objects have been heaped up or left lying around slovenly. Dirty laundry spreads over everything. Smells in the air combine to produce new odors like a chemist's compound. The room continues to the south, but access is completely blocked by the piles of junk. As it is, you can barely make your way down the stairway from which you hear the sounds of typing at a keyboard. The exit to the apartment is north.

> north
You leave the apartment, closing the door behind you. You stand at a plain concrete apartment complex. The door to the south of you is where, according to Laurie's directions, Ethan lives. There are also apartments to the west and east, spaced at a less than neighborly distance apart. Your motorcycle is parked here.

> ride the motorcycle
(Sitting on the motorcycle first)
Where will you go?
a) Majesty Mall
b) Langston Bridge
c) Monika's House
d) Ethan's Apartment

> c
You start up your motorcycle and depart for Monika's...

Press enter to continue

>
You arrive back at Monika's without incident...

The route back to Monika's was not minutely engraved in your mind and you nearly took a wrong turn at several places. But at the sight of the quaint little blue house all dubiety is dissolved. Laurie will be waiting for you inside.
The house before you is not large, nor is it attractive in any way other than in the domestic atmosphere that permeates it, made possible by cleanliness and simple feminine decor. A mat lies at the foot of the front door, which is east. A mailbox is attached to the wall beside the door. Your motorcycle is parked close by.

> east
You move east.

The stairway here ascends up to a second floor. To the west is the living room, to the south is the kitchen, and a door stands before a bedroom to the east. An air freshener is on the wall here.

> south
You move south.

Monika's kitchen sports the usual accommodations, including a counter, a sink, and a stovetop. A toaster sits at one end of the counter like a book end. There is a drawer beneath the counter, and several cupboards above it. There is also a cabinet underneath the sink. A refrigerator that includes a freezer stands against the opposite wall. The dining room is west and the stairway north. A granola bar is on the kitchen counter.
Laurie is standing here.
Cassie is sitting on the counter.

"Garret! Laurie, he's back."
"Garret, were you able to meet Ethan?"
After hearing your report, Laurie puts her elbows on the counter and ponders the situation. "There must be something else we can do... "

> wait
Time passes...

"Cassie, when you were being held by those men, did they say anything important?"

> wait
Time passes...

Cassie screws her face and tries to think.

> wait
Time passes...

"Y'know Laur, I do remember hearing them talk about some 'silo'. I don't know what that could possibly be. I figured maybe it was where they would be taking me next."
"A silo? Hmm, what could that have meant I wonder? Did they not say more about it?"
"Nope, I only heard them mention it once."

> wait
Time passes...

> wait
Time passes...

"Garret, do you think you could find out about this 'silo'? That might tell us something we need to know."
"But who would know about that, Laur?"
"I cannot say..." Laurie looks bewildered.

> wait
Time passes...

She looks up. "The plaza--that's the busiest part of the city. There must be somebody there who knows something that can help us."
"Yeah, somebody, eh. Would Garret just go around asking everyone he sees? Well, hmm, I guess he could do that."

1) "It's no problem, I'll go."
2) "Well, don't expect a breakthrough but..."
3) "Who should I ask?"

> north
You move north.

The stairway here ascends up to a second floor. To the west is the living room, to the south is the kitchen, and a door stands before a bedroom to the east. An air freshener is on the wall here.

> west
You move west.

Monika's living room is satisfactorily filled with the amenities that any home sweet home must include, such as a couch, a coffee table, a rug, and wall decorations adorning the walls. All that is lacking is the hearth. The space opens up to a dining area to the south, and an area with a stairway east. The front door is west.

> ride the motorcycle
(Sitting on the motorcycle first)
Where will you go?
a) Majesty Mall
b) Langston Bridge
c) Monika's House
d) Ethan's Apartment
e) The Plaza

> e
You start up your motorcycle and depart for the Plaza...

Press enter to continue

>
You arrive at the Plaza...

The traffic kept increasing all the way up here to the point where being on one's feet was wholly preferable to the stop and go of travel by motor vehicle. At last you were able to find a spot beside the road with no competition for parking space. You bring your bike to a rest.
Small shops line the side of the walk through this, the trendier part of the city of Rittersburg. The avenue runs east-west, with people passing by on both sides of you. To the north there is a busy pedestrian intersection. It seems to be the fountain from which much of the traffic flows to or from. Your motorcycle is parked along the street.

> north
(Getting off your motorcycle first)
You move north.

You stand in the midst of a spacious four-way crossing for pedestrians only. Numerous people walk past you in every which direction, their destinations not deducible from reading only their faces. The patter of feet on pavement is heard continually.

> wait
Time passes...

In the thick of people going to and fro about their own business it is hardly possible to detect who it is that brushes against your shoulder. You are handed a card, a two by three and a half inch business card. The back of the card reads "Meet me in the cafe". The handwriting is sloppy, on purpose perhaps.
Scanning the multitude, you are unable to locate any particular person that shows an indication that he or she might have been the one that handed you the card. And then, through chance rather than design, a gap opens up in the crowd and you see someone watching you...

Press enter to continue

>

Standing from afar you see a woman. She wears a black leather jacket beneath which is a stylish white dress that contrasts it well. She stands and observes you confidently, as if it is her appointed place to do so. Surely she must realize that you are looking back, but she does not retract her gaze. Her crystal eyes bore into your soul while revealing nothing of her own. No sooner have you caught this brief glimpse than the gap closes and you can no longer see this woman through the thick of the crowd.

Press enter to continue

>

CHAPTER 4

A Suspicious Encounter

>
You stand in the midst of a spacious four-way crossing for pedestrians only. Numerous people walk past you in every which direction, their destinations not deducible from reading only their faces. The patter of feet on pavement is heard continually.
An umbrella peddler is here.

A group of idle teens cross your path.

> south
You move south.

Small shops line the side of the walk through this, the trendier part of the city of Rittersburg. The avenue runs east-west, with people passing by on both sides of you. To the north there is a busy pedestrian intersection. It seems to be the fountain from which much of the traffic flows to or from. Your motorcycle is parked along the street.

> east
You move east.

The avenue from the west ends here beside a fashionable cafe with a row of rose bushes in front. A couple tables with chairs have been set up for the occasional outdoor diner. There is a folded sign on the ground displaying the cafe's name. The city continues to the north.

> east
You enter the cafe. The interior of this cafe is lit primarily by a tiny window on the east wall; the place really doesn't seem to require any more lighting than that. The room is not large, yet contains a number of closely packed square tables and chairs. A menu is displayed atop a counter. The exit to the cafe is west.
A mysterious woman is seated at a table facing the window.

"Have a seat", says the woman at the table. She has not looked up but it is clear she is speaking to you.

> sit
You sit down at the table.

"Don't worry", says the woman, "I told my man to leave." She appraises you like a jeweler. With a captivating smile she remarks, "Well now, you're not a bad-looking young man."

1) "Who are you?"
2) "Thanks, but what is the meaning of this?"
3) "Neither are you."

> 1
"I was just about to introduce myself", she says with a cloying smile. "My name is Katryn. And you are Garret. I've been looking forward to meeting you ever since last night when I heard of your escapade. That was quite the rescue, wasn't it? No, you are not being patronized! I'm rightly impressed with what you were able to accomplish in the face of opposition that was...not insubstantial. Not to take away from your heroics, but we would not hire the same men a second time."

1) "Those were your men?"
2) "How do you know about that?"
3) "All right, kidnapper, state your game!"

> 1
"Those were my superior's men. I would never hire their type. How can you trust them to the job? Well, clearly, they didn't complete theirs. And I'm rather glad of it. In fact, now that I've met you in person", she says while baring you in the eyes, "I wouldn't have had it any other way."
She leans forward. Her hand touches yours underneath the table.
"Come meet me. Tonight. I have arranged a place where we can talk in private. We can have, in fact, all the privacy that we desire."

1) "Okay, sure."
2) "How can I trust you?"
3) "Tell me why."

> 1
"Enter by the front gate of Gammex Industrial. I will meet you inside. I'm looking forward to it."

She squeezes your hand in both of hers, stands up, and exits the cafe, turning back only once to make sure you are watching her leave.

> west
You leave the cafe. The avenue from the west ends here beside a fashionable cafe with a row of rose bushes in front. A couple tables with chairs have been set up for the occasional outdoor diner. There is a folded sign on the ground displaying the cafe's name. The city continues to the north.

You do not see Katryn anywhere.

> west
You move west.

Small shops line the side of the walk through this, the trendier part of the city of Rittersburg. The avenue runs east-west, with people passing by on both sides of you. To the north there is a busy pedestrian intersection. It seems to be the fountain from which much of the traffic flows to or from. Your motorcycle is parked along the street.

> wait
Time passes...

Monika walks in from the west.

> wait
Time passes...

> wait
Time passes...

Monika walks away to the east.

> wait
Time passes...

> ride the motorcycle
(Sitting on the motorcycle first)
Where will you go?
a) Majesty Mall
b) Langston Bridge
c) Monika's House
d) Ethan's Apartment
e) The Plaza
f) Gammex Industrial

The umbrella peddler walks in from the east.

> d
You start up your motorcycle and depart for Ethan's...

Press enter to continue

> talk to ethan
"Do you have information about this organization? Like a name or something?"

1) "Yes"
2) "No"

> 1
"You do? What is it?"

What do you tell him?

> rosa
"'Rosa', huh? Okay, I'll see what I can dig up. Don't go anywhere, this won't take long..."
Ethan spins back to his computer, brings up some new windows, and starts pounding keys.

> wait
Time passes...

> wait
Time passes...

"Okay!", announces Ethan, "I got something. 'ROSA central port'--that's probably what we're after. If it's their main server like I think it is, it'll have all the data we're after. There's some security of course, password protection, nothing I can't handle. It may take me some time. Cracking a password is like cracking an old walnut. You never know if it will take ten seconds or a whole day. That wasn't the greatest analogy, was it now.Anyways, you may want to come back later."

> up
As you turn to go, Ethan says, "Bring Laurie with you next time. I'd sure like to see her."
The interior of Ethan's apartment is hopelessly messy. Boxes of junk, appliances, furniture, and miscellaneous objects have been heaped up or left lying around slovenly. Dirty laundry spreads over everything. Smells in the air combine to produce new odors like a chemist's compound. The room continues to the south, but access is completely blocked by the piles of junk. As it is, you can barely make your way down the stairway from which you hear the sounds of typing at a keyboard. The exit to the apartment is north.

> ride the motorcycle
(Sitting on the motorcycle first)
Where will you go?
a) Majesty Mall
b) Langston Bridge
c) Monika's House
d) Ethan's Apartment
e) The Plaza
f) Gammex Industrial

> c
You start up your motorcycle and depart for Monika's...

Press enter to continue

>
You arrive back at Monika's without incident...

It's good to be getting back, and this not only for anticipation of delicious homemade cooking.
The house before you is not large, nor is it attractive in any way other than in the domestic atmosphere that permeates it, made possible by cleanliness and simple feminine decor. A mat lies at the foot of the front door, which is east. A mailbox is attached to the wall beside the door. Your motorcycle is parked close by.

> wait
Time passes...

Monika puts down the grocery sack.

> wait
Time passes...

"Stick around for dinner, Garret. I think you will like it. Or that's what I'm hoping", she smiles.

Monika begins taking vegetables out of the sack and placing them on the kitchen counter.

> wait
Time passes...

Monika gets out a cutting board and puts it on the counter.

> wait
Time passes...

Monika opens a drawer and takes out a knife.

> wait
Time passes...

Monika takes an onion and sets it on the cutting board.

> wait
Time passes...

Monika begins slicing the onion.

> wait
Time passes...

> wait
Time passes...

Monika takes a pepper and sets it on the cutting board.

> wait
Time passes...

Monika begins slicing the green pepper.

> wait
Time passes...

> wait
Time passes...

Monika takes a tomato and sets it on the board.

> wait
Time passes...

Monika begins slicing the tomato.

> wait
Time passes...

> wait
Time passes...

Monika puts the knife down. She opens the refrigerator and retrieves a package of tortillas and some chicken strips.

> wait
Time passes...

Monika puts the skillet on the grill and turns on the grill. She halts abruptly. "Shoot, I forgot to buy fajita seasoning! How could I forget such a thing? I guess I just have to improvise somehow."

> wait
Time passes...

Monika begins frying tortillas lightly.

> wait
Time passes...

> wait
Time passes...

Monika puts the tortillas aside. She begins frying the chicken strips.

> wait
Time passes...

> wait
Time passes...

Monika grabs the cutting board and adds the onion and pepper slices to the mix. She also takes the knife and puts it away.

> wait
Time passes...

> wait
Time passes...

Monika adds the tomato slices to the mix. She puts the cutting board back onto the counter.

> wait
Time passes...

> wait
Time passes...

Monika turns off the grill. She begins adding the fajita mix to the tortillas and folding the tortillas.

> wait
Time passes...

"Cassie? Will you help set the table?"
"Sure", is heard Cassie's reply, muffled and delayed.

> wait
Time passes...

Cassie walks in from the west.

Monika stacks the finished fajitas onto a plate.

> wait
Time passes...

Cassie takes plates and things wherewith to set the table.

> wait
Time passes...

Cassie walks away to the west.

> wait
Time passes...

> wait
Time passes...

"Let's eat already. I'm getting thinner by the minute", hollers Cassie.

> east
You move east.
This small room contains only a bed and a nightstand with a mirror. All has been kept clean. Either Monika gets guests often or she simply doesn't need the spare room for herself. The door is west. Also here is a foldable mattress.
Laurie is standing here.

Laurie has recently risen and is stretching her arms. "I needed that nap", she confesses.

> west
You move west.

The stairway here ascends up to a second floor. To the west is the living room, to the south is the kitchen, and a door stands before a bedroom to the east. An air freshener is on the wall here.

Laurie walks in from the east.

> south
You move south.

Here a dining table stands before a broad window with curtains. When the curtains are open and the weather is nice, mealtimes are especially pleasant. When not, they are simply comfortable. To the north is the living room and to the east is the kitchen. Some chairs are pushed in around the table. A fruit bowl serves as a centerpiece. A plate is on the dining table.
Monika is standing here.
Cassie is standing here.

> wait
Time passes...

Laurie walks in from the north.

"I'm afraid this might taste a little funny", warns Monika.
"In what way?", asks Cassie
Laurie shakes her head. "Oh, Monika, we all know that you are the best cook among us."
"Yeah, but this time I did something a mite experimental with the sauce."
"I am sure it will taste no less delicious than always." The girls sit down around the table.

> wait
Time passes...

Cassie reaches for a fajita but Laurie stays her hand while Monika says a silent prayer. Then, raising her head, she speaks, "Chow down everyone."
Cassie, who has been shifting in her seat, reaches for the plate.
"Garret, have at them", Monika says invitingly. "Laurie, I know you don't eat much but I hate to see you hold back."
"These are delicious, Monika", says Laurie, taking her first bite. Cassie is on her next several.
"Thanks. I love cooking. It's one of those things that you have to do whether you enjoy it or not, but you can enjoy it all the same. You know?"

> wait
Time passes...

"I can't decide which I like better, Chinese food or Mexican. After ice cream, of course." Cassie scarfs down the rest of her first fajita.
"Even after all the trouble ice cream got you into yesterday?", asks Laurie.
Monika laughs. "Ice cream will be the end of you yet, girl."

> sit
You sit down on one of the chairs.

"So, Garret, how did it go at the plaza?", asks Laurie.

1) (tell about your meeting with Katryn)
2) (don't tell)

> 1
The girls can scarcely believe what you say.
Cassie: "You met...the kidnappers' boss?"
Monika: "Do you trust this woman?"
Laurie: "Are you going to go meet her tonight just like that?"

1) "Not the boss, but someone affiliated with."
2) "Of course I don't trust her."
3) "Well, maybe I'll go.

> 1
"What, are you trying to open up negotiations with this lady?", asks Cassie incredulously.
"How do you even know that she is what she says she is?", asks Monika.
Then Laurie speaks up. "We need more information to know what to do to get clear of this whole mess. But I'm not sure if this is a great way to get the information we need. How can we know what this woman is really after? I fear what her true motive might be. What to do...I do not know."

> wait
Time passes...

There is near silence in the room for some time. Then Cassie asks her sister, "Will we ever really be safe?"
"Cassie.... ", mutters Laurie introspectively.

> wait
Time passes...

Cassie takes another bite of her food and says, "As long as Garret stays with us nobody will put their hands on me agai--"
She is interrupted by a knock at the door that startles everyone.
"Garret, do you--", begins Monika.
"Monika, that could be them!", cautions Laurie.
The knock is heard again and nobody says a word.

Press enter to continue

>

CHAPTER 5

The Enemy Revealed

>
The knock comes again, slower, and more pronounced. The girls, frozen in apprehension, look blankly at one another and at you. Even Cassie ceases to shift in her seat.

> wait
Time passes...

You hear another knock at the front door.

> wait
Time passes...

Someone is knocking at the door.

> wait
Time passes...

The knocking continues.

> wait
Time passes...

You hear one final knock.

> wait
Time passes...

The girls relax. Laurie exhales as if she had been holding her breath a long while.
"Do you get many visitors, Monika?", inquires Cassie.
"Sometimes, but I certainly wasn't expecting anyone today."
"I hope they have really gone away", wonders Laurie.
"Sis, we don't even know who it was! I bet it was only Jehovah's Witnesses." Laurie tries to smile.

> wait
Time passes...

"Excuse me", says Monika, arising from her chair and grabbing things from the table. "Garret, go ahead and eat as much as you like."
Laurie says, "We'll be over there to help you clean up in just a few minutes, Monika."
Cassie is considering another fajita like a roulette player considers another toss.

> north
(Getting off the chairs first)
You move north.

Monika's living room is satisfactorily filled with the amenities that any home sweet home must include, such as a couch, a coffee table, a rug, and wall decorations adorning the walls. All that is lacking is the hearth. The space opens up to a dining area to the south, and an area with a stairway east. The front door is west.

> ride the motorcycle
(Sitting on the motorcycle first)
Where will you go?
a) Majesty Mall
b) Langston Bridge
c) Monika's House
d) Ethan's Apartment
e) The Plaza
f) Gammex Industrial

> d
You start up your motorcycle and depart for Ethan's...

Press enter to continue

> down
You move down.

The downstairs of Ethan's apartment is only slightly less cluttered than above. Since the room is smaller, it actually feels even more crammed down here. Trash indiscriminately covers the floor. Standing among the trash you see an open fish tank. There is computer hardware lying all about. There is a table on which sits a computer monitor.
Ethan is seated at a chair in front of the computer.

Ethan turns around as soon as you enter. His face spells frustration. "This is lame! Why is it taking so long? What kind of word are they using for a password, 12-digit-long Navajo slang?!"

> ride the motorcycle
(Sitting on the motorcycle first)
Where will you go?
a) Majesty Mall
b) Langston Bridge
c) Monika's House
d) Ethan's Apartment
e) The Plaza
f) Gammex Industrial

> f
You start up your motorcycle and depart for the Industrial District...

Press enter to continue

>
You arrive at the Industrial District...

It has grown quite dark by the time you pull up by the back door of the site. The door is open. The time designated for your clandestine meeting with Katryn is at hand.
This is the back entrance to an industrial site situated to the west, most of which cannot be seen past a high stone wall, save for a distant chimney-like structure or two. There is a wide door set into this wall that does not open by the use of knob or handle, as these conventions are not present. Your motorcycle is parked here.

> west
You enter the site. This large open area is punctuated here and there by oil drums, scattered steel beams, and miscellaneous machinery. The sweat and the sounds of labor that doubtless exist during the daytime are absent here now. Set in a wall to the east is the doorway that marks the back entrance to this site. To the immediate west lies a windowless brown building. Its door has been swung open wide.

Upon your entering the door slides shut with force behind you.

> west
You enter the warehouse.
This room is quite large. The greater part of it is filled with tightly packed rows of crates stacked tall and neatly. An empty aisle exists between these crates down the center of the room, and along its perimeter. A ledge at the far end of the warehouse spans the north wall. There is an exit at the west end of this ledge. The only exit at ground level is the door to the east from which you entered. It's rather dark in here.

The door shuts behind you by itself.

> wait
Time passes...

Your eyes are beginning to adjust to the dim lighting.
"And there you are. Like a rat come to collect the cheese. Yet you will find no cheese here." This strong male voice is heard from the far end of the warehouse.

> wait
Time passes...

"Rats, they say, can learn from their mistakes. Yes, even rats can learn to avoid the more imminent danger, to go where the threat of pain is not, be there cheese or no cheese. Let us hope this will likewise become a learning experience, my friend rat."

1) "Who are you?"
2) "What are you going to do?"

> 1
"I am Octalus Percy Defoe, head of the organization known as R.O.S.A, an organization dedicated to gaining knowledge of the marvelous supernormal, paranormal powers that lie dormant in our species. The frontiers of our understanding of these singular phenomena broaden with every project of research undertaken, every experiment conducted, every analysis of those results. The glimmer of a future in which supernormal human abilities are understood as well as a bee understands honey--it brightens day by day thanks to the efforts of this group. It is an organization which I know to be good. I have particular interest in this phenomenon we call PK, of which I trust you have had some opportunity to witness for yourself, am I right? Yes, just last night, if I am not mistaken."

1) "What do you want with the girls?"
2) "How do you know that?"

> 1
"Since R.O.S.A. was founded there has been one person whose gift in the use of PK has been far stronger than anyone else who has the ability at all, and that's me. Yet six weeks ago I first heard of another whose ability rivals my own. This person knows little of the tremendous talent she possesses. It is largely innate, yet someday she may even surpass me. I went to her and offered her the chance to perfect her gift, and to share the knowledge that can be gleaned through its study with all of humanity. She declined. I mean to give her a second chance. And a third, and a fourth. Her sister, too! And all others with any trace of the talent--they all will accept the opportunity I offer them."

1) "You kidnap them!"
2) "Why can't you take 'no' for an answer?"

> 1
"I do what is best for humanity", he rejoins. "And for themselves. They are blind not to see it. But their blindness is temporary."
"Octal, do end this", says a woman that has stepped out on the ledge. It appears to be Katryn. What does she really think of this guy and what he is doing? It is impossible to read her from this distance.
"So I shall, my dear, so I shall..."
Octal jerks his head to a side and you start to hear a low running noise, the sound of something mechanical moving.

> wait
Time passes...

From the far end of the warehouse a vehicle turns and enters the corridor heading towards you--a steam roller!
"Oh, I almost forgot one small thing", adds Octal. "I was going to offer you the chance to expiate for your meddlesomeness, and to save your own hide. Tell me where the girls are now and I'll...'drop the charges'."

1) "Okay, sure."
2) "Forget it!"

> 2
"I expected as much. Well I do not mind having to dispose of you. I have a promising lead anyways. Less than an hour ago somebody tried to access our computer network, somebody who knows a lot about Laurie Hemmings, if the data and images that we found on his system are any indication. He is going to tell us everything! Adieu, little rat! I do not think we will meet again."
Octal walks casually over to the exit on the west end of the ledge and retreats through it. Katryn continues to watch you for another minute before turning and following him through the same exit. There is no variance in her steps. If she feels any sorrow over your impending predicament she does not show it.

You become aware of two more vehicles at your left and right; a bulldozer and a rock drill respectively. They are also headed towards you. A three-way collision is imminent! The aisles are completely filled by these three monster vehicles and you have nowhere to go to escape.

> wait
Time passes...

The vehicles are approaching, from your left a bulldozer, from your front a steam roller, from your right a rock drill!

> wait
Time passes...

The grating noise of their movement towards you becomes increasingly louder.

> wait
Time passes...

The vehicles continue to converge on you. There is still time to do something about the situation.

> wait
Time passes...

The vehicles draw ever nearer.

> wait
Time passes...

The vehicles are nearly upon you, and upon each other!

> wait
Time passes...

There is surely no escape from the trap now!
In the nick of time the door is flung open and Katryn desperately hauls you by the arm out of this room of death. The two of you cast yourselves to the ground outside at the same time that a tumultuous crash is heard from the warehouse, the sound of three mighty mobile machines irreparably becoming one!
This large open area is punctuated here and there by oil drums, scattered steel beams, and miscellaneous machinery. The sweat and the sounds of labor that doubtless exist during the daytime are absent here now. Set in a wall to the east is the doorway that marks the back entrance to this site. To the immediate west lies a windowless brown building.
Katryn is standing here panting.

> wait
Time passes...

Katryn gets to her feet. "You idiot! Were you just going to let yourself die meekly?! I must say I am less impressed with you. But I meant to talk to you tonight and I will say what I have to say. Quickly, though, because I haven't the time."

> wait
Time passes...

"Don't worry, Octal is gone now. He had to leave for somewhere. I don't think you want to know where. You'll find out soon enough anyways. You must come to the R.O.S.A. research complex. Don't act foolishly now . . . my darling." She says it with a peculiar smile.

Katryn walks out of the site.

> east
You move east.
This is the back entrance to an industrial site situated to the west, most of which cannot be seen past a high stone wall, save for a distant chimney-like structure or two. There is a wide door set into this wall that does not open by the use of knob or handle, as these conventions are not present.

Katryn seems not to be here.

> start walking
Having had no luck finding your motorcycle you start on the long trek back to Monika's house by foot. Maybe you'll get lucky and strike upon a bus stop along the way, but even if you did it's doubtful that any buses are running at this hour of night. The new dawn will probably beat you to Monika's, but there's no sense hanging around this desolate place any longer. The night is still as you walk on, and it just seems to get stiller...

Press enter to continue

>
After a mile or so neither the road nor the bland scenery surrounding it has changed in appearance. It is going to be a long and tiresome journey home if you are not able to locate some means of transportation. Moreover, the night has grown very chilly. You continue on in the same fashion, not witnessing any indication that progress is being made other than the increasing weariness of your legs. And then you come upon an unexpected sight...

Press enter to continue

>
Alongside the road stands your motorcycle, leaning slightly, but otherwise looking just as it did when you last saw it.
You've come this far by foot on a lonesome road that runs straight for a great distance. A thick forest of dark and unsightly trees borders it on both sides. There are no man-made structures to be seen other than the road itself. There are no vehicles passing at this lifeless hour of night. But your motorcycle is parked here.

> ride the motorcycle
(Sitting on the motorcycle first)
You start up the motorcycle and head for Monika's...

Press enter to continue

>
It's early morning by the time you arrive back at Monika's house. The sun is just barely beginning to emerge above the horizon..
The house before you is not large, nor is it attractive in any way other than in the domestic atmosphere that permeates it, made possible by cleanliness and simple feminine decor. A mat lies at the foot of the front door, which is east. A mailbox is attached to the wall beside the door. Your motorcycle is parked close by.

> ride the motorcycle
(Sitting on the motorcycle first)
Where will you go?
a) Majesty Mall
b) Langston Bridge
c) Monika's House
d) Ethan's Apartment
e) The Plaza
f) Gammex Industrial

> d
You start up your motorcycle and depart for Ethan's...

Press enter to continue

>
You arrive and park in front of Ethan's...

Already things look bad. The front door of Ethan's apartment has been flung open, but there is nobody in sight.
You stand at a plain concrete apartment complex. The door to the south of you is where, according to Laurie's directions, Ethan lives. There are also apartments to the west and east, spaced at a less than neighborly distance apart. Your motorcycle is parked here.

> south
You open the door and enter the apartment. The interior of Ethan's apartment is hopelessly messy. Boxes of junk, appliances, furniture, and miscellaneous objects have been heaped up or left lying around slovenly. Dirty laundry spreads over everything. Smells in the air combine to produce new odors like a chemist's compound. The room continues to the south, but access is completely blocked by the piles of junk. As it is, you can barely make your way down the stairway partially concealed by the rummage. The exit to the apartment is north.

> down
Yes, things are not right. Coming down the stairs, you see the chair by the monitor vacant and know immediately that something has happened...

Press enter to continue

>

CHAPTER 6

Missing

>
This place has changed. It is just as cluttered as previously, but the position of objects in the room seems to be different. There are dents in the walls that weren't present before. The fish tank lies broken on the floor, the fish beside it. The computer monitor now has a large unsightly crack down the center of it.
Ethan is lying unconscious near some computer hardware.

> up
You move up.

The interior of Ethan's apartment is hopelessly messy. Boxes of junk, appliances, furniture, and miscellaneous objects have been heaped up or left lying around slovenly. Dirty laundry spreads over everything. Smells in the air combine to produce new odors like a chemist's compound. The room continues to the south, but access is completely blocked by the piles of junk. As it is, you can barely make your way down the stairway partially concealed by the rummage. The exit to the apartment is north.

> ride the motorcycle
(Sitting on the motorcycle first)
Where will you go?
a) Majesty Mall
b) Langston Bridge
c) Monika's House
d) Ethan's Apartment
e) The Plaza
f) Gammex Industrial

> e
You start up your motorcycle and depart for the Plaza...

Press enter to continue

>
You arrive at the Plaza...

The gaiety of the Plaza does not penetrate your heart on this morning when Laurie is not to be found. Though the sun is shining brightly, all is bleak.
Small shops line the side of the walk through this, the trendier part of the city of Rittersburg. The avenue runs east-west, with people passing by on both sides of you. To the north there is a busy pedestrian intersection. It seems to be the fountain from which much of the traffic flows to or from. Your motorcycle is parked along the street.
An umbrella peddler is here.

> give money to peddler
A dollar passes between you and the old peddler. He pockets the money and beckons for you to lean in closer to ask your question, a thing more necessary for you than for him; it's difficult to make sense of that hoarse voice.

> ask peddler about silo
The peddler beckons you even closer, waiting until you are close enough almost to rub noses before he tells all. You try not to notice his bad breath.
"Ah, the R.O.S.A. research complex, the very place where all those poor young lasses are getting taken to. Deep in a secluded valley, that's where it is. It being so out of the way, they usually hold them in a temporary location right after they snatch them. Then they haul the unfortunate lasses out to this place for their own wicked purposes. The complex itself has some security, but it is all internal, and it is minimal. No barbed-wire fences, guard dogs, or anything like that. After all, nobody has the slightest idea where this place is. But I have. Or I used to anyhow..." He glances sidelong again.

> ask peddler about valley
The peddler beckons you even closer, waiting until you are close enough almost to rub noses before he tells all. You try not to notice his bad breath.
"You want to know where the valley is? I can tell you..."
He gives you directions on how to reach this valley where the research complex is located. It's two or so hours to get there by motorcycle. You are told to look for a pass between the mountains that cannot easily be seen from the road.

> ride the motorcycle
Where will you go?
a) Majesty Mall
b) Langston Bridge
c) Monika's House
d) Ethan's Apartment
e) The Plaza
f) Gammex Industrial
j) Wautomec Valley

> j
You start up your motorcycle and depart for Wautomec Valley, the valley where the R.O.S.A. research complex is rumored to be, the place where you hope to find Laurie. It is midday when you set out, the sun shining brightly...

Press enter to continue

>
The sun is just beginning its descent when you finally reach this valley. You are sore from the long ride. It must have been nearly three hours since you began it. The last two hours of it you saw little more than empty wilderness, with hardly even a tree to dot the land. Now at last the mountains have been reached. She is here...somewhere...
Encircled by mountains, this twisty road runs north-south. Despite it being a bright and sunny day, the road lies in shadow. The mountains can be thanked for this; though not large, they loom over the road. Your motorcycle is parked here.

> search mountains
Sure enough, there is a pass behind where the rock juts out! It was not difficult to locate, yet it would have been missed by anyone not expecting to find it. The pass leads east through the mountains.

> east
You navigate through the canyon-esque pass, emerging after some time in a spacious clearing...
Few would expect to find so wide an expanse of flat open space among mountains such as these. The shrub becomes sparser as you move eastward, out from under the cover of the mountains into this vast clearing. At the far end of the clearing you can see a building, beige in color, square in shape.

Some people wearing white are moving away from that building, spilling out like candy from a paper sack.

> east
You head east towards the building. By the time that you reach it, those people are all out of sight.
The sun beats down against you now that you are out of the shade that the west mountains provided. The building you saw from afar seems out of place in these desolate environs. Now that you are this close, you can see that it is shaped more like a silo. It rests here at the far end of the clearing, enclosed partially by mountain cliffs. An open doorway marks the entrance to the east. Faint sounds of commotion can be heard from within.

> east
You enter the facility. As you do so you begin to hear a voice on the intercom.
"...until further notice. Again, there is an intruder on the premises. Evacuate immediately. This is the final relay." (click) You've heard that voice before. It belongs to Katryn!
This is a compact room with a rectangular booth filling much of the space. The booth is a security booth; it has a plexiglass window and can be entered by going around through the front. However, there is no personnel on duty. Mounted at one of the corners where the walls and ceiling meet is a small camera. A narrow doorway empties into a corridor to the east.

> east
You move east.

Three person widths across, this corridor runs a circuit around the complex. The wall, floor, and ceiling are of stained steel, and all look much the same. There are scarcely any features to them; only a row of red dome-shaped lights that lines the outer wall at chin-height. The corridor continues north and south, and there is a room to the west.

> south
You move south.

Three person widths across, this corridor runs a circuit around the complex. The wall, floor, and ceiling are of stained steel, and all look much the same. There are scarcely any features to them; only a row of red dome-shaped lights that lines the outer wall. A door is to the west. The corridor continues north and south.

> south
You move south.

Three person widths across, this corridor runs a circuit around the complex. The wall, floor, and ceiling are of stained steel, and all look much the same. A row of red dome-shaped lights lines the outer wall. Mounted where the wall and ceiling meet is a small camera. There is also a portion of the ceiling that opens and extends upwards some ways to where there is a hatch of some kind. A ladder-like apparatus is attached near it. The corridor continues north and east.

> east
You move east.

Three person widths across, this corridor runs a circuit around the complex. The wall, floor, and ceiling are of stained steel, and all look much the same. There are scarcely any features to them; only a row of red dome-shaped lights that lines the outer wall. A door is to the north. The corridor continues east and west.

> east
You move east.

Three person widths across, this corridor runs a circuit around the complex. The wall, floor, and ceiling are of stained steel, and all look much the same. There are scarcely any features to them; only a row of red dome-shaped lights that lines the outer wall. A door is to the north. The corridor continues east and west, and branches to the south. However, a sliding wall blocks off further access to the east.

> south
You move south.

This short hall originating from the north comes to an end beside a door to the west. There is a long wooden shelf high on the opposite wall that carries some boxes. There are several hooks on the wall beneath it, on which are hanging ropes and cords of varying sizes.

> west
You open the door and enter. This room of average dimensions is entirely bare. The exit is east.

Laurie awakens immediately. Seeing you her eyes fill with joy. She gets to her feet and runs towards you, arms flung open. You stand ready to receive her...

>

"That would be a mistake", warns a voice from behind.

Press enter to continue

>

CHAPTER 7

Psychokinetic Showdown

>
Laurie stops abruptly and staggers backwards. You can see it now, too. A faint shimmering detectable here and there along an invisible plane that splits the room in half. It is a barrier, a forcefield of some kind. And Laurie is on the side that you aren't.
"For all his insolence and smugness, Octal does not take chances when he can help it."
Katryn steps into the room from behind, still speaking.
"It's why he put that band on your head." She points at a strap Laurie is wearing on her forehead. "It's why he uses this barrier. It even explains why this room is so bare." She waves her arms around. "He can't have you PK'ing things around that you shouldn't be."

> north
You move north.

Three person widths across, this corridor runs a circuit around the complex. The wall, floor, and ceiling are of stained steel, and all look much the same. There are scarcely any features to them; only a row of red dome-shaped lights that lines the outer wall. A door is to the north. The corridor continues east and west, and branches to the south.

> east
You move east.

Three person widths across, this corridor runs a circuit around the complex. The wall, floor, and ceiling are of stained steel, and all look much the same. A row of red dome-shaped lights lines the outer wall. Mounted up where the wall and ceiling meet is a small camera. The corridor continues north and west.

> east
You open the door and see a tiny room with a switchboard occupying much of one of the walls. Lights from the switchboard bathe the dark room in a mix of colors. A man is seated at a chair.

Reacting so quickly to your entering that it may almost have been planned, the man rises from his chair and stands to face you with resolution. He carries no weapon and he makes no movement. He only stares. Within seconds you begin to feel an acute pain in your head. It feels like your brain is being squeezed like a sponge! It is intense; it is unlike any headache you have ever experienced. You stumble backwards...

The man flips a switch on the control board, then follows you into the corridor. A metallic scraping noise is audible from somewhere else in the corridor, but you are hardly conscious of it. The pain is unbearable!

> wait
Time passes...

The pain is beastly. You find it is difficult to keep your feet, let alone to move or do anything! The man continues to stare you down.

> wait
Time passes...

The pain does not let up. How much more will you be able to withstand?

> wait
Time passes...

You fall to the floor, gripping your head with your hands. Your world is immersed in pain.

> wait
Time passes...

The man steps up to your writhing body and peers downward.

> wait
Time passes...

The pain continues to mount. Can it get any worse than this?
The man steps forward calmly. "So you're the intruder? Some intruder."

> wait
Time passes...

"Whatever you were planning, it isn't going to fly. Octal has been notified. He's on his way now to take care of you and whoever else you got with you. He's probably already in--"
A heavy clang is heard and the man crumples to the ground. At the same instant, the pain vanishes entirely! The relief you feel is inexplicably profound. You look up to see Katryn standing over the unconscious man, a dented steel carton in her hand.
"Chadwick, you won't be the complex administrator when I'm done with this place", she says disdainfully.

> east
You open the door and enter. This is a tiny room with a switchboard occupying much of one of the walls, and a chair beside it. Lights from the switchboard bathe the dark room in a mix of colors. The exit is west.

> x switchboard
The board has, it seems, more buttons, switches, and electronic controls than a person can learn to operate in a lifetime. It looks as if it would take you a long time and much trial and error to hit upon any one specific control. Yet that is the task that confronts you.

> x switches
You scan the switches on the board. You locate four that have tiny pictorial symbols beside them. One is a light bulb, another is a door, another is a zigzig, and another is a ladder.

> flip door switch
You flip down the switch beside the symbol of a door. You hear the sound of metal scraping metal out in the corridor somewhere. It lasts only a moment.

> flip zigzag switch
You flip down the switch beside the symbol of a zigzag.

> flip ladder switch
You flip down the switch beside the symbol of a ladder. A noise is heard from far away.

> west
You move back into the corridor. Three person widths across, this corridor runs a circuit around the complex. The wall, floor, and ceiling are of stained steel, and all look much the same. There are scarcely any features to them; only a row of red dome-shaped lights that lines the outer wall. A door is to the east. The corridor continues north and south.
Katryn is standing here.
Chadwick is lying on the floor here.

Katryn turns her attention to you. "I'm really starting to wonder about you", she admits. "I hardly expected Chadwick to give you as much trouble as he did. You were as helpless as a tadpole before him. Well, that's over now. There is still much to do and we haven't the time."

> west
You open the door and enter. This room of average dimensions is entirely bare. The exit is east.
Laurie is standing here.

"It's gone, Garret, the forcefield! It's gone!" Without waiting for a reply, Laurie runs directly into your arms. "I waited for you to come back. I knew that you would! I knew that you would figure a way to get me out of here. Oh, I want to get out! I don't handle being kidnapped as well as Cassie does. Take me out...please."

> east
You move east.
This short hall originating from the north comes to an end beside a door to the west. There is a long wooden shelf high on the opposite wall that carries some boxes. There are several hooks on the wall beneath it, on which are hanging ropes and cords of varying sizes.

Laurie follows you from the west.

"Oh, Garret, it will be so good to have this awful place behind us. Let us hurry and get out."

> west
You move west.
Three person widths across, this corridor runs a circuit around the complex. The wall, floor, and ceiling are of stained steel, and all look much the same. There are scarcely any features to them; only a row of red dome-shaped lights that lines the outer wall. A door is to the north. The corridor continues east and west.

Laurie follows you from the west.

Katryn walks in from the east.

"You've brought the girl, I see. Very well. Now only one preparation need be made." She hands you a peculiar device in the shape of a pyramid.

1) "What's this for?"
2) "Preparation for what?"
3) "No thanks." [give it back]

> 1
"It is called a 'PK Battery', a device that amplifies psychokinetic energy. It is Octal's prize. He safeguards well, but I have taken it from him. He does not realize it yet."

"I don't understand", admits Laurie.
"You would like to see the end of Octal? This is the chance to be done with him."
"I would like to see the end of this 'R.O.S.A.'"
"The R.O.S.A. of tomorrow will differ enormously from the R.O.S.A. of today! The man who leads now has led his last!" A faint sound can be heard above.
"He is here", utters Katryn, "Go to the hatch."

> west
You move west Three person widths across, this corridor runs a circuit around the complex. The wall, floor, and ceiling are of stained steel, and all look much the same. A row of red dome-shaped lights lines the outer wall. Mounted where the wall and ceiling meet is a small camera. There is also a portion of the ceiling that opens and extends upwards some ways to where there is a hatch of some kind. A ladder-like apparatus is attached near it. The corridor continues north and east. The ladder is unfolded and reaches all the way down to the floor.

Katryn follows from the east.

"To the hatch now. You are ready. You will triumph as you always do." However, something about her tone suggests that her confidence is not at its usual high level.

Laurie follows you from the east.

The sound of a helicopter can be heard from above.

> up
"Wait!", commands Katryn. She steps near Laurie, unfastens the band around Laurie's head, and flings it to the floor. "You don't want that on your head, not if you want to be PK'ing anything more than dust particles", she explains.

The sound of a helicopter can be heard from above.

> up
You climb up the ladder, Laurie at your heels, moving towards the hatch and the loud beating of helicopter blades . . .

Press enter to continue

>
You crawl out from the hatchway, followed closely by Laurie. A panoramic view of the mountains is once again to be had outside the silo. The sun is low on the horizon. You can see the barren valley that you traveled through earlier lying in a shade of crimson. It seems as if the sky and the surrounding landscape, oblivious to all else, complacently reflect the mood of the setting sun. The entire complex rests below the surface that you stand on. It is like the top of a drum, flat, circular, stretching for yards and yards without aberration, except for a lone satellite dish. Far in the distance a helicopter also rests atop the building, its back facing you. As they cut the air, the spinning blades create a noise so loud it can be heard all across the surface of the silo.
Octal stands here a ways off.

"Well now, I knew that the rat would soon emerge from the maze. What's more, it even found the cheese. I knew you were coming long ago thanks to dear Katryn, who kindly bugged your vehicle so that I could track you myself. No, it was psychically bugged; you never would have been able to locate or remove it." He looks Laurie over bemusedly. "Have you changed your mind about my offer?"
"Never! I want never to have anything to do with you!", Laurie cries.
"You would choose not to develop your ability properly? And with this lowly one, who possesses not even the glimmer of psychic potential." He waves a dismissing hand in your direction. Laurie looks highly indignant, but she does not answer. Octal continues, "The two of us together could become a mighty duo engine. Just think of it! Nothing could ever stop us! Our children--they would be even stronger..."

1) "Don't even begin to think of Laurie that way!"
2) "You heard her yourself! Leave the girl alone!"
3) "What did you call me?"

> 1
"I will think and do as I please", the man laughs.

Laurie is beside herself with rage. She steps forward defiantly. "No! After all you have done to me, to my sister, and to all of us, how can I even consider your silly offer?! I hate this organization you run! I hate what you do to girls like me, and what you say you will do to Garret. All he has done is be kind and helpful. You are the opposite! I HATE YOU!"
Octal takes her outburst in stride. "You both yet require some persuasion", he says calmly. Several knives emerge from underneath his garment and float into the air in front of him. They are all pointed at you.

> wait
Time passes...

The knives shift position in the air but none have yet come flying your way. "The cat will play with the rat", says Octal, "But not for long." He waves his arm and a few of the knives shoot forward.
Laurie looks in the direction of the satellite dish.

> wait
Time passes...

"There!", says Laurie, grabbing your arm and running towards the satellite dish. You take cover behind it.

Octal's knives strike the satellite dish and bounce off around the vicinity. Octal responds to this by causing the satellite dish to rotate around and around. He presses the attack. Knife after knife flies in your direction. Each one hits the rotating dish, and bounces off harmlessly. It becomes apparent that Laurie is interfering with Octal's aim. The R.O.S.A. leader curses and quits rotating the satellite dish. He calls all of his knives to him. Slowly he begins walking forward, knives bobbing in the air around his head.

Katryn has partially emerged from the hatch.

Laurie says desperately, "He's coming! What can we do? I could fight back with my power if I only had objects to throw."

> wait
Time passes...

Octal is nearly upon the two of you. "Go away!", screams Laurie, stepping out in front of him. Objects begin to fly at the man, objects that you and Laurie had been holding. Katryn gives a startled gasp as objects of hers join the aerial assault. Even your spare change comes flying out of your pocket. Big objects and small objects, heavy objects and light objects alike shoot towards the man. It is all too much for Octal; he cannot possibly dodge them all. He topples to the ground, more disoriented than he is hurt.
But he is not down for the count. Rising slowly, and with unmistakable fury in his eyes, he waves his arm aside and most of the objects Laurie had been using on him go sailing over the edge of the building and drop out of sight.

Octal advances on Laurie, his eyes broiling with wrath.
"Help me!", she calls.

> wait
Time passes...

Octal calls his knives to him again. They gather in the air like bees bent on stinging you
"Use the battery!", yells Katryn. "Put your hands on it!'
"The battery? Oh!"
Laurie quickly locates the device lying near the edge of the silo. She lays her hands upon it meditatively. The globe within the pyramid begins to shimmer and a sound like crackling can be heard. Octal's knives have already started towards you and towards Laurie, but abruptly, before they can pierce any flesh, they change course in midair and begin flying towards Octal. Octal stands his ground at first, staring his own knives down. They refuse to turn from him! With horror, he begins running towards the helicopter. The knives that do not embed themselves in the steel of the helicopter shoot off beyond the building like missiles. With the PK battery fueling her, Laurie's power has been magnified enormously!

> wait
Time passes...

Octal runs around to the side of the helicopter and climbs into the cockpit.

> wait
Time passes...

The helicopter begins to lift off from the ground. The helicopter then begins to turn in air until the cockpit is facing you. The pitch of the main rotor changes. Octal begins to bring the helicopter in a course for where you and the others are standing. He means to ram you!
But Laurie stands her ground, still gripping the PK battery that she recently acquired. Then, to the consternation of Octal, the tail rotor quits rotating completely! The chopper begins to spin uncontrollably around and around. Octal continues to grip the controls, but his effort is in vain. Laurie now has control of the helicopter! It flies erratically in the air above everyone's heads, like a punctured balloon. It moves dangerously close to the side of a mountain to the east.
"If he doesn't jump now...", whispers Katryn. Then seemingly as if he heard her, the R.O.S.A leader leaps out of the vehicle and lands precariously on the building's edge. He crawls all the way up and then collapses completely. At the same moment, the helicopter strikes the side of the mountain and explodes. What's left of it tumbles down the side of the mountain, creating an upheaval of dust, and is soon out of sight.
Nobody moves for a short while. Finally,

Katryn walks over to Octal's body and cursorily assesses his condition. "He'll live", she declares.
Gradually, everyone else goes to join her standing around the defeated man.
"And so your reign ends", Katyrn says to Octal with finality. Octal, of course, is unconscious and cannot respond as might have liked. His face, however, is still stricken with shock and with rage.
"He is a terrible man but he ought not to die." This from Laurie, who seems regretful of the events she just participated in. "What will we do with him? We cannot leave him like this and we cannot allow him to escape either. Garret, what will we do?"

> wait
Time passes...

Seeing that you haven't a solution yourself, Katryn speaks to Laurie. "Put him in the same cell that he held you in. Would that not be justice? What becomes of him after--leave it to me."
With the helicopter gone and the conflict over, the roof of the silo that was the R.O.S.A. research complex is silent as an autumn night. The last traces of red in the sky have all but dispersed. Laurie comes over to be held by you. She poignantly watches the close of the first of many sunsets in a new world of hope for her and her sister.

Press enter to continue

>

EPILOGUE

One week later . . .

"You could have come sooner, Laurie. I had the hardware replaced yesterday. Everything was set up and ready for you." Ethan can't seem to keep his eyes off of the girl. The bandages on his head and shoulder make his appearance worse than it needs be. One half expects him at any moment to rip them off and throw them to the floor, the same as an ant that is discovered to be crawling on the person.
"No, Ethan, I wanted to be sure it was safe for Cassie and I to come out again", answers Laurie, who has been in much brighter spirits the past few days than you had ever observed before. "Now, with that man in the hospital, and R.O.S.A. in disarray.... Well, Garret and I were there ourselves when it all happened, of course", adds Laurie as she flashes you a smile.
Ethan, who doesn't notice it, or tries not to, finishes her sentence, "But one can't be too careful. I understand." He looks uncomfortable.
"Cassie wanted to be here for this, too", says Laurie, "but as soon as I said it was probably all right to leave the house, she off and went to the mall to get ice cream. I simply cannot believe that girl. Monika had to be bribed to take her there." Laurie shakes her head in the way that she often does when relating Cassie's antics.
"Your sister doesn't have a 'worry bone' in her body, from what I've heard", remarks Ethan. He's trying harder than usual to be charming.
"Yes, that is Cassie", laughs Laurie. Changing the subject, she turns to you and asks seriously, "Do you think she would have done this for us? Delete these records? I mean Katryn."
It's a difficult question to answer. On the one hand, Katryn seemed not to possess the cruel streak that Octal had. On the other, she never openly condemned his moral decisions as R.O.S.A. leader. Who could predict how a new R.O.S.A. would turn out?
"I hope she does differently with R.O.S.A. than Octal did. I hope she does not let the same things go on..." As Laurie speaks, a window pops up on Ethan's monitor showing his entrance into the R.O.S.A. network. Data scrolls rapidly up the screen.
"Here we are", announces Ethan. Thirty seconds later and the very records of concern are displayed; names and numbers of individuals: "...Laurie Hemmings, ID 107...Cassie Hemmings, ID 113..." and many others.
"Please, be done with them", says Laurie, pursing her lips. Ethan hesitates for a second, then hits the delete key. Then again. And again and again. A tear wells up in Laurie's eye as Ethan continues. Only when every record is gone does he jack out of the system, shutting his computer down completely for the sake of finality. Laurie, her sister, and the names of many others have at long last been liberated.
"I've never felt this free", says Laurie with a sniffle. A tissue box that was lying on the floor somewhere rises into the air and floats across gently into her lap. Ethan is simultaneously touched by Laurie's sentimentality and amused by her powers. For all one can guess, it may have been the first time he has witnessed them.
You, however, are not alarmed at all. You reach over and put your arms around Laurie. She rests her head against your chest and seeps away tears of happiness.
In time Laurie raises her head and looks past you quizzically. "Ethan", she says, "Where is your fish?"
"Oh, my piranha? She died that day. I have to replace her."
"She was female? What was her name?"
"Ah, well, that was...um, well that doesn't matter now. But I'm thinking of naming the next one after you. Would that be okay?", he asks apologetically.
Laurie laughs. "You can name your first daughter after me if you like. Just be sure to call me over to see her."
Sheepishly, Ethan grins.

Press enter to continue

>

Two months later . . .

Two tires roll to a halt in front of the quiet suburban house. You switch off the engine of your motorcycle and step onto the pavement. It is relatively early in the evening; the air is cool but not cold, and the night is not yet dark. Ah, Rittersburg... it is good to be back in town. But it isn't for ice cream that you have come tonight.
Stepping up to the front door of the Hemmings residence, you pause to let a silvery grey cat dash behind some bushes. That would be Laurie's pet. Cassie prefers dogs, if you recall correctly. You knock on the door. It is all you can do to keep thoughts of Laurie from overpowering your mind. How will she look tonight? Smell? Feel? It has been far too long since you last saw her.
Several minutes later, the knob turns and Cassandra Hemmings stands there with the most delighted facial expression that a young girl is capable of. How excited she is to see you! You talk about her family, about her life, and, of course, about ice cream. But even Cassie, with all her enthusiasm and naivete, can sense the question on your mind.
"She left for college, Garret. Just two days ago." Cassie watches helplessly as the information sinks in.