Hotel Dusk: Room 215
Direct and Complete story scripts
Version 1.3
Copyright 2012 by Wilma Jandoc
Written by Wilma "Chibischala" "Schala" Jandoc
E-mail: chibischala (at) yahoo (dot) com
This script is currently available ONLY on GameFAQs.com. This may be not be
reproduced under any circumstances except for personal, private use. It may
not be placed on any web site or otherwise distributed publicly without
advance written permission. Use of this guide on any other web site or as a
part of any public display is strictly prohibited, and a violation of
copyright.
===============================================================================
Welcome to my very first FAQ for GameFAQs! I fell in love with the great
dialogue of "Hotel Dusk" and finally took to transcribing the game. "Hotel
Dusk" is very much conversation-based and there are often many different
routes to take in one particular conversation. Depending on your choices, you
can help out people in need or you might close off any chance you might have
to fulfilling your own quest.
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CONTENTS
1. Disclaimers and explanation of symbols used in this script
2. Game prologue
3. Direct script
3a. Chapter 1: 5:00 ~ 5:30 P.M.
3b. Chapter 2: 5:30 ~ 6:00 P.M.
3c. Chapter 3: 6:00 ~ 7:00 P.M.
3d. Chapter 4: 7:00 ~ 8:00 P.M.
3e. Chapter 5: 8:00 ~ 9:00 P.M.
3f. Chapter 6: 9:00 ~ 10:00 P.M.
3g. Chapter 7: 10:00 ~ 11:00 P.M.
3h. Chapter 8: 11:00 ~ 12:00 A.M.
3i. Chapter 9: 12:00 ~ 2:00 A.M.
3j. Chapter 10: 2:00 A.M. ~
4. Complete script with all conversation trees
4a. Chapter 1: 5:00 ~ 5:30 P.M.
4b. Chapter 2: 5:30 ~ 6:00 P.M.
4c. Chapter 3: 6:00 ~ 7:00 P.M.
4d. Chapter 4: 7:00 ~ 8:00 P.M.
4e. Chapter 5: 8:00 ~ 9:00 P.M.
4f. Chapter 6: 9:00 ~ 10:00 P.M.
4g. Chapter 7: 10:00 ~ 11:00 P.M.
4h. Chapter 8: 11:00 ~ 12:00 A.M.
4i. Chapter 9: 12:00 ~ 2:00 A.M.
4j. Chapter 10: 2:00 A.M. ~
5. Game postscript
6. Comments on items, doors, and people
6a. First floor and basement
6b. Second floor
6c. Doors
6d. Characters' comments on items shown via the Questions screen
6e. Description of items (in notebook)
6f. Description of people (in notebook)
7. Story notes and possibilities still to explore
8. Special thanks, contact info, and other notes
9. Version history
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1. DISCLAIMERS AND EXPLANATION OF SYMBOLS USED IN THIS SCRIPT
- There are many conversation choices you could make that wouldn't necessarily
get you a game over, but it won't make people very friendly toward you -- such
choices are usually noted in the game when a character gets a red aura (or
black, in some instances). Choices that you make earlier in the game may
affect what dialogue appears later in the game, but I haven't yet explored all
those possibilities. So depending on your choices, you may or may not get
certain dialogue.
- Optional dialogue, aside from various responses you can choose via Questions
or followups, is indented. This was actually more for my benefit because I
kept losing track of things when I replayed the game, but I think it makes
things easier to tell apart overall.
- Because some puzzles are essential to understanding the rest of the story,
this script also includes text that appears during some puzzle sequences and
includes spoilers as to how to solve certain puzzles.
- All character names are used, even if you actually haven't found out
what the person's name is at that point in the game.
- Some dialogue is triggered by proximity -- you have to approach the person
close enough for the words to appear. If you're not close enough but the
"talk" command lights up, you can choose to talk to the person and usually
get slightly different dialogue or "introductory" dialogue before the actual
conversation.
- This script does NOT take into account subsequent playthroughs (at least,
not yet).
- Yes, there are typos in the in-game script! They are marked by a "<sic>".
Other typos are most likely my own errors, so please let me know if you find
any.
- There are several different ways in which the same subjects may come up,
such as when Dunning asks Hyde to pay his tab up front. In some of those
cases, the dialogue actually does change slightly (such as Dunning saying "I
don't know ya or nothin'" over the phone as opposed to "I don't know ya or
anythin'" when you're at the front desk).
- Anything in parentheses ( ) are what Kyle is thinking in his head (usually
denoted in the game with BLUE text). Anything in brackets < > are my own
explanations or gestures, actions, etc. taken by the characters that are not
explicitly stated in the in-game text but are often important for understanding
the dialogue that comes next. Anything in square brackets [ ] is text that is
in the game but are not actually being said by a person, such as questions in
the Questions list or choices that you are given during conversation.
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2. GAME PROLOGUE
FRIDAY, DECEMBER 24, 1976
NEW YORK, 5:07 P.M.
<The bustle of New York. Police sirens. Inside the police station, a phone
rings.>
UNKNOWN PERSON: Hyde! Phone!
KYLE: <answers phone> Eighty-ninth precinct, this is Hyde. <He sits up in
shock.> ...What the hell?! Bradley?!
<Kyle confronts Bradley on the docks.>
KYLE: Bradley! <Bradley starts to turn around.> Why?
KYLE: Don't move! <shoots>
BRADLEY: M-Mila...
<Kyle wakes up, gasping for air.>
KYLE: Just a dream...
FRIDAY, DECEMBER 28, 1979
LOS ANGELES, 10:16 a.m.
<In the Red Crown offices. The phone rings.>
ED: Red Crown. What's that? How many? Got it! All right. We'll send it right
out. Rachel! Where the hell is Hyde? Get him on the horn, pronto!
RACHEL: Yes, sir.
<Kyle is in his car. His pager goes off. Kyle looks at it, tosses it and
drives off. Finally he calls back.>
FRIDAY, DECEMBER 28, 1979
NEVADA, 4:09 P.M.
ED: Hyde! Why haven't you checked in?
KYLE: Stop yelling, Ed. My head's pounding like a marching band caught in a
stampede.
ED: Hung over again, eh? Well, no sympathy here. Ya reap what ya sow! Now
listen up! I got a job for ya! It's a place called Hotel Dusk. Package is on
the way, and the order sheet's inside.
KYLE: Got it.
<He drives. As he's driving, he passes by a girl with long hair walking on the
side of the road. He reaches the hotel.>
The name's Kyle Hyde. It's been three years since I quit the force and left
New York. Now I'm a salesman for this outfit called Red Crown. On the surface,
Red Crown's a door-to-door sales firm dealing in household goods. But Ed, the
boss, has himself a little business on the side. He finds things that don't
always want to be found. Keeps it quiet, too. From time to time, I lend a
hand. Ain't the greatest gig in town, but... Hell, I got nowhere to be and
nothing better to do. You hear me, Bradley? This is it. This is what I'll be
doing until I find you...
===============================================================================
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3. DIRECT SCRIPT
This "direct script" covers only the most direct dialogue choices to gaining
the most information and completing the game and the choices that seem to
garner the least negative response from others. This is also the route I took
through the game. Where either choice seems to garner a similar response, I
usually went for the funnier one. ^_~ Depending on the order in which you ask
questions, the script may be slightly different from how your conversations
actually go. I've tried to put the dialogue in the most logical order
possible, but because of the nature of the game and how conversations are
divided, there are some parts that don't flow naturally because I've removed
the intervening questions.
To try to keep the script as short as possible, some specific dialogue and
actions have been removed and instead summarized.
==================================
3a. CHAPTER 1: DECEMBER 28TH, 1979
5:00 ~ 5:30 P.M.
==================================
<Kyle enters the hotel.>
KYLE: (Great. An empty lobby with no one home. Where's the front desk in this
dump?) <He looks around and sees the "Open" sign.> (Huh. Cute sign, pal.
...Guess that's where I check in.)
<He rings the bell three times. A door opens.>
KYLE: (Maybe this dump isn't deserted after all...)
DUNNING: Rosa! Hey, Rosa! If I told ya once, I told ya a thousand times! Don't
go botherin' me when I'm watchin' a game! Huh? The hell? You ain't Rosa!
KYLE: (Not since I last checked. Oh, this guy's fantastic...) Who's Rosa?
DUNNING: Rosa? She's the hotel maid. Hard worker, but she's got a mouth the
size'a Nebraska. Always findin' ways to bust my chops when I'm watchin' a
game. Anyway, sorry for thinkin' you was her. No harm, no foul, eh? Name's
Dunning Smith, and I own this joint. Welcome to my own little slice'a
heaven...Hotel Dusk.
KYLE: (Dunning Smith? Seems like a grumpy piece of leather.)
DUNNING: So! Ya here for a room, or just t'hear me jaw?
KYLE: A room. One night.
DUNNING: What kinda room ya want?
KYLE: Cheap.
DUNNING: Well, if ya wanna save a bit'a scratch, I got a room available.
KYLE: Great.
DUNNING: But, hey, lemme bend yer ear for a second... How'd ya like t'stay in
somethin' a little nicer?
KYLE: You have nice rooms?
DUNNING: Yep. You're in sales, right? Door t'door? On yer feet all day?
KYLE: Something like that.
DUNNING: Yep, I know it. Ya haul the case around all day and the dogs get to
barkin'. So what d'ya say? Why not give yerself a little treat for once? One
night in a nice room'll make a new man outta ya! Now this is a bit rare, but
tonight I actually got a suite open. And 'cause I'm feelin' generous, I'll
let ya have it for a special price!
KYLE: I said cheap.
DUNNING: It's a peach of a room!
KYLE: Hey! You got a problem? I look like a guy who would stay in a suite?
DUNNING: Yep, all right, I getcha. Gotta say though, I'm disappointed. Well,
if I can getcha to fill out this registration card, ya can have a room. Here's
a pen for ya. Nice pen, too. Don't go stealin' it.
<Kyle takes the pen and fills out the form.>
DUNNING: ...Kyle Hyde? Yer name really Kyle Hyde?
KYLE: That's what my parents told me.
DUNNING: Huh...
KYLE: That work for you?
DUNNING: Yeah, sure! Forget I said anythin'.
KYLE: (Forget what?) Hold on. What now? You don't like my name?
DUNNING: I told ya! Ain't nothin'!
KYLE: Don't tell me it's nothing. You see my name on a wanted poster or
something?
DUNNING: Naw, ain't like that. Just remembered the name, is all. Had a guest
with the same handle as you. Yeah, that's it. Ain't a big deal. Anyway, about
yer room. Yer in Room 215. Here's the key.
[I got the Room 215 key. It's got the room number and the word "Wish" engraved
on it.]
KYLE: Wish? What's that supposed to mean?
DUNNING: It's the name'a the room.
KYLE: The room has a name?
DUNNING: Sure does! Every room in this hotel has its own name! We got Wish,
Bravery, Daybreak, Success...even Angel.
KYLE: Cute. You think those up yourself?
DUNNING: Sure did. Great group'a names, ain't they? Wish is my favorite of
the bunch, though.
KYLE: What a crock.
DUNNING: A crock?
KYLE: Rooms need numbers. That's it. Naming a room is a waste of time.
DUNNING: Waste'a time?! Ain't no one ever said that before!
KYLE: They just didn't have the stones to tell you what they really thought.
DUNNING: Some guests like names! But now I know. Yer a man who don't like
t'waste time on silly stuff. Saves me from wastin' breath on my story. Yep,
a man like you would find my story a waste'a time all the way 'round! But...
KYLE: (What's he talking about?) Hold on. What story did you mean?
DUNNING: Nothin'. Waste'a time.
KYLE: Cut the crap. What's the story?
DUNNING: Well, if ya really wanna know, I'll tell ya. Actually, it's 'bout
Room 215. The room where yer stayin.' It's got a...whatcha call it? A history.
KYLE: A history? What, like ghosts? You telling me it's haunted?
DUNNING: Ghosts? Pah! Nah, this is way better'n some spook with chains! Ya got
dreams, pal? Somethin' ya wish for?
KYLE: I'm not much for wishing.
DUNNING: Don't surprise me. But still... If ya got somethin' ya want. I mean,
really want... Ya just may find it tonight. Ya follow? That's the story...
That's Room 215. It's the place where wishes are granted. I dunno why I'm
helpin' ya, but go ahead'n take this. It's a hotel brochure. Ya got a map in
there, too.
[I got the hotel brochure. I put it in my notebook.]
DUNNING: All right, yer all checked in. Head on up to the second floor. It's
through the lobby and up the stairs. Room 215's down the hall on the left.
Restaurant's through the lobby and to the left. It opens for dinner at 6:00,
and breakfast at 7:30. Got a bar, too. Opens at 9:00 tonight. Checkout's at
10:00. Miss it, and we charge ya double. 'Course, if ya wanna stay another
night, just lemme know. Need anythin' else?
KYLE: So, you had a guest with my name?
DUNNING: Yep. Called himself Kyle Hyde, too. As I remember it, he was 'bout
yer age. Blond fella, tall and thin. Looked kinda like a stork.
KYLE: (A tall, thin, blond man? Sounds like Bradley.)
DUNNING: But I wouldn't mistake you for him. He was different.
KYLE: How so?
DUNNING: Wearin' a nice suit, good shoes, the works. Looked like a somebody.
KYLE: I'll keep that in mind. So does Mr. Somebody stay here often?
DUNNING: Naw, just the one time. It was 'bout...six months ago. Ain't seen
him since.
KYLE: Fill me in on this whole wish-granting thing.
DUNNING: It's a story I heard from folks that stayed in 215. First, there was
a young girl. Then a middle-aged fella... Both of 'em looked beat down when
they arrived. Like they had no future... But by the next mornin', they'd been
reborn. Their faces were just...peaceful, like. Well, I was surprised as a
dog'n a tree, so I asked 'em what happened. And ya know what? They both told
me the same thing. "Room 215 is magic. It granted m'wish. Everything's OK
now." So that's why I said...
KYLE: Ha ha ha!
DUNNING: What's so funny?
KYLE: Good one, pops. Real nice. I didn't think an old-timer like you would
tell me fairy tales.
DUNNING: Fairy tales?! That what ya think this is? Just a waste'a yer valuable
time, is that it? Call it a fairy tale if ya want. It's a free country.
KYLE: There's supposed to be a package for me.
DUNNING: A package for ya? Sorry, I don't see nothin'.
KYLE: It should be here. Maybe you can actually...look around or something?
DUNNING: Ya send a package to a hotel when ya don't even have a reservation?
Nice... Oh, and this package better not be anythin' that's gonna cause
problems!
KYLE: (This guy's a real charmer...) Oh yeah? What kind of problems?
DUNNING: Is it anythin' that's gonna inconvenience my hotel?
KYLE: Depends on what you mean by "inconvenience."
DUNNING: Had a bit'a trouble with a package for another young guy like you.
Thing turned into a damned circus. Let's just say I don't wanna deal with
anythin' like it again, and leave it at that. Buncha lousy... I'll have the
bellhop look for yer package. If it shows, we'll bring it to yer room.
KYLE: Talk about the trouble you mentioned earlier. What happened?
DUNNING: That? Well, it was right 'bout three years ago. One'a the bellhops
took a package up to a guest's room, right? And then...BANG! Buncha cops and
detectives come stormin' in!
KYLE: (Detectives?)
DUNNING: Seems m'guest was a crook! Part'a some big crime ring or somethin'.
He was usin' my hotel as a drop-off for stolen goods. Whole thing was a damn
mess! Gunshots in the hallway... Screamin' guests runnin' every which'a way...
I ain't never goin' through anythin' like that again! That's why the Dusk's
got a strict policy: No crooks... AND NO COPS! That it?
KYLE: Yeah.
DUNNING: Enjoy yer stay.
<As he's walking to the stairs, a door opens.>
KYLE: Huh?
HELEN: Pardon me, sir. Do you have a room available?
[As I walk away from the front desk, I hear a voice behind me...]
HELEN: I need a room for the night.
KYLE: (Just another guest.)
DUNNING: Welcome to my own little slice'a heaven...Hotel Dusk! As luck would
have it, we got vacancies. What kinda room ya lookin' for, darlin'?
HELEN: Well now, aren't you just a sweet-talker? But there's a certain room
I want.
DUNNING: Which room's that?
HELEN: The one I saw in the newspaper article! I want that special room. The
wishing room. This is the Hotel Dusk, is it not?
DUNNING: 'Course it is! And I know the room yer asking for! Unfortunately,
ma'am, that room's...
HELEN: Oh, dear. Is it taken?
DUNNING: That's right, and I'm damn sorry 'bout it! Uh, I mean... I'm real
sorry, ma'am.
HELEN: Well, isn't that a shame!
DUNNING: Ya want a different room? We got plenty, and they're all
top'a-the-line!
HELEN: Yes, I... I suppose I'll make do with something else.
<Kyle walks to the stairs.>
KYLE: (Are the stairs back here?)
<He goes upstairs.>
KYLE: Huh?
[There's some kid sitting on the stairs.]
KYLE: Hey.
MELISSA: What?
KYLE: You're blocking the stairs, kid. Move it.
MELISSA: No.
KYLE: (Oh, you're kidding me. So this is how it's going to be...) What's the
problem?
MELISSA: I'm playing.
KYLE: Playing? This ain't a sandbox, kid.
MELISSA: Duuuuuuh! These are staaaaaaairs!
KYLE: Smart kid. Glad we agree. Now get out of my way.
<She just stands there.>
KYLE: Where'd you come from? What's your name?
MELISSA: Leave me alone! I'm not telling you anything, mister!
KYLE: (Oh, come on...) What was that, kid? You won't tell me?
MELISSA: That's what my mom taught me. She said I should never tell strangers
my name. Especially jerks.
KYLE: Got an answer for everything, huh kid? You keep this up and we're gonna
have trouble. I'm not going to put up with your crap.
MELISSA: Ooooo, scary. What're you gonna do, huh?
KYLE: You want to know? Maybe I'll call Dunning and have him give you the
bum's rush.
<She looks scared.>
KYLE: Maybe I'll call your mom and tell her that her kid's a damn terror.
MELISSA: You'll call...my mom?
KYLE: (What now?) Hey, kid. So where's your mom?
MELISSA: She's not here.
KYLE: What, you're not traveling with her?
<She nods.>
KYLE: C'mon, kid. Knock it off, will you? Why won't you move? If there's a
good reason, just tell me.
MELISSA: I... I can't finish it.
KYLE: Can't finish what?
MELISSA: I can't finish my puzzle.
KYLE: A puzzle? How's a puzzle stop you from moving?
MELISSA: I... I can't finish it. It's almost done, but...
KYLE: (This kid's a loon.) This isn't the place to be working on a puzzle.
Go to your room or the car or a freeway or something.
MELISSA: My dad says I make too much noise. That's why I'm here. I was gonna
go back to the room when I finished, but... I can't, OK?! I can't finish this
stupid puzzle because it's TOO HARD AND STUPID! <Cries.>
KYLE: Oh, for the love of... Stop bawling!
MELISSA: Sniff...
KYLE: (Now what?) Hey. Give me a break, kid. A puzzle isn't something to bawl
about. Look, just let me do it for you, OK?
MELISSA: Whaaaaaaaaaa! Whaaaaa... Huh? Are you gonna help me, mister?
KYLE: Stop calling me mister. This name's Kyle Hyde. If you're gonna talk to
me, use my name.
MELISSA: Mister Hyde?
KYLE: Close enough. Listen, just... Here. Give me the puzzle.
<He finishes the puzzle.>
KYLE: There. Now take this and go back to your room.
<She shakes her head.>
KYLE: What's wrong now? The puzzle's done. Everything's OK.
MELISSA: No, it's not.
KYLE: It's not? Why not?
MELISSA: It just isn't! It's no fun if I don't do it myself!
[The girl throws the finished puzzle down on the stairs.]
KYLE: Oh, you're kiddin' me! What are you doing?
<Melissa looks downcast.>
KYLE: You're a complete basket case, you know that? At least say thanks for
the help before you bust up the puzzle!
MELISSA: You talk too much!
KYLE: Nice attitude, kid. You better watch your step!
MELISSA: Huh?
KYLE: Pick it up.
MELISSA: No! You can't make me!
KYLE: You threw 'em down, you pick 'em up. <She looks scared.> Well? You deaf
or what? Answer me!
MELISSA: OK! OK! S-sorry...
[Little brat's pretty ticked off that I scolded her. But at least she picked
up the puzzle pieces.]
MELISSA: I'm done, OK? You happy?
KYLE: Thrilled.
MELISSA: I'm sorry. I'm so s-sorry... Wha... Whaaaaaaa! P-Please don't hurt
me!
KYLE: Fine, yeah, whatever. <She's still crying.> C'mon, kid. Enough of the
waterworks already. Hey... Look, I didn't mean--
MELISSA: Ha ha ha! I tricked you! Stupid JERK!
[The girl laughs at me and runs up the stairs.]
KYLE: Damn it! I don't have time for this crap.
[The girl dropped something on the stairs.]
KYLE: What's this?
[I picked up a puzzle piece.]
KYLE: Huh? There's a black line on the back of this. Wonder what it is?
<The scene ends. Kyle is at the top of the stairs on the 2nd floor. A door
opens.>
KYLE: (Somebody's coming out of Room 213.)
<Jeff steps out, looking around.>
KYLE: (Huh?) Hey there. What's going on?
JEFF: Hm?
KYLE: You don't look so hot.
JEFF: What?
KYLE: You sick or something?
JEFF: N-no. No, I'm fine.
KYLE: All right. Sorry to bother you.
JEFF: Hold it.
KYLE: Yeah?
JEFF: Who are you?
KYLE: Me? Kyle Hyde. I'm down in 215.
JEFF: I'm Jeff. Jeff Angel.
KYLE: (Jeff Angel? Yeah, right. Wonder what this punk's story is.) Stay here
a lot?
JEFF: What, here? Never! No, I've never stayed in a place like this before.
Unfortunately, I have no choice but to stay here tonight.
KYLE: (You and me both, pal...) Really? Why don't you have a choice? Something
happen?
JEFF: What's that? Why am I staying here? I don't think I need to explain
myself to you.
KYLE: Just asking.
JEFF: Just asking?
KYLE: Easy. It's not like I'm a cop or anything.
JEFF: You're not a cop? That's kind of an odd thing to just blurt out, isn't
it? So...you're not a cop? That's too bad.
KYLE: Why is that too bad? You lookin' for the law?
JEFF: Oh, no reason. I just thought it would be cool to have a cop or a
detective in the hotel.
KYLE: (Cool? This kid's easily amused...) Hey. What did you mean by "cool"?
JEFF: Oh, that. Take a look around. Better yet, take a sniff. This hotel...
It's like the set of some cheap TV crime drama, don't you think? What if a
real crime took place? Something sleazy and violent... And then if a real
gumshoe was here trying to figure things out...? C'mon! That would be cool!
Even you must think so.
KYLE: That's an odd thing to think about.
JEFF: Yeah, I'm a pretty deep guy. Hey, take it easy. I'm not a criminal or
anything.
KYLE: The kid on the stairs. Where's she staying?
JEFF: Kid?
KYLE: Young girl, about ten. Rude as hell.
JEFF: Oh, her. You must be talking about Melissa.
KYLE: (Her name's Melissa?)
JEFF: She's in Room 219. She's staying with her father. Part of the great
unwashed, if you ask me. Anything else?
KYLE: Not now.
JEFF: All right. See you around.
[Mr. Jeff Angel goes back to his room.]
<Kyle goes to his room.>
KYLE: So this is Room 215... <He tries the knob.> (The door's locked. Guess
that figures. The key I got at the front desk should open it. Unless the
owner is an idiot.)
[I use my key and unlock the door to Room 215.]
<He enters the room and looks around.>
KYLE: So this is where wishes are granted, huh? My ass. (Can't believe I had
to listen to that load of bull. Why would an old man be peddling fairy tales?
C'mon, Hyde, forget it. Just finish Ed's job and get the hell out of here.)
[I put my suitcase on the table in the corner.]
<The phone rings.>
KYLE: Huh? Phone. <He answers.>
RACHEL: Hi there, good-lookin'. Glad to hear you arrived in one piece.
KYLE: Hey, Rachel.
RACHEL: Right on time, I see.
KYLE: Like always. Listen, do me a favor and give Ed a message. Tell him he
doesn't need to have you checking up on me with every little thing. I got my
instructions. I'm on top of it.
RACHEL: You're on top of it? Really? How refreshing.
KYLE: Thanks for the confidence, Rachel. It's nice to be trusted. Tell Ed
that, too.
RACHEL: Well, I wouldn't dream to speak for the boss, but I trust you. Out
there all alone. Working hard. Busting your tail to get things done. At least
I think so...
KYLE: You think so? What the hell's that mean?
RACHEL: Oh, come on, Kyle! You're not exactly an open book! That's why there
are all those rumors...
KYLE: What rumors?
RACHEL: Don't act like you don't know! I've heard some crazy things about
you. You're an ex-cop from New York who was on the take and had to leave town?
Or a mystery man on the run from some shadowy organization? People are saying
all kinds of things, sweetie.
KYLE: Let 'em talk.
RACHEL: You want to know what I think? I think you're a handsome burnout who
crawled into a bottle and never came out. I don't buy the whole "man of
mystery" bit.
KYLE: Glad you think so highly of me.
RACHEL: So has the package arrived?
KYLE: Not yet. Maybe the deliveryman crawled into a bottle.
RACHEL: Hmm... Well, when it arrives, check the order sheet and give me a call.
KYLE: Right. Is that all that's in the package? An order sheet?
RACHEL: No, there are some new products in there, too.
KYLE: New products? What am I supposed to do with them?
RACHEL: You're a salesman, Kyle. Try selling something. Oh, and those are
Ed's orders. Not mine.
KYLE: Door-to-door sales in a hotel? That'll be fun.
RACHEL: Oh, and one more thing. I put the client list in the package, too.
KYLE: Oh, that.
RACHEL: "Oh, that"? Listen, mister, "that" is a salesman's best friend! Be
nice! When the package arrives, don't just leave the client list in the box,
all right? Put it in your suitcase!
KYLE: Yeah, yeah. I know.
RACHEL: Bye, sweetie. Don't forget to call.
KYLE: Yeah. <He hangs up.>
[Ed usually contacts me through his secretary, Rachel. She's quite the looker.
Always willing to give me the straight skinny, too.]
<The phone rings.>
KYLE: Phone again. <He answers.>
DUNNING: Hyde? This is the front desk.
KYLE: That you, Dunning?
DUNNING: Yep. So how's the room?
KYLE: It'll do.
DUNNING: Good to hear, good to hear. Oh, by the way... I forgot t'mention
this when ya checked in, but...
KYLE: What?
DUNNING: I need ya t'pay yer tab up front.
KYLE: Up front?
DUNNING: Now don't get me wrong! It ain't that I don't trust ya or nothin'.
It's just...yer a first-time guest, and I don't know ya or nothin'.
KYLE: Hold on. You want me to pay you right now?
DUNNING: Naw, ain't like that. Ya don't hafta take care of it right away. Ya
just got here after all! Go ahead and sit a spell. But if ya swing by and take
care of it before six o'clock, I'd be much obliged. I'll be in m'office or at
the front desk.
KYLE: Fine.
DUNNING: Thanks a bunch, Hyde. Sure do appreciate it.
KYLE: Sure. Whatever. <hangs up>
KYLE: Cash... Where's my cash... Oh, right. I tossed my roll in my suitcase
when I got out of the car.
<He walks over to his suitcase.>
KYLE: (This suitcase looks like it's about ready for the boneyard. All the
scuffs and tears... It sure is showing its age. Still, it was my father's
suitcase, and it's been with me a long time. Hell, I was lugging the old girl
around when I started working for Ed. My constant traveling companion.)
<He tries to open the suitcase, but the key breaks.>
[The old key finally broke.]
KYLE: Dammit! This is not what I need right now. (Now what am I going to do?
Maybe I can use some wire to pick the lock.)
<He walks over to the phone.>
[Hotel brochure's next to the phone. There's a paper clip on the brochure.]
KYLE: A paper clip, huh? Better hang on to this. It may come in handy.
[I got myself a paper clip.]
KYLE: (If I straightened this out...)
<He straightens out the clip.>
KYLE: There we go...nice and straight.
[I got a piece of thin wire.]
KYLE: (Let's see if I can pick the lock on my suitcase.)
<He tries to pick the lock.>
KYLE: (This ain't working. I'm not gonna get my suitcase open with this thin
wire. I'm going to need a thicker piece of wire.)
<There's a knock on his door.>
KYLE: Huh? Now what?
LOUIS: Hullo? Hey, got a package from the front desk.
[05:10 PM]
[I open the door and see the bellhop carrying a couple of cardboard boxes.]
LOUIS: Package for ya, pal.
KYLE: OK. Put it down anywhere.
LOUIS: Uh, 'scuse me... I kinda got my hands full, ya know? You want you
could take the box on top for a sec?
KYLE: No problem.
[I take one of the boxes from the bellhop. I put the package down on the bed.]
LOUIS: <hiding his face> See ya, man! I gotta blow.
KYLE: ...I gotta blow? Wait a second...
LOUIS: No, uh... I mean...I gotta go! Gotta go, Hyde! Ah, crap...
KYLE: (Wait a second...) Wait a second... Don't move!
LOUIS: Wah?!
KYLE: That voice. I know your voice.
LOUIS: Nah, that can't be.
KYLE: Can't be? Why?
LOUIS: Well, uh...
KYLE: Look at me!
LOUIS: I gotta go!
KYLE: (What's up with this guy? What's he hiding? Time to get a look at his
face.) Hey.
LOUIS: Y-yeah?
KYLE: I said look at me!
[I grab the bellhop's chin and yank his head up.]
KYLE: You!
LOUIS: Aw, man!
KYLE: I know you!
LOUIS: Dammit, man! Aw, dammit...
KYLE: Louie!
LOUIS: Fine, ya got me. 'Course, I guess there ain't nothin' I can do about
it now, eh? Long time, no see, Officer Hyde.
KYLE: (Kid's name is Louis DeNonno, but he'll always be Louie to me. Last time
I saw him was the winter of '76, three years ago. He was roaming the subways
of Manhattan picking pockets for a living.)
KYLE: Why are you here, Louie? Run out of wallets to lift in the Big Apple?
What're you doing in this place?
LOUIS: What's it look like, man? I'm workin' here!
KYLE: Working? You? Bull. I don't buy it.
LOUIS: That's the God's honest, man! I got my act together! Been three years
since I moved out and scored this gig!
KYLE: (Three years... That's about the same time I quit the force.) How did
you know I was here?
LOUIS: Aw, man, I knew it soon as I saw your name on the package, yeah?
Package shows up for the cop what busted me... What're the odds, man? I been
here for THREE YEARS! Just started to put all that New York stuff behind me,
ya dig? Seeing your name was a total drag. I just wanted to forget it.
KYLE: (Huh?) Hold on a second... As bad as all that, huh?
LOUIS: Yeah, man. Seein' your name made me remember all kinds of lousy crap
about New York!
KYLE: Really?
LOUIS: When I first got this gig? Used to check the guest list every day. I
was a total freak show. Always afraid someone I knew would show... It was a
trip, man! You woulda laughed at what a dork I was. But I got lucky, and never
saw a name I recognized. ...But now you show. So what's the deal, Officer
Hyde? What you doing all the way out here in a crappy hotel like this? Must
be a major bust you got lined up, right? Why else would a Manhattan cop be so
far from home?
KYLE: That's not it.
LOUIS: So...what? You're, like, on vacation? Checkin' out the tar pits and
crap like that?
KYLE: No.
LOUIS: Huh? Man, you're a TRIP! I don't get you! Everything you say's like a
riddle or a mystery or somethin'. Whatever. Not my business what you're doin'
here. You keep your secrets, and I'll keep mine.
<Louis stares at him.>
KYLE: What? <Louis keeps staring.> What? What's the problem? Why're you
staring at me?
LOUIS: Mellow out, man. No big. Just that...you're different now, ya dig? I
was gonna say somethin' earlier, but I didn't want you to freak.
KYLE: What're you talking about? What's different about me?
LOUIS: I dunno...
KYLE: Spit it out.
LOUIS: Just...something. You got a different vibe about you.
KYLE: Different vibe? What the hell's that supposed to mean?
LOUIS: Well, it's, you know... C'mon, man, you gotta know what I'm sayin'!
You got that crappy leather jacket and that totally whacked-out tie. And your
hair? Man, you got serious issues there. This look... It ain't like you, man.
KYLE: Not like me?
LOUIS: Uh-huh. The Officer Hyde I remember always wore a fly black suit. And
the way you used to strut around the city? You had it goin' on, man!
KYLE: (He's right. That's how it used to be. That's who I was. We ruled the
streets, Bradley. You and me, playing the heroes.) Yeah? What else?
LOUIS: Well, that's it, man. I mean, you were...
KYLE: Spit it out, Louie.
LOUIS: You were cool, man. Even when you were hasslin' me, you were cool.
KYLE: My cool ran out. I changed jobs and changed clothes. That's it.
LOUIS: Right.
KYLE: ...
LOUIS: ...
KYLE: You got your act together?
LOUIS: Yeah, man, I got tired of picking pockets. Big risk, small reward,
yeah? Figured I was too old to keep workin' the streets like a punk.
KYLE: (Huh?) Hold on. Something happened, didn't it?
LOUIS: Yeah, maybe... But I ain't talking about it. Not somethin' I'm gonna
get into with a cop.
KYLE: (Oh, right... He doesn't know I quit the force.)
LOUIS: What's up, man? Cat got your tongue?
KYLE: It's nothing.
KYLE: What don't you want to talk about? What happened?
LOUIS: ...Forget it. I split that scene for my own reasons, man. Got nothin'
to do with you.
KYLE: You telling me you never heard of other guests with my name?
LOUIS: Yeah, man. That's what I'm tellin' ya. Not likely I'd forget somethin'
like that. Why you bustin' me about it, anyways?
KYLE: Just something I heard from that old-timer at the front desk. Seems
there was a guest with my name about six months back.
LOUIS: Six months...? No, man, I got nothin'. 'Sides, you think I wouldn't
remember a guest what had your name?
KYLE: I guess...
LOUIS: This gig's been goin' on too long. I gotta blow, man.
KYLE: All right.
LOUIS: But, uh, listen. Before I go, lemme ask you something?
KYLE: What is it?
LOUIS: You, uh... You said you changed gigs, yeah? What's the story?
KYLE: Oh, that. Truth, Louie? I hung it up.
LOUIS: Hung what up?
KYLE: My badge.
LOUIS: What? No way! You quit the beat?!
KYLE: Yeah. Actually, I got canned.
LOUIS: You were FIRED?! Oh man, Officer Hyde! What'd you do?!
KYLE: Well...
<flashback to police station>
KYLE: <answers phone> This is Hyde.
VOICE ON PHONE: Hyde, I've got bad news. It's Bradley. He...
KYLE: What the hell?
<He shoots Bradley.>
<flashback ends>
KYLE: <speaking to Louie> You really wanna know?
LOUIS: ...No thanks, man. I'll pass. Sounds too heavy for me. Maybe some
other time, yeah?
KYLE: All right.
LOUIS: Can't believe you're not a cop anymore, man. What a trip. So, what's
your deal now?
KYLE: I sell household goods door-to-door.
LOUIS: C'mon! Get outta here! You're a door-to-door salesman?
KYLE: Yeah.
LOUIS: You?
KYLE: Me.
LOUIS: So that package what I delivered is full'a sales stuff? Detergent and
floor wax and hairnets? Old lady crap like that?
KYLE: Could be.
LOUIS: Whaaaaa ha ha ha ha!
KYLE: Knock it off. What's so damn funny?
LOUIS: Everything, man! C'mon, the famous Officer Hyde? A SALESMAN? That's
even more of a gas than me being a bellhop! Whaaaaa ha ha ha haaaaa!
KYLE: That so?
LOUIS: ...All right, man, I gotta bail. ...Yo, Officer Hyde?
KYLE: Yeah?
LOUIS: My past... You know all the crap that happened in New York? All the
stuff I did? Well, ain't nobody out here who knows about it, man. I'd
appreciate it if you'd...like...keep it to yourself. Ya know?
KYLE: All right.
[Louie leaves the room.]
<Kyle checks out the package.>
[The package Louie delivered is on the bed. A single brown notebook is inside
the box.]
KYLE: Huh? What's this supposed to be? There's no order sheet. This isn't
Ed's package. That moron Louie brought me the wrong package!
[I got the old notebook that was inside the package. The title written on the
cover of the notebook is "The Secret Word."]
<Kyle leaves the room and walks down the hall. A door opens.>
KYLE: Huh?
[Someone's coming out of Room 219.]
KYLE: Huh?
MELISSA: Huh? Ah!
KYLE: Hey, kid.
MELISSA: What?
KYLE: What's the score?
<Melissa pouts.>
KYLE: Hey! Kid!
<She still pouts.>
KYLE: I'm talking to you.
MELISSA: My name's not "kid"!
KYLE: Yeah, I know. Your name's Melissa.
MELISSA: Hey! You know my name!
KYLE: 'Course I do. Don't underestimate adults, kid. We know things.
MELISSA: Yeah, right. Whatever.
KYLE: Seriously, kid. Stop playing on the stairs. It's a hassle.
MELISSA: I'm not gonna play on the stairs anymore. But I lost something really
important. And now I won't be able to see my mom.
KYLE: (At least she'll be off the damn stairs...) Tell me something, will
you? You won't be able to see your mom?
MELISSA: Uh-huh. I had to promise my dad. I gotta do what he says...with no
"back talk." If I don't, we won't see my mom. We'll just go home. That's why
I'm not gonna be a brat anymore.
KYLE: What do you mean, you're gonna go see your mom?
MELISSA: My mom's not home.
KYLE: (Uh-oh. Trouble in paradise?) Hey, kid. Where'd your mom go?
MELISSA: I dunno. But I was crying 'cause I wanted to see my mom for
Christmas, right? And so Dad said we could go and see her.
KYLE: So where are you going?
MELISSA: I dunno.
KYLE: That's quite the plan.
MELISSA: Where are you going, mister?
KYLE: Me? I'm here on business, so I go where the boss says. Just gotta wait
and see.
MELISSA: On business? That's just like my dad. My dad always has to do
whatever his boss says. That's why he's so busy.
KYLE: What's your old man do?
MELISSA: Old man? Who's that?
KYLE: Your dad. What kind of work does your dad do?
MELISSA: He's a surgeon and stuff. He works at some hospital somewhere.
KYLE: A sawbones, huh?
MELISSA: Yeah, I guess. And my mom works at an art museum. Her name's Grace.
My mom's...
KYLE: I didn't ask about your mom, kid.
<Melissa looks sad.>
KYLE: ...Fine, go ahead. What's your mom like?
MELISSA: What's she like? She's nice, and pretty, and she bakes really good
birthday cakes.
KYLE: What else?
MELISSA: Well, she always said nice stuff about my drawings. I used to draw
pictures of my mom all the time.
KYLE: Pictures of your mom?
MELISSA: Uh-huh.
KYLE: Sounds like a class act... Why don't you draw a picture of her in this?
[I open my notebook and give it to Melissa.]
MELISSA: Sure, I guess.
[Melissa drew a picture in my notebook.]
MELISSA: There.
<He takes back the notebook.>
KYLE: <looks at the picture> Hmm? (Oh, right... Guess I'll give her back that
puzzle piece I found on the stairs.) Hey.
MELISSA: What?
KYLE: <shows puzzle piece> This is yours, isn't it?
MELISSA: Oh...
KYLE: Here. <gives piece back>
MELISSA: T-thank you. This puzzle was a present from my mom. It's my treasure.
<A door opens and someone comes out.>
KYLE: Huh? You're...
KEVIN: Melissa! What are you doing?
MELISSA: Dad, I was--
KEVIN: Get back in this room right now, young lady!
MELISSA: OK.
KEVIN: ...
[The two of them go into Room 219.]
KYLE: (So that's Melissa's father, huh? I can see why his wife split.)
<Kyle goes to the lobby.>
KYLE: Huh?
<He sees a girl standing in the corner.>
KYLE: Who are you?
<He walks over to the girl.>
KYLE: Hey... You got a second? <She doesn't turn around.> Hey! <He grabs her
and turns her to face him.> Huh? (That's her. That's the girl I saw on the
drive out here.) It's you! I saw you standing alone by the side of the road.
You were on the side of the highway, about an hour from here. <She doesn't
respond.> What? What's wrong? Not you? (What's going on? Why won't she say
anything?)
<She just stares.>
KYLE: Huh? Wait a minute... Sorry, are you deaf? I didn't mean to...
ROSA: She can hear just fine! Mmm-hmm!
[There's a voice behind me.]
ROSA: But she hasn't said boo since she arrived. Don't ask me why not!
I don't know.
KYLE: Who are you?
ROSA: Me? I'm Rosa. The maid. AND the cook. Who are you?
KYLE: (Rosa, huh?) So you're Rosa?
ROSA: Mmm-hmm, that's right. Rosa. You got it. Why are you asking? Has
someone been talking about me again?
KYLE: Yeah, I ran into Dunning at the front desk. He came out screaming 'cause
he thought I was you.
ROSA: Oh, did he now? Yeah, that sounds like Mr. Smith. Sorry about that.
I bet the boss was lost in one of his hockey games. As usual. He's supposed
to be watching the front desk. 'Course he never does. The man is useless.
Totally useless.
KYLE: Right... So who's the girl?
ROSA: Her? Miss Talkie over there? That's Mila. Why? Why you asking? There
something you need from her? Who are you, anyway? I haven't seen you around
before.
KYLE: That doesn't surprise me. I'm a guest. Probably don't see too many in
this place.
ROSA: Well, don't I feel silly! I didn't realize! I assumed you were one of
those traveling salesmen!
KYLE: (Huh?) Wait a second... Do I look like a salesman to you?
ROSA: Ha! Like a salesman who doesn't sell too much! <Kyle looks abashed.>
Ooooh, right on the money, aren't I? Yes, I knew it! So tell me, what's your
name? Wait! Let me guess! Um...no. I have no idea.
KYLE: Kyle Hyde.
ROSA: Oooooohhhh... So YOU'RE the man staying in Room 215. Shoulda known,
shoulda known.
KYLE: Look at that. You do know me. So the girl's name is Mila?
ROSA: Oh yeah. Sure. Well, that would be my guess. I mean, that's what the
bracelet on her left arm says.
KYLE: (Bracelet?) <He looks at the bracelet.> Wait, that looks like...
<flashback>
<Kyle aims and shoots at Bradley. As Bradley falls back, Kyle sees a bracelet
on Bradley's wrist.>
<flashback ends>
KYLE: That's impossible. (The bracelet Bradley was wearing... It couldn't
be...)
ROSA: What is it? Something wrong? What's wrong?
KYLE: No...it's nothing.
ROSA: Oh...OK. Fine by me.
KYLE: So...the girl. Is she staying here tonight?
ROSA: Yeah, I think so. I'll probably drop her in my room.
KYLE: What do you mean?
ROSA: It means I'll let her stay in my room. As a favor?
KYLE: You have a room?
ROSA: Yeah, that's right. A room. I work here and live here, too. Lousy deal,
I know. But that poor young girl's obviously lost, so what can I do? Nothing,
that's what!
KYLE: I thought only little kids got lost.
ROSA: Well, she might be a smidge old to be called lost, but she sure looks
out of place. I heard she was just standing on the side of the road. Poor
thing! She doesn't have any luggage or anything.
KYLE: Did she make it here all on her own?
ROSA: No, she got a ride. Hitchhiked. That young man who checked in earlier
brought her. I guess he saw her on the way here and picked her up. But then
he found out she doesn't talk, so he left her here. You believe it? Pretty
cold if you ask me! Leaving her here all alone like that! Just ain't right.
KYLE: Who brought her in?
ROSA: Fellow's name is Jeff Angel. He's in 213. Why? Why'd you ask? Do you
know him?
KYLE: I met him. Briefly.
ROSA: That so? Then you understand what I'm talking about! He looks harmless
enough, right? But it's the ones who look sweet that you have to fear, and
for a fact! I'm sure he just picked her up because she's cute. Then he
abandons her! What a creep!
KYLE: Your bellhop delivered a package a few minutes ago. But it wasn't mine.
ROSA: Huh? What? He brought you the wrong package? What a dolt!
KYLE: Yeah, looks like he got his wires crossed somewhere.
ROSA: Sorry about that. I'll make him look into it. Don't worry about a thing.
[The front desk phone is ringing.]
ROSA: Phone again? Guess I gotta do everything around here! Sheesh!
[Rosa runs to the front desk and answers the phone.]
ROSA: Hotel Dusk, front desk. Uh-huh. Uh-huuuh. ...How's that again? Got the
wrong package? Bellhop brought it up? ...No, doesn't surprise me one bit.
Huh? Who's it for again? Kyle Hyde? Yeah. No. No, I hear you! Don't yell, I'm
not deaf! That package should have been delivered to the guest in 215. Oh,
you don't have to do that. ...Well, sure, but... OK, OK, I understand. I'll
contact the guest in 215, sir. Sorry for the inconvenience.
[Rosa finishes talking and hangs up the phone.]
KYLE: That sounded promising.
ROSA: Seems we found your missing package. Good timing, eh? That was another
guest. Sounds like he got it by mistake. He said he'll just take it on over
to your room. Pretty nice of him.
KYLE: Works for me.
ROSA: I think that about covers it, right? Now you just go on up and wait in
your room. Go on, now! Move it! <To Mila> C'mon, honey, let's go. You just
stick with Rosa and let her take care of you. <Mila nods.>
[Rosa and Mila walk off to the far end of the lobby.]
KYLE: (Mila, huh? That was the name of Bradley's kid sister.)
[05:20 PM]
<Kyle goes to the second floor.>
KYLE: (Maybe I should have a chat with Jeff Angel about Mila.)
<He knocks on 213. Jeff comes out.>
JEFF: Yes? What is it?
KYLE: I met a girl in the lobby named Mila.
JEFF: Mila? Who's that?
KYLE: You should know. You brought her here.
JEFF: Oh. Her. What about her?
KYLE: She never told you her name?
JEFF: Maybe. I don't remember.
KYLE: ...
JEFF: ...
KYLE: Why'd you bring her here?
JEFF: She asked me to. Said she had to get to Hotel Dusk.
KYLE: (Who would want to come to this dump? Other than a cockroach collector.)
Wait, wait. She ASKED you to bring her here?
JEFF: Of course! Well, kind of... Actually, she never said a word to me.
KYLE: She didn't talk? So how'd you know she wanted to come here?
JEFF: She had a brochure. Of the hotel, you know? You know, paper? Little
pictures? Anyway, I figured it was her stop.
KYLE: So she knew about this hotel, did she?
JEFF: Are you practicing to be an echo chamber or something? Yeah, she knew.
She was carrying a brochure from this hotel. I don't get why this is so hard
for you. I asked her where she was headed. She showed me the brochure. I
needed a place to stay, too, and figured one place was as good as another.
So here I am. Believe me, I wouldn't have stopped if I knew what a dump it
really was. You need anything else?
KYLE: No.
JEFF: All right. Good-bye, then.
[Jeff finishes talking and shuts the door.]
<Kyle walks down the hall. A door opens.>
KYLE: Huh?
[A door opens on the right side of the hallway, and a woman steps out.]
IRIS: You must be the man from Room 215.
KYLE: Yeah. Who are you?
IRIS: I'm staying in 216.
KYLE: That's a funny name.
IRIS: I'm Iris.
KYLE: Iris, huh?
IRIS: ...You're not much of a conversationalist, are you?
KYLE: No, but I can carry a tune.
IRIS: I'm sure you can carry all manner of things, Mr...
KYLE: Hyde. Kyle Hyde.
IRIS: Mr. Hyde, hmm? I'll make a note of it.
KYLE: (Make a note of it? What the hell's that supposed to mean?) You need
something?
IRIS: No, not really. I was just confirming a hunch.
KYLE: What'd you want to confirm?
IRIS: I merely wanted to see what manner of man was staying in this room.
That's all.
KYLE: Why?
IRIS: Well, it would be awful if some lowlife were staying here, hmm? I gave
specific instructions upon check-in, but it seems that no one listened. I
demanded that no one stay in the room next to me or across the hall. And yet,
the owner gave you 215 and never said a word to me! Appalling, isn't it?
KYLE: (What? What's she rambling about?)
IRIS: What is your line of work, Mr. Hyde?
KYLE: Traveling salesman.
IRIS: Is that so? Well, that's a relief!
KYLE: (You feel relieved?) Why's that?
IRIS: Because it means you won't try to take my picture, Mr. Hyde.
KYLE: Your picture? You're cute and all, but why would I want to do that? I
got better things to do.
<Iris pouts.>
IRIS: Good day, Mr. Hyde. I'll be--
LOUIS: Yo, Hyde!
KYLE: Huh?
LOUIS: Makin' your sales pitch to the ladies, eh? I love it, my man!
Grrrrraw!!
IRIS: Oh, please...
KYLE: Don't mind him. He's just the bellhop.
IRIS: I know who he is. He carried my bags when I checked in. I believe his
name is Louis DeNonno. Do I have that right?
LOUIS: Hey, she remembered! Now I can die happy.
IRIS: I couldn't very well forget. You introduced yourself about a thousand
times.
KYLE: You need me for something, Louie?
LOUIS: Yeah, actually...
IRIS: I'll take that as a cue to excuse myself. Gentlemen?
[Iris returns to her room.]
KYLE: (What're the chances a dame like that would be across the hall? Of all
the lousy luck.)
LOUIS: Sorry, man. Didn't mean to interrupt ya.
KYLE: Don't worry. It was perfect timing.
LOUIS: Whatever you say, man.
KYLE: What do you want?
LOUIS: Nothing really, man. I just saw you chatting up the fox, ya know?
Thought maybe I could sneak in a couple of lines myself? Steal her heart?
KYLE: You're an idiot. And here's more proof that I'm right. You brought me
the wrong package. Two packages to deliver and you got 'em both wrong. Nice
work, Louie.
LOUIS: What?
KYLE: Luckily when I went down to the front desk, the guy who got my package
called. He's going to drop it by my room later.
LOUIS: So we're all cool then, right, man?
KYLE: No. We're not cool. You're an idiot and I'm ticked off!
LOUIS: Chill, brother! No need to blow a fuse, yeah? Anyway, gotta blow.
[Louie leaves.]
KYLE: (Same old Louie.)
<Kyle goes to his room. Someone knocks.>
KYLE: Huh? Who's there?
<He answers the door. Martin is there.>
MARTIN: Um... Begging your pardon, but are you Kyle Hyde?
KYLE: That's right.
MARTIN: And did you perhaps receive a call from the front desk? About the
parcels?
KYLE: Yeah. You the guy who called down earlier?
MARTIN: The very same! My name is Martin Summer, and I'm currently lodged
in Room 211.
KYLE: (Martin Summer, huh?)
MARTIN: At any rate, about the parcels?
KYLE: Yeah?
MARTIN: The footboy delivered a parcel to my room some time ago.
Unfortunately, it appears he somehow brought me the wrong one. However...
KYLE: Yeah?
MARTIN: Please forgive me, but I failed to notice until after I opened it.
The contents were not what I was expecting, you see. At any rate, I saw the
name Kyle Hyde on the form, and so here I am!
KYLE: (Huh?) Hey! Good name, isn't it?
MARTIN: Indeed. Quite a nice name, actually.
KYLE: Skip the explanation. I got a short attention span.
MARTIN: Is...is that so?
KYLE: Our packages got swapped. Mine was delivered to your room, right? And
the one I got here is probably yours. That about cover it?
MARTIN: Yes, I do believe that summarizes the situation.
KYLE: So. Where's my package?
MARTIN: Oh, yes, I brought it with me. It's right here.
KYLE: That's it, huh?
MARTIN: Yes.
KYLE: Martin Summer? I've heard that name before.
MARTIN: Yes, that's not surprising. Perhaps you've run across my name in a
magazine? Or a newspaper? Does that strike a familiar tone, Mr. Hyde?
KYLE: Huh?
MARTIN: I suppose it's possible that you've actually read one of my books...
No?
KYLE: Maybe. You a writer?
MARTIN: Yes, that is correct, although I prefer to think of myself as an
author. I pen novels mostly, although I have dabbled in other, more obscure,
mediums.
KYLE: Novels? What kind?
MARTIN: Mysteries.
KYLE: They sell?
MARTIN: Yes, they do all right. You can find my work in most bookstores of
note. I have quite a large female fan base, actually.
KYLE: You don't say.
MARTIN: Have you perhaps read any of my novels?
KYLE: Yeah, I read one.
MARTIN: Truly? Tell me, which one?
KYLE: I think it was called "The Angel Whispers."
MARTIN: You read it? Oh, how exciting! To learn that you've read that story...
Well, it fills me with pure happiness! Now then, Mr. Hyde... Shall we discuss
my parcel, which was inadvertently delivered to you?
KYLE: Sure. I'm game. All that was in the package was this notebook.
[I show Summer the old notebook.]
MARTIN: Eureka, that's it! This is the notebook! This is what I have been
waiting for!
KYLE: Great. Then I'll take my package from you and we'll call it a day.
MARTIN: Yes, please do.
KYLE: (Doesn't look like he can take his eyes off that notebook. Guess he
was really looking forward to getting it. ...Must be a writer thing.)
[I pick up the box that Summer brought with him. I toss it on the bed.]
KYLE: Hey.
MARTIN: Oh, yes... My apologies. Let me just...
KYLE: Hey!
MARTIN: ...Hmm? Oh! Oh, yes. Yes, I suppose I should depart. It's fortunate
for both of us that we discovered this mistake when we did. Now, if you'll
excuse me.
[Summer finishes talking and leaves the room. ...Stupid writers.]
<Kyle checks out the box.>
[The package Summer brought is on the bed. There's an order sheet, new
products, and a client list inside the box.]
KYLE: It's the order sheet.
[I got the order sheet that was inside the box. The items I'm supposed to
find are listed on here.]
KYLE: ( 1. A small red box. 2. The December issue of a magazine with Cecily
Lee on the cover. Guess it's time to call Rachel.)
[And there's the client list. Just like Rachel promised.]
[I got the client list.]
KYLE: (Better remember to put this in my suitcase. Don't want Rachel to bite
my head off.)
<He looks at the items inside the box.>
[What the... A portable mini sewing machine? Great. Adhesive remover? ...No
one's going to buy this crap.]
<Kyle calls Rachel.>
RACHEL: Red Crown, this is Rachel.
KYLE: It's Hyde. I got the package.
RACHEL: I knew you would, sweetie.
KYLE: A red box and a girlie mag? I'm thrilled. Who's the client on this one?
RACHEL: Somebody new. Seems to be in a hurry, too.
KYLE: You figure it's some sort of business deal gone wrong?
RACHEL: That's what it sounds like. But who knows what's in the box? Could
be trouble.
KYLE: My old friend.
RACHEL: Any idea where to start?
KYLE: Yeah, I'll head down to the front desk and poke around the lost and
found. If that doesn't work, guess I just gotta canvass the hotel.
RACHEL: Nice plan, handsome. Let us know if you come up with anything.
KYLE: Ed around?
RACHEL: He just stepped out. Some old client called and asked to see him.
Said he'd be right back, though. Why, you need something?
KYLE: No rush. I'll call back.
RACHEL: I've got a weird feeling about this one, Kyle. Be careful.
KYLE: Only 'cause you asked.
<He hangs up.>
KYLE: (Ed Vincent's the president of Red Crown. He's an ex-L.A. cop who worked
like a dog until they forced him to retire. My old man died when I was ten,
but he and Ed were good friends. And as for me, well... Ed's the only one who
knows I'm still searching for Bradley. The only one who knows I won't let it
go. But now I run into Louie, another voice from the past. What're the chances
of him being here? Slim to none, and slim left town. Throw this girl Mila into
the mix, and things get nine kinds of odd. I'd better think all this through
and make sure it's straight in my head.)
<goes to CHAPTER REVIEW>
The guy who pays the bills at Red Crown has spoken. And when Ed speaks, I go.
That's why I'm this side of nowhere in some hole called Hotel Dusk. The reason
I'm here is...
[To find certain items.]
That's right. I sell household goods for Red Crown, which is run by my old
man's pal, Ed. I also lend a hand with a hobby of his. Ed's got a side
business finding things that get themselves lost.
Had an interesting chat with Dunning, the hotel owner, when I checked in.
He mentioned a couple of things that I can't quite get out of my head.
First, six months ago some guy with my name stayed here. Second, the room
I'm in, Room 215, has a history. The story he told me about the room was...
[That it grants wishes.]
That's right. He said the room grants wishes. Said if I stayed there, my
wish would come true. Kept a straight face, too. If I met him in New York,
I bet he'd try to sell me the Brooklyn Bridge. Here's what gets me... Why'd
he tell me such a crazy fairy tale in the first place?
I checked in to Hotel Dusk and got Room 215. Then I waited in my room for the
package Ed sent. Imagine my surprise when the bellhop turned out to be Louie
DeNonno. I knew Louie from my days back east. He knows I used to be a New York
cop. But he didn't know my partner, whose name was...
[Bradley]
That's right. My partner on the force three years ago was Brian Bradley. We
were investigating that crime ring responsible for all those art thefts.
That idiot Louie brought me somebody else's package. I went to the lobby to
straighten things out. That's where I met the young girl named Mila. Mila
hitched a ride to the hotel with a kid named Jeff. She didn't have any luggage
or money, so Rosa took her under her wing. But the weird thing when I talked
to Mila was...
[She wore a bracelet.]
That's right. It was the bracelet she had on her left wrist. Looked like the
one Bradley was wearing the last time I saw him.
That idiot Louie brought me the wrong package. My stuff got sent to a guy
named Summer who's in Room 211. After a bit of jawing and other nonsense,
I finally got the damn thing. Inside the box was an order sheet, some new
products, and my client list. The order sheet listed the things Ed wants me
to find. It's a short list...only two things on it. One's a pinup mag with a
dame named Cecily Lee on the cover. And the other's...
[A small red box.]
That's right. The other thing I'm supposed to find is a small red box. I gave
Ed's secretary a call as soon as I got the order sheet.
Now that I know what I'm looking for, it's time to start searching the hotel.
But this job feels...different somehow. Off. Maybe it's 'cause I ran into
Louie. Haven't seen him for three years... Or maybe it's because there was
another guest named Kyle Hyde... Guess that girl I met by the front desk could
be behind it, too... Whatever it is, Bradley, I can't get you out of my head.
I feel like I'm gonna find something big here. Something that's gonna lead me
to wherever it is you disappeared to. Tell ya what, Bradley... I think it's
gonna be a long night.
==================================
3b. CHAPTER 2: DECEMBER 28TH, 1979
5:30 ~ 6:00 P.M.
==================================
<Kyle is back in his room.>
KYLE: (Well, what now... Guess I have to start searching this dump.)
<He leaves his room.>
KYLE: Huh? Someone's in the hall.
<He sees Rosa.>
KYLE: Oh. You. What're you doing?
ROSA: What? Me? What am I doing? What's it look like I'm doing? I'm cleaning!
Work my fingers to the bone, but you think this place stays clean? Of course
not. Know why? One of our guests is a slob, that's why!
KYLE: Don't look at me.
ROSA: Oh, if I thought it was you, you'd know! Cleaning isn't easy, you know!
It's a backbreaking, thankless task. And the DeNonno boy? HA! It's his job to
clean the floor, but he's so lazy! Boy up and vanishes whenever there's work
to be done. I bet he's goofing around somewhere. Eating chips and watchin' TV
and so forth. Oh, and speaking of Louis, I've got ANOTHER thing to tell you!
Remember that girl you met earlier? Mila? Remember her? That two-bit Casanova
says he's fallen in LOVE with her! I know! Poppycock, right? Yes! I swear,
mooning over girls is the only thing he puts an effort to.
KYLE: Tell me about the DeNonno kid.
ROSA: He's a useless bum!
KYLE: Useless, huh?
ROSA: Yes! Useless! That's what I said! But smooth as butter that one. Knows
enough to tell folks what they like to hear. But when you really need him,
he's nowhere to be found! What a snake! Anyway, that's why I'm the one that
does all the work around this place. Want my opinion? We should let him go!
He's more trouble than he's worth. Oh, I asked Dunning about a replacement.
Someone who might actually try! Buuut... Who'd work in a hotel like this?
The stories alone keep folks away!
KYLE: (Yeah, I'm sure that's the only reason...) So... What stories?
ROSA: Well... I don't know if I should...
KYLE: You're the one who brought up stories. Spill it! You talking about the
whole wish-granting thing?
ROSA: Wishes? Pah! Don't be dense! It isn't anything as silly as that. Truth
be told? The whole thing goes back to the hotel's previous owner.
KYLE: Oh really?
ROSA: ...Mmm-hmm.
KYLE: ...AND?
ROSA: Oh! Look at what I've done. Running my mouth about things I shouldn't...
KYLE: (...Huh?) Got a sec? You're the chatty type, huh?
ROSA: I am. Talk, talk, talk! And believe me, it lands me in trouble from
time to time.
KYLE: How's Mila doing?
ROSA: She's in my room catching up on her sleep. Poor thing. She must have
been exhausted... I laid her down on the sofa and gave her some tea, and she
fell right asleep.
KYLE: She say anything?
ROSA: Not a word. Maybe she's mute. Pretty odd, that, don't you think? I'm not
sure what I'll do if she keeps this up. I guess I'll watch over her tonight
and then give the police a call tomorrow.
KYLE: ...I see.
ROSA: Hold on just a darn minute! Don't tell me you've fallen for the girl,
too!
KYLE: No, it's not that. I just-- (It's that bracelet Mila was wearing. If
it's really the same one Bradley had...)
ROSA: You just what?
KYLE: I just need to ask her something.
ROSA: Ha! I bet! I can just bet what you'll ask her! Well? What's it about?
KYLE: It's about a man I'm looking for. I think Mila may know something
about him.
ROSA: Looking for someone, are you? And who might that be?
KYLE: Just a guy I used to work with.
ROSA: An old coworker, mmm? Sounds like there's a story there somewhere...
KYLE: Look, it'll just take a second. Let me swing by your room and see her.
ROSA: Not right now. No, no, I don't think so. Nope.
KYLE: Then when?
ROSA: Let her sleep a bit longer. Anytime after 8 will be fine. You can get
to my room from the lobby. Go through the door that says Staff Only and walk
down the hall. My room's the first one after the hall bends to the left.
KYLE: Got it. (Rosa's room at eight o'clock. Better write a note in my
notebook so I remember.)
ROSA: Oh, no!
KYLE: What?
ROSA: I have to go and prep the restaurant! I'm late! I shouldn't have stood
here chatting with you! I have to go! Busy busy!
KYLE: You work in the restaurant?
ROSA: You got it. I ALSO do all the cooking for the hotel! I've got more
things to do than ten men! It's a wonder I manage to keep up! Sorry to cut
you off, but I've got to go. Gotta run! Oh, I'm so late...
KYLE: Sure.
ROSA: Oh! If you run across that deadbeat Louis, tell him Rosa wants to see
him! Got it? Good!
[Rosa finishes talking, turns and scuttles away.]
<Kyle walks down the hall and hears something.>
KYLE: Somebody's whistling...
<He goes near the linen room.>
KYLE: I can hear whistling coming from this room. <He tries the knob.> Huh?
The door's open. Somebody in here?
<He goes in and sees Louie reading a magazine.>
LOUIS: Aw, man... What a looker! These Hollywood foxes got it going on!
Awoooo!
KYLE: Hey.
LOUIS: Whaaaa! <He quickly shoves the magazine aside.> Oh, it's you... Don't
sneak up on me like that! You dig? This is where we keep the sheets and
pillowcases and all that girly stuff. Not a place where folks like you can
just...hang out!
KYLE: I heard someone whistling. Door was open, so I looked.
LOUIS: Yeah, sure, man. Bet that's just how it went down...
KYLE: What're you reading?
LOUIS: Aw, some skin mag one of the guests left behind. I dunno if they forgot
it or tossed it or what... But who cares, right? Free is free! So whattya
want, anyway?
KYLE: So this is where you've been hiding, eh?
LOUIS: Hidin'?!
KYLE: How's the cleanin' coming? ...You know Rosa's looking for you, right?
LOUIS: What? Cleanin'? Is that all? Man, I was all tripped out for nothing!
Here I thought Officer Hyde was gonna bust my ass, and you ask 'bout cleanin'?
Man, I finished all that. Cleaning's done!
KYLE: (All done, huh?) Wait a second... What did you clean?
LOUIS: Huh? What did I clean? Um... what did I clean?
KYLE: What, you a parrot now? What did you clean? Same old, same old?
LOUIS: Yeah! Yeah, well, ya know, I...mopped. And then...dusted stuff. Like
ya said, man, just the normal routine. Same old, same old. Why ya hasslin'
me? You're startin' to sound like my old lady. Look, Officer... I mean...
Hyde. Listen to me for a sec. I'm clean, and I'm workin'. Workin' HARD. I'm
like three times more serious than I was in the city. God's honest.
KYLE: Three times? You call this...
LOUIS: C'mon, man, stop preachin'! This is it for me, ya know?! I ain't smart
or talented... This is the best I can do. Not being a cop anymore's gotta be
rough, yeah? We're the same, man. It's like ya just gotta take a break and
catch your breath before ya snap. That maid Rosa's a loud-mouthed old bag.
And Dunning's a penny-pinchin' slave driver. I'm the only bellhop in this
whole stinkin' place. No matter how hard I work, stuff just keeps pilin' up.
Like a total energy vampire, man.
KYLE: What if you get fired?
LOUIS: Ha! Yeah, right. Fire me? That's rich. Like I'm gonna get fired from
this gig! Ain't nobody want to work AND live here, man. Nobody 'cept me, I
guess. Not so long as those stories are out there...
KYLE: Stories? What're you talking about?
LOUIS: This place is lousy with 'em, man!
KYLE: ...Lousy with what?
LOUIS: ...Ghosts.
KYLE: Ghosts.
LOUIS: ...Yeah. A long time ago there was an...an "incident," ya know? Soon
as it happened, people were talking 'bout ghosts and hauntings and stuff.
Folks said they heard some young kid sobbin' during the night. Then when they
followed the voice, they found a little girl in a white dress. And if they
tried to talk to her? ...She'd VANISH! Poof! Total trip, man. Anyway, that's
the story. It's enough to keep people from wantin' to work here.
KYLE: You seen this ghost?
LOUIS: 'Course not, brother! It's just some crazy story. But I'll tell you
something... When I saw that young chick today? She was facing the other way,
and it kinda tripped me out for a sec. ...It's cool, though. No way that
girl's a ghost. She... She's like an angel that got lost or...or somethin'...
KYLE: The hell you mumbling about, Louie? What girl?
LOUIS: The one right here, man! The mystery girl! Her name's Mila.
KYLE: What kind of girl is Mila?
LOUIS: Huh? Aw, man, she's...she's...
KYLE: (Is Louie blushing? He really think he's in love with this girl?) She
was in the lobby earlier, right? Girl with the long hair?
LOUIS: Met her already, eh? She's a looker, right?
KYLE: I guess.
LOUIS: Nothin' changes. You never had much of an eye for the ladies, Hyde.
KYLE: (Huh?) Whoa! Why'd you say nothing changes?
LOUIS: I'm talkin' 'bout YOU, man! You're like some dinosaur stuck in a tar
pit. I know your history, Officer Hyde. You only fall for chicks with...ya
know...Issues.
KYLE: How's that?
LOUIS: Sure! Detective Kyle Hyde of the fightin' 89th and his whacked-out
lady lover... All us street rats knew the story, man. It was famous.
KYLE: Really?
LOUIS: ...Yeah. Guess I shoulda kept my head hole shut, huh?
KYLE: Probably.
KYLE: When was this incident?
LOUIS: ...When? I heard it was ten years ago.
KYLE: Tell me about the incident.
LOUIS: ...Hmm. This stuff still interest you? Even though ya ain't a cop
anymore?
KYLE: Guess so. Crimes and criminals still get my blood going. You don't just
walk away. No one does.
LOUIS: Ha! Still the same ol' Officer Hyde! Ya know, you look real weird
without a badge and a gun, man. You always seemed like a "cop for life" kind
of cat, ya dig?
KYLE: Yeah. So about this incident. What happened?
LOUIS: I heard about it from this gabby guy over at the newspaper stand.
Seems a man and his daughter stopped here for a night, yeah? Then, in the
middle of the night, the girl disappeared.
KYLE: She disappeared?
LOUIS: Yeah. Kid was only ten years old, too. Father looked all over for
her, but the sun came up and she was still gone. Later on, the cops got a
mysterious letter... It told 'em where they could find the girl's body.
KYLE: Did they find the girl's body?
LOUIS: No, that's the crazy part. Guy told me they didn't find squat. No kid,
no crook, no nothin'. Thing's still unsolved.
KYLE: ...That so?
LOUIS: Yep. And after that, the stories started. The murdered chick's ghost
appears at night and...acts scary or whatever. Might have been a crock, but
it kept folks away and bankrupted the place.
KYLE: (Bankrupted the place?) Now we're getting somewhere. Place went under,
huh?
LOUIS: Yeah. Bottoms up. Place was deserted till Dunning rolled in 'bout
five years ago. He picked the place up for nothin' and bam! Hotel Dusk is
open for business. Anyways, that's all I know. Dunning and Rosa don't like
to talk about it.
KYLE: Lot of things get left behind?
LOUIS: Yeah, tons. Some of it's worth pretty good dough, too. Don't worry,
man, I don't touch any of it. It all gets kicked up to old man Dunning.
KYLE: Well, it's his joint.
LOUIS: Yeah, he keeps all the lost and found stuff in his office. Doesn't
trust anyone else, I guess.
KYLE: (Lost and found items are kept in the office, huh? Good to know.)
LOUIS: Yo, Officer Hyde! Lemme ask ya somethin'!
KYLE: What?
LOUIS: So you quit the beat and left the city, yeah? You come all the way
out here to avoid cats from your past?
KYLE: That's part of it. But I was born out here, too. My mom and I only
moved to New York after my old man passed. Figured I could use my old
contacts to get back on my feet.
LOUIS: Yeah, I dig.
KYLE: And, well...
LOUIS: Well, what? Don't leave me hangin', man!
KYLE: I'm looking for someone.
LOUIS: Lookin' for someone? Get outta here! You ain't a cop no more!
KYLE: Not like that. It's just a guy I used to work with who went missing.
LOUIS: A guy you worked with? What, like a cop?
KYLE: Yeah, my ex-partner, Bradley. Don't think you ever had the pleasure.
LOUIS: Bradley, huh?
KYLE: Yeah.
LOUIS: Why's he missing?
KYLE: He got shot at the docks three years ago and took a dive in the Hudson.
LOUIS: Three years ago?
KYLE: Something wrong?
LOUIS: No, no! Not really. No. It's nothin'. But ya know... If the cat's been
outta sight for three years... Well, kinda safe to assume he's dead. Ain't it?
KYLE: No. He's alive.
LOUIS: Hey, I know you guys were tight and all, so you want him to be alive...
But you gotta let go. Dead is dead, right?
KYLE: (Want's got nothing to do with it. He's alive. I know it.)
LOUIS: But lemme tell ya... Having a compadre wink out or skip town's a total
drag, ain't it? I understand. You and me? We're the same.
KYLE: (...Huh?) Wait, Louie. What do you understand?
LOUIS: ...
KYLE: What?
LOUIS: We're the same, man. I had me a buddy died three years back. That's
all. Hey, I gotta split. You'd better get outta here, too. I told ya, man.
This place ain't for guests, ya dig?
KYLE: I dig.
[Louie finishes talking and hurries out the door.]
<Kyle checks the shelves.>
[Whoa, that's not a sheet. It's a nudie mag. I've seen that dame on the cover
before. Says her name's Cecily Lee...]
[I found a men's magazine on a shelf in the linen closet.]
KYLE: (The actress Cecily Lee is the cover girl for this issue. December
issue of a mag with Cecily Lee on the cover... This must be the magazine
on Ed's list.)
<Kyle searches the locker in the linen closet.>
[There's a locker on the wall. It's unlocked. There's a toolbox on a shelf
in the locker.]
<Kyle looks in the toolbox.>
[What's that? A crowbar?]
KYLE: (Nice. I got a crowbar. Never know when you might need one of these.)
[Lucky me. It's a screwdriver.]
KYLE: (Never pass up the chance to get a screwdriver. I bet I'll be happy I
found this before all's said and done.)
[There's a pair of pliers in here.]
KYLE: (I picked up a pair of pliers. These should come in handy somewhere.)
<Kyle leaves the linen closet.>
KYLE: Guess I'll go check out the office.
[05:40 PM]
<Kyle walks down the hallway. A door opens.>
KYLE: ...Huh?
[A door near the stairs opens and someone peeks out.]
HELEN: Yoo-hoo? Pardon me, young man!
KYLE: What? Me?
HELEN: Yes, that's right! I was wondering if you could be a dear and help me?
Do you know what time the restaurant opens?
KYLE: (It's that old lady from downstairs.) Yeah. Six o'clock. So it's still
closed. You might want to stay in your room. Don't want you to climb stairs
if you don't have to.
HELEN: ...Is that so? Oh! Thank you so much for your kindness, young man.
My name is Helen Parker.
KYLE: (Helen Parker...)
HELEN: Forgive me for asking, but what is your name?
KYLE: Kyle Hyde.
HELEN: And what room are you staying in, Mr. Hyde?
KYLE: 215.
HELEN: Ah! So you're the rascal who's staying in Wish!
KYLE: Wish?
HELEN: That's right. It's such a nice name for a room, don't you think? I'm
in Room 212. It's called Angel.
KYLE: (I guess old ladies like the names. Least that's something...) Sure.
It's a good name, I guess.
HELEN: It is at that, isn't it?! Well, Kyle Hyde, thank you for taking the
time to speak with this old woman. Please excuse me, dear.
[The old woman with the eye patch turns and shuffles back to her room.]
<Kyle goes back to his room and examines the hanger on the wall.>
[This hanger's attached to the rack. It's a wire hanger.]
KYLE: (I bet this thick wire will come in handy.)
<He uses the pliers to cut a piece of wire from the hanger.>
KYLE: I cut it to the right length. (Now I've got a thick piece of wire.
Let's see if I can get the suitcase unlocked with this.)
<Kyle goes to his suitcase and picks the lock.>
KYLE: (Here we go... That got the lock open.)
[I take my cash out of my suitcase.]
[I hid the client list in my suitcase.]
<Kyle walks down to the main office and knocks. Door opens.>
DUNNING: That you, Hyde?
KYLE: Yeah.
DUNNING: Ya come to pay yer bill?
KYLE: Yeah. How much?
DUNNING: Forty clams.
KYLE: Here.
DUNNING: Forty on the nose. Oh, and I heard all about yer hassle! Sorry 'bout
that.
KYLE: (Sorry about what?) ...Hey. What're you talking about?
DUNNING: The mix-up with yer package! Rosa told me that Louis brought ya the
wrong one!
KYLE: Oh. That. Yeah, he screwed that up. If it weren't for that guy Summer,
who knows what would've happened?
DUNNING: But yer package got to ya in the end, right?
KYLE: I guess.
DUNNING: Good, good. Just glad t'hear that ya finally got it. That damn
Louis is just one screwup after another. Next time he does somethin' like
that, he's gone! But right now I'm busier'n a one-legged man in an ass-kickin'
contest. So firin' him will hafta wait for a bit.
KYLE: Too bad.
DUNNING: Lemme make it up to ya... Dinner's on the house tonight! And just
listen to what the Moonlight Grill's got on the menu... Rib eye steak with
fresh garlic butter! And that's a class steak, too! Rosa may run her mouth,
but she's a helluva cook! I'll even have her throw in dessert for ya. Oh, and
by the way... I'm gonna close up the office and head back to my own room for
a spell. Ya need anything, it'll have t'wait till later.
[Dunning finishes, then turns and walks down the hall.]
<Kyle goes to the 2nd floor and knocks on Helen's door. She answers.>
HELEN: Oh, it's you! The young man from before! ...Now, what was your name
again?
KYLE: Kyle Hyde. From Room 215. Wish?
HELEN: Yes, yes, I remember now. What can I do for you?
KYLE: I'm curious why you're staying in a dump like this.
HELEN: Oh, I see. Well, if you must know, I've some dear memories of this
hotel.
KYLE: What kind of memories?
HELEN: Eh heh heh! That's a secret, young man! The best memories are the ones
you keep locked up in your private heart. That's what makes them special.
They're not the sort of things you share easily. So polite! Are you sure
there's nothing else?
KYLE: No, I'm afraid not.
HELEN: ...I see. Well, please excuse me then.
[Helen closes her door.]
<Kyle goes back downstairs and into the office.>
KYLE: (Guess I should nose around the office while Dunning's out.)
<He looks around.>
KYLE: (...Where's he keep the lost and found stuff? Might as well check the
guest register, too. See if I can find any info on the other me who stayed
here.)
[There's a notebook and a card on the desk. The cover of the notebook says
Supervisory Log. Got some stuff written in the notebook.]
KYLE: December 26: Tidied up the cabinets. Put things left by guests into
Drawer "3." Put guest registration cards into Drawer "A."
[There's a card on the desk.]
KYLE: It's a birthday card.
[There's a message written on the card. "Happy Birthday to my dearest Jenny!"
There's a calendar on the left side of the desk. December 5th is circled on
the calendar.]
KYLE: It's circled...
<Kyle checks the walls.>
[Dunning's got all the room keys hanging on the wall. There's no key for Room
215.]
<Kyle checks a drawer in the cabinet with the TV.>
[The file case in the drawer is full of registration cards.]
KYLE: Might not be a bad idea to take a peek at these cards. ...Yeah, here
it is.
[The name Kyle Hyde is written on one of the registration cards.]
KYLE: Stayed in Room 217 on June 30th, 1979. (Dunning wasn't screwing with me
after all. There really was a guest with my name.)
<He checks the large filing cabinet.>
[There's something stuck under the corner of the cabinet. There's some kind
of memo stuck under the cabinet.]
KYLE: What's this?
<He uses the crowbar to lift the cabinet and grabs the paper.>
[I got the memo. There's a bunch of dots and numbers on the memo.]
KYLE: (I don't get it... What's this supposed to mean?) Maybe if I connect
the dots...
<He figures out what the memo means and checks the large cabinet again.>
KYLE: This looks like Cabinet 3. Yeah, this is Cabinet 3 all right.
[There's a combination lock on the cabinet.]
<He unlocks the cabinet.>
KYLE: That's it!
[The cabinet's open.]
<He looks in the drawer.>
[There's a small red box in one of the cabinet drawers. I got the small
red box.]
KYLE: (This must be the box that was on the order sheet. Nice. That's
everything I was supposed to find.)
<He leaves the office.>
LOUIS: Heya, Officer Hyde. What's shakin'?
KYLE: Oh, look. It's Louie.
LOUIS: Man, I didn't even see you! Where were you hiding?
KYLE: What do you want?
LOUIS: Did you just pop outta the office, man? What were ya doin' in there?
KYLE: Business.
LOUIS: Business? What're ya talkin' about?
KYLE: What're you worried about?
LOUIS: No, seriously, man. What were you doin' in the office? You and ol' man
Dunning... You weren't... Ya know... You weren't talkin' about me, were you?
KYLE: About you?
LOUIS: Yeah, man. You know, chattin' 'bout my history in the city... You
weren't filling Dunning's head with a buncha garbage 'bout ol' Louis, were ya?
KYLE: Relax, Louie. We weren't talking about you.
LOUIS: Whew! Thank goodness for that, my man! I was gonna have a total
freak-out! Officer Hyde?
KYLE: Yeah?
LOUIS: You told me you quit the force and started sellin' junk, right? Were
you serious?
KYLE: ...Yeah. I'm serious.
LOUIS: Really? Officer Hyde? Gotta tell you, my man, you don't act like any
salesman I ever seen.
KYLE: ...
LOUIS: So why'd you quit being the Man in the first place? I know you said
you were canned, but... What'd ya do to lose your badge?
KYLE: Well...
<Flashback to police station. Phone rings. Kyle answers.>
KYLE: This is Hyde.
VOICE: Bad news, Hyde. It's Bradley. He...
KYLE: What the hell?
<He shoots Bradley. Flashback ends.>
Louie: Hey, what gives?
KYLE: I screwed up a case.
LOUIS: Oh, trip, man!
KYLE: It was three years back. My partner and I were working a case. We were
investigating a series of art thefts.
LOUIS: ...Art thefts? You talking 'bout that crime ring?
KYLE: Ever hear of Nile?
LOUIS: ...Did you say Nile?!
KYLE: (That hit a mark.) Hold it. That something you knew about?
LOUIS: Is the pope Catholic? Yeah, I knew. So you were undercover?
KYLE: No. I was in the office, pushing paper and drinking bad coffee.
LOUIS: Wait... So it was that OTHER detective what was runnin' with Nile?
KYLE: Yeah.
LOUIS: Oh, wow, man. Trip...
KYLE: What're you mumbling about now, Louie?
LOUIS: I never thought meeting up with you again would clear up that...
It all makes sense now. Yeah... So that's how it was?
KYLE: (I may have to slap him around if he doesn't start making some damn
sense...) Wait a second. You just have a revelation there, Louie?
LOUIS: It's...it's nothing, man.
KYLE: Spill it.
LOUIS: ...Got nothin' to say, man!
ROSA: LOUIIIIIIS! LOUIS DENONNO!
KYLE: ...Huh?
LOUIS: Aw, crap!
ROSA: So this is where you've been wasting your time? I knew it! Lazy bum!
LOUIS: ...Aw, man, she found me.
ROSA: Found you?! How about "I'm sorry, Rosa" or "Please don't kill me, Rosa"?
You haven't finished setting the tables, you lazy bum! It's almost time to
open!
LOUIS: I...I was just on my way! Don't trip out! You're gonna pull something.
ROSA: You're so worried about me? Get your behind in gear and finish the job!
LOUIS: Yeah, yeah, yeah, all right! All right! Just shut up already!
ROSA: Move it! And don't you tell me to shut up!
LOUIS: OK. I'm going! Man...
[Louie leaves.]
KYLE: ...Hasn't changed a bit.
ROSA: ...Eh? Hasn't changed?
KYLE: Yeah.
ROSA: ...Hmm.
KYLE: (Uh-oh. I don't like that noise...) ...Hey. What're you thinking about?
ROSA: About you and Louis.
KYLE: C'mon. What're you thinking about?
ROSA: Say, you wouldn't happen to...
KYLE: Happen to what?
ROSA: Happen to know Louis from somewhere else? You do! Don't you?
KYLE: Nope.
ROSA: Don't try and fool Rosa, mister. You can't do it! I know things! I heard
you and Louis talking, you know?
KYLE: Oh...
ROSA: I'm right, aren't I? Don't start lying to me now! I couldn't hear WHAT
you were talking about, but... I did hear Louis call you "Officer Hyde."
What's that, huh? Officer? There's no mistaking that, and for a fact!
KYLE: That so? Well, I guess the gig's up, isn't it? Yeah, Louie and I know
each other.
ROSA: Aha! I knew it!
KYLE: What now?
ROSA: It's nothing. Really! I just thought if you and Louis knew each
other... I thought I could ask you something.
KYLE: Go ahead.
ROSA: Well, see... Oh, this is so awkward... Well, I really want to ask
about... Louis's past.
KYLE: His past?
ROSA: That's right! His past! You know, what he was like before? You knew
him, right? So you could tell me what he did before he started working here.
C'mon, talk to me!
KYLE: His past? Why?
ROSA: Well, it's obvious, isn't it?! He's hiding something, I just know it!
KYLE: Hiding something? What do you mean?
ROSA: It's been almost three years since Louis started working here. And in
all that time, he's never once talked about his past. Not ONCE. He's hiding
something. I can smell it! Always can!
KYLE: Oh yeah? So what's he hiding?
ROSA: Something terrible! I'd stake my mop on it!
KYLE: Define "terrible."
ROSA: You know! A criminal record, or an ex-wife, or running from the law or
something. I mean, he's just so shifty!
KYLE: (...Shifty?) Got a second? You think he's shifty?
ROSA: Oh, no doubt about it. Rosa has a nose for these things! That boy's got
a criminal record for sure! No doubt!
KYLE: Huh?
ROSA: What's wrong with you? Why do you look so surprised?
KYLE: What's wrong with YOU?!
ROSA: ...What? What're you talking about?
KYLE: A woman of your stature--
ROSA: What's THAT supposed to mean?!
KYLE: You heard me. C'mon. You're a mature woman, right? Good judge of
character?
ROSA: As a matter of fact, yes. I am. What's that got to do with the price
of tea?
KYLE: It's just that when a woman like you says a guy like Louie is a
criminal... It's a bit surprising, is all. I expected more from you.
ROSA: What on earth do you mean, Mr. Hyde? Am I wrong? Is that it? I'm wrong?
KYLE: You're wrong. Look, Louie's a nice guy, but he's a dope. Not a crook.
Sure, he's a slacker who plays the angles, but he's not out to hurt people.
He's just a small-time guy who worked a greasy pizza joint in the East
Village. And he hasn't changed a bit. Just doing what he needs to do to
skate by.
ROSA: Really? So that's it? Well, I never suspected... I'm... I'm sorry for
wasting your time.
KYLE: The date December 5th mean anything to you?
ROSA: December 5th? Hmmm... Lemme think on that for a sec... December 5th...
Well, my birthday's June 30th! And I'm pretty sure Dunning's is October 8th...
Sorry! Doesn't ring a bell.
KYLE: ...That so? Who's Jenny?
ROSA: Jenny? I don't know anyone named Jenny. Well, I've got to get a move on.
Dinner won't wait, you know! Busy, busy, busy...
[Rosa finishes talking and scurries away.]
<Kyle's pager goes off.>
KYLE: ...My pager. I gotta give Rachel a call.
<Kyle goes to his room.>
[Guess I should give Rachel a call.]
<He phones.>
Rachel: Hello, Red Crown.
KYLE: It's me. You paged me.
Rachel: Sure did, sweetie!
KYLE: What is it?
Rachel: Let me put Ed on.
ED: Hyde! Tell me something, will you? There a kid named Louis DeNonno working
there at the Hotel Dusk?
KYLE: DeNonno? Yeah, he's the bellhop. I knew him from back in the day. Said
he left the city and drifted out here 'bout three years ago.
ED: You know the kid, huh? What's his story?
KYLE: Just a punk who used to ride the subways picking pockets. Can't tell you
how many times I busted his ass. Why? What's going on?
ED: I just got back from meeting a buddy of mine. He's LAPD. Guy heads up
their Nile task force, and he said--
KYLE: Wait, hold it. You've got friends on the Nile case?
ED: Yeah, I know some guys working on it. Don't get your panties in a bunch.
Anyway, we're having a drink, shooting the breeze, and he mentions Hotel Dusk.
Then he tells me about some scuzz named Louis DeNonno who's working there.
Seems Nile's been looking for this mope.
KYLE: That doesn't make sense. Louie's small-time. Nile wouldn't care if he
lives or dies.
ED: Well, three years ago a stiff turned up near a warehouse in Manhattan.
Some kid named Danny was up to his eyeballs with Nile, and he got himself
offed. NYPD wrote it off as gangs or Mafia or the like. Hell, you know the
drill: no witnesses, no leads, nobody ever brought in.
KYLE: What's this got to do with Louie?
ED: I'm getting there, Hyde! Relax, will ya?! You sound like my ex
sometimes... Anyway, seems your boy DeNonno's right in the middle'a all this.
The night Danny got aired out, he was the bagman for a buncha payoff scratch.
'Course, when Danny boy buys it, the bribe money vanishes. Word on the street
is Danny was buddy-buddy with your pal, Louie. And here's where it gets good;
after Danny cashes out, Louie vanishes. POOF! So now Nile wants their money
back, and this kid's the only lead. They been looking all over hell and
breakfast, and now we think they found him.
KYLE: They must really be on the hunt if they tracked him to this dive. So if
they know where Louie is, why's he still breathing?
ED: They think he's a patsy. Think there's somebody else calling the shots,
pulling the strings, ya know?
KYLE: Nile... Never thought I'd hear that name in this place.
ED: Total coincidence.
KYLE: I don't know... You think so?
ED: Don't think so. Know so. Oh, and I got another tidbit for ya. The Nile
money that Danny was carrying when he got smoked? They got the cash by fencing
stolen art.
KYLE: ...Hang on. The cash was from that mess Bradley was involved in?
ED: Could be.
KYLE: That would mean Louie...
ED: Yeah, he may have some dirt on Bradley we never heard.
KYLE: ...Huh.
ED: Tell me something, Hyde. You find the stuff on the order sheet?
KYLE: Taken care of. Don't worry about it.
ED: Good. Business before vengeance, ya know? Har har har! Anyway, I'll be
in touch.
<He hangs up.>
KYLE: (Louie's friend was involved with Nile? I think Louie and I need to
have a little chat.
[05:50 PM]
<He heads to the 1st floor.>
KYLE: Huh?
<A door opens.>
KYLE: Someone's coming down the hallway. (...It's Dunning.)
DUNNING: Hey, it's you!
KYLE: Got a sec?
DUNNING: Whatcha need?
KYLE: Where's Louie?
DUNNING: DeNonno? No idea. And speakin' a'him, Rosa let me in on yer secret.
Told me you and DeNonno are old friends.
KYLE: In a way. Look, there's something I need to talk to him about.
DUNNING: That so? He SHOULD be helpin' t'get the restaurant ready. So he's
either in the kitchen or loafin' in his room. I'd put a sawbuck on which...
KYLE: That's quite an employee you have there.
DUNNING: Damned if I don't know it! Anyways, kitchen and his room are both
through the door behind me. If he ain't in the kitchen, I'm sure you'll find
him in his room. I'd go grab him by the scruff'a the neck m'self, but I'm a
bit tied up. Go see what ya can find, will ya? We done here? Good. I'll see
ya around.
[Dunning finishes talking or mumbling or whatever he does and walks away.]
<Kyle goes to Louie's room.>
KYLE: This must be Louie's room.
<Kyle knocks on the door. Louie opens it.>
LOUIS: Huh? Oh, it's you. How's it hangin', Officer?
KYLE: Got a second?
LOUIS: What d'ya want, man?
KYLE: We need to talk, and I don't want any extra ears. Especially not Rosa
or Dunning.
LOUIS: ...Like I got a choice. C'mon in, man.
[I enter Louie's room.]
KYLE: Listen, Louie--
LOUIS: What gives, man? Why you gotta come in here?
KYLE: We need to talk.
LOUIS: Yeah? Well, you might wanna talk, but I don't wanna listen. I told ya,
man, I wanna leave everything in the past. So just...leave me alone, dig?
KYLE: Can't do it. I gotta talk to you, Louie.
LOUIS: Aw, man! What now? You gonna hassle me about old times again or what?
KYLE: When I mentioned Nile, you looked like you were going to be sick. Why is
that, Louie? Speak up. I can't hear you.
LOUIS: ...I don't wanna talk about it.
KYLE: (Yeah, I bet you don't.) Too bad, Louie. Oh, you're gonna talk. You'll
talk, or we'll go 'round and 'round.
LOUIS: I AIN'T TALKIN'! Kick me around or whatever. Makes no difference, man.
KYLE: I know the score, Louie. You don't want to tell me your dead pal was
neck deep in Nile's business. That's it. Isn't it?
LOUIS: Wha--? Dammit, man! How'd you know that?! Who told ya about Danny?
KYLE: I got bad news, Louie. Nile's looking for you.
LOUIS: ...WHAT?
KYLE: (That got his attention...) What is it? That's the straight skinny
from LAPD.
LOUIS: Man! Why this crap gotta happen now? This is why I split New York in
the first place!
KYLE: When your boy Danny took the big sleep, a lot of cash went missing. Nile
thinks you have it. Thinks you bolted town with a briefcase full'a dough.
LOUIS: That's impossible.
KYLE: (Wish it were, Louie...) Keep calm, Louie. So did you boost the dough
or what?
LOUIS: Get off my case, man! I don't know anything 'bout Danny's money!
KYLE: Nile thinks you're a patsy. And until they know who the big man is,
they'll keep watching you. You hear what I'm saying?
LOUIS: ...They're not gonna kill me? At least, not right now? That's it,
right?
KYLE: That's it.
LOUIS: ...This is a trip and a half, man.
KYLE: I bet I know who stole the money Danny was carrying. And it wasn't you.
So who took it?
LOUIS: Man, it was... It was the guy who killed him!
KYLE: I think I know who killed Danny. It wasn't you, was it?
LOUIS: 'Course not! There's no way I'd kill him!
KYLE: So who was it?
LOUIS: C'mon, man...
KYLE: Talk, Louie. If you didn't kill Danny, who did?
LOUIE: ...It was J.
KYLE: J?
LOUIS: Yeah, that's what Danny called him, all right? J.
KYLE: Who's J?
LOUIS: Some cat what works for Nile. He and Danny used to run together.
KYLE: Ever meet him?
LOUIS: No. Just heard about him from Danny. Said J was some kinda
insurance-fraud pro. He'd get an art collector to insure something for a ton
of cash, yeah? Then Nile would steal the piece, and the insurance money would
roll in. When it was over, Nile sold the art back to the mark for big money.
Danny was baggin' the money from one of those sales.
KYLE: Was Danny working with J when he got whacked?
LOUIS: That's what he told me. 'Course, he told me a lot of things...
KYLE: Why was Danny killed?
LOUIS: ...He got suckered.
KYLE: Suckered?
LOUIS: Yeah. Danny was gonna lift this angel painting from Nile's hideout, ya
know? But all he did was get himself killed. Well, that ain't exactly right...
It wasn't his idea to boost the painting. It was J's.
KYLE: What was this angel painting?
LOUIS: No clue, man. That's just what Danny called it. Some big painting he
found in Nile's warehouse. He was crazy 'bout the stupid thing. Said it was
worth a fortune. Said if we could score it, we'd be set for life. Cars,
clothes, babes, everything.
KYLE: Ever see this painting?
LOUIS: Naw, just heard Danny run his mouth about it.
KYLE: Why'd you leave the city? Let me guess. Was it because Danny got killed?
Had to get outta the city 'cause your buddy got cut down? That why you left?
Why you fled a crime scene? Don't tell me that had nothing to do with your
little cross-country trip.
LOUIS: ...Had everything to do with it. We had a plan, ya know? A good plan.
If Danny's job went OK, we were gonna blow outta there.
KYLE: Drop everything and run?
LOUIS: Yeah... Least, that was the plan.
KYLE: Why?
LOUIS: I'll tell ya, but you won't get it. Danny and me were a couple'a poor
suckers from the street. No family, no nothing. Just two punks with no future.
Problem is, neither of us had the nerve to make it as big-time crooks. So...
We were gonna go someplace else, ya know? Become new people with new lives.
Yeah... What a couple of losers, right?
KYLE: What happened?
LOUIS: We needed some serious bread to get outta the city. Danny was gonna get
the money by doing one last big job. I tried to stop him, man. Told him it was
too risky. But he wouldn't listen... He always was an idiot.
KYLE: So what was the big job?
LOUIS: At first, it was just lifting this painting, yeah? But things started
gettin' outta control fast. He started talkin' about takin' all kinds of art
stuff they had stashed.
KYLE: He wanted to steal Nile's entire collection? Not smart.
LOUIS: You tellin' me, man? But look, Danny didn't come up with this on his
own. He was just sucked into J's plan.
KYLE: J's plan...
<Louie shakes his head.>
KYLE: ...What?
LOUIS: You don't get it, do ya? You don't understand a damned thing! Not
about Danny, and not about Nile. You're a total washout, man.
KYLE: You sayin' you do?
LOUIS: Yeah, man. More'n you at least!
KYLE: So enlighten me, Einstein. Tell me how smart you are.
<They stare at each other.>
LOUIS: Night Danny died? I was trippin' out 'cause he never showed at the
restaurant, right? So I head over to check out Nile's warehouse. Soon as I
walk up to the door... BANG! Somebody inside fires a gun. I duck down, scoot
over to the door, and take a peek inside... Know what I see, man? Dude in a
long coat with a piece in his hand. Then I look past him... There's somebody
else in the back of the warehouse. Layin' on the ground... It's Danny. Guy
shot him dead. That was three years ago. December 24th, 1976. I'll never
forget it.
KYLE: The guy who shot Danny...
LOUIS: It was J. Danny was just lying there, bleedin' and cryin' and...dyin'.
But I had nothin', man. No gun, nothing. Just had to wait for J to split. By
the time I got to Danny... Too late, man. Guy could barely talk, but he
managed to tell me one thing... Said he'd been tricked. ...Said J was a cop.
Then he actually apologized to me. Said he was sorry he couldn't get us the
money. Dammit, Danny...
KYLE: ...Louie.
LOUIS: Officer Hyde... What ya told me earlier in the lobby? You know, about
workin' the Nile case? The part about the guy working undercover's what done
it. I figured it out, man.
KYLE: What?
LOUIS: Look at this picture.
<He takes a photo from Louie.>
KYLE: This...
LOUIS: Yeah, that's right. Guy in the middle's my buddy, Danny. The guy on
the right...
KYLE: ...It's Bradley.
LOUIS: No. It's J. You dig? You get it now? ...It was YOUR friend, man. YOUR
partner. That's who killed Danny! The cops used him, man. Just a tool in their
little investigation. They used him, and then they killed him when they didn't
need him anymore! And nobody cared, right? Just some dead street punk. What's
that worth to the cops? Nothin', man. Less than nothin'.
KYLE: ...
LOUIS: Your partner gettin' shot on the docks? That was justice, man. He
screwed up his case and got popped by Nile. Got what he deserved. That's
the reason ya got canned, ain't it? Your partner blew it, and the Nile
investigation went out the window.
KYLE: ...No.
LOUIS: No? What d'ya mean, no?
KYLE: I mean you're wrong. About Bradley... Nile didn't shoot him.
LOUIS: But...
KYLE: I did.
LOUIS: WHAT?!
KYLE: Bradley was a busy boy. He double-crossed a lot of people. Including
the police. When I heard, I went after him.
<flashback to police station>
KYLE: <answers phone> This is Hyde.
VOICE: Bad news, Hyde. It's Bradley. He... He's on the take.
KYLE: What the hell?
<He shoots Bradley.>
<flashback ends>
KYLE: Bradley took a dive in the Hudson. Body never turned up. I took the
heat for the shooting and quit the force. But...
LOUIS: ...Whoa. Man, that's heavy. That's a crazy story, man. That dirtbag...
He screwed everybody, didn't he? Even you. You must really hate him. Wait...
you don't think he's dead. Do ya? I get it, Officer Hyde! Yeah, I get it now!
THAT'S why you're some loser salesman! You're looking for J! I mean, Bradley.
<Kyle nods.>
LOUIS: Wow... What a trip... Listen, Officer Hyde, why don't we team up?
KYLE: Team up?
LOUIS: If your story's on the level, Nile's watchin' me and they want me dead.
And I've never even smelled their damn money! Your partner framed me good,
man. It's all his fault. So if Bradley's still alive and kickin'? I say we
grab him and hand him over to Nile.
KYLE: You serious?
LOUIS: Yeah, man. Now that we're on, like, the same team... I'll do whatever,
ya know? Just give the word.
KYLE: Lemme think on that, Louie. I'll talk to you later.
<Louie nods. Kyle leaves the room.>
KYLE: (Bradley murdered his Nile connection and made off with the money. Why
the hell would he do it? Could it be this angel painting? Did he betray us
all for a damn piece of canvas? Bradley... OK, hold on, Hyde. Take it easy.
I gotta get my ducks in a row here...)
<goes to CHAPTER SUMMARY>
Summer dropped off my package, and I checked out the order sheet. While
searching for the things listed there, I ran into Rosa. She was cleaning,
but I learned some news about Louie. Louie's fallen hard for a dame named...
[Mila]
Yeah, that's her. Rosa said Louie's gone gaga for Mila.
When I cornered Louie in the linen room, he told me something interesting.
Said there's been a weird story about the hotel floating around for years.
Seems people are talking about a ghost appearing here. The story got its
start about...
[Ten years ago]
That's right. A young girl was murdered here ten years ago. Case was never
solved.
Louie told me that lost and found items were kept in the main office. I waited
for Dunning to leave, then went in and tossed the place. The thing I found in
the cabinet was...
[A small red box]
That's right. After I figured out how to unlock the cabinet... I found the
little red box I'd been looking for.
When I came out of Dunning's office, I ran into Louie. He wanted to know if
I'd been talking to Rosa or Dunning about him. He was worried I'd told 'em
about his criminal record, but I hadn't. But when I talked to Ed later on, I
learned something new about Louie. That new thing was...
[Nile was after him]
That's right. That's what Ed told me. Louie's pal got murdered, and all the
money he was carrying disappeared.
I decided to track Louie down and get the dirt on why he left Manhattan. I
found him in his room and made him spill his guts. I needed to know why he
decided to leave the streets behind. Louie finally cracked and told me what
was what. Seems there was an undercover cop involved in his friend's murder.
The name of Louie's pal was...
[Danny]
That's right. Louie's buddy was named Danny. Louie told me all about how his
pal got double-crossed by an undercover cop. The cop was investigating Nile.
The cop was Bradley.
Meeting Louie helped me learn some things I didn't know before. That
information brought me a step closer to Bradley's trail. But why did Bradley
turn his back on the force? Why did he betray me? Even after all this time.
I still don't have a clue. Listen, Bradley, I don't know where you're at, or
what you're doing. But I think the answer is somewhere in this hotel. A man
stayed here six months ago. A man with my name. I know you're connected in
some way, Bradley. Tonight, Hotel Dusk's going to show me how.
==================================
3c. CHAPTER 3: DECEMBER 28TH, 1979
6:00 ~ 7:00 P.M.
==================================
<Kyle is back in his room. The phone rings.>
KYLE: Huh? It's the phone.
<He answers.>
RACHEL: Kyle?
KYLE: Rachel? What now?
RACHEL: Hey, sweetie. Who's Bradley?
KYLE: ...What?
RACHEL: After you got off the phone with Ed, I heard him talking to himself.
Well, muttering is more like it. He said something about giving up the search
for Bradley. C'mon, Kyle. Who's Bradley?
KYLE: I can't get into it now.
RACHEL: ...OK, I get it. I won't push you.
KYLE: Thanks. Hey, is Ed there? Put him on, will you?
RACHEL: Sorry, sweetie, but he just stepped out.
KYLE: Figures. Have him page me when he gets back.
RACHEL: Will do. Take care.
<He hangs up.>
KYLE: Maybe he's right. Maybe my search for Bradley is a fool's errand...
'Course, I don't know what I'd do if I gave it up... Other than quit this
miserable job.
<He leaves his room.>
KYLE: (Ah, screw it. I'm hungry. Guess I'll head down to that five-star
restaurant and see what they've got.)
<He goes to the restaurant and sees Kevin and Melissa outside the door.>
KYLE: Oh, look who's here. Wonder what they're talking about.
KEVIN: Melissa!
<Melissa looks away with an angry expression on her face.>
KEVIN: Look at me when I'm speaking to you, young lady! Why would you do that
while we're eating?
MELISSA: But--
KEVIN: But nothing!
MELISSA: Dad--
KEVIN: Don't "Dad" me! I've had it up to HERE with your back talk! For once,
could you just do as you're told and be quiet? I'm so tired of this, and I
don't want to hear any more excuses! Go back to the room. I'll be up in a few
minutes.
MELISSA: ...Dad. Dad... I... I HATE YOU!!
KYLE: (Nice, kid. That'll score you points with the old man.) Hey. What's
going on?
MELISSA: Nuthin'...
KYLE: You got quite a set of pipes there.
MELISSA: Yeah, I'm loud. So? You gonna yell at me, too?
[Melissa turns and runs up the stairs.]
KEVIN: Melissa?
KYLE: Hey.
KEVIN: Yes?
KYLE: Looks like a rough job. Raising kids, I mean.
KEVIN: Oh, yes. Sometimes it is... I'm sorry you had to see that.
KYLE: (You and me both...) Hold it... Don't be sorry. Kids need to be kept in
line, right?
KEVIN: Well, yes, but... I'd rather not be seen scolding my daughter in public.
KYLE: It happens. What's your name?
KEVIN: Oh, that's right. We haven't... This is a bit after the fact, but let
me introduce myself. I'm Kevin Woodward. I'm a surgeon at Robbins Memorial
Hospital in Santa Monica.
KYLE: (...Kevin Woodward, huh? Nice name, buddy.) Kyle Hyde. I'm a salesman
for Red Crown.
KEVIN: Kyle Hyde?
KYLE: Yeah.
KEVIN: Kyle Hyde... Interesting...
KYLE: (What's the big deal?) Now what? You got a problem?
KEVIN: No, no! It's nothing. I just thought I'd heard your name before. That's
all. Have we perhaps met before?
KYLE: Nope. First time.
KEVIN: Of course it is. Of course... I'm sure my memory's just playing tricks
on me. Please forgive me. By the way, Mr. Hyde... It seems you've spoken with
my daughter Melissa on previous occasions. Would you mind telling me what
sort of conversations you had?
KYLE: What do you mean?
KEVIN: I was just hoping she hadn't bored you or...told you anything...um...
KYLE: Just spit it out, will you, pal?
KEVIN: Well...specifically, I was wondering if you had talked about her
mother. If you didn't talk about anything in particular, that's fine, too.
KYLE: You know somebody with my name?
KEVIN: No, I think one of my patients may have had a similar name, but...
I'm sure my memory's just playing tricks on me. Yes, that must be it...
After all, we just met for the first time, yes?
KYLE: Why are you asking about her mother?
KEVIN: Well, if Melissa didn't mention anything, then it's nothing to worry
about.
KYLE: She told me her mom can't come home. Is that what this is about?
KEVIN: So she brought it up after all...
KYLE: Yeah. She also said that you're taking her to see her mom. This supposed
to be a secret?
KEVIN: ...Oh, no, nothing like that. It's just...
KYLE: (Talkin' to this guy's like pulling teeth from a grizzly...) ...Yes?
You worried about something?
KEVIN: Well, yes. Maybe a little...
KYLE: What is it?
KEVIN: I doubt you're the type to believe everything you hear, but...
Melissa's just a child. Don't put too much stock in what she says. I'm sorry
for rambling. If you'll excuse me?
[Kevin leaves.]
<Kyle enters the restaurant door.>
LOUIS: Good evening...uh...sir. Welcome to the Moonlight Grill.
KYLE: I like the "sir." That's a nice touch.
LOUIS: C'mon, brother, don't hassle me! I'm just doin' my job.
KYLE: You the host for this restaurant, too?
LOUIS: I told ya! Dunning's a total slave driver. Sun goes down and I gotta
run this place and the bar, too. Anyway, we got a table ready. Tonight's
special is a big steak with some kinda weird garlic butter.
KYLE: I could go for a steak. The grub any good here?
LOUIS: Better'n ya'd think. Rosa's an old windbag, but she knows which end
of the spoon to use.
KYLE: All right, I'll take the steak. And some spuds and eggs, too. Hash brown
potatoes, eggs sunny-side up.
LOUIS: Damn! Sounds good, man!
KYLE: I'm hungry.
LOUIS: Oh, wait! I gotta ask before I forget again. Anything wrong with your
room?
KYLE: Wrong?
LOUIS: Ya know? Lights don't work or the water's messed up or rats or
whatever?
KYLE: Nope. Everything's aces.
LOUIS: Cool. Good to hear. Some of the rooms on the second floor are messed
up, ya know? Dunning ain't let anyone stay in 'em for six months now.
KYLE: (That's odd...) Hey. You've had rooms out of commission for the past
six months?
LOUIS: Yeah, they're all messed up. Total holes. 'Course, Dunning won't fix
'em. Says it's a waste'a dough. Guy's like Scrooge, only fatter and meaner.
KYLE: Which rooms?
LOUIS: Let's see...217, 220, and 218.
KYLE: (Three rooms that aren't being used, huh? Better write that down in the
ol' notebook. I can't remember crap.) So Room 217's on the fritz?
LOUIS: Yeah. Ain't been touched in six months or so.
KYLE: Really? (Six months, huh? Seems like a long time to let a room sit
there...)
LOUIS: What's goin' down?
KYLE: I know that room. That's where the guy with my name stayed.
LOUIS: No way, man! How'd ya find that out?
KYLE: I looked at the guest register.
LOUIS: Ya did? How?
KYLE: I broke into Dunning's office.
LOUIS: ...Aw, man. Ya gotta be pullin' my chain. Ya broke into the office?!
Why'd you go and do a thing like that?
KYLE: I think the guy with my name was Bradley.
LOUIS: Get outta here!
KYLE: It's a hunch, but I think I'm right.
LOUIS: Look, man... Even if you're right? Ya can't just go runnin' around
the hotel like your ass is on fire! Chasin' clues is one thing, but this is
crazy! You ain't a cop no more! Ya can't be pickin' locks and breakin' doors
and all that! If Dunning finds out, he's gonna totally trip out.
<Kyle looks abashed.>
LOUIS: C'mon, man! You need to know anything 'bout what happens here, just
ask me. You hear me, brother?
KYLE: I hear you. All right, I got something for you. Get me into Room 217.
LOUIS: Huh?
KYLE: I want to poke around in there.
LOUIS: Poke around? That special cop lingo? Yeah, all right, man. I'll see
what I can do. Dunning keeps all the room keys locked up, so I gotta wait
for the right time. But don't worry! There's one thing I know, it's boostin'
stuff from old people.
KYLE: Do it. So where's the bar?
LOUIS: Straight down the hall, my man. Look for the Seven Stars sign. Bar
opens at nine. Wanna grab a drink with me later?
KYLE: Depends. You got any decent bourbon?
LOUIS: Yeah, booze is one thing Dunning don't skimp on. That bar, my man,
is well stocked. Got a whole buncha Kentucky gentlemen to introduce ya to!
KYLE: Sounds good.
LOUIS: Hell yeah it does! I ain't had a decent drinkin' buddy in forever, man!
Restaurant's in the back, around the corner. One of the center tables is open.
Go ahead and sit there.
KYLE: Right.
<He goes to the restaurant and sees Iris standing right outside, looking
troubled.>
KYLE: (What's the princess want now?)
IRIS: Ah...
KYLE: (Huh?) Hey. What's wrong?
IRIS: Oh, Mr. Hyde! You...you scared me.
KYLE: What're you daydreaming about? You never heard me coming, did you?
IRIS: Oh, I'm sorry. Something awful happened, and now I'm depressed.
KYLE: (This is a high-maintenance dame...) Yeah? What's wrong?
IRIS: Tell me, Mr. Hyde... Have you ever been hated by someone?
KYLE: Once or twice. Why?
IRIS: I can't BELIEVE what she said to me! She said she HATED me! She told me
to go away! Can you imagine?
KYLE: Someone tell you they didn't like you?
IRIS: Yes! And I've never had that happen to me before. It was such a shock...
It's that awful child's fault. I doubt I'll ever recover.
KYLE: What are you talking about?
IRIS: Just what I said! It's all that girl's fault! Did you see a young girl
on your way here?
KYLE: A young girl? You mean Melissa?
IRIS: Is that her name? Melissa?
KYLE: Yeah. What'd this young girl do to you?
IRIS: I merely spoke to her! That's all I did, you must believe me! And do
you know what she did? She threw her rag doll at me and ran off!
KYLE: So why'd she throw a doll at you?
IRIS: I'm sure I have no idea! Probably raised by wolves or hippies or the
like... But I swear to you, I did NOTHING to provoke the little hellion. She
had an adorable handmade doll, and I just asked her who made it.
KYLE: That's it?
IRIS: Yes, that's it! I didn't say anything that could be construed as rude
or mean. That's why I was so surprised! I've never had a child treat me like
that before.
KYLE: (Huh?)
IRIS: It was truly shocking! You understand, don't you? Surely you do!
KYLE: Sure. Why not?
IRIS: I'm glad I had the chance to talk to you, Mr. Hyde. I'm feeling a bit
calmer now. If you'll excuse me?
[Iris finishes talking and saunters off.]
<He enters the restaurant.>
KYLE: ...Huh? What's that?
[There's something on the chair.]
KYLE: Huh? This is...
[I found a rag doll.]
KYLE: So this is it? This is the doll Iris was talking about? (Melissa
must've forgotten it. Guess I'll run it up to her later. Might as well jot it
down in my notebook so I don't forget.)
[I sit down at a table in the middle of the restaurant.]
KYLE: (Guys like me get used to eating at odd times but... I haven't had
dinner this early in a long while.)
ROSA: Sorry to keep you waiting. Busy busy, you know? Anyway, here's your rib
eye steak, Mr. Hyde! And you also ordered hash browns and eggs sunny-side up,
right? This steak was seared with salt, pepper, and my own homemade garlic
butter. Smells delicious, doesn't it? It sure does!
KYLE: Yeah.
ROSA: Enjoy!
[Rosa places my dinner on the table and walks away. There's a huge plate on
the table. It's filled with chow. It all looks delicious.]
KYLE: Smells good...
<He finishes eating.>
KYLE: Oh... That was fantastic.
ROSA: Are you finished?
KYLE: Huh?
ROSA: I'll take your plate now if that's all right. Is it? I'm sure it is!
Well look at that! You joined the Clean Plate Club! Not a crumb left!
KYLE: Thanks, Rosa. That was delicious.
ROSA: Well, isn't that nice to hear?! It does my heart good to see a man eat!
Oh, and this dessert is from Mr. Smith. It's his way of apologizing for the
mix-up with your package. It's another house specialty. Tea chiffon cake!
KYLE: Sounds great.
ROSA: Take your time, no need to rush! Enjoy your food!
[Rosa leaves the cake on the table and walks away.]
KYLE: That's quite the cake...
<He finishes eating.>
MARTIN: Mr. Hyde?
KYLE: ...Huh? (Oh. It's Summer. ...Bet he wanted a bite of my cake.)
MARTIN: I'm sorry to interrupt your meal, but may I have a moment of your
time?
KYLE: ...Sure, why not. I'm too full to run away.
MARTIN: Er...yes, quite. Actually, it's about the package mix-up we had
earlier. I was curious as to whether or not there was something else inside
the box. Something other than the notebook, that is.
KYLE: Something else?
MARTIN: Yes, something that you may have overlooked. Something small? It's
possible it fell into the box during transport. It was supposed to have been
placed within the pages of the notebook. Mr. Hyde, would you mind searching
that box for me one last time?
KYLE: Something small? Like what?
MARTIN: A bookmark.
KYLE: What kind of bookmark?
MARTIN: It's quite small, and it has a picture of an angel on it.
KYLE: Sounds lovely.
MARTIN: Yes, it is quite lovely. It is a blue bookmark with a ribbon.
Please do remember to look for it, Mr. Hyde.
KYLE: So what was written in that notebook?
<Martin looks shocked.>
KYLE: I saw the title on the front. The Secret Word, wasn't it? Is it a book
or a manuscript or something like that?
MARTIN: Mr. Hyde, did you see fit to read the contents of my notebook?
KYLE: I'm not much of a reader. I just looked at the cover.
MARTIN: ...I see. That is for the best.
KYLE: (What's this guy so worried about?)
MARTIN: My bookmark is in your hands, my good man! Excuse me.
KYLE: Sure.
[Summer leaves.]
KYLE: (Can't forget that bookmark. Grief from the talking blimp's one thing
I don't need. I'll just drop a line in my notebook so I don't forget.)
ROSA: Are you finished?
[There's someone yelling behind me.]
KYLE: Huh?
ROSA: How was the cake? Was it good? I sure hope so!
KYLE: It was fantastic, Rosa. Best meal I've had in ages.
ROSA: That's so nice to hear. Many thanks. By the way... The man who was just
here is the guest in Room 211, right? Mr. Summer?
KYLE: Yeah.
ROSA: He seems so familiar...
KYLE: He's some kind of writer.
ROSA: What? A writer?
KYLE: Yeah, pretty famous, too. At least in his own mind...
ROSA: Hold it! Martin Summer... Martin Summer... Oh, I'm such a fool! How
could I have not realized? It's so obvious!
KYLE: What're you talking about?
ROSA: I saw his name on the register and recognized it, of course, but... I
never thought it was THE Martin Summer!
KYLE: (Yeah, who knew?) ...Hey. What do you mean, THE Martin Summer?
ROSA: It really IS him! Now I'm sure of it! Martin Summer is staying here!
THE Martin Summer! Oh, this is exciting! I'm such a fan! I still can't believe
I didn't recognize him! I just assumed it was a guest with the same name.
I tell you, I'm a world-class fool! Such a fool!
KYLE: So. You're a Summer fan, eh?
ROSA: Oh, I'm not crazy or anything, but yes. I enjoy his books.
KYLE: So what kinda writer is Summer, anyway?
ROSA: Well, his first book came out about ten years ago and won some major
awards. Publishers were very excited. They called him "the maestro of
mysteries." You must have heard of his first book. It was called The Secret
Word.
KYLE: (That sounds familiar...) Oh yeah. Got lucky on the first try, did he?
ROSA: Yes, his very first one was a huge best seller. I remember everyone
talking about it at the time.
KYLE: (...The Secret Word? I know I've heard that name before. Wait. That's
what was written on the cover of Summer's notebook.)
ROSA: It was a very thrilling story. That's it!
KYLE: ...What?
ROSA: I must get his autograph!
KYLE: So what's The Secret Word about?
ROSA: It's about a man who commits the perfect crime! He does so to get
revenge on a friend who betrayed him! Critics called it a gritty descent into
the darkness of the human soul. It's really quite shocking. Oh, listen to me!
Rosa the book reviewer!
KYLE: Revenge on a friend, huh? Hell of an idea.
KYLE: There was a guest a while back who had the same name as me, right?
ROSA: The same name as you?
KYLE: About six months ago?
ROSA: Six months ago? No, not that I remember. Nope, nope. Nothing. I can't
recall another guest by the name of Kyle Hyde.
KYLE: Really?
ROSA: Oh, what am I thinking? I don't have time to stand here gabbing with
you! I've got to go. Busy busy!
[Rosa finishes talking and scurries away.]
<Kyle leaves the restaurant and walks along the hall. He sees Louis with
someone near the entrance podium.>
KYLE: Huh? (It's Mila... What's she doing?) Hey, you got a minute?
MILA: ...
KYLE: What's going on with her?
LOUIS: She wanted to come in and give Rosa a hand in the kitchen, yeah? But
Rosa said she'd just be in the way. Crazy ol' Rosa... Anyway, I was just
tryin' to get her to go back down to Rosa's room.
<Kyle walks a little more forward.>
LOUIS: Yo, babe, it's cool that you wanna help out and all, yeah? I dig ya.
And I know ol' Mama Sass feels the same way. But she's like really busy right
now.
<Mila looks sad.>
LOUIS: Aw, don't look at me like that. You're breakin' my heart, baby! C'mon,
go on back to Rosa's room and hang out for a bit. Please?
<Mila nods.>
[Mila leaves the room.]
KYLE: ...Did Mila actually say anything?
LOUIS: Naw, man, not a peep.
KYLE: (Maybe she can't speak after all...)
LOUIS: Ya think she can't talk or she just don't wanna? I can't tell, man.
Whole thing blows my mind.
KYLE: Who knows?
LOUIS: She's a fox either way, though, am I right? Awoooooooo!
[06:20 PM]
<Kyle goes through the double doors and sees someone at the end of the hall.>
KYLE: ...Huh? That's Mila. What's she looking at?
<He goes up to Mila.>
KYLE: Hey. What're you looking at? Were you staring at that painting?
<Mila nods.>
KYLE: I don't get art. What's so special about this one? It's not that I don't
like paintings... I just don't get it.
ROSA: So this is where you wandered off to! I knew I'd find you somewhere!
[Someone is squawking up a storm behind me.]
ROSA: What's wrong, Mila? Don't look so sad, honey. Listen, Rosa is really
happy that you want to help! I truly am! It's just that there's nothing for
you to do at the moment. You see? I'm used to doing everything around here by
myself! No one helps old Rosa! So when someone actually wants to help, I have
no idea how to use them.
<Mila nods.>
ROSA: You're a good girl, Mila. Now do me a favor and go back to my room and
rest.
[Rosa leads Mila away.]
<Kyle goes to the 2nd floor.>
[Someone's coming down the stairs.>
KYLE: ...Huh? It's Helen.
HELEN: Hello there, Mr. Hyde. Have you already eaten?
KYLE: Yeah.
HELEN: And how is the restaurant fare? I do hope it's tasty!
KYLE: Yeah, it's pretty good. ...Which shocked me.
HELEN: Truly? Well, that certainly is good news! By the way, Mr. Hyde, I have
a bit of a favor to ask of you. Can you spare a moment for this poor old
woman?
KYLE: ...What?
HELEN: I was wondering if you wouldn't mind escorting me to the restaurant.
I had some trouble with my legs recently, and I don't wish to fall on the way.
KYLE: Uh...
HELEN: I don't mean to impose, but I don't know who else to ask.
KYLE: Listen, I--
HELEN: Good! It's settled then. I'll just take your arm...
<They go to the restaurant.>
KYLE: Here you go.
HELEN: Thank you, young man! You're an angel! I think I'll be all right now.
You were such a help, Mr. Hyde. Thank you so much. You're a true gentleman!
KYLE: Don't get me confused with somebody else. I just helped on a whim.
HELEN: Is that so? Well, either way, I'm grateful for the company. As you get
on in years, you'll learn to appreciate simple acts of kindness. I know that
I do.
KYLE: Fascinating.
HELEN: Mr. Hyde? I'm afraid I have another favor to ask you. Would you mind
seeing me again this evening?
KYLE: ...Seeing you?
HELEN: A bit of awkward phrasing perhaps, but nothing to worry about, young
man! I have a feeling you're the sort of fellow with whom I could enjoy a
nice drink. If the idea appeals, I'd like the opportunity to buy you a glass
of spirits. What do you say?
KYLE: A drink, huh? Sure. I never turn down a free belt.
HELEN: Ah, such honesty. That's very refreshing, Mr. Hyde.
KYLE: There's a bar next to the restaurant called Seven Stars. That work
for you?
HELEN: Nicely, I'm sure. I'll be on my way then, Mr. Hyde.
[Helen goes into the restaurant.]
<Kyle goes out into the hallway and heads to the double doors.>
LOUIS: Yo, Hyde!
[I hear someone behind me. ...Wonder who that could be...]
LOUIS: What's up, man? You here for some more grub?
KYLE: No, I was just escorting someone to the restaurant.
LOUIS: Escortin'? What ya talkin' about?
KYLE: The old lady from 212. Her name's Helen. She asked me to help her down
here.
LOUIS: Check you out! Kyle Hyde, savior of the elderly!
KYLE: Shut your head, Louie. I just did your job for you.
LOUIS: Right. Thanks for the solid. Hey, check this, Hyde! Boosted this up
off the floor of the restaurant. It was right under your table, man. It's
your pen, right? I mean, it was under your table and all.
[I take a fountain pen from Louie.]
KYLE: Nope. Not mine.
LOUIS: Really? Figured it had to be yours, man. That's harsh. Wonder who it
belongs to...
KYLE: Look here. There are words carved into the body of the pen.
LOUIS: Oh, hey! You're right, my man! But it's worn down and all the ink's
gone. I can't read it.
KYLE: I can't either.
ROSA: Louis! Louis DeNonno! I need your help right now! Get in here! Chop
chop!
LOUIS: Great. Mama Sass is on my case again. Better go see what she wants
now.
KYLE: Good thinking.
[Louie runs off toward the kitchen.]
<Kyle studies the pen.>
KYLE: (...Hmm. Wonder how can I read this engraving...)
<He goes into the kitchen.>
[There's a busted bag with flour spilled around it.]
KYLE: ...It's flour. Here we go... If I put a little of it on my finger...
<He rubs the flour on the pen and then blows it off.>
KYLE: "To Alan, with love." ...Alan? Who's Alan? Maybe Louie knows.
<He heads back to the podium.>
KYLE: Hey, Louie. I read the writing on the pen.
LOUIS: You did? So what's it say, man?
KYLE: To Alan, with love.
LOUIS: ...Alan?
KYLE: Yeah. Anyone staying here tonight named Alan?
LOUIS: I dunno. I'll have to check with old man Dunning.
KYLE: Do it. I want to find who owns this pen. Hold on to it for a bit, will
you?
LOUIS: Sure, man.
<He gives back the pen. He goes to the 2nd floor.>
KYLE: (Oh, yeah. What about that damn doll? Guess I'll give it back to the
kid.)
<He knocks on Room 219. Melissa opens the door.>
MELISSA: ...Oh. It's you.
KYLE: Got a sec, kid?
MELISSA: My dad's not here.
KYLE: I'm here to see you.
MELISSA: ...What?
KYLE: You forgot something in the restaurant.
<He shows the doll.>
KYLE: This is yours, right?
MELISSA: Oh!
KYLE: It's OK. Take it.
MELISSA: Th... Thank you. My mom made this.
KYLE: Must be pretty important to you.
MELISSA: Uh-huh.
KYLE: Then maybe you shouldn't throw it at people.
MELISSA: OK. Sorry.
KYLE: Where'd your old man run off to?
MELISSA: I dunno. I've been a brat. I'm sure he went somewhere so he didn't
have to see me anymore. He hates me.
KYLE: I doubt that.
MELISSA: Yeah, but he's always all mad at me and stuff.
KYLE: Parents have to keep their kids in line. It's part of the job.
MELISSA: Part of the job?
KYLE: Don't worry about it. See you around.
<Melissa looks sad.>
KYLE: What's wrong, kid?
MELISSA: Don't...don't go. Please? Just stay here until my dad gets back.
KYLE: ...What? Listen, kid, I'm not a babysitter.
MELISSA: C'mon. Pleeeease?
KYLE: Oh, fine...
<He goes in the room.>
MELISSA: I know! Let's do a puzzle!
KYLE: Oh, hell no. I know how this goes...
MELISSA: The puzzle's on the table. Let's play over there!
<He goes to the table.>
[It's a puzzle box. There's a jigsaw puzzle on the table.]
<He finishes the puzzle.>
KYLE: Got it.
MELISSA: Wow! Oh my gosh, you're so great! That was too easy for you, wasn't
it, mister?
KYLE: A little. Hey, squirt, you know the name of the rabbit on this puzzle?
MELISSA: Um... Mister Rabbit?
KYLE: Nope. Bet you made that up.
MELISSA: Yeah.
KYLE: Well, if you care, the rabbit's real name is Pinkie Rabbit.
MELISSA: ...Pinkie Rabbit?
KYLE: That's right. Pinkie had his own cartoon when I was growing up. I bet
your mom watched it when she was a kid, too.
MELISSA: When my mom was a kid?
KYLE: Yeah, your mom and dad were kids once, too. Everybody starts out as a
kid, you know?
MELISSA: Yeah, I guess.
<Kyle nods.>
MELISSA: My mom gave this to me for my birthday.
KYLE: Yeah? When's your birthday?
MELISSA: June 29th.
KYLE: June, huh? So was your birthday fun?
<She shakes her head.>
KYLE: What? What is it?
MELISSA: That's the day my mom left, so...
KYLE: Oh.
MELISSA: Why do you think my mom... Why do you think she never said anything,
huh? Why...why... Why'd she go away?
<She cries.>
KYLE: (Wait a minute... On the back of that puzzle piece...)
<He flips the puzzle over.>
KYLE: (There's a message written on the back of the puzzle! "Good-bye,
Melissa." If she wrote this, she wasn't planning on coming home.)
<The room door opens.>
KYLE: ...Huh?
KEVIN: Mr. Hyde? What are you doing here?
MELISSA: We were playing!
KEVIN: I told you not to let anyone into our room!
KYLE: Hey, don't yell at the kid.
KEVIN: Pardon me, but I've had quite enough of--
KYLE: I let myself in. She didn't do anything wrong. Sorry. Didn't mean to
step on any toes.
KEVIN: Well...as long as you know how I feel, I guess there's no problem...
Now please leave.
KYLE: Yeah, I'm going, but... Let me ask you something. So why did the kid's
mom leave?
KEVIN: Pardon?
KYLE: Wife left you, right?
KEVIN: L-left me?!
KYLE: What did you do? I mean, why'd she take off and leave you and the kid--
KEVIN: Mr. Hyde! This isn't the place to talk about this!
KYLE: (That hit a nerve...) Easy, pal. No need to get in a lather. Keep your
voice down.
KEVIN: ...What?
KYLE: I think you're scaring the kid.
MELISSA: ...Dad.
KEVIN: ...Melissa. Don't look at me like that.
<Melissa stares at Kevin.>
KEVIN: Mr. Hyde, I'm going to ask you to leave now.
<Kyle leaves the room.>
KYLE: (There's something odd about Kevin and Melissa... Oh, right... I've got
to track down that bookmark for Summer.)
[06:40 PM]
KYLE: (Guess I should check out the box Summer's notebook came in. See if a
bookmark's there...)
<He taps the box and a purple thing slides out. He pulls it out all the way.>
KYLE: This must be Summer's bookmark.
[I found a bookmark in the bottom of the cardboard box. There's a picture of
an angel on it.]
KYLE: (So this is the angel, huh? Guess I should take this back to Summer.)
<He knocks on Room 211.>
MARTIN: Ah, Mr. Hyde!
KYLE: Got a minute?
MARTIN: Did you perchance happen to find my bookmark?
KYLE: Yeah.
MARTIN: You did? Splendid!
KYLE: Here's your bookmark. It was in the bottom of the box.
MARTIN: Yes, this is it! Thank you very much, good sir! Thank you again!
KYLE: Hey, there's a picture on the bookmark. You know who did it?
MARTIN: Ah, you noticed! Breathtaking, isn't it. Yes, I'm quite fond of this
particular piece. It's a reproduction of a very famous painting. Are you
unfamiliar with it? The original was painted by a man named Osterzone.
This work is considered to be the pinnacle of his artistic achievements. There
are many rumors surrounding the painter known as Osterzone. In fact, I intend
to use his life story as the basis for my next mystery novel! Yes, I think it
should be quite good, actually...
KYLE: What kind of painter was this Osterzone guy?
MARTIN: Ah, now you come to the meat of it, for Osterzone was a true enigma!
The mysteries of his life, much like those in his art, both entice and
fascinate! We do know that he was a British painter from the late nineteenth
century. And the angel painting you see on this bookmark is his true coup de
grace! It's rumored to have been Osterzone's final work. As a landscape
painter, he had never before attempted the human form. The painting on the
bookmark is his only such piece. It's entitled Angel Opening a Door, and it
is my favorite Osterzone work.
KYLE: (No kidding.) Tell me something, will you? You like this kind of thing,
huh?
MARTIN: Oh, indeed. I'm particularly fond of his masterful use of color. And
the title of the piece is somewhat mysterious, which naturally appeals to me.
The title contains the word door, does it not? And yet no door is visible!
All we are shown is the key in the angel's hand. The angel is about to use
the key to open a door... But what kind of door is it? The painting stirs the
imagination of its viewers. Spectacular, yes?
KYLE: (Osterzone, huh?)
MARTIN: Thank you for locating my bookmark, Mr. Hyde. Good day.
[Summer closes the door.]
<Kyle is back in the hallway. He walks a little way and then hears a knock.>
KYLE: Huh? What's that noise? I think it's coming from behind that door.
<He goes to Room 218 and tries the knob.>
KYLE: Nope. Door won't open.
<He knocks on the door.>
MELISSA: ...Sniff...
KYLE: Hey? Is somebody in there? Who's there?
MELISSA: I'm...sniff...scared...
KYLE: ...Hey! What's going on!
MELISSA: ...I'm so scared!!
KYLE: That's Melissa's voice... Hey! Squirt! What're you doing in there?
You're in 219. This isn't your room!
MELISSA: It's dark and I'm scared... Sniff...
KYLE: Hey, squirt. You OK?
<He goes back to the restaurant podium.>
KYLE: Hey, Louie.
LOUIS: Huh? What, man?
KYLE: Is Room 218 vacant tonight?
LOUIS: Yeah, it's been outta whack for a while. Damn switchboard's on the
blink, so we got no power in there. That's why... Aw, crap! I forgot to lock
the door!
KYLE: What's wrong?
LOUIS: I went in there to get some stuff and forgot to lock up. Aw, no big
deal. I'll take care of it in a bit.
KYLE: Too late.
LOUIS: What, you did it for me? Hey, thanks, brother!
KYLE: No, you idiot. It's too late to lock the door. Melissa locked herself
in there.
LOUIS: WHAT?! Aw, sweet crispy crap! That's a bad scene right there! It's
dark in there, brother. I mean, like REALLY dark. She won't be able to get
the door unlocked, ya know, and then she's gonna freak.
KYLE: She already has.
LOUIS: Oh, crap... We gotta do somethin'! We gotta... Hey, Hyde! Whatcha know
about wires and power and crap like that?
KYLE: Wiring? Why? You want me to tap somebody's phone or something?
LOUIS: Ha ha ha ha! Man, stop thinkin' like a cop, will ya? I need ya to fix
some electrical wiring on the switchboard.
KYLE: Switchboard?
LOUIS: Yup. We gotta fix the switchboard and get power to Room 218.
KYLE: What're you talking about?
LOUIS: We get the lights on, the kid will calm down and unlock the door. Then
we won't have to break the damn thing down. And maybe Dunning won't kill me
for forgettin' to lock up in the first place.
KYLE: Sounds good to me.
LOUIS: Good, man, 'cause I ain't touchin' that stuff! No way I'm gonna get
lit up...
KYLE: You're useless, Louie. You know that?
LOUIS: Yeah, that's what my ma always said. C'mon, let's get to the electrical
room. It's across the hall from my room.
<They go to the electrical room.>
LOUIS: There it is.
KYLE: What do we have to do?
LOUIS: We gotta hit the breaker on the switchboard.
<Kyle goes to the switchboard and flicks the switches.>
KYLE: Got it.
LOUIS: Nice work, my man.
KYLE: I'll get back to 218.
<Kyle goes back to 218 and knocks on the door.>
KYLE: Hey! Open the door!
MELISSA: ...Sniff...
KYLE: What's wrong?
MELISSA: The...the door won't open! I can't get out! The knob won't turn or
anything!
KYLE: Maybe the lock's stuck...
MELISSA: Mister, you gotta open the door! Please! I'm scared!
KYLE: (What should I do... All right, Hyde. You got no choice. Guess I'll
give the old wire another try...)
<He picks the lock.>
KYLE: That's the stuff. (But that's the end of the road for you, wire.)
<Kyle goes in Room 218.>
KYLE: Hey.
MELISSA: ...Hey, mister.
<He walks farther into the room.>
KYLE: Hey, kid.
MELISSA: ...Hey, mister.
KYLE: You OK?
MELISSA: I was s-so scared! It was dark and scary and I couldn't see anything
and I was all alone!
KYLE: Look, I know it was rough back there... But you can quit being scared
now. I got the door open.
<Melissa nods.>
KYLE: (Why the hell'd she come in here, anyway? Wonder what happened. Maybe
I can get her to tell me.) Hey, kid. You're in the room next door. Did you
come in here by mistake or what?
<She shakes her head.>
KYLE: Seriously, why are you here?
MELISSA: 'Cause I don't wanna be with my dad anymore.
KYLE: (Big surprise there...) What's wrong? You having a rough time?
MELISSA: Yeah.
KYLE: What's goin' on?
MELISSA: My dad's a big liar. All he does is lie. All the time. I hate him.
He said I could see my mom, but I can't. He lied about my mom!
KYLE: Being locked in that dark room was scary, right?
<She nods.>
KYLE: But you know who locked you in there? You did. So there's no use crying
about it. You reap what you sow.
MELISSA: ...Reap? That's dumb. What's that mean?
KYLE: Buddy of mine likes to say that. You don't understand what it means,
ask your dad.
MELISSA: No way!
KYLE: Why not?
MELISSA: 'Cause he won't know what it means.
KYLE: (Kid really thinks her dad's an idiot...) Hey. Why do you think that?
MELISSA: 'Cause he doesn't know anything. He said he doesn't know anything
anymore. He said he doesn't know where my mom is... And he doesn't know why
she went away, either.
KYLE: You and your dad came out here to see your mom, right?
MELISSA: Uh-huh. I thought we were gonna see her right away, but we didn't.
Dad said we gotta stay here until we can see her.
KYLE: (Stay here?) Say, kid? Did your dad know about this hotel before?
MELISSA: Yeah.
KYLE: You sure?
MELISSA: Yeah, he had to look for it on a map and stuff. He kept going,
"Where's Hotel Dusk? Where's Hotel Dusk?" So then I asked him what Hotel Dusk
was, 'cause he kept saying it. And he said it was where we could go and find
out where my mom went.
KYLE: Hey. You want to see your mom, don't you?
MELISSA: Yeah.
KYLE: I want you to see your mom, too.
MELISSA: ...OK.
KYLE: And I'm sure your dad wants you to see her, too.
MELISSA: That's not true!
KYLE: C'mon, kid. Cut him some slack.
MELISSA: But my dad doesn't even know where my mom IS! And he lies all the
time. I HATE him! Dad's... Dad's... ...M-Mom... Sniff... Whaaa...
KYLE: Stop it. Stop! Stop crying, for hell's sake! Wipe your face and listen
up! You know why your dad lied about your mom? It's because he couldn't stand
to see you sad anymore.
MELISSA: ...Yeah?
KYLE: Yeah. You were bawling 'cause you wanted to see your mom for Christmas.
Well, your dad didn't want to see you crying anymore. That's why he said he'd
take you to see your mom.
MELISSA: But it was a lie. My mom's not here!
KYLE: Hey, calm down for once! Listen, I know this may sound weird, but
sometimes folks lie out of...sadness.
MELISSA: ...Huh?
KYLE: Your dad's not the only adult to lie. Trust me.
MELISSA: Do you lie, too?
KYLE: Sometimes.
MELISSA: ...Oh.
KYLE: But when you lie, you usually get caught, and then you gotta pay.
MELISSA: Pay how?
KYLE: Even if you think a lie is helping, it usually ain't. Someday that
person'll learn the truth, and you'll have to look him in the eye. You'll have
to see the pain you caused, and that's a hard thing. So I'll make you a deal.
No lies from me. OK?
MELISSA: ...OK.
KYLE: You know why your mom left? It wasn't because of you.
MELISSA: You sure?
KYLE: I'm sure about that. She must have had a good reason.
MELISSA: Really?
KYLE: Parents don't up and leave kids. That wasn't her plan. Something forced
her to go. And that same something wouldn't let her take you with her. Anyway,
that's my two cents.
MELISSA: I bet it was 'cause she was fighting with dad. My mom and dad were
always fighting.
KYLE: Your parents argue a lot?
MELISSA: Only all the time...
KYLE: About what?
MELISSA: I dunno. Everything, I guess. Dad would always say that it wasn't
his fault. Then Mom would say they had to find a way to fix stuff. Then she
would cry. That's how it always went.
KYLE: You're worried about where your mom went, right? Well... I'm sure your
dad has a plan. He's on top of it.
MELISSA: Really?
KYLE: Yeah. He must if he's serious about getting you to see her.
MELISSA: I guess...
<Melissa stares at Kyle.>
KYLE: What's wrong?
MELISSA: I... I know... I'm not a baby. I know the truth...
KYLE: What do you know?
MELISSA: That my mom... That my mom's never coming home. I know you said it
wasn't my fault. And that my mom didn't leave because of me. But you're
wrong. It WAS my fault.
KYLE: Why do you think that?
MELISSA: Because of what I said. I said some...some really bad things. I told
her I hated her, and that I didn't need her.
KYLE: Why'd you say that?
MELISSA: 'Cause they were always fighting! She and my dad were always
fighting, and my mom always looked all scary and mad. I told her I didn't need
a mom like that. And then... That's why she left. I remember the day she left.
She told me my dad was gonna take me to school that day. I asked her why she
wasn't going to drive me, 'cause she always did. But she didn't say anything.
She just looked real sad. So I got in my dad's car and looked at the house
while we were driving. And my mom was looking out the window and watching us.
She was crying. She was looking at me and crying.
KYLE: She was gone when you came home?
MELISSA: ...Uh-huh.
<She cries.>
KYLE: Look, stop crying. Crying's not going to bring your mom home. Get back
to your room. Your dad'll be worried.
[Melissa left the room.]
KYLE: (Wonder why Melissa's mom hit the road. Sounds like there was trouble
in paradise.)
<He leaves the room.>
KYLE: Huh? Isn't that...
<He sees Kevin in the hallway.>
KYLE: Hey.
KEVIN: What is it?
KYLE: How's Melissa doing?
KEVIN: Melissa? I... She's fine. I think she's in our room. Why... Why would
you ask?
KYLE: (Dad of the Year award for this guy...) Because about ten minutes ago
she was in a total panic.
KEVIN: What?! What do you mean? Did something happen to her?
KYLE: She got locked in a room.
KEVIN: What?! Where is she?!
KYLE: Easy. She's fine. I got her out a few minutes ago. I just sent her back
to your room.
KEVIN: Oh, OK. I...I don't know what to say.
KYLE: So where've you been? You know, just out of curiosity.
KEVIN: Uh... I, well... I had to go out for a while. To the roof. I was on
the roof.
KYLE: (The roof?)
KEVIN: If you'll excuse me?
[Kevin went back to Room 219.]
<Kyle goes to the roof.>
KYLE: Huh? Someone's there. It's...
<He sees Iris and walks up to her.>
IRIS: Oh, hello. Is something wrong? Why are you here?
KYLE: What, you own this roof? Knock it off. I just came out to get some
fresh air.
IRIS: That wouldn't be the only fresh thing about you... It's a bit cold, but
it feels nice. Don't you agree?
KYLE: Out here by yourself, huh?
IRIS: Why? Are you lonely?
KYLE: You didn't meet anyone out here or anything?
IRIS: Like you?
KYLE: Like Kevin Woodward from 219.
IRIS: No, I don't know anyone by that name. I've been by myself the whole
time. Not that it's any of your business.
KYLE: That so?
IRIS: Now if you'll excuse me?
[Iris turns and leaves the rooftop.]
KYLE: (I wonder if she was really here by herself... OK, Hyde... Think. Why
did Melissa's mother up and leave. And why would Kevin take his kid to a hole
like this? This whole thing stinks like last week's lunch. Time to organize,
Hyde. Take a second and get your thoughts together...)
<goes to CHAPTER SUMMARY>
In the evening, I went down to the restaurant for dinner. Before going, I ran
into Melissa's dad, Kevin. Kevin asked me about...
[Melissa]
That's right. He wanted to know if Melissa had told me anything special.
I told Louie I wanted to get into Room 217, where the other Kyle Hyde stayed.
Then I sat down and had a delicious meal made by Rosa the Wonder Maid. After
dinner, Summer came by and yapped at me about...
[A bookmark]
That's right. Summer wanted to ask me about the box his notebook was in.
Wanted to know if there was still a bookmark in the box.
There was a picture of an angel on the bookmark I found in the box. It was
based on a painting by a guy named...
[Osterzone]
That's right. It was a painter named Osterzone. The name of the painting
is Angel Opening a Door.
Melissa argued with her dad, then got locked in a room with no power. I fixed
the switchboard, got power back to the room, and got her out of there. The
room Melissa was locked in was...
[Room 218]
That's right. Melissa got herself locked in 218.
While Melissa was locked in the room, her dad Kevin was nowhere to be found.
Once we freed Melissa, he showed up. When I asked him where he'd been, he
said...
[On the roof]
That's right. Said he'd been up on the roof. When I heard that, I decided to
go and check out the roof myself. When I got there, I ran into Iris.
I got ready for my first night at Hotel Dusk. I get the feeling that all the
guests here are hiding secrets... And why Melissa's mom vanished is just one
of them. There's also the guy with my name who stayed in 217 six months ago.
The story about that bookmark picture got my wheels turning, too. Too many
mysteries in my life. And I'm so damn tired... Well, guess I better poke
around and see what else I can find. Who knows? Something here may get me a
step closer to Bradley.
==================================
3d. CHAPTER 4: DECEMBER 28TH, 1979
7:00 ~ 8:00 P.M.
==================================
<Kyle is back in his room.>
KYLE: (Maybe it's time to look into this angel painting. Might help to find
out about that Osterzone fellow, too.)
<His pager goes off.>
KYLE: It's my pager... Better call Rachel.
<He calls.>
RACHEL: Red Crown Enterprises, this is Rachel.
KYLE: Don't you have a home to go to?
RACHEL: It's more fun talking to you, sweetie. Oh, and I have a message
from Ed.
KYLE: Let's hear it.
RACHEL: He says he's going to be late getting back.
KYLE: Went out again, huh?
RACHEL: Mmm-hmm. He went to see his friend in the LAPD. But I'm supposed to
ask if you need anything. So do you?
KYLE: Not right now. But...
RACHEL: But what? C'mon, Kyle. If there's something I can do, just ask.
KYLE: All right. I need you to check something for me.
RACHEL: You got it, handsome. What am I looking for?
KYLE: I need information on a man named Osterzone.
RACHEL: That's a name?
KYLE: Yeah. Osterzone. Guy's a painter. Did a picture called Angel Opening a
Door.
RACHEL: Well, aren't you cultured? All right, sweetie. I'll call when I find
something. Kinda curious why you need info on a painter, though...
KYLE: Tell you later.
RACHEL: Really? You will? I'm looking forward to it.
KYLE: Just get on it.
RACHEL: Oh, yes, sir! See ya, Kyle.
KYLE: Yeah.
<He hangs up. There's a knock on his door.>
KYLE: Great. Who's that?
LOUIS: Psssst... ... PSSSSSSSSTTT!! Yo, Hyde! It's me! Hullo?
<He answers the door.>
LOUIS: I brought the you-know-what from you-know-who! I distracted Dunning
and borrowed the spare office key. Just like old times... Anyway, here ya go,
my man. The key to Room 217.
[I got the Room 217 key from Louie.]
KYLE: Thanks. Now I can get this show on the road.
LOUIS: Just don't get nabbed by Dunning or Rosa, OK? Ya can't let 'em know I
boosted that key!
KYLE: Don't worry. If I get caught, I'll do my time like a man. Hey, tell me
something... You learn anything about that fountain pen?
LOUIS: Naw, man. Asked Mr. Smith 'bout it, but I struck out. Said nobody named
Alan's been here in the last couple of weeks or so.
KYLE: Yeah?
LOUIS: Who d'ya think it belongs to, man?
KYLE: I don't know, but I'm going to hold on to it for a bit. I want to check
something out.
LOUIS: No skin off my hump.
[I take the fountain pen from Louie.]
LOUIS: Good, man, good. Then it's back to the grind for me.
[Louie finishes yapping and heads off.]
<Kyle goes out into the hall and sees Jeff.>
KYLE: What're you doing?
JEFF: I'm not doing anything. And it looks like I should be asking you that,
with the way you're skulking around.
KYLE: Keep asking questions. See where it gets you.
JEFF: Aw, forget it. What do I care what you're up to?
[Jeff goes back into his room and shuts the door. ...Moody little punk.]
<Kyle goes to Room 217.>
[I used the key and opened Room 217.]
<He enters the room.>
KYLE: So this is the room where the other Kyle Hyde stayed a few months back.
According to Louie, it hasn't been used since.
<He checks the dresser.>
[There's some hotel letterhead here. Several sheets have already been used.]
[There's a lighter in the drawer.]
KYLE: This... I've seen this before... ...Now I remember. This is the lighter
Bradley always used.
[I got Bradley's lighter.]
KYLE: This is proof. Now I know about the guy who stayed here six months ago.
It was Bradley.
[There's a painting on the floor. ...That's weird. Why is it there? It's a
painting of some apples. I still don't get why it's on the floor.]
<He finds a paper near the painting.>
KYLE: What's this?
[I got an old photo that was sitting behind the painting. There's a man and a
girl in the photo. They look like father and daughter.]
KYLE: Wonder who they are.
<He leaves 217 and stops in the hall.>
KYLE: Huh? Someone was in the hall.
<He goes to his room.>
KYLE: Hey, the door's open...
<He goes inside.>
KYLE: The floor's wet... Is it coming from the bathroom? (Why is the floor
wet?)
<He goes into the bathroom.>
KYLE: Huh?
<He pulls aside the toilet tank lid.>
KYLE: There's something in the tank. Ah, come to papa...
[I got a stack of cash that was hidden in the toilet tank. The cash was in a
plastic bag.]
KYLE: (Money in the tank, huh? Oldest trick in the book. How did this get
here? Well, until I find out, I probably shouldn't keep this much cabbage
on me...)
<The phone rings.>
KYLE: Huh? Phone again. Better answer that.
<He answers.>
RACHEL: Hyde?
KYLE: Hey, Rachel.
RACHEL: What's wrong, hon? You sound out of sorts. What happened?
KYLE: Me and trouble just had a little run-in.
RACHEL: You? Trouble? I don't believe it.
KYLE: I found a stack of cash stashed inside my room's toilet tank.
RACHEL: What? Seriously?
KYLE: Yeah. Looks to be about twenty large here.
RACHEL: What's it doing in your toilet?
KYLE: Somebody has a high-fiber diet? How the hell should I know?
RACHEL: So what are you going to do?
KYLE: Whoever stashed the loot in my john is somewhere in this hotel. I'm
gonna find him, and I'm gonna ask him a few simple questions.
RACHEL: With your mouth or your fists? Don't go and do anything too crazy,
Kyle. Last thing we need is for you to get caught up in something dangerous.
KYLE: Don't worry your pretty head. I can take care of myself.
RACHEL: Asking for moderation will get me nowhere, right?
KYLE: Hey, moderation's my middle name. Now tell me about Osterzone.
RACHEL: I've got a friend who works in an art museum. She's looking into it.
I'll give you a call as soon as I hear anything about your mystery painter.
KYLE: Do it.
RACHEL: Talk to you soon.
KYLE: Yeah.
<He hangs up.>
KYLE: All right...what next? (Wonder if anything else's going down in the
hotel. Think I'll wander around and see what's what.)
<He goes to the front desk and sees Jeff.>
KYLE: Hey, you got a minute?
JEFF: What?
KYLE: What are you up to?
JEFF: Seriously? You're looking straight at me and you can't tell what I'm
doing?
KYLE: (...You're impersonating a tree?) Well... You got business with the
front desk?
JEFF: That's right. That's why I'm standing here.
KYLE: What do you need?
JEFF: I don't think that's any business of yours.
<Kyle goes back to the 2nd floor.>
KYLE: Huh? Someone's in the hall.
<He sees Rosa by Room 211.>
KYLE: Oh, it's you. What're you doing?
ROSA: I had some business with Summer! But where is he? I don't know! He's not
in his room... Oh, things are never easy for Rosa, let me tell you! Gosh darn
it! I have to get back to the kitchen right away!
KYLE: What do you want with Summer?
ROSA: Huh? What? What do I want? What do you THINK I want?! I want his
autograph!
KYLE: Oh.
ROSA: That's right! It's not often we have a best-selling author stay here.
You've got to strike while the iron's hot, you know? Sure you do. Wait a
minute! Now wait just one minute... Your showing up has given me an idea,
Mr. Hyde!
KYLE: This doesn't sound good.
ROSA: Oh, hush now. Here, I want you to take this.
KYLE: What is it?
ROSA: It's one of Mr. Summer's novels, of course!
[I take Summer's novel from Rosa. The name of the book is The Secret Word.]
KYLE: Thanks, but I'm more of a sports page kind of guy.
ROSA: Don't get smart with me, mister! Just get Mr. Summer to sign it. OK?
Good.
KYLE: Look, I'm busy. Why do I have to--
ROSA: Because I have to get back to the kitchen, that's why! Now stop
grumbling. Don't forget, Mr. Hyde! Don't you dare!
KYLE: Look, I'm not-- Wait a second!
[Rosa turns and rushes away.]
KYLE: Dammit!
[07:20 PM]
<He goes back to the front desk.>
KYLE: (There's somebody at the front desk. That's...)
JEFF: I'm telling you, that's why I'm here!
DUNNING: Oh, I ain't tryin' to call ya a liar or nothin'! It's just--
JEFF: It's been stolen! There's no doubt about it.
DUNNING: Well, lemme see here--
JEFF: I DEMAND that you start looking! I want this hotel searched now!
DUNNING: Look, son... I mean... Mr. Angel... Do me a favor, will ya? Take one
more look through yer things.
JEFF: No! I've looked enough, you corn-fed hick! Why am I standing here
repeating myself?! It's been stolen! Do you understand what I'm telling you?
Get off your lazy butt and start looking!
DUNNING: Keep yer voice down! Ain't no need to start in with the screamin'
and hollerin'! Yer just gonna get the other guests all in a panic.
JEFF: Like I care. Besides, it's too late to worry about that. Look, that
guy's already heard. And he hardly seems panicked.
DUNNING: Eh?
KYLE: Something happen?
JEFF: Yes, it has!
DUNNING: Ain't nothin'! We was just havin' us a bit of a jaw is all. Mr.
Angel, lemme get back to ya in a bit. I'll come up to yer room soon as I can.
JEFF: Don't make me wait.
[Jeff storms away from the front desk.]
<Kyle talks to Dunning.>
KYLE: Got a minute? That's the kid staying up in Room 213, right? Jeff Angel?
DUNNING: Yep.
KYLE: What were you two chatting about?
DUNNING: Ain't nothin'. Nothin' at all. Forget about it, will ya?
KYLE: (That's not suspicious or anything...) ...Hold it. Something happen?
DUNNING: Nope! Nothin'.
KYLE: That's a lot of yelling for a bunch of nothing. He complaining about
sharing his bed with roaches or something?
DUNNING: 'Course not! Not in my place! It's just another fire I hafta put
out, that's all. Now I gotta figure out what I'm gonna do about it.
MARTIN: Pardon me, do you have a moment?
KYLE: Huh?
MARTIN: Do you perchance have a copy of the newspaper?
DUNNING: Huh? Paper?
MARTIN: Yes, I was rather hoping to read the morning fish wrap.
DUNNING: Well, shoot... Had one layin' around here earlier... Here ya go.
Take this. Compliments'a the Dusk!
MARTIN: Thank you, my good man.
DUNNING: Just throw it on the table in front of the couch when yer done, all
right?
MARTIN: Of course.
[Summer moves away.]
KYLE: So what's his problem?
DUNNING: Well, t'tell ya the truth... I don't wanna get the other guests all
up in a lather, see? So let's keep this between me and you, OK?
KYLE: Sure.
DUNNING: Sounds like something's been stolen. Guess Angel Boy went down to
the restaurant for a bite t'eat. When he got back to his room, he noticed
somethin' missin'.
KYLE: So what got lifted?
DUNNING: I ain't gonna tell ya that! What if yer the one who stole it? Ya'd
just go and hide it!
KYLE: (That logic is stunning...) Are you serious? You planning to hunt down
the thief on your own?
DUNNING: I look like Sherlock Holmes to you? If there's an investigation, I
gotta call the police. ...Much as I hate to. Now I gotta handle this with kid
gloves so it don't get all blown outta whack.
<Kyle walks over to where Martin is reading the paper.>
MARTIN: Hmph. Sometimes I fear for our future generations...
KYLE: Hey there. Spare a sec?
MARTIN: Oh, hello there, Mr. Hyde. I must tell you about this article I was
reading in the newspaper. It seems there was a burglary in Beverly Hills last
night. Quite brazen, really... The victim was an attorney named Larry Damon.
Mr. Damon happens to be a friend of mine, you see? I do hope he is doing well.
Yes, well, I apologize for the tangent. Did you perchance need something?
KYLE: You know Rosa? The maid? Well, she asked me for a favor. You mind
signing this book for her? Seems she's a big fan of yours.
MARTIN: Oh! But of course!
KYLE: Great.
MARTIN: My apologies, but would you mind bringing it up to my room later? I
apologize for the trouble, but...
KYLE: Hell, why not? I'm already in this thing up to my eyeballs anyway.
[Summer puts down the newspaper and leaves the lobby.]
<Kyle reads the paper.>
[There's a copy of some local rag on the table. The date on the paper is
December 28. That's today. What do you know?]
[There's an article about a burglary on the left side of the front page.]
ARTICLE: Home of Prominent Beverly Hills Attorney Burglarized. The Beverly
Hills home of attorney Larry Damon was burglarized last night. Police say
$20,000 and a pistol were taken from a safe in the study. The perpetrators
then fled the scene in Damon's car. A police spokesman said they are actively
pursuing the case.
[There's an article about an art exhibit below the burglary story.]
ARTICLE: Exhibition News: Evans Collection Exhibition. January 10th through
28th. America's foremost modern art collection is coming to the Central
Gallery. The collection features works by many bright young painters. The
event promises to be fun for the whole family, and a great way to ring in
1980!
[There's also a personal ad on the front page.]
AD: Missing Person. Alan Parker. I am looking for you. Meet me on your
birthday in the hotel where we last saw each other. -H.
<Kyle heads to the door of the lobby area.>
[07:40 PM]
<He heads to the 2nd floor stairs and sees Rosa blocking the doorway.>
KYLE: (Rosa's cleaning... Shouldn't she be cooking dinner?)
<He tries to pass by her.>
ROSA: Stop! Stop! I'm cleaning the hallway, Mr. Hyde! You'll have to wait!
KYLE: Look, I just need to get through here--
ROSA: I SAID, WAIT! Now wait! I'll be done in a little bit, OK? Fine. But I'm
glad to see you anyway! Did you get Mr. Summer's autograph for me like I
asked?
KYLE: I asked him, but I don't have it yet.
ROSA: You don't? Why not?! What's the holdup? Land sakes, it's not hard!
KYLE: Don't growl at me about it. Want it done fast, shoulda done it yourself.
Hell, Summer just walked by a few minutes ago.
ROSA: He walked through here? Mr. Summer? Really?
KYLE: Yeah, I was just talking to him by the front desk.
ROSA: Stop teasing me, Mr. Hyde! I've been here cleaning for longer than that.
Mr. Summer did not come anywhere near me, and for a fact!
KYLE: Wait, that doesn't make sense. He said he was going back to his room,
and it's on the second floor, right? So then he had to come through here.
ROSA: Well, usually, but... Maybe he saw me cleaning and used the other set of
stairs.
KYLE: (There's another set of stairs in this joint?) Hey... What do you mean,
other stairs?
ROSA: I mean the stairs that aren't THESE stairs! The back stairs! Maybe he
used the back stairs to get to his room.
KYLE: So where are the back stairs?
ROSA: Just go out the door in the lobby and head down the right hallway. You
can't miss the stairs. They go up to...well, they go up to the second floor,
of course. I bet Mr. Summer used them when he saw me cleaning these in here.
Mmm-hmm!
KYLE: Got it.
ROSA: You can go ahead and use them, but you have to remember something. The
door to the stairs is locked on the second-floor side! Don't forget about my
autograph, all right? Promise me now!
KYLE: Yeah, yeah.
<He enters the right hallway door.>
KYLE: Guess these are the stairs Rosa was talking about.
<He goes up to the 2nd floor.>
[A door down the hall opens and someone comes out.]
KYLE: (Oh, it's Dunning. He looks grumpy as ever.)
DUNNING: Evenin', Mr. Hyde.
KYLE: So what's behind that door? It's not a guest room, is it?
DUNNING: Huh? What is this, twenty questions? It's just a utility closet,
since ya hafta know!
KYLE: Yeah?
DUNNING: Yep. It's where we keep stuff for cleanin' and so forth. I was
just...tryin' to find some things.
KYLE: Your bellboy lose more packages?
DUNNING: Real comedian, ain't ya? No, not this time. To be honest with ya,
I'm in a bit of a pickle.
KYLE: Why's that?
DUNNING: Well, some hotel equipment has gone missing.
KYLE: What's missing?
DUNNING: Some tools from a toolbox I keep in the linen closet.
KYLE: (...Uh-oh. Someone noticed they're gone.)
DUNNING: Put 'em all together and I bet they ain't worth two bits, but
still... I'd like to find the thief and take it outta his hide! Maybe I'll
get lucky and whoever took 'em will just put 'em back.
KYLE: Stranger things have happened.
DUNNING: And some things have vanished from my office, too! Don't matter if
those get returned or not. I find the thief, he's outta here!
KYLE: That so?
DUNNING: Bet yer ass. And to top it off, I got still MORE crap t'deal with
today! Now it's a nutcase guest...
KYLE: (Better not be talking about me.) Nutcase, huh? You talking about me?
DUNNING: Naw, not you.
KYLE: Who is it then?
DUNNING: Young kid named Jeff. Jeff Angel. All I need's some punk shootin'
off his mouth 'bout how somethin' got stolen.
KYLE: What got stolen from Jeff?
DUNNING: Cash.
KYLE: Money, huh? (Couldn't be...)
DUNNING: Yep. Now he's telling me I gotta search every guest's things. I tell
ya, I got a headache the size'a Texas. Do me a favor and keep yer eyes open,
will ya? Ya see anyone actin' all suspicious, ya lemme know. I wanna nip this
thing in the bud before it gets outta hand.
KYLE: Sure.
DUNNING: Thanks, pal. All right, I gotta get on it.
KYLE: Hold on a second.
DUNNING: Huh?
KYLE: There's something you said when I checked in that's been bugging me. You
said there was another guest a while back with the same name as me, right?
DUNNING: I did? Same name as you? Oh, yep. That's right. I did. I remember
now.
KYLE: Could you tell me a little more about the guy?
DUNNING: Well, he was tall. And he dressed a lot nicer 'an you.
KYLE: Yeah, yeah, you told me that already. You got anything besides a fashion
report?
DUNNING: Naw, that's it.
KYLE: Great...
DUNNING: What's goin' on, Mr. Hyde? Why ya so interested in this guy anyway?
KYLE: Well, truth is, I'm kinda looking for somebody.
DUNNING: Kinda? Either yer lookin' or ya ain't, pal! ...So who ya tryin' to
find?
KYLE: Guy I used to work with.
DUNNING: Hmph. That so? Sorry, but I don't remember anythin' else. Hell, I'm
lucky I remember m'own name.
KYLE: Yeah, I hear you.
DUNNING: I'll see ya later.
[Dunning turns and stomps off to continue his search for justice.]
<Kyle knocks on Summer's door. The door opens.>
MARTIN: Ah-ha! You needed an autograph, did you not? Please, please! Come in,
my philographist friend!
<He goes in the room.>
KYLE: Can I get that autograph?
MARTIN: Most certainly. Now where should I pen my John Hancock?
KYLE: You get asked for autographs a lot?
MARTIN: Oh, yes. I'm afraid it's become a part of my daily life. There are so
many fans who wish for me to sign this or that, you see? And the requests to
have photographs taken together are numerous as well. To be frank, there are
times when it all wears quite thin. But then again, when you're a famous
writer such as myself... Well, it seems I can't go anywhere without drawing a
crowd. That is why I was so excited for this chance to relax and unwind. I had
hoped to find solace in this unknown hotel, but some things never change...
KYLE: (Cripes, this guy likes to hear himself talk.) Keep talking. Doesn't get
much more unknown than this, huh?
MARTIN: Agreed! Yes, at times when I find myself drained by the rigors of the
craft, I will ofttimes set out in my automobile and let the open road take me
where it will! On these journeys, I make a habit of staying at cheap and
unknown hotels.
KYLE: So you just decided to stay here on a whim?
MARTIN: That's correct.
KYLE: Really?
MARTIN: Yes. Really.
KYLE: (Why's this overblown windbag lying to me? There's no way he could have
a package delivered here if that were true.) Got a minute?
<Kyle shows Martin the book.>
KYLE: Sign this, will you?
MARTIN: Certainly. Let me just take up the pen and... Hmm? Well, I was certain
my pen was just here... How odd.
KYLE: What's the problem?
MARTIN: Unfortunately, I seem to have misplaced my pen. Bother. I can't very
well sign anything without a pen, now can I?
<Kyle shows him the fountain pen.>
KYLE: This yours?
MARTIN: Why, yes, it is.
KYLE: I picked it up earlier.
MARTIN: Is that so? You have my gratitude, sir!
KYLE: Was that your fountain pen?
MARTIN: Yes, it was.
KYLE: Really?
MARTIN: I said yes, and I meant it. Is there some sort of problem, Mr. Hyde?
KYLE: What's your name?
MARTIN: My name? My dear man, have you forgotten already? It's Martin Summer.
KYLE: Exactly. Your name's Martin Summer. But that's not the name inscribed
on the pen. The name on the pen is Alan.
<Martin looks shocked.>
KYLE: So you want to tell me again that this is really your pen?
MARTIN: Wh-what are you implying, sir? It is most certainly my pen. Alan is...
Alan is my real name.
KYLE: Oh yeah?
MARTIN: Yes. Martin Summer is my nom de plume. My pen name, if you will.
However, my real name is Alan... Alan Parker!
KYLE: That's comforting. Got a minute? <He shows the book again.> Sign this,
will you?
MARTIN: Of course.
[Summer signs the book. Takes his time about it, too.]
MARTIN: Is this acceptable?
<Kyle nods.>
MARTIN: I must say, securing my autograph is not usually such a simple task.
Normally there are lines to be waited in and such, but let us consider this
a favor. Mr. Hyde? If you will excuse me for a moment?
KYLE: Where you going?
MARTIN: I fear I need to use the facilities.
KYLE: Oh, yeah, sure. Knock yourself out.
<Kyle checks out the table in the room.>
KYLE: Hmm? It's that notebook again. Let's see what all the fuss was about...
"The sun sets and the city shifts. Traffic reverses direction as people
abandon their offices and shops to join the evening commute. They take the
sounds of the day with them as they go, leaving me alone in a..." Hold on...
I've read this crap before. (Right. The book I had Summer sign...)
MARTIN: Sorry to keep you waiting. Hmm? What is it now?
KYLE: Huh? Oh, nothing.
MARTIN: Mr. Hyde, may I ask what it is you were looking at?
KYLE: Nothing. I'll see you around.
[I leave Room 211.]
KYLE: (Something about that notebook bugs me...)
<He heads to the stairs.>
KYLE: (Someone's coming up the stairs.)
IRIS: Mr. Hyde!
KYLE: Yeah?
IRIS: Can I talk to you for a minute? That Mr. Smith is so rude! I cannot
BELIEVE the nerve of that old man!
KYLE: Something happen?
IRIS: He stopped me in the hallway and searched my things!
KYLE: He searched your...things?
IRIS: YES! He said "Uh...some things'r missin', and I gotta look at yer
belongin's!" Ignorant HICK! Do I look like a thief to you, Mr. Hyde? DO I?
I...am...FURIOUS!!!
KYLE: You don't say.
IRIS: I promise you this, I will NEVER stay in this hotel again!
[Iris turns and stomps off. I think I can see the steam coming from her ears.]
KYLE: (This ain't good... I can't get caught walking around with anything I
don't want folks to see.)
<Kyle goes to the linen closet and returns the tools.>
KYLE: OK, pliers, time to go home. Thanks for your help. And done. It's time
to return this crowbar to the toolbox. OK. That takes care of that. Better put
this screwdriver back in the toolbox. You and I never saw each other, OK?
<Kyle goes to his room.>
[I hid the stack of cash in my suitcase. I stashed the small red box in my
suitcase. I tucked the memo away in my suitcase. I put the Room 217 key in my
suitcase for safekeeping.]
<Kyle leaves his room and goes down to the kitchen to talk to Rosa.>
KYLE: Got a minute?
ROSA: What is it, Mr. Hyde?
KYLE: I got Summer's autograph.
ROSA: What? You did? Are you serious? Don't fool ol' Rosa!
<Kyle nods.>
ROSA: Oh, this is wonderful!
KYLE: Getting Summer's signature really make you that happy?
ROSA: Of course it does! That gives me fifty! And fifty is nothing to sneeze
at, let me tell you!
KYLE: Fifty what?
ROSA: Autographs, silly! I'm an autograph hound. I collect famous signatures.
And Mr. Summer's is number fifty.
KYLE: Got a thing for famous people's handwriting, huh?
ROSA: I wouldn't put it that way, but yes, I suppose so. Yes. I got my first
one while waitressing at a little diner in Santa Monica. Funny enough, it was
another novelist. To think it's been sixteen years... Well, I've been picking
them up here and there, and now I've got fifty. You can see why I'm so happy
now, can't you? So, where's my book?
<He gives her the book.>
KYLE: Here you go.
ROSA: Thanks. Where is it? Is this really HIS signature? You didn't write
this yourself, did you?
KYLE: Forgery isn't my bag.
ROSA: Ha ha ha! I'm just teasing you. I know for a fact that this is really
Mr. Summer's autograph. Mmm-hmm! You see, Mr. Summer has a particular way of
signing his name. I read a magazine interview where they discussed his
distinctive penmanship.
KYLE: So what's special about Summer's autograph?
ROSA: It's how he writes the "er" in Summer. Look closely and you can see how
distinct it is.
<Kyle looks at the autograph in Rosa's book.>
KYLE: ...I guess.
ROSA: And it's been like that for a long, long time. He said in an interview
that he's been writing that way since he was a child.
KYLE: The letters "e-r," huh?
ROSA: This sort of handwriting indicates someone who tells audacious lies. But
it indicates the person is a bit of a coward, as well.
KYLE: You cook, clean, and do handwriting analysis? You're a marvel, Rosa.
ROSA: Poke fun all you want, Mr. Hyde, but there's truth to be found in
penmanship!
KYLE: (A lying coward, huh? Sounds like a fair description of writers to me.)
Tell me something, will you?
ROSA: What?
KYLE: When was this book first published?
ROSA: Well, it won a Mystery of the Year award in 1969, so... Ten years ago.
KYLE: You have any more books by this guy?
ROSA: No, the only one I have is The Secret Word. This may sound rude, but I
think it's the only one worth owning, really.
KYLE: That so?
ROSA: Yes it is, Mr. Hyde! Summer published several books after The Secret
Word, but... None of them really took off, as they say. I'm not sure if he's
what they call a one-hit wonder, but who knows? I'm sure it's no easy task
writing a best seller, after all! He must live fairly well off royalties, and
that's something, right?
KYLE: Sure it is. Got one more thing to ask you. Is Martin Summer a pen name?
ROSA: No, sir! Uh-uh! That's his real name. I'm as sure of that as I am of
anything.
KYLE: That's pretty sure. (So all that business about a pen name was a
cartload of bull.)
ROSA: What's going on, Mr. Hyde?
KYLE: Nothing, Rosa. I'm just being nosy. Thanks. See you later.
ROSA: Sure. And thank YOU, Mr. Hyde.
[I leave the kitchen. Rosa is still clutching the book to her chest.]
KYLE: (Summer's story has more holes than a slice of Swiss. Time to chat him
up again.)
<He knocks on Summer's door. The door opens.>
MARTIN: Greetings, Mr. Hyde.
KYLE: Got a minute?
MARTIN: Please don't tell me you need another autograph.
KYLE: No. I've got some questions for you.
MARTIN: Is that so? Very well, Mr. Hyde! Query away!
<Kyle enters the room.>
KYLE: Thanks, Summer. This won't take too long.
MARTIN: What is it?
KYLE: Look, I'm just an average Joe. A salesman who doesn't spend time
reading, you know? But talking with you, a guy who's written a best seller,
got me to thinking... What's it like to write a book? To have strangers know
you and all that jazz? So I was hoping you could fill me in on a couple of
things. Like, how do you write a best seller? Stuff like that.
MARTIN: How does one write a best-selling novel? Is that what you are asking
me?
KYLE: Yeah! I mean, you wrote The Secret Word, and everybody read it, right?
So teach me. Tell me how to come up with a story that everyone loves.
MARTIN: Oh ho ho! My dear man, the essence of a novel is not something so
easily distilled.
KYLE: C'mon, Summer. I ain't asking how to turn lead into gold. I just want
a few pointers so I can take a stab at this writing gig myself.
MARTIN: Mr. Hyde... What you are thinking is very nearly impossible.
KYLE: (I thought you'd say that, you overblown walrus.) Wait, hold on. I guess
I got the idea after seeing that notebook.
MARTIN: ...Notebook?
KYLE: Yeah, the old notebook that got delivered to me by mistake. That was the
manuscript for your novel, right? I mean, it looked like the same story to me,
but what do I know? So anyway, that's how you get started writing a book,
right?
MARTIN: Yes, but-- Mr. Hyde, you read my notebook! You read it!
KYLE: Yeah. I did. And you know what else? There's something odd about it.
The handwriting in the notebook? Not yours.
MARTIN: ...Um...
KYLE: (Got you on the ropes now, don't I, Shakespeare?) Give it up. The
handwriting inside didn't look anything like your signature. Maybe you...I
don't know...dictated your story to someone?
MARTIN: This...this conversation is beyond the pale, sir! Beyond the pale
indeed!
KYLE: And you know what else? See, I can't get that pen out of my head.
MARTIN: Er...
KYLE: (Snappy comeback, Summer.) So? You told me that your real name is Alan.
You're a liar. Your name's no more Alan than mine is.
MARTIN: What did you say?!
KYLE: Martin Summer's not your pen name, it's the one your mother gave you.
MARTIN: Now see here! I... I won't...
KYLE: What's the problem? It's a simple question. I don't see why this is so
hard for you.
MARTIN: You...you don't understand. You CAN'T understand! There are so many
steps in producing a work of art, so many...
KYLE: Let me take a wild guess here, Shakespeare. I think I know why you're
so bent over my looking at your notebook. It's because there's a secret hidden
inside. And there's something else that doesn't add up, too. If it's your
notebook, why did you send it to yourself?
MARTIN: Well, I... I didn't. I had someone send it here for me.
KYLE: Who mailed you the notebook?
MARTIN: Th-that...
KYLE: This whole thing reeks to high heaven. What're you hiding?
MARTIN: Uh...
KYLE: The author of the story in the notebook? It ain't you.
MARTIN: Don't be ridiculous! I wrote every word in that notebook! It's a true
labor of love! Mr. Hyde, on what do you base your assertion? How can you claim
that I am not the author of the notebook? Do you have some proof to back your
preposterous proclamation? If you do, then I must insist that you present it
at once!
KYLE: Proof?
MARTIN: Correct, sir!
KYLE: All right. You want proof? I think I can come up with something.
MARTIN: Excuse me?
KYLE: Give me your autograph.
MARTIN: I hardly think this is the time to--
KYLE: Close your head and sign. And make it your real name. Got me?
MARTIN: My real name?
KYLE: Sign here. Use that fancy pen of yours.
[I open my notebook and hand it to Summer.]
MARTIN: If... If you insist. I must say, Mr. Hyde, you are being most
disagreeable.
[Summer signs the notebook.]
MARTIN: I hope this will satisfy your mad request!
KYLE: Yeah, that'll do. Now show me your old notebook.
MARTIN: I beg your pardon?
KYLE: Your real name's gotta be written in the old notebook, right? I'm going
to compare the signatures.
MARTIN: Mr. Hyde! That's... That's...
<Kyle circles the irregular parts of the signatures. Martin looks shocked.>
KYLE: There's no way you wrote the story in this notebook. Look at the "er."
That's not how you write them. Not even close.
MARTIN: Th-that's...
KYLE: The author of the story in the notebook? It wasn't you!
MARTIN: Urgaah!
KYLE: So who actually wrote it? Was it Alan?
MARTIN: Th...that...
KYLE: Who's Alan?
MARTIN: Th-that...
KYLE: What's the connection between you and Alan?
MARTIN: Th-that's...
<Martin looks shocked, then angry.>
KYLE: What's the problem?
MARTIN: Enough! Who are you? Who hired you? Was it the publishing company? Or
was it that treacherous Dan fellow?
KYLE: What're you babbling about? I don't work for any publisher, and I don't
know anyone named Dan.
MARTIN: Don't lie to me! Someone must have sent you! Do not think to treat me
like a common fool! I am not a stupid man! Do you truly think to extort more
money from me? It will not stand, sir! It will not!
KYLE: Hey, calm down. You're getting all worked up for nothing. I'm not a
private eye. I'm not a hired thug. I'm just a salesman who happened to run
into you in this hotel.
MARTIN: But...but you discovered it...
KYLE: Discovered what?
MARTIN: My secret!
KYLE: Looks like it. The question is, which secret? The fact that your debut
novel was written by somebody else? Or that someone found out and is
blackmailing you? You got two secrets, and now I know 'em both. That about
cover it, or you got more skeletons rattling around in your closet?
MARTIN: Mr. Hyde, I must ask you again. Who are you?
KYLE: Like I said, pal. Just a salesman.
MARTIN: Then why are you going to expose my secrets?
KYLE: That's not my plan. There's nothing in it for me. And blackmail's a
dangerous game that I won't play. I just want the truth.
MARTIN: The truth? The truth is something I fear, lest it be discovered and
exposed to all. It haunts me, and has kept me from even one restful night
these past ten years. Mr. Hyde... If I could take the secrets I've kept hidden
away in my soul... If for one moment I could share them with another human
being... It might not be too late. I might yet be able to make a fresh start.
Please, Mr. Hyde, would you do me the favor of hearing my sad, ponderous tale?
When I was young, I wanted nothing more than to be a novelist. Upon graduating
university, I found work writing for a small magazine. I reported local news
by day and chased my dream every other waking moment. And yet, as the years
slipped by, I realized I was failing...and fading. I was incapable. I had no
muse to guide me, no words would come, I... I... I prepared to let my dream
wither and die. But it was at that moment, my darkest hour, that I met Alan.
KYLE: Guy who owns the pen.
MARTIN: That's correct. Alan, he... He was my friend.
KYLE: Keep going.
MARTIN: We frequented the same cafe and knew each other's faces well. One day
we struck up a conversation, and soon after became fast friends. Our lives
were very strikingly similar. We were the same age, for one. In addition, we
were both reporters, and we had both been raised by our fathers. The thing
that surprised me most was discovering Alan's dream for the future. As you may
have surmised, Alan, too, longed to be a novelist. And yet... Although we
shared many similarities, there was one aspect where we differed. Alan had not
abandoned his dream. In fact, he was totally consumed by it. He pursued the
craft with a fervor and desire I could only faintly recall. Moreover, he was
a man of immense talent.
<Scene of a younger Martin>
MARTIN: As for myself, I never shared my own aspirations with Alan. For some
reason, I simply did not wish to speak to him of that. So Alan knew nothing of
my impotent ambitions, and one day he... He gave to me a manuscript that was
to be his entry in a writing contest. Humbled by his trust, I gave it my full
attention, reading it all in a single night. It was...amazing. A work of
singular power and beauty. Alan had actually done it. He had created a snare
of prose and passion with which to capture his dream. He would be a novelist.
<Scene of the notebook>
MARTIN: I couldn't think. I was drained, empty, filled with jealousy and rage
and... And into this dark void an even blacker thought was born. If only the
manuscript were mine... If it were mine, my forsaken dream might yet come to
fruition.
<Scene of Martin taking the notebook>
MARTIN: And so I acted! I opened Alan's desk and took the manuscript! It was
like being part of a waking dream, where the actions were not my own. I took
it home, typed it up, and submitted it under my own name. As you know, the
book was named the winner, and I was a novelist.
KYLE: And Alan? What happened to him?
MARTIN: Alan had been betrayed by his only friend. He disappeared. Vanishing
one day without a trace. Oh, how I have searched for him these past ten years.
And yet, I am no closer to finding him than I was when I started. Mr. Hyde,
I became a novelist by stealing Alan's work, but... I do not possess his
talent. Each book I write is poorer than the one before... And then...the
unthinkable. My assistant, Dan, found Alan's purloined notebook.
KYLE: So you paid Dan off and he sent you the notebook. That it?
MARTIN: ...Yes, it is.
KYLE: So why'd you choose this hotel to take care of your transaction?
MARTIN: That, at least, is a question which I can answer quite easily. I had
heard of this hotel from Alan. He told me that Hotel Dusk was a special place
to him. He said something very important happened to him here.
KYLE: Something important, huh?
MARTIN: Yes. Alan mentioned it to me but once. Whatever it was, I could see
how he treasured and safeguarded it.
KYLE: Yeah, I'd treasure this rathole, too.
MARTIN: Mr. Hyde, I...
KYLE: Can it. I'm done with you. I'll see you around.
<Kyle leaves the room.>
KYLE: (So Summer stole his pal's story... Wonder what his buddy Alan's up to
now. And what was the memory he told me about? What in the hell happened here?
How many secrets does this place have? Starting to get on my nerves. C'mon,
Hyde... Think... All right, hold on. I gotta get all this straight in my head.)
<goes to CHAPTER SUMMARY>
Summer piqued my interest with his yapping about a painter named Osterzone.
I gave Rachel a buzz and asked her to dig up info on the guy. While I was
waiting, I figured I'd check out the room the other Kyle Hyde stayed in. With
my old pal Louie's help, I got the key to Room 217 and let myself in. That's
where I found the lighter. The one that I think belonged to Bradley. But that
wasn't the only clue I found in Room 217. Along with the lighter, I also
found...
[An old photo]
That's right. I found an old photograph in Room 217. There's a man and a
little girl in it. Probably his daughter...
I finished checking out 217, then headed back to my room for a break. That's
when I found the stack of cash hidden in the toilet tank. I needed to know who
left it there and why, so I put on my detective face and left. That's when
Rosa cornered me and saddled me with one of Summer's books. She insisted that
I...
[Get an autograph]
That's right. She asked me to get Summer to sign her book. Kyle Hyde,
professional autograph hound. Cripes...
I tracked Summer back to his room to get the autograph. That's when Summer
noticed he'd lost something. The thing Summer dropped was...
[A fountain pen]
That's right. Summer lost a pen. Same pen Louie found and gave to me.
I gave the pen to Summer, and he signed Rosa's book. But now I was onto him,
and getting more suspicious by the second. See, Rosa said something that got
me interested in Summer again. She talked about...
[Summer's real name]
That's right. Summer said he wrote under a pen name. But Rosa told me Martin
Summer is his given name. My money's on Rosa.
I knew Summer was guilty of something, so I put him under the bare bulb. Guy
cracked like Humpty Dumpty and spilled his guts about his debut novel. The big
secret was...
[He stole a friend's work]
That's right. Summer stole the story from some guy named Alan. The same Alan
whose name was inscribed on the pen Louie found.
Searching Room 217 confirmed my hunch. Bradley was here six months ago. But
now I got some other things to take care of before I can follow up on these
leads. The guests here eat, sleep, and hoard secrets like squirrels hoard
nuts. I was willing to let 'em take their private affairs home and let it be.
But that was before somebody decided to stash a wad of cash in my john. Now it
looks like I gotta be part of this circus sideshow. Well, so be it. I feel the
old instincts kicking in, and somewhere a part of me grins. I'm still looking
for anything that'll lead me to Bradley, but... Nothing's stopping me from
taking out the trash along the way.
==================================
3e. CHAPTER 5: DECEMBER 28TH, 1979
8:00 ~ 9:00 P.M.
==================================
<Kyle is back in his room.>
KYLE: (What am I supposed to do with all that loot?)
<The phone rings.>
KYLE: Huh? ...The phone. Again.
<He answers it.>
RACHEL: Hi there, handsome. You doing OK?
KYLE: What is it, Rachel?
RACHEL: Your usual cheery self, I see. Listen, I dug up some info on this
Osterzone fellow.
KYLE: Let me have it.
RACHEL: You're welcome. OK, let's see... He was born in England in 1875. And
he died in 1910 at the age of thirty-five. Whole career is one big mystery.
The guy was a complete unknown while he was alive. Then, about forty years
after he died, ten or so of his works were discovered. Suddenly, people love
his stuff and he becomes the art world's new darling. From what I've read,
artsy types appreciate his "subtle and distinctive brushwork." There are a lot
of collectors out there who want his paintings in a big way. You wouldn't
BELIEVE how much folks are paying for his stuff! It's crazy! Oh, and his most
valuable painting is something called Angel Opening a Door.
KYLE: Angel Opening a Door, huh?
RACHEL: Mmm-hmm. But the thing's been stolen, so there you go.
KYLE: Someone stole it?
RACHEL: That's right. It says here it was taken from the Travis Art Museum...
Let's see... Yep, three years ago.
KYLE: Interesting.
RACHEL: Apparently it's the largest of all Osterzone's paintings. And the most
popular. Isn't this all just fascinating?
KYLE: Yeah.
RACHEL: So...Kyle? Sweetie?
KYLE: Huh?
RACHEL: Why the sudden interest in dead painters?
KYLE: Actually, I just wanted to know about angel paintings.
RACHEL: Angel paintings? You mean paintings of angels, right?
KYLE: Yeah, whatever. Listen, I found some dirt on Bradley in the last few
hours.
RACHEL: Bradley? That's the man you're looking for, right? The one you won't
tell me about?
KYLE: Bradley was my partner when I was on the force. Three years ago, he went
rogue and stabbed me in the back. Used his badge to steal a boatload of cash
and a big angel painting. Then he vanished... I want to know what happened.
Why he did it. That's why I'm tracking him down.
RACHEL: Oh...
KYLE: Let me guess. Ed's out again, isn't he?
RACHEL: Um...yeah. Yeah, he's out. I'll have him give you a ring when he gets
in.
KYLE: Do it.
RACHEL: And, Kyle? Thanks for telling me. About Bradley.
KYLE: Sure.
<He hangs up.>
KYLE: OK... Eight bells. Time to go see Rosa.
<He goes down to the 1st floor.>
[...A door opens at the end of the hallway.]
<He sees Jeff.>
KYLE: (Huh?) All right, what's wrong now? Something happen? You look like
roadkill.
JEFF: It's nothing.
KYLE: Really? Great. See ya around.
JEFF: Hey... Wait a minute, will you?
KYLE: ...What?
JEFF: Dunning say anything to you?
KYLE: Like what?
JEFF: Aw, never mind. You didn't hear anything anyway.
KYLE: Yeah, I heard. Somebody boosted your stuff, right? That what this is
about?
JEFF: So you did hear, huh?
KYLE: So what got taken?
JEFF: I'm not telling you that!
KYLE: (...Not telling?) Hey, hold on. Why not?
JEFF: Get serious! You could be the thief, for all I know! But I will get
my things back. That idiot manager is searching right now. Room to
room... Which means he'll visit you, too. Does that frighten you at all?
KYLE: This fun for you, kid? You like playin' cops and robbers?
JEFF: Huh?
KYLE: Look at you, standing there with that idiot grin on your face. ...What
a sap.
DUNNING: What'n the name'a Sam Hill's goin' on here?!
[Someone's yelling behind me. ...And I think I know who it is.]
DUNNING: Somethin' happen?
KYLE: We're just talking.
DUNNING: Great. Last thing I need in my life's more useless chitchat.
JEFF: Then stop wasting time and start searching! You are so utterly useless!
Why won't you look for my things?!
<Dunning stares down Jeff.>
[Jeff clamps his mouth shut and storms off.]
DUNNING: Well, crap.
KYLE: You plan on going through everyone's things?
DUNNING: I look like Sherlock Holmes to you? If there's an investigation,
I gotta call the police. ...Much as I hate to.
KYLE: I bet.
DUNNING: But...
KYLE: (What's eating him now?) OK, I'll bite. What's wrong?
DUNNING: Aw, ain't nothin'. But...
KYLE: Again with the "but." What is it?
DUNNING: It's that Angel kid. He's...off-kilter, ya know? Rubs me the wrong
way.
KYLE: Why does he seem off-kilter?
DUNNING: Sometimes when I call him? He don't react!
KYLE: Doesn't react? Like how? He ignores you?
DUNNING: I ain't exactly sure, but... I'll talk to him, and it's like he don't
hear me. Gotta say his name'a few times 'fore he pays attention. And he's all
bent outta shape 'bout his stuff bein' stolen, right? But he don't seem upset
in the right way. More like it's an act. And all this business 'bout searchin'
everyone's stuff? Had enough'a that!
KYLE: You think he's lying?
DUNNING: I dunno. But I don't wanna call no cops! I hate cops!
KYLE: What are you going to do?
DUNNING: Gonna think things over for an hour is what I'm gonna do!
KYLE: One hour exactly? You got a show to watch or something?
DUNNING: I'm a punctual man! Anyway, I'm gonna give it an hour, then hear his
story again. Then I'll decide whether or not t'call the police.
[Dunning finishes talking and slouches off.]
<Kyle goes to Rosa's room. She's standing outside the door.>
ROSA: Oh, Mr. Hyde! Hello! What good timing you have! I was hoping you'd come
along, and here you are!
KYLE: Something happen?
ROSA: It's Mila. She's not feeling very well, poor thing! She's running a
fever!
KYLE: How bad?
ROSA: She seems tired, but I think that's the worst of it. At least for now.
I'm going to run to the front desk and get some medicine. Do me a favor. Go
to my room and watch her until I get back. OK? Good! I'll be back in a jiffy!
KYLE: Yeah, OK. Why not.
ROSA: Thank you, Mr. Hyde! I'll be back before you know it! Just you wait!
[Rosa finishes talking and scuttles away.]
[08:20 PM]
<Kyle opens the door to Rosa's room.>
KYLE: I wonder what Mila's doing...
<He goes in the room.>
KYLE: That's... <He sees Mila on the couch.> Sleeping, huh? Hey. <He wakes
her up.> How you feeling?
MILA: ...
KYLE: Rosa's gone to get you some medicine. Take it easy, OK? Meeting all
these new people tired you out, didn't it?
<Mila nods.>
KYLE: Thought so. So, hey. I got something I need to ask you. Can you tell me
something about your bracelet? Was it a present?
<She nods.>
KYLE: Yeah? Who gave it to you? <She looks away.> Can't tell me, huh?
(Great... Now what? Wait a second...) Mila, can you write? <She nods.> Here.
Write down the name of the person who gave you the bracelet. Write it here.
[I open my notebook and give it to Mila. She writes something in the
notebook.]
<He takes back the notebook.>
KYLE: ...Huh? <He reads the notebook.> Papa? You got the bracelet from your
father? <She nods.> What's his name? Here, write it down.
[I open my notebook and give it to Mila. She writes something in the
notebook.]
KYLE: Hmm... <He reads the notebook.> Robert Evans? Your father's name is
Robert Evans? Huh. All right... So what's your father do? Where does he live?
Here. Write it down for me. <She looks away.) What's wrong? You don't want to
tell me?
<The door opens. Rosa comes in.>
KYLE: Huh? Oh, it's you.
ROSA: Thank you for coming, Mr. Hyde! I'll take over now. You can go. OK?
Good.
KYLE: We're in the middle of a conversation.
ROSA: Well, it'll have to wait! Mila's tired. Finish up later, all right?
Now skedaddle!
KYLE: Fine.
<Kyle leaves the room. He meets Dunning in the hall.>
DUNNING: That you, Mr. Hyde? What ya doin' here? ...Lemme tell ya somethin',
Mr. Hyde. I see no reason for ya to be wanderin' the halls like some kinda
spook. Ya keep sneakin' around, and I'm gonna get suspicious! Why don't ya
go on back to yer room and sit still for a bit.
[Dunning turns and goes into the room.]
<Kyle goes back to his room. There's a knock on his door.>
KYLE: Huh? Who is it?
<He answers the door.>
MELISSA: Mr. Hyde?
KYLE: What is it, squirt?
MELISSA: Um...Mr. Hyde? Can you help me?
KYLE: With what?
MELISSA: One of my wings came off.
KYLE: You have wings?
MELISSA: No, my doll. I ripped one of the wings on my doll.
KYLE: C'mon, kid. Get your old man to fix it.
MELISSA: He can't sew. He's a man.
KYLE: He's a surgeon. He sews up people all the ti... HEY! I'M a man!
MELISSA: Yeah, whatever. But Mr. Summer said to ask you. He said you could fix
it, so can you fix it? Please?
KYLE: Summer told you I could fix it?
MELISSA: Uh-huh. He said you're a salesman and have gadgets and stuff like
that. He said a buncha other stuff, too, but I didn't understand him. And then
he kept talking and I got bored. He smells weird. But he said that you had
something that could fix my doll.
KYLE: Summer, you two-bit con artist...
MELISSA: What's a con artist?
KYLE: Can't believe anyone would think I could sew...
<Melissa starts crying.>
KYLE: All right, all right! Relax. Hold your breath and count to a million or
something.
<He roots through the cardboard box on his bed.>
[I got a mini sewing machine.]
<He talks to Melissa again.>
KYLE: Look, squirt...
MELISSA: Please, mister!
<She hands him the doll. He sews the wing back on.>
KYLE: There, all done.
MELISSA: YAAAAAAAAY!
KYLE: Pretty good, huh? Now get lost.
MELISSA: Thank you! Thank you thank you thank you!
<He nods.>
MELISSA: Hey, mister?
KYLE: What?
MELISSA: Are you and that one guy friends?
KYLE: What one guy? Louie?
MELISSA: I dunno. He's the guy in Room 213.
KYLE: Him? No, he's a chump. Why did you think we're friends?
MELISSA: 'Cause I saw him coming out of your room. I thought you were talking
or something.
KYLE: You saw him what? (So it was Angel...)
MELISSA: What's wrong, mister?
KYLE: Nothing, kid. Take your doll and go back to your room. Your old man's
probably wondering where you are.
MELISSA: 'Kay.
[Melissa takes her doll and leaves.]
[08:40 PM]
KYLE: (So Jeff was in my room, was he? Think it's time he and I have a little
chat. ...And see where it goes from there.)
<He knocks on Room 213.>
[Knocking gets me nothing.]
KYLE: Nobody home, huh? Wonder whose room he's breaking into now. (Wait a
second... When I saw him in front of the restaurant...)
<flashback>
JEFF: Ah...
<flashback ends>
KYLE: (He'd just come out of the left hallway door. I bet he was up to no good
on the other side...)
<He goes inside the left hallway door and starts checking all the rooms. He
goes into the laundry room and pokes around.>
KYLE: A linen cart... Wonder if it's worth searching?
<He tosses everything out. He lifts up a corner of the cart's inside panel.>
KYLE: What have we here?
[I found a pistol hidden in the laundry cart.]
KYLE: Guess someone didn't like the room service.
<The laundry room door opens.>
KYLE: ...Who's there? Oh, Louie. It's you.
LOUIS: Brother, you GOT to stop sneaking around! What ya doin', anyway?
KYLE: Close your head, Louie. I just found something interesting.
LOUIS: Hyde? That's laundry. You find Dunning's used tighty-whiteys or
somethin'?
KYLE: It's a gun.
LOUIS: WHAT?
KYLE: Yeah. In the linen cart.
LOUIS: In the cart? Oh, man, TRIP! You're playin' with me, ain't ya? Yo, did
you break into the bar or something? 'Cause you're talking like a crazy man.
Wait, for real? You really find a piece? C'mon, man, lemme see it!
KYLE: Here it is.
LOUIS: Holy crap! What kinda crazy person hides somethin' like that here?
Rosa ain't been in here today, and ya know I ain't doin' laundry 'less I
have to. Maybe it was that one guy.
KYLE: Any guests use the laundry today?
LOUIS: Yeah, man. Dude in 213. That Jeff Angel guy. He was wanderin' up and
down the hall, so I gave him a holler. Asked if we had a laundry room, and I
told him where it was.
KYLE: (Angel, huh? Figures.)
LOUIS: Where's the little prince think he is, man? This ain't the Ritz, ya
know? Something 'bout him gives me the willies. Plus, he does nothing but cry
and moan! "I don't like what's on the menu." "My bed's too hard." Guy won't
shut up! I wanna tell him to take his pansy-ass outta here and run home to
momma! Oh, and now? AND NOW?! He's wailin' about how all his crap got stolen.
I tell ya, man, he's drivin' Dunning nuts. Old man's spittin' nails!
KYLE: What got stolen from Jeff? Cash?
LOUIS: What else, right? But listen to this... Guy lost twenty Gs! Can ya
believe that? Who has that kinda moolah in a hotel? Guy with that much cash?
Musta done something dirty, right?
KYLE: So he claims someone lifted twenty large from him, huh?
LOUIS: That's his story.
KYLE: His cash is in my room.
LOUIS: Whoa...
KYLE: I found it wrapped in a plastic bag in my room's toilet.
LOUIS: OK, now I KNOW you're playin' with ol' Louis! Who'd go and do somethin'
like that?
KYLE: You tell me. I went downstairs after I found it, and Jeff was already
yapping away.
LOUIS: So ya think...
KYLE: Yeah. I think. Timing was too close to be coincidence. And here's the
kicker: I got an eyewitness. Melissa saw Jeff come out of my room.
LOUIS: No way! What a dirtbag! Whatcha gonna do, Hyde? Dunning's thinking
'bout callin' in the cops on this, and LAPD is no joke! You gotta watch your
step, brother!
KYLE: ...You're right. Last thing I need is to get caught up in Hollywood
drama. Especially now that I found a lead on Bradley.
LOUIS: Hold it! You got a lead? Did you find somethin' in Room 217?
KYLE: A lighter.
LOUIS: A lighter?
KYLE: That's right. Looks just like the one Bradley carried.
LOUIS: So the cat what stayed here six months ago under your name was...
KYLE: That's my hunch.
LOUIS: Yeah, but if that's true... Why'd the dude use your name, man? And
why's he stayin' here in the first place?
KYLE: No clue, Louie. That's what I've got to find out. But first I have to
clear up these distractions.
LOUIS: I dig ya, brother. That punk Jeff's plannin' something! We gotta make
him talk! Gotta find out why he's tryin' to set you up!
KYLE: My thoughts exactly.
LOUIS: We gotta trick him, yeah? Make him slip up and do something stupid! He
ain't from the streets! He's some spoiled rich punk! We can roll him, easy!
KYLE: All right, Louie, let's do it.
LOUIS: Yeah, I guess... Hmm... Wait! Wait, we could... Nah...
KYLE: How do we play it?
LOUIS: OK, got it! Check this out, my man!
KYLE: Yeah?
LOUIS: I get Jeff to come outta his room, right? And then while he's gone...
KYLE: I go in and give the place a quick shakedown.
LOUIS: Bingo! I bet my last dime there's something in his room that'll nail
him.
KYLE: I think you're right.
LOUIS: So you want I should go ahead and set the trap? Ya got any dirty cop
tricks I can use? Beat sticks or sweet talk or that kinda crap?
KYLE: Keep it simple. Give him a call and get him out of the room.
LOUIS: A call? That's it? C'mon, man, I wanna be like Kojak and bust down his
door or something. Man, you're such a drag... All right, I'll just go and tell
him I found his dough.
KYLE: Where?
LOUIS: Uh...in the...utility closet. Yeah, I'll have him follow me down there.
Then I'll mess with the lock and keep him busy for a few.
KYLE: Got it.
LOUIS: OK, let's go in five. All ya gotta do is go and wait in Room 217, yeah?
[Louie finishes talking and rushes out of the room.]
<Kyle goes to Room 217.>
KYLE: Here's my spot.
<Soon Kyle hears Louie's voice.>
LOUIS: Mr. Angel, I found your money. You know...the money that you...um,
lost? Yeah... I mean the money what was stolen. The stolen money. Look, just
come with me.
KYLE: You're an idiot, Louie. No one's dumb enough to fall for--
JEFF: My money? Where?
<Kyle hears the sound of a door closing.>
KYLE: Oh... He fell for it. Guess I forgot how stupid crooks can be. OK, Hyde.
Time to go to work.
<Kyle enters Room 213 and takes a look around.>
[There's a bag on the sofa.]
KYLE: Look what's in his bag...
[I got the Room 215 key.]
KYLE: So Jeff's got the master key to my room, huh?
[That must be Jeff's coat. Wonder if it would fit me.]
KYLE: Hm? There's something in the jacket pocket.
[I got Jeff's student ID. The name on the card is Jeff Damon.]
KYLE: Jeff Damon... Damon? I've heard that name before. (Oh, right... It was
in the lobby paper.)
<flashback>
MARTIN: It seems there was a burglary in Beverly Hills last night. Quite
brazen, really... The victim was an attorney named Larry Damon. Mr. Damon
happens to be a friend of mine, you see? I do hope he is doing well.
<flashback ends>
KYLE: What the hell? (Is the attorney in that article Jeff's father?)
<He turns to leave the room, and the door opens.>
KYLE: Huh?
JEFF: What's the deal?
[Jeff closes the door and comes into the room.]
JEFF: What're you doing in here? This is my room! You'd better get out of
here now.
KYLE: Yeah? I thought it was the kitchen. Ain't Rosa around here somewhere?
JEFF: Are you trying to be funny? Are you LAUGHING at me? Well, laugh this
off! I'm calling the front desk and getting the police over here!
KYLE: Bad idea, pal. You're the last person who wants to see the cops.
JEFF: What's that supposed to mean?
KYLE: Oh, just a feeling I got.
JEFF: Now wait just one--
KYLE: So here we are, in your room. Just a couple of guys, having a harmless
chat. Tell me something, Jeff. You got a thing for cops and robbers, right?
Is a little casual B&E a crime? That's breaking and entering, if you were
confused.
JEFF: I... I know what it is, all right? I'm not stupid! Of course it's a
crime! Now get out of my room!
KYLE: Oh yeah, I'm going. Don't you worry about it. But tell me something.
Since you're so smart and all... Why'd you do it?
JEFF: ...Do what?
KYLE: What did you do when you broke into my room, huh? Watch TV? Nap on the
bed?
JEFF: Are you accusing me of something?
KYLE: (Time to play this sap like a violin.) Time to sing, little birdie. You
hid a stack of cash inside the toilet tank. Didn't you?
JEFF: Huh? Look, if I had a stack of cash, I'm sure I wouldn't hide it in
somebody's toilet, OK? [Why'd you hide the cash?]
KYLE: Gonna play dumb, huh?
JEFF: Unless you have proof, I think you should drop it.
KYLE: (Proof? Aren't you the guy who wanted to search everyone in the entire
hotel?) Oh, I got proof. I got all the proof I need. I've got an eyewitness
who saw you come out of my room.
JEFF: Uh...
KYLE: Yeah, nice comeback. Oh, and I also know about the piece you stashed in
the cart.
JEFF: Knock it off! You can't just say things like that!
KYLE: Give it up, kid. You're not getting away with this. Why'd you do
something so stupid, anyway? There's a reason you hid that cash in my room.
You wanted to see me take a fall!
JEFF: Look, I didn't hide any cash in your room. How would I ever get in
there?
KYLE: What?
JEFF: If you're going to say things like that, you'd better have proof.
KYLE: (...Proof? I guess I need something more to nail this punk.) I know why
you hid the pistol in the laundry cart. You wanted to make somebody else into
a criminal.
JEFF: I didn't hide a gun in the laundry cart. I don't know what you're
talking about.
KYLE: Your real name is... Jeff Damon, right?
JEFF: What...what are you talking about? My name's Angel. Jeff Angel.
<Kyle shows the duplicate Room 215 key.>
JEFF: Oh.
KYLE: You want to tell me what you're doing with this?
JEFF: ...
KYLE: You hid the cash I found in my room, didn't you?
JEFF: I told you I don't know anything about it! You're really getting on my
nerves!
<Kyle shows the pistol.>
JEFF: Why are you showing me that?
KYLE: Found this piece in the laundry room. That's where you hid it, right?
JEFF: I don't know what you're talking about.
KYLE: You're lying, punk.
JEFF: Why are you so convinced that I hid it? I bet if you dusted it for
prints, you'd only find yours.
KYLE: I know why you hid the pistol in the laundry cart. You wanted to see me
take a fall!
JEFF: You're nuts! I told you I don't know anything about that!
KYLE: What?
JEFF: If you're going to say things like that, you'd better have proof.
KYLE: (...Proof? I guess I need something more to nail this punk.)
<Kyle shows the student ID.>
JEFF: What's that supposed to be? I don't know anything about it.
KYLE: Your real name is Jeff Damon, isn't it?
JEFF: No! It's NOT! How many times do I have to tell you? My name's Jeff
Angel!
<The conversation is at a stalemate. Kyle leaves the room.>
KYLE: (Wait a minute... What was that windbag Summer going on about...)
<flashback>
MARTIN: I must tell you about this article I was reading in the newspaper. It
seems there was a burglary in Beverly Hills last night. Quite brazen,
really... The victim was an attorney named Larry Damon. Mr. Damon happens to
be a friend of mine, you see? I do hope he is doing well.
<flashback ends>
KYLE: (That's it. That newspaper...)
<Kyle goes to the front desk area and reads the paper.>
[Date on the newspaper's December 28th. That's today.]
KYLE: Let's see what's in the paper today...
ARTICLE: Home of Prominent Beverly Hills Attorney Burglarized. The Beverly
Hills home of attorney Larry Damon was burglarized last night. Police say
$20,000 and a pistol were taken from a safe in the study. The perpetrators
then fled the scene in Damon's car. A police spokesman said they are actively
pursuing the case.
[I picked up the lobby newspaper.]
KYLE: (So that's it, huh? The cash from my john is from this robbery.)
<Kyle goes to his room.>
[I pull a stack of cash out of my suitcase.]
<He knocks on 213 again.>
KYLE: It's Kyle Hyde.
JEFF: I'm not talking to you. Go away.
KYLE: Open up. You asked for proof, I've got proof.
<The door opens and Jeff comes out.>
KYLE: You're busted, kid. I know what you did in Beverly Hills.
JEFF: ...What?
KYLE: Let me in. One way or another, I'm coming in.
JEFF: All right, all right. Come in.
<They go in the room. Kyle shows the newspaper.>
JEFF: Hey... That article...
KYLE: The guy who got robbed in Beverly Hills is named Damon. The same name
that's on this student ID.
JEFF: That's...
KYLE: And guess what was taken from the Damon residence? Twenty large and a
gun.
JEFF: Er...
<Kyle shows the stack of cash.>
JEFF: That's...
KYLE: What're you doing with this much scratch? You steal it from mommy and
daddy?
JEFF: Uh...
KYLE: There's a reason you hid that cash in my room. You wanted to cause a
big stink. So you took the master key to my room and hid the money in the
john.
JEFF: Er...
KYLE: Those aren't the actions of your average Joe, pal. The only one who's
gonna get hurt in this mess is you. So why'd you do it? Twenty large just
something to play with for you? You mistake me for a sap that would just take
the fall? Is this a game to you? That it? Stop playing the fool and grow up!
JEFF: Grow up... Like I haven't heard that before. You sound just like him,
you know? That makes me so mad! Stop treating me like I'm stupid! I'm not a
kid! Don't pretend to know one single thing about me!
KYLE: Who do I sound like?
JEFF: Huh?
KYLE: I told you to grow up, right? You said I sounded like somebody.
JEFF: Yeah... Like my poppa.
KYLE: ...Poppa? You telling me you call your old man "poppa"?
JEFF: That's right. What of it?
KYLE: Uh... Nothing, I guess. So, uh, what kind of man is your...poppa?
JEFF: What kind of man is he?
KYLE: What's he do for a living?
JEFF: He's a lawyer.
KYLE: Lawyer, huh? Sounds like he's got his act together.
JEFF: Not even close.
KYLE: Look, I've had about--
JEFF: You're wrong! DEAD WRONG! My poppa's a total scumbag!
KYLE: Your old man as bad as all that?
JEFF: Worse. He's an arrogant scumbag who thinks he's always right about
everything. And he doesn't trust anyone but himself. Not even his own family.
KYLE: I know why you hid the pistol in the laundry cart. It's because you
wanted somebody to find it. You stole the gun from your own house.
JEFF: ...Yeah? So what?!
KYLE: Why'd you put the gun where somebody would find it?
JEFF: I figured they'd call the cops once it got found. That's all.
KYLE: Your real name is...Jeff Damon. The proof's on your student ID.
JEFF: Er...
KYLE: Why're you hiding your real name?
JEFF: It's my father's name... I don't need it!
KYLE: Why you hate your old man's name so much?
JEFF: I don't want to have a jerk like him as my father. That's why.
KYLE: Look, kid, I don't care if your name's Angel or Damon or McGillicutty.
Got it? I don't even care whose money that is. All I want to know is why you
did it.
JEFF: You think I know? Why are we talking about this? Nobody understands me.
KYLE: Give it a rest, will ya? You're an open book, kid. Had you pegged from
the moment I laid eyes on you.
JEFF: You're such a liar. What do you think you know about me?
KYLE: Where do you want me to start? Never worked a day in your life, so you
got no idea about the true value of money. That's why you can steal twenty
grand from your old man without blinking an eye. That's why you could take it
and use and lose it just to get a little attention.
<Jeff looks shocked.>
KYLE: You never used a gun in your life. Oh sure, you imagined what it would
be like. But you got no idea what it's like to pull the trigger. To take a
life. You got no idea what it takes to bleed a man out and watch his light
go. That's why you toss a gun into a laundry cart like it means nothing.
<Scene of Jeff and his father>
KYLE: I don't know what set you off, but I know you wanted to put a scare
into Poppa. That's why you took his cash and his heater and ran like hell.
'Course, you didn't know what to do with 'em after you stole 'em. And after
you showed your belly and ran, you had nowhere to go.
<Scene of Jeff finding Mila>
KYLE: So you find a girl on the road with a hotel brochure, and you end up
here. And that's when you meet me. Just some down-on-his-luck salesman. Not
too bright. Not too dangerous. You plant the goods on me, then sit back and
wait for Poppa to love you again.
JEFF: I... I didn't... I wasn't...
KYLE: ENOUGH! I did NOT come to this hellhole just to hear you bleat like a
damn sheep! You are going to tell me everything, and you are going to do it
now. Do not make me ask twice.
<They stare at each other.>
JEFF: ...All right. All right. What do I say? I mean...you're right. You lived
in the world. Me? I mean, I'm just a kid. I'm nothing. Just a spoiled little
rich kid.
KYLE: This I know. Keep going.
JEFF: It's...it's true. Everything you said is true. I can't stand my poppa.
I can't forgive him for who he is and what he does. I did all this just to get
under his skin. I didn't plan it. I just...opened the safe and grabbed the
stuff and ran. But I didn't know what he'd done until I saw the newspaper. He
knew it was me who took his precious money and his damn gun. He knew it was
me, and he still called the cops. You know what my parents are doing right
now? Mom's crying on the sofa. And Poppa? He's telling her how he's doing this
for me. Teaching me a lesson. You want to know what my poppa's like, right?
Let me tell you.
<Scene of Jeff and his dad>
JEFF: He's a defense lawyer. And not just any lawyer. The best. A genius.
Hire Poppa, and he'll convince a jury that black is white and night is day.
That's why people spend a fortune getting him to defend them. And if you can
pay, it doesn't matter what you've done. Theft? OK! Assault? Sure! Tax
evasion? No problem! Murder? He's your man. He'll go to bat for anyone. Even
organized crime. Hell, ESPECIALLY organized crime.
KYLE: Organized crime?
JEFF: Yeah, right now he's working for a group of lowlifes called Nail or Nile
or something.
KYLE: ...What? (Jeff's old man is working for Nile? Oh, kid...)
JEFF: Yeah, that's who he is. That's my poppa... Scum of the earth!
KYLE: Where'd you learn all this?
JEFF: He'd bring these men by the house from time to time. Unsociable types,
you know?
<Scene of Jeff's dad with several men>
JEFF: Poppa said they had business they couldn't discuss at the office. I
happened to...overhear some of their conversations, and that's how I found
out. That these guys were part of Nile, I mean.
KYLE: That's it, huh?
JEFF: Poppa's getting filthy rich off what these guys are paying him. So it's
cool that I, uh, boosted a small chunk of it. Right?
KYLE: (Twenty thousand is a small chunk? I'm in the wrong business.) So what's
the plan?
JEFF: Since I learned Poppa called the cops, I've been thinking... He wants
me to come crawling home with my tail between my legs. And hey, why not,
right? That's what I've always done... But I've changed. I'm not going to do
that again. I'm going to embarrass him. That's why I did all this and tried
to get Dunning to call the police. I figure they'll get here, see through my
story, and arrest me. My being arrested will cause all kinds of trouble for
Poppa. Then the press will come and ask why I did it... And I'll tell 'em.
I'll tell them what a crook Poppa is. I'll tell them all the dirty stuff he's
doing.
KYLE: Ha ha ha!
JEFF: What's so funny?
KYLE: You know something, kid? I've seen dumb before, but it's not often I
meet stupid.
JEFF: Wh-what?
KYLE: You trying to punch your old man's ticket to the morgue?
JEFF: I don't...
KYLE: Knock this crap off!
[I toss the cash, the gun, and the student ID on the floor.]
KYLE: This is yours. Take it and go home. Go see your father. You think this
is a good plan? Think you're smart? What happens when you go to the press and
talk about how your old man's mobbed up? You think Nile's just going to sit
back and do nothing? Go ahead. Shoot your mouth off. You and the old man can
push up daisies together.
JEFF: But...
KYLE: SHUT UP! You want your poppa away from Nile? You want him to keep
breathing? Here's what you do: take your sorry ass home and NEVER do anything
like this again.
JEFF: But, how...how am I... What am I supposed to do then?
KYLE: You want the old man to change? You change first. Stop depending on him
for everything. Try standing on your own two feet.
JEFF: Mr. Hyde...
KYLE: Do that, and your old man'll come around. You'll be showing him how to
live. Now get outta here.
<Kyle leaves the room.>
KYLE: (Looks like I've wrapped up Jeff and his burglary fiasco. But... Still
can't believe Jeff's old man has ties to Nile. The coincidences are piling up
faster than I can count. How many times have I heard the name Nile since I've
been here? I'd better take a breather and clear my head. I need to have all
this sorted out before I go on.)
<goes to CHAPTER SUMMARY>
After I heard Summer's confession, I went back to my room. Then Rachel called
and told me about the painting Angel Opening a Door. Seems the thing was
stolen from a New York art museum three years ago. We talked, then I went to
meet Rosa and ended up running into Jeff. Jeff asked me...
[Did Dunning say anything?]
That's right. That's what the punk said. He was grinning from ear to ear,
like he was glad he got robbed.
I heard from Rosa that Mila was running a fever. I went to check up on her
and used my notebook to chat with her. I learned that her father's name is...
[Robert Evans]
That's right. Mila's father's name is Robert Evans. The bracelet she wears
was a gift from him.
I did my best Betsy Ross imitation and sewed up Melissa's rag doll. That's
when Melissa told me she'd seen Jeff coming out of my room. I knew Jeff was
trouble, so I went back and gave the laundry room a quick search. What I found
there was unexpected. It was...
[A gun]
That's right. I found it under a mountain of sheets in the laundry cart.
Nice piece, too.
Louie waltzed into the laundry room, so I told him about the pistol and the
cash. We both figured Jeff was involved somehow and decided to roll him up.
While Louie kept Jeff busy, I I took a little stroll through his room. I
patted down Jeff's jacket and found...
[Jeff's Student ID]
That's right. I found Jeff's student ID in the breast pocket of his coat. I
saw the name on the card and realized that Jeff was using a fake name.
I put together proof that Jeff was lying through his teeth. Then I stuck his
feet to the coals and asked why he was trying to stir up trouble. Jeff told
me all about his idiotic plan, and how he was ticked off at the old man. His
father's name is Larry Damon, and he makes a living as a...
[Lawyer]
That's right. Jeff's father is a lawyer. Knocked me for a loop when I heard
he was a hired mouthpiece for Nile.
Jeff's yarn was sad in a pitiful sort of way. Another father-and-son story
gone wrong. It did convince me of one thing though: people do stupid things.
But when you ask them, they always got a reason. Tell me, Bradley... Why'd
you do it? For what price did you sell our trust? Your soul? Maybe that's all
I want to know. Maybe that's why I'm chasing ghosts and lies. The sun sets,
and Hotel Dusk retreats into darkness. Like the shadows that creep across the
floor, I'm moving toward an answer.
===================================
3f. CHAPTER 6: DECEMBER 28TH, 1979
9:00 ~ 10:00 P.M.
===================================
<Kyle is back in his room.>
KYLE: (Nine o'clock. ...Bar's open. Hell, I cleared up that mess with Angel.
Might as well celebrate with a drink.)
<As he turns to leave his room, the phone rings.>
KYLE: Hmm? Phone again.
<He answers.>
RACHEL: Hey, sweetie.
KYLE: Heya, gorgeous.
RACHEL: Well, you seem to be feeling better! Listen, Ed's back. I'll put him
through...
ED: ...Hyde! It's Ed! What's the good word?
KYLE: Louie and me had a little chat about his pal Danny.
ED: I'm listening.
KYLE: Louie wasn't involved in the murder. And he didn't make off with the
cash, either.
ED: Yeah? So who iced him?
KYLE: ...Bradley.
ED: What?!
KYLE: Seems Bradley was working for Nile under the name of J.
ED: J? That's a helluva'n alias.
KYLE: Louie and Danny had a meet scheduled, but Bradley crashed the party.
ED: Well, I'll be damned.
KYLE: He blew Danny away, then took a painting the kid had swiped from Nile's
hideout. Bradley also got the money Danny was using to close the deal.
...Nile's money. This was three years back. Right before I met Bradley on the
docks. At least, that's Louie's story. For what it's worth, I think he's
playing me straight.
ED: Makes sense. Keep talkin'.
KYLE: I told Louie I was still on the hunt for Bradley. He put two and two
together and told me everything. Now he wants to help out. Keeps saying we're
partners.
ED: Har! Revenge makes strange bedfellows.
KYLE: Yeah, there's more. When I checked in, I heard a guy with my name had
stayed here. Happened about six months back. Anyway, I searched the room the
guy stayed in and found a lighter.
ED: Oh yeah?
KYLE: Yeah, and it's a lighter I remember well, if you follow.
ED: You telling me Bradley stayed at that hotel? That what you're thinking?
KYLE: Could be.
ED: Uh-huh... You thinking you can pick up his trail?
KYLE: Worse things could happen.
ED: Tell me something, Hyde. Why you still chasing this ghost?
KYLE: He's no ghost.
ED: You hate him. That it?
KYLE: Ed, I...
ED: Hell, I understand. Bradley was your partner. Your friend. One day he
double-crosses you, and the world gets a little bit colder. So you trail him
to the docks and give him the lead kiss.
KYLE: That's not--
ED: And when his mug don't turn up with all the other floaters in the
Hudson... You go after him again. Even losin' the badge can't stop you. Hate
like that eats a man alive.
KYLE: It isn't hate, Ed. Never was. I just need to know why he did what he
did. Why he sold me out. Bradley had a reason. I know it.
ED: So you say.
KYLE: Ed?
ED: ...Yeah?
KYLE: I didn't expect much when you sent me to this hole. But what I've found
tonight with Louie. And Bradley... You still think it's coincidence?
ED: 'Course it is! The hell else could it be?
KYLE: Yeah, maybe...
ED: Hey, I heard you been putting Rachel through the paces. Having her run
research on some dead art mope? What's the story?
KYLE: One of the guests keeps talking about a painting. Thing's called Angel
Opening a Door. Supposed to be worth a fortune. Rachel says it was pinched
from an art museum three years ago.
ED: Lemme guess... You think it's the painting Bradley nicked.
KYLE: Just a hunch.
ED: A hunch, huh? Been a long time since I heard you say that. Your little
DeNonno reunion get the cop instincts flowing again?
KYLE: It's not like that. I just...
ED: You just what?
KYLE: I know this sounds nuts, but I don't care. There's something about this
place, Ed. I know it. Something here is going to lead me to Bradley.
ED: Huh... You really believe that?
KYLE: Yeah. I do.
ED: OK, Hyde. I'll give you one last night to follow this. But if nothing
shakes loose tonight, it's time to hang it up. I ain't gonna watch this thing
ruin your damn life.
KYLE: I don't have much of a life to ruin, Ed.
ED: All right, enough'a this crap. Let's talk business. Remember those items
I asked you to find? Well, I may need you to hand 'em over to the client
directly.
KYLE: Sure.
ED: I'll ring you up later.
<He hangs up.>
KYLE: (Bradley...)
<He goes to the bar.>
KYLE: So this is the bar... Hmm?
LOUIS: Yo, Hyde! Get in here! Welcome to the Seven Stars, my man!
KYLE: I prefer my barkeeps to be prettier... But I guess you'll do.
LOUIS: Now why you wanna go and hurt me like that? Ain't no one else could
look this good behind the counter!
KYLE: Hope you tend bar better than you deliver packages.
LOUIS: Lemme tell you a secret, my man... This here is the best place in the
whole hotel. Most every job old man Dunning makes me do is a total drag. Makes
me wanna take a long lunch and just keep on walkin', ya dig? 'Cept this one.
Brother, I could stand back here all day. So whaddya think? Beauty of a bar,
ain't she?
KYLE: Not bad.
LOUIS: Damn straight! So c'mon, Hyde! Take a load off, for once. What's your
poison?
KYLE: Bourbon. Make it a double.
LOUIS: Comin' at ya!
[I take a seat at the end of the bar.]
LOUIS: Hyde, my man? You got no idea what Louie has in store for ya... This,
my brother? This is an eight-year bourbon from the grasslands of Kentucky.
And it's on me.
[Louie sets my drink on the counter and leaves me in peace. ...Good man. I
swirl the deep amber around the glass and listen to the music of the ice. It
smells of good earth, with hints of charcoal dancing around the edges. The
first sip is a slow burn. I sit for a moment, letting the fire spread through
me...]
LOUIS: Hyde? You OK?
<Kyle gives a wide grin.>
LOUIS: ...HA HA HA! Oh, my brother, my BROTHER! Been forever since I seen a
cat make a drink look that good!
KYLE: Been a long time since I had an eight-year. Thanks, Louie.
LOUIS: Hey, you're the cat what made my day! Feel like the best barman in L.A.
now! Say, Hyde, I don't mean to interrupt your quiet time or nothin'. But we
got us a jukebox in the corner there if you want some drinking tunes. Oh, and
see those matches on the shelf over there? My work, man. Matches by Louis
DeNonno. Check 'em out when you got a sec. It's a trip. Oh, and there's
somethin' else I gotta clue ya in on.
KYLE: Spill it.
LOUIS: It's about the cat what was here six months ago. The one with your
name? Yeah, so the day he stayed here? Me and Rosa were both out.
KYLE: (...That's interesting.) So what's the story? Dunning gave you a day
off?
LOUIS: For real, man. Rosa, too. Days where me and Rosa both catch a break
are pretty rare. I don't think Mama Sass was even s'posed to get that day off.
But I guess Dunning got his wires crossed, 'cause she was outta here, too. So,
yeah. Me and Rosa both missed out on seeing that cat's face. Total drag. If
that guy was really your amigo Bradley, then he's got some kinda luck. If I'd
been there...? Woulda killed him on the spot with how he done for Danny!
KYLE: And no one's been in 217 since that day, right?
LOUIS: That's right.
KYLE: So Dunning's the only one who saw the mystery man?
LOUIS: You got it. Hey... Why don't I show the boss a photo of Bradley! I'm
sure the old coot could tell if he was the mystery guest or not, yeah?
KYLE: Works for me.
LOUIS: Dig it, man. I'll just show him the photo like it's no big, and see
what he says. Leave it to me, my man! Plan'll go down smooth as that bourbon!
KYLE: Thanks, Louie.
LOUIS: You know, I don't get this, Hyde. Say the guy what stayed here really
was Bradley. I mean, why's he come here? What's he thinkin'? Guy musta had
SOME reason for comin' here, yeah?
KYLE: I don't know, Louie. I can't figure that out. So tell me about these
matches of yours.
LOUIS: Dig it, man. Label's a custom DeNonno original! 'Fore I came, place
didn't even HAVE matches.
KYLE: You have a jukebox? And it works?
LOUIS: I know. Trip, right? Ain't the newest model or nothin', but it gives
the old bar some class.
KYLE: What's a song run me?
LOUIS: Can't charge for MUSIC, man! Thing's free as can be. You see a song
you like, just give it a spin. 'Nother drink, my man?
KYLE: Yeah, hit me again.
<The door to the bar opens.>
KYLE: Someone's here...
<Helen walks in.>
LOUIS: Oh, hey! Welcome to the Seven Stars! Uh...ma'am. Just take a seat
anywhere ya want.
KYLE: (It's the old gal from upstairs.)
LOUIS: Whatcha havin'?
HELEN: What a nice young man! I'll have a gimlet, if you please. And mind you,
a real gimlet is half gin and half lime juice, and nothing else!
<Kyle checks out the jukebox and matches, then talks to Helen.>
HELEN: And a good evening to you, Mr. Hyde! Are you down here all by yourself?
KYLE: Yeah. I drink alone. Less hassle that way.
HELEN: Oh, I couldn't agree more. But tell me, what are you drinking this
evening?
KYLE: I'm a man of habit. First one's always a bourbon. Then I let the others
take care of themselves.
HELEN: My stars! Spending a Friday evening chatting with a fine,
bourbon-drinking gentleman! I can't even remember the last time I did
something like this! Goodness, it takes me back. It truly does...
KYLE: So... You have family?
HELEN: No, I'm all alone. And you, Mr. Hyde?
KYLE: Same story. No family, no ties. I'll tell you something, though. This
is the first time I ever spent the last Friday of the year in a hotel bar. And
the first one I ever spent with a nice, gimlet-drinking lady like yourself.
HELEN: Oh, Mr. Hyde! You certainly are a charmer!
KYLE: Now that I think about it, you said something when I first saw you.
You wanted to stay in the room that grants wishes, right?
HELEN: That is correct. There's a wish of mine that simply must come true,
no matter what. That's why I came to this hotel, you see.
KYLE: C'mon, that's just Dunning flapping his gums. You really believe that
fairy tale?
HELEN: And is it such a shame if I do believe it, Mr. Hyde? Perhaps the
fairy-tale nature of the story makes me more inclined to believe, hmm?
KYLE: So what's this wish of yours?
HELEN: Now now, Mr. Hyde. That's my secret. All people have at least one
genuine wish in their heart, don't you think? But you never really hear about
such things, because they are so personal. Not the kind of thing you'd just
give away to anyone, don't you agree?
KYLE: You always been alone?
HELEN: Oh no. No, not always. There was a time when I had someone in my life.
A lot can happen when you live as long as I have.
KYLE: So you had family once?
<Helen looks away.>
KYLE: Not everything you hoped it would be?
HELEN: Oh no, it's nothing like that. It's just... Well, it's all in the past,
you see. Nothing interesting to speak of.
KYLE: You don't want to talk about it, I'll mind my business...and my drink.
Just thought hearing about you in the heyday might be a kick in the pants.
LOUIS: Sorry to keep ya waitin'! We got a gimlet for the beautiful young
woman.
HELEN: Oh ho! What a rascal you are! Oh, and bartender? I'd like to order
this man a bourbon.
LOUIS: Coming right up.
[Louie heads back down the bar.]
HELEN: Now, Mr. Hyde, how would you like to play a little game with me? Just
to pass the time until your bourbon comes.
KYLE: I'm not much for games.
HELEN: Oh, but you'll like this one! It's more of a trick, really. Now just
give me one moment to set this up... ...All right, I think that should do.
Now, as you can see, I have six coins in front of me. You must arrange them
so there are four in a row both vertically and horizontally. Oh, but here's
the fun part... You can only move one coin! Do you think you can beat my
little game, Mr. Hyde?
KYLE: OK, I'll bite. But if I win, you have to tell me about your past. Deal?
HELEN: Agreed!
<He solves the puzzle.>
KYLE: There.
HELEN: Oh, you solved it! Wonderful! Perhaps it was too easy for you. Very
well then! As promised, I'll tell you a little about my past.
KYLE: I'm listening.
HELEN: The truth is, this is not my first stay at this hotel.
KYLE: (Can't believe someone would stay here more than once...) Wait a minute.
When did this happen?
HELEN: I first stayed here twenty years ago. Then I returned ten years later.
KYLE: Wait. You've been coming here once a decade for thirty years?
HELEN: That's correct. Back then, the stories about Room 215 didn't even
exist. It all happened so long ago. At that time, I was working in Las Vegas.
KYLE: (Seriously?) So... You lived in Lost Wages, eh?
HELEN: Lost Wages? Ha, ha, ha! Oh, Mr. Hyde, I haven't heard that one in
years! Yes, it was a long time ago, but I was a magician, you see! Yes,
before I lost this eye, I used to entertain huge crowds of people. Las Vegas
was the place to be for people in my line of work.
KYLE: You were a MAGICIAN?
<Helen nods.>
LOUIS: Hyde, my man? Do I have something special for you... This, brother, is
the best bourbon in the house. Aged twelve years.
HELEN: Oh my, look at the time! I'm sorry, gentlemen, but I must be off.
Thank you for engaging this old lady in such spirited conversation, Mr. Hyde.
Please enjoy the rest of your drink. Bartender, would you please help me up
to my room?
LOUIS: Huh? Oh, uh...yeah. Sure. Yo, Hyde, looks like I gotta run Grandma
Patch back to her room. Can ya keep an eye on the place till I get back?
KYLE: Sure.
[Helen and Louie leave the bar together.]
<Kyle checks out the bar. The door opens.>
KYLE: Who's there?
IRIS: Well, if it isn't Mr. Hyde.
KYLE: Oh. You.
IRIS: Are you the only one here?
KYLE: Yeah. Bartender had to step out, but he's coming back.
IRIS: Yes, I should have expected that in this place... So are you heading
for bed, Mr. Hyde? I would hate to interrupt your leaving...
KYLE: Nope. Barkeep asked me to watch the place until he gets back. ...Which
will probably take a while.
IRIS: Oh, I see. I can't imagine why I'm asking you this, but would you like
to have a drink together?
KYLE: Sorry. Maybe later.
IRIS: Oh really? OK, I get it.
KYLE: Get what?
IRIS: You're not used to sharing a drink with a young, attractive woman such
as myself.
KYLE: (Think what you want. I still ain't drinking with you.)
[09:20 PM]
<Kyle wanders around the bar again.>
[The glass is filled with bourbon. My old friend.]
<The door opens.>
KYLE: Who's there?
<Martin enters.>
MARTIN: And a fine evening to you, Mr. Hyde!
KYLE: Summer. ...Don't you have a book to plagiarize or something?
MARTIN: So this is where you have sought refuge from the weight of this cruel
world. I thought you might be in your room, but found it empty.
KYLE: You been looking for me? Why?
MARTIN: Our last discussion ended on somewhat...awkward terms. I had hoped to
start anew.
KYLE: No thanks, Shakespeare. I got no interest in anything else you have to
say.
MARTIN: Your words wound me, sir. I had hoped to find you in a more charitable
mood. Perhaps you do not appreciate the gravity of my earlier confession. The
truth remains that I revealed a secret which I had guarded for ten years. And
to a traveling salesman that I had met not hours before! You are a curious
fellow, sir, and I find myself in awe of your gruff nature. And so I thought
we could engage in a further bit of light conversation.
IRIS: Mr. Hyde?
KYLE: Yeah?
Iris: I'm finding that drinking alone is just as sad and pathetic as I thought
it would be. I'll be leaving now. Do enjoy the remainder of your thrilling
evening.
[Iris leaves the bar.]
MARTIN: I say...
KYLE: What?
MARTIN: Who was that woman?
KYLE: She's the dame staying in 216. Name's Iris.
MARTIN: Iris? Oh no, that's not right.
KYLE: (You know something I don't, pal?) Hold it. So what's the skinny with
Iris?
MARTIN: Oh, it's nothing really. I just had the feeling I'd seen that young
woman before. By the way, Mr. Hyde... I have just remembered a small nugget
that may be of interest to you.
KYLE: Go on.
MARTIN: You recall asking me about Osterzone, yes? Well, during our chat, I
failed to mention something about the image on my bookmark. Three years ago,
you see, that particular painting was on display, and--
KYLE: Somebody nicked it.
MARTIN: Oh! You knew already?
KYLE: Yeah.
MARTIN: But... But how could you possible know this? Not two hours ago, you
did not even know the name of Osterzone! How did you manage to find out about
the theft so quickly?
KYLE: I did a little research.
MARTIN: Research, you say? And just how did you manage this?
KYLE: I ain't playing twenty questions with you, pal. See you around.
MARTIN: Wait! Please, Mr Hyde, just... One moment, please! It is as I
suspected. You, sir, are no ordinary salesman. Yes... Yes, it's clear as day
now. It all makes sense.
KYLE: You figure something out?
MARTIN: Just a bit of deductive reasoning, is all. I am, after all, a mystery
novelist first and foremost. I couldn't help but attempt to grasp your true
nature!
KYLE: (A thieving mystery novelist...)
MARTIN: You claimed to know nothing of Osterzone or his work. And yet you seem
quite well informed on this matter. How is that? You are also employed as a
salesman, but lack even the most basic of people skills. So what can we deduce
from this, hmm?
KYLE: (Maybe I can deduce my fist to your face. Bet that would shut you up.)
MARTIN: But enough wordplay! It is time to, as they say, lay my cards on the
table. You, sir, are on the trail of Osterzone's stolen masterpiece! Yes, a
work such as Angel Opening a Door must be insured for a princely sum. I
surmise that you are in the employ of this insurance company. You have been
hired to track down the painting and return it to the rightful owners!
<Kyle scratches his head.>
MARTIN: This salesman act is nothing more than a mink stole on a cheap lady
of the night! Now that, sir, is deduction! Behold the power of my reasoning
and wit!
KYLE: You done making stuff up?
MARTIN: Wh-what?! Are you telling me that this is NOT your purpose here?
KYLE: Yeah. That's what I'm telling you.
MARTIN: Oh... But I had deduced... I was so certain of it!
KYLE: Well, I'm certain that you're an idiot, and only one of us is right.
And you couldn't deduce your way out of a wet sack. That's why your books
sell like fried crap at a county fair.
MARTIN: ...I see. I supposed I should thank you for such honest advice. But
know this! The more you resist, the more determined I am to learn about you!
KYLE: Where'd you meet her?
MARTIN: I think... Perhaps it was... No, I'm sorry, Mr. Hyde. I fear my memory
has failed me. But if I manage to lift the fog from my mind, I shall notify
you posthaste!
MARTIN: Make no mistake about it, Mr. Hyde! I shall discover your true
identity!
[Summer leaves the bar.]
KYLE: I've had about enough of that guy...
<Kyle wanders around the bar again.>
[The glass is filled with bourbon. ...How I've missed you.]
<The door to the bar opens.>
KYLE: ...Hmm?
LOUIS: Yo, Hyde, thanks for watchin' the place. Anyone swing by while I was
out?
KYLE: Two birds showed, but they both left.
LOUIS: Aw, man! Wish they'd stuck around till I got back!
KYLE: You're better off this way. Trust me.
LOUIS: That's cold, Hyde! I thought you were s'posed to be workin' with people
now! Can't never let a customer leave angry, dig?
KYLE: Louie, you're makin' my head hurt.
LOUIS: Sorry, man. Didn't mean to bring ya down.
KYLE: Wasn't you. I think I'm done here.
LOUIS: OK, cool. Well, bar's open till midnight, so swing back if ya get
bored, yeah? We still gotta have that drink together!
<Kyle leaves the bar and comes upon Rosa in the hall.>
ROSA: Oh, Mr. Hyde! Good evening!
KYLE: You're still cleaning?
ROSA: Oh, yes! Clean, clean, clean! That's all poor Rosa does! This old
hotel's about to fall apart, you know? Sometimes I think I'm the only thing
that keeps it going... Besides, the key to good housekeeping is sticking with
it. Can't let dirt win!
KYLE: Guess not.
ROSA: So where were you? Huh? Did you stop by the bar?
KYLE: Yeah.
ROSA: Oh! And how was it?
KYLE: Not bad.
ROSA: That's good to hear! Dunning decided to let Louis manage the bar all by
his lonesome! That boy! When it comes to cleaning, he just wants to loaf, but
he loves that bar!
KYLE: Seems so.
ROSA: Well, that's Louis for you. I wish he would put the same effort into
helping me! but will he? Land sakes, no!
KYLE: How long has that bar been here?
ROSA: Oh, quite a while now! I heard it was opened to celebrate the hotel's
tenth anniversary. Mmm-hmm! Me? I think it's too small, but folks seem to be
taken with it anyway. It's always full! And the folks there always leave me a
terrible mess!
KYLE: So when was the tenth anniversary?
ROSA: Well, let's see... The hotel was built twenty years ago... That was
1959, so... 1969! If my math is right, and I just know it is!
KYLE: Ten years ago... (Wait a second... That incident with the missing kid
happened about ten years ago.) So I heard about a strange incident that went
down ten years ago. You know anything about that?
ROSA: Oh...
KYLE: So the story's true?
ROSA: So you heard, did you? I can just guess who told you!
KYLE: Little bird.
ROSA: I just bet! Well, I'm a terrible liar, so I guess I can't pretend not
to know!
KYLE: So it's true?
ROSA: ...Yes, Mr. Hyde, it's true. Every word.
KYLE: That's interesting.
ROSA: ...HA! Oh, Rosa fooled you but good! Ha ha ha ha ha! Oh, I'm sorry,
Mr. Hyde!
KYLE: What?
ROSA: Oh, you should have seen your face... Whew! No, I'm afraid it's just a
rumor. But when I started here? I thought it was true, too, and for a fact!
KYLE: Rosa... You made a joke. Did it hurt?
ROSA: Oh, hush now! Anyway, when I first asked Dunning if it was true, he flat
out laughed at me! And here I was, hoping to get a peek at a ghost! What
silliness!
KYLE: That's one word for it.
ROSA: Dunning says that this kind of thing happens all the time! What with
hotels changing owners and closing down and so forth? Well, rumors get started
and folks talk about ghosts and murders and there you go! Oh, look at me!
Chatting away like I have all the time in the world! So much cleaning still
to do, and look at the time! Busy, busy, busy...
KYLE: I'll get out of your hair.
ROSA: Oh, but Mr. Hyde! Maybe you want to hear more about this hotel's
history? Hmm? Well, if I were you, I'd ask Dunning himself! Yes I would! I'm
sure the old coot is around somewhere!
KYLE: I'll do that.
ROSA: You will? Good! And I'll get back to my cleaning!
<Kyle goes to the restaurant.>
KYLE: Huh? Wait, that looks like... Oh, it's Dunning.
<He goes to where Dunning's standing.>
KYLE: Hey there.
DUNNING: Huh? Oh, it's you, Mr. Hyde. Whaddya need?
KYLE: Tell me about the hotel's history.
DUNNING: Its history? Now why'n the Sam Hill ya wanna go askin' 'bout that
nonsense?!
KYLE: I'm a curious guy. Look, I was just down in the bar, and someone told
me a little bit about it. Said the bar was built for the hotel's tenth
anniversary. That true?
DUNNING: So ya heard, did ya?
KYLE: Has it always been called Hotel Dusk?
DUNNING: Yep, yep. Been the same since Day One. 'Parently, the fella who built
the place gave it that handle. Went up on the roof after they'd finished
buildin', and took a look at the sunset. Fella was so impressed, he named the
joint Hotel Dusk. Leastwise, that's what I heard. Yeap, I thought about
renamin' the place when I started runnin' it. But when I heard how much it
costs t'change a damn sign, I 'bout near fainted!
KYLE: So what were you staring at when I came in?
DUNNING: Pictures.
KYLE: Pictures?
DUNNING: Yep. Take a look up above the piano. See them frames? Got lots'a old
shots of the place in there. They're all pictures'a guests in the restaurant.
Most've 'em are from before my time here.
KYLE: That old, huh?
DUNNING: Real comedian, ain't ya, Hyde? ...'Course, they're all up'n gone now.
Shucks. Even a hard-ass like me can get a bit weepy thinkin' 'bout the past...
KYLE: How long you been running the place?
DUNNING: 'Bout five years now. I'd been thinkin' 'bout startin' up a business
when I saw this hotel for sale. Place was goin' for a song, so I bit. Talk
about a sucker! Shoulda just buried my cash in a damn hole... I thought a
hotel'd be a perfect way t'make some quick scratch. 'Course, after openin',
I did nothin' but break my back every damn day! Can't tell ya how many times
I thought 'bout hightailin' it back to my old job... But I tightened m'belt
and just kept 'er runnin'. Thanks to good people like yerself, of course!
KYLE: What did you do before you ran this place?
DUNNING: What, ya mean my job? Ain't no business'a yours!
KYLE: Hey, just curious. You're a real piece of work, Dunning. Makes me wonder
how you got started.
DUNNING: Well, I'll save ya the trouble of listenin'! Ain't a man alive with
a life story more borin' than mine! I ain't got a damn thing ya'd wanna hear
about.
KYLE: If you say so.
DUNNING: Aw, that's enough of hearin' me jaw. I gotta get back t'work...
KYLE: I won't stop you.
DUNNING: By the way, Mr. Angel in 213 called me up a few minutes ago. Told me
that whole mess'a his is taken care of. Found his missin' stuff in his own
room. Just where I told him it was!
KYLE: Maybe you could quit this gig and go tell fortunes.
DUNNING: Don't I know it! Last thing I needed was the fuzz sniffin' 'round my
joint.
[Dunning heads out of the restaurant.]
<Kyle leaves the restaurant. He runs into Rosa in the hall.>
ROSA: Mr. Hyde!
KYLE: What now?
ROSA: You're still here!
KYLE: That a problem?
ROSA: No, no, just the opposite! It's perfect! Just perfect!
KYLE: (What's she rambling about now?) Rosa! Slow down a second! What's
perfect?
ROSA: Listen, you're free, right? Sure you are! Well, I need a favor from you!
KYLE: Again?
ROSA: Just listen! It's about the restaurant! See, sometimes when our guests
order wine, they like to keep the labels. Well, when that happens, we always
deliver it to their room later. But I'm as busy as can be, and Louis has to
run that darn bar of his! And so neither of us can spare the time to do it!
And then when I saw you, I thought...
KYLE: You thought I'd do it.
ROSA: Oh, aren't you sharp! Yes, that's my thought. Exactly!
KYLE: I do this, and you're just going to give me a dustpan.
ROSA: Hush! I will not! And I'll give you a free breakfast to make up for it!
KYLE: ...Keep talking.
ROSA: We've got fresh blueberry muffins and my very own Spanish omelets!
KYLE: Sounds good.
ROSA: So you'll do it? Oh, say you will, Mr. Hyde!
KYLE: ...Fine. Who wants the damn label?
ROSA: Language! ...And the label goes to Mrs. Parker up in Room 212.
KYLE: (The old woman...)
ROSA: It's quite a touching story, actually! Yes it is! You see, Mrs. Parker
ordered wine ten years ago when she came with her friend. So tonight, the poor
woman ordered that very same bottle of wine! I didn't want to snoop, but I
watched her drink it, and she looked so sad... Well, when she finished, she
started talking about this and that... And she told me how she wanted to take
the label home with her!
KYLE: Who was Helen here with ten years ago?
ROSA: I'm sure I have no idea! I told you all I know, Mr. Hyde. Why are you
so nosy?
KYLE: Just my way.
ROSA: But if Rosa had to guess... I'd say it was her son! Yes I would!
KYLE: Her son?
ROSA: Oh, I can't say for sure... But I'm sure it's true!
KYLE: ...You don't say?
ROSA: I just know it! I saw how she talked to him back then! I know she's just
like me...
KYLE: Hold on. How is Helen Parker just like you?
ROSA: Her son, silly! He lives far away, just like my boy!
KYLE: You sure about that?
ROSA: Of course! Well, kind of... Stop confusing me! Listen, I may not know
the first thing about her personal life, but I know I'm right! I'd stake my
mop on it!
KYLE: Wait... You have a son?
ROSA: Yes, I do, Mr. Hyde. Is that a surprise to you? My boy lives in
Manhattan.
KYLE: What's he like? Your son, I mean. And what's he doing in New York?
ROSA: He works on Wall Street.
KYLE: No kidding. Rosa the Wonder Maid and her stockbroker son.
ROSA: You pegged him true, Mr. Hyde! He went to a good university and found
himself a nice place to work. Yes he did!
KYLE: I bet you're proud of him.
ROSA: Mmm, yes. I guess it seems like that from your point of view.
KYLE: You're not proud of him?
ROSA: It's not that, Mr. Hyde. It's just...he doesn't understand me one bit!
KYLE: Well, you're a pretty complex person.
ROSA: Do you know what he said to me? Do you?! He told me to QUIT MY JOB! Can
you imagine? "Come to Manhattan!" he says! "We'll live together!" he says!
KYLE: Sounds like a nice offer to me.
ROSA: Oh? And what about it strikes you as nice?! I do good, honest work here!
I support myself with my own two hands! I'm not so old that I need my son to
take care of me! And I'm sure not changing my life just because HE says so!
Uh-uh! Not me! Not Rosa!
KYLE: (This is a familiar tune... She sounds just like my mother.)
ROSA: Well, thank you in advance, Mr. Hyde!
KYLE: So where's this wine bottle?
ROSA: Well, let's see... Two of them are in the kitchen, and one is in the
restaurant.
KYLE: Sounds like the old lady has a serious drinking problem.
ROSA: Don't tease, Mr. Hyde! We had three guests order wine tonight! Mrs.
Parker only had one. Mr. Summer himself drank the second bottle! And the third
was the young woman in 216. Iris, I think her name is. Anyway, I was so busy
when I was clearing off the tables and cooking and so forth... And, well, I
just lost track of which bottle belonged to her!
KYLE: That omelet better be worth it.
ROSA: Oh, it is! Don't you worry! Anyway, could you please find her bottle?
When you do, just peel the label off and deliver it to her room. OK? Good!
I've got laundry to do, so I can't talk anymore. Busy busy busy, you know!
And thank you again, Mr. Hyde.
[Rosa hurries off.]
[09:40 PM]
<Kyle checks the bottles in the restaurant and the kitchen, then goes
upstairs. He knocks on 211.>
MARTIN: Who is it?
KYLE: Kyle Hyde.
<Martin opens the door.>
MARTIN: Do you have some business with me, Mr. Hyde?
KYLE: I got something to ask you. You had wine with dinner, right?
MARTIN: But of course! Food without wine is like a body without a soul to
fill its--
KYLE: What kind?
MARTIN: Um... Well, it was white. Yes, a crisp Chardonnay with hints of apple
and a rich--
KYLE: Don't care.
MARTIN: Oh, I... I see. Well... I guess we are finished here. Yes, well...good
evening, sir.
[Summer closes his door.]
<He knocks on 216.>
IRIS: Yes? Who's there?
KYLE: It's me. Kyle Hyde.
<Iris opens the door.>
IRIS: Mr. Hyde. I figured you would be drunk in a ditch by now.
KYLE: You and me both, sister. I'll make it quick. You drank wine with dinner,
right?
IRIS: Why, did you want to see if there was any left?
KYLE: I don't suppose you remember what kind?
IRIS: Rose. And it was quite nice. Why on earth are you asking me this?
KYLE: Just checking. Don't mind me.
IRIS: ...So you came up to my room to ask me... So that's it? Nothing more?
Well, good night then.
[Iris turns and closes the door behind her.]
<Kyle goes to his room and grabs the adhesive remover.>
KYLE: This should get the label off in no time.
[I take the adhesive remover.]
<He goes back to the kitchen.>
KYLE: Hmmm...red wine. I bet this is the bottle Helen ordered. Looks like
there's still a bit of wine in the bottom of the bottle. I don't need the
whole bottle. Just the label.
<He uses the adhesive remover on the label, then peels it off.>
KYLE: There we go.
[I take the wine label.]
KYLE: (Wonder what kind of memories this wine holds for the old gal. Guess
it's time she and I had ourselves another chat.)
<He goes upstairs and knocks on 212.>
HELEN: Oh, Mr. Hyde! What brings you here?
KYLE: Rosa has her hands full. She asked me to bring you this wine label.
HELEN: You came all this way just for me? Please! Please, come in!
<He enters the room.>
HELEN: I'm sorry that you had to run all over the hotel for my sake.
KYLE: Don't worry about it. I got nothing better to do.
HELEN: Oh, posh! I'm sure you're a very busy man. But now that you're here,
please feel free to sit for a spell. My room is your room!
KYLE: Thanks.
HELEN: Oh, I'm so happy...
KYLE: Yeah?
HELEN: Oh, yes, dear. Don't you get excited when friends come to pay you a
visit? Everyone likes to have visitors... And you're not just any visitor!
I find our conversations quite peculiar, Mr. Hyde, but in a very good way.
You make me feel like I did ten years ago.
KYLE: Yeah? What happened ten years ago?
HELEN: Hmm? Oh, nothing. I'm just reminiscing. Please forgive this old woman
her fancy.
KYLE: (The old gal is hiding something. Time to drag it out of her.)
HELEN: But...Mr. Hyde? I thought you brought a wine label for me?
<He gives the label.>
KYLE: Here's your label.
HELEN: Oh, thank you! This is simply wonderful! It will make for such a nice
memory...
KYLE: Mind if I ask you something?
HELEN: And what would that be?
KYLE: Rosa said you shared that wine with someone a few years ago. Who was it?
HELEN: Does it really matter?
KYLE: (She's trying to dodge me...) Actually... It isn't the end of the world,
but it's been bugging me for a while.
HELEN: Oh?
KYLE: You told me you've been here before. So when did you share a bottle of
wine with someone?
HELEN: Mr. Hyde, you are persistent! If you must know, that day took place
ten years ago.
KYLE: So the guy you met ten years ago? What happened to him?
<Helen looks away.>
KYLE: (She looks pretty shaken up.) Let me guess. You don't know where he is,
do you?
HELEN: I'm sure he's fine. It's just... We just haven't been in contact since
that day.
KYLE: Let's talk about the person you met ten years ago. The person is pretty
special to you. Right?
HELEN: Oh, yes. That person meant the world to me. But then I... I... I
betrayed him.
KYLE: Why did you betray him?
HELEN: Because I'm selfish! Because I was thinking only of myself. Of what I
thought I wanted. I left him behind, Mr. Hyde. I abandoned him.
KYLE: I wouldn't think it would be hard to contact this mystery person. But
I bet I know why you haven't. You think about him a lot, don't you?
HELEN: Oh, yes. Each and every day. I want so badly to see him again... But
alas, I cannot. I can't bear the thought of causing the boy more grief.
KYLE: I think I know who you're talking about.
HELEN: I... But how...
KYLE: It's your son. Isn't it?
<Helen looks away.>
KYLE: (Let's see if Rosa knows her hunches.)
HELEN: ...Yes. That was the man I met ten years ago. ...My only son.
KYLE: What's his name?
HELEN: Alan.
KYLE: Your son's name is Alan?
HELEN: Yes, that's correct. Alan Parker.
KYLE: Nice name.
HELEN: We met here for dinner ten years ago, and then went our separate ways.
KYLE: Any chance you gave him a fountain pen?
HELEN: ...Why, yes. Yes I did! But how on earth could you possibly know that?
KYLE: You gave him that pen, huh? ...Wait right here.
HELEN: What? Does this have to do with Alan's pen?
KYLE: Yeah. Give me two minutes. I'll be right back.
HELEN: All... All right.
<He leaves the room and knocks on 211.>
MARTIN: Who is it?
KYLE: Kyle Hyde.
<Martin opens the door.>
MARTIN: Do you have some new business with me, sir?
KYLE: Yeah. Your fountain pen. I need it.
MARTIN: My...my pen? But you gave it to me not two hours ago! Why do you now
decide--
KYLE: Just give me the damn pen.
MARTIN: ...All right.
[I take the fountain pen back from Summer.]
KYLE: (This should do it.)
MARTIN: At the risk of having your response delivered to the bridge of my
nose--
KYLE: Don't ask.
MARTIN: ...Very well.
[Summer gives me the wary eye and shuts the door.]
<Kyle knocks on 212 again. Helen answers the door.>
HELEN: Good evening, Mr. Hyde. Won't you come inside?
<He goes inside. Kyle shows the pen.>
KYLE: Ever seen this before?
HELEN: Where did you get this?! It's his! It's my son's!
KYLE: So this is your son's pen, huh?
HELEN: That's correct. I gave it to him ten years ago, when we were finally
reunited.
KYLE: You were on the outs for a while, huh?
HELEN: It was because I... I... I left him behind. I abandoned him, Mr. Hyde.
I walked out of his life. Mr. Hyde... You must tell me! How did that pen come
to be in your possession?
KYLE: I found it in the restaurant. A guest dropped it.
HELEN: A guest dropped... So my son... That means Alan is in this hotel!
KYLE: No. He's not.
HELEN: But then... Who dropped the pen, if not him?
KYLE: A friend of his. Well, he's not much of a friend, actually.
HELEN: But... But why? How? Oh, this is all too much!
KYLE: Alan is missing. Guy with the pen is looking for him.
HELEN: My boy is missing? Please, Mr. Hyde, tell me that is not true!
KYLE: As I understand it, Alan wrote a book and this chump stole it from him.
Sounds like your boy was shook up about it, and vanished soon after.
HELEN: That...that can't be...
KYLE: Wish I had better news for you, but there it is.
HELEN: My son had always dreamed of being a writer. On that night ten years
ago, he told me that he'd almost achieved his dream. It was hard work, but I
knew he would never give up. It was a dream, after all. Oh, to think that it
has been taken from him! It breaks my heart... It truly does.
KYLE: Yeah, that's a shame.
HELEN: Tell me about this theft, Mr. Hyde!
KYLE: Why?
HELEN: I want to find the man who stole his work and make him pay!
KYLE: Look, you're a tough broad and I like that, but it's too late. The guy
who plagiarized your son's novel already fessed up. He's searching for your
son so he can clear things up and make amends. I think the real question is
whether or not your son will forgive him.
HELEN: I have faith that he will forgive this man. I know my boy, Mr. Hyde.
Alan will surely forgive him.
KYLE: You seem pretty sure.
HELEN: That's just the way he is. His heart is large, and he has forgiven
greater trespasses before this. After all, he forgave his own mother for
turning her back on him...
KYLE: (She's finally going to spill it.)
HELEN: Mr. Hyde, may I implore you for a favor? Would you lend your ear to a
sad and shameful story?
<Kyle nods>
HELEN: Years ago, you see, there lived an absolute fool of a woman. In her
youth, she became enraptured with show business...and magic. But soon she
married, and her husband convinced her to settle down. She agreed... But her
secret heart yearned for a return to the lights and the glory.
<Scene of Helen walking away from a young Alan>
HELEN: In time, the pull of the stage became too great, and she abandoned
her family. At first, her return to the world of magic filled her life with
color. She had chosen the path of the entertainer once more. It became her
everything.
<Scene of young magician Helen onstage>
HELEN: The woman lived for the moment when applause swept over her like a
wave. But to her dismay, the more acclaim she received, the emptier she began
to feel. Suddenly, being known as the greatest magician of all time mattered
not. All she could think of was meeting the son she left behind so long ago.
...What a fool she was.
KYLE: So the woman sets up a meeting with her son.
HELEN: No, not at first. Their first encounter was a simple twist of fate. The
woman had been called to perform at the grand opening of a new hotel. And by
the strangest of chances, her son was invited to the same party. When she saw
him, she was filled with fear, and certain he would be enraged. But instead he
took her by the hand and forgave her. That day, they made a promise to each
other. A promise to meet in ten years at that same hotel. And ten years later,
they did that very thing. The boy told her of his own dream. Of how he longed
to become a writer.
<Scene of a gift-boxed fountain pen>
HELEN: And the woman presented her son with a small fountain pen to help him
on his way. It was the first and last gift she ever gave him... Or so I hear.
They made no more promises, arranged no more meetings. The year after meeting
her son at the hotel, the woman quietly retired. And this time, she walked
away from the stage for good.
KYLE: So where'd she go next?
HELEN: That is the end of my story, Mr. Hyde. Where she went and how she spent
her days after that? No one knows.
KYLE: Yeah? Well, let me tell you what I heard.
HELEN: Oh?
KYLE: The woman's son told his thieving pal how much the hotel meant to him.
Said it was his most special place in the world. A place filled with memories
that he treasured more than anything. At least, that's what I heard.
HELEN: Oh, Mr. Hyde...
KYLE: I think you should have this pen. Maybe you can give it back to its
owner someday.
HELEN: I... I don't have the words.
KYLE: Anyway, sorry to take up all your time. I'll see you around.
<Helen smiles. Kyle leaves.>
KYLE: (Alan is Helen's son... Didn't see that one coming. Summer's going to
do backflips when he hears this. And I'll probably have to tell him. OK, Hyde.
Time to think. Take a second and get your thoughts together...)
<goes to CHAPTER SUMMARY>
Just before nine I made my way down to the bar for a couple of belts. Louie
was working the bar, and doing a damn fine job of it. The next person to
stumble into the bar was...
[Helen]
That's right. The old lady from 212, Helen Parker, was the next person to
enter the bar. Me and Helen shot the breeze while she sipped a gimlet. The
drink loosened her up, and she told me how she'd stayed here before.
After a couple of drinks, I decided to split the bar. I picked Rosa and
Dunning's brains to learn more about the hotel's history. I didn't get much,
but what they did spill was pretty interesting. For one, the bar was built for
the hotel's ten-year anniversary. Which means the hotel was built twenty years
ago. Also, I got Dunning to talk about when he took over the place. It was...
[Five years ago]
That's right. Five years ago. Put down cash on the barrelhead and took over
that same day.
Next, Rosa came by and made me deliver a wine label to Helen. After ransacking
the whole place for the bottle, I finally got the label. What kind of wine was
she drinking again?
[Red wine]
That's right. Helen had a bottle of red. Went for the same stuff she had ten
years ago.
When I dropped off the label, Helen was all smiles and started chatting me up.
We got to talking about who she came here with ten years ago. Her companion's
name was...
[Alan]
That's right. It was her son, Alan.
I found out the pen Summer dropped is the same one Helen gave her son. I told
Helen, and she spilled her entire life story. I ain't much for sob stories,
but I listened as patiently as I could. Helen told me that she left her son
to become a...
[Magician]
That's right. A magician. Still can't wrap my mind around that one. She left
her family to pursue the dream, and it's tortured her ever since. Maybe she
sleeps better tonight.
Night has fallen over the city...and the hotel. I know the dark. It's a cover
that lets people's bad sides run wild. Envy. Doubt. Grief. ...They all come
out at night. Bradley... What do you think of at night? When the darkness
comes? I've got until dawn to find out.
==================================
3g. CHAPTER 7: DECEMBER 28TH, 1979
10:00 ~ 11:00 P.M.
==================================
<Kyle is back in his room.>
KYLE: (And the clock strikes ten... Maybe I'll join Louie in the bar for
another belt.)
<He goes to the bar.>
LOUIS: Look what the cat dragged in. Have a seat, Hyde.
KYLE: Bar's empty.
LOUIS: Yeah, got the entire place to ourselves. Take a load off, my man. You
wanna drink?
KYLE: Why you think I'm here? Give me a martini. Make it dry.
LOUIS: Comin' right up. You're looking kinda grim, man. Somethin' got your
shorts in a bundle?
KYLE: Something like that.
LOUIS: Lay it on me, brother. Louie the bartender's all ears.
KYLE: More like all mouth. What is it with folks wanting to yap it up tonight?
LOUIS: That what's up? Folks been laying all their problems on you?
KYLE: That about covers it.
LOUIS: Kyle Hyde, advice columnist to lowlifes and crooks the world over!
KYLE: You're a regular comedian, DeNonno. Why the hell people want to drop
their problems on a guy like me?
LOUIS: Ha ha... You don't get nuthin'! It's 'cause people always wanna talk
to a guy like you!
KYLE: (I'm talking to LOUIE about this? How many drinks have I had?) ...Hey.
I don't get "nuthin'"?
LOUIS: Yeah, man. Don't get pissed, OK? Not gettin' it is vintage Kyle Hyde.
Just how you're wired. And that's the point, man! Folks look for guys like
you. Guy who looks like he don't give a damn. Guy who ain't gonna preach or
judge. A guy who looks like he's taken a few punches and knows what it's like
to hurt.
LOUIS: Look, man, I think I know how they feel. Check this out... We're in
the middle of the holiday season, right? Last Friday night of the year? They
look around and realize they're all alone in this sad ol' wreck of a hotel...
Gets 'em thinkin', ya dig? 'Bout their lives. What they've done. Where they're
goin'. You know what happens next? All their secrets and worries and stuff
kinda...boil over. Then they go lookin' for somebody to talk to. Know what
I'm sayin'?
KYLE: Hell, Louie, you're the one that sounds like an advice columnist.
LOUIS: Maybe, but I'm right, yeah? Look at you, man. You got secrets and crap
hidden in your heart, right?
KYLE: ...Maybe.
LOUIS: See? Trust ol' DeNonno on this one. You're a good guy, even if ya
don't know it.
[I take a seat at the end of the bar.]
LOUIS: Here ya go.
[Louie puts a glass on the counter. I take a drink of my martini. For a
minute, the world stops as I sit and stare into the glass. The taste of gin
and vermouth lingers on my lips. The only kiss I've known in years... And
then I hear Bradley's voice in my head... "Hey, buddy. When this case wraps
up, we need to have a chat. There's something I need to talk to you about.
Can you make the time?"]
LOUIS: Yo, Hyde? Yo! Hyde!
KYLE: Huh?
LOUIS: How's the martini? Ya know, someone once called it the "elixir of
quietude."
KYLE: Smart man, too. I gotta hand it to you, Louie, this is the best martini
I've ever had. You even got the perfect amount of lemon in it.
LOUIS: Nice, huh? I can tell what ya like, my man.
KYLE: Looks like it.
LOUIS: I told you 'bout this, right? This is the one job I take seriously.
KYLE: Good gig, huh?
LOUIS: <nods> I'm gonna tell you somethin', but don't go laughin'... I know
it's stupid, but I always wanted a place like this for my own.
KYLE: That so?
LOUIS: I ain't saying it all started 'cause I met you... But you know when I
started thinkin' 'bout it? It was after ya laid that story on me in the cop
shop back in Manhattan.
KYLE: What story is that?
LOUIS: Ah, man! Don't tell me you forgot. Was the third time ya busted me. We
was in one of them crappy little interview rooms. C'mon! I can still hear ya!
"You dream of being a thief as a kid, Louie? This your dream job? I'm sure
there's something else you wanted, right? Fireman? Doctor? Superhero?" I was
starin' at the ceiling and thinkin' you was gonna play good cop that day.
Gimme the "you can turn your life around, son" speech, yeah? Then ya got real
quiet, and this serious look came into your eyes. Remember? That's when ya
did it, man. Ya made up that story to save me from myself.
KYLE: (What's he talking about?) Hold on. I was preachin' at you, huh? Sounds
like me.
LOUIS: Yeah, brother. Thought me a choir was gonna rush the room or somethin'.
Here's the last hint. If ya still don't remember, I give up. ...It was 'bout
your pops.
KYLE: Wait, wait... I said something about my father?
LOUIS: I see a lightbulb... It's gettin' brighter... There it is! Yeah, man.
Told me your pops was some kinda genius safecracker.
KYLE: Oh. That story...
LOUIS: I remember the whole thing. You was ten... Your pops decides to go
straight... Decides to take one last box job and then gets bumped off? I
gotta tell ya, Hyde. Even when I knew you was pulling my leg, I almost cried.
You told me your pops didn't wanna be a thief. Said he wanted to be an artist.
Then ya leaned in close and talked so quiet I could barely hear. "Don't make
the mistake he did. Don't live a lie." Total trip, man... Then ya told me that
unless I was lookin' to do hard time, I better find what I wanted. "Find it,
grab it, and never let it go." Amen to that, my man. When I first started
working here, I couldn't sleep. Just laid on that crap-ass bed Dunning gave
me and stared at the ceiling. And then one night, that story just pops in my
head, yeah? And it hits me. Even though I'm just a damn street punk, I got
somethin'. Seems pretty small to most normal folks, but it's mine and I got
it.
KYLE: Thought it was a lie, huh?
LOUIS: Huh? No way... It's TRUE?!
KYLE: It's the truth, Louie. Every word.
LOUIS: Whoa... Wait! You're yankin' my chain, ain't ya?
KYLE: Not this time.
LOUIS: It was TRUE? Damn... What a trip. So whaddya say? Another round?
KYLE: Why not? What do I want next?
LOUIS: Take your time, man. Yo, Hyde, I got something else to tell ya. Pouring
drinks ain't the only thing that's got my attention these days, yeah?
KYLE: Let me guess... It's a dame.
LOUIS: That's a given, brother! But no, that ain't what I'm talkin' about.
Check this out.
KYLE: What?
LOUIS: ...Right here, my man. <He raises his arm.>
KYLE: I don't get it.
LOUIS: I'm talking 'bout bowling! You know? Balls? Pins? Those little
hand-dryer thingies?
KYLE: I thought I was the only guy around here who liked bowling.
LOUIS: Get outta here! You roll, Hyde? No way!
KYLE: You want to see? When I throw a strike, pins beg for mercy.
LOUIS: Yeah, right. What else ya sellin'? What do you say, Officer? Think you
can keep up with my hook?
KYLE: When and where?
LOUIS: Wanna try and beat me? Be here at eleven.
KYLE: Here? What're you talking about? There's no way we can bowl in here.
LOUIS: No joke. Bowling. Tonight. Eleven o'clock sharp!
<The door to the bar opens.>
KYLE: Huh? Someone's here.
<Martin walks in.>
LOUIS: A customer.
KYLE: (Summer again? Crap.)
LOUIS: How ya doin'?
MARTIN: Good evening, gentlemen.
LOUIS: Take a seat right here! What can I get ya?
MARTIN: I believe I'll have a gin and tonic, my good man.
<Kyle talks to Martin.>
KYLE: Got a minute?
MARTIN: Yes, of course.
KYLE: I got something I wanted to talk to you about.
MARTIN: What a coincidence! You see, I was hoping to run into you. There's
something I had hoped to discuss with you as well. But I believe my news can
wait until later. If you are so inclined, Mr. Hyde, please begin.
KYLE: Well, it's about your buddy, Alan.
MARTIN: Alan, did you say?
KYLE: You sure you got no idea where he's at?
MARTIN: Quite sure.
KYLE: No clues or leads or anything like that, huh?
MARTIN: No, nothing of the sort.
KYLE: But it's not like you went out of your way to look for the guy.
MARTIN: And what, may I ask, do you mean by that?
KYLE: Common sense. It's better for you if he's out of the picture.
MARTIN: Mr. Hyde... I will be checking out of this hotel on the morrow. I will
then proceed to the offices of a local newspaper and tell them my story. I
believe they will enjoy the tale of the famous author and his fall from grace.
You see, I plan to use the media to search for Alan.
KYLE: Didn't see that one coming. Listen, Summer. I stumbled on your secret
by accident. I didn't have plans to tell anyone about it.
MARTIN: You..."didn't" have plans?
KYLE: Yeah. But...well...I was talking to someone and it slipped.
MARTIN: I... I see. Well, then it is fortunate that I'm planning on telling
my tale to the public. If I may ask, to whom did you reveal my secret?
KYLE: The old lady in Room 212. Name's Helen Parker.
MARTIN: Helen... Parker?
KYLE: She's the one who had the pen engraved for Alan.
MARTIN: Mr. Hyde...
KYLE: I gave the pen back to her.
MARTIN: Hmm?
LOUIS: Here ya go! One gin and tonic. Looks like you're havin' yourselves a
good time over here!
<Martin looks downcast. Kyle looks thoughtful.>
LOUIS: Eh? No? Nothin'...? Yeah, well... I'll just go over here then.
[Louie leaves.]
KYLE: You said there was something you wanted to talk about. What is it?
MARTIN: Quite right. I was so surprised by your admission, I completely forgot
my own topic. Actually, it's about the woman we met earlier in this very
establishment.
KYLE: Who? Iris?
MARTIN: Yes, that's her. I must say, she bears a striking resemblance to the
actress Cecily Lee. [Iris looks like who?] If you felt a sense of deja vu upon
meeting Iris, you now know why! There's a quite striking photo of her
doppelganger on this month's issue of Va-Voom!
KYLE: What kind of actress is this Cecily Lee?
MARTIN: My good man? Are you truly unfamiliar with her?
KYLE: I don't get out much.
MARTIN: She is an up-and-coming thespian who's garnered quite a bit of recent
popularity. She got her start on one of those tawdry daytime soap operas. Her
performance received wild praise from critics and fans alike! I believe she
is scheduled to make her debut on the silver screen next year. Few people know
that she was a model before she took up the craft of acting. She's not as
young as the other new starlets, but she has a certain...something.
KYLE: That's quite the intro, Summer. You steal her biography?
MARTIN: Please, Mr. Hyde! I'm merely reciting the information I've heard. And
I do not appreciate your attempts at jocularity at my expense. The question,
sir, is why would Cecily Lee be staying in this hotel on her own? It does
arouse one's curiosity, does it not?
KYLE: All right, enough chatter. I gotta blow.
MARTIN: Truly? Well, I shall remain a while longer and savor the proffered
spirits.
<He leaves the bar and comes across Melissa in the hallway.>
KYLE: Hey, squirt.
MELISSA: Hi, mister.
KYLE: What're you doing here?
MELISSA: Dad's gone.
KYLE: What, again? Are you looking for him?
MELISSA: Uh-huh.
KYLE: Well, he's not in the bar.
MELISSA: The bar?
KYLE: It's a place for adults. It's called the Seven Stars Bar. It's through
that door at the end of the hall. See the sign with the big star on it?
MELISSA: Star? Oh, I remember! I saw that before. It was all pretty and stuff.
It was kinda like the star on top of a Christmas tree.
KYLE: Yeah, I suppose.
MELISSA: Didja get any Christmas presents this year?
KYLE: Yeah, tons. I had to chop down a redwood tree so they could all fit
under it.
MELISSA: Wow!
KYLE: Nice, huh?
MELISSA: Uh-huh.
KYLE: How about you?
<She shakes her head.>
KYLE: You get anything?
MELISSA: Mmm...
KYLE: Yeah, guess that figures. But at least you got to decorate the tree.
Right?
<She shakes her head.>
MELISSA: My dad's a jerk!
KYLE: (Can't argue with you there, kid.) Can't argue with that. So why's he
a jerk?
MELISSA: We didn't have anything for Christmas! No presents, no cookies...
Not even a stupid tree!
KYLE: That so?
<She looks downcast.>
KYLE: Hey, kid. Don't worry about your old man. He'll be back soon. Go wait
in your room.
[Melissa sighs and heads out the door.]
[10:20 PM]
<Kyle goes out into the central hallway and runs into Rosa.>
KYLE: Huh?
ROSA: Oh, Mr. Hyde. Good evening!
KYLE: You still cleaning?
ROSA: Oh yes. Everyone else gets to take a break, but not Rosa! Oh no! But,
this is it. Once I'm done here, I'm finished for the day.
KYLE: Melissa come through here?
ROSA: Melissa? Yes, she just went up to the second floor. Why? Why are you
asking?
KYLE: (Looks like the kid actually went back to her room.)
ROSA: But the poor thing looked as sad as can be! Did something happen? What
happened?
KYLE: She's looking for her old man. You haven't seen Woodward, have you?
ROSA: Why no, I haven't. He left her? Alone? Here?! No wonder she's upset!
KYLE: I suppose.
ROSA: Mr. Woodward is not getting passing marks in parenting from me. No he
is not! A child shouldn't be made to look for a parent at this time of night!
I know that young girls can be a handful, but it's bedtime! A father must
watch over his children, Mr. Hyde! Surely you agree! This is the kind of thing
that drove his wife away! I'd bet my mop on it!
KYLE: (Ouch. Rosa the marriage counselor strikes again.) ...Ouch. You knew
about Melissa's mom taking a powder?
ROSA: "Taking a powder"? Honestly, Mr. Hyde, no one talks like that. That's
movie talk. But no, I didn't know about it. It doesn't surprise me, though.
KYLE: Expected it, huh?
ROSA: For a fact! Rosa can see that sort of thing in her sleep! I know because
I'm a maid, Mr. Hyde. I go everywhere and hear everything! People don't watch
me, but I'm watching them! Rosa knows, Mr. Hyde! Rosa knows all. Give me ten
seconds with someone, and I can tell you that person's problem!
KYLE: You can tell people's problems by watching them for a few minutes?
ROSA: Yes, I can! Why? Are you doubting me? Do you want proof? Fine! Let me
tell you what's troubling you, Mr. Hyde.
KYLE: That's not necess--
ROSA: Surely you have troubles!
KYLE: A few.
ROSA: Don't I know it!
KYLE: All right, let's see what you got. Gaze into your crystal mop or
whatever you use.
ROSA: Don't make fun! Now, let me see... Hmm... Hmmmmm... You're troubled
by... By... A lack of money!
KYLE: Huh?
ROSA: I'm right, aren't I? Aha ha ha ha ha!
KYLE: Oh, for the love of... All right, I've got to get going.
ROSA: Wait, Mr. Hyde! Wait just one second, please! There's something that's
been bothering me.
KYLE: Shoot.
ROSA: It's about Melissa. See, she asked me if the hotel had a Christmas
tree. Well, I told her that we did, but Christmas has already come and gone,
you see. I explained how Dunning always takes down the decorations on the
26th... And well, she just looked so sad! It near to broke my heart, it did!
KYLE: Yeah, that's... That's sad, all right.
ROSA: Do you have any idea why she would be asking about a tree?
KYLE: No idea. I don't get why she's so crazy about the whole thing, anyway.
ROSA: What kind of thing is that to say?! Children love Christmas! Why, when
I was a child, I wished EVERY day was Christmas.
KYLE: I bet.
ROSA: You, sir, have a bad attitude. We always have such a nice tree near the
front desk. If only Melissa had been here while it was up. I'm sure she would
have enjoyed it.
KYLE: Where's the tree now?
ROSA: We took the decorations down and put the tree in the first-floor
storage room.
KYLE: See you around.
<Kyle goes upstairs and knocks on 219. The door opens.>
MELISSA: Mr. Hyde...
KYLE: Your dad back?
MELISSA: Not yet.
KYLE: I'll tell him to come to your room if I see him. Just hang in there, OK?
MELISSA: 'Kay.
<She looks sad. She closes the door.>
KYLE: (Nice work, Woodward. You're a hell of a father.)
<He goes to -- where else? -- the storage room.>
KYLE: Christmas tree... The tree must be behind these boxes somewhere. Can't
believe I'm actually looking for a Christmas tree. I'm going soft...
<He moves the boxes aside and finds the tree.>
KYLE: That's the tree box.
<The storage room door opens.>
KYLE: Who's there?
<Melissa comes in.>
KYLE: Hey, squirt. What're you doing here?
MELISSA: Rosa came to my room and told me to get down here. She said I could
see a Christmas tree if I went to the storage room. She said you'd be here,
too. And she told me I could decorate the tree. So, can I? Huh?
KYLE: (Rosa saw right through me. ...This hotel is turning me into a real
sap.)
MELISSA: Hey, mister... Let's decorate the tree together! C'mon, huh?
KYLE: Sure, kid. Why not?
<They hang the ornaments.>
MELISSA: Yaaaaaay! It's a Christmas tree for meeeeee!
KYLE: Sure is.
MELISSA: Uh-huh.
KYLE: Well, squirt, it's three days late, but here you go. Merry Christmas,
kid.
MELISSA: Merry Christmas, Mr. Hyde!
<The door opens again.>
KYLE: Who's there?
<Mila comes in.>
KYLE: Mila?
MELISSA: Oh! Did you come to see my tree? It's pretty, isn't it? It's the
best tree EVER! Yaaay, tree! Mr. Hyde and me decorated it together.
<Mila stares.>
KYLE: <to Mila> What're you doing here?
<The door opens yet again.>
KYLE: Who else is going to waltz in here?
LOUIS: That'd be me. 'Cept I don't waltz. Mambo, maybe, but...
KYLE: Louie? What do you want?
LOUIS: Easy, man! No need to go junkyard dog on me. Rosa told me what ya was
up to. Said ya was gonna have a Christmas shindig, right? When I heard Melissa
and Mila were gonna be here, I knew I had to swing by. Can't have a party
without Louie, brother! Am I right? Awwwoooooooo!
KYLE: So, Mila, did Rosa tell you to come here, too?
<Mila nods.>
KYLE: Figures.
LOUIS: C'mon! Let's have ourselves a good time! Time to party like it's 1990!
KYLE: Do whatever you want! Just stop trying to make me have fun.
<Kyle can now do whatever. He talks to Mila.>
KYLE: What do you think of the tree? (Look at how she's staring at it. Like a
little kid...)
<He talks to Louie.>
KYLE: How's the tree?
LOUIS: Good, man. 'Course these lovely ladies make it even better, yeah?
<He talks to Melissa.>
MELISSA: I like having everyone here. It's really... Yaaaawwwnn... It's fun...
KYLE: Good times, huh?
MELISSA: Uh-huh. It's...the... Yaaaaaaawwwnn...
KYLE: Getting sleepy?
MELISSA: Zzz...zzz...
KYLE: Hey.
MELISSA: Zzz...zzz...
KYLE: Out like a light. Hey, Louie.
LOUIS: Yeah?
KYLE: Melissa fell asleep. Take her back to her room.
LOUIS: Huh? Me? Why do I gotta do it? I wanna chat with Mila, man! You know,
flash her a bit of the DeNonno charm!
KYLE: Louie, the kid's asleep. Take her back to her room before she catches
a cold. You work here, remember?
LOUIS: Like I could forget. Yeah, all right, I'm goin'.
MELISSA: Zzz...zzz...
LOUIS: Melissa? Hey, c'mon. Let's get ya back to your room.
[Louie picks up Melissa and carries her out of the room.]
<Kyle talks to Mila.>
KYLE: How you feeling? Fever gone?
<She nods.>
KYLE: Good. So, what did you do for Christmas? Who'd you spend it with?
[I open my notebook and hand it to Mila. Mila writes something in my
notebook.]
<He takes back the notebook.>
KYLE: Hmm? "I have no one?" ...Creepy. By yourself, huh? Where was your
father? Here you go.
[I hand Mila my notebook. Mila writes something.]
KYLE: Let's see... Where is dad now? He's gone? What, you don't know where
he's at?
<She nods.>
KYLE: What does your father do? What's his job? Can you tell me where he
lives? Just write it down for me.
[I give Mila my notebook. Mila hesitates, then writes something.]
KYLE: Thanks. Santa Monica. Gallery May. Gallery May in Santa Monica? Your
father owns an art gallery?
<Mila nods to both questions. The door opens.>
KYLE: Huh? Oh, it's you.
ROSA: Oh, look at that! What a lovely tree. I bet Melissa was happy.
KYLE: Yeah, her and Louie both.
ROSA: That's nice. Something good came from your snooping after all! Come on,
Mila. I think it's time to go. Good night, Mr. Hyde. I'll be taking Mila back
to my room now. Oh, and you can go ahead and leave the tree up! It's just too
nice to take down!
[Rosa leaves, taking Mila with her.]
<Kyle checks out the lockers in the storage room.>
[There's a black light in the locker. I got a black light.]
KYLE: (This might come in handy. Or I could use it to throw Iris a party.)
<He leaves the storage room and walks down the hall. He stops.>
KYLE: Huh? <He looks around.> Is that door open?
<He goes into the room with the open door.>
KYLE: This must be Dunning's room.
<He looks around the place. One of the things he sees is a framed picture on
a stand.>
[It's a picture... There's a framed photo on the shelf. It's a picture of a
young girl.]
KYLE: Hmm...
<The door opens and Dunning walks in.>
KYLE: Huh? Ah...
DUNNING: Hyde! What in the hell are ya doin' in here?
KYLE: Isn't this the lobby?
DUNNING: Don't get smart with me, pal! This is my own room!
KYLE: My mistake. Sorry to barge in.
DUNNING: If yer sorry, then haul yerself outta here! Now, buddy! Move it!
<Kyle leaves.>
KYLE: (That picture of the young girl in Dunning's room... Who could it be?)
[10:40 PM]
<Kyle goes to the lobby area.>
[Someone's in the lobby.]
KYLE: Huh? That's Melissa's old man.
<He talks to Kevin.>
KYLE: Got a minute?
KEVIN: Oh, hey there! Lookie here! Ish Mr. Hyde! Isha lovely night, isn't
it?! Haw haw haaaaw!
KYLE: I see you're in a good mood.
KEVIN: Thassh not...*hic*...true. I'm jussshh... Haw haw har!
KYLE: (Drunk as a skunk...) Been to the bar, huh?
KEVIN: I have! Yessir...
KYLE: Your daughter was looking for you.
KEVIN: Yer a liar, Mr. Hyde. A LIAR!
KYLE: I'm a liar?
KEVIN: Thassh right! My liddle girl... She...HATESH me! She'd never look fer
me. Thass why I know yer lyin'... Haw haw!
KYLE: She was looking for you. Got to your room and ask her. If you can make
it that far.
KEVIN: Mine yer business! Whadda YOU know? ...NUSHING! Thash what! Get outta
my life! Leave me alone!
[Kevin turns and stumbles his way towards the front desk.]
KYLE: (What the hell's eating him?)
<Kyle goes to the front desk area.>
KYLE: Hey, Woodward!
<Kevin turns toward Kyle, then turns away.>
KYLE: Huh? He ignored me.
<He goes up to Kevin.>
KYLE: Got a minute?
KEVIN: Don't want... Don't want company... Lemme...alone... Just lemme
alone... ...Bllluuurpp!
KYLE: (He'd better not puke on my shoes.) Hey. What's wrong?
KEVIN: Iss nothing... I don't drink mush, and now I don't feel... Feel
shhho good...
KYLE: Who were you drinking with?
KEVIN: What difference...that make? Iss nonna yer...BUSINESS!!
KYLE: Have it your way.
KEVIN: Don't want company... Lemme...alone...
<Kyle goes to the lobby area.>
KYLE: (Wonder who Kevin was throwing them back with?)
<Kyle goes into the bar and sees someone.>
KYLE: Huh? (It's Iris.)
LOUIS: Thanks for comin' in.
IRIS: The drinks were delicious. I was pleasantly surprised.
LOUIS: Good to hear...I think. Anyway, hope ya come back.
IRIS: I will. <blows Louie a kiss>
LOUIS: See ya later.
KYLE: Hey.
LOUIS: GYYAAA! Dammit! Stop sneakin' around, Hyde! You're gonna give me a
heart attack!
KYLE: If you weren't moonin' over the dame, you'd have heard me come in.
IRIS: Ah, Mr. Hyde. As tactful as ever, I see. If you'll excuse me?
[Iris turns and totters out of the bar.]
KYLE: Looks like you were having a good time.
LOUIS: Don't be gettin' the wrong idea, brother. I was just makin' sure the
lady enjoyed herself. Part of the job.
KYLE: Whatever you say, Louie. You may want to pick your tongue off the floor,
though.
LOUIS: Give it a rest already. Ya wanna drink?
KYLE: No, not now.
LOUIS: Yeah, I hear ya. You've had enough tonight anyway. Knowing when to
stop shows ya appreciate a good drink. Can't abuse the stuff, right? Forget
that and ya'll end up like the dynamic duo I had in earlier. Sloshed to the
gills!
KYLE: Who's the dynamic duo, Louie?
LOUIS: Well, the better half just left. That babe Iris was tossin' 'em back
with Melissa's pops.
KYLE: Kevin and Iris were drinking together?
LOUIS: Yeah, and more'n a little! Got back from putting Melissa to bed and
here they are! Planted at the counter like a couple of regulars! Looked like
they was talkin' 'bout something serious, too. Then they both pounded back a
row of drinks and got fried to the tonsils. Melissa's pops ain't much of a
drinker. Thought he might repaint the bar, yeah? Luckily for me, he got up
and stumbled outta here. Iris stuck around and had a couple more. She wasn't
as bad off as I thought. Hurts to say it, man, but she wasn't here to chat me
up. She was just killin' time.
KYLE: So what were they talking about?
LOUIS: Who knows, man. Weather? Sports? Whatever rich, fancy people chat
about?
KYLE: You telling me you didn't overhear anything?
LOUIS: Well... I guess I did hear something. Melissa's pops said something
about a Gallery May in Santa Monica.
KYLE: What did he say about the gallery?
LOUIS: Sorry, brother. All I heard was a name. Guy was slurrin' like a
prize-fighter, yeah?
KYLE: (Gallery May in Santa Monica? Does all this tie in to where Mila's
father works?) There's a framed photo of a little girl in Dunning's room. You
know who it is?
LOUIS: Picture of a kid? No clue, man. Dunning ain't never invited me in for
tea and cookies, ya dig? What's up, Hyde? Ya thinkin' deep again?
KYLE: You could say that.
LOUIS: Well, c'mon, man! Don't leave me hangin'. What is it?
KYLE: I learned some things about Mila's old man.
LOUIS: You did? How? More snoopin'?
KYLE: I asked Mila some questions and had her write the answers in my
notebook.
LOUIS: Damn! Why didn't I thinka that?
KYLE: Mila's old man is named Robert Evans. He owns Gallery May in Santa
Monica.
LOUIS: Whoa! There ain't two of 'em, no?
KYLE: Doubt it.
LOUIS: Yo, Hyde. You thinkin' what I'm thinkin'?
KYLE: It depresses me, but yeah. I guess I am. Strange things from strange
sources, huh? I better have a chat with your drunken friends.
<He leaves the bar.>
KYLE: (Here we go... Think I'll start with Iris.)
<He goes upstairs and knocks on 216. The door opens.>
IRIS: Can I help you?
KYLE: Something I wanted to ask you.
IRIS: ...Fine.
KYLE: You know anybody runs a gallery down in Santa Monica?
IRIS: That's a rather odd question, isn't it?
KYLE: You were talking about a gallery at the bar. While you were drinking
with Kevin Woodward? Remember? Guy from Room 219?
IRIS: I remember my actions quite well, thank you. I didn't black out or
anything. And what business is this of yours?
KYLE: Just curious.
IRIS: Do you want me to believe that you've suddenly become a patron of the
arts?
KYLE: Yeah, that's me. I'm a big fan of apple paintings and armless statues.
IRIS: Hmph! If you must know, I merely mentioned a gallery where an associate
of mine works. Mr. Woodward then told me, with no prompting from me, that he
knew of it. [Woodward knew the gallery?] Actually, I... I'm glad you're here.
I need to speak with you about something. Believe it or not, I don't have
anyone else to turn to for help.
KYLE: Oh, I believe it.
IRIS: Just come in, will you?
<He goes in the room.>
KYLE: So where's the fire, Iris?
IRIS: When I returned to my room, it felt...odd. Then I saw it! And it IS odd!
KYLE: (Odder than a looker like you in a dump like this?) Hey. What's odd?
IRIS: My suitcase has been moved! It's subtle, but it's definitely been moved.
KYLE: You're sure?
IRIS: Yes, I'm positive. Someone's been in here. Whoever it was must have
waited until I was out, then broke in.
KYLE: Was anything stolen?
IRIS: ...Yes.
KYLE: You contact the front desk? I hear Dunning has experience with this
kind of thing.
IRIS: Not yet. I mean I should, but... There'll be so many questions, and I
hate questions. Besides, no one ever tries to catch a thief unless lots of
money is stolen.
KYLE: So they didn't take your money?
IRIS: That's right.
KYLE: ...So what DID they take?
IRIS: I can't say.
KYLE: Then I can't help.
IRIS: You would consider helping me?
KYLE: Depends on how cooperative you are.
<Iris smiles.>
IRIS: I lost a small envelope.
KYLE: So what was in this small envelope? A small letter?
IRIS: I can't tell you. I was sworn to secrecy, Mr. Hyde. You must believe
me. I made a promise to the person who gave it to me.
KYLE: So someone gave you the envelope, right? Anything else you can tell me?
Was there anything written on it?
IRIS: I can't say.
KYLE: Then I can't help. Good luck, lady. I'm outta here.
IRIS: Why must you be such a crass, insensitive lout?! Fine! Fine, I'll tell
you! Just...give me a moment...
KYLE: I'm impatient. Who gave it to you?
IRIS: It was Grace. You'll find her name written on the back of the envelope.
KYLE: You going to tell me who Grace is?
IRIS: She's...a friend.
KYLE: What kind of friend?
IRIS: She's a friend, Mr. Hyde! What about that is so difficult for you to
comprehend? You may live your life all alone under a rock somewhere, but
I... Oh, why am I talking to you about this? It's none of your business!
KYLE: None of my business? All right, lady, whatever you say. So what's the
name of the gallery you know?
IRIS: ...Gallery May.
KYLE: (Huh?) Wait a second. You know the name of the owner?
IRIS: No. Why? Are you going to tell me that YOU own it?
KYLE: All right. I'm off. I'll drop in if I find anything.
IRIS: ...Thank you. Helping me is more kindness than I expected.
KYLE: Don't get used to it. I ain't doing this for you.
IRIS: But then...
KYLE: I'm just curious about what got stolen. That's all.
IRIS: You don't say?
KYLE: Oh, but I do. Got a hunch about your mystery envelope and whatever's
inside it. I think it's going to shine a light on some shadows I've been
following around.
IRIS: Mr. Hyde, what on earth are you talking about?
KYLE: See ya.
<He leaves.>
KYLE: (A little envelope... Something that would fit inside a little
envelope...)
<He walks down the hall and runs into Kevin.>
KYLE: Huh? What're you doing here?
KEVIN: Uh...nothing... Good-bye.
[Kevin leaves.]
KYLE: (Wonder if he was hoping to see Iris. Either way, he's up to something.
Guess it's time to put the good doctor to the coals.)
<Kyle goes to the front desk area.>
KYLE: You got a minute?
KEVIN: Go away.
KYLE: What're you doing here?
KEVIN: Go away. I just... I just want to be by myself.
KYLE: I got questions for you.
KEVIN: Didn't you hear me? I'm not...in any condition to speak right now...
KYLE: I saw you hanging around Room 216. Were you looking for Iris?
KEVIN: It's none of your business who I...who I see...
KYLE: (That hit a nerve.) Easy, doc. Were you looking for Iris? Heard you two
tossed a few back in the bar.
KEVIN: ...And? ...And if I were? Is there a LAW against me drinking with Iris?
KYLE: What were you and Iris chatting about? You two been friends long?
KEVIN: Why... Why are you asking me these things? I don't... You have no
right... It doesn't matter who my friends are... Who I talk to. You don't
have a right to HOUND me like this! I don't have to tell you anything!
KYLE: Don't be a mean drunk, doc. Just talk to me.
KEVIN: Enough... Enough! I'm out of patience! I'm tired of your questions...
Tired of YOU!
KYLE: (Huh?) Close your head! I ain't asking these questions for my health,
all right?
KEVIN: Then why ARE you asking them? Why are you...
KYLE: I'm looking for someone.
KEVIN: Looking? You? Ha! I don't... Don't believe it...
KYLE: That's right. There's a young girl staying here who's looking for her
father.
KEVIN: Are you talking about Melissa? How... How DARE you!
KYLE: No. Different kid. So I need to ask you about Gallery May. In Santa
Monica? Seems the girl's father owns the joint.
KEVIN: ...Really?
KYLE: You know the place, right? Gallery May?
KEVIN: Y-yes...
KYLE: How?
KEVIN: How? Well, my... My wife used to work there. We're done... We're done
here... I'm going back to my room.
KYLE: Not yet, doc. I've got more questions.
KEVIN: Mr. Hyde, what... What do you want...? Yes, I... I know Gallery May.
My wife used to work there before she... She... She used to work there. Iris
is just... We just met. We had drinks. That's why my head...my head hurts...
She mentioned the gallery. I was...surprised. That's all. No mystery. No...
There's no mystery here. I don't know the owner... Never met him.
KYLE: You playing straight with me?
KEVIN: Gya! Enough! Please, Mr. Hyde, please... My head hurts, and I'm tired,
and I know nothing!
KYLE: Nothing, huh? You're hiding something. Spill it.
KEVIN: How... How DARE you! We're done! Done talking! My problems are MINE!
Got it? MINE! NOT yours! ...Not yours...
KYLE: Not my business, huh?
KEVIN: Look, you... You were kind to my daughter, and... And I think you...
Maybe you mean well... But that's enough. I have limits... I'm not going
to...unfold my life to a...a stranger.
KYLE: All right, point made. Let's step back a second. We've both been around
the block, right? Got a few scars to show for it? I got no interest in digging
in your private life. But there's something you know... And that something's
the key I need to find what I'm looking for.
KEVIN: What you're...looking for? What's that?
KYLE: It's got nothing to do with you. But you answer my questions, and I'll
tell you what you want to know. Let's talk about Iris. This the first time
you met her?
KEVIN: That's right. I... I never met her before tonight. But, she... She
said she knew Grace, and...
KYLE: Who's Grace?
KEVIN: Melissa's mother. My...my wife. Iris...Iris mentioned Gallery May in
the bar. It...surprised me. But THEN! Then...she told me she knew Grace! I
didn't... I couldn't... I didn't know what to say.
KYLE: What else does she know? Does she know your wife left you?
KEVIN: I...I don't know.
KYLE: Why didn't you ask her? Maybe she knows where your wife is now.
KEVIN: NO! I'm... I'm TIRED of talking to strangers about how my wife left
me! I have SOME pride! Some... But... Oh, who... Who am I kidding? It's all
my fault! She left because of me.
KYLE: Why'd she leave you?
KEVIN: That, um... I...
KYLE: I got a hunch about Gallery May. You never worked there. So when did
she start at the gallery?
KEVIN: No, I... I didn't, but she was... She was there seven years ago...
KYLE: Long time.
KEVIN: Wife was working at the gallery when we... When we got married. Then
Melissa was born, and... She took a few years off. It was important... She
thought spending time together was important... But she missed the gallery.
She... She wanted to use her training... So... So when Melissa turned two,
Grace found work at an art museum.
KYLE: And things were still all right between the two of you?
KEVIN: ...Yes. They...they were.
KYLE: I bet I know what went wrong between you and the wife. It was you.
Right, doc?
KEVIN: ...Yes, it was... It was all my fault.
KYLE: How was it your fault? What did you do?
KEVIN: Well, er... ...Urp! Aaah... Uuuuurrp!
KYLE: You feelin' low?
KEVIN: My... My head... It's going to explode...
KYLE: I bet. Well, you'd better get to your room before you make Rosa's life
a living hell. Can you make it? 'Cause I ain't carrying you.
KEVIN: You're right, it's... It's just like you said...
KYLE: I'm right? Hey, hold up.
KEVIN: What...is it?
KYLE: You're pathetic, you know that? I give you a load'a crap about how you
raise your kid, and you don't get mad? No woman likes a coward, pal. I bet
that's why your wife left you high and dry.
KEVIN: Oh YEAH? Oh... Oh yeah...?
KYLE: I bet she'd been planning to dump you for a long time. You know she
left a message on the back of one of Melissa's puzzles, right? The one she
gave her as a gift? She left a good-bye message on the back.
KEVIN: She did...did what?
KYLE: You didn't know? Where's your head at, doc?
KEVIN: I never knew... That was the problem. I never knew anything.
<They stare at each other.>
KEVIN: You wanna hear my story, Mr. Hyde? I'll tell you...everything.
KYLE: Tell you what. You want to talk? I'll stand here till I get bored.
KEVIN: Two years ago, I... I lost a patient in the operating room. I did what
I could, but... The family... They sued me. Sued for malpractice, and...
KYLE: They won, huh?
KEVIN: Oh, yes. They won... A court made me pay... It was so much money, and
my insurance wouldn't... I didn't have it. I couldn't get that much... It was
just so much... I was...drowning. I didn't know what to do. Grace...she kept
working at the museum while I...while I waited... When they gave me the
verdict, I... I asked for a divorce. It was MY mistake, my... I... I didn't
want Grace to pay for my mistake. But Grace refused. She... She said no. She
told me no. "This won't beat us," she said. "I won't lose my...family," she
said... She was going to... She told me... Told me she would raise the money.
KYLE: And?
KEVIN: She did. Yeah, she... I don't know where it came from, but...she did
it.
KYLE: How?
KEVIN: She made me promise not to ask. Said it was a...a price we paid to stay
together. Said we'd be together forever... She was WRONG! ...Wrong. I loved
her. From that day, I just... I just loved her so damn much... She was
everything. But you know what? I didn't... I didn't trust her. ...How crazy
is that? But, I mean... Where did she get that money? It was a LOT of money!
And so I asked her and asked her and asked her... But she WOULDN'T TELL ME!
So we fought. Oh, we just... We fought about everything... ...Everything. Then
one day, she... She...
KYLE: She left you.
KEVIN: Yes. I tried to find her. I've been everywhere and tried and... I
don't know. I don't know.
KYLE: So why'd you come here?
KEVIN: Matches. I found a matchbook from this hotel. It was in... In her
purse. So I came here. I thought I could find a clue or a... You know. A
clue... Just one little clue. But I failed. I failed, I... I didn't find a
damn thing. So you're right, Mr. Hyde. I don't know anything. I'm a loser.
I'm pathetic.
KYLE: That's one word for it.
KEVIN: I know...
KYLE: But I think you're going to pull out of this. You've got a chance.
KEVIN: I... I do?
KYLE: Comes a day in every man's life when he realizes he's a fool. But you
got someone who needs you, no matter what a lousy drunk you are. You know
what I'm saying, doc?
KEVIN: I...
KYLE: You can pull your ass out of the gutter for that person. Right?
KEVIN: Mr. Hyde...
KYLE: Melissa loves you more than anything. You're family. Hell, you're the
only family she's got left.
<Kevin leaves the front desk area.>
KYLE: (So that's what happened to Melissa's mom, huh? Wonder how Grace scored
all that cash. Why did she come to Hotel Dusk? And how are Iris and Grace
connected? Take a deep breath, Hyde... Get your ducks in a row here...)
<goes to CHAPTER SUMMARY>
I went down to the Seven Stars Bar at ten to meet up with Louie. While I was
enjoying some good scotch, Summer barged in. I told him that Helen was Alan's
mother, then split before he talked more. After leaving the bar, I ran into...
[Melissa]
That's right. Melissa was roaming the hallway outside the bar. She was looking
for her old man, Kevin, and she didn't look happy.
I told Melissa it was late and she should go back to her room. But something
about how sad she looked stayed with me. After talking with Rosa, I decided
to get the hotel Christmas tree out of storage. Figured a tree with all the
trimmings might pick the kid's spirits up. The room where I found the tree
was...
[Storage]
That's right. I dug the tree out of a box in the storage room. Then I
decorated it for Melissa. Hadn't done anything like that in years. Made me
look like a sap, but it actually wasn't a half-bad time...
Melissa came to the storage room to see the Christmas tree. She looked pretty
happy to celebrate Christmas, even if it was three days late. Couple of other
people heard about the tree and came down to join us. First was Mila, and
then...
[Louie]
That's right. Who else would crash a party but Louie? Guy's got a nose for
bright lights and dames.
The lights of the tree pushed back the shadows of the storage room for a bit.
After Melissa fell asleep, Louie took her back to her room. Mila and I were
left in the storage room, so I got out my notebook. That's when I learned
that Mila's father owned his own business. The name of it was...
[Gallery May]
That's right. Mila wrote the name down in my notebook. Mila's father owns an
art gallery in Santa Monica. It's called Gallery May.
Louie told me that Iris and Kevin were drinking together. He said they were
talking about Gallery May. That's when I decided to ask the two of them some
questions. But when I went to 216 to see Iris, I learned something else. A
mystery man broke into Iris's room and nicked something from her. The thief
made off with...
[A small envelope]
That's right. Whoever it was took a small envelope. At least that's what
Iris said.
What was in the envelope? Just another question for the pile. Evening wasn't
a total bust, though. Kevin tied one on, and I waved the fumes away long
enough to grill him. He told me Melissa's mom, Grace, worked at a place called
Gallery May. Also told me about some malpractice suit he lost a few years
back. But I need to know how Grace raised the money to pay the thing off. As
I listened to Kevin spill his guts, an idea started to swirl in my brain.
There's a connection here. Bradley disappears with Osterzone's angel
painting... Doc's missing wife works at an art gallery. Like my old man used
to say, "Where there's stink, there's flies." You hear me coming, Bradley?
Hotel Dusk's got the key to this whole mess, and I'm going to find it tonight.
==================================
3h. CHAPTER 8: DECEMBER 28TH, 1979
11:00 ~ 12:00 A.M.
==================================
<Kyle is back in his room.>
KYLE: (Eleven o'clock. Time to show Louie how a real man bowls. But first,
I've got some real business to take care of. Someone took an envelope from
Iris, and I want to know who...and why.)
<The phone rings.>
KYLE: Hmm? Phone.
<He answers.>
RACHEL: Hey, sweetie!
KYLE: I hope Ed's paying you for the graveyard shift.
RACHEL: I just do this for kicks, hon. But hey, Ed told me that you're onto
something. Did you find a clue about your friend Bradley?
KYLE: Think so.
RACHEL: Ed's been talking about you all night. Told me all about why he
thinks you won't stop looking for Bradley.
KYLE: Ed talks too much.
RACHEL: I think it explains a lot.
KYLE: I don't need explaining.
RACHEL: Right. And I don't need a better job. You're just one big puzzle after
another, Kyle. But I guess that's what makes you so darn charming.
KYLE: Rachel, listen. Do you think--
RACHEL: Oops! Sorry, handsome. Ed needs you.
ED: Hyde! What's the good word?
KYLE: I'm shaking trees, but the acorns aren't falling. No direct ties to
Bradley yet, but I did find one thing.
ED: Yeah?
KYLE: It's a name. I need you to run it for me.
ED: Go.
KYLE: See what you can dig up on a Gallery May in Santa Monica. And get me
the skinny on the owner, too. Guy named Robert Evans.
ED: Gallery May... Robert Evans... Got it.
KYLE: Thanks. You got fingers in a lot of pies, Ed. I know you can find
something. Both names keep popping up in strange places. And at least one
person here is hot to find this Evans character. There's something here, Ed.
I know it.
ED: I'll do what I can on my end. But give me details. What are you fishing
for?
KYLE: I met a young girl here. She's wearing the same bracelet that Bradley
used to have. Girl's name is Mila.
ED: ...Mila? Hyde, are you saying--
KYLE: No. It's not his sister. Mila says the bracelet is from her father.
Robert Evans. I think she's looking for the guy.
ED: This the same guy that owns the gallery?
KYLE: Yeah. Same guy.
ED: Right. Gimme an hour or so. Let me talk to my people. I'll give you a
buzz when I track something down.
<He hangs up and goes out into the hallway. A door slams.>
KYLE: Huh? ...Sounds like that came from one of the rooms at the end of the
hall.
<Kyle goes to the utility closet and searches around.>
[There's something in the garbage can. I got a cassette tape.]
KYLE: (Wonder who threw this away?)
[There's some brown paper in here. I got a discarded envelope.]
KYLE: (It's addressed to Iris. This must be it.)
<He goes to the front desk area. Kevin is still there.>
KYLE: You sober yet?
KEVIN: Oh, it's... It's you.
KYLE: You forget what room you're in?
KEVIN: No, no, I was just... Just trying to clear my head. I'm going back now.
[Kevin nods and slowly wanders down the hall.]
<Kyle goes to the bar.>
LOUIS: Kyle Hyde! When he's not solving crimes, he's playin' Santa to the
ladies! Ready to take a licking from this street punk? I'm gonna roll strikes
till dawn!
KYLE: Almost. But first you have to help me out. I need a cassette player.
LOUIS: Really? Well... I got a deck. It's in my room. Man, I tell ya, that
old thing is in serious demand tonight!
KYLE: (Other people want his cassette player?) Hey, Louie? Who else wanted
your cassette deck?
LOUIS: Dunning, man. Came through a little bit ago wantin' to borrow the
thing.
KYLE: Dunning?
LOUIS: Don't ask me, man. Said he wanted some music. Probably country, yeah?
Whatcha gonna listen to, Hyde? It ain't disco, yeah? Tell me it ain't disco.
KYLE: I don't know.
LOUIS: Trip, man. Sounds pretty suspicious.
KYLE: I'll know when I hear it.
LOUIS: ...Tell ya what, man. Thing's just sittin' in my pad. Go ahead and
use it, but don't take it outta there.
KYLE: Thanks.
LOUIS: I'll swing by a bit later. Oh, but, hey! Don't try to rewind anything!
Oh, yeah... And you can't fast-forward, neither. Buttons are all busted up.
KYLE: Got it.
<He goes to Louie's room.>
KYLE: Now where is that cassette deck?
<He looks around the room.>
[Louie's got a cassette deck sitting on a wooden crate. Real classy. This
cassette deck's seen better days.]
<He tries to put the tape in the deck.>
KYLE: (The tape's unwound. This is no good. So how do I fix it?)
<He looks around the room again.>
[It's a ballpoint pen. I got myself a ballpoint pen.]
KYLE: (I'm sure I can put it to good use.)
<He tries to use the pen to roll up the tape.>
KYLE: Hmm... This pen is round. It won't catch on the reels. ...I'm stumped.
(How do I fix this thing... The pen is too round. I need something with an
angle.)
<He goes back to his room and searches through his suitcase.>
[I take a pencil out of my suitcase.]
<He goes back to Louie's room and uses the pencil to wind the tape.>
KYLE: Bingo.
[I rewound the cassette tape.]
KYLE: (Now I can hear this thing.)
<He listens to side B. After awhile, he hears voices.>
TAPE: ...at you're asking is... ...ossible! ...an't work any faster than
I...eady am. You heard me! This is... ...last one... ...ah, I got the painting
supplies...ut he doesn't... ...get it. I know, but...
KYLE: ...Last one, huh? I wonder what that means.
<The door opens.>
KYLE: Who's there?
LOUIS: Yo, Hyde!
KYLE: Louie.
LOUIS: Ya get that tape workin'? What's on it, man?
KYLE: Not sure. Here. Take a listen and see what you think.
[I play the cassette tape for Louie.]
LOUIS: Aw, man! Not cool, Hyde! That thing is a total freak-out! Didja hear
how those two cats were talkin' all quiet and staticky? Sounded like... I
dunno. Like someone bugged the room or somethin', ya dig?
KYLE: That's my guess, too.
LOUIS: Where'd you get this thing, anyway?
KYLE: Trash can in the utility closet.
LOUIS: Trip! Who tossed it there?
KYLE: The same person who stole an envelope from Iris's room.
LOUIS: OK, man, now you totally lost me. Who stole what from who now? Fill me
in, man. And use small words, yeah? I ain't the brightest bulb in the lamp.
KYLE: I'll tell you everything later, Louie. I have to find Iris first.
LOUIS: Yeah, OK, man. If ya say so.
<He leaves the room.>
KYLE: (Time to make Iris sing like a canary.)
<He goes upstairs and knocks on 216.>
KYLE: It's Kyle Hyde.
IRIS: Go away.
KYLE: We've gotta talk. Open up.
<Iris opens the door.>
IRIS: Don't you have a cave to go home to?
KYLE: Play nice. I found your stuff.
IRIS: Oh! You really found it? Hand it over, please.
KYLE: In a second. I got some questions first. What's a dame like you doing
with something like this?
IRIS: I'm sure I have no idea what you're talking about.
KYLE: This is from a bugged room, and the guys on the other end mean business.
IRIS: ...What?! You LISTENED to it?!
KYLE: Yeah. I was curious about what got taken from you. I figured it was
something interesting. But I never imagined it would be something like this.
<Iris pouts.>
KYLE: All right. See ya.
IRIS: I can't believe you found my tape...
<He shows the tape.>
KYLE: Is this what was in your mystery envelope?
IRIS: Where did you find it?
KYLE: Trash can in the utility closet.
IRIS: Really?
<He shows the envelope.>
KYLE: Is this your envelope?
IRIS: Where did you find it?
KYLE: Trash can in the utility closet.
IRIS: Really?
KYLE: Shed some light on this for me.
IRIS: ...Fine. Come in.
<He enters the room.>
IRIS: What do you want to know?
KYLE: Give me the skinny on the tape.
IRIS: The tape is none of your concern. Just give it back.
KYLE: You want the tape? I want answers. Who are the voices on the tape?
IRIS: I have no idea.
KYLE: No idea? You really do think I'm an idiot, don't you? Where does a
princess like you get something like this?
IRIS: I told you. Grace sent it to me. She asked me to bring it here. That's
all.
KYLE: (This was a favor?) Hold it. Why'd you bring it here?
IRIS: Because I was TOLD TO!
KYLE: Grace gave you the tape. What was the plan?
IRIS: She told me to wait for her to contact me again. If I didn't hear from
her by Christmas, I was to bring the tape to this hotel.
KYLE: You and Grace were close?
IRIS: That's right.
KYLE: So you must know all about her, right? About her family? That why you
were boozing it up with her husband, Kevin Woodward?
IRIS: Her... Her HUSBAND?
KYLE: (That got her.) Well? Guess you didn't know.
IRIS: Are you sure? That man is Grace's...husband? Then that little girl...
The girl in the restaurant is...
KYLE: Yeah. That's her kid.
IRIS: Oh... Now I understand why she had that doll with her.
KYLE: When did you last see Grace? Where is she now? Talk, dammit! Where is
Grace! Where has she gone?!
IRIS: You stupid, insensitive FOOL! I don't know, all right? I DON'T KNOW!
And YOU are the one who should be telling ME what's going on!
KYLE: ...Wait, I don't--
IRIS: I'm the one who knows her, you idiot! I'm the one who's SEARCHING for
her! I HAVE to find her! There's something I have to ask her!
KYLE: I think I know why Grace asked you to do this. And why she wanted the
tape brought here. That tape is insurance. She needs it to give someone the
strong-arm.
IRIS: ...
KYLE: I guessed right, huh?
IRIS: I don't know what the tape is for. When Grace sent me the tape, she
gave me a message. If I didn't hear from her by Christmas, I was to come to
this pathetic hotel. And I had to bring the tape with me. I'm supposed to
hand it over to a certain man.
KYLE: Who gets the tape?
IRIS: I don't know.
KYLE: Nice plan.
IRIS: I asked her. Grace, I mean. I asked her who she meant. But... She just
told me to give it to the man who painted the angel. I hoped that I'd
understand when I got here, but I don't.
KYLE: The angel, huh?
IRIS: So here I am. A girl with no plan, trapped in the worst hotel in the
world. I'm lost, Mr. Hyde. I have no idea who this man is or how to find him.
KYLE: Melissa's doll caught your eye, huh? What's going on there? You've seen
that doll before tonight, huh? After all, Grace is the one who made it.
IRIS: I didn't... I didn't know she made it. That explains why it looks so
much like our dolls.
KYLE: You have one of those dolls, too?
IRIS: I've seen that doll before. Maybe not that exact one, but... It looks
just like the dolls Grace and I used to have when we were kids.
KYLE: I figured it out. I think I know why you're looking for Grace. You're
trying to track her down.
IRIS: Yes. I thought she was married and...happy. You know? I refuse to
believe that she just vanished for no reason!
KYLE: Woodward got hit with a big lawsuit back in '77. He was about to lose
everything. Grace raised a whole bunch of dough and pulled his ass out of the
fire.
IRIS: But how?
KYLE: Good question. If you find out, tell Kevin, will ya? Apparently, Grace
refused to tell him where she got the cash. Guy couldn't take it. They fought
about the cash and he stopped trusting her. Then she decides to skip town.
IRIS: Oh, Grace...
KYLE: This isn't some tape Grace picked up at a yard sale. What's the story?
What does it mean?
IRIS: I don't know.
KYLE: Kevin got sued for a king's ransom. Where'd Grace get the money to pay
that off?
IRIS: I don't know! OK? I don't have any idea.
KYLE: How did Grace pull together that much sratch?
IRIS: I have no idea. I guess we're past the point of hiding secrets. I doubt
you're the kind of man I can conceal much from, anyway...
KYLE: This about the tape?
IRIS: No. ...It's about Grace. Well, about Grace and me, actually.
KYLE: What's the story?
IRIS: I'm her little sister.
KYLE: No kidding.
IRIS: She's four years older than I am.
KYLE: ...I didn't see that coming.
IRIS: Our mother was a kind, beautiful woman, but she was weak. Terrified of
being alone, easily manipulated, terribly sad. I'm sure you know the type.
She fell in love so easily, and always with the wrong kind of man. They used
her and hurt her and left her... And then she would just find another one. We
lived on the run. Running away from the last bad man and toward the next. And
every time we moved, we got a new father. In truth, Grace and I are only half
sisters. I don't even remember her father. But it didn't matter. Growing up,
we were inseparable. When you're always the new kid, you hang on to what you
have. We were best friends. But then my mother died, and Grace and I were
separated... I thought I would die as well.
KYLE: Your mom died young?
IRIS: Yes, in a plane crash. Do you remember that Las Vegas plane crash in
1960? She was on it. I was nine years old, and far too young to understand.
She was just...gone. The man she was with at the time was a pathetic snake.
The airline gave Grace and me a large sum of money, and he took it all. Once
that was done, he stashed us in separate orphanages and vanished. Grace and
I, we... We lost contact. I was eventually adopted, but I didn't care much
for my new parents. At fifteen, I ran away and spent five years in a blur of
hotels and highways... When I was twenty, I found work at some run-down diner
in Santa Monica. And one day, Grace walked back into my life. It's funny. I
knew her right away, but she... She didn't know me at first. I guess those
five years changed me more than I thought. Anyway, after a few moments, she
recognized me and we were reunited. She was so beautiful, Mr. Hyde. Just...
beautiful. She had gone to college and made something of herself.
<Hyde nods.>
IRIS: She was working as a curator at a place called Gallery May. And she was
engaged to a doctor. We promised to meet up later, but instead I quit and fled
Santa Monica. I heard Grace was looking for me, but I never tried to contact
her.
KYLE: Why's that?
IRIS: Because I was ashamed, Mr. Hyde. She was radiant, and I was...pathetic.
I didn't want her to see me like that, and so I ran away. ...Again. I decided
to follow my dream of becoming an actress. I jumped from city to city, taking
any role that was thrown my way. And in that fashion, time just...passed. But
two years ago, Grace tracked me down. I had just been featured in some
small-time magazine photo shoot. Grace saw it and tracked me down through the
agency. I was shocked by what she had become. The girl from Santa Monica was
gone. Her eyes, Mr. Hyde. Her eyes were so sad... She waited until we were
alone and then broke down. She told me she needed money. She begged me to
help her.
KYLE: And did you?
IRIS: Mr. Hyde, I could have sold my entire life and not come close to what
she needed. And she wouldn't even tell me what it was for! I told her no. I
had no choice, I... I couldn't dream of getting that kind of money. She was
sobbing, Mr. Hyde. Sobbing and apologizing and... She told me she was sorry
for asking the impossible. And that she didn't really care about the money.
She just wanted to see me. She said it gave her the courage to do what must
be done. ...For her family. It was like we were little girls all over again.
KYLE: How so?
IRIS: We were still so young... We moved from place to place, and I spent all
my time in the car, sobbing. Mom was too caught up with her men to do more
than scold me. But Grace was my savior. She used to put my favorite doll
between her arms. Then she would hold me and talk to me until I calmed down.
I thought back to that after she left the agency. After a few seconds, I
decided to chase her down. But when I ran out the door, she... She was gone.
<Kyle nods.>
IRIS: The envelope arrived about a year and a half after that. It contained a
letter and that cassette tape. I don't have the letter, but I read it again
and again and remember every word. "Iris, my family desperately needed money,
and I did a terrible thing. If you don't hear from me by Christmas, I need
you to do something for me. Take this tape to Hotel Dusk." The letter went
on to tell me to give the tape to the man who painted the angel. So! Here I
am. What a fantastic Christmas this is turning out to be... Anyway, that's
all I know, Mr. Hyde. The tape is a mystery. The letter is a mystery. I was
scared when that tape went missing, but I guess it doesn't matter. None of it
tells me how to find this man who paints angels. I hoped that coming here
would clear everything up, but it didn't. I'm clueless, Mr. Hyde. Clueless
and frustrated and just plain tired of it all.
KYLE: Kevin's been looking for Grace for a long time. And Melissa's getting
pretty desperate, too. Guess we can add you to the mix.
IRIS: I just want to see her again. I want to know that she's all right.
KYLE: Don't worry. We still got hope. We know the guy who made the angel
painting is here. And I'm going to look for him. If I find him, I bet I'll
find Grace, too.
IRIS: ...Mr. Hyde.
KYLE: Maybe that'll make your Christmas a little better. I'll be around. Grab
me if you think of anything else. And here's your tape back.
IRIS: ...Mr. Hyde.
<He leaves the room.>
KYLE: (So Iris is Grace's sister... Grace knew a man who paints angels. Hotel
Dusk and the angel painting have to be connected. Maybe I can figure it
out... And maybe that'll tell me why Bradley came here in the first place.)
[11:20 PM]
<Kyle goes back to Louie's room.>
LOUIS: Yo, Hyde! Didja figure stuff out and bust heads and all that cop
stuff? C'mon, man, hit me! What's the deal with the tape?
KYLE: The tape was sent to Iris by a woman named Grace.
LOUIS: Grace? Yo, I should know this Grace or what?
KYLE: She's Iris's sister.
LOUIS: Iris has a SISTER? Seriously? Awwwwooooooooo!!!
KYLE: ...You're a moron, Louie. There's more. Grace is Melissa's mother.
LOUIS: Awwwooo... Huh? No joke? Aw, wait, man! That means...
KYLE: Yeah. Grace is actually Kevin's missing wife.
LOUIS: Well, I'll be damned! You're some kinda cop, Officer Hyde!
KYLE: Apparently Kevin isn't much of a doctor, because he lost a big
malpractice suit. Grace got the money to pay the thing off, but Kevin doesn't
know how.
LOUIS: Aw, TRIP, man! Sounds like dirty money to me!
KYLE: You and me both, brother. About six months ago, Grace up and vanished.
That's the same time she sent the tape to Iris. Thing came with a letter that
told her to sit tight until Christmas. If there was no word by then, Iris had
to bring the thing here.
LOUIS: Here, man? This hotel?
KYLE: She's supposed to give it to a man who paints angels.
LOUIS: That don't make no sense, man.
KYLE: I know, but there it is.
LOUIS: Yeah... There it is.
KYLE: Listen, I need you to take a buzz through the guest log from two years
ago.
LOUIS: Sure, man. I'll do my sneakin' around thing soon as Dunning takes off.
You want I should check if Grace Woodward stayed here, right?
KYLE: Smart boy, Louie.
LOUIS: If only my ma could see her Louis now! But first, we gotta settle
something like men ...Men who ROLL!
KYLE: You're on.
<They leave the room.>
LOUIS: Psssst! Yo, over here, man!
KYLE: You want to do this here, Louie?
LOUIS: Aw, man, it's way more fun this way! C'mon!
KYLE: If you say so.
LOUIS: Now let's get it on!
<goes to the bowling minigame>
LOUIS: After you, my man.
<Kyle knocks down 9 pins.>
LOUIS: Hey, not bad, Hyde. Now it's MY turn. Watch this action!
<Louie knocks down 9 pins.>
LOUIS: Guess that's the way the ball rolls, huh? A tie? Great, first game's
a stinkin' tie.
<In the second game, Kyle gets a gutter ball.>
LOUIS: Haw haw! Man, that the best ya can do?! Now it's MY turn. Watch this
action!
<Louie gets 7 pins.>
LOUIS: Guess that's the way the ball rolls, huh? That's what I'm talkin'
'bout. Second game goes to ME!
<Third game, Kyle gets 6 pins.>
LOUIS: Hey, not bad, Hyde. Now it's MY turn. Watch this action!
<Louis throws the ball. They hear a crash.>
LOUIS: Aw, man! Total bummer, man. OH NO! No, man! No, no, no, no, no... Man,
that's Dunning's plant! Guy LOVES that stupid plant! Aw, man, he's gonna have
my head for that!
KYLE: What have we here?
LOUIS: Huh?
KYLE: This is...
[I got an old key.]
LOUIS: That a key? What's a key doin' in old man Dunning's plant?
<A door opens.>
ROSA: What is going on out here! What ARE you up to now? Huh? Answer me!
LOUIS: Easy, Mama Sass! We're just having us a little chat.
ROSA: Don't "Mama Sass" ME, Louis DeNonno! You were playing that ridiculous
bowling game again, weren't you?
LOUIS: Aw, man...
ROSA: What? You thought it was a secret? You talk about it to everyone you
meet! I'm sure even Mr. Smith knows by now! You should pray that he never
catches you, or it'll be your job!
LOUIS: Aw, c'mon, Rosa! Why ya gotta be Captain Hard-Ass all the time?
ROSA: Your fun is no concern of mine, Louis DeNonno!
LOUIS: That's cold, Mama. Real cold.
ROSA: I don't have time for this! Mila is missing! Where is she? Have you
seen her?
LOUIS: Mila?!
KYLE: You lost Mila?
ROSA: I did not LOSE her, Mr. Hyde! She left my room and hasn't come back.
I checked the lobby and restaurant already... Oh, this is terrible...
KYLE: You seem pretty worried. There something I should know?
ROSA: ...Huh?! What? No! Nothing, just... Just trying to find her!
KYLE: Sure you are.
ROSA: I'm busy! I have to go! If you see Mila, tell her to go back to my room
and wait! All right? Good!
[Rosa scuttles off down the hall.]
LOUIS: Hoo-wee! Sounds like they had themselves a fight or something, yeah?
KYLE: Something like that.
LOUIS: Hey, man! We should help look for Mila! Ya know...just to be nice and
all...
KYLE: I know why you're looking, Louie. And it's fine. You take the first
floor. I'll take the second.
LOUIS: Gotcha!
KYLE: And Louie?
LOUIS: Yeah?
KYLE: Keep this safe.
LOUIS: What, the old key?
KYLE: See if you can find out what it goes to.
LOUIS: Yessir, Officer!
<Kyle goes upstairs.>
KYLE: Where did Mila go?
<He goes to the roof.>
KYLE: ...Hmm? Someone's there. It's...
<He walks over to Mila.>
KYLE: Mila. <He touches her, and she turns around.> What's wrong? Just
stargazing? It's cold. And that's not much of a coat. <She looks away.>
Rosa's looking for you. Something happen between you two? <She shakes her
head.> Did Rosa say something to you? <She nods.>
[I hand my notebook to Mila. Mila writes something in my notebook.]
KYLE: ...? Who are you looking for? "Who are you looking for?" That's what
Rosa said to you? <She nods.> So she knows you're looking for your father,
huh? Guess you told her about that. <She shakes her head.> Wait, you didn't?
I don't get it. Here. Write down what she told you.
[I hand my notebook to Mila. Mila writes something in my notebook.]
KYLE: ...? She said "I know your father." Rosa knew your father? She said
that? <Mila nods.> (How the hell does Rosa know Mila's old man?) Wind's
getting chilly. And Rosa will murder me if you catch cold. Let's get you back
to her room, OK?
[11:40 PM]
<Kyle and Mila go to Rosa's room. He knocks on the door.>
KYLE: It's Hyde.
<The door opens.>
KYLE: I found Mila.
ROSA: Mila! Come in quickly, dear. Come on, come on! Where was she?
KYLE: On the roof.
ROSA: What? Land sakes, no wonder she's cold! Poor thing will catch her
death! Mila, you just sit and I'll make you some tea. And don't mind what I
said earlier! You don't have a thing to worry about, dear.
KYLE: You got a second?
ROSA: What is it? I'm very busy.
KYLE: It won't take long. It's about Mila.
ROSA: Yes?
KYLE: Actually, I need to talk to both of you.
ROSA: Oh, all right! Go wait in the back room. OK? Good. I need to give Mila
her tea first.
<Kyle goes in the back room and looks at the pictures. Rosa walks in.>
ROSA: Sorry, Mr. Hyde! Sorry for making you wait!
KYLE: How's Mila?
ROSA: Oh, she drank some of my special honey tea and is feeling much better.
KYLE: Good.
ROSA: So what did you want to talk to me about? Hmm? Out with it!
KYLE: Hold on. I got a question about these pictures first.
ROSA: Oh, Mr. Hyde. Why were you looking at my pictures?
KYLE: I got a short attention span. So who are these folks?
ROSA: Those are pictures of me, Mr. Hyde!
KYLE: Pictures of... The bride, too?
ROSA: Of course!
KYLE: ...Oh.
ROSA: Now what's that face for? Don't look so surprised, Mr. Hyde. I was
young once, you know.
KYLE: Oh, I know. It's just...
ROSA: Just WHAT?!
KYLE: This is a bit awkward.
ROSA: I'll awkward YOU, Mr. Hyde! Out with it!
KYLE: I just thought she was a real good-looking dame.
ROSA: Oh my! <She looks abashed.>
KYLE: So you marrying your one true love there or what?
ROSA: Yes, I was. I thought I was the happiest girl in the world.
KYLE: Yeah, I bet. 'Course, everybody says that.
ROSA: Yes, but I was serious! I couldn't have been any happier to marry that
man!
KYLE: Rosa, you never cease to amaze me. Your husband really that great?
ROSA: To me, he was! He was the best man I'd ever met.
KYLE: So what happened?
ROSA: I think he's on a boat somewhere.
KYLE: No kidding? Married a sailor, huh?
ROSA: I assume he's still a sailor!
KYLE: You assume?
ROSA: It's been quite some time since I've seen him, is all.
KYLE: Oh.
ROSA: I think the last time we saw each other was... Oh, at least five years
ago.
KYLE: That's a long time.
ROSA: No, now I'm sure that was it. I remember now, because it's when I
started to work here.
KYLE: (...Guess it takes all kinds.)
ROSA: I doubt you really care about my husband, Mr. Hyde! I thought you had
to ask me about Mila!
KYLE: Yeah, I do. Lemme get on that.
ROSA: Well! Out with it!
KYLE: How do you know about Mila?
ROSA: What? I don't understand the question, Mr. Hyde!
KYLE: When I ran into Mila, her wheels were really turning. She was thinking
about something you said. So what did you say to her?
ROSA: I'm sure I don't know! I haven't said anything to that girl.
KYLE: (You're sure, huh?) Wait a minute. Rosa... Come on. Don't start lying
to me now. I know you talked to her. And I know you asked who she's looking
for.
ROSA: ...Wh-what?! And just how would you presume to know about that, hmmm?
KYLE: Mila told me.
ROSA: Oh, she told you? She told you! Miss Talkie just up and told you, is
that it?
KYLE: She wrote it down in my notebook.
ROSA: Oh! ...Oh. Guess it's silly for me to try and hide it, then...
KYLE: How did you know she was looking for someone?
ROSA: It's because of that old brochure.
KYLE: You know something about her that the rest of us don't. And I need you
to tell me.
ROSA: ...I don't know anything! It's not like I'm...hiding something from you!
KYLE: (Poor Rosa. Such an open book.) C'mon, Rosa. We've been through a lot
tonight, right? Helped each other? Had a few laughs?
ROSA: I'm not... I'm not hiding anything, Mr. Hyde. And I swear I don't know
boo about that poor girl's father.
KYLE: Her father?
ROSA: Oh, darn my fool mouth!
KYLE: What are you hiding?
ROSA: Please, Mr. Hyde! I promised not to tell.
KYLE: I think I know what's going on with the brochure. You were talking
about... You mean the brochure Mila was carrying.
ROSA: Yes, that's right. She got a ride from that terrible Angel boy in
213, remember? I think she showed it to him, and that's why he came here. And
as soon as I saw that brochure, I knew!
KYLE: What did that brochure tell you?
ROSA: Well, see, I just figured that if she had that brochure with her... Then
she must be looking for someone who stayed here a long time ago! Makes sense,
right? Sure it does. Anyway, that's what I thought when I saw it.
KYLE: What about her father? You said you didn't know anything about him,
right? So you do know something?
ROSA: Probably!
KYLE: ...Probably? What's that supposed to mean?
ROSA: Well, it's just that if that girl is looking for her father... Then,
yes. Maybe I do remember something.
KYLE: What did you remember?
ROSA: I can't tell you that!
KYLE: Come on, Rosa. I got you an autograph. I fetched wine labels. Trust me
for once.
ROSA: I don't know...
KYLE: I don't have a secret agenda, Rosa. I just want to know what Mila was
doing here by herself. And what her father was up to. That's all.
ROSA: And why? Huh?
KYLE: I want to set her free.
ROSA: And what does that mean?
KYLE: I know a little something about searching for people... I know it's
hard. Not something a girl like her should have to face. When you find people
that don't want to be found, you learn some hard truths. Mila knows that those
truths are coming... But she can't stop looking. It'll hurt when she's done,
but only for a bit. Then it's over and done with. But until she finds her old
man, she's just going to go on hurting.
KYLE: You made a promise, huh? I think I know who you made this promise to...
It's someone I know. Isn't it?
ROSA: Yes, as a matter of fact. The person trusted me. Trusted me with a
secret.
KYLE: What's this secret, Rosa? What are you hiding that can help this girl?
ROSA: I can't tell you. I promised.
KYLE: Yeah, you said that. And I know you mean well. But the person who told
you this secret? They told you because they trusted you.
ROSA: I suppose.
KYLE: Then maybe you can trust me in the same way. If it's something to do
with Mila, I can help her. And I need you to trust me with it. I'll keep your
name out of it.
ROSA: Oh, Mr. Hyde! I don't know what to do!
KYLE: Tell me what you know. I'll make sure it doesn't come back to you.
ROSA: Yes, I heard you before! Well, if it's really just so you can help
Mila... I guess I can tell you. I like you, Mr. Hyde. And I do trust you, I
guess.
KYLE: I like you too, Rosa.
ROSA: But you have to swear that you'll look for her father! You told her you
would, so you have to promise!
KYLE: I will.
ROSA: Well, you see... It's about the old brochure that Mila was carrying. I
knew as soon as I saw it. I knew... I had seen it before.
KYLE: Where?
ROSA: In Mr. Smith's room.
KYLE: His office?
ROSA: No, his personal quarters. He normally won't let anyone go in there!
But he's such a lazy man, and he asked me to clean it once or twice. And
anyway, that's how I saw the brochure. And once I saw that Mila had the same
one, it all became clear as day!
KYLE: You want to fill me in?
ROSA: That poor girl must have been here a long time ago!
KYLE: Why do you think that?
ROSA: Because Dunning told me so, that's why! ...See, he only became the
owner of this place some five years ago. And that brochure is much older than
that, which made me curious. So I asked him about it a little while back.
About where he got it. And he told me. He said he had stayed here once with
his family a long time ago. And that's how he got the brochure.
KYLE: Wait... Dunning has a family?
ROSA: Well, I can't be sure about the details. He won't talk much about
himself. But last year I told him a bit about my husband. And then he talked
about his family.
KYLE: What did he tell you?
ROSA: He has a daughter. But I think she lives pretty far away.
KYLE: A daughter... So that picture...
ROSA: That's right. I pretended not to know anything when you brought it up.
But I think the girl in that picture is his daughter. But something happened
that has kept them apart for quite some time. So when I figured out that Mila
was looking for someone... I instantly thought about Mr. Smith.
KYLE: That's why you told Mila that you knew her father?
ROSA: That's right! Oh, it just felt so perfect! But Mila just looked so sad,
and then she left!
KYLE: I see.
ROSA: Mr. Hyde, you don't suppose that Dunning really is--
KYLE: No. He's not.
ROSA: Oh, dear...
KYLE: Mila's father is a gallery owner named Robert Evans.
ROSA: Oh, but I... I was so sure... Oh, heavens. I opened my big mouth and
spoke without knowing! That poor girl...
KYLE: Don't beat yourself up about it.
ROSA: How can I not? I mean... I... She... Well, now I'm just all kinds of
confused!
KYLE: Why?
ROSA: About Dunning! I thought that was why he was upset when I took Mila in!
And why he wouldn't get anywhere near her! So I guess... There must be
something between them. Just not what I thought...
KYLE: Maybe so.
ROSA: You know what Mr. Smith said to me? He said, "You take her to the
police first thing in the morning!" And when I asked him if that was really
the best thing to do? He couldn't even look me in the eye! Mr. Hyde, I'm just
like you. I just want to help this poor girl. I'll do whatever I can. But you
have to help her!
KYLE: I will. But I need to know one more thing. Is there a painting of an
angel in this hotel?
ROSA: An angel?
KYLE: Yeah. Wings, halo, little clouds. Angel.
ROSA: No, not that I know of. But we do have lots of apple paintings!
KYLE: Yeah, I noticed that.
ROSA: Land sakes, those things are everywhere! Pictures of apples all over
the hotel! Now, why anyone would need that many apple paintings is beyond
me...
KYLE: Rosa, I don't care about apples. I care about the angel.
ROSA: Well, we don't have one. At least, I've never seen it. Just apples.
KYLE: (Again with the stupid apples. Can't sneeze without hitting one of
those. There's even one in my room...)
<He goes to the outer room and talks to Mila.>
KYLE: Don't worry. I'll find your father.
<He leaves the room and his pager beeps.>
KYLE: ...It's my pager. I've got to call Ed.
<He goes to his room.>
[Guess I should give Ed a call...]
RACHEL: Red Crown, Rachel speaking.
KYLE: Rachel? Go home. Seriously.
RACHEL: I was going to, sweetie, but I'm worried about you.
KYLE: I'm fine. You're the one who has to go home at midnight.
RACHEL: Aren't you sweet! But I'll just make Ed give me a ride. Anyway, he's
right here.
ED: Hyde! What's the good word?
KYLE: Tell me you got good news, Ed. Tell me about Gallery May and Robert
Evans.
ED: I shook something loose. Looks like this gallery of yours closed down
seven years ago.
KYLE: No kidding?
ED: Yeah. It was one of the older galleries in Santa Monica. Seems this Evans
fellow inherited it from his grandfather. He was twenty-three when he got it,
and that was back in 1933.
KYLE: Sounds like he had some success.
ED: That's what I hear. Art types say Evans had a good eye for rare stuff.
Was real good at finding undiscovered works by famous painters.
KYLE: He make any money?
ED: Plenty. When new art shows up from famous painters, folks pay attention.
And then all of a sudden... Nothing. Gallery shuts down seven years ago.
KYLE: Why?
ED: Got no clue. When it closes, Evans does a runner and disappears.
KYLE: And he's been gone ever since?
ED: Yeah. Real missing-persons type stuff. Hyde, you said his daughter was in
that hotel? Think she's been looking for him this whole time?
KYLE: I don't know... I don't think so.
ED: I rang up some old friends in LAPD and asked about your case. They say no
one in the family ever pressed for a full search.
KYLE: That's interesting.
ED: I looked into the Evans family, by the way. Wife Mary died in a plane
crash in 1960. They had one daughter. Name'a Mila. I got a couple calls in
to some other folks. I'll ring you if it pans out.
KYLE: I appreciate it.
ED: Don't worry. Something pops up, I'll get you on the horn, pronto.
<He hangs up.>
KYLE: (So Robert Evans went missing seven years ago. What the hell happened
to him? And I want to know more about Dunning's daughter. All right. I'm
getting close. Let me think about this for a bit...)
<goes to CHAPTER SUMMARY>
Ed called a little after eleven. I asked him to check two things for me. One
was Gallery May, and the other was...
[Robert Evans]
That's it. I asked Ed to collect info on Robert Evans and Gallery May.
I borrowed an old cassette deck from Louie's room. Then I used it to listen
to Iris's tape. It seemed to be a recording of some shady transaction. The
person who sent the tape to Iris was...
[Grace]
That's right. Grace sent Iris the tape. Seems that Iris is actually Grace's
little sister. And she's come here to try and find her.
From what Iris said, it sounds like Grace is connected to the angel painting.
I asked Louie to check the guest log from two years back and see what was
there. And then we went bowling. Go figure... While we were knocking pins,
we found something odd in a hallway planter. The thing we found was...
[An old key]
That's it. When the bowling ball broke the planter, we found an old key.
Key's got no markings or anything on it. I got no idea what it's used for.
Rosa stumbled across me and Louie's little game, and was less than thrilled.
But she stopped yelling long enough to tell us that Mila had vanished. Ever
the heroes, Louie and I went to search for her. When I found Mila, she was...
[On the roof]
That's right. Kid was on the damn roof. Rosa said something about her father
that upset her.
I took Mila back to Rosa's room, then the Wonder Maid and I had a chat. Rosa
told me that Dunning has a daughter. She thinks there's a connection between
Mila and Dunning... But she doesn't have any real proof. When we were done,
my pager went off and I called Ed. He had some info on Mila's old man, Robert
Evans. Seems Evans took a powder after he closed down his art gallery. He
went missing about...
[Seven years ago]
That's right. Evans went missing seven years ago. Even made the LAPD
missing-persons list. Has Mila really been looking for him this whole time?
Iris's tale... Rosa's confession... Ed's new info... Things are starting to
come together, but I still got questions. Questions about Mila's father,
Dunning's daughter, and some picture of an angel. The strands of this mystery
are starting to fray. I can see them getting rough around the edges. And
Bradley? I think your story is the one thread I need to pull. The one that'll
make this whole damn thing unravel.
==================================
3i. CHAPTER 9: DECEMBER 28TH, 1979
12:00 ~ 2:00 A.M.
==================================
<Kyle is back in his room. The painting in his room catches his eye.>
KYLE: (A painting of an apple, huh? Rosa said there were five apple
paintings.)
<He closely examines the painting in his room.>
KYLE: There's a letter painted into the picture... A picture of five apples...
and the letter Y?
<He writes the letter in his notebook.>
KYLE: (There are other apple paintings besides this one...)
<He leaves his room. He goes to the alcove in the 2nd-floor hallway and
examines the apple painting.>
KYLE: A picture of two apples...and the letter E?
<He writes it in his notebook.>
KYLE: (There's still another apple painting.)
<He checks the painting in the first-floor hall.>
KYLE: A picture of three apples...and the letter N?
<He writes it in his notebook.>
KYLE: (There's still another apple painting.)
<He goes into Room 217 and checks the painting in there.>
KYLE: A picture of four apples...and the letter N?
<He writes it in his notebook.>
KYLE: (This is the fourth apple painting I've seen. I need to find one
more...)
<He goes into the lobby area.>
LOUIS: Yo, Hyde!
KYLE: That you, Louie?
LOUIS: Where you been, man? I been all over this place tryin' to track ya
down! I finally found Mila down in Rosa's room. Looks like someone found her
and led her there, yeah? Man, you shoulda said something! Make me waste all
my time like that! I was looking for her too, ya know?!
KYLE: Sorry.
LOUIS: Naw, I get it. Just forgot all about ol' Louis again, yeah? No, I see
what it is...
KYLE: Knock it off, Louie. I got some new info.
LOUIS: 'Bout Mila?
KYLE: It's about her father. Seems her old man went missing seven years ago.
LOUIS: Trip, man. That's a long time to be off the map. So, what? Mila's been
lookin' for her pops this whole time?
KYLE: Maybe. Something rough happened to her, but I don't know the full
story. I have to poke around some more.
LOUIS: Yeah, well check this, I got me some info, too! It's about that old
key. Oh, and I also did that B&E that you wanted. To find out 'bout Melissa's
ma. Looked up the guest book from two years back.
KYLE: Just point me to the apple paintings.
LOUIS: Wha--?! Those crappy things? Man, what you want to know about those
for?
KYLE: Just a hunch I need to check. Rosa said there were five paintings. But
I can only find four.
LOUIS: Apples, huh? You sure you ain't been hittin' the bourbon again, Hyde?
OK, lemme think... Ya got the second-floor hallway... Yeah, and your room,
too! You remember that one!
KYLE: I saw those. There's also one in 217 and one at the end of the central
hallway.
LOUIS: Oh, right! Right... Yeah, lemme see... Naw, man, sorry. I dunno about
the last one.
KYLE: So what's that key for?
LOUIS: It's the key for the booze cellar! And are you thinkin' what Louie's
thinkin'?!
KYLE: Probably not.
LOUIS: Guess I had to try, yeah? Anyways, this is the one key old man Dunning
never let me touch. Didn't even keep a copy with those other keys what he
keeps in his office. But, man... Hidin' it inside a PLANT? Never woulda
guessed. What a trip.
KYLE: Yeah, it's odd. So was Grace here two years ago?
LOUIS: See, that's the thing, man... I dunno. Guest logs in the office only
go back one year. I got no idea if he tossed the old ones or what.
KYLE: Gotcha.
LOUIS: So hey, Hyde? You gonna go scope out that booze cellar?
KYLE: Yeah.
LOUIS: Well, just hurry up before Dunning finds out you have that key, dig?
Listen, I gotta swing over to Seven Stars and close up shop. But come down
to the cellar after one, dig?
DUNNING: Louis!
KYLE: ...Huh?
LOUIS: Oh, crap, man!
DUNNING: What'n the Sam Hill are ya doin' here? Yer s'posed t'be mindin' the
bar!
LOUIS: I'm... I'm going, Mr. Smith! I'm on my way!
DUNNING: Then get to it! Thought I could trust ya with watchin' my bar! Don't
make me regret it!
LOUIS: Yessir! I'm going!
[Louie runs down the hall.]
DUNNING: Damn kid. Gotta whole lotta learnin' to do... I'm sorry ya had to
hear all that, Mr. Hyde!
KYLE: Don't worry about me.
DUNNING: Well, ain't ya just a big sweetheart. But tell me somethin', Mr.
Hyde. Why ya talkin <sic> t'Louis at this hour, anyhow?
KYLE: Just bored.
DUNNING: That so? Well, all right then. S'cuse me...
[Dunning stomps off down the hall.]
[12:20 AM]
<He knocks on Rosa's room. The door opens>
ROSA: Well, Mr. Hyde, what can I do for you?
KYLE: You got a minute?
ROSA: Of course. Have you learned anything about Mila's father? Huh? Well,
have you?
KYLE: Rosa, it's been about twenty minutes. I'm good, but not that good.
ROSA: Oh! Oh, yes, I suppose not. Well, I guess you'll just have to put on
your sleuthing cap!
KYLE: But I may have one thing.
ROSA: Yes?
KYLE: Mila's father is a guy named Robert Evans.
ROSA: Robert Evans? Robert Evans! Oh my goodness! Oh my stars!
KYLE: Easy, Rosa. I take it you've heard of him?
ROSA: No, I'm just excited.
KYLE: Oh.
ROSA: So your father's name is Robert Evans, is it, Mila?
<Mila nods.>
ROSA: I wonder where he could be. Never you fret, Mila honey! Mr. Hyde is
going to find him for you! Right, Mr. Hyde?
KYLE: Sure... Listen, where are those apple paintings you were talking about?
You said there were five, right?
ROSA: That's right.
KYLE: Are there really five?
ROSA: For a fact! This hotel isn't that big, you know! And I've counted them
many times! Those paintings have been here as long as I have. I guess you saw
how each painting has a different number of apples? Well, I was sure that had
some kind of meaning, but darned if I know it! I tried asking Mr. Smith about
it once, but that man is just useless. "Who knows," he told me. I bet HE
knows, the old coot!
KYLE: I don't know about that, but I did learn something else.
ROSA: Truly? Oooo! Tell Rosa! Come on now!
KYLE: There's a hidden letter in each painting.
ROSA: Letters? Goodness, me!
KYLE: I think those letters mean something. That's why I need to know where
all the paintings are hung.
ROSA: I see. Well, there are three on the second floor and two on the first
floor. Right?
KYLE: Wait, there are TWO on the first floor?
ROSA: Of course! There's the one in the hallway and then... Oh, but you
wouldn't know... You wouldn't know about the one in the special room!
KYLE: OK, I'm curious. What's the special room?
ROSA: It's at the back of the lobby. It's the only room like it in the entire
hotel.
KYLE: And that's where the fifth painting is?
ROSA: That's right! It says Room 111 on the door.
KYLE: Can you get me into Room 111?
ROSA: So you can see the apple painting. Is that it? Well... I suppose so.
All right. But only for Mila! Oh, and beccause I'm a little bit curious, too!
KYLE: Thanks.
ROSA: I'm going to have to sneak the key away from Mr. Smith! Once I do that,
I'll go into Room 111 and wait for you. Then you can just slip in later. OK?
Good!
KYLE: Got it.
ROSA: Mila is counting on you to figure this all out! So don't mess it up!
And for mercy's sake, don't let Dunning know about any of this! Sneak around!
[Rosa sneaks off down the hall.]
KYLE: OK... (Now what? Should I ask Mila about her old man?) Mila... All
right, all right. Don't look at me like that. (I'll just wait until I know
what's what with those paintings.) You coming along for the ride?
<She nods. They leave the room, use the back stairs to the 2nd floor, then
come back down to the 1st floor lobby area. Then enter Room 111.>
ROSA: So you managed to avoid Mr. Smith, did you?
KYLE: I'm sneaky when I need to be.
ROSA: I don't doubt it! The apple painting is in the back. Go on, now!
KYLE: I'm on it.
ROSA: I'm just going to wait here with Mila, if that's all right by you.
<He goes into the back room and examines the painting.>
[What do you know, it's a still-life painting. It's an apple painting.]
KYLE: A picture of an apple...and the letter J?
<He writes it in his notebook.>
KYLE: (That's all of the hidden letters. I wonder what they mean?)
<He puts the letters in order.>
KYLE: J-E-N-N-Y? (...JENNY? If I arrange them in order of the number of
apples in each painting, it spells... JENNY. Jenny... Wait, I've seen that
name before... It was on the birthday card I found in Dunning's office.)
<He returns to the front room.>
ROSA: AAAAAAAAAHHHH!
KYLE: What now?
<He sees Mila fallen on the floor.>
KYLE: Mila!
ROSA: MILA! OH, MILA! Oh dear! Oh dear, oh dear, oh NO! What do we do? What
do we do? She's not breathing! I can't hear her!
KYLE: What?!
ROSA: Do something! Do something, Mr. Hyde! Help the poor girl! Help Mila!
<He performs CPR. Mila wakes up.>
KYLE: You OK?
MILA: ...Y-yes.
KYLE: What the... Mila?
MILA: ...Uhh... Ahh... ...Don't... ...Take... ...Jen...ny...
KYLE: Holy crap. She's talking.
MILA: ...Unhh...
ROSA: ...Mila! Dear, your voice...
MILA: ...I... I...
ROSA: Oh, what a blessing! This is a true miracle! Mila, you can speak again!
Your voice has returned!
KYLE: Mila?
MILA: ...I...I...
KYLE: You OK? <She nods.> What's wrong?
MILA: ...I...remember... ...I... I... Re...member... I remember... It all
went dark... Just like that one time...
ROSA: Mila? Sweetie? Dear, how did you lose your voice? It's OK, you can tell
Rosa.
MILA: ...I...
KYLE: Mila? Hey, take it easy. Just tell me what happened. What do you
remember?
MILA: ...I was...playing with her. ...In this room.
KYLE: This room? You've been here before?
MILA: ...Yes.
KYLE: Are you sure?
ROSA: Please, dear. Answer Mr. Hyde.
KYLE: Who were you playing with in here?
MILA: ...Jenny. ...I was with... Jenny... ...I was waiting...for Papa.
KYLE: Who's Jenny?
MILA: ...A girl... ...A friend I met here... My friend... Papa said... Stay
and wait... With Jenny... So...we played... But Jenny...she...she...
KYLE: Someone took her. Didn't they? <She nods.> Who was it?
MILA: A...man... A strange man...with a scary face...
KYLE: Mila, where is your father?
MILA: ...I don't know. ...The gallery was gone... So...we came here... Papa
and me...came here...
KYLE: How long have you been looking for him?
MILA: ...A long time... Ever since I... I woke up... A long time.
KYLE: When did you wake up?
MILA: ...Don't know... I was...asleep. For...a long...time... Then they told
me... I... I just woke up...
KYLE: What did you mean when you said "like that time"?
MILA: ...That time everything...went dark...
KYLE: It went dark?
MILA: ...When I was...waiting...for Papa.
KYLE: Mila, when was this?
MILA: ...When...I was...nine...
KYLE: So how old are you now?
ROSA: Mila! Answer him! How old are you?
MILA: ...Nineteen. ...That's...what they said...
ROSA: Someone had to tell you? Who? Who said that?
KYLE: What happened, Mila?
MILA: ...I don't know. It was because...I was...over there for a long time...
KYLE: You said you were over there. Where is that?
MILA: ...Robbins Hospital. ...I woke up. I was...in a bed. ...No one was
there... ...So I tried to call for... For Papa... ...But I...couldn't speak.
ROSA: And your mother? Sweetie, where was she during all this?
MILA: ...Mom...wasn't there... She was...in a crash... A plane crash. I...
I waited...for Papa...for a long time... But...Papa...never came. So...
KYLE: So you came here? <She nods.> How did you lose your voice?
MILA: ...I was...scared... ...Jenny was crying... Jenny said..."help me"...
...I was...scared...
ROSA: Oh, Mila! You poor, poor girl! You must be tired! Let's get you back
to Rosa's room! It's OK! I'm going to take good care of you! Mr. Hyde, I'm
going to see to it that this little girl gets the rest she needs! You'll have
to ask her about your paintings later!
KYLE: ...Why not. Nothing else has gone according to plan tonight.
[Mila and Rosa leave.]
<He leaves the room.>
KEVIN: Mr. Hyde? I'm sorry, I couldn't sleep, and I overheard...
KYLE: Hey, doc. How's the night treating you?
KEVIN: I've...I've felt better. But I think the worst is over. At least, I
hope...
KYLE: Yeah, me too.
KEVIN: Did something happen? You seem tired.
KYLE: I am tired. But I'll live.
KEVIN: ...In that case, can I... Can I trouble you for a moment? I need to
ask you something.
KYLE: I'm not loaning you money.
KEVIN: You just came out of Room 111, right?
KYLE: Yeah. What of it?
KEVIN: Well... Um... Were you with her?
KYLE: With who?
KEVIN: The woman. The young woman in white? She just came out of that room
with the maid.
KYLE: You mean Mila?
KEVIN: ...Mila. ...That's it. That was her name.
KYLE: (All right, enough dancing.) What's your story? You know something?
Spill it.
KEVIN: Yes, I just... I just remembered something when I heard her name.
Her name is Mila Evans.
KYLE: How do you know her?
KEVIN: She was a patient at the hospital where I worked.
KYLE: Interesting.
KEVIN: Yes... Robbins Memorial in Santa Monica. But I never expected to see
her here. Not at all...
KYLE: What was she doing in the hospital?
KEVIN: It's an odd case. She was brought to us unconscious, with no visible
injuries. She spent almost the next ten years in a coma...
KYLE: Ten years? That's a long time to be in the dark.
KEVIN: It sure is. We didn't see any sign of hope, but then half a year ago
she just...came around. The attending physician was astonished. He called
her recovery a miracle... Not that I take stock in such things... But
unfortunately, we had trouble contacting her family.
KYLE: (Huh...) Then let me ask you something. Did anyone try to contact
Mila's family?
KEVIN: Of course. The attending physician attempted to, but... He was unable
to locate anyone.
KYLE: Couldn't find a soul, huh?
KEVIN: Apparently. Her father used to come in once a month and check on her
progress. His visits were clockwork.
KYLE: He came once a month for ten years?
KEVIN: Without fail, but... But for some reason, he never appeared after
she woke up.
KYLE: Sounds like he picked a bad time to hang it up.
KEVIN: Yes, perhaps... We tried several times to contact him, but... He never
returned our calls. Oh, and the bills. The bills had all been paid in advance.
No one ever came to see her besides her father. He may have no idea what has
happened.
KYLE: You ever meet her old man?
KEVIN: No, I just... I heard about it from the nurses and such.
KYLE: Right.
KEVIN: Oh, and Mr. Hyde? I just remembered something else, if you can spare
a moment...
KYLE: Go ahead.
KEVIN: Do you remember the first time we met this evening? When I thought I
had heard your name before? I just remembered why. I don't know how I missed
it, but... Well, anyway... Right before Mila woke up, she had a new visitor.
KYLE: Keep talking, doc.
KEVIN: His name... The name of that visitor was Kyle Hyde.
KYLE: Oh, you're kidding me.
KEVIN: When we couldn't reach Mila's father, we thought... I mean, the
hospital, they tried to notify this Hyde fellow, but to no avail. Mr. Hyde,
did you visit Mila before she woke up?
KYLE: Wasn't me.
KEVIN: ...I see. Well, please keep an eye on her. And try to keep her from
overdoing it. I can't imagine she has fully recovered her strength yet.
Excuse me.
[Kevin leaves the lobby.]
KYLE: (So Kevin knew about Mila. And Mila came out of a coma six months
ago... And somebody named Kyle Hyde visited her. Could that have been you,
Bradley?)
<His pager goes off.>
KYLE: ...Pager, huh? (Maybe Ed's figured out something else.)
[12:40 AM]
[Guess I should give Ed a ring.]
ED: Hyde! What's the good word?
KYLE: What, no Rachel?
ED: Everybody's gotta go home sometime. Listen, I just heard a little
chestnut about Evans. You sitting down? Ten years ago, Robert Evans bought
himself a little place called... Hotel Dusk.
KYLE: Robert Evans bought this hotel?
ED: Yeah. Seems Evans bought the thing in 1969. He owned it for three years,
then sold it to some mope for a song.
KYLE: So he sold it seven years ago?
ED: You must be tired, Hyde. You're repeating everything. Anyway, he sold it
to Dunning Smith. You probably met him by now. I don't know what you found
here, Hyde, but that place has a troubled history.
KYLE: Tell me.
ED: Dusk used to be a real party joint, but in 1969 it just shut down. You
follow me? Means Evans shut the place down the moment he bought it! Now why
the hell would a guy do a thing like that? Who buys a business just to shut
it down? And why'd he sell it to Dunning Smith? My thinking is that Evans
played Smith and dumped the place, but I don't know. Lotsa questions here,
Hyde. You might not like where this night of sleuthing ends up. I'd get ready
for a bad surprise.
KYLE: Thanks, Ed.
<There's a knock on his door.>
KYLE: ...What? Who's that?
ED: You got visitors at this hour? You're busier than I thought.
KYLE: Looks like it.
ED: Well, I'll leave you to it. Watch your back.
<He hangs up and goes to the door.>
KYLE: Yeah? <He opens the door.> Oh. Rosa. Now what?
ROSA: Oh, Mr. Hyde, it's just terrible!
KYLE: Rosa! Pull yourself together! What's going on?
ROSA: It's Mila...
KYLE: What about her?
ROSA: She hasn't come back! He came and took her, and she hasn't come back!
Mr. Smith came and took her away!
KYLE: Dunning?
ROSA: Yes! I was trying to take Mila back to my room, you know? And then Mr.
Smith just came out of nowhere! He told me to take Mila to the police first
thing in the morning. But then I... I told him. Oh, what a fool thing I did!
I told him she could speak, and that we knew why she had come here. Then he
said there was no need to call the police at all! And then he said that he
was going to have a little chat, and he took her away!
KYLE: Wait, he took her?
ROSA: Yes! Oh, what is going on?
KYLE: Where are they?
ROSA: I figured they went back to his room. But no one answers when I knock,
and... What should I do, Mr. Hyde?
KYLE: Go back to your room and sit still. I'll go find them.
ROSA: All right... If you say so.
[Rosa turns and scurries off down the hall.]
KYLE: (Dunning and Mila are having a chat, huh? I guess I should try his room
first.)
<He goes to Dunning's room and is about to knock on the door.>
LOUIS: Yo, Hyde!
KYLE: Huh? Louie!
LOUIS: I just got done talking to Mama Sass, my man! Heard the boss man came
and took your new friend away, yeah? That's cold!
KYLE: I was about to check his room.
LOUIS: Better you than me, my brother, but I got your back if you need it!
Otherwise, I'll swing 'round the hotel and see what I can find.
KYLE: Wait, Louie. What about the wine cellar?
LOUIS: No, man, I ain't been there yet.
KYLE: Check it out. I'll swing by once I take a buzz through Dunning's room.
LOUIS: Whatever you say, Officer!
[Louie runs off.]
<He goes into Dunning's room.>
KYLE: (No one here.)
<He goes into the inner room and looks around.>
[There's a hotel brochure on top of the desk.]
KYLE: This brochure... (This is the same brochure Mila was carrying. The one
from ten years ago. Why would Dunning have one of these, too?) What's this?
There's something written here... It's a sketch of a wine cellar with some
kind of symbol on it.
[I got the old brochure that was on the desk.]
<He sees a newspaper under the brochure.>
[The date on the paper is 1972. ...That's seven years ago.]
KYLE: (The article reads...) "Osterzone's works, while smaller pieces,
feature a distinctive expression. Light and shadow are used in a way beyond
that of any other contemporary artists. Overflowing with a sensibility that
is subtle yet bold, these canvases charm easily. They can also capture the
purest essence of a thing in a single fleeting moment. Most notably, the work
Angel Opening a Door is a masterpiece. It so opens ambiguities in the viewer's
powers of imagination that even a layman can..." (Nice fifty-cent words, pal.
I wonder if Summer wrote this. But why would Dunning keep a newspaper article
about Osterzone?)
[I got the Osterzone article.]
<He checks the desk.>
[There's something in the drawer here. There's a bunch of birthday cards in
the drawer.]
KYLE: I've seen this card before. (There was one just like it in the office.)
Happy Birthday, Jenny! (The cards are all addressed to Jenny. What does this
mean?
<He leaves the room.>
KYLE: (Where are Dunning and Mila? And what could that symbol written on the
old brochure mean? I need to figure this out, and fast.)
<He goes to the pantry and stands in front of the wine cellar door.>
KYLE: (Could Mila and Dunning be here?)
<goes to CHAPTER SUMMARY>
Once I heard about the apple paintings from Rosa, I decided to have a look.
There were five in all... Two on the first floor, and three on the second.
I found one of the second-floor paintings in the hallway. And I found
another one in my room. The last one on the second floor was in...
[Room 217]
That's right. The last second-floor apple painting was in Room 217. I found
five apple paintings in all.
Each painting had a different letter hidden on it. I had Rosa open Room 111
so I could look at the final painting. Then I rearranged the letters that I
found in each of the paintings. Had to mix 'em up so they matched the number
of apples in the paintings. When I finished, the spelled out the name...
[JENNY]
That's right. They spelled the name Jenny.
Once I solved the puzzle, I went back to Mila and Rosa. I found Mila on the
floor. Her breathing had stopped, so I had to give her mouth-to-mouth. When
she came to, Mila was able to start talkin'. I grilled her for a bit and
learned a few things. Like that she had been to this dump before with her
father. When they came here, Mila was...
[Nine years old]
That's right. Mila was nine years old when she came here with her old man.
She made friends with a girl named Jenny. Guess the shock of seeing Jenny get
abducted put Mila in a coma.
Mila went under when she was just nine years old. And she was in that coma
for a long time. Kevin told me he knew her from his time at the hospital
where she stayed. And the name of that hospital was...
[Robbins]
That's it. She went to Robbins Memorial Hospital in Santa Monica. She only
woke out of that coma six months ago.
When Mila regained her voice, some of these mysteries started making sense.
Then Ed called and told me about the hotel's previous owner. Seems Robert
Evans bought the place ten years back, then dumped it on Dunning. Then Rosa
showed and told me that Dunning had taken off with Mila. Dunning wasn't in
his room, but I tossed the place anyway. I found something in his desk drawer.
It was...
[Birthday cards]
That's right. I found a whole bunch of birthday cards. They were all addressed
to Jenny. When I saw them all together like that, I figured it out. Jenny is
the name of Dunning's daughter. The one Rosa told me about.
How do Dunning and Evans tie together? What kind of shady dealings were they
up to? Evans and Mila... Dunning and Jenny... Two men and their daughters.
And what about the Kyle Hyde that paid Mila a visit? Was that you, Bradley?
Outside, in the L.A. night, the worst side of humanity has license to roam.
And here? Inside this hotel? Am I going to find something that I don't want
to see? I guess it doesn't matter. I'm getting close to the truth, Bradley.
...And to you.
<Kyle enters the wine cellar and sees Louie on the floor.>
KYLE: What the...? Louie! Hey! <He tries to wake Louie up.> What happened?
<Someone comes up behind Kyle and bashes him on the head.>
KYLE: Unngh...
===================================
3j. CHAPTER 10: DECEMBER 28TH, 1979
2:00 A.M. ~
===================================
<It's all black.>
ROSA: Mr. Hyde? Mr. Hyde! Mr. Hyde! Wake up! Oh, what am I going to do? You
can't be... Are you DEAD? Land sakes, Mr. Hyde! Get up!
KYLE: ...Ooh... ...Mm...nrgh... ...Ow.
<He gets up.>
ROSA: You're alive!
KYLE: Must be. Being dead wouldn't hurt this bad.
ROSA: Thank goodness! I'm so glad you're not dead! Are you going to be all
right? Well, are you?
KYLE: Yeah, I... I think so. Head's killing me.
LOUIS: I hear you, brother... Got me a whole 42nd Street traffic jam blarin'
away...
KYLE: You going to make it, Louie?
LOUIS: Yeah, man, I'm breathing. But I got a knot on my noggin the size of a
baseball.
KYLE: You and me both.
ROSA: I'm glad that's all it is! To come in here and find the two of you on
the floor...goodness! I near to fainted clean away! What on earth happened?
LOUIS: We got thumped good. Some dirtbag hit us from behind. Yeah, Hyde?
KYLE: That's my take on it. I walked in here and saw Louie on the floor. When
I went to check on him... Somebody dry-gulched me. Never saw it coming.
ROSA: Who would do such a thing?
KYLE: Didn't see a face. How 'bout you, Louie? You see who sapped you?
LOUIS: Naw, man. All I saw was stars and the floor. I was checkin' out the
shelves in the cellar when I got whacked. Oww...can't believe how much this
hurts, man!
KYLE: Know how you feel.
ROSA: That's enough whining from both of you! Pull yourselves together and
act like men! Mr. Hyde, Mila hasn't come back yet!
KYLE: She's still gone?
ROSA: Yes! And I'm as worried as can be! I can't believe any of this. Just
when the girl starts to talk, she up and vanishes!
LOUIS: Whoa! Hold up, Mama Sass. Mila started talkin'? When this happen? I
ain't heard squat 'bout that!
ROSA: I just haven't spoken to you about it yet, Louis DeNonno!
LOUIS: ...Same ol' song and dance. No one tells Louie nothin'. So when did
Mila start talkin'? ...And did she say anything about me? Huh?
KYLE: Focus, Louie. We were in Room 111. Rosa opened it so I could eyeball an
apple painting.
LOUIS: Apple painting? The one what you been lookin' for?
KYLE: That's it. There are five of them in this joint. And each one's got a
different letter of the alphabet in it. String all five of them together and
they spell out a name. Jenny.
LOUIS: Jenny? I don't know no Jenny!
ROSA: Jenny? That's... But that's the name of the girl Mila was talking about!
KYLE: Yeah. It is.
LOUIS: Whoa, whoa! Slow down! I just got cracked upside the head, remember?
Did Mila start talkin' while you was looking at the painting?
KYLE: No. It was after. I came out of the room and she had keeled over.
LOUIS: What? She, like, fainted?
ROSA: For a fact! Poor thing lost consciousness, and then stopped breathing!
LOUIS: Oh man...trip...
ROSA: But Mr. Hyde gave her mouth-to-mouth and saved her life!
LOUIS: Mouth-to-mouth? Hyde? Oh, man, talk to me, brother!
KYLE: You're an idiot, Louie.
ROSA: Once Mila came around, she started talking. And that's all there is to
that!
KYLE: I think Room 111 triggered something.
LOUIS: What's that?
KYLE: She remembered coming to the Dusk ten years ago with her father.
LOUIS: You think that's true?
KYLE: Yeah. Sounds like she was playing in 111 with this Jenny kid. Then
somebody up and snatches the kid right in front of her.
LOUIS: Aw, get outta here!
ROSA: I took Mila back to my room, and Mr. Smith showed up. He told me to
take Mila to the police in the morning. Well, I told him that Mila could talk,
and that we didn't need the police's help. Mr. Dunning's eyes got as wide as
hotcakes, and he said he had to talk to her!
LOUIS: Wait, so he took Mila? Man, this is trippy. But I think I follow you
so far...
KYLE: There's more. Kevin Woodward knows Mila.
LOUIS: Melissa's pops?
KYLE: Woodward's a doctor down at Robbins Memorial Hospital. Mila was a
patient there for a long time.
ROSA: You did NOT tell me any of this, Mr. Hyde! Is the poor girl sick?
KYLE: Not exactly. She was in a coma for ten years.
ROSA: Oh my stars...
KYLE: Then six months ago, she wakes up. Woodward says it was a total
surprise.
LOUIS: Man...now my melon's really achin'. You can't make up crap this weird.
Lemme make sure I follow... Mila was here ten years ago, yeah? I dig that.
But then she goes under for ten years? That's crazy.
KYLE: It gets crazier. Woodward told me Mila's old man used to visit her once
a month. Nice guy, right? But right before she opens her eyes and rejoins the
world? Her old man vanishes. No one's heard from him.
ROSA: Oh, that poor man! It's possible he doesn't even know that she recovered.
KYLE: Possible.
ROSA: And that's why Mila's trying to find him.
LOUIS: Yo, Hyde, you sure WE ain't still knocked out? This is the freakiest
story I ever heard.
KYLE: Better sit down then, Louie, 'cause I ain't done. Right before Mila
came around, she got a new visitor. Wasn't her old man, either. It was
somebody using the name Kyle Hyde.
LOUIS: All right, that's enough! You gotta be kiddin' me, right? 'Cause if
that's true, then you-know-who was at the hospital!
KYLE: I know.
LOUIS: Whole thing blows my mind, man...
ROSA: Mr. Hyde, I'm awfully worried about Mila! We have to hurry and find
where she and Mr. Smith have gotten to.
KYLE: Yeah, I know. But we also have to check out this wine cellar.
<He checks out the cellar.>
[It's a shelf designed to hold alcohol. Bless you, shelf.]
<He checks out the shelves.>
[It's a case of whiskey. There are whiskey bottles in this case.]
KYLE: There are three bottles in here...
<He looks around some more and finds another whiskey bottle on the right
shelf.>
[There's a whiskey bottle on top of the shelf.]
KYLE: This whiskey... It's the same stuff that was in the case on the back
shelf. (This bottle's only half full. This...)
[I pick up a half-full whiskey bottle.]
KYLE: I think I'll put this whiskey bottle in one of the open spaces in the
case.
<He puts the bottle in the case.>
ROSA: Hmm...
LOUIS: What's wrong?
ROSA: Something about that whiskey bottle seems odd to me.
LOUIS: Huh? Like what? It's just a whiskey bottle. Not a thing odd about it.
Trust me on this one, I know whiskey.
ROSA: Spare me your expertise, Louis! If I say something's odd, it's odd! Why
is there a half-full bottle of whiskey in the wine cellar? If you're going to
open a bottle, why wouldn't you put it in the bar? Wait a... LOUIS! Have you
been down here drinking on the sly?!
LOUIS: What? C'mon, Masa Sass, gimme a break! I run the bar! If I wanna
drink, I'll pound 'em down up there!
<Kyle goes to the left shelf.>
[There's a whiskey bottle on top of the shelf.]
KYLE: This whiskey... It's the same stuff that was in the case on the back
shelf. (This bottle's only half full. It's the same as that other bottle I
found.)
<He goes to the back shelf.>
KYLE: I'll pour one more bottle of whiskey into a bottle in the case.
<He combines the contents of the half-full bottles into one bottle.>
KYLE: Perfect. Didn't spill a drop. Now I'll put it back in the case, and...
<He hears a sound.>
KYLE: (Huh? What was that sound?)
<He pushes at the shelves.>
KYLE: Huh?
<The shelves slide to the side and reveal a door behind it.>
KYLE: Thought so.
LOUIS: Whoa!
ROSA: Oh my stars!
LOUIS: What's goin' on? Crap, Hyde! There's stairs behind the shelf!
KYLE: Yeah. This is why we got cooled, Louie. Somebody didn't want us finding
this.
LOUIS: Aw, man!
KYLE: Did you know this place had a basement?
ROSA: I had no idea! The only one who ever comes down here is Mr. Smith. Do
you think that he...
KYLE: Yeah. I do.
LOUIS: So what next, Hyde?
KYLE: What do you think? I'm gonna follow the rabbit down the hole.
LOUIS: Not by yourself, you ain't! I'm goin' too!
KYLE: No. Stay here with Rosa.
LOUIS: No way, man! No damn way! I'm goin' with you!
KYLE: You'll do what I tell you to do, and I'm telling you to wait here.
LOUIS: Gimme one good reason!
KYLE: I need backup. I don't know what's down there. If something happens,
you're going to have to come haul my ass out of the fire.
ROSA: I'll see that he stays put, Mr. Hyde. If you're not back in an hour,
I'll send Louis after you. For what good that'll do...
LOUIS: Yeah, all right, Hyde. Be careful, brother.
<He walks down the stairs.>
KYLE: Who knew there was a place like this under the hotel?
<He walks down the hallway and comes upon a barred door.>
[I moved the bar out of the way.]
<He opens the door and goes in the room.>
KYLE: Shelves, huh? Those look interesting.
<He starts checking the shelves. He hears footsteps.>
KYLE: Huh? Footsteps...
[What the...? I heard someone bar the door.]
KYLE: Damn! I think that thing's airtight! The door's been closed from the
outside! I better figure a way out of here fast, or I'm a goner.
[There are some dust-covered books on the shelf. Guess no one reads around
here. Title on the spine of the book reads, "Osterzone, the Phantom Painter."]
KYLE: This is all about the discovery of Osterzone's works. It was published
in 1963. And it was written by... Robert Evans.
[I picked up a book on Osterzone.]
KYLE: Hold it... There's something stuck in between the pages. It's a photo.
That's the little girl I saw in the photo from Dunning's room. This must be
Dunning and Jenny.
[I got a photo of Dunning.]
KYLE: There's a date written on the back of the photo. (May 18, 1967, huh?
Five-eighteen...)
[There's an old guest register here.]
KYLE: What do we have here? The guest register from two years ago. Let's see
if I can find Grace in here. (Here she is. August 1977. Grace Woodward. This
proves it. Grace was here two years ago.)
[There's a book on the shelf. It's called Life Trivia.]
<He reads it.>
[This ain't trivia. This is some kind of random folk-wisdom collection.]
KYLE: How to sharpen cutlery, huh? This should be fascinating...
BOOK: It's common practice to use whetstones or crock sticks to sharpen
blades. But did you know you can also use aluminum foil? --Instructions-- Take
the blade you wish to sharpen, and use it to cut up some aluminum foil. You'll
be shocked at how sharp the blade becomes!
KYLE: 101 uses for pencil lead! This is the dumbest book ever...
BOOK: Pencil lead is great! And it's actually graphite mixed with clay. But
it's still great! It can be used to lubricate and increase the conductivity
of electrical contacts! Just grind the pencil lead into powder and sprinkle
it on electrical contact points!
KYLE: Sounds simple enough.
<He checks out the table near the door.>
[There's a machine with a monitor and keyboard on the table. There's a switch
on the right side of the machine.]
KYLE: What's this thing supposed to be? Might as well turn it on and hope it
doesn't blow up. Huh? Nothing happened. That seems odd...
<He tries to turn on the power button, but it doesn't stay on. He looks around
on the table.>
[It's paper with some weird ink on it. How can I read this?]
<He uses the blacklight on the piece of paper. A number appears.>
<The air's running out.>
KYLE: ...Crap... It's getting...hard to...breathe...
<He checks the metal box on top of the table.>
[There's something in the drawer. There's a lockbox in the drawer.]
<It's locked with a combination lock. He unlocks the box.>
[There's an old envelope inside the lockbox.]
KYLE: The letter's addressed to Dunning Smith. Sender's name isn't anywhere
on the envelope. "This is your last job. Finish it and you're free. I won't
ask anything further of you. However, our secret must never be revealed. Keep
silent, and I promise that Jenny will one day be returned to you. Go back to
Hotel Dusk. Be patient. September 9. 1972. Robert Evans." Evans sent this
letter to Dunning seven years ago. That's the same time Evans closed up his
gallery and disappeared. Our secret must never be revealed... What do these
letters at the end mean? I wonder if it's some kind of code.
[I got a letter from Evans.]
<He looks under the table.>
[There's a toolbox under the table. Hey, look. A hammer. I love hammers. I
got a hammer.]
KYLE: (Never turn down a hammer. Who knows when I'll need to thump somebody.)
<He sees a electrical socket under the table.>
[This cable's attached to the machine on the table.]
KYLE: I wonder if this is plugged in all the way.
[The machine on the table is plugged into the socket.]
KYLE: It's plugged in, but... It doesn't look like it's making enough contact.
That means it's not going to conduct electricity.
<The air gets thinner.>
KYLE: ...Hahh... I'm getting...dizzy...
<He checks the bottom drawer of the metal box.>
[I found a file.]
KYLE: Hey, I can use this to sharpen my pencil, and...
<He grinds up the tip of the pencil and has a pile of dust.>
KYLE: That should be enough.
[I got some graphite powder.]
KYLE: This should improve the contacts on that plug.
<He looks at the plug again.>
KYLE: First, pull the plug out of the socket and... Sprinkle some of this
graphite powder on it... That should do it.
<He turns on the machine. He enters in the letters from Evans's letter, and
the number from the piece of paper. A message appears on the machine's
monitor.>
[OSTERZONE IS DUNNING SMITH]
KYLE: (Osterzone is Dunning Smith? Well, holy crap. This thing's some sort
of code breaker. And this is the secret that was never to be revealed...)
<He hears a sound at the door.>
KYLE: Huh? Who's there?
LOUIS: Yo, Hyde! You in here?
<Kyle goes to the door and bangs on it.>
KYLE: Louie! It's me! I'm locked in!
LOUIS: Yeah, I dig! I'm gonna open the door, man!
<Louie opens the door.>
LOUIS: Yo, Hyde! You all right?
KYLE: ...Think so.
LOUIS: I was gettin' worried, so I came to check up on ya. Good thing, too!
Looks like you needed my help after all, yeah?
KYLE: Yeah...
LOUIS: So, how'd you get locked in?
KYLE: The door was open when I came down here. I was poking around when
somebody shut the door from the outside.
LOUIS: Oh, TRIP! So where'd this mystery door-closer go, huh? Ain't come
through the hall, man.
<He and Louie walk down the hall. A sound catches their attention.>
KYLE: Huh?
LOUIS: Wazzat?
KYLE: You hear that? What...
LOUIS: Hey, check it out! The bricks from the wall...
KYLE: Yeah, some of them have fallen. But why are they...
<Kyle checks the wall.>
[I can see where bricks have fallen off the wall.]
KYLE: I can see the wall through gaps in the bricks. These bricks look like
they've been put up recently. Maybe we can...
LOUIS: Yeah, somethin's there.
<Kyle tries hitting the wall with his fist.>
KYLE: No, that's not it... This isn't working. I need a tool with some heft.
<He takes out the hammer.>
KYLE: This should work...
<He pounds at the bricks with the hammer and breaks down the brick wall.>
LOUIS: There's a door back there!
<They enter the door. The room is full of painting supplies.>
LOUIS: Yo, what's that smell, man? Somebody been paintin' in here?
KYLE: Yeah... Dunning.
LOUIS: Huh? You tryin' to tell me ol' man Dunning paints? You're trippin',
Hyde!
KYLE: Dunning's the one who painted all the apples, Louie.
LOUIS: I think the fumes is gettin' to me. I thought you said Dunning painted
apples.
KYLE: You heard right. Now keep listening. Dunning's got a daughter he hasn't
seen in years. Her name's Jenny.
LOUIS: Jenny?
KYLE: That's the name of the girl who was kidnapped from Room 111 ten years
ago.
LOUIS: Yeah, and it's the name what them apple painting letters spell out,
too.
KYLE: Yeah. But here's something I learned in the basement. Dunning knew
Evans before he took over this hotel.
LOUIS: Wait... Evans? That's Mila's pops, yeah? You sure 'bout all this? Hard
to believe Dunning and Mila's pops were pals.
KYLE: I'm sure. They knew each other, and they shared a secret they'd die
before revealing.
LOUIS: That's a heavy secret, man. But you know it, yeah? C'mon, brother,
lemme hear it!
KYLE: You know the angel painting Bradley stole from Nile's warehouse?
Dunning painted it.
LOUIS: WHAT?! You're crazy! That don't make no damn sense!
KYLE: Listen, Louie. The proof is in this room. I'm sure of it. Help me find
it.
<They check out the room. He sees a table at the back of the room.>
[This palette's been used a lot. There's a palette knife on the table.]
KYLE: Hey, look. It's a...whatever these things are called. Palette knife?
Is that it?
[I pick up a palette knife.]
<They look around more. Kyle finds a canvas on an easel.>
[It's a huge sheet of canvas. One side of the canvas is covered in white
paint.]
KYLE: This painting is...
LOUIS: Painting? Ya callin' this a painting? What is it, white cat in a
snowstorm? I tell ya, man, I don't get this whole art thing.
KYLE: (This paint is real thick... What's going on here?)
<He brings out the palette knife.>
KYLE: Here goes nothing...
LOUIS: Yo, man, whatcha gonna do with that?
<He uses the palette knife to scrape off the paint and reveals a picture of
an angel.>
KYLE: Damn, I'm good.
LOUIS: Whoa! Who'd have thunk a painting was under there? That's an angel,
ain't it?
KYLE: Sure is.
LOUIS: An angel...
KYLE: You ever see this painting before, Louie?
LOUIS: Naw, man, didn't spend too much time in church as a kid, ya dig? Wait
a minute... No way! Yo, Hyde! Is...is that it?
KYLE: One and the same, Louie. This is the angel painting Bradley stole from
Nile.
LOUIS: I need a drink, man. Hell, I need three. But what... How... What's it
doin' here?
KYLE: It's like I said. THIS angel painting was created by Dunning.
LOUIS: Yeah, but... How ya expect me to believe that?
KYLE: Hey, Louie, you know the name of this painting?
LOUIS: Ain't it Angel Painting? That's what Danny always called it.
KYLE: No offense to Danny, but it's called Angel Opening a Door.
LOUIS: Angel Opening a Door? Sure, why not? If I gotta buy that ol' man
Dunning painted it, I can believe anything.
KYLE: You're getting loopy on me, Louie. Now listen. The rest of the world
thinks this was painted by a guy named Osterzone. Osterzone was an artist born
in the nineteenth century. Or so the story goes. Couple dozen or so of his
paintings were discovered forty years after he died. And then all the artsy
types went gaga over 'em. Angel Opening a Door is supposed to have been his
masterpiece.
LOUIS: So, wait. This Osterzone cat really did do an angel painting? And then
Dunning, like, copied it?
KYLE: This isn't a copy, Louie. This is the original.
LOUIS: The original? But...I... That can't be right. You said this painting
is one'a Ostertoes... Er... Oserman... Ozzie... Whatever!
KYLE: Still don't get it?
LOUIS: Get WHAT?
KYLE: Dunning IS Osterzone!
LOUIS: ...Oh, trip... This is like findin' out your girl's your sister or
somethin'. It's messed up. Three years back, my pal Danny got plugged over
this painting! Thought he could sell it and get enough scratch for us to break
outta the city. And...and here it is. In some secret vault under my damn
bedroom, a million miles from New York! This blows my mind. ...Why? WHY?!
The HELL is it doing here?
KYLE: Louie--
LOUIS: Don't Louie me, man! Tell me!
KYLE: You want to know how it got here? I think Bradley returned it to the
man who painted it.
LOUIS: What? Bradley RETURNED it? What's that supposed to mean?
KYLE: I think Bradley knew the truth about Osterzone.
LOUIS: Aw, you're killin' me, Hyde.
KYLE: He knew Osterzone was just a painter somebody made up.
LOUIS: Wait, but you said--
KYLE: Look, Osterzone's story is that he was a painter who died before his
work was valued. Truth is, no one ever heard of the guy at all. Not until
somebody wrote a book about him. Thanks to the book, he went from nobody
to somebody overnight. And his paintings started selling for a whole lot of
dough.
LOUIS: What kinda book is it?
KYLE: It's called "Osterzone, the Phantom Painter." It was published in 1963.
You know who wrote it? Robert Evans.
LOUIS: Robert Evans? That's Mila's pops, ain't it? But that means... OK, OK.
I think I follow. So Mila's pops is part of this whole angel painting thing,
too?
KYLE: Yeah. This angel's one popular dame. Got herself a whole flock of
admirers. The thing I haven't figured out yet is why. Why did Evans and
Dunning create Osterzone in the first place? And how did Bradley stumble onto
it?
LOUIS: More mysteries? You know, I used to like mysteries. Not anymore, man.
<Kyle thinks.>
LOUIS: You got it figured out?
KYLE: Not all of it, but I think I'm getting close. I've just got to line
everything up. Here's what I got so far. Evans's book on Osterzone came out
sixteen years ago. Then Mila and her old man came here ten years ago.
LOUIS: Yeah, that's when the hotel closed up for a bit.
KYLE: And the story about the girl going missing from the hotel? Ten years
ago.
LOUIS: Oh! Oh! And that's when Mila went into a coma and got put in the
hospital!
KYLE: And it's when Mila's old man bought the hotel. A lot happened ten years
back.
LOUIS: Wait, wait. Mila's pops used to own the Dusk?
KYLE: Yeah. Robert Evans used to be the owner. But seven years ago, he
suddenly closes up his art gallery and disappears. And then Dunning buys the
hotel.
LOUIS: Hold it. Woodward said Mila's pops always came to see her in the
hospital. And he only stopped comin' six months ago, yeah?
KYLE: That's what he said.
LOUIS: It don't add up, man.
KYLE: When did Dunning reopen the Dusk? Five years ago, right?
LOUIS: Yeah, and Bradley killed Danny three years ago. Then you went and shot
Bradley right after.
KYLE: ...Yeah.
<Flashback to the New York police station. Hyde answers the phone.>
KYLE: This is Hyde.
VOICE: Hyde, I've got bad news. It's Bradley. He... He's on the take.
KYLE: What the hell?
<He shoots Bradley. Flashback ends.>
LOUIS: Yo, Hyde. Can I ask you somethin'?
KYLE: Sure.
LOUIS: Why'd you shoot Bradley? I mean, you guys were partners. And friends,
too, yeah? You the kinda cat what hunts down a pal if you think he did you
wrong? Just line him up and put him down? Cold, brother. Real cold.
KYLE: ...I don't know.
LOUIS: How don't you know?
KYLE: I heard what he did. Heard he went rogue. ...I tore up the city looking
for him. I finally caught up to him at the docks. I was mad as hell, Louie.
I could barely see. I pulled my piece and yelled at him. Asked him why he did
it...
LOUIS: So what'd he say?
KYLE: Nothing... Not a word. Just turned and looked at me. There was a message
there, but I couldn't read it. It was all too fast. Then he turned, and I
thought he was going to make a run for it. I... My gun was out, and I... I
pulled the trigger.
LOUIS: Whoa... Hey, um... Sorry I asked, ya know? But I get it, man. You
didn't get to talk to him, never got to hear his side of things. That's why
you're lookin' for him. Tryin' to make your final peace, yeah?
KYLE: Enough about that. We need to focus on what's in front of us.
LOUIS: Yeah, man, sure.
KYLE: When did Dunning reopen the Dusk? Five years ago, right?
LOUIS: Yeah, and Bradley killed Danny three years ago.
KYLE: And then Bradley vanished with the angel painting. Which brings us to
six months ago when he checked in here as Kyle Hyde.
LOUIS: Right... And that's when Mila's pops vanished. And Bradley came to
town.
KYLE: Yeah.
LOUIS: But man, none of this means squat! All just a buncha dates and numbers
to me! Unless... Unless you got this all figured out.
KYLE: Most of it. At least, I think so. C'mon, Louie. We have to find Dunning
and Mila. We talk to them? I got a hunch this'll all come together.
LOUIS: Whatever you say, Officer.
<They leave the room and walk back down the hall.>
KYLE: Huh?
LOUIS: What is it, man?
KYLE: Check out the wall.
LOUIS: Huh?
KYLE: There's a strange line running through it.
LOUIS: What do you think it is?
KYLE: It's a door, Louie. The wall's a door.
LOUIS: Aw, man! This is like that cartoon with the dog and the dude what's
always hungry!
<Kyle pounds on the door.>
KYLE: Hey! Is someone in there?
<The door opens.>
KYLE: Dunning! Mila!
LOUIS: Hey, good-looking! Am I ever glad to see you safe'n sound!
KYLE: You all right?
<Mila nods. Kyle looks at Dunning.>
KYLE: Got yourself quite a series of hideouts, Dunning. You make 'em all
yourself?
DUNNING: Nope.
KYLE: Yeah? Then who did? And why?
DUNNING: None'a yer business!
KYLE: Time to come clean. You're going to tell me everything you know. Start
talking!
DUNNING: All right, I hear ya. But just the two'a us! I aim to talk at ya
alone!
KYLE: Louie, take Mila upstairs.
LOUIS: Don't ask me twice! C'mon, Mila, Rosa's waitin' in the wine cellar.
Let's go see her.
MILA: ...No.
LOUIS: Hey, you CAN talk! And you told me no. Just like all the girls in my
life.
KYLE: Stop playing the fool, Louie. Get her out of here.
LOUIS: Yeah, yeah, I hear ya. Let's go, Mila.
MILA: No. I'm staying here. I need to hear what he says.
LOUIS: Aw, c'mon, Mila!
MILA: No! I need to hear it!
KYLE: Fine. You can both stay.
DUNNING: Ya tellin' me I gotta talk in front of the girl? And DeNonno? Ain't
happenin'! No, sir! It ain't necessary, and it ain't gonna happen!
KYLE: It might not be necessary for you, but it is for them.
DUNNING: What're ya talkin' about?
KYLE: Mila's the daughter of your former partner. Mila came here to find him.
To find her father. And the info rattling around in your head is the only lead
she's got.
MILA: Where is my papa? Where is he?
KYLE: And Louie here...
LOUIS: You hit me, didn't ya? You lousy, no-good, tightfisted, backbreaking
old coot! Was you tryin' to KILL me? Hell, you coulda just fired me! I woulda
walked away!
DUNNING: 'Course I wasn't tryin' to kill ya! Don't be daft!
KYLE: Louie drifted out to the West Coast three years back. You know why he
left the city? Because his childhood friend Danny was murdered.
DUNNING: Murdered?
KYLE: Let me lay it out for you. Danny was killed trying to steal a painting.
It was in a warehouse run by a crime syndicate called Nile. A painting of an
angel.
DUNNING: ...What?
LOUIS: Think you're surprised? I'm the one what just found the thing in the
damn basement!
KYLE: What do you say? You going to share your story with us? Why'd you bring
Mila to the basement?
DUNNING: It's 'cause... 'Cause I wanted her to see the place.
KYLE: Why?
DUNNING: ...Well. This is the last place Evans and me ever saw each other.
KYLE: (What?) What do you mean? The last place you spoke? What did you chat
about?
DUNNING: Now look, that ain't--
KYLE: About Osterzone?
DUNNING: No! We...we talked 'bout Jenny.
KYLE: I found your secret room. I know what's in there. I found Angel Opening
a Door.
DUNNING: Ya found... Ya found it, did ya?
KYLE: Yeah. Why is it here?
DUNNING: Persistent, ain't ya? It's 'cause that man left it here.
KYLE: (That man?) I think I know who left it here... It was the other Kyle
Hyde. Wasn't it?
DUNNING: Hey! Who told ya that?
KYLE: You did. Just now.
DUNNING: Hmph. So ya know the guy or somethin'?
KYLE: Yeah. The guy who stayed here six months ago was my partner. My friend.
He's the ghost I've been chasing for three years.
DUNNING: Partner? Didn't know that door-t'door salesmen had partners!
LOUIS: Yo, Mr. Smith? Lemme introduce... Uh... Officer Kyle Hyde. Until three
years ago, he was a detective with NYPD.
DUNNING: Ah, crap.
KYLE: My partner's name is Brian Bradley. Three years ago, he was
investigating a crime syndicate called Nile. But he decided to steal your
angel painting and skip town. Hasn't been seen since.
DUNNING: Nile, huh? Well, I'll be damned. I guess what he told me was true
after all.
KYLE: I found an old letter in the cellar lockbox.
DUNNING: I see. Read it, didja?
KYLE: Yeah. Then I used your little code machine and--
DUNNING: Real smart guy, ain't ya, Hyde? So smart ya can't keep yer nose
outta my business! Well, lemme guess...
KYLE: No need. I'll tell you. I know the secret you and Evans were hiding.
DUNNING: Oh.
MILA: Please, where's my papa? I told you everything about the night Jenny
got taken away! Everything... So you have to tell me where he is! You have to!
KYLE: You know where Evans is, don't you?
MILA: I remember when Papa and I came here ten years ago. We ate dinner, and
then he said he had some business to take care of. He told me he was going to
meet a friend. And that I should play with Jenny until he got back.
<Scene of a young Mila and Jenny>
MILA: So we played, and I waited for him. But he never came back. We were
tired and sleepy. And we...we both fell asleep. Then the man... The door
opened, and there was a scary man. He grabbed Jenny and tried to take her.
Jenny started screaming. Screaming and crying. She was crying so hard. I...I
thought she was going to die... So I yelled at the man! I ran to him and told
him to stop, and... Then I was flying... I don't... I don't remember anything
else.
KYLE: I'm sorry, Mila.
DUNNING: Ah, Jenny...
LOUIS: You know what happened then, Mr. Smith? Mila was in a coma. Spent the
next ten years layin' in some hospital bed. Then six months ago she wakes up
and starts looking for her pops.
DUNNING: ...Damn.
MILA: Are you mad at me? Are you mad that I couldn't stop those men? The ones
who took Jenny? Is that why you won't tell me where my papa is?
DUNNING: No, girl, that ain't it. I just... I don't know where Evans is.
That's why I'm here. It's all I can do. Just sittin' and waitin' to hear from
Evans. Waitin' for my Jenny t'come home.
KYLE: You and Evans talked about Jenny after that night, right? Fill me in.
DUNNING: I asked him why Jenny was taken. He said... Said it was 'cause I
wouldn't paint no more. Said if I'd just pick up the brush, Jenny'd be
returned.
KYLE: Kidnapping is a rough business. I bet I know who organized it... It was
Nile.
DUNNING: Likely as not. Leastwise, that's what Evans said. Told me these Nile
fellas knew the truth 'bout Osterzone. Said they wanted me to do more
paintin'. But I told Evans t'go screw himself! Told him no. And that's why
they took m'Jenny away.
KYLE: Why did you tell Evans you weren't going to paint anymore?
DUNNING: 'Cause I was tired! More popular Osterzone got, the lousier I felt.
Evans's plan was movin' ahead without a hitch, but... To really make it stick,
I had to bury my own work. Bury who I was. People loved my paintin'!
Collectors wanted 'em! But all the praise, all the glory... Osterzone got it.
Not me. Couldn't take it no more.
KYLE: What did Bradley tell you?
DUNNING: Night he stayed here, your pal invited me to have a drink with him.
Well, one turned into a whole bunch, and soon I wasn't feelin' no pain...
That's when Bradley stops chattin' 'bout this n' that and asks if I knew
Evans.
KYLE: Some stranger asking you about Evans? I bet know what you told him...
You're smart. You lied to him, right?
DUNNING: Yep. No way I was gonna tell some mystery man I knew Evans. So this
Bradley fella got real quiet-like, and stared at his glass for a bit. ...Then
he looked up and stared me square'n the eye. Told me he was being chased by
Nile. Said they was after him 'cause he knew Evans's secret.
KYLE: What was Evans's secret?
DUNNING: This is what yer pal told me, so ya might want to take it with a
grain'a salt. He said Evans actually chose to work with Nile. 'Cept they knew
him as Norman.
KYLE: Norman?
DUNNING: That's what he said. Said Evans was in deep with Nile. Said he chose
t'stay there.
KYLE: Is Evans going to contact you?
DUNNING: Hell, I dunno. Three years after I lost m'Jenny, I... I hit rock
bottom. I was sad and pissed off. Told him I knew Jenny ain't never comin'
home. Took a knife to the paintings I was workin' on and slashed 'em to
ribbons. I was even thinkin' 'bout breakin' m'hand so I couldn't paint no
more. Well, Evans saw how crazy I was. He talked me back from the edge. Said
he'd take care of everythin'. Promised me he'd get m'Jenny back. Said I
should just sit tight and wait here. And that he'd contact me soon as
everythin' was square. Then he turned'n walked off the face of the earth.
KYLE: Would a guy like that mention his own daughter? Let me take a guess...
Evans never told you what happened to her, did he?
DUNNING: Sure didn't. That night ten years ago, we had a couple'a drinks and
talked about what was what. When we went t'get the girls, Mila was on the
floor, and... Jenny was gone. Evans grabbed Mila and raced her to the
hospital, and I... I thundered 'round like a madman looking for my little
girl. Next mornin', Evans came back from the hospital. When I asked Evans
'bout Mila, he told me it was nothin' and she was fine.
KYLE: Why didn't Evans tell you about Mila?
DUNNING: I dunno. Ain't got a clue...
KYLE: Let's hear it. All of it.
DUNNING: All right, Mr. Hyde... I'm done tryin' to hide all'a this. I'm gonna
tell ya everythin'. Tell ya how Evans'n me got started... Why they took
m'Jenny... Why Evans disappeared seven years ago... And... I'll tell ya 'bout
the other Kyle Hyde I met six months back. Yer pal Bradley. I'll tell ya
everythin' he told me, everythin' I know.
KYLE: All right. You talk, I'll listen.
DUNNING: Ya want me to get into this in front of Mila? She might not like it.
KYLE: Her call.
MILA: I want to hear it. If it's about Papa, I want to hear it all.
DUNNING: Might be hard.
MILA: <nods> I... I'm just like you.
DUNNING: Just like me?
MILA: When I told you about Jenny... You wanted to know everything, didn't
you? What she said, how she... How she cried. You asked me over and over.
DUNNING: ...Mila.
MILA: I...I understand. I understand why you kept asking me to repeat things.
I was talking about Jenny. You wanted to hear it all, no matter how terrible
it was. You wanted to be close to her, and that was the only way. That's how
I feel, too. I want to know everything about Papa. I don't care what it is.
I just want to know.
KYLE: I think that settles it.
<Mila nods. Louie shakes his head. Dunning thinks.>
KYLE: Start talking.
DUNNING: It all started when Evans and me... We was what ya call reunited by
tragedy. There was a plane crash in Las Vegas in 1960. Two'a the women who
died on that plane left behind little girls. One was Jenny's mom. M'wife.
The other was married to Evans. That's yer mom, Mila.
<Scene of Evans and Dunning meeting at the airport>
DUNNING: I was in the airport, just...sittin' there. Numb. Then I saw Evans.
He and I'd been at the same college, studyin' art and hopin' to be painters.
And then five years later, we're new widowers in the Nevada desert. Took
different paths after graduation, ya see? Evans followed in his father's
footsteps and took over the family art gallery. And me? Thought I was pretty
big news, and I tried t'make a livin' as a painter. But no one gave a rat's
ass for m'work. Barely had two quarters to rub together.
<Scene of Dunning and Evans drinking>
DUNNING: What with our wives dyin', it gave us a chance to talk 'bout the old
days. We shared a buncha drinks and talked 'bout everythin' under the sun.
Then Evans said he thought I was a good artist. 'Bout near knocked me out my
chair. Then he went on praisin' me and tellin' me how great I was. 'Course, I
swallowed it all... He told me somethin' else, too. Said he'd given up on
bein' a painter 'cause he knew I was better'n him. Then he looked me square
in the eye and told me he'd see me famous or die tryin'.
<Scene of Dunning and Evans drinking>
DUNNING: 'Bout a year later, Evans comes up with this crazy idea... Said he
wanted to prove he had an eye for art. Told me it was my chance to prove
m'self, too. Yer a great painter, he said, and history'll prove me right. It
sounds silly now, but... He was so sure of himself. Got me all worked up, too.
We just wanted t'show the world what for, ya know? Couple'a damn fools...
Well, we spent the next three years thinkin' up all the details. And between
the two'a us, we created Marcel Osterzone outta thin air.
<Scene of Dunning painting>
DUNNING: Evans rounded up a buncha old canvases and paint from some art
museum. Then I painted up 'bout a couple dozen pieces or so that we could say
were his. My job was t'just stay outta sight and paint till my hand cramped.
Evans hung 'round the gallery and made the art folks think he knew somethin'.
He also wrote up a book 'bout how he discovered Osterzone.
KYLE: The one I found in the basement?
DUNNING: Yup. It introduced the world to the mystery painter that died too
young. In less time'n it takes t'change a lightbulb, his works took off.
Collectors started buyin' up the stuff, and payin' a fortune for it, too.
Evans'n me were just happy as pigs in filth. Art world loved Osterzone. And
loved his paintings. I just kept paintin' and paintin' as much as I could. And
Evans sold every last one of 'em for more money than I'd ever imagined. But...
'Bout that time, Evans and me stopped seein' eye t'eye. Evans liked our scam.
He liked pullin' the wool over people. He started lookin' for other ways
t'fleece people, and started gettin' good at it. But me?
<Scene of a younger, dejected Dunning>
DUNNING: The more popular Osterzone's works got, the heavier m'brushes got.
I couldn't take hidin' in the shadow of a painter I created. It was too much.
After a while, I just lost m'talent. I couldn't paint no more. ...That's what
led to the worst day of my life. Evans invited me to the hotel, so I threw
Jenny in the car'n came on over. Evans brought Mila, and... Our girls started
playin' together right away. Kids were cuter'n anythin'.
<Scene of young Jenny and Mila together>
DUNNING: Evans and me left 'em in Room 111 and headed for the bar. We hadn't
had a relaxin' night in a while. We just shot the breeze, had a couple'a
drinks... Nothing outta the ordinary. Then Evans said he wanted t'show me
somethin'. So he brought me down here. We were standin' right about here...
Evans told me he bought the hotel and built this room just for me. Wanted me
t'hide down here and just keep paintin'. "Yer a genuis," he says to me.
"You'll be paintin' again 'fore ya know it! Ya wanna give Jenny the good life,
don't ya? All ya gotta do is turn into Osterzone again and paint. You'll have
enough scratch t'give Jenny whatever she wants. Make her happy."
MILA: No! That's not true! That wouldn't make anyone happy! Why would Papa
say that?
DUNNING: Man didn't have a choice, girl. He had t'say that to me. It was all
he could do.
KYLE: What do you mean?
DUNNING: Any fool could see Evans wasn't behind this hotel. Had to be someone
else. Seems that in all his buyin' and sellin', Evans got mixed up with some
heavy hitters. And one group'a crooks called Nile had their claws sunk into
him but good. All ya had t'do was take a look at this room. Evans didn't make
all this for a mope like me. This was a place for crooks t'do all their dirty
business. I didn't talk much at first. Just let Evans say his piece. But then
I told'm no. Told'm that I wasn't gonna paint no more. So then, they... They
took her, Mr. Hyde. The damn bastards took m'baby girl.
MILA: They took Jenny.
DUNNING: Aw, dammit... ...Anyway, Evans sat me down and told it straight.
"Become Osterzone," he says. "Just paint. Do that'n Jenny'll come back to
ya." The hell else could I do? I moved down here and started paintin'. And
Osterzone was back. But I didn't care 'bout fame, or money, or nothing. I
just wanted m'girl back. But... She didn't come back. No, sir.
<Louis looks at him.>
DUNNING: So I kept paintin' for three years, thinkin' they'd keep their word.
But one day I had enough. Told 'em all to go t'hell. That's when Evans sent
me that letter ya saw. I can tell ya the damn thing word for word... "This is
yer last job. Finish it and yer free. I won't ask nothing further of ya.
However, our secret must never be revealed. Keep silent'n I promise that
Jenny'll one day be returned to ya. Go back to the Dusk. Be patient." He sent
me the deed to this hotel with his letter. I tried to track'm down, but...
Like I said earlier, I ain't no detective. Gallery was all closed up, and I
didn't know where else t'look.
MILA: Papa... Where did you go?
DUNNING: I didn't have no idea how to start lookin' for him... So I just
decided t'stay here and wait 'er out. I made a promise to m'self, ya
understand? I was gonna wait here for m'Jenny, and if I died waitin', so much
the better. So five years back, I opened the Dusk back up again. But no one
wanted t'stay here. People heard stories 'bout the night Jenny was taken
and... Well, it kept 'em away. So I made up that load'a crap 'bout the wish
room and told a buncha newspapers. Then I tried t'run the place. ...Guess ya
can tell I ain't much of a people person.
KYLE: Did you hear from Evans?
DUNNING: Naw. Not a peep. But a couple'a years back, I got a visit from a gal
who used t'work in his gallery. She just showed up one day shakin' and nervous
as hell. I asked if I could help her, and outta the blue she said she knew I
was Osterzone. Also said she knew Evans forced me t'do all the paintings. Then
she threatened me. Said she'd reveal m'secret 'less I painted one for her.
Thought she might know where Evans had gotten off to, so I did it. I gave her
the paintin', but never heard from her again. Nothin' from Evans, neither.
KYLE: That's interesting.
DUNNING: Yep. Oh, and then... Six months ago? That other fella showed up. The
one with yer name. Got some news 'bout Evans from him.
KYLE: Bradley. What did he tell you?
DUNNING: Don't quite know what t'make of it. I liked'm well enough, so we had
a drink. Then he turned to me and asked if I knew Evans. 'Course, I didn't
say a word. Just kept nursin' m'drink. But he kept talkin'... Said Evans was
in deep with Nile, and callin' himself Norman. Then he told me he knew all
about Osterzone. This fella knew everythin', and he just kept talkin'. Said
he knew we'd created him, and that he knew I'd been paintin'. Didn't think I
should say nothin', so I just sat and listened. After a bit, he quit talkin'
and just swirled his ice around. I figured he was done and made t'leave, but
then he said somethin' real quiet... Told me he made a deal with one'a Nile's
men. ...A man named Norman.
KYLE: What kind of deal?
DUNNING: He said they had his sister. Said they were holdin' her hostage.
That was the deal that Norman...er...Evans wanted t'make. He wanted yer pal
to tell'm everythin' the cops knew in exchange for his sister.
KYLE: WHAT?! No, I refuse to--
DUNNING: Hold on, Mr. Hyde! I ain't done yet! Yer pal told me he made the
deal. Said he betrayed his friends. But when he went t'find his sister... She
was already dead.
KYLE: Mila. Oh, no...
DUNNING: He's holdin' his sister's dead body, watching' the steam rise, when
he hears a voice. "Ya can't change anything. Ya sold out yer people, and ya
can't take it back. Yer sister's dead, and ya don't have any family left. Ya
got nothin' left. Come'n work for me. That's the only road open for a man like
you." I tell ya, the sound of that voice... He's a wounded man, Mr. Hyde. So
then yer pal finished his story and his drink, but he never raised his eyes.
And I asked him what he done next. He kept lookin' at his glass, but I could
tell he was seein' somethin' else. "I accepted his offer," he told me. "I knew
it was the only way to avenge my sister. The only way t'make Evans pay."
KYLE: Bradley...
DUNNING: When he finally looked at me, his eyes were hard as any I ever seen.
"You won't see Robert Evans again" was the last thing he said to me.
<Mila shakes her head, then looks away.>
DUNNING: Next mornin', he checked out. Left me quite a goin'-away present,
though... The paintin' that had been hangin' above the bed in 217 had been
taken down. And hangin' there was Angel Openin' a Door. He left a photograph
and a key on the bed. Photo was the same one ya found. Evans always carried
that photo with him. And this here's the key.
<Kyle takes the key.>
KYLE: What's it for?
DUNNING: No clue. Key's a mystery I ain't solved. But once I saw the paintin'
and the photo, I knew one thing. I knew everythin' he told me was true. Was a
tough pill to swallow, ya know? Evans workin' for Nile. Never believed things
coulda got that messed up. I took Angel Openin' a Door off the wall and
carried 'er down to the basement. Then I covered the damn thing with a coat'a
white paint. I just wanted to forget everythin' I knew 'bout Mr. Robert Evans.
That's why I locked up 217 and didn't let no one stay there anymore.
<Mila looks away. Louie covers his face.>
DUNNING: ...And that's it, Mr. Hyde. Everythin' I know. Every last bit. When
you showed up claimin' the same handle as that man... I got to thinkin'
somethin' bad was gonna happen. That's why I was so nervous. Something bad...
Ha! Go ahead'n laugh. I'm nothin' but a damn fool. This place and its secrets
draws bad things like flies to honey. But I'm still here. Still doin' what I
can to protect that secret. Waiting's 'bout all I can do anymore...
<A montage of images flashes by...Dunning...the Angel...Bradley...Kyle. Then
Kyle is back in Room 215 and talking on the phone.>
ED: Hyde! What's the good word?
KYLE: I got it, Ed. I finally got it...
[I told Ed everything that Dunning said. I told him about Evans, and Jenny,
and Mila... And Bradley. Ed didn't say a word the whole time. But I knew he
was listening.]
ED: So that's it, huh?
KYLE: Now I know! He had a reason for selling us out! He's alive, Ed! Bradley
is alive. And he was here six months ago. It's funny... He left all these
little clues all around the hotel... Almost like he knew I'd be coming.
ED: Actually, Hyde... I think you hit the nail on the head. I just got off
the horn with the guy who wanted the red box and the magazine. He settled the
bill, but said he didn't care about getting the items back.
KYLE: Ed, wait. That means... Those items were just...
ED: Listen, Hyde. Lie down. Get some rest. You need to clear your head. I'll
call you tomorrow.
<He hangs up.>
KYLE: (If the customer I've been working for was actually Bradley... Then the
key Dunning gave me in the basement...)
[I tried using the key to open the small red box. The key turned. The lock
clicked. I opened the box and... I saw a letter written in a hand I knew
well.]
KYLE: (...This letter...)
[I read the letter, my eyes poring over each word.]
BRADLEY'S LETTER: Hey partner. I'm writing this in the hope that you'll find
it and give it a read. Six months ago, I heard that you turned in your badge
and left Manhattan.
KYLE: (...Bradley.)
LETTER: I figured it was my chance, so I arranged for you to be here. You
know why I did it, don't you, partner? Because I know you. Because I knew
you'd solve all the riddles hidden in this dump of a hotel. I knew you'd
discover what happened here, and what happened to me. You're a damn bulldog,
Hyde. I knew you wouldn't let it go. I had to believe that. Three years ago,
I betrayed you. I put your finger on that trigger, and I made you pull it.
You know, Hyde, I can still hear your voice. Asking me why... You have any
idea how angry you sounded? Of course, you always were the crazy one. But
every time I hear it in my head... I see Mila. I see the way Evans killed my
baby sister. And I remember the day six months ago when I took revenge. I know
you understand, Hyde. And so I'm on the run now. Nile wants me dead. Cops want
me dead. Some life, huh, partner? Stop looking for me, Kyle. My way is a
dead-end street. Let me go. I'm a ghost now. --Bradley
KYLE: (Bradley... I can see the surprise on his face when he hears her name
for the first time... Mila. He stood by her bed and watched her sleep,
thinking all the while of HIS Mila. Then he took his bracelet off his wrist
and slipped it onto hers... And then... Tell me something, Bradley... Did you
watch and wait? When Evans came to see Mila... Did you kill him?)
[08:00 AM]
<Morning rises over Hotel Dusk. The phone in Kyle's room rings.>
KYLE: Urr... Wha...
<He answers it.>
RACHEL: Morning, handsome! So what's the good word? Hee hee! Isn't that what
Ed always says?
KYLE: Yeah, that's it. Is he there?
RACHEL: Not yet, sweetie. I'm here all by my lonesome.
KYLE: Give him a message for me. Tell him I'm gonna take some time off.
RACHEL: Wait, time off? YOU?
KYLE: Yeah. Gonna hit the open road for a couple of weeks. ...See where it
takes me.
RACHEL: Kyle... Did you find Bradley? Is that it?
KYLE: ...No. No, nothing like that. I just... I need a vacation.
RACHEL: OK, hon! I'll let the big man know.
KYLE: Ed's gonna kill me, isn't he?
RACHEL: Oh, probably! You know Ed! He'll huff and puff and slam doors and
all that nonsense. Probably tell me to get you on the horn, pronto!
KYLE: Sounds like Ed.
RACHEL: Just make sure you come back, OK, Kyle? I'll be waiting for you.
KYLE: Thanks.
<He hangs up.>
KYLE: OK, Hyde. Time to hit the road.
<He picks up his suitcase. There's a knock on his door.>
KYLE: Huh? Who's there?
<He opens the door. Jeff is standing there.>
KYLE: Oh. It's you.
JEFF: Look, do you... Do you have a minute?
KYLE: What is it?
JEFF: I wanted to...to apologize. You know?
KYLE: You?
JEFF: Yeah. I caused you a lot of trouble. I know that. And...I'm sorry.
KYLE: Don't worry. Long as you mean it, we're square. So what's the plan,
Angel? You heading back to Beverly Hills?
JEFF: No, not yet. First I'm going to the police.
KYLE: Talking to the Man, huh? You're turning yourself in?
JEFF: Something like that.
KYLE: You sure? It's going to be one hell of a hassle.
JEFF: Yeah, I know. But I did this, and I need to take responsibility for it.
KYLE: Spoken like a man.
JEFF: Oh, wait. Here. This is for you.
<He hands Kyle a letter.>
KYLE: You wrote me a letter?
JEFF: No, not me. I ran into that guy Summer in front of his room. I said I
was coming to see you, and he asked me to deliver this. Guy wouldn't shut up,
either.
KYLE: Yeah, that's Summer.
JEFF: Anyway, maybe I'll see you around.
[Jeff wanders down the hall and out of sight.]
KYLE: Guess I'll read Summer's letter. ...Hope it doesn't put me to sleep.
SUMMER'S LETTER: Dear Mr. Hyde, I met Mrs. Parker and spoke at length with
her about Alan. What a charming woman! At any rate, I have made her a promise.
A promise to find Alan. I am going to start over, Mr. Hyde. I shall pen a best
seller, and it will be mine and mine alone! And I have decided to model my
protagonist after yourself! When my novel is finished, you will be the first
person to whom I show it. Farewell, good sir! May the winds of fortune be
always at your back!
KYLE: Oh. ...Joy.
<He leaves the room and walks down the hall.>
KYLE: Huh?
<A door opens.>
HELEN: Good morning, Mr. Hyde. Are you leaving?
KYLE: Yeah.
HELEN: Thank you so much for your kindness of last night. I had a wonderful
time.
KYLE: You're not a bad drinking buddy yourself.
HELEN: Will you be coming back this way again, Mr. Hyde?
KYLE: Maybe. Who knows? You?
HELEN: Oh, most definitely. And next time I will stay in the wish room! My
wish will be granted, Mr. Hyde. I'm sure of it!
KYLE: I hope so.
HELEN: Thank you.
KYLE: Well, I'd better get going. Got a lot of miles to make.
HELEN: Take care, dear.
KYLE: You, too.
<Helen nods. Kyle goes to the roof and sees Iris.>
IRIS: Mr. Hyde...
KYLE: Nice morning, isn't it?
IRIS: Yes, it is. It's a bit chilly, but it feels good in a way.
KYLE: You talk to Kevin?
IRIS: Mmm-hmm. I told him I was Grace's sister. I also talked about our
childhood and how we were raised.
KYLE: How'd he take it?
IRIS: I think he understands. I think he can see how important family is to
Grace. That's why she did what she did to raise that money.
KYLE: You talk about the tape?
IRIS: ...No. Grace gave it to me for a reason. ...And not to him. I didn't
feel right bringing it up.
KYLE: Makes sense.
IRIS: Are you leaving?
KYLE: Yeah.
IRIS: Yes, me too. I've got a photo shoot tomorrow.
KYLE: Good luck with that.
IRIS: Say, Mr. Hyde... Grace will come home, won't she?
KYLE: What do you think?
IRIS: I think she will. No... I know she will.
KYLE: Well, there you go.
IRIS: Yes. Well... Good-bye, Mr. Hyde.
<Iris leaves. Kyle goes to the first floor and runs into Melissa.>
KYLE: Hey, kiddo.
MELISSA: Hiya, mister!
KYLE: Nice morning, huh? You finally get some sleep?
MELISSA: Uh-huh. When I woke up, my dad was sitting next to me. And he told
me good morning right away!
KYLE: Sounds nice.
MELISSA: Yeah, and today we're gonna drive to the beach! And then we're
finally gonna go home! Yaaaay!
KYLE: That so?
MELISSA: Oh! And my dad told me a secret!
KYLE: You want to tell me?
MELISSA: ...He said that my mom loves me. And that's why she's gonna come
home someday.
KEVIN: Melissa!
MELISSA: Daddy!
KEVIN: Good morning.
KYLE: Mornin'.
KEVIN: We're all checked out, sweetheart. Tell Mr. Hyde thank you for being
so nice to you.
KYLE: Don't worry about it.
KEVIN: I'm glad I had the chance to talk to you, Mr. Hyde. I really am. Let's
go, Melissa.
MELISSA: OK! Bye, Mr. Hyde!
<Kyle smiles. He walks into the lobby.>
LOUIS: Top o' the mornin', Hyde.
KYLE: "Top o' the mornin'"? Hey, DeNonno, you're Italian, remember?
LOUIS: To the bone, paisan! So what's the deal? Why ya carrying your
suitcase? Don't tell me you're hitting the road already!
KYLE: I am.
LOUIS: What? Aw, c'mon, Hyde, ya can't be serious. What now? Cat stuck in a
tree somewheres? Grandma Patch need help crossin' a road?
KYLE: You're hilarious, Louie. And I'm done helping people. I'm taking a
vacation. Maybe get some sun. Find a nice beach somewhere and relax.
LOUIS: You? Relaxin'? World's gone crazy! But yeah, that sounds good to me,
too.
KYLE: So... How's Mila?
LOUIS: Aw, she's in Rosa's room. Heard she didn't sleep too good last night.
All the stuff what she's learned since comin' here? Must be rough, yeah?
KYLE: Yeah.
LOUIS: Yeah, but I bet she'd like to see you, man. Best to stop by before you
leave, ya dig?
KYLE: I might.
<Kyle goes to Rosa's room and stands outside the door.>
KYLE: Huh? That's Mila's voice.
MILA: ...But, Rosa!
ROSA: You can stay here as long as you want, Mila, honey! There's no need to
feel guilty about anything, and for a fact! You're not alone anymore,
sweetheart. Louis and I are here for you. Hmm? Mr. Hyde? Well, no, he doesn't
work here. He can't stay with you.
<Kyle looks downcast. He walks back to the lobby.>
LOUIS: How's Mila doin'? Ya get a chance to talk to her? Did she mention me?
KYLE: I didn't see her.
LOUIS: Why not, man?
KYLE: It's better this way. Listen, Louie, I want you to take care of Mila.
LOUIS: What're you talkin' 'bout? Me and Mama Sass got everything covered.
I bet even ol' man Dunning will lend a hand. Don't worry 'bout a thing. So,
uh, Hyde? You think Nile's still after me?
KYLE: I think you're in the clear, pal. I think Nile's going to be busy
chasing Bradley.
LOUIS: Oh, trip, man...
KYLE: Louie, this whole damn day has been a trip.
LOUIS: I hear you, brother. So... See ya around?
KYLE: Bet your life, brother. We're partners, remember.
LOUIS: That's what I'm talking about!
<Kyle goes to the front desk.>
DUNNING: Ya checkin' out?
<Kyle nods.>
DUNNING: Well, alrighty then. Ya paid for yer room in advance, but... I'll be
damned if ya didn't run up some charges!
KYLE: Dunning, is that a phone bill?
DUNNING: Ah, forget it. This time it's on the house. But... Next time yer
here, ya gotta promise t'stay in my suite! It's a peach of a room!
<They look at each other.>
DUNNING: Anyway, ya got yer room key? Gotta get Wish ready for the next
guest, ya know.
<Kyle nods and looks at the key.>
KYLE: ...The room that grants wishes, huh?
DUNNING: Yep. I hear tale some guests claim the room's magic.
KYLE: Ha ha ha!
DUNNING: Ya think that's funny? Ya like laughin' at an old man's tales of
the fantastic?
KYLE: No, Dunning. It's not that. I was just thinking that...maybe there's
some truth to it, is all. Maybe it granted a couple of my wishes, too.
DUNNING: Couple, huh?
KYLE: Yeah. Can't get greedy, though. Guy like me has a lot of wishes.
DUNNING: ...That so?
<Kyle hands back the key.>
DUNNING: Well, thank ya much. Year's almost over, ain't it? Happy New Year
to ya.
KYLE: You too, Dunning.
<Kyle exits the hotel. Just outside the hotel, Mila runs out.>
KYLE: Huh?
MILA: Wait!
KYLE: ...Mila.
MILA: Where...where are you going? Can I... Can I go with you?
KYLE: Mila...
<He nods. Mila smiles. The two of them get in Kyle's car. He starts the
engine. He takes one last look at Hotel Dusk... and they drive off.>
<Credits roll>
[THE END]
===============================================================================
===============================================================================
4. COMPLETE SCRIPT WITH ALL CONVERSATION TREES
This complete script assumes that you know the events in the game, as some
events will be referenced before they actually happen. Depending on your
choices, you may not get certain questions in your Question list. Please see
the "Story notes" section for my commentaries on the progression of events.
==================================
4a. CHAPTER 1: DECEMBER 28TH, 1979
5:00 ~ 5:30 P.M.
==================================
<Kyle enters the hotel.>
KYLE: (Great. An empty lobby with no one home. Where's the front desk in this
dump?) <He looks around and sees the "Open" sign.> (Huh. Cute sign, pal.
...Guess that's where I check in.) [Is Ed's package here yet?]
<If you choose to wander around the hotel first, you can find Rosa in the
central hallway.>
KYLE: Got a sec?
ROSA: Huh?! What do you want? I'm busy.
[goes to QUESTIONS. If you look at your notebook during this time, Rosa
asks, "What're you looking at?" If you choose not to ask questions, it
goes to ROSA1A]
[Question: I'm waiting for a package.]
KYLE: I'm waiting for a package.
ROSA: A package? No, I don't have a package. I'm the maid. No one gives
me packages. If you're looking for a package, go to the front desk. OK?
Great.
KYLE: There's no one at the front desk.
ROSA: Of course not. Well, there's a bell on the counter. Ring it. You
know? Ding ding? That oughta get Dunning's attention.
KYLE: Got it.
<After you exit QUESTIONS, or if you choose to ask no questions:>
<ROSA1A>
ROSA: Are you a guest? If you're a guest, you have to check in. Go to the
front desk in the lobby. Ring the bell. Ask for Dunning. Got it?
KYLE: Right.
<end ROSA1A>
<If you try to go up the stairs to the second floor:>
ROSA: Wait a minute, you! This is for hotel guests only! Get out! Now!
Before I call the police!
<Kyle nods.>
<At the front desk, Kyle rings the bell three times. A door opens.>
KYLE: (Maybe this dump isn't deserted after all...)
DUNNING: Rosa! Hey, Rosa! If I told ya once, I told ya a thousand times! Don't
go botherin' me when I'm watchin' a game! Huh? The hell? You ain't Rosa!
KYLE: (Not since I last checked.)
<followup>
[What a charming welcome.]
[Did you call me Rosa?]
<If you don't follow up:>
DUNNING: Yeah, well, sorry 'bout that. I was watchin' a hockey game on
the tube. There was a fight, and my guy was gettin' the crap beat outta
him. Didn't mean to bite yer head off or anythin'.
[What a charming welcome.]
KYLE: (Oh, this guy's fantastic...) "The hell?" Nice greeting.
DUNNING: ...'Scuse me?
KYLE: I don't care about your game. I need a room. And I don't like
waiting at the front desk like some kind of delivery boy.
DUNNING: Whoa, whoa! Sorry, buddy! Don't get all riled up on me now!
Bit of a short fuse, eh, pal?
[Did you call me Rosa?]
KYLE: (Oh, this guy's fantastic...) Who's Rosa?
DUNNING: Rosa? She's the hotel maid. Hard worker, but she's got a mouth
the size'a Nebraska. Always findin' ways to bust my chops when I'm
watchin' a game. Anyway, sorry for thinkin' you was her. No harm, no
foul, eh?
DUNNING: Name's Dunning Smith, and I own this joint. Welcome to my own little
slice'a heaven...Hotel Dusk.
KYLE: (Dunning Smith? Seems like a grumpy piece of leather.)
DUNNING: So! Ya here for a room, or just t'hear me jaw?
KYLE: A room. One night.
DUNNING: What kinda room ya want?
KYLE: Cheap.
DUNNING: Well, if ya wanna save a bit'a scratch, I got a room available.
KYLE: Great.
DUNNING: But, hey, lemme bend yer ear for a second... How'd ya like t'stay in
somethin' a little nicer?
KYLE: You have nice rooms?
DUNNING: Yep. You're in sales, right? Door t'door? On yer feet all day?
KYLE: Something like that.
DUNNING: Yep, I know it. Ya haul the case around all day and the dogs get to
barkin'. So what d'ya say? Why not give yerself a little treat for once? One
night in a nice room'll make a new man outta ya! Now this is a bit rare, but
tonight I actually got a suite open. And 'cause I'm feelin' generous, I'll let
ya have it for a special price!
[Say, a suite sounds nice.]
[Suites are for chumps.]
[Say, a suite sounds nice.]
KYLE: All right, give me the suite.
DUNNING: Really?
KYLE: How much?
DUNNING: Well, it'll normally run ya three-fifty. But I'll let ya have it
for three bills, even.
KYLE: Three hundred dollars? You think I'm an idiot? That's ridiculous!
DUNNING: It's a fair price! I'm tellin' ya, that room's worth every cent!
KYLE: I'll pass. I don't have that kind of walking-around money.
DUNNING: Just window-shoppin', eh? Hell, that was a waste'a time for
both'a us.
[Suites are for chumps.]
KYLE: I said cheap.
DUNNING: It's a peach of a room!
KYLE: Hey! You got a problem? I look like a guy who would stay in a
suite?
DUNNING: Yep, all right, I getcha. Gotta say though, I'm disappointed.
DUNNING: Well, if I can getcha to fill out this registration card, ya can
have a room. Here's a pen for ya. Nice pen, too. Don't go stealin' it.
<Kyle takes the pen and fills out the form.>
DUNNING: ...Kyle Hyde? Yer name really Kyle Hyde?
KYLE: That's what my parents told me.
DUNNING: Huh...
KYLE: That work for you?
DUNNING: Yeah, sure! Forget I said anythin'.
KYLE: (Forget what?)
<followup>
[You like my name?]
[What's your problem?!]
<If you don't follow up:>
DUNNING: Ain't nothin'. Don't worry about it.
[You like my name?]
KYLE: Hold on. Good name, isn't it?
DUNNING: Kyle Hyde? Yeah, it's a great name. I seen a bunch'a ya in the
phone book.
[What's your problem?!]
KYLE: Hold on. What now? You don't like my name?
DUNNING: I told ya! Ain't nothin'!
KYLE: Don't tell me it's nothing. You see my name on a wanted poster or
something?
DUNNING: Naw, ain't like that. Just remembered the name, is all. Had a
guest with the same handle as you. [A guest with my name?] Yeah, that's
it. Ain't a big deal.
DUNNING: Anyway, about yer room. Yer in Room 215. Here's the key.
[I got the Room 215 key. It's got the room number and the word "Wish" engraved
on it.]
KYLE: Wish? What's that supposed to mean?
DUNNING: It's the name'a the room.
KYLE: The room has a name?
DUNNING: Sure does! Every room in this hotel has its own name! We got Wish,
Bravery, Daybreak, Success...even Angel.
KYLE: Cute. You think those up yourself?
DUNNING: Sure did. Great group'a names, ain't they? Wish is my favorite of the
bunch, though.
KYLE: What a crock.
DUNNING: A crock?
KYLE: Rooms need numbers. That's it. Naming a room is a waste of time.
DUNNING: Waste'a time?! Ain't no one ever said that before!
KYLE: They just didn't have the stones to tell you what they really thought.
DUNNING: Some guests like names! But now I know. Yer a man who don't like
t'waste time on silly stuff. Saves me from wastin' breath on my story. Yep, a
man like you would find my story a waste'a time all the way 'round! But...
KYLE: (What's he talking about?)
<followup>
[What story?]
[You think you know me?]
<If you don't follow up:>
DUNNING: Hell, it's nothin' you'd be interested in! So forget it!
[What story?]
KYLE: Hold on. What story did you mean?
DUNNING: Nothin'. Waste'a time.
KYLE: Cut the crap. What's the story?
DUNNING: Well, if ya really wanna know, I'll tell ya. Actually, it's
'bout Room 215. The room where yer stayin.' It's got a...whatcha call it?
A history.
KYLE: A history? What, like ghosts? You telling me it's haunted?
DUNNING: Ghosts? Pah! Nah, this is way better'n some spook with chains!
Ya got dreams, pal? Somethin' ya wish for?
KYLE: I'm not much for wishing.
DUNNING: Don't surprise me. But still... If ya got somethin' ya want. I
mean, really want... Ya just may find it tonight. Ya follow? That's the
story... That's Room 215. It's the place where wishes are granted.
[Where wishes are granted?]
[You think you know me?]
KYLE: Hold on. A man like me? What's that mean?
DUNNING: What's it mean? Means a man like you got a narrow view of the
world! Means a man like you don't know the world NEEDS things that are a
waste'a time! Clear enough for ya?
KYLE: It's clear.
DUNNING: I dunno why I'm helpin' ya, but go ahead'n take this. It's a hotel
brochure. Ya got a map in there, too.
[I got the hotel brochure. I put it in my notebook.]
DUNNING: All right, yer all checked in. Head on up to the second floor. It's
through the lobby and up the stairs. Room 215's down the hall on the left.
Restaurant's through the lobby and to the left. It opens for dinner at 6:00,
and breakfast at 7:30. Got a bar, too. Opens at 9:00 tonight. Checkout's at
10:00. Miss it, and we charge ya double. 'Course, if ya wanna stay another
night, just lemme know. Need anythin' else?
<goes to QUESTIONS. If you choose not to ask any questions:>
DUNNING: That it?
KYLE: Yeah.
DUNNING: Enjoy yer stay.
<If you talk to Dunning again:>
DUNNING: What is it?
KYLE: Got a sec?
<goes to QUESTIONS. If you don't ask about Ed's package and try to leave the
lobby:>
KYLE: (Aw, hell... I forgot to check with the front desk to see if Ed's
package arrived.)
<The game will not let you leave the lobby area nor will Helen arrive until
you at least ask Dunning about the package.>
<If you decide to exit the Questions list at any time during the following
conversation, it goes to DUNNING1A>
<DUNNING Q1>
[Question: My room grants wishes?]
KYLE: Fill me in on this whole wish-granting thing.
DUNNING: It's a story I heard from folks that stayed in 215. First, there was
a young girl. Then a middle-aged fella... Both of 'em looked beat down when
they arrived. Like they had no future... But by the next mornin', they'd been
reborn. Their faces were just...peaceful, like. Well, I was surprised as a
dog'n a tree, so I asked 'em what happened. And ya know what? They both told
me the same thing. "Room 215 is magic. It granted m'wish. Everything's OK
now." So that's why I said...
KYLE: Ha ha ha!
DUNNING: What's so funny?
KYLE: Good one, pops. Real nice. I didn't think an old-timer like you would
tell me fairy tales.
DUNNING: Fairy tales?! That what ya think this is? Just a waste'a yer valuable
time, is that it? Call it a fairy tale if ya want. It's a free country.
<If you have more questions, it goes back to the Question list. If not, it
goes to DUNNING1A>
<end DUNNING Q1>
<DUNNING Q2>
[Question: What won't you talk about?]
KYLE: So, you had a guest with my name?
DUNNING: Yep. Called himself Kyle Hyde, too. As I remember it, he was 'bout
yer age. Blond fella, tall and thin. Looked kinda like a stork.
KYLE: (A tall, thin, blond man? Sounds like Bradley.)
DUNNING: But I wouldn't mistake you for him. He was different.
KYLE: How so?
DUNNING: Wearin' a nice suit, good shoes, the works. Looked like a somebody.
KYLE: I'll keep that in mind. So does Mr. Somebody stay here often?
DUNNING: Naw, just the one time. It was 'bout...six months ago. Ain't seen him
since.
<end DUNNING Q2>
<If you have more questions, it goes back to the Question list. If not, it
goes to DUNNING1A>
[Question: I'm waiting for a package.]
KYLE: There's supposed to be a package for me.
DUNNING: A package for ya? Sorry, I don't see nothin'.
KYLE: It should be here. Maybe you can actually...look around or something?
DUNNING: Ya send a package to a hotel when ya don't even have a reservation?
Nice... Oh, and this package better not be anythin' that's gonna cause
problems!
KYLE: (This guy's a real charmer...)
<followup>
[What problems?]
[Mind your business, pops.]
<If you don't follow up:>
DUNNING: Well, I won't hassle ya 'bout it, then. Ya don't seem like the
type to carry anythin' too weird, anyway. Just make sure there's no
trouble while yer here, see? I'll have the bellhop look for yer package.
If it shows, we'll bring it to yer room.
<If you have more questions, it goes back to the Question list. If not,
it goes to DUNNING1A>
[What problems?]
KYLE: Oh yeah? What kind of problems?
DUNNING: Is it anythin' that's gonna inconvenience my hotel?
KYLE: Depends on what you mean by "inconvenience."
DUNNING: Had a bit'a trouble with a package for another young guy like
you. Thing turned into a damned circus. [Really? What happened?] Let's
just say I don't wanna deal with anythin' like it again, and leave it at
that. Buncha lousy... I'll have the bellhop look for yer package. If it
shows, we'll bring it to yer room.
<back to QUESTIONS>
<DUNNING Q3>
[New Question: What was the trouble?]
KYLE: Talk about the trouble you mentioned earlier. What happened?
DUNNING: That? Well, it was right 'bout three years ago. One'a the
bellhops took a package up to a guest's room, right? And then...BANG!
Buncha cops and detectives come stormin' in!
KYLE: (Detectives?)
DUNNING: Seems m'guest was a crook! Part'a some big crime ring or
somethin'. He was usin' my hotel as a drop-off for stolen goods. Whole
thing was a damn mess! Gunshots in the hallway... Screamin' guests
runnin' every which'a way... I ain't never goin' through anythin' like
that again! That's why the Dusk's got a strict policy: No crooks... AND
NO COPS!
<If you have more questions, it goes back to the Question list. If not,
it goes to DUNNING1A>
<end DUNNING Q3>
[Mind your business, pops.]
KYLE: Oh yeah? The package is my business. Not yours.
DUNNING: Sure, sure. No worries. Didn't mean to pry.
KYLE: Then there's no problem.
DUNNING: I'll have the bellhop look for yer package. If it shows, we'll
bring it to yer room.
<If you have more questions, it goes back to the Question list. If not,
it goes to DUNNING1>
<DUNNING1A>
DUNNING: That it?
KYLE: Yeah.
DUNNING: Enjoy yer stay.
<As he's walking to the stairs, the front door opens.>
KYLE: Huh?
HELEN: Pardon me, sir. Do you have a room available?
[As I walk away from the front desk, I hear a voice behind me...]
HELEN: I need a room for the night.
KYLE: (Just another guest.)
DUNNING: Welcome to my own little slice'a heaven...Hotel Dusk! As luck would
have it, we got vacancies. What kinda room ya lookin' for, darlin'?
HELEN: Well now, aren't you just a sweet-talker? But there's a certain room I
want.
DUNNING: Which room's that?
HELEN: The one I saw in the newspaper article! I want that special room. The
wishing room. This is the Hotel Dusk, is it not?
DUNNING: 'Course it is! And I know the room yer asking for! Unfortunately,
ma'am, that room's...
HELEN: Oh, dear. Is it taken?
DUNNING: That's right, and I'm damn sorry 'bout it! Uh, I mean... I'm real
sorry, ma'am.
HELEN: Well, isn't that a shame!
DUNNING: Ya want a different room? We got plenty, and they're all
top'a-the-line!
HELEN: Yes, I... I suppose I'll make do with something else.
<If you try to talk to Helen:>
KYLE: Excuse me...
HELEN: Now, now, young man. I'm trying to check in to this nice hotel.
Perhaps we can talk later. After we've been properly introduced, that is!
<If you try to talk to Dunning:>
KYLE: Got a sec?
DUNNING: Yer all checked in, ain't ya? I'm helping this other guest right
now. C'mon back later, will ya?
<Kyle heads toward the stairs. As he approaches the door to the central
hallway, you may get one or all of the following depending on how you followed
up with Dunning during the check-in conversation.>
<If you didn't unlock the "What won't you talk about?" question:>
KYLE: (Wait a minute... Dunning said something while I was checking in...)
<flashback>
DUNNING: Yer name really Kyle Hyde? Huh. Yeah, sure. Forget about it.
<end flashback>
KYLE: (I wonder why my name got that reaction.)
<If you didn't unlock the "My room grants wishes?" question and you try to go
to the central hallway:>
KYLE: (That reminds me... When Dunning gave me my room key, he said
something...)
<flashback>
DUNNING: Naw, forget it. I'm sure a man like you would think the story's
a waste'a time!
<end flashback>
KYLE: (I wonder what story he was talking about.)
<If you didn't unlock the "What was the trouble?" question and you try to go
to the central hallway:>
KYLE: (That reminds me... When I asked about my package, Dunning said
something...)
<flashback>
DUNNING: Ya send a package to a hotel when ya don't even have a
reservation? Nice... Oh, and this package better not be anything that's
gonna cause problems!
<end flashback>
KYLE: (I wonder what he meant about causing problems.)
<When Kyle finally runs out of stuff to reflect on, you can enter the central
hallway. As Kyle approaches the stairs:>
KYLE: (Are the stairs back here?)
<He goes upstairs.>
KYLE: Huh?
[There's some kid sitting on the stairs.]
KYLE: Hey.
MELISSA: What?
KYLE: You're blocking the stairs, kid. Move it.
MELISSA: No.
KYLE: (Oh, you're kidding me...)
<followup>
[Is something wrong?]
[Move it, you brat!]
<If you don't follow up:>
KYLE: Move it.
<She just stands there.>
[Is something wrong?]
KYLE: (So this is how it's going to be...) What's the problem?
MELISSA: I'm playing.
KYLE: Playing? This ain't a sandbox, kid.
MELISSA: Duuuuuuh! These are staaaaaaairs!
KYLE: Smart kid. Glad we agree. Now get out of my way.
<She just stands there.>
[Move it, you brat!]
KYLE: (So this is how it's going to be...) Move it, kid.
MELISSA: No. I was here first. I'm not moving. And you're a big jerk.
KYLE: Where'd you come from? What's your name?
MELISSA: Leave me alone! I'm not telling you anything, mister!
KYLE: (Oh, come on...)
<followup>
[Why won't you tell me?]
[Mister? Seriously?]
<If you don't follow up:>
KYLE: Hey, look at me.
<Melissa just stands there.>
[Why won't you tell me?]
KYLE: What was that, kid? You won't tell me?
MELISSA: That's what my mom taught me. She said I should never tell
strangers my name. Especially jerks.
KYLE: Got an answer for everything, huh, kid?
[Mister? Seriously?]
KYLE: What was that, kid? I didn't know kids still used the word mister.
MELISSA: Duuuuuuuhhh! You're not a girl, are you?
KYLE: You're a genius.
KYLE: You keep this up and we're gonna have trouble. I'm not going to put
up with your crap.
MELISSA: Ooooo, scary. What're you gonna do, huh?
KYLE: You want to know? Maybe I'll call Dunning and have him give you the
bum's rush.
<She looks scared.>
KYLE: Maybe I'll call your mom and tell her that her kid's a damn terror.
MELISSA: You'll call...my mom?
KYLE: (What now?)
<followup>
[Ha! She's afraid of Mom!]
[Oh, give her a break.]
<If you don't follow up:>
MELISSA: My mom's not here.
KYLE: What, you're not traveling with her?
<She nods. Goes to MELISSA1A>
[Ha! She's afraid of Mom!]
KYLE: Hey, kid. What now? You afraid of your mom? Great! <Melissa gets a
red aura> Let's call her up and finish this.
MELISSA: Sniff... M-Mom...
KYLE: (Huh?)
<followup>
[Mom must be a jerk!]
[C'mon, stop crying.]
<If you don't follow up:>
KYLE: You're not a baby. Don't start crying for mommy. I don't
buy it.
<Melissa nods. Goes to MELISSA1A>
[Mom must be a jerk!]
KYLE: Hey, kid. I guess your mom must be a real tyrant.
<Melissa gets a red aura. She shakes her head.>
KYLE: That why you're crying? Am I wrong? What, you done talking
now?
MELISSA: That's not it! My mom... My mom's not mean at all! And
you're a JERK! Waaaaaaaaa!!
[The girl starts sobbing and runs up the stairs.]
KYLE: What the hell?
<Scene ends there and Kyle finds himself on the second floor.
Goes to Scene 1.1>
[C'mon, stop crying.]
KYLE: Hey, kid. Quit crying. You can't talk if you're bawling, right?
<She nods. Goes to MELISSA1A>
[Oh, give her a break.]
KYLE: Hey, kid. So where's your mom?
MELISSA: She's not here.
KYLE: What, you're not traveling with her?
<She nods. Goes to MELISSA1A>
<MELISSA1A>
KYLE: C'mon, kid. Knock it off, will you? Why won't you move? If there's a
good reason, just tell me.
MELISSA: I... I can't finish it.
KYLE: Can't finish what?
MELISSA: I can't finish my puzzle. [Puzzle? What puzzle?]
<goes to QUESTIONS. If you leave the Question list without asking anything:>
KYLE: You're in the way. Move. I don't have time to mess around.
MELISSA: ...
<Scene ends there and Kyle finds himself on the second floor. Goes to
Scene 1.1>
<MELISSA1C>
[Question: A puzzle, huh?]
KYLE: A puzzle? How's a puzzle stop you from moving?
MELISSA: I... I can't finish it. It's almost done, but...
KYLE: (This kid's a loon.) This isn't the place to be working on a puzzle. Go
to your room or the car or a freeway or something.
MELISSA: My dad says I make too much noise. That's why I'm here. I was gonna
go back to the room when I finished, but... I can't, OK?! I can't finish this
stupid puzzle because it's TOO HARD AND STUPID! <Cries.>
KYLE: Oh, for the love of... Stop bawling!
MELISSA: Sniff...
KYLE: (Now what?)
<followup>
[Move it, dammit!]
[Let me help.]
<If you don't follow up:>
MELISSA: Whhhuu... Waaaaaaa! <She wipes her eyes for awhile, then Kyle
says:>
KYLE: Oh, for the love of... Stop bawling! <goes back to followup>
KYLE: (Now what?)
MELISSA: Sniff...
<If you continue to not follow up, the above bit keeps replaying until
you finally follow up.>
[Move it, dammit!]
KYLE: Hey. Move it, kid. You're in the way.
MELISSA: ...Sniff.
KYLE: I said move it! This is why I hate kids... Enough! Just...here!
Give me the damn puzzle!
[Let me help.]
KYLE: Hey. Give me a break, kid. A puzzle isn't something to bawl about.
Look, just let me do it for you, OK?
MELISSA: Whaaaaaaaaaa! Whaaaaa... Huh? Are you gonna help me, mister?
KYLE: Stop calling me mister. The name's Kyle Hyde. If you're gonna talk to
me, use my name.
MELISSA: Mister Hyde?
KYLE: Close enough. Listen, just... Here. Give me the puzzle.
<He tackles the puzzle. If you take too long to finish, Melissa asks,
"Aren't you done yet?" or "Can't you do it, mister?">
<If you try to leave the puzzle screen without putting in any pieces:>
MELISSA: What's wrong? Is it too hard?
KYLE: I'm getting to it! Be quiet! Your voice is like a teakettle...
<returns to puzzle>
<If you put in at least 1 piece and then try to leave the puzzle screen:>
MELISSA: What's wrong? Can't you do it? See! I TOLD YOU it was hard!
KYLE: You're a head case. Anyone ever tell you that? Just shut your
yap a sec.
<returns to puzzle>
<Kyle finishes the puzzle.>
KYLE: There. Now take this and go back to your room.
<She shakes her head.>
KYLE: What's wrong now? The puzzle's done. Everything's OK.
MELISSA: No, it's not.
KYLE: It's not? Why not?
MELISSA: It just isn't! It's no fun if I don't do it myself!
[The girl throws the finished puzzle down on the stairs.]
KYLE: Oh, you're kiddin' me! What are you doing?
<Melissa looks downcast.>
KYLE: You're a complete basket case, you know that? At least say thanks for
the help before you bust up the puzzle!
MELISSA: You talk too much!
KYLE: Nice attitude, kid. You better watch your step!
MELISSA: Huh?
KYLE: Pick it up.
MELISSA: No! You can't make me!
KYLE: You threw 'em down, you pick 'em up. <She looks scared.> Well? You deaf
or what? Answer me!
MELISSA: OK! OK! S-sorry...
[Little brat's pretty ticked off that I scolded her. But at least she picked
up the puzzle pieces.]
MELISSA: I'm done, OK? You happy?
KYLE: Thrilled.
MELISSA: I'm sorry. I'm so s-sorry... Wha... Whaaaaaaa! P-Please don't hurt
me!
KYLE: Fine, yeah, whatever. <She's still crying.> C'mon, kid. Enough of the
waterworks already. Hey... Look, I didn't mean--
MELISSA: Ha ha ha! I tricked you! Stupid JERK!
[The girl laughs at me and runs up the stairs.]
KYLE: Damn it! I don't have time for this crap. [Who is that kid?]
[The girl dropped something on the stairs.]
KYLE: What's this?
[I picked up a puzzle piece.]
KYLE: Huh? There's a black line on the back of this. Wonder what it is?
<Scene 1.1>
<The scene ends. Kyle is at the top of the stairs on the 2nd floor. He walks
toward his room. A door opens.>
KYLE: (Somebody's coming out of Room 213.)
<Jeff steps out, looking around.>
KYLE: (Huh?)
<followup>
[Hey, you OK?]
[Move it!]
<If you don't follow up:>
<Jeff mopes around, then leaves.>
[The young guy looks around uneasily, then returns to his room. Never
notices me.]
<Scene ends. Goes to Scene 1.2>
[Move it!]
KYLE: Hey there. You're in my way. Move.
JEFF: Sigh... Huh?
[Young guy glares at me, then turns and sulks back to his room.]
<Scene ends. Goes to Scene 1.2>
[Hey, you OK?]
KYLE: Hey there. What's going on?
JEFF: Hm?
KYLE: You don't look so hot.
JEFF: What?
KYLE: You sick or something?
JEFF: N-no. No, I'm fine.
KYLE: All right. Sorry to bother you.
JEFF: Hold it.
KYLE: Yeah?
JEFF: Who are you?
KYLE: Me? Kyle Hyde. I'm down in 215.
JEFF: I'm Jeff. Jeff Angel.
KYLE: (Jeff Angel? Yeah, right. Wonder what this punk's story is.)
Stay here a lot?
JEFF: What, here? Never! No, I've never stayed in a place like this
before. Unfortunately, I have no choice but to stay here tonight.
KYLE: (You and me both, pal...)
<followup>
[No choice, huh?]
[A place like this?]
<If you don't follow up:>
JEFF: I thought I could stomach this place for a single night. But
now I'm not so sure.
<goes to QUESTIONS. If you check your notebook during the Question
phase, Jeff asks, "What are you reading?" If you have no questions,
or if at any time during this entire conversation you decide to exit
the Questions screen:>
<JEFF1A>
JEFF: Are we done talking?
KYLE: Yeah.
<goes to JEFF1C>
<end JEFF1A>
<JEFF1B>
<If you already helped Melissa with her puzzle, you will have the
following question available in the Question list:>
[Question: Who's the kid on the stairs?]
KYLE: The kid on the stairs. Where's she staying?
JEFF: Kid?
KYLE: Young girl, about ten. Rude as hell.
JEFF: Oh, her. You must be talking about Melissa.
KYLE: (Her name's Melissa?)
JEFF: She's in Room 219. She's staying with her father. Part of the
great unwashed, if you ask me.
<end JEFF1B>
<goes to JEFF1C>
[No choice, huh?]
KYLE: Really? Why don't you have a choice? Something happen?
JEFF: What's that? Why am I staying here? I don't think I need to
explain myself to you.
KYLE: Just asking.
JEFF: Just asking?
KYLE: Easy. It's not like I'm a cop or anything.
JEFF: You're not a cop? That's kind of an odd thing to just blurt
out, isn't it? So...you're not a cop? That's too bad. [It's too bad
I'm not a cop?]
<goes to QUESTIONS. If at any time you decide to exit the Questions
screen, it goes to JEFF1A>
[Question: It's too bad I'm not a cop?]
KYLE: Why is that too bad? You lookin' for the law?
JEFF: Oh, no reason. I just thought it would be cool to have a cop
or a detective in the hotel.
KYLE: (Cool? This kid's easily amused...)
<followup>
[Cool?]
[No detectives here.]
<If you don't follow up:>
JEFF: But what are the chances of my being here at the same
time? With a real detective, I mean. That can't happen too
often, am I right?
<goes to JEFF1B, then JEFF1C>
[Cool?]
KYLE: Hey. What did you mean by "cool"?
JEFF: Oh, that. Take a look around. Better yet, take a sniff.
This hotel... It's like the set of some cheap TV crime drama,
don't you think? What if a real crime took place? Something
sleazy and violent... And then if a real gumshoe was here
trying to figure things out...? C'mon! That would be cool! Even
you must think so.
KYLE: That's an odd thing to think about.
JEFF: Yeah, I'm a pretty deep guy. Hey, take it easy. I'm not a
criminal or anything.
<goes to JEFF1B, then JEFF1C>
[No detectives here.]
KYLE: Well, I don't think there's any law around here.
JEFF: No, it doesn't appear so. But then again, who knows?
KYLE: Got a thing for detectives?
JEFF: A thing? Well...I wouldn't mind meeting a down-and-out
detective. You know, the kind who'd stay in this dump? Guns and
dames and all that?
<goes to JEFF1B, then JEFF1C>
[A place like this?]
KYLE: Really? This isn't a usual haunt for you?
JEFF: Not really, no. This is the first time I've ever stayed
somewhere without room service.
<goes to JEFF1B, then JEFF1C>
<JEFF1C>
JEFF: Anything else?
KYLE: Not now.
JEFF: All right. See you around.
[Mr. Jeff Angel goes back to his room.]
<Scene 1.2>
<If you didn't talk to Jeff or you chose the "Move it!" option when Jeff first
appeared, and you knock on his door:>
KYLE: Do you have a moment?
JEFF: ...
<If you talked to Jeff and you knock on his door, even if you have
unasked questions:>
KYLE: Kyle Hyde.
JEFF: I don't need anything. Go away.
<You can knock on Room 219 and get this scene anytime after asking Jeff or
Dunning about Melissa, but BEFORE Louie knocks on your door with the package:>
<Kyle knocks on 219. Kevin answers the door.>
KEVIN: Who are you?
KYLE: Kyle Hyde. I'm in 215.
KEVIN: Kyle Hyde?
KYLE: (So this is that kid's father, huh?)
KEVIN: Excuse me, I'm rather busy at the moment.
[The man says nothing and shuts his door.]
KYLE: (See where the kid gets her manners...)
<If you try to knock on 219 again, no one answers.>
<If you scared off Melissa by choosing the "Mom must be a jerk!" option, you
will get this scene after the scene with Jeff when you start walking toward
Room 215:>
KYLE: Huh? Somebody's coming. It's Dunning.
DUNNING: What's yer problem, Hyde? You like hasslin' little girls?
KYLE: No, it wasn't like--
DUNNING: Her old man just called the front desk and bawled me out! Told
me a fella in a jacket and tie picked a fight with his daughter. That's
real nice, Hyde. Ya like makin' girls cry? Real tough guy, eh? I ain't
gonna have a grown man pickin' on girls in my hotel! No damn way! Now get
the hell out before I throw ya out myself!
KYLE: What? (I wasn't trying to make the kid cry! That's not why I yelled
at her!)
<flashback>
MELISSA: Mom... My mom's not mean at all! Waaaaaaaa...
<end flashback>
KYLE: Oh, crap...
[GAME OVER]
<If you don't get the game over, you can freely guide Kyle to his room.>
KYLE: So this is Room 215... (The door's locked. Guess that figures. The key
I got at the front desk should open it. Unless the owner is an idiot.)
[I use my key and unlock the door to Room 215.]
<He enters the room and looks around. If you didn't ask Dunning the "My room
grants wishes?" question:>
KYLE: (Guess this is where I bunk for the night. ...I've had worse.)
<goes to KYLE1A>
<If you DID ask Dunning about the "granting wishes":>
KYLE: So this is where wishes are granted, huh? My ass. (Can't believe
I had to listen to that load of bull. Why would an old man be peddling
fairy tales? C'mon, Hyde, forget it. Just finish Ed's job and get the
hell out of here.)
<KYLE1A>
[I put my suitcase on the table in the corner.]
<Phone rings.>
KYLE: Huh? Phone.
<If you try to leave the room without answering the phone, or if you check
Kyle's suitcase before answering the phone:>
KYLE: Phone's ringing. Better get it.
<He goes to the phone.>
KYLE: The phone's ringing.
<He answers the phone.>
RACHEL: Hi there, good-lookin'. Glad to hear you arrived in one piece.
KYLE: Hey, Rachel.
RACHEL: Right on time, I see.
KYLE: Like always. Listen, do me a favor and give Ed a message. Tell him he
doesn't need to have you checking up on me with every little thing. I got my
instructions. I'm on top of it.
RACHEL: You're on top of it? Really? How refreshing.
KYLE: Thanks for the confidence, Rachel. It's nice to be trusted. Tell Ed
that, too.
RACHEL: Well, I wouldn't dream to speak for the boss, but I trust you. Out
there all alone. Working hard. Busting your tail to get things done. At least
I think so...
KYLE: You think so? What the hell's that mean?
RACHEL: Oh, come on, Kyle! You're not exactly an open book! That's why there
are all those rumors...
KYLE: What rumors?
RACHEL: Don't act like you don't know! I've heard some crazy things about you.
You're an ex-cop from New York who was on the take and had to leave town? Or a
mystery man on the run from some shadowy organization? People are saying all
kinds of things, sweetie.
KYLE: Let 'em talk.
RACHEL: You want to know what I think? I think you're a handsome burnout who
crawled into a bottle and never came out. I don't buy the whole "man of
mystery" bit.
KYLE: Glad you think so highly of me.
RACHEL: So has the package arrived?
KYLE: Not yet. Maybe the deliveryman crawled into a bottle.
RACHEL: Hmm... Well, when it arrives, check the order sheet and give me a
call.
KYLE: Right. Is that all that's in the package? An order sheet?
RACHEL: No, there are some new products in there, too.
KYLE: New products? What am I supposed to do with them?
RACHEL: You're a salesman, Kyle. Try selling something. Oh, and those are Ed's
orders. Not mine.
KYLE: Door-to-door sales in a hotel? That'll be fun.
RACHEL: Oh, and one more thing. I put the client list in the package, too.
KYLE: Oh, that.
RACHEL: "Oh, that"? Listen, mister, "that" is a salesman's best friend! Be
nice! When the package arrives, don't just leave the client list in the box,
all right? Put it in your suitcase!
KYLE: Yeah, yeah. I know.
RACHEL: Bye, sweetie. Don't forget to call.
KYLE: Yeah. <hangs up>
[Ed usually contacts me through his secretary, Rachel. She's quite the looker.
Always willing to give me the straight skinny, too.]
<If you check the phone anytime before Louie knocks on your door with the
package:>
<Kyle picks up the phone.>
KYLE: ... <dials>
RACHEL: Hello, Red Crown.
KYLE: Hey, Rachel. It's me.
RACHEL: Well, hi there, sweetie. Did you get the package?
KYLE: Not yet.
RACHEL: So you just called to talk to me? How sweet! But just call back
when you have it.
KYLE: All right. <hangs up>
<If you unlocked at least 2 of the 3 primary questions with Dunning during
the check-in conversation -- whether or not you actually asked them -- then
it goes to Scene 1.21. If you didn't yet help Melissa with the puzzle, you
can do the suitcase lock-picking or try to go back to the front desk, and
whenever you go down or up the stairs, the following scene will play until
you finally help Melissa with her puzzle:>
KYLE: (Not again. That kid I met earlier is on the stairs again.) You
again?
<goes to QUESTIONS. Goes to MELISSA1C. If you don't ask questions:>
KYLE: You're in the way. Move. I don't have time to mess around.
MELISSA: ...
<The scene ends and Kyle will be at the bottom -- or top, depending which
direction you were going -- of the stairs. You can go to the front desk and
ask Dunning all the questions you didn't ask the first time around:>
DUNNING: What is it?
KYLE: Got a sec?
<goes to QUESTIONS. If you already helped Melissa with her puzzle but
didn't ask Jeff about her for whatever reason, you will have that
question here instead.>
[Question: Who's the kid on the stairs?]
KYLE: Who's the kid on the stairs?
DUNNING: There's a kid on the stairs? Aw, hell! That musta been Melissa.
She and her father are stayin' in Room 219.
KYLE: Melissa, huh?
DUNNING: Yep, she's a real cutie. Not like most kids nowadays. Buncha
long-haired punks...
KYLE: We talking about the same kid? The Melissa I met was more
barracuda than girl.
DUNNING: Ha! You fell into her little trap, I bet!
KYLE: Trap?
DUNNING: Yep. Made ya solve that puzzle'a hers, right?
KYLE: Right.
DUNNING: Yeah, me too. Don't pay it no nevermind. She's just tryin' to
get some attention, ya know? She's gotta be lonely here, so don't get too
upset with her, all right?
<back to QUESTIONS>
[Question: Causing problems?]
KYLE: When I asked if a package had arrived for me, you said something,
right? Something about "causing problems"? What's that about?
DUNNING: I wanted to know if yer package is somethin' that'll
inconvenience my hotel.
KYLE: What do you mean by "inconvenience"?
DUNNING: We had a bit of a problem with a package for another guy like
you. Thing turned into a damn circus. [A circus? What happened?] Let's
just say I don't wanna deal with anythin' like it again, and leave it
at that.
<back to Questions>
[New Question: What was the trouble?]
<goes to DUNNING Q3>
[Question: What's wrong with my name?]
KYLE: You gave my name the hairy eyeball when I checked in. What's the
deal?
DUNNING: Oh, that? Ain't nothin'. Really! I mean it! I just...
remembered seein' yer name before. Had us another guest with the same
handle is all. [A guest with my name?] Yep, that's it. Told ya it ain't
a big deal. Don't worry about it.
<back to QUESTIONS>
[New Question: What won't you talk about?]
<goes to DUNNING Q2>
[Question: What's a waste of time?]
KYLE: You started to tell me something when you gave me the room key.
You want to finish your story now?
DUNNING: Huh! Caught your interest, did I?
KYLE: Sure.
DUNNING: All right. Lemme tell ya the story. You're stayin' in Room 215
tonight, right? Well, that's room's got a bit of a...history. Truth is,
some'a the guests that stayed in 215 have told stories. Say they've had
wishes granted after spendin' the night there. [They had wishes granted?]
<back to Questions>
[New Question: My room grants wishes?]
<goes to DUNNING Q1>
<After you finish asking Dunning all the 3 primary questions, if you didn't
get his phone call asking you to pay your tab, then this scene will play:>
DUNNING: That it?
KYLE: Yeah.
DUNNING: Enjoy yer stay.
DUNNING: I forgot to mention this when ya checked in, but... I need ya
t'pay yer tab up front.
<If you unlocked no primary questions during the check-in
conversation:>
DUNNING: I forgot to mention this when ya checked in, but...
I need ya to pay yer tab up front.
KYLE: Up front?
DUNNING: Now don't get me wrong! It ain't that I don't trust ya or
nothin'. It's just...yer a first-time guest, and I don't know ya or
anythin'.
KYLE: You want me to pay you right now?
DUNNING: Naw, ain't like that. Ya don't hafta take care of it right away.
Ya just got here after all! Go ahead and sit a spell. But if ya swing by
and take care of it before dinner, I'd be much obliged. I'll be in my
office or at the front desk.
KYLE: Fine.
<Kyle goes back to his room. If you didn't ask Dunning the 3 primary
questions during the check-in conversation, Kyle thinks to himself:>
KYLE: (Where is that package?)
<Scene 1.21>
<If you got the above conversation at the front desk about paying the tab, you
will not get the following phone call from Dunning and will instead go to
KYLE1B. Or, if you've already messed with the suitcase, it will go to KYLE1C.>
<Phone rings.>
KYLE: Phone again. <He answers.>
DUNNING: Hyde? This is the front desk.
KYLE: That you, Dunning?
DUNNING: Yep. So how's the room?
KYLE: It'll do.
DUNNING: Good to hear, good to hear. Oh, by the way... I forgot t'mention
this when ya checked in, but...
KYLE: What?
DUNNING: I need ya t'pay yer tab up front.
KYLE: Up front?
DUNNING: Now don't get me wrong! It ain't that I don't trust ya or
nothin'. It's just...yer a first-time guest, and I don't know ya or
nothin'.
KYLE: Hold on. You want me to pay you right now?
DUNNING: Naw, ain't like that. Ya don't hafta take care of it right away.
Ya just got here after all! Go ahead and sit a spell. But if ya swing by
and take care of it before six o'clock, I'd be much obliged. I'll be in
m'office or at the front desk.
KYLE: Fine.
DUNNING: Thanks a bunch, Hyde. Sure do appreciate it.
KYLE: Sure. Whatever. <Hangs up>
KYLE: Cash... Where's my cash... Oh, right. I tossed my roll in my
suitcase when I got out of the car.
<KYLE1B>
<He walks over to his suitcase.>
[My suitcase is sitting on the table.]
KYLE: (This suitcase looks like it's about ready for the boneyard. All the
scuffs and tears... It sure is showing its age. Still, it was my father's
suitcase, and it's been with me a long time. Hell, I was lugging the old girl
around when I started working for Ed. My constant traveling companion.)
<He uses the key to try to open the suitcase. If you leave the key-turning
screen:>
KYLE: (I shoulda replaced this key before I left. Thing's been sticking
in the lock lately.)
<The suitcase key breaks.>
[The old key finally broke.]
KYLE: Dammit! This is not what I need right now. (Now what am I going to do?
Maybe I can use some wire to pick the lock.)
<If you check the suitcase again without trying to pick the lock:>
KYLE: (Damn key broke, and the suitcase is still locked. I need
something to get this open.)
<If you want, you can try to use the paper clip to pick the lock.>
<Kyle walks over to the phone.>
[Hotel brochure's next to the phone. There's a paper clip on the
brochure.]
KYLE: A paper clip, huh? Better hang on to this. It may come in handy.
[I got myself a paper clip.]
KYLE: (If I straightened this out...)
<He starts straightening out the clip. If you leave the screen without
straightening it out all the way:>
KYLE: No, this isn't the shape I need.
<He straightens out the clip.>
KYLE: There we go...nice and straight.
[I got a piece of thin wire.]
KYLE: (Let's see if I can pick the lock on my suitcase.)
<He tries to pick the lock. If you leave the close-up lock screen:>
KYLE: (Guess I'll give it another shot.)
<He fails to pick the lock.>
KYLE: (This ain't working. I'm not gonna get my suitcase open with this
thin wire. I'm going to need a thicker piece of wire.)
<KYLE1C>
<There's a knock on the door.>
KYLE: Huh? Now what?
LOUIS: Hullo? Hey, got a package from the front desk.
[05:10 PM]
<Kyle opens the door.>
[I open the door and see the bellhop carrying a couple of cardboard boxes.]
LOUIS: Package for ya, pal.
KYLE: OK. Put it down anywhere.
LOUIS: Uh, 'scuse me... I kinda got my hands full, ya know? You want you could
take the box on top for a sec?
KYLE: No problem.
[I take one of the boxes from the bellhop. I put the package down on the bed.]
LOUIS: <hiding his face> See ya, man! I gotta blow.
KYLE: ...I gotta blow? Wait a second...
LOUIS: No, uh... I mean... I gotta go! Gotta go, Hyde! Ah, crap...
KYLE: (Wait a second...)
<followup>
[You sound familiar!]
[Forget it. Leave him be.]
<If you don't follow up:>
LOUIS: Aw, man...
[The bellhop left the room.]
KYLE: Hmm... I feel like I've heard that bellhop's voice somewhere
before...
<Scene ends. Goes to Scene 1.3>
[Forget it. Leave him be.]
KYLE: Wait a second... Go on. Get outta here.
LOUIS: Yeah, I'm goin'. See ya around.
[The bellhop left the room.]
KYLE: Hmm... I feel like I've heard that bellhop's voice somewhere
before...
<Scene ends. Goes to Scene 1.3>
[You sound familiar!]
KYLE: Wait a second... Don't move!
LOUIS: Wah?!
KYLE: That voice. I know your voice.
LOUIS: Nah, that can't be.
KYLE: Can't be? Why?
LOUIS: Well, uh...
KYLE: Look at me!
LOUIS: I gotta go!
KYLE: (What's up with this guy? What's he hiding? Time to get a look at
his face.) Hey.
LOUIS: Y-yeah?
KYLE: I said look at me!
[I grab the bellhop's chin and yank his head up.]
KYLE: You!
LOUIS: Aw, man!
KYLE: I know you!
LOUIS: Dammit, man! Aw, dammit...
KYLE: Louie!
LOUIS: Fine, ya got me. 'Course, I guess there ain't nothin' I can do
about it now, eh? Long time, no see, Officer Hyde.
KYLE: (Kid's name is Louis DeNonno, but he'll always be Louie to me. Last
time I saw him was the winter of '76, three years ago. He was roaming the
subways of Manhattan picking pockets for a living.)
KYLE: Why are you here, Louie? Run out of wallets to lift in the Big
Apple? What're you doing in this place?
LOUIS: What's it look like, man? I'm workin' here!
KYLE: Working? You? Bull. I don't buy it.
LOUIS: That's the God's honest, man! I got my act together! [You got your
act together?] Been three years since I moved out and scored this gig!
KYLE: (Three years... That's about the same time I quit the force.)
How did you know I was here?
LOUIS: Aw, man, I knew it soon as I saw your name on the package, yeah?
Package shows up for the cop what busted me... What're the odds, man? I
been here for THREE YEARS! Just started to put all that New York stuff
behind me, ya dig? Seeing your name was a total drag. I just wanted to
forget it.
KYLE: (Huh?)
<followup>
[Bad memories of me, eh?]
[New York was that bad?]
<If you don't follow up:>
LOUIS: And here I been thinkin' this year was gonna end on a sweet
note... Can't catch a break, man. Never could.
[Bad memories of me, eh?]
KYLE: Hold on a second... You wanted to forget my name, Louie?
LOUIS: You bet I did, man! 'Course, I wanna forget all the crap what
happened back then.
KYLE: Is that so?
LOUIS: When I first got this gig? Used to check the guest list every
day. I was a total freak show. Always afraid someone I knew would
show... It was a trip, man! You woulda laughed at what a dork I was.
But I got lucky, and never saw a name I recognized. ...And now you
show. [No guests with my name?]
[New York was that bad?]
KYLE: Hold on a second... As bad as all that, huh?
LOUIS: Yeah, man. Seein' your name made me remember all kinds of
lousy crap about New York!
KYLE: Really?
LOUIS: When I first got this gig? Used to check the guest list every
day. I was a total freak show. Always afraid someone I knew would
show... It was a trip, man! You woulda laughed at what a dork I was.
But I got lucky, and never saw a name I recognized. ...But now you
show. [No guests with my name?]
LOUIS: So what's the deal, Officer Hyde? What you doing all the way out here
in a crappy hotel like this? Must be a major bust you got lined up, right? Why
else would a Manhattan cop be so far from home?
[It's kind of complicated...]
[Just work.]
[It's kind of complicated...]
KYLE: That's not it.
LOUIS: So...what? You're, like, on vacation? Checkin' out the tar pits
and crap like that?
KYLE: No.
LOUIS: Huh? Man, you're a TRIP! I don't get you! Everything you say's
like a riddle or a mystery or somethin'. Whatever. Not my business what
you're doin' here. You keep your secrets, and I'll keep mine.
[Just work.]
KYLE: I'm working.
LOUIS: HA! I knew it! What's the score, man? Got a major bust goin' down,
yeah?
KYLE: No, that's not it, I...
LOUIS: It's all right, man. You wouldn't be tellin' a punk like me your
secret cop stuff, right? It's cool, man. I don't need to know why
you're here or what you're doing. Ain't my business.
<Louis stares at him.>
KYLE: What? <Louis keeps staring.> What? What's the problem? Why're you
staring at me?
LOUIS: Mellow out, man. No big. Just that...you're different now, ya dig? I
was gonna say somethin' earlier, but I didn't want you to freak.
KYLE: What're you talking about? What's different about me?
LOUIS: I dunno...
KYLE: Spit it out.
LOUIS: Just...something. You got a different vibe about you. [A different
vibe?]
<goes to QUESTIONS. If you look at your notebook, Louis askes, "What're you
looking at, man?" If you leave the Questions list at any time, Louie stands
there blocking the door, so you're forced to ask. When you talk to Louis
again, he says, "What?" and goes to the Question list.>
[Question: I have a different vibe?]
KYLE: Different vibe? What the hell's that supposed to mean?
LOUIS: Well, it's, you know... C'mon, man, you gotta know what I'm sayin'!
You got that crappy leather jacket and that totally whacked-out tie. And your
hair? Man, you got serious issues there. This look... It ain't like you, man.
KYLE: Not like me?
LOUIS: Uh-huh. The Officer Hyde I remember always wore a fly black suit. And
the way you used to strut around the city? You had it goin' on, man!
KYLE: (He's right. That's how it used to be. That's who I was. We ruled the
streets, Bradley. You and me, playing the heroes.) Yeah? What else?
LOUIS: Well, that's it, man. I mean, you were...
KYLE: Spit it out, Louie.
LOUIS: You were cool, man. Even when you were hasslin' me, you were cool.
KYLE: My cool ran out. I changed jobs and changed clothes. That's it.
LOUIS: Right.
KYLE: ...
LOUIS: ...
<If you still have questions, it goes back to the Question list. If not,
it goes to LOUIE1A>
[Question: You're doing better?]
KYLE: You got your act together?
LOUIS: Yeah, man, I got tired of picking pockets. Big risk, small reward,
yeah? Figured I was too old to keep workin' the streets like a punk.
KYLE: (Huh?)
<followup>
[You're up to no good!]
[So what happened?]
<If you don't follow up:>
LOUIS: I'm not the same guy you knew before, man.
KYLE: You got wise? That it?
LOUIS: Yeah, maybe... But I ain't talking about it, though. Not somethin'
I'm gonna get into with a cop. [What won't you talk about?]
<goes to LOUIE1B, then LOUIE1A>
[You're up to no good!]
KYLE: Hold on. Bull. You're a liar.
LOUIS: <red aura> What? Aw, man, now hold it a sec--
KYLE: You got a plan, I know it. You're not fooling me, you low-rent
lowlife.
LOUIS: W-why you sayin' that?
KYLE: Why? You're a loser, that's why! You're not working in this dump
without an angle.
LOUIS: Man, I ain't seen you for years and that's how you wanna think?
Cold, brother. Real cold. Aw... Damn it! Now I'm gonna get to crying...
KYLE: Crying?
LOUIS: Sn-sniff...
KYLE: Still trying to play me for a sap, eh, Louie? Nothing changes.
Your little act didn't fly in the past, and it's not gonna fly here,
either.
LOUIS: Ain't no act, ya bum! This here's the real deal...
KYLE: The real deal?
LOUIS: Yeah, ya jerk! That hurts! What kinda cop says that to a guy
what's trying to get his act together? You're a dirtbag, Officer Hyde.
<If you still have questions, it goes back to the Question list. If
not, it goes to LOUIE1A>
[So what happened?]
KYLE: Hold on. Something happened, didn't it?
LOUIS: Yeah, maybe... But I ain't talking about it. Not somethin' I'm
gonna get into with a cop. [What won't you talk about?]
<LOUIE1B>
KYLE: (Oh, right... He doesn't know I quit the force.)
LOUIS: What's up, man? Cat got your tongue?
KYLE: It's nothing.
<back to QUESTIONS>
[New Question: What won't you talk about?]
KYLE: What don't you want to talk about? What happened?
LOUIS: ... Forget it. I split that scene for my own reasons, man. Got
nothin' to do with you.
<If you still have questions, it goes back to the Question list. If not,
it goes to LOUIE1A>
<end LOUIE1B>
<The following question is optional. If you go a certain conversation route,
you will not have this question.>
[Question: No guests had my name?]
KYLE: You telling me you never heard of other guests with my name?
LOUIS: Yeah, man. That's what I'm tellin' ya. Not likely I'd forget
somethin' like that. Why you bustin' me about it, anyways?
KYLE: Just something I heard from that old-timer at the front desk. Seems
there was a guest with my name about six months back.
LOUIS: Six months...? No, man, I got nothin'. 'Sides, you think I wouldn't
remember a guest what had your name?
KYLE: I guess...
<If you still have questions, it goes back to the Question list. If not,
it goes to LOUIE1A>
<LOUIE1A>
LOUIS: This gig's been goin' on too long. I gotta blow, man.
KYLE: All right.
<If you chose "You're up to no good!" earlier in the conversation, you'll
also get this line:>
LOUIS: All right, man, I gotta bail.
<goes to LOUIE41D>
<Note: If you chose "You're up to no good!" you will NOT get this next
section marked LOUIE1C and will instead go straight to LOUIE1D.>
<LOUIE1C>
LOUIS: But, uh, listen. Before I go, lemme ask you something?
KYLE: What is it?
LOUIS: You, uh... You said you changed gigs, yeah? What's the story?
KYLE: Oh, that.
[I hung it up.]
[I just transferred.]
[I hung it up.]
KYLE: Truth, Louie? I hung it up.
LOUIS: Hung what up?
KYLE: My badge.
LOUIS: What? No way! You quit the beat?!
KYLE: Yeah. Actually, I got canned.
LOUIS: You were FIRED?! Oh man, Officer Hyde! What'd you do?!
KYLE: Well...
<flashback to police station>
KYLE: <answers phone> This is Hyde.
VOICE: Hyde, I've got bad news. It's Bradley. He...
KYLE: What the hell?
<shoots Bradley>
<flashback ends>
KYLE: <speaking to Louie> You really wanna know?
LOUIS: ...No thanks, man. I'll pass. Sounds too heavy for me. Maybe some
other time, yeah?
KYLE: All right.
LOUIS: Can't believe you're not a cop anymore, man. What a trip. So,
what's your deal now?
KYLE: I sell household goods door-to-door.
LOUIS: C'mon! Get outta here! You're a door-to-door salesman?
KYLE: Yeah.
LOUIS: You?
KYLE: Me.
LOUIS: So that package what I delivered is full'a sales stuff? Detergent
and floor wax and hairnets? Old lady crap like that?
KYLE: Could be.
LOUIS: Whaaaaa ha ha ha ha!
KYLE: Knock it off. What's so damn funny?
LOUIS: Everything, man! C'mon, the famous Officer Hyde? A SALESMAN?
That's even more of a gas than me being a bellhop! Whaaaaa ha ha ha
haaaaa!
KYLE: That so?
LOUIS: ... All right, man, I gotta bail.
<goes to LOUIE1D>
[I just transferred.]
KYLE: Truth, Louie?
LOUIS: What?
KYLE: ...
LOUIS: Hey, you said you changed gigs, but you ain't saying... You didn't
QUIT, did ya?
KYLE: Not like that. I'm just in a different department now. Missing
persons.
LOUIS: Missing persons? Oh, that makes sense. Came all the way from
Manhattan to the West Coast on a lead, huh?
KYLE: Something like that.
LOUIS: Hm... <red aura> All right, man, I gotta bail.
<end LOUIE1C>
<LOUIE1D>
LOUIS: ...Yo, Officer Hyde?
KYLE: Yeah?
LOUIS: My past... You know all the crap that happened in New York? All the
stuff I did? Well, ain't nobody out here who knows about it, man. I'd
appreciate it if you'd...like...keep it to yourself. Ya know?
KYLE: All right.
[Louie leaves the room.]
<Scene 1.3 - Only if you don't deal with Louie when he delivers the package>
<If you don't check the package: You can either try to call the front
desk or go straight to the lobby.>
<KYLE1D>
<Kyle goes to the phone.>
<KYLE-PHONE>
KYLE: I guess I gotta call the front desk. <dials> ...
<Phone at front desk rings.>
KYLE: No answer. <hangs up>
KYLE: (Bet the old man's glued to the TV again. Damn.)
<end KYLE-PHONE>
<He heads downstairs to the front desk.>
[Someone's standing in front of the lobby sofa.]
KYLE: Huh? Who is it?
LOUIS: Boss!
DUNNING: What is it, Louis?
LOUIS: That's the guy, boss.
DUNNING: I hear ya.
KYLE: What is it?
LOUIS: What? You don't remember me, do you, man? ...Well, I sure remember
YOU!
KYLE: Huh?
DUNNING: Louis told me all about you. Says you're a dirty cop! Ya didn't
tell me you were fuzz when ya checked in, pal! If ya wanna investigate
my place, go get yerself a damn warrant! Ya hear?! Now get the hell outta
here!
KYLE: What? (Oh, I get it. He knows what happened when the bellhop
delivered my package...)
<flashback>
KYLE: ...I gotta blow? Huh? The bellhop's voice... I know I've heard it
somewhere before...
<end flashback>
KYLE: Damn...
[GAME OVER]
<end KYLE1D>
<If you decide to open the package:>
[The package the bellhop delivered is on the bed. A single brown notebook
is inside the box.]
KYLE: Huh? What's this supposed to be? There's no order sheet. This isn't
Ed's package. That moronic bellhop brought me the wrong package. [I gotta
tell the front desk.]
<You can either use the phone or walk to the front desk. Goes to KYLE1D>
<Kyle checks out the package.>
[The package Louie delivered is on the bed. A single brown notebook is inside
the box.]
KYLE: Huh? What's this supposed to be? There's no order sheet. This isn't Ed's
package. That moron Louie brought me the wrong package! [I gotta tell the
front desk.]
[I got the old notebook that was inside the package. The title written on the
cover of the notebook is "The Secret Word."]
<After you get the notebook and you check the package again:>
[There's nothing inside the package.]
<You can choose to use the room phone to call the front desk. If you do, it
goes to the above section marked KYLE-PHONE. Otherwise, you can walk down to
the front desk straightaway. If you chose "You're up to no good!" in the
conversation with Louie, when you get to the lobby:>
[Someone's standing in front of the lobby sofa.]
KYLE: Huh? It's Dunning. He's looking this way.
DUNNING: Hey, you! Louie spilled the beans about you, my friend! Yer
a cop, ain't ya?
KYLE: Huh?
DUNNING: Too late to hide now! Ya didn't tell me you were fuzz when ya
checked in, pal! If ya wanna investigate my place, go get yerself a
damn warrant! Ya hear?! Now get the hell outta here!
KYLE: What? (Oh, I get it now. It's because of that chat with Louie
up in my room.)
<flashback>
LOUIS: Yeah, ya jerk! That hurts! What kinda cop says that to a guy
what's trying to get his act together? You're a dirtbag, Officer Hyde.
<end flashback>
HYDE: Damn...
[GAME OVER]
<Kyle leaves the room and walks down the hall.>
<A door opens.>
KYLE: Huh?
[Someone's coming out of Room 219.]
KYLE: Huh?
MELISSA: Huh? Ah!
KYLE: Hey, kid.
MELISSA: What?
KYLE: What's the score?
<Melissa pouts.>
KYLE: Hey! Kid!
<She still pouts.>
KYLE: I'm talking to you.
<If you didn't ask Jeff or Dunning about Melissa:>
MELISSA: My name's not "kid."
KYLE: Yeah? Well, I got nothing else to call you.
MELISSA: I'm Melissa.
KYLE: (Melissa?) Don't play on the stairs anymore, kid. It's a
hassle.
<If you DID ask Jeff or Dunning about Melissa:>
MELISSA: My name's not "kid"!
KYLE: Yeah, I know. Your name's Melissa.
MELISSA: Hey! You know my name!
KYLE: 'Course I do. Don't underestimate adults, kid. We know things.
MELISSA: Yeah, right. Whatever.
KYLE: Seriously, kid. Stop playing on the stairs. It's a hassle.
MELISSA: I'm not gonna play on the stairs anymore. But I lost something really
important. And now I won't be able to see my mom.
<followup>
KYLE: (At least she'll be off the damn stairs...)
<followup>
[Why can't you see Mom?]
[Where is your mom?]
<If you don't follow up:>
MELISSA: That's why I'm not gonna be a brat anymore. And I'm not gonna
fight with my dad, either.
<MELISSA1B>
<goes to QUESTIONS, but there are no questions. If you look at your
notebook, Melissa asks, "Whatcha looking at?" When you exit the
Questions screen, Kyle thinks to himself:>
<MELISSA-PUZZLE>
KYLE: (Oh, right... Guess I'll give her back that puzzle piece I found on
the stairs.)
<Returns to hotel. If you give the piece back:>
KYLE: Hey.
MELISSA: What?
<goes to QUESTIONS. No questions.>
KYLE: <shows puzzle piece> This is yours, isn't it?
MELISSA: Oh...
KYLE: Here. <gives piece back>
MELISSA: T-thank you. This puzzle was a present from my mom. It's my
treasure.
<goes back to QUESTIONS. No questions.>
<end MELISSA-PUZZLE>
<Whenever you exit the Questions screen after returning the piece:>
MELISSA: Are you leaving already, mister?
<Kyle goes to the 1st floor.>
KYLE: (Wait a minute... What did that girl say again?)
<flashback>
MELISSA: I won't be able to see my mom...
<flashback ends>
KYLE: She won't be able to see her mom? Wonder what she meant by that.
<If you go to the front desk and you ring the bell three times:>
<No one answers the bell.>
KYLE: I'm getting nothing here. Damn it! You call this a hotel?
I'd be better off staying in my car...
<If you enter the bell-ringing screen and ring the bell fewer than
three times -- or zero times at all -- and then leave the screen:>
KYLE: I'm getting nothing here. Don't tell me no one heard that bell.
<He goes back to talk with Melissa.>
KYLE: Hey.
MELISSA: What?
<goes to QUESTIONS>
[Question: You can't see your mom?]
KYLE: You said something about not being able to see your mom. What's
the deal?
MELISSA: That's what my dad said. He told me that I had to keep my
promise. I also have to obey him and not get in trouble and all that
stuff. If I don't, we won't go see my mom. We'll just go home. [See your
mom? What?] That's why I'm not gonna be a brat anymore.
<back to QUESTIONS>
[New Question: Going to see your mom, huh?]
KYLE: What do you mean, you're gonna go see your mom?
MELISSA: My mom's not home.
KYLE: (Uh-oh. Trouble in paradise?)
<followup>
[Where do you live?]
[Where'd your mom go?]
<If you don't follow up:>
MELISSA: She can't come home. That's why we're gonna go see her.
<MELISSA1C>
<end questions. If you haven't given the puzzle piece back yet,
whenever you exit the Questions screen, Kyle thinks to himself:>
KYLE: (Oh, right... Guess I'll give her back that puzzle piece
I found on the stairs.)
<Returns to hotel. Kyle goes to the 1st floor.>
KYLE: (Wait a minute... What did that girl say again?)
<flashback>
MELISSA: My mom's not home. She can't come home.
<flashback ends>
KYLE: Her mom's not home? Wonder what that means.
<He goes back to talk to Melissa again.>
KYLE: Hey.
MELISSA: What?
<goes to QUESTIONS>
[Question: Your mom's not home?]
KYLE: You said your mom can't come home. Where is she?
MELISSA: I dunno. But I was crying 'cause I want to see my mom for
Christmas, right? And so my dad said we could go and see her.
KYLE: So where are you going?
MELISSA: I dunno. Someplace.
KYLE: Nice plan.
<end MELISSA1C>
<goes to MELISSA1D, then MELISSA1E>
<end MELISSA1B>
[Where'd your mom go?]
KYLE: Hey, kid. Where'd your mom go?
MELISSA: I dunno. But I was crying 'cause I wanted to see my mom for
Christmas, right? And so Dad said we could go and see her.
KYLE: So where are you going?
MELISSA: I dunno.
KYLE: That's quite the plan.
<goes to MELISSA1D, then MELISSA1E>
[Where do you live?]
KYLE: Hey, kid. Where do you live?
MELISSA: Santa Monica. You can see the ocean out our window. It's
pretty cool, I guess.
<goes to MELISSA1C, then MELISSA1D, the MELISSA1E>
[Why can't you see Mom?]
KYLE: Tell me something, will you? You won't be able to see your mom?
MELISSA: Uh-huh. I had to promise my dad. I gotta do what he says...with
no "back talk." If I don't, we won't see my mom. We'll just go home.
[You're going to see Mom?] That's why I'm not gonna be a brat anymore.
<goes to QUESTIONS>
[Question: Going to see your mom, huh?]
KYLE: What do you mean, you're gonna go see your mom?
MELISSA: My mom's not home.
KYLE: (Uh-oh. Trouble in paradise?)
<followup>
[Where do you live?]
[Where'd your mom go?]
<If you don't follow up:>
MELISSA: She can't come home. That's why we're gonna go see her.
<goes to MELISSA1C, then MELISSA1D, then MELISSA1E>
[Where do you live?]
KYLE: Hey, kid. Where do you live?
MELISSA: Santa Monica. You can see the ocean out our window. It's
pretty cool, I guess.
<Goes to MELISSA1C, then MELISSA1D, the MELISSA1E>
[Where'd your mom go?]
KYLE: Hey, kid. Where'd your mom go?
MELISSA: I dunno. But I was crying 'cause I wanted to see my mom for
Christmas, right? And so Dad said we could go and see her.
KYLE: So where are you going?
MELISSA: I dunno.
KYLE: That's quite the plan.
<goes to MELISSA1D, then MELISSA1E>
[Where is your mom?]
KYLE: Tell me something, will you? Where's your mom?
MELISSA: I dunno. Only my dad knows.
<goes to MELISSA1B>
<MELISSA1D>
MELISSA: Where are you going, mister?
KYLE: Me? I'm here on business, so I go where the boss says. Just gotta wait
and see.
MELISSA: On business? That's just like my dad. My dad always has to do
whatever his boss says. That's why he's so busy. [What's your dad's job?]
<back to QUESTIONS>
[New Question: What's your old man do?]
KYLE: What's your old man do?
MELISSA: Old man? Who's that?
KYLE: Your dad. What kind of work does your dad do?
MELISSA: He's a surgeon and stuff. He works at some hospital somewhere.
KYLE: A sawbones, huh?
MELISSA: Yeah, I guess. And my mom works at an art museum. Her name's Grace.
My mom's...
KYLE: I didn't ask about your mom, kid.
<Melissa looks sad.>
KYLE: ...Fine, go ahead. What's your mom like?
MELISSA: What's she like? She's nice, and pretty, and she bakes really good
birthday cakes.
KYLE: What else?
MELISSA: Well, she always said nice stuff about my drawings. I used to draw
pictures of my mom all the time.
KYLE: Pictures of your mom?
MELISSA: Uh-huh.
KYLE: Sounds like a class act... Why don't you draw a picture of her in this?
[I open my notebook and give it to Melissa.]
MELISSA: Sure, I guess.
[Melissa drew a picture in my notebook.]
MELISSA: There.
<He takes back the notebook.>
KYLE: <looks at the picture> Hmm?
<If haven't given the puzzle piece back yet, the scene above marked
MELISSA-PUZZLE will play, then goes to MELISSA1E. If you have already given
it back, it goes straight to MELISSA1E>
<end MELISSA1D>
<MELISSA1E>
<A door opens and someone comes out.>
KYLE: Huh? You're...
KEVIN: Melissa! What are you doing?
MELISSA: Dad, I was--
KEVIN: Get back in this room right now, young lady!
MELISSA: OK.
KEVIN: ...
[The two of them go into Room 219.]
<If you didn't get the earlier scene with Kevin:>
KYLE: (So that's Melissa's father, huh? I can see why his wife split.)
<If you DID get the earlier scene with Kevin:>
KYLE: (What's up with that guy? I can see why his wife split.)
<Scene ends.>
<Kyle goes to the lobby.>
KYLE: Huh?
<He sees a girl standing in the corner.>
KYLE: Who are you?
<He walks over to the girl.>
KYLE: Hey... You got a second? <She doesn't turn around.> Hey! <He grabs her
and turns her to face him.> Huh? (That's her. That's the girl I saw on the
drive out here.)
KYLE: It's you! I saw you standing alone by the side of the road. You were
on the side of the highway, about an hour from here. <She doesn't respond.>
What? What's wrong? Not you? (What's going on? Why won't she say anything?)
<She just stares.>
KYLE: Huh? Wait a minute... Sorry, are you deaf? I didn't mean to...
ROSA: She can hear just fine! Mmm-hmm!
[There's a voice behind me.]
ROSA: But she hasn't said boo since she arrived. Don't ask me why not! I don't
know.
KYLE: Who are you?
ROSA: Me? I'm Rosa. The maid. AND the cook. Who are you?
KYLE: (Rosa, huh?) So you're Rosa?
ROSA: Mmm-hmm, that's right. Rosa. You got it. Why are you asking? Has someone
been talking about me again?
KYLE: Yeah, I ran into Dunning at the front desk. He came out screaming 'cause
he thought I was you.
ROSA: Oh, did he now? Yeah, that sounds like Mr. Smith. Sorry about that. I
bet the boss was lost in one of his hockey games. As usual. He's supposed to
be watching the front desk. 'Course he never does. The man is useless. Totally
useless.
KYLE: Right... So who's the girl?
ROSA: Her? Miss Talkie over there? That's Mila. Why? Why you asking? There
something you need from her? [Her name's Mila?!]
<If you try to talk to Mila:>
KYLE: Hello? Can't answer me, huh?
<He talks to Rosa.>
ROSA: Who are you, anyway? I haven't seen you around before.
KYLE: That doesn't surprise me. I'm a guest. Probably don't see too many in
this place.
ROSA: Well, don't I feel silly! I didn't realize! I assumed you were one of
those traveling salesmen!
KYLE: (Huh?)
<followup>
[A salesman, huh?]
[I look like a salesman?]
<If you don't follow up:>
ROSA: I should have given you a real Hotel Dusk welcome. Sorry. Again.
[A salesman, huh?]
KYLE: Wait a second... Why'd you think I was a salesman?
ROSA: Red Crown.
KYLE: What?
ROSA: The jacket. On your back. You're wearing one of their jackets,
aren't you?
KYLE: Guess I am.
ROSA: So then I was right, wasn't I? Yeah, I knew it. Mmm-hmm! I bought
some things from one of your salesmen before. He gave me a song and
dance about how great your stuff is. Of course, he lied. Do me a favor.
Get your company to sell things that are worth a darn.
[I look like a salesman?]
KYLE: Wait a second... Do I look like a salesman to you?
ROSA: Ha! Like a salesman who doesn't sell too much! <Kyle looks
abashed.> Oooo, right on the money, aren't I? Yes, I knew it!
ROSA: So tell me, what's your name? Wait! Let me guess! Um...no. I have no
idea.
KYLE: Kyle Hyde.
ROSA: Oooooohhhh... So YOU'RE the man staying in Room 215. Shoulda known,
shoulda known.
KYLE: Look at that. You do know me.
<goes to QUESTIONS. If you look at your notebook, Rosa asks, "What're you
reading?" If you leave the Questions list:>
ROSA: Is that everything? Because I'm busy. I hope that's everything.
KYLE: Yep.
<If you talk to Rosa again:>
ROSA: What is it?
KYLE: Got a minute?
<goes to QUESTIONS>
[Question: I got the wrong package.]
KYLE: Your bellhop delivered a package a few minutes ago. But it wasn't mine.
ROSA: Huh? What? He brought you the wrong package? What a dolt!
KYLE: Yeah, looks like he got his wires crossed somewhere.
ROSA: Sorry about that. I'll make him look into it. Don't worry about a thing.
<If you still have questions, it goes back to the Question list. If not, it
goes to ROSA1B>
[Question: Her name's Mila?]
KYLE: So the girl's name is Mila?
ROSA: Oh yeah. Sure. Well, that would be my guess. I mean, that's what the
bracelet on her left arm says.
KYLE: (Bracelet?) <He looks at the bracelet.> Wait, that looks like...
<flashback>
<Kyle aims and shoots at Bradley. As Bradley falls back, Kyle sees a bracelet
on Bradley's wrist.>
<flashback ends>
KYLE: That's impossible. (The bracelet Bradley was wearing... It couldn't
be...)
ROSA: What is it? Something wrong? What's wrong?
KYLE: No...it's nothing.
ROSA: Oh...OK. Fine by me.
KYLE: So...the girl. Is she staying here tonight?
ROSA: Yeah, I think so. I'll probably drop her in my room. [Drop her? What's
that mean?]
<back to QUESTIONS>
[New Question: You're going to drop her?]
KYLE: What do you mean?
ROSA: It means I'll let her stay in my room. As a favor?
KYLE: You have a room?
ROSA: Yeah, that's right. A room. I work here and live here, too. Lousy deal,
I know. But that poor young girl's obviously lost, so what can I do? Nothing,
that's what!
KYLE: I thought only little kids got lost.
ROSA: Well, she might be a smidge old to be called lost, but she sure looks
out of place. I heard she was just standing on the side of the road. Poor
thing! She doesn't have any luggage or anything.
KYLE: Did she make it here all on her own?
ROSA: No, she got a ride. Hitchhiked. That young man who checked in earlier
brought her. [Young man?] I guess he saw her on his way here and picked her
up. But then he found out she doesn't talk, so he left her here. You believe
it? Pretty cold if you ask me! Leaving her here all alone like that! Just
ain't right.
<back to QUESTIONS>
[New Question: What guy brought her?]
KYLE: Who brought her in?
ROSA: Fellow's name is Jeff Angel. He's in 213. Why? Why'd you ask? Do you
know him?
[Nope. Don't know him.]
[Yeah, we met.]
[Nope. Don't know him.]
KYLE: Never heard of him.
ROSA: That so? No sense in talking about him to you then!
[Yeah, we met.]
KYLE: I met him. Briefly.
ROSA: That so? Then you understand what I'm talking about! He looks
harmless enough, right? But it's the ones who look sweet that you have
to fear, and for a fact!
ROSA: I'm sure he just picked her up because she's cute. Then he abandons
her! What a creep!
<If you still have questions, it goes back to the Question list. If not,
it goes to ROSA1B>
<ROSA1B>
<The phone starts ringing.>
[The front desk phone is ringing.]
ROSA: Phone again? Guess I gotta do everything around here! Sheesh!
[Rosa runs to the front desk and answers the phone.]
ROSA: Hotel Dusk, front desk. Uh-huh. Uh-huuuh. ...How's that again? Got the
wrong package? Bellhop brought it up? ...No, doesn't surprise me one bit. Huh?
Who's it for again? Kyle Hyde? Yeah. No. No, I hear you! Don't yell, I'm not
deaf! That package should have been delivered to the guest in 215. Oh, you
don't have to do that. ...Well, sure, but... OK, OK, I understand. I'll
contact the guest in 215, sir. Sorry for the inconvenience.
[Rosa finishes talking and hangs up the phone.]
KYLE: That sounded promising.
ROSA: Seems we found your missing package. Good timing, eh? That was another
guest. Sounds like he got it by mistake. He said he'll just take it on over
to your room. Pretty nice of him.
KYLE: Works for me.
ROSA: I think that about covers it, right? Now you just go on up and wait in
your room. Go on, now! Move it! <To Mila> C'mon, honey, let's go. You just
stick with Rosa and let her take care of you. <Mila nods.>
[Rosa and Mila walk off to the far end of the lobby.]
KYLE: (Mila, huh? That was the name of Bradley's kid sister.)
[05:20 PM]
<Kyle goes to the 2nd floor.>
KYLE: (Maybe I should have a chat with Jeff Angel about Mila.)
<He knocks on 213. Jeff comes out. If you didn't talk to him earlier:>
JEFF: Who is it? You need something?
KYLE: Kyle Hyde. I'm in 215.
JEFF: I'm Jeff. Jeff Angel.
KYLE: (Jeff Angel? Wonder what this punk's story is?) Tell me
something, Jeff.
<If you DID talk to Jeff earlier:>
JEFF: Yes? What is it?
KYLE: I met a girl in the lobby named Mila.
JEFF: Mila? Who's that?
KYLE: You should know. You brought her here.
JEFF: Oh. Her. [You didn't know her name?] What about her?
<goes to QUESTIONS. If you look at your notebook, Jeff asks, "What are you
looking at?" If you leave the Questions list, it goes to JEFF1D, then when you
knock on his door again:>
JEFF: You again? What is it?
<goes to QUESTIONS>
<If you have any unanswered questions from the first conversation with Jeff,
they will also be here.>
[Question: It's too bad I'm not a cop?]
KYLE: You said it was too bad I wasn't a cop. What's that mean?
JEFF: Nothing much. I just thought it would be cool to have a cop or a
detective in the hotel.
KYLE: (Huh?)
<followup>
[Cool?]
[No detectives here.]
<If you don't follow up:>
JEFF: But what're the chances of being here at the same time?
With a real detective, I mean. Can't happen too often, right?
<If you still have questions, it goes back to the Questions list.
If not, it goes to JEFF1D>
[Cool?]
KYLE: Hold it. What did you mean by "cool"?
JEFF: Oh, that. Take a look around. Better yet, take a sniff.
This hotel... It's like the set of some cheap TV crime drama,
don't you think? What if a real crime took place? Something
sleazy and violent. And then if a real gumshoe was here
trying to figure things out...? C'mon! That would be cool! Even
you must think so.
KYLE: That's an odd thing to think about.
JEFF: Yeah, I'm a pretty deep guy. Hey, take it easy. I'm not a
criminal or anything.
<If you still have questions, it goes back to the Questions list.
If not, it goes to JEFF1D>
[No detectives here.]
KYLE: Hold it. Well, no detectives here.
JEFF: No, it doesn't appear so. But then again, who knows?
KYLE: Got a thing for detectives?
JEFF: A thing? Well...I wouldn't mind meeting a down-and-out
detective. You know, the kind who'd stay in this dump? Guns and
dames and all that?
<If you still have questions, it goes back to the Questions list.
If not, it goes to JEFF1D>
[Question: You didn't know her name?]
KYLE: She never told you her name?
JEFF: Maybe. I don't remember.
KYLE: ...
JEFF: ...
KYLE: Why'd you bring her here?
JEFF: She asked me to. Said she had to get to Hotel Dusk.
KYLE: (Who would want to come to this dump? Other than a cockroach collector.)
<followup>
[She ASKED?]
[Why'd you pick her up?]
<If you don't follow up:>
JEFF: So I gave her a lift. Why, is there a problem?
<goes to JEFF1D>
[She ASKED?]
KYLE: Wait, wait. She ASKED you to bring her here?
JEFF: Of course! Well, kind of... Actually, she never said a word to me.
KYLE: She didn't talk? So how'd you know she wanted to come here?
JEFF: She had a brochure. Of the hotel, you know? [She had a brochure?]
You know, paper? Little pictures? Anyway, I figured it was her stop.
<goes to JEFF1E>
[Why'd you pick her up?]
KYLE: Wait, wait. Why'd you give her a ride?
JEFF: I'm a nice guy. Something wrong with trying to help out a girl
in trouble? She had a brochure. Of the hotel, you know? [She had a
brochure?] Yeah. You know, paper? Little pictures? Anyway, I figured it
was her stop.
<JEFF1E>
<back to QUESTIONS>
[New Question: She knew about this hotel?]
KYLE: So she knew about this hotel, did she?
JEFF: Are you practicing to be an echo chamber or something? Yeah, she knew.
She was carrying a brochure from this hotel. I don't get why this is so hard
for you. I asked her where she was headed. She showed me the brochure. I
needed a place to stay, too, and figured one place was as good as another. So
here I am. Believe me, I wouldn't have stopped if I knew what a dump it really
was.
<If you still have questions, it goes back to the Questions list. If not,
it goes to JEFF1D>
<JEFF1D>
JEFF: You need anything else?
KYLE: No.
JEFF: All right. Good-bye, then.
[Jeff finishes talking and shuts the door.]
<end JEFF1D>
<If you didn't follow up during the "You didn't know her name?" question, and
you knock on Jeff's door again:>
JEFF: You again? What is it?
<goes to QUESTIONS. No questions. When you exit the Questions list, it
goes to JEFF1D and continues on.>
<If you did follow up during the "You didn't know her name?" question, finish
all the questions, and then try knocking on Jeff's door again:>
JEFF: Go away.
<Kyle walks down the hall. A door opens.>
KYLE: Huh?
[A door opens on the right side of the hallway, and a woman steps out.]
IRIS: You must be the man from Room 215.
KYLE: Yeah. Who are you?
IRIS: I'm staying in 216.
KYLE: That's a funny name.
IRIS: I'm Iris.
KYLE: Iris, huh?
IRIS: ...You're not much of a conversationalist, are you?
KYLE: No, but I can carry a tune.
IRIS: I'm sure you can carry all manner of things, Mr...
KYLE: Hyde. Kyle Hyde.
IRIS: Mr. Hyde, hmm? I'll make a note of it.
KYLE: (Make a note of it? What the hell's that supposed to mean?)
You need something?
IRIS: No, not really. I was just confirming a hunch. [Confirming a hunch?]
<goes to QUESTIONS. If you look at your notebook, Iris asks, "What are you
looking at?" If you leave the Questions list:>
IRIS: Is that everything? Then may I suggest that you buy an outdated
map and get lost?
[Iris goes inside and slams the door.]
<When you knock on her door again:>
IRIS: Who is it?
KYLE: Kyle Hyde, from 215.
<The door opens.>
IRIS: Do you need something from me, Mr. Hyde?
KYLE: Hold on.
<goes to QUESTIONS>
[Question: What are you confirming?]
KYLE: What'd you want to confirm?
IRIS: I merely wanted to see what manner of man was staying in this room.
That's all.
KYLE: Why?
IRIS: Well, it would be awful if some lowlife were staying here, hmm? I gave
specific instructions upon check-in, but it seems that no one listened. I
demanded that no one stay in the room next to me or across the hall. And yet,
the owner gave you 215 and never said a word to me! Appalling, isn't it?
KYLE: (What? What's she rambling about?)
IRIS: What is your line of work, Mr. Hyde?
[I'm a salesman.]
[I'm not answering that.]
[I'm a salesman.]
KYLE: Traveling salesman.
IRIS: Is that so? Well, that's a relief!
KYLE: (You feel relieved?) Why's that?
IRIS: Because it means you won't try to take my picture, Mr. Hyde.
KYLE: Your picture? You're cute and all, but why would I do that?
I got better things to do.
<Iris pouts.>
[I'm not answering that.]
KYLE: Why should I answer that?
IRIS: Excuse me?
KYLE: You and me, we're strangers. I don't owe you squat.
IRIS: You're a charming man, Mr. Hyde. I must introduce you to all my
friends.
<If you chose "I just transferred" in your first conversation with Louie:>
IRIS: Good day, Mr. Hyde. I'll be...
LOUIS: Yo, Officer Hyde!
KYLE: Huh?
LOUIS: See you've made nice with your foxy neighbor. You're smooth,
man! Smoooooth.
IRIS: Oh, please...
KYLE: Don't mind him. He's just the bellhop.
LOUIS: Officer Hyde, travelin' the land! Lockin' up punks and...
investigatin'...stuff. You got it goin' on, man!
IRIS: Investigating?
LOUIS: You know it! You're looking at one'a New York's finest. My man,
Detective Kyle Hyde.
IRIS: A detective?
LOUIS: Yeah, straight from the 89th Precinct to your heart! Ka-pow!
IRIS: Is that so?
KYLE: Louie? There a reason you're telling her this?
LOUIS: Easy, man! It ain't like a secret or anything, right?
IRIS: If you'll excuse me?
[Iris returned to her room.]
KYLE: (What're the chances a woman like that would be staying across
the hall? Of all the lousy luck.) [Why's the princess here?]
LOUIS: Sorry, man. Didn't mean to mess up your game!
KYLE: That's sweet. What do you want, Louie?
LOUIS: Nothing, man. I was just killin' time. Then I saw you chatting
up the fox, ya know? Thought maybe I could sneak in a couple of lines
myself? Steal her heart?
<goes to KYLE1E>
<If you chose "I hung it up" in your first conversation with Louie:>
IRIS: Good day, Mr. Hyde. I'll be--
LOUIS: Yo, Hyde!
KYLE: Huh?
LOUIS: Makin' your sales pitch to the ladies, eh? I love it, my man!
Grrrrrawl!
IRIS: Oh, please...
KYLE: Don't mind him. He's just the bellhop.
IRIS: I know who he is. He carried my bags when I checked in. I believe
his name is Louis DeNonno. Do I have that right?
LOUIS: Hey, she remembered! Now I can die happy.
IRIS: I couldn't very well forget. You introduced yourself about a
thousand times.
KYLE: You need me for something, Louie?
LOUIS: Yeah, actually...
IRIS: I'll take that as a cue to excuse myself. Gentlemen?
[Iris returns to her room.]
KYLE: (What're the chances a dame like that would be across the hall? Of
all the lousy luck.) [Why's the princess here?]
LOUIS: Sorry, man. Didn't mean to interrupt ya.
KYLE: Don't worry. It was perfect timing.
LOUIS: Whatever you say, man.
KYLE: What do you want?
LOUIS: Nothing really, man. I just saw you chatting up the fox, ya know?
Thought maybe I could sneak in a couple of lines myself? Steal her heart?
<KYLE1E>
KYLE: You're an idiot. And here's more proof that I'm right. You brought me
the wrong package. Two packages to deliver and you got 'em both wrong. Nice
work, Louie.
LOUIS: What?
KYLE: Luckily when I went down to the front desk, the guy who got my package
called. He's going to drop it by my room later.
LOUIS: So we're all cool then, right, man?
KYLE: No. We're not cool. You're an idiot and I'm ticked off!
LOUIS: Chill, brother! No need to blow a fuse, yeah? Anyway, gotta blow.
[Louie leaves.]
KYLE: (Same old Louie.)
<If you knock on Iris' door:>
IRIS: Who is it?
KYLE: Kyle Hyde, from 215.
<The door opens.>
IRIS: Mr. Hyde? What do you need?
KYLE: I got questions.
<goes to QUESTIONS. If you leave the Questions list, it goes to IRIS1A.
When you knock on her door again, it goes back to the beginning of this
scene.>
[Question: Why is the princess here?]
KYLE: Why are you staying here?
IRIS: Pardon? I can understand why you'd want to speak to me, but...
I'm sorry. I don't have time to...chat with you right now. And I
think you should mind your own business! Now please leave.
<IRIS1A>
IRIS: Is that everything? Then may I suggest that you buy an outdated
map and get lost?
[Iris goes inside and slams the door.]
<end IRIS1A>
<After the above conversation, if you try to knock again on 216:>
IRIS: Go away.
<Kyle goes back to his room. If you didn't follow up with Jeff during the "You
didn't know her name?" question, you will get this scene when you try to enter
Room 215:>
KYLE: (Wait a minute... What did Jeff say?)
<flashback>
JEFF: She asked me to. Said she had to get to Hotel Dusk.
<end flashback>
KYLE: Mila can speak?
<Kyle knocks on Jeff's door again. The door opens.>
JEFF: You again? What is it?
<goes to QUESTIONS>
[Question: Can Mila speak?]
KYLE: Hey, you said Mila asked you to bring her here, right?
JEFF: That's right.
KYLE: You sure?
JEFF: Well, she was carrying a hotel brochure, you know? [She had a
brochure?]
<goes to JEFF1A, then JEFF2A, then continues on to the Martin scene>
<Kyle enters his room. Someone knocks. If you chose "I just transferred" in
the conversation with Louie and then went through the "detective" thing in
the talk with Iris, you will get this scene:>
KYLE: Huh? Who's there?
DUNNING: Hyde! I need to talk to ya!
KYLE: Oh, it's you.
DUNNING: I got me a complaint about ya from the guest in Room 216! Said
there's somethin' fishy 'bout ya!
KYLE: Room 216? That woman? Iris? What in the hell does she have to
complain about? That lady's clueless. What did she say?
IRIS: WHAT?! Did you say I'm clueless?!
KYLE: (Oh, great. Now she's pissed.)
<followup>
[Calm down.]
[Cut the crap!]
<If you don't follow up:>
KYLE: Right there all along, huh?
IRIS: You're a jerk!
KYLE: Relax, doll. Didn't mean to offend you. Sorry, OK?
IRIS: As long as you understand your mistake.
KYLE: But tell me something. What did I do to bother you? What's
fishy about me?
IRIS: It's what that bellhop guy...you know, Louis? It's what
he said. He said you were a detective.
KYLE: Ha ha ha!
IRIS: What's so funny?
KYLE: It was a joke.
IRIS: A joke?
KYLE: Do I look like a detective? I'm not cut out for the badge.
Too dangerous, and the pay stinks. So I guess I'm a man you can
feel safe around.
IRIS: I... I see.
<goes to IRIS1B>
[Calm down.]
KYLE: Hold it. Calm down. You're going to have a stroke.
IRIS: But you just said... You called me clueless, you...you CAD!
KYLE: Don't get so worked up. You're prettier when you're not
screaming and carrying on.
IRIS: What? I... I am? I'm pretty?
KYLE: Yeah, sure. Why not?
IRIS: Oh... T-thanks.
KYLE: So what's the problem? Why don't you trust me?
IRIS: It's what that bellhop man...you know, Louis? It's what he
said. He said you were a detective.
KYLE: Ha ha ha!
IRIS: What's so funny?
KYLE: It was a joke.
IRIS: A joke?
KYLE: Do I look like a detective? I'm not cut out for the badge.
Too dangerous, and the pay stinks. So I guess I'm a man you can
feel safe around.
IRIS: Oh, I see.
<IRIS1B>
KYLE: As long as the air's been cleared.
DUNNING: Hey! What in the Sam Hill is goin' on here?!
IRIS: I'm sorry, Mr. Smith. It was a misunderstanding on my part.
DUNNING: A misunderstandin'?
IRIS: Yes.
KYLE: ...Huh.
DUNNING: Well, strike up the band and drop the ticker tape!
Sheeeee-eesh! Guess there was no need to haul my butt up here!
Sorry for the trouble, Mr. Hyde.
IRIS: Bye now.
[The two of them leave the room.]
MARTIN: Oh dear... Begging your pardon, but are you Kyle Hyde?
<goes to KYLE1F>
[Cut the crap!]
KYLE: Hold it. Cut the crap! You don't want to get on my bad side!
IRIS: <red aura> You're nothing but a lying jerk!
KYLE: Lying jerk? What's your problem, lady?
IRIS: So you think I'm clueless, do you? Well, try this on for size!
When that bellhop said you were a cop, I got curious. I thought I'd
check to see if it was true, so you know what I did? I made a call
to the NYPD, that's what! I called the 89th Precinct and asked to
speak to Detective Kyle Hyde.
KYLE: ...You did what?
IRIS: Oh yes I did! And you know what? They said there was NO
SUCH PERSON!
DUNNING: What now, pal?! You wanna show us yer cereal-box badge?
IRIS: Come on! Show me! Show me your license to be a jerk!
KYLE: I'd rather not.
IRIS: You don't have a badge, do you? It's just like I told you
earlier, Mr. Smith.
DUNNING: Listen, you! I dunno who the hell ya are, but I don't
need no troublemakers in my place! There's two ways ya can
leave... On yer feet, or on yer ass! You decide!
KYLE: What? (Great, Hyde. Why'd you have to go and lie to Louie
earlier?
<flashback>
LOUIS: You, uh... You said you changed gigs, yeah? What's the
story?
<end flashback>
KYLE: ...Damn.
[GAME OVER]
<If you don't get the above scene with Iris and Dunning, the following scene
plays when Kyle enters his room.>
<Someone knocks on the door.>
KYLE: Huh? Who's there?
<He answers the door. Martin is there.>
MARTIN: Um... Begging your pardon, but are you Kyle Hyde?
<KYLE1F>
KYLE: That's right.
MARTIN: And did you perhaps receive a call from the front desk? About the
parcels?
KYLE: Yeah. You the guy who called down earlier?
MARTIN: The very same! My name is Martin Summer, and I'm currently lodged in
Room 211.
KYLE: (Martin Summer, huh?) [I've heard his name before.]
MARTIN: At any rate, about the parcels?
KYLE: Yeah?
MARTIN: The footboy delivered a parcel to my room some time ago.
Unfortunately, it appears he somehow brought me the wrong one. However...
KYLE: Yeah?
MARTIN: Please forgive me, but I failed to notice until after I opened it.
The contents were not what I was expecting, you see. At any rate, I saw the
name Kyle Hyde on the form, and so here I am!
KYLE: (Huh?)
<followup>
[Don't read my stuff!]
[You like my name?]
<If you don't follow up:>
<goes to MARTIN1A>
[Don't read my stuff!]
KYLE: Hey! You read it?!
MARTIN: Well, yes... <red aura>
KYLE: That's private property, buddy! What's your problem?
MARTIN: Please, Mr. Hyde! You've no cause to take that tone with me.
This is rather boorish behavior toward a man you've only just met!
KYLE: (Huh?)
<followup>
[I'll show you behavior!]
[Sorry. Got carried away.]
<If you don't follow up>
MARTIN: Don't you agree?
KYLE: Yeah... I guess. ...Sorry. Sometimes my mouth moves before my
noodle can catch up.
MARTIN: As long as you understand, I'm willing to forgive and
forget. It reminds me of--
<goes to MARTIN1A>
[I'll show you behavior!]
KYLE: Hey. Don't like my behavior? Give me a second and then you
REALLY won't like it!
MARTIN: Mr. Hyde, please! <red aura> It's true that I did look at
the contents of your parcel. However, let me assure you I intended
no harm. These things happen and--
KYLE: These things happen? Oh, is that right? Well screw you,
buddy! You think I'll let you off because things happen? I oughta
cuff you around!
MARTIN: This is...this is simply shocking! Very well, Mr. Hyde. Have
it your way. I sought merely to be courteous and deliver to you your
parcel. I can see now that was a mistake. I'll deliver it to the
front desk instead.
[Summer finishes speaking and leaves the room.]
<The phone rings.>
KYLE: Huh? It's the phone. <He answers it.>
RACHEL: Hello?
KYLE: Rachel?
RACHEL: It's me, sweetie. Did you receive the package?
KYLE: Yeah, well... Look, here's the deal. The idiot bellhop got his
wires crossed. Delivered my package to another guy.
RACHEL: Are you serious?
KYLE: Yeah. I oughta sock him one.
RACHEL: You have to get it back, Kyle! It's important!
KYLE: Yeah, yeah, I know. I'll get it back, don't worry.
RACHEL: Don't screw this up, Kyle! I'm serious!
KYLE: Got it. Thanks. <hangs up>
<He leaves the room. He sees Dunning in the hall. If you talk to
him:>
KYLE: Got a minute?
DUNNING: What is it? I'm busy. Talk to me later.
<returns to hotel>
<When Kyle gets close enough, the following scene plays
automatically:>
KYLE: Huh? Someone's in the hallway.
DUNNING: There ya are, Mr. Hyde! Hold it right there! I was just
comin' to see ya!
KYLE: You need something?
DUNNING: Just got a call from Mr. Summer 'bout a package. The one
was s'posed to go to you, but got sent t'him by accident? He said
ya chewed his ass out just 'cause he opened the damned thing! Must
be somethin' in that package ya don't want nobody else to see, huh?
I dunno if it's drugs or guns or what, but I told ya I don't want
no trouble! I ain't takin' no chances! Pack yer stuff and hit the
road!
KYLE: What?
KYLE: (That's not what... I didn't mean to give Summer a hard time.)
<flashback>
MARTIN: You have no cause to speak to me in such a manner, Mr. Hyde!
It's true that I did look at the contents of your parcel. However,
let me assure you I intended no injury. These things happen and--
<flashback ends>
KYLE: Right.
[GAME OVER]
[Sorry. Got carried away.]
KYLE: Hey. Sorry, buddy. I got a little carried away there. It's an
important package. I... I let my mouth get ahead of me.
MARTIN: As long as we understand each other, I shall forgive. It
reminds me of--
<goes to MARTIN1A>
[You like my name?]
KYLE: Hey! Good name, isn't it?
MARTIN: Indeed. Quite a nice name, actually.
<MARTIN1A>
KYLE: Skip the explanation. I got a short attention span.
MARTIN: Is...is that so?
KYLE: Our packages got swapped. Mine was delivered to your room, right? And
the one I got here is probably yours. That about cover it?
MARTIN: Yes, I do believe that summarizes the situation.
KYLE: So. Where's my package?
MARTIN: Oh, yes, I brought it with me. It's right here.
KYLE: <looks at the box at Martin's feet> That's it, huh?
MARTIN: Yes.
<goes to QUESTIONS. If you look at your notebook during the Question phase,
Martin asks, "What are you reading?" If you try to leave the Questions screen,
Kyle thinks, "Maybe I should keep him talking," and returns to the Questions
list.>
[Question: I've heard of you.]
KYLE: Martin Summer? I've heard that name before.
MARTIN: Yes, that's not surprising. Perhaps you've run across my name in a
magazine? Or a newspaper? Does that strike a familiar tone, Mr. Hyde?
KYLE: Huh?
MARTIN: I suppose it's possible that you've actually read one of my books...
[Books? This guy's a writer?] No?
KYLE: Maybe.
<back to QUESTIONS>
[New Question: You're a writer?]
KYLE: You a writer?
MARTIN: Yes, that is correct, although I prefer to think of myself as an
author. I pen novels mostly, although I have dabbled in other, more obscure,
mediums.
KYLE: Novels? What kind?
MARTIN: Mysteries.
KYLE: They sell?
MARTIN: Yes, they do all right. You can find my work in most bookstores of
note. I have quite a large female fan base, actually.
KYLE: You don't say.
MARTIN: Have you perhaps read any of my novels?
[Nope.]
[Uh...yeah... Sure...]
[Nope.]
KYLE: Nope.
MARTIN: I see. Well, not wholly unexpected, but a shame nonetheless. If
you get the chance, I hope you will read one.
KYLE: Sure. Why not?
<goes to MARTIN1B>
[Uh...yeah... Sure...]
KYLE: Yeah, I read one.
MARTIN: Truly? Tell me, which one?
[The Angel Whispers.]
[A Tale of Two Gangsters.]
[The Angel Whispers.]
KYLE: I think it was called "The Angel Whispers."
MARTIN: You read it? Oh, how exciting! To learn that you've read
that story... Well, it fills me with pure happiness!
<goes to MARTIN1B>
[A Tale of Two Gangsters.]
KYLE: Oh, it was... "A Tale of Two...um...Gangsters." Or something.
MARTIN: ... Unfortunately, that is not one of my novels, Mr. Hyde.
I don't think it even exists.
KYLE: ... <looks abashed>
<goes to MARTIN1B>
<MARTIN1B>
<If you previously showed the notebook to Martin via the Questions list:>
MARTIN: My notebook, Mr. Hyde... Please return it.
KYLE: Sure. This is the notebook that was in the package I received.
[I give the old notebook back to Summer.]
MARTIN: This is the notebook! This is what I have been waiting for!
<goes to MARTIN1C>
MARTIN: Now then, Mr. Hyde... Shall we discuss my parcel, which was
inadvertently delivered to you?
KYLE: Sure. I'm game. All that was in the package was this notebook.
[I show Summer the old notebook.]
MARTIN: Eureka, that's it! This is the notebook! This is what I have been
waiting for!
<MARTIN1C>
KYLE: Great. Then I'll take my package from you and we'll call it a day.
MARTIN: Yes, please do.
KYLE: (Doesn't look like he can take his eyes off that notebook. Guess he was
really looking forward to getting it. ...Must be a writer thing.)
[I pick up the box that Summer brought with him. I toss it on the bed.]
KYLE: Hey.
MARTIN: Oh, yes... My apologies. Let me just...
KYLE: Hey!
MARTIN: ...Hmm? Oh! Oh, yes. Yes, I suppose I should depart. It's fortunate
for both of us that we discovered this mistake when we did. Now, if you'll
excuse me.
[Summer finishes talking and leaves the room. ...Stupid writers.]
<If you showed Martin the notebook during the Question phase, you will get the
following if you try to leave Room 215 without opening the package:>
KYLE: Glad that's over. Guess I should open the thing.
<You will not be allowed to leave the room until you open the package.>
<If you examine the box that held Summer's notebook:>
[There's a cardboard box on the bed.]
<closeup> [Box is empty.]
<Kyle checks out the box that Summer brought.>
[The package Summer brought is on the bed. There's an order sheet, new
products, and a client list inside the box.]
KYLE: It's the order sheet.
[I got the order sheet that was inside the box. The items I'm supposed to
find are listed on here.]
KYLE: ( 1. A small red box. 2. The December issue of a magazine with Cecily
Lee on the cover. Guess it's time to call Rachel.)
[And there's the client list. Just like Rachel promised.]
[I got the client list.]
KYLE: (Better remember to put this in my suitcase. Don't want Rachel to bite
my head off.)
<When you check the products in the box:>
[What the... A portable mini sewing machine? Great.]
[Adhesive remover? ...No one's going to buy this crap.]
<If you check the box again:>
[There's a cardboard box on the bed.]
<closeup>
[The products Ed sent over are in the box.]
<If you try to leave the room without calling Rachel:>
KYLE: Oh, right... Better give Rachel a call.
<He checks the phone.>
KYLE: Guess I'll give Rachel a call.
<Kyle calls.>
RACHEL: Red Crown, this is Rachel.
KYLE: It's Hyde. I got the package.
RACHEL: I knew you would, sweetie.
KYLE: A red box and a girlie mag? I'm thrilled. Who's the client on this one?
RACHEL: Somebody new. Seems to be in a hurry, too.
KYLE: You figure it's some sort of business deal gone wrong?
RACHEL: That's what it sounds like. But who knows what's in the box? Could be
trouble.
KYLE: My old friend.
RACHEL: Any idea where to start?
KYLE: Yeah, I'll head down to the front desk and poke around the lost and
found. If that doesn't work, guess I just gotta canvas the hotel.
RACHEL: Nice plan, handsome. Let us know if you come up with anything.
KYLE: Ed around?
RACHEL: He just stepped out. Some old client called and asked to see him.
Said he'd be right back, though. Why, you need something?
KYLE: No rush. I'll call back.
RACHEL: I've got a weird feeling about this one, Kyle. Be careful.
KYLE: Only 'cause you asked.
<He hangs up.>
KYLE: (Ed Vincent's the president of Red Crown. He's an ex-L.A. cop who worked
like a dog until they forced him to retire. My old man died when I was ten,
but he and Ed were good friends. And as for me, well... Ed's the only one who
knows I'm still searching for Bradley. The only one who knows I won't let it
go. But now I run into Louie, another voice from the past. What're the chances
of him being here? Slim to none, and slim left town. Throw this girl Mila into
the mix, and things get nine kinds of odd. I'd better think all this through
and make sure it's straight in my head.)
<goes to CHAPTER REVIEW>
The guy who pays the bills at Red Crown has spoken. And when Ed speaks, I go.
That's why I'm this side of nowhere in some hole called Hotel Dusk. The reason
I'm here is...
1. To get some rest.
No, that ain't it. I'm not tired. I'm just pissed off with this whole
situation.
2. To find certain items.
That's right. I sell household goods for Red Crown, which is run by my
old man's pal, Ed. I also lend a hand with a hobby of his. Ed's got a
side business finding things that get themselves lost.
3. To meet my dad.
No, that ain't it. My dad died when I was ten. Couldn't meet up with him
even if I wanted to.
Had an interesting chat with Dunning, the hotel owner, when I checked in. He
mentioned a couple of things that I can't quite get out of my head. First, six
months ago some guy with my name stayed here. Second, the room I'm in, Room
215, has a history. The story he told me about the room was...
1. That it grants wishes.
That's right. He said the room grants wishes. Said if I stayed there, my
wish would come true. Kept a straight face, too. If I met him in New
York, I bet he'd try to sell me the Brooklyn Bridge. Here's what gets
me... Why'd he tell me such a crazy fairy tale in the first place?
2. That it's a suite.
No, that ain't it. Room 215's the cheapest room in the place. It sure
ain't a suite.
3. That cops were there.
No, that ain't right. That's another story ol' Dunning felt the need to
share. Three years back, this hotel was used as a place to exchange
stolen goods. That's why it got raided by the cops. Dunning didn't say
it had anything to do with Room 215.
I checked in to Hotel Dusk and got Room 215. Then I waited in my room for the
package Ed sent. Imagine my surprise when the bellhop turned out to be Louie
DeNonno. I knew Louie from my days back east. He knows I used to be a New
York cop. But he didn't know my partner, whose name was...
1. Summer
No, that ain't it. Summer's the novelist staying down the hall in 211.
2. Dunning
No, that ain't it. Dunning owns this dump.
3. Bradley
That's right. My partner on the force three years ago was Brian Bradley.
We were investigating that crime ring responsible for all those art
thefts.
That idiot Louie brought me somebody else's package. I went to the lobby to
straighten things out. That's where I met the young girl named Mila. Mila
hitched a ride to the hotel with a kid named Jeff. She didn't have any
luggage or money, so Rosa took her under her wing. But the weird thing when
I talked to Mila was...
1. Her name was Mila.
No, that ain't it. Bradley's sister was named Mila, but that's not the
oddest thing.
2. She wore a bracelet.
That's right. It was the silver bracelet she had on her left wrist.
Looked like the one Bradley was wearing the last time I saw him.
3. She wore a white dress.
No, that ain't it. She was a looker in that little white number and all,
but... That wasn't what surprised me.
That idiot Louie brought me the wrong package. My stuff got sent to a guy
named Summer who's in Room 211. After a bit of jawing and other nonsense, I
finally got the damn thing. Inside the box was an order sheet, some new
products, and my client list. The order sheet listed the things Ed wants me
to find. It's a short list...only two things on it. One's a pinup mag with a
dame named Cecily Lee on the cover. And the other's...
1. A small red box.
That's right. The other thing I'm supposed to find is a small red box. I
gave Ed's secretary Rachel a call as soon as I got the order sheet.
2. An old notebook.
No, that ain't right. The old notebook was in Summer's package.
3. A pager.
No, that ain't right. I got the pager from Ed. It wasn't in the package.
Now that I know what I'm looking for, it's time to start searching the hotel.
But this job feels...different somehow. Off. Maybe it's 'cause I ran into
Louie. Haven't seen him for three years... Or maybe it's because there was
another guest named Kyle Hyde... Guess that girl I met by the front desk could
be behind it, too... Whatever it is, Bradley, I can't get you out of my head.
I feel like I'm gonna find something big here. Something that's gonna lead me
to wherever it is you disappeared to. Tell ya what, Bradley... I think it's
gonna be a long night.
==================================
4b. CHAPTER 2: DECEMBER 28TH, 1979
5:30 ~ 6:00 P.M.
==================================
<Kyle is back in his room.>
KYLE: (Well, what now... Guess I have to start searching this dump.)
<He leaves his room.>
KYLE: Huh? Someone's in the hall.
<He sees Rosa.>
<If you knock on Room 219:>
<The door opens.>
MELISSA: ...Yikes!
[Melissa sees my face and slams the door.]
<If you try to knock again, nothing happens.>
KYLE: <to Rosa> Oh. You. What're you doing?
ROSA: What? Me? What am I doing? What's it look like I'm doing? I'm cleaning!
Work my fingers to the bone, but you think this place stays clean? Of course
not. Know why? One of our guests is a slob, that's why!
KYLE: Don't look at me.
ROSA: Oh, if I thought it was you, you'd know! Cleaning isn't easy, you know!
It's a backbreaking, thankless task. And the DeNonno boy? HA! It's his job to
clean the floor, but he's so lazy! [Louie?]
ROSA: Boy up and vanishes whenever there's work to be done. I bet he's goofing
around somewhere. Eating chips and watchin' TV and so forth. Oh, and speaking
of Louis, I've got ANOTHER thing to tell you! Remember that girl you met
earlier? Mila? Remember her? That two-bit Casanova says he's fallen in LOVE
with her! I know! Poppycock, right? [He's in love with Mila?] Yes! I swear,
mooning over girls is the only thing he puts an effort to.
<goes to QUESTIONS. If you look at your notebook, Rosa asks, "What're you
looking at?" If you write in your notebook, Rosa asks, "What're you writing?"
If you ask no questions:>
ROSA: Are we done chatting?
KYLE: Guess so.
ROSA: Well, I'll get on with my cleaning then.
<Rosa remains in the hall. You can go up to her and ask her questions,
which is required to advance the story. If you do so, Kyle says:>
KYLE: Got a minute?
ROSA: Who, me? What? What is it?
<goes to QUESTIONS>
[Question: Tell me about Louie.]
KYLE: Tell me about the DeNonno kid.
ROSA: He's a useless bum!
KYLE: Useless, huh?
ROSA: Yes! Useless! That's what I said! But smooth as butter, that one. Knows
enough to tell folks what they like to hear. But when you really need him,
he's nowhere to be found! What a snake! Anyway, that's why I'm the one that
does all the work around this place. Want my opinion? We should let him go!
He's more trouble than he's worth. Oh, I asked Dunning about a replacement.
Someone who might actually try! Buuut... Who'd work in a hotel like this? The
stories alone keep folks away!
KYLE: (Yeah, I'm sure that's the only reason...)
<followup>
[You're shorthanded?]
[What stories?]
<If you don't follow up:>
<If you have more questions, it goes to the Question list. If not, it
goes to ROSA2A>
[You're shorthanded?]
KYLE: So... Short on workers, huh?
ROSA: Sure am! Say, if you know anyone looking for work, send 'em
over. Make sure they're reliable! I don't need more useless slackers
in my life...
<If you have more questions, it goes to the Question list. If not, it
goes to ROSA2A>
[What stories?]
KYLE: So... What stories?
ROSA: Well... I don't know if I should...
KYLE: You're the one who brought up stories. Spill it! You talking
about the whole wish-granting thing?
ROSA: Wishes? Pah! Don't be dense! It isn't anything as silly as that.
Truth be told? The whole thing goes back to the hotel's previous
owner.
KYLE: Oh really?
ROSA: ...Mmm-hmm.
KYLE: ...AND?
ROSA: Oh! Look at what I've done. Running my mouth about things I
shouldn't...
KYLE: (...Huh?)
<followup>
[You can't talk?]
[You talk too much?]
<If you don't follow up:>
<If you have more questions, it goes to the Question list. If
not, it goes to ROSA2A>
[You can't talk?]
KYLE: Got a sec? So what's this thing you shouldn't be talking
about?
ROSA: <red aura> Look, it doesn't really matter. Why don't you just
forget about it?
KYLE: Tell me.
ROSA: I don't want to talk about it! Listen, there aren't any
rumors about the hotel, OK? Just forget it.
KYLE: (What's going on?)
<followup>
[OK, I won't push you.]
[Spill it! Now!]
<If you don't follow up:>
<If you have more questions, it goes to the Question
list. If not, it goes to ROSA2A>
[OK, I won't push you.]
KYLE: Hold on a second. OK. I get it. I won't make you talk.
ROSA: Good! Great! Glad to hear it.
<If you have more questions, it goes to the Question
list. If not, it goes to ROSA2A>
[Spill it! Now!]
KYLE: Hold on a second. But there really is something going
on. Right? You don't have to hide stuff from me. C'mon, spill
the beans.
ROSA: <red aura> I'm not hiding anything.
KYLE: You sure?
ROSA: You're a pest, you know that?! A darn pest! Why
are you so interested in this hotel, anyway? Say, you aren't...
Mmm, never mind.
<If you have more questions, it goes to ROSA2B, then to ROSA2C.
If not, it goes to ROSA2C. If you have more questions but
decide to leave the Questions list, it goes to ROSA2C>
[You talk too much?]
KYLE: Got a sec? You're the chatty type, huh?
ROSA: I am. Talk, talk, talk! And believe me, it lands me in
trouble from time to time.
<If you have more questions, it goes to the Question list. If
not, it goes to ROSA2A>
[Question: How's Mila doing?]
<This conversation takes place if you DIDN'T annoy Rosa with your questions
about the hotel. If you DID annoy Rosa, it instead goes to ROSA2B>
KYLE: How's Mila doing?
ROSA: She's in my room catching up on her sleep. Poor thing. She must have
been exhausted... I laid her down on the sofa and gave her some tea, and she
fell right asleep.
KYLE: She say anything?
ROSA: Not a word. Maybe she's mute. Pretty odd, that, don't you think? I'm not
sure what I'll do if she keeps this up. I guess I'll watch over her tonight
and then give the police a call tomorrow.
KYLE: ...I see.
ROSA: Hold on just a darn minute! Don't tell me you've fallen for the girl,
too!
KYLE: No, it's not that. I just-- (It's that bracelet Mila was wearing. If
it's really the same one Bradley had...)
ROSA: You just what?
KYLE: I just need to ask her something.
ROSA: Ha! I bet! I can just bet what you'll ask her! Well? What's it about?
[A missing man.]
[A bracelet.]
[A missing man.]
KYLE: It's about a man I'm looking for. I think Mila may know something
about him.
ROSA: Looking for someone, are you? And who might that be?
KYLE: Just a guy I used to work with.
ROSA: An old coworker, mmm? Sounds like there's a story there
somewhere...
[A bracelet.]
KYLE: It's about the bracelet she's wearing.
ROSA: Bracelet? Why would you care about that? Huh? It's just an old
trinket.
KYLE: It looks like one an acquaintance of mine used to wear. I want to
know where she found it.
ROSA: An acquaintance of yours had one? Well, isn't that something!
There's a story in there somewhere, I bet...
KYLE: Look, it'll just take a second. Let me swing by your room and see her.
ROSA: Not right now. No, no, I don't think so. Nope.
KYLE: Then when?
ROSA: Let her sleep a bit longer. Anytime after 8 will be fine. You can get
to my room from the lobby. Go through the door that says Staff Only and walk
down the hall. My room's the first one after the hall bends to the left.
KYLE: Got it. (Rosa's room at eight o'clock. Better write a note in my
notebook so I remember.)
<If you have more questions, it goes back to the Question list. If not, it
goes to ROSA2A>
<ROSA2A>
ROSA: Oh, no!
KYLE: What?
ROSA: I have to go and prep the restaurant! I'm late! I shouldn't have stood
here chatting with you! I have to go! Busy busy!
KYLE: You work in the restaurant?
ROSA: You got it. I ALSO do all the cooking for this hotel! I've got more
things to do than ten men! It's a wonder I manage to keep up! Sorry to cut
you off, but I've got to go. Gotta run! Oh, I'm so late...
KYLE: Sure.
ROSA: Oh! If you run across that deadbeat Louis, tell him Rosa wants to see
him! Got it? Good!
[Rosa finishes talking, turns, and scuttles away.]
<Scene ends. Goes to Scene 2.1>
<ROSA2B>
[Question: How's Mila doing?]
<This conversation takes place if you previously annoyed Rosa with questions
about the hotel.>
KYLE: How's Mila?
ROSA: She's resting in my room, if that's what you mean!
KYLE: I got a few things I need to talk to her about. Can I see her?
ROSA: Absolutely not! I'm not letting a man like you anywhere NEAR Mila!
No, sir!
<ROSA2C>
ROSA: I'd love to stand here and run my mouth, but I've got to clean.
More. Oh, and before I forget... Dunning said he wanted to talk with you
about some deal. Don't ask me. Do me a favor. Go by the front desk when
you get a minute. OK? Thanks.
KYLE: Sure.
[Rosa finishes talking, turns, and walks away.]
<Kyle goes to the front desk area.>
[There's someone standing in front of the lobby sofa.]
KYLE: ...Huh? Oh, great. (Dunning's looking at me.)
DUNNING: Hey, you! Yeah, you! Get over here! I been talkin' to Rosa!
Says ya been sniffin' all over my hotel!
KYLE: Huh?
DUNNING: Don't play soft with me! You some kinda reporter? One'a them TV
guys who tries to ruin people's lives? I don't need no bad press drivin'
away business! Hit the road, ya jerk!
KYLE: Huh? (Oh, crap... When I was talking with Rosa earlier...)
<flashback>
ROSA: You're a pest, you know that?! A darn pest! Why are you so
interested in this hotel, anyway? Say, you aren't...
<end flashback>
KYLE: Damn!
[GAME OVER]
<end ROSA2B>
<Scene 2.1>
<Kyle walks down the hall and hears something.>
KYLE: Huh? Somebody's whistling...
<He walks further down the hall. If you go into the utility closet:>
KYLE: (Nobody here.)
<He goes up to the door of the linen room.>
KYLE: I can hear whistling coming from this room. <He tries the knob.> Huh?
The door's open. Somebody in here?
<He goes in and sees Louie reading a magazine.>
LOUIS: Aw, man... What a looker! These Hollywood foxes got it going on!
Awoooo!
KYLE: Hey.
LOUIS: Whaaaa! <He quickly shoves the magazine aside.> Oh, it's you... Don't
sneak up on me like that! You dig? This is where we keep the sheets and
pillowcases and all that girly stuff. Not a place where folks like you can
just...hang out!
KYLE: I heard someone whistling. Door was open, so I looked.
LOUIS: Yeah, sure, man. Bet that's just how it went down...
KYLE: What're you reading?
LOUIS: Aw, some skin mag one of the guests left behind. [A guest forgot it?]
I dunno if they forgot it or tossed it or what... But who cares, right? Free
is free! So whattaya want, anyway?
[This your hiding spot?]
[Wrong package, moron!]
[This your hiding spot?]
KYLE: So this is where you've been hiding, eh?
LOUIS: Hidin'?!
KYLE: How's the cleanin' coming? ...You know Rosa's looking for you,
right?
LOUIS: What? Cleanin'? Is that all? Man, I was all tripped out for
nothing! Here I thought Officer Hyde was gonna bust my ass, and you ask
'bout cleanin'? Man, I finished all that. Cleaning's done!
KYLE: (All done, huh?)
<followup>
[What did you clean?]
[You're lying.]
<If you don't follow up:>
<LOUIE-A>
<If you chose "I just transferred" in your first conversation
with Louie:>
LOUIS: Look, Officer... I mean... Hyde. Mr. Hyde. Listen to me
for a sec. I'm clean, and I'm workin'. Workin' hard. I'm like
three times more serious than I was in the city. God's honest!
KYLE: Three times? You call this--
LOUIS: C'mon, man, stop preachin'! This is it for me, ya know?!
I ain't smart or talented... This is the best I can do. Just
'cause you're the Man don't mean you can lecture me. Out there
you're a big, bad detective...but here you're just another
loser! You're gettin' on my last nerve, man!
KYLE: (Oh, right... Louie still thinks I'm on the force.)
LOUIS: You cool, man? You look like somebody died.
KYLE: Listen, Louie... I hung it up.
LOUIS: Hung what up?
KYLE: My badge.
LOUIS: What? No way! You quit the beat?!
KYLE: Yeah. Actually, I got canned.
LOUIS: You were FIRED?! Oh man, Officer Hyde! What'd you do?!
KYLE: Well...
<flashback to police station>
KYLE: <answers phone> This is Hyde.
VOICE ON PHONE: I've got bad news, Hyde. It's Bradley. He...
KYLE: What the hell?
<shoots Bradley>
<flashback ends>
KYLE: <speaking to Louie> You really wanna know?
LOUIS: ...No thanks, man. I'll pass. Sounds too heavy for me.
Maybe some other time, yeah?
KYLE: All right.
LOUIS: Can't believe you're not a cop anymore, man. What a
trip. So what's your deal now?
KYLE: I sell household goods door-to-door.
LOUIS: C'mon! Get outta here! You're a door-to-door salesman?
KYLE: Yeah.
LOUIS: You.
KYLE: Me.
LOUIS: Ha ha ha!
KYLE: You think that's funny?
LOUIS: You kiddin' me? It's a riot! C'mon, the famous Officer
Hyde? A SALESMAN? That's even more of a gas than me being a
bellhop! WHAAAA ha ha haaaa!
KYLE: Knock it off, Louie.
LOUIS: Yeah, yeah. Oh, man! Haven't laughed that hard in ages.
But hey, now you understand where I'm comin' from, right? It's
hard startin' over, yeah? New places, new faces, but the same
ol' hassles. It's like ya just gotta take a break and catch
your breath, man. What a TRIP! That maid Rosa's a loud-mouthed
old bag. And Dunning's a penny-pinchin' slave driver. You know
I'm the only bellhop in this whole stinkin' place? No matter
how hard I work, stuff just keeps pilin' up. Like a total
energy vampire, man.
KYLE: What if you get fired?
LOUIS: Ha! Yeah, right. Fire me? That's rich. Like I'm gonna
get fired from this gig! Nobody wants to work AND live here,
man. Nobody 'cept me, I guess. Not so long as those stories
are out there... [Stories?]
<goes to QUESTIONS>
<LOUIE-B>
<If you chose "I hung it up" in your first conversation with Louie:>
LOUIS: Look, Officer... I mean... Hyde. Listen to me for a
sec. I'm clean, and I'm workin'. Workin' HARD. I'm like three
times more serious than I was in the city. God's honest.
KYLE: Three times? You call this...
LOUIS: C'mon, man, stop preachin'! This is it for me, ya know?
I ain't smart or talented... This is the best I can do. Not
being a cop anymore's gotta be rough, yeah? We're the same,
man. It's like ya just gotta take a break and catch your breath
before ya snap. That maid Rosa's a loud-mouthed old bag. And
Dunning's a penny-pinchin' slave driver. I'm the only bellhop
in this whole stinkin' place. No matter how hard I work, stuff
just keeps pilin' up. Like a total energy vampire, man.
KYLE: What if you get fired?
LOUIS: Ha! Yeah, right. Fire me? That's rich. Like I'm gonna
get fired from this gig! Ain't nobody want to work AND live
here, man. Nobody 'cept me, I guess. Not so long as those
stories are out there... [Stories?]
<goes to QUESTIONS>
[What did you clean?]
KYLE: Wait a second... What did you clean?
LOUIS: Huh? What did I clean? Um...what did I clean?
KYLE: What, you a parrot now? What did you clean? Same old, same
old?
LOUIS: Yeah! Yeah, well, ya know, I...mopped. And then...dusted
stuff. Like ya said, man, just the normal routine. Same old, same
old. Why ya hasslin' me? You're startin' to sound like my old lady.
<If you chose "I just transferred" in your first conversation with
Louie, it goes to LOUIE-A. If you chose "I hung it up," it goes
to LOUIE-B>
[You're lying!]
KYLE: Wait a second... You're lying to me, DeNonno.
LOUIS: Huh?
KYLE: Rosa told me all about you. Said you're nothing but a slacker.
LOUIS: That old bag? Forget her! What gives her the right to hassle
guests about me? Talkin' crap 'bout people's like her hobby, ya
know? I'm workin', man, straight up! This is an honest gig.
<If you chose "I just transferred" in your first conversation with
Louie, it goes to LOUIE-A. If you chose "I hung it up," it goes
to LOUIE-B>
[Wrong package, moron!]
KYLE: I got my package. Guy in 211 by the name of Summer brought it down.
LOUIS: Then we're all cool, right?
KYLE: (Huh?)
<followup>
[Everybody's cool?]
[Apologize.]
<If you don't follow up:>
<If you chose "I just transferred" in your first conversation with
Louie, it goes to LOUIE-A. If you chose "I hung it up," it goes
to LOUIE-B>
[Everybody's cool?]
KYLE: Oh yeah? Everybody's cool?
LOUIS: Yeah, man. We're cool.
KYLE: Don't shine me on, Louie. You screwed up.
LOUIS: W-what? Chill out, man! Everybody makes mistakes, right?
KYLE: Rosa told me all about you. Said you're nothing but a slacker.
LOUIS: That old bag? Forget her! What gives her the right to hassle
guests about me? Talkin' crap 'bout people's like her hobby, ya
know? I'm workin', man, straight up! This is an honest gig.
<If you chose "I just transferred" in your first conversation with
Louie, it goes to LOUIE-A. If you chose "I hung it up," it goes
to LOUIE-B>
[Apologize.]
KYLE: Oh yeah? Apologize for screwing up, Louie.
LOUIS: Yeah, man, sure. I'm very, very sorry. OK? We cool now? You
want I should get on my knees or what?
KYLE: No. We're not cool. Try again. Show a little sincerity.
LOUIS: Cripes, man, you're killin' me here! Feel like I'm stuck
under the light with Sergeant Hard-Ass! Total drag, man.
<If you chose "I just transferred" in your first conversation with
Louie, it goes to LOUIE-A. If you chose "I hung it up," it goes
to LOUIE-B>
<If you look at your notebook, Louie asks, "Whatchya lookin' at?" If you
write in your notebook, Louie asks, "Whatchya writin'?" If you leave the
Questions screen:>
LOUIS: We done here?
KYLE: ...Sure.
<When you talk to Louie again:>
LOUIS: What now?
KYLE: Can I ask you something?
<goes to QUESTIONS>
[Question: Stuff gets left behind?]
KYLE: Lot of things get left behind?
LOUIS: Yeah, tons. Some of it's worth pretty good dough, too. Don't worry,
man, I don't touch any of it. It all gets kicked up to old man Dunning.
KYLE: Well, it's his joint.
LOUIS: Yeah, he keeps all the lost and found stuff in his office. Doesn't
trust anyone else, I guess.
KYLE: (Lost and found items are kept in the office, huh? Good to know.)
<back to QUESTIONS>
[Question: What stories did you mean?]
KYLE: Stories? What're you talking about?
LOUIS: This place is lousy with 'em, man!
KYLE: ...Lousy with what?
LOUIS: ...Ghosts.
KYLE: Ghosts.
LOUIS: ...Yeah. A long time ago there was an...an "incident," ya know? [What
was the incident?] Soon as it happened, people were talking 'bout ghosts and
hauntings and stuff. Folks said they heard some young kid sobbin' during the
night. Then when they followed the voice, they found a little girl in a white
dress. And if they tried to talk to her? ...She'd VANISH! Poof! Total trip,
man. Anyway, that's the story. It's enough to keep people from wantin' to work
here.
KYLE: You seen this ghost?
LOUIS: 'Course not, brother! It's just some crazy story. But I'll tell you
something... When I saw that young chick today? She was facing the other way,
and it kinda tripped me out for a sec. ...It's cool, though. No way that
girl's a ghost. She... She's like an angel that got lost or...or somethin'...
KYLE: The hell you mumbling about, Louie? What girl?
LOUIS: The one right here, man! The mystery girl! Her name's Mila. [Mila?]
<back to QUESTIONS>
[New Question: What's Mila like?]
KYLE: What kind of girl is Mila?
LOUIS: Huh? Aw, man, she's...she's...
KYLE: (Is Louie blushing? He really think he's in love with this girl?)
She was in the lobby earlier, right? Girl with the long hair?
LOUIS: Met her already, eh? She's a looker, right?
KYLE: I guess.
LOUIS: Nothin' changes. You never had much of an eye for the ladies, Hyde.
KYLE: (Huh?)
<followup>
[No eye for the ladies?]
[Nothing changes?]
<If you don't follow up:>
<If you still have questions, it goes back to the Question list. If not,
it goes to LOUIE2A>
[No eye for the ladies?]
KYLE: Whoa! What do you mean I never had an eye for the ladies?
LOUIS: C'mon, Hyde... Girl's a total fox! What, you blind, you can't see
that?
KYLE: Little girls don't interest me, Louie.
LOUIS: See? That's what I'm sayin', man! You don't know squat!
KYLE: What're you babbling about?
LOUIS: Girl's a butterfly, man! She's, like, on the verge of
transformation, ya know? She's gonna climb outta her cocoon and shine,
brother! Just you wait!
<If you still have questions, it goes back to the Question list. If not,
it goes to LOUIE2A>
[Nothing changes?]
KYLE: Whoa! Why'd you say nothing changes?
LOUIS: I'm talkin' 'bout YOU, man! You're like some dinosaur stuck in a
tar pit. I know your history, Officer Hyde. You only fall for chicks
with...ya know...Issues.
KYLE: How's that?
<CHANGE WITH "I just transferred":>
KYLE: ...How's that?
LOUIS: Sure! Detective Kyle Hyde of the fightin' 89th and his whacked-out
lady lover... All us street rats knew the story, man. It was famous.
KYLE: Really?
LOUIS: ...Yeah. Guess I shoulda kept my head hole shut, huh?
KYLE: Probably.
<If you still have questions, it goes back to the Question list. If not,
it goes to LOUIE2A>
[New Question: When was this incident?]
KYLE: When was this incident?
LOUIS: ...When? [I wonder what happened?] I heard it was ten years ago.
<back to QUESTIONS>
[New Question: Talk about the incident.]
KYLE: Tell me about the incident.
LOUIS: ...Hmm. This stuff still interest you? Even though ya ain't a cop
anymore?
KYLE: Guess so. Crimes and criminals still get my blood going. You don't just
walk away. No one does.
LOUIS: Ha! Still the same ol' Officer Hyde! Ya know, you look real weird
without a badge and a gun, man. You always seemed like a "cop for life" kind
of cat, ya dig?
KYLE: Yeah. So about this incident. What happened?
LOUIS: I heard about it from this gabby guy over at the newspaper stand.
Seems a man and his daughter stopped here for a night, yeah? Then, in the
middle of the night, the girl disappeared. [She disappeared?]
<back to QUESTIONS>
[New Question: A girl disappeared?]
KYLE: She disappeared?
LOUIS: Yeah. Kid was only ten years old, too. Father looked all over for her,
but the sun came up and she was still gone. Later on, the cops got a
mysterious letter... It told 'em where they could find the girl's body. [Did
they find the body?]
<back to QUESTIONS>
[New Question: Did they find the body?]
KYLE: Did they find the girl's body?
LOUIS: No, that's the crazy part. Guy told me they didn't find squat. No kid,
no crook, no nothin'. Thing's still unsolved.
KYLE: ...That so?
LOUIS: Yep. And after that, the stories started. The murdered chick's ghost
appears at night and...acts scary or whatever. Might have been a crock, but
it kept folks away and bankrupted the place.
KYLE: (Bankrupted the place?)
<followup>
[When did that happen?]
[Dusk went bankrupt?]
<If you don't follow up:>
<If you still have questions, it goes back to the Question list. If not,
it goes to LOUIE2A>
[When did that happen?]
KYLE: Now we're getting somewhere. When did all this go down?
LOUIS: After the girl vanished, so... Musta been about ten years ago.
Then old man Dunning comes along and buys up the place 'bout five years
later. Anyhow, that's all I know. Dunning and Rosa don't like to talk
about it.
<If you still have questions, it goes back to the Question list. If not,
it goes to LOUIE2A>
[Dusk went bankrupt?]
KYLE: Now we're getting somewhere. Place went under, huh?
LOUIS: Yeah. Bottoms up. Place was deserted till Dunning rolled in 'bout
five years ago. He picked the place up for nothin' and bam! Hotel Dusk is
open for business. Anyways, that's all I know. Dunning and Rosa don't
like to talk about it.
<If you still have questions, it goes back to the Question list. If not,
it goes to LOUIE2A>
<LOUIE2A>
LOUIS: Yo, Officer Hyde! Lemme ask ya somethin'!
KYLE: What?
LOUIS: So you quit the beat and left the city, yeah? You come all the way out
here to avoid cats from your past?
KYLE: That's part of it. But I was born out here, too. My mom and I only moved
to New York after my old man passed. Figured I could use my old contacts to
get back on my feet.
LOUIS: Yeah, I dig.
KYLE: And, well...
LOUIS: Well, what? Don't leave me hangin', man!
KYLE: I'm looking for someone.
LOUIS: Lookin' for someone? Get outta here! You ain't a cop no more!
KYLE: Not like that. It's just a guy I used to work with who went missing.
LOUIS: A guy you worked with? What, like a cop?
KYLE: Yeah, my ex-partner, Bradley. Don't think you ever had the pleasure.
LOUIS: Bradley, huh?
KYLE: Yeah.
LOUIS: Why's he missing?
KYLE: He got shot at the docks three years ago and took a dive in the Hudson.
LOUIS: Three years ago?
KYLE: Something wrong?
LOUIS: No, no! Not really. No. It's nothin'. But ya know... If the cat's been
outta sight for three years... Well, kinda safe to assume he's dead. Ain't it?
KYLE: No. He's alive.
LOUIS: Hey, I know you guys were tight and all, so you want him to be alive...
But you gotta let go. Dead is dead, right?
KYLE: (Want's got nothing to do with it. He's alive. I know it.)
LOUIS: But lemme tell ya... Having a compadre wink out or skip town's a total
drag, ain't it? I understand. You and me? We're the same.
KYLE: (...Huh?)
<followup>
[You understand?]
[We're the same?]
<If you don't follow up:>
LOUIS: I mean, I think I know how ya feel.
KYLE: You don't know a thing, Louie.
LOUIS: Whoa! Bite my damn head off, will ya?
KYLE: Bradley's alive. He's alive. Got it?
LOUIS: Whoa, man! Chill! You're freakin', Hyde.
KYLE: ...You don't know anything. Not a damn thing.
LOUIS: ...Yeah, OK. I gotcha.
[You understand?]
KYLE: Wait, Louie. What do you understand?
LOUIS: ...
KYLE: What?
LOUIS: We're the same, man. I had me a buddy died three years back.
That's all.
[We're the same?]
KYLE: Wait, Louie. We're the same? What are you talking about?
LOUIS: Um...
KYLE: Spill it.
LOUIS: ...
KYLE: NOW!
LOUIS: We're the same, man. I had me a buddy died three years back.
That's all.
LOUIS: Hey, I gotta split. You'd better get outta here, too. I told ya, man.
This place ain't for guests, ya dig?
KYLE: I dig.
[Louie finishes talking and hurries out the door.]
<If you try to leave the linen closet without getting the magazine:>
KYLE: (Guess I should check out the linen room some more.)
<Kyle checks the shelves.>
[Whoa, that's not a sheet. It's a nudie mag. I've seen that dame on the cover
before. Says her name's Cecily Lee...]
[I found a men's magazine on a shelf in the linen closet.]
KYLE: (The actress Cecily Lee is the cover girl for this issue. December
issue of a mag with Cecily Lee on the cover... This must be the magazine on
Ed's list.)
<Kyle searches the locker in the linen closet.>
[There's a locker on the wall. It's unlocked. There's a toolbox on a shelf in
the locker.]
<Kyle looks in the toolbox.>
[What's that? A crowbar?]
KYLE: (Nice. I got a crowbar. Never know when you might need one of these.)
[Lucky me. It's a screwdriver.]
KYLE: (Never pass up the chance to get a screwdriver. I bet I'll be happy I
found this before all's said and done.)
[There's a pair of pliers in here.]
KYLE: (I picked up a pair of pliers. These should come in handy somewhere.)
<After he gets the magazine, Kyle leaves the linen closet.>
KYLE: Guess I'll go check out the office.
[05:40 PM]
<Kyle walks down the hallway. A door opens.>
KYLE: ...Huh?
[A door near the stairs opens and someone peeks out.]
HELEN: Yoo-hoo? Pardon me, young man!
KYLE: What? Me?
HELEN: Yes, that's right! I was wondering if you could be a dear and help me?
Do you know what time the restaurant opens?
KYLE: (It's that old lady from downstairs.) Yeah. Six o'clock. So it's still
closed. You might want to stay in your room. Don't want you to climb stairs
if you don't have to.
HELEN: ...Is that so? Oh! Thank you so much for your kindness, young man. My
name is Helen Parker.
KYLE: (Helen Parker...)
HELEN: Forgive me for asking, but what is your name?
KYLE: Kyle Hyde.
HELEN: And what room are you staying in, Mr. Hyde?
KYLE: 215.
HELEN: Ah! So you're the rascal who's staying in Wish!
KYLE: Wish?
HELEN: That's right. It's such a nice name for a room, don't you think? I'm
in Room 212. It's called Angel.
KYLE: (I guess old ladies like the names. Least that's something...) Sure.
It's a good name, I guess.
HELEN: It is at that, isn't it?! Well, Kyle Hyde, thank you for taking the
time to speak with this old woman. Please excuse me, dear.
[The old woman with the eye patch turns and shuffles back to her room.]
[Why's she staying here?]
<Kyle goes back to his room and examines the hanger on the wall.>
[This hanger's attached to the rack. It's a wire hanger.]
KYLE: (I bet this thick wire will come in handy.)
<He uses the pliers to cut the hanger. If you don't cut it correctly:>
KYLE: Nope, that isn't the way I need to cut it.
<He cuts a piece of wire from the hanger.>
KYLE: I cut it to the right length. (Now I've got a thick piece of wire.
Let's see if I can get the suitcase unlocked with this.)
<Kyle goes to his suitcase and starts picking the lock. If you leave the
screen:>
KYLE: I can't get the suitcase unlocked.
<He picks the lock.>
KYLE: (Here we go... That got the lock open.)
[I take my cash out of my suitcase. I hid the client list in my suitcase.]
<If Kyle tries to leave the room before putting away the client list:>
KYLE: (Oh, and I better not forget what Rachel told me. I've got to
put the client list in my suitcase.)
<Kyle walks down to the main office and knocks. Door opens.>
DUNNING: That you, Hyde?
KYLE: Yeah.
DUNNING: Ya come to pay yer bill?
<If Kyle doesn't have his money from the suitcase:>
KYLE: (...Damn. My money's still in my suitcase.) Oh yeah. Cash in
advance. Can't be too careful and all that, right?
DUNNING: I'd 'preciate it if ya settle up soon as ya can.
[Dunning says nothing more and shuts the door.]
<If Kyle has his money from the suitcase:>
KYLE: Yeah. How much?
DUNNING: Forty clams.
KYLE: Here.
DUNNING: Forty on the nose. Oh, and I heard all about yer hassle! Sorry 'bout
that.
KYLE: (Sorry about what?)
<followup>
[You should be sorry!]
[I don't follow you.]
<If you don't follow up:>
<goes to DUNNING2A>
[You should be sorry!]
KYLE: ...Hey. Hassle ain't the word for it, pal. You need to get a handle
on things. Figure out some way to get things from here to my room without
losing 'em, all right?
DUNNING: Hey now! Said I was sorry! No need to jump down m'throat! That
damn Louis is just one screwup after another. Next time he does somethin'
like that, he's gone! But right now I'm busier'n a one-legged man in an
ass-kickin' contest. So firin' him will hafta wait for a bit.
KYLE: Too bad.
<goes to DUNNING2A>
[I don't follow you.]
KYLE: ...Hey. What're you talking about?
DUNNING: The mix-up with yer package! Rosa told me that Louis brought ya
the wrong one!
KYLE: Oh. That. Yeah, he screwed that up. If it weren't for that guy
Summer, who knows what would've happened?
DUNNING: But yer package got to ya in the end, right?
KYLE: I guess.
DUNNING: Good, good. Just glad t'hear that ya finally got it. That damn
Louis is just one screwup after another. Next time he does somethin' like
that, he's gone! But right now I'm busier'n a one-legged man in an
ass-kickin' contest. So firin' him will hafta wait for a bit.
KYLE: Too bad.
<DUNNING2A>
DUNNING: Lemme make it up to ya... Dinner's on the house tonight! And just
listen to what the Moonlight Grill's got on the menu... Rib eye steak with
fresh garlic butter! And that's a class steak, too! Rosa may run her mouth,
but she's a helluva cook! I'll even have her throw in dessert for ya. Oh, and
by the way... I'm gonna close up the office and head back to my own room for
a spell. Ya need anything, it'll have t'wait till later.
[Dunning finishes, then turns and walks down the hall.]
<You can go back to the 2nd floor and knock on Helen's door. She answers.>
HELEN: Oh, it's you! The young man from before! ...Now, what was your
name again?
KYLE: Kyle Hyde. From Room 215. Wish?
HELEN: Yes, yes, I remember now. What can I do for you?
<goes to QUESTIONS. If you look at your notebook, Helen asks, "May I ask
what it is you're reading?" If you write in your notebook, Helen asks,
"May I ask what it is you're writing?">
[Question: Why stay here?]
KYLE: I'm curious why you're staying in a dump like this.
HELEN: Oh, I see. Well, if you must know, I've some dear memories of this
hotel. [Dear memories?]
<back to QUESTIONS>
[New Question: What kind of memories?]
KYLE: What kind of memories?
HELEN: Eh heh heh! That's a secret, young man! The best memories are
the ones you keep locked up in your private heart. That's what makes
them special. They're not the sort of things you share easily. So polite!
Are you sure there's nothing else?
KYLE: No, I'm afraid not.
HELEN: ...I see. Well, please excuse me then.
[Helen closes her door.]
<If you knock on Helen's door again:>
KYLE: It's Kyle Hyde.
HELEN: Go away, please.
<Kyle goes into Dunning's office.>
KYLE: (Guess I should nose around the office while Dunning's out.)
<He looks around.>
KYLE: (...Where's he keep the lost and found stuff? Might as well check the
guest register, too. See if I can find any info on the other me who stayed
here.)
<He checks Dunning's desk.>
[There's a notebook and a card on the desk.]
[The cover of the notebook says Supervisory Log. Got some stuff written in
the notebook.]
KYLE: December 26: Tidied up the cabinets. Put things left by guests into
Drawer "3." Put guest registration cards into Drawer "A."
[There's a card on the desk.]
KYLE: It's a birthday card.
[There's a message written on the card. "Happy Birthday to my dearest Jenny!"]
[Wonder who Jenny is...]
<If you check the card again, you will get a slightly different text:>
[There's a message writen inside the card. To my dearest Jenny, Happy
Birthday!]
[There's a calendar on the left side of the desk. December 5th is circled on
the calendar.]
KYLE: It's circled... [What's special about 12/5?]
<If you check the calendar again:>
[There's a calendar on the left side of the desk. December 5th has
been circled. Twelve five... Hmmm...]
<Kyle checks the walls.>
[Dunning's got all the room keys hanging on the wall. There's no key for Room
215.]
<Kyle checks a drawer in the cabinet with the TV.>
[The file case in the drawer is full of registration cards.]
KYLE: Might not be a bad idea to take a peek at these cards.
<He looks.>
KYLE: ...Yeah, here it is.
[The name Kyle Hyde is written on one of the registration cards.]
KYLE: Stayed in Room 217 on June 30th, 1979. (Dunning wasn't screwing with me
after all. There really was a guest with my name.)
<If you check the registration cards again:>
[I see the name Kyle Hyde on one of these registration cards.]
<He checks the large filing cabinet.>
[There's something stuck under the corner of the cabinet.]
<If you don't use the crowbar:>
[There's some kind of memo stuck under the cabinet.]
KYLE: What's this?
<If you exit the screen before attempting to pull out the memo:>
KYLE: ...C'mon... C'mon!
<If you pull on the memo but stop before it rips all the way:>
KYLE: The memo's stuck under the cabinet. I can't pull it out.
<If you pull on the memo and it rips all the way:>
KYLE: Crap! The thing ripped!
[I got the memo. There's a bunch of dots and numbers on the memo.]
KYLE: (What in the...? What's this supposed to mean?)
<He tries to figure out the memo. When you leave the screen:>
KYLE: ...
<If you check the memo under the cabinet again after ripping:>
[Looks like there's a memo stuck under the cabinet.]
[The memo ripped. The other half is still under the cabinet.]
KYLE: (I'll need to lift the cabinet to get the other half of the
memo. Wonder if there's something around here I can use...)
<He uses the crowbar to lift the cabinet. If you leave the screen without
correctly lifting the cabinet:>
KYLE: ...
<If you mess up with using the crowbar and let the cabinet thump to the
ground:>
KYLE: Damn!
<The door opens.>
KYLE: Huh? Uh-oh.
DUNNING: What was that noise? What're ya doin' over there? Why ya got
that crowbar?
KYLE: Just doing a little yard work.
DUNNING: Get yer ass outta here! On the double! Got no need for guests
like you in my place! And put m'damn crowbar down! Now move it! 'Fore
I teach ya a thing or two!
KYLE: Ah... Nice going, Hyde...
[GAME OVER]
<He lifts the cabinet with the crowbar.>
KYLE: This is...
[I got the memo. There's a bunch of dots and numbers on the memo.]
<If you were grabbing the ripped half of the memo:>
KYLE: (Well, this is useless... What's this supposed to mean?) Maybe if
I connect the dots...
<If you were grabbing the whole, unripped memo:>
KYLE: (I don't get it... What's this supposed to mean?) Maybe if I
connect the dots...
<He figures out what the memo means and checks the large cabinet again.>
[This looks like Cabinet 3. Yeah, this is Cabinet 3 all right.]
[There's a combination lock on the cabinet.]
<If you input the wrong combination:>
KYLE: ...Won't open. Combination must be wrong. I wonder what
the combination is.
<He unlocks the cabinet.>
KYLE: That's it!
[The cabinet's open.]
<He looks in the drawer.>
[There's a small red box in one of the cabinet drawers. I got the small red
box.]
KYLE: (This must be the box that was on the order sheet. Nice. That's
everything I was supposed to find.)
<He leaves the office.>
LOUIS: Heya, Officer Hyde. What's shakin'?
KYLE: Oh, look. It's Louie.
LOUIS: Man, I didn't even see you! Where were you hiding?
KYLE: What do you want?
LOUIS: Did you just pop outta the office, man? What were ya doin' in there?
[Nothing to do with you.]
[You know...work.]
[Nothing to do with you.]
KYLE: Business that's got nothing to do with you, Louie. So mind yours.
LOUIS: ...That so?
[You know...work.]
KYLE: Business.
LOUIS: Business? What're ya talkin' about?
KYLE: What're you worried about?
LOUIS: No, seriously, man. What were you doin' in the office? You and ol' man
Dunning... You weren't... Ya know... You weren't talkin' about me, were you?
KYLE: About you?
LOUIS: Yeah, man. You know, chattin' 'bout my history in the city... You
weren't filling Dunning's head with a buncha garbage 'bout ol' Louis, were ya?
[I sure was!]
[Nah, it wasn't about you.]
[I sure was!]
KYLE: Sure was.
LOUIS: <red aura> WHAT?! You were?! Aw, man, why?! Why the hell would ya
go and do that? Yer killin' me here! Why'd you have to go and open your
big mouth? You're a total loser! You damn dirtbag!
[Louie storms away.]
<If you try going back to the office:>
<OFFICE1>
LOUIS: Yo, Officer Hyde!
KYLE: Huh?
LOUIS: Don't tell me you're trying to break into the office!
KYLE: Don't be a sap, Louie. If I was trying to get in the office,
I'd just kick the door in.
LOUIS: Right. Yeah, well, just keep stuff chill, ya dig?
<Kyle nods.>
<end OFFICE1>
<Kyle walks to the stairs.>
KYLE: ...Huh? Someone's coming. Oh, great. It's Dunning. What now?
DUNNING: Hyde! I got a bone t'pick with ya! It's about Louis!
KYLE: What now? He misplace somebody's medication?
DUNNING: Get this! Kid came bargin' into my office and ya know what he
wanted? Wanted to know if ya told me he had a criminal record!
KYLE: ...Oh.
DUNNING: 'Course I got no idea what he's yappin' about, 'cause we ain't
been talkin'! Now I don't know what the hell's goin' on between you two,
but lemme tell ya... I don't need this crap! And I don't need any
troublemakers in my hotel! Pack yer stuff and get out before I throw ya
on the street m'self!
KYLE: What? (Oh, I see... It's when I was coming out of Dunning's office.
Louie asked me what I'd been talking to Dunning about.)
<flashback>
LOUIS: Why'd you have to go and open your big mouth? You're a total
loser! You damn dirtbag!
<end flashback>
KYLE: ...Damn.
[GAME OVER]
[Nah, it wasn't about you.]
KYLE: Relax, Louie. We weren't talking about you.
LOUIS: Whew! Thank goodness for that, my man! I was gonna have a total
freak-out!
LOUIS: Officer Hyde?
KYLE: Yeah?
LOUIS: You told me you quit the force and started sellin' junk, right? Were
you serious?
[I guess I can trust him...]
[Better lie to him.]
[I guess I can trust him...]
KYLE: ...Yeah. I'm serious.
LOUIS: Really? Officer Hyde? Gotta tell you, my man, you don't act like
any salesman I ever seen.
KYLE: ...
LOUIS: So why'd you quit being the Man in the first place? I know you
said you were canned, but... What'd ya do to lose your badge?
KYLE: Well...
<Flashback to police station. Phone rings. Kyle answers.>
KYLE: This is Hyde.
VOICE: Bad news, Hyde. It's Bradley. He...
KYLE: What the hell?
<He shoots Bradley. Flashback ends.>
LOUIS: Hey, what gives?
KYLE: I screwed up a case.
LOUIS: Oh, trip, man!
KYLE: It was three years back. My partner and I were working a case.
We were investigating a series of art thefts.
LOUIS: ...Art thefts? You talking 'bout that crime ring?
KYLE: Ever hear of Nile?
LOUIS: ...Did you say Nile?!
KYLE: (That hit a mark.)
<followup>
[You look surprised.]
[Knew about that, huh?]
<If you don't follow up:>
<goes to NILE1>
[You look surprised.]
KYLE: Hold it. You look like you just saw a ghost, Louie.
LOUIS: 'Course, man! That's a real shock...
[Knew about that, huh?]
KYLE: Hold it. That something you knew about?
LOUIS: Is the pope Catholic? Yeah, I knew.
<NILE1>
LOUIS: So you were undercover?
KYLE: No. I was in the office, pushing paper and drinking bad coffee.
LOUIS: Wait... So it was that OTHER detective what was runnin' with Nile?
KYLE: Yeah.
LOUIS: Oh, wow, man. Trip...
KYLE: What're you mumbling about now, Louie?
LOUIS: I never thought meeting up with you again would clear up that...
It all makes sense now. Yeah... So that's how it was?
KYLE: (I may have to slap him around if he doesn't start making some
damn sense...)
<followup>
[That's how what was?]
[What makes sense now?]
<If you don't follow up:>
LOUIS: I'm totally disappointed in you, Officer Hyde...
KYLE: What in the hell are you talking about?
<goes to Scene 2.2>
[That's how what was?]
KYLE: Wait a second. What do you mean that's how it was?
LOUIS: Oh no! I ain't tellin' you squat about that one!
<goes to Scene 2.2>
[What makes sense now?]
KYLE: Wait a second. You just have a revelation there, Louie?
LOUIS: It's...it's nothing, man.
KYLE: Spill it.
LOUIS: ...Got nothin' to say, man!
<goes to Scene 2.2>
[Better lie to him.]
KYLE: You believed that? Ha! You're an idiot, Louie.
LOUIS: <red aura> ...It's not true? You were lying? What a jerk! You
have fun pullin' my chain? Think you're a clown? You're a total scumbag!
You been a cop all along, huh? You make me sick, man! Wish I could puke
all over your shoes!
[Louie storms away.]
<If you try going back into Dunning's office, the scene above marked
OFFICE1 plays.>
<Kyle heads to the stairs.>
KYLE: ...Huh? Someone's coming. Oh, great. It's Dunning. What now?
DUNNING: You! Hyde! Wait just a gol-darn minute! You're a cop, ain't ya?!
KYLE: What?
DUNNING: That's right, pal! The cat's outta the bag now! Just had me
a little chat with Louis, and he told me you're fuzz! Like I told ya,
this hotel's off-limits to all scumbags... Includin' COPS! Ya ain't
stayin' here, pal! Grab yer things and get the hell out!
KYLE: What? (Oh, I see... It's when I was coming out of Dunning's office.
Louie asked me what I'd been talking to Dunning about.)
<flashback>
LOUIS: You're a total scumbag! You been a cop all along, huh? Was it fun
stringin' me along? Watchin' me dance and play your stupid game? You make
me sick, man! Wish I could puke all over your shoes!
<end flashback>
KYLE: ...Crap.
[GAME OVER]
<Scene 2.2>
ROSA: LOUIIIIIIS! LOUIS DENONNO!
KYLE: ...Huh?
LOUIS: Aw, crap!
ROSA: So this is where you've been wasting your time? I knew it! Lazy bum!
LOUIS: ...Aw, man, she found me.
ROSA: Found you?! How about "I'm sorry, Rosa" or "Please don't kill me, Rosa"?
You haven't finished setting the tables, you lazy bum! It's almost time to
open!
LOUIS: I...I was just on my way! Don't trip out! You're gonna pull something.
ROSA: You're so worried about me? Get your behind in gear and finish the job!
LOUIS: Yeah, yeah, yeah, all right! All right! Just shut up already!
ROSA: Move it! And don't you tell me to shut up!
LOUIS: OK. I'm going! Man...
[Louie leaves.]
KYLE: ...Hasn't changed a bit.
ROSA: ...Eh? Hasn't changed?
KYLE: Yeah.
ROSA: ...Hmm.
KYLE: (Uh-oh. I don't like that noise...)
<followup>
[What's wrong?]
[Thinking deep?]
<If you don't follow up:>
<goes to ROSA2D>
[What's wrong?]
KYLE: ...Hey. Something eating you?
ROSA: Huh? What? Me? No! No, just...thinking about you and Louis is all.
[Thinking deep?]
KYLE: ...Hey. What're you thinking about?
ROSA: About you and Louis.
<ROSA2D>
KYLE: C'mon. What're you thinking about?
ROSA: Say, you wouldn't happen to...
KYLE: Happen to what?
ROSA: Happen to know Louis from somewhere else? You do! Don't you?
[Nope! Never met him!]
[Yeah, I know him.]
[Nope! Never met him!]
KYLE: Nope.
ROSA: Don't try and fool Rosa, mister. You can't do it! I know things!
I heard you and Louis talking, you know?
KYLE: Oh...
ROSA: I'm right, aren't I? Don't start lying to me now! I couldn't hear
WHAT you were talking about, but... I did hear Louis call you "Officer
Hyde." What's that, huh? Officer? There's no mistaking that, and for a
fact!
KYLE: That so? Well, I guess the gig's up, isn't it? Yeah, Louie and
I know each other.
ROSA: Aha! I knew it!
[Yeah, I know him.]
KYLE: Yeah, I know him.
ROSA: <red aura> I knew it. I knew it! I was sure I heard Louis call you
"Officer Hyde." Good to know I wasn't just imagining things. That
wouldn't do at all.
KYLE: What now?
ROSA: It's nothing. Really! I just thought if you and Louis knew each
other... I thought I could ask you something.
KYLE: Go ahead.
ROSA: Well, see... Oh, this is so awkward... Well, I really want to ask
about... Louis's past.
KYLE: His past?
ROSA: That's right! His past! You know, what he was like before? You knew
him, right? So you could tell me what he did before he started working here.
C'mon, talk to me!
[Rat out Louie.]
[Don't tell her anything.]
[Rat out Louie.]
KYLE: Louie and me go way back. Met him when I was still living in the
city. In Manhattan.
ROSA: <red aura> Manhattan? Louis? Pshaw! Stop pulling me leg! What
was Louis doing in Manhattan?
KYLE: Picking pockets.
ROSA: WHAT?! What did you say? He was a pickpocket? He stole things?
Good lord! Are you telling me the truth?
KYLE: Yep.
ROSA: Lord have mercy!
KYLE: Don't worry. That was three years ago. Louie's crime days are
behind him. He's a new man now. Working hard and--
ROSA: Oh, I just knew it! I was right all along, I was! I could tell he
wasn't an honest kid. That punk! That lazy, no-good punk! He can't fool
Rosa! He might fool that fool Dunning, but he can't fool Rosa!
KYLE: You're wrong. Louie's...
<goes to QUESTIONS. If you choose not to ask questions, it goes
to ROS2E>
[Don't tell her anything.]
KYLE: His past? Why?
ROSA: Well, it's obvious, isn't it?! He's hiding something, I just
know it!
KYLE: Hiding something? What do you mean?
ROSA: It's been almost three years since Louis started working here.
And in all that time, he's never once talked about his past. Not ONCE.
He's hiding something. I can smell it! Always can!
KYLE: Oh yeah? So what's he hiding?
ROSA: Something terrible! I'd stake my mop on it!
KYLE: Define "terrible."
ROSA: You know! A criminal record, or an ex-wife, or running from the
law or something. I mean, he's just so shifty!
KYLE: (...Shifty?)
<followup>
[You're crazy, Rosa!]
[You think he's shifty?]
<If you don't follow up:>
ROSA: Well?
KYLE: I don't know, lady.
ROSA: <red aura> WELL?
<goes to QUESTIONS. If you ask no questions, it goes to ROSA2E>
[You're crazy, Rosa!]
KYLE: Got a second? ...Hmph... Hmmmph... Ha ha! HAAAAA HA HA HA!
ROSA: Wha--?! What are you laughing at? This is serious!
KYLE: Sorry! Sorry... It's just... I can't believe you just said
that.
ROSA: And why not?
KYLE: You're wrong. In fact, you're so wrong it's funny.
ROSA: Oh, I'm wrong, am I?
KYLE: Yeah. I know, first time for everything, right? Listen,
you're right about one thing, I did know Louie. But let me tell you
about our pal Louie... Guy worked in a back alley jewelry shop in
the East Village. Tiny store, sold nothing but crap. Nobody ever
shopped there.
ROSA: He worked in a jewelry shop?
KYLE: Yeah. Look, there's no way Louie was ever a criminal. He's a
professional slacker. He doesn't have the stones to be a crook.
ROSA: Truly? That's his story? Well, I'll be... I'm... I'm sorry
for wasting your time.
<goes to QUESTIONS. If you ask no questions, it goes to ROSA2E>
[You think he's shifty?]
KYLE: Got a second? You think he's shifty?
ROSA: Oh, no doubt about it. Rosa has a nose for these things! That
boy's got a criminal record for sure! No doubt!
KYLE: Huh?
ROSA: What's wrong with you? Why do you look so surprised?
KYLE: What's wrong with YOU?!
ROSA: ...What? What're you talking about?
KYLE: A woman of your stature--
ROSA: What's THAT supposed to mean?!
KYLE: You heard me. C'mon. You're a mature woman, right? Good judge
of character?
ROSA: As a matter of fact, yes. I am. What's that got to do with
the price of tea?
KYLE: It's just that when a woman like you says a guy like Louie
is a criminal... It's a bit surprising, is all. I expected more
from you.
ROSA: What on earth do you mean, Mr. Hyde? Am I wrong? Is that it?
I'm wrong?
KYLE: You're wrong. Look, Louie's a nice guy, but he's a dope. Not
a crook. Sure, he's a slacker who plays the angles, but he's not
out to hurt people. He's just a small-time guy who worked a greasy
pizza joint in the East Village. And he hasn't changed a bit. Just
doing what he needs to do to skate by.
ROSA: Really? So that's it? Well, I never suspected... I'm... I'm
sorry for wasting your time.
<goes to QUESTIONS. If you ask no questions, it goes to ROSA2E>
[Question: Who's Jenny?]
KYLE: Who's Jenny?
ROSA: Jenny? I don't know anyone named Jenny.
<If you have more questions, it goes back to the Question list. If not,
it goes to ROSA2E>
[Question: What's with Dec. 5th?]
KYLE: The date December 5th mean anything to you?
ROSA: December 5th? Hmmm... Lemme think on that for a sec... December
5th... Well, my birthday's June 30th! And I'm pretty sure Dunning's is
October 8th... Sorry! Doesn't ring a bell.
KYLE: ...That so?
<If you have more questions, it goes back to the Question list. If not,
it goes to ROSA2E>
<ROSA2E>
ROSA: Well, I've got to get a move on. Dinner won't wait, you know! Busy,
busy, busy...
[Rosa finishes talking and scurries away.]
<Kyle's pager goes off.>
KYLE: ...My pager. I gotta give Rachel a call.
<He goes to the 2nd floor. If you ratted out Louie, it goes to ROSA2F. If you
didn't follow up when Rosa talked about Louie being shifty, it goes to ROSA2G.
Otherwise, it goes to ROSA2H>
<ROSA2F>
<Kyle hears footsteps.>
KYLE: ...Huh? Someone's coming. Oh, great. It's Dunning. What now?
DUNNING: Hey, Hyde! My office just got ransacked! And I got a hunch you
had somethin' t'do with it!
KYLE: Huh?
DUNNING: Don't play dumb with me, chump! I've been chattin' with Rosa.
Tells me you and Louis are thick as thieves. And speakin' of thieves...
Heard that punk Louis has a record for pickpocketin' in New York! That
right?! Ain't no place in my hotel for scum like you! I don't need the
hassle! Pack your things and get out before I toss yer ass out with my
own two hands!
KYLE: Huh? (Oh, I get it... It was my conversation with Rosa...)
<flashback>
ROSA: Oh, I just knew it! I was right all along, I was! I could tell he
wasn't an honest kid. That punk! That lazy, no-good punk! He can't fool
Rosa! He might fool that fool Dunning, but he can't fool Rosa!
<end flashback>
KYLE: ...Damn.
[GAME OVER]
<ROSA2G>
<Kyle hears footsteps.>
KYLE: ...Huh? Someone's coming. Oh, great. It's Dunning. What now?
DUNNING: Hey, Hyde! My office just got ransacked! And I got a hunch you
had somethin' t'do with it!
KYLE: Huh?
DUNNING: Don't play soft with me! I hear you and Louis are old pals!
Thick as thieves, you two are! That why you're here? Ya tryin' to help
Louis hide his rap sheet? Forget it, pal! Rosa's got eyes'n the back'a
her head. Ya can't fool her! You're bad news, and I don't want nothin'
t'do with ya! Pack your stuff and get the hell out!
KYLE: Huh? (Oh, I get it... It's because I didn't say anything when Rosa
asked me about Louie's past.)
<flashback>
ROSA: I mean, he's just so shifty. Well? WELL?!
<flashback ends>
KYLE: ...Damn.
[GAME OVER]
<ROSA2H>
<Kyle goes to his room.>
[Guess I should give Rachel a call.]
<He phones.>
Rachel: Hello, Red Crown.
KYLE: It's me. You paged me.
Rachel: Sure did, sweetie!
KYLE: What is it?
Rachel: Let me put Ed on.
ED: Hyde! Tell me something, will you? There a kid named Louis DeNonno working
there at the Hotel Dusk?
KYLE: DeNonno? Yeah, he's the bellhop. I knew him from back in the day. Said
he left the city and drifted out here 'bout three years ago.
ED: You know the kid, huh? What's his story?
KYLE: Just a punk who used to ride the subways picking pockets. Can't tell
you how many times I busted his ass. Why? What's going on?
ED: I just got back from meeting a buddy of mine. He's LAPD. Guy heads up
their Nile task force, and he said--
KYLE: Wait, hold it. You've got friends on the Nile case?
ED: Yeah, I know some guys working on it. Don't get your panties in a bunch.
Anyway, we're having a drink, shooting the breeze, and he mentions Hotel Dusk.
Then he tells me about some scuzz named Louis DeNonno who's working there.
Seems Nile's been looking for this mope.
KYLE: That doesn't make sense. Louie's small-time. Nile wouldn't care if he
lives or dies.
ED: Well, three years ago a stiff turned up near a warehouse in Manhattan.
Some kid named Danny was up to his eyeballs with Nile, and he got himself
offed. NYPD wrote it off as gangs or Mafia or the like. Hell, you know the
drill: no witnesses, no leads, nobody ever brought in.
KYLE: What's this got to do with Louie?
ED: I'm getting there, Hyde! Relax, will ya?! You sound like my ex
sometimes... Anyway, seems your boy DeNonno's right in the middle'a all this.
The night Danny got aired out, he was the bagman for a buncha payoff scratch.
'Course, when Danny boy buys it, the bribe money vanishes. Word on the street
is Danny was buddy-buddy with your pal, Louie. And here's where it gets good;
after Danny cashes out, Louie vanishes. POOF! So now Nile wants their money
back, and this kid's the only lead. They been looking all over hell and
breakfast, and now we think they found him.
KYLE: They must really be on the hunt if they tracked him to this dive. So if
they know where Louie is, why's he still breathing?
ED: They think he's a patsy. Think there's somebody else calling the shots,
pulling the strings, ya know?
KYLE: Nile... Never thought I'd hear that name in this place.
ED: Total coincidence.
KYLE: I don't know... You think so?
ED: Don't think so. Know so. Oh, and I got another tidbit for ya. The Nile
money that Danny was carrying when he got smoked? They got the cash by fencing
stolen art.
KYLE: ...Hang on. The cash was from that mess Bradley was involved in?
ED: Could be.
KYLE: That would mean Louie...
ED: Yeah, he may have some dirt on Bradley we never heard.
KYLE: ...Huh.
ED: Tell me something, Hyde. You find the stuff on the order sheet?
KYLE: Taken care of. Don't worry about it.
ED: Good. Business before vengeance, ya know? Har har har! Anyway, I'll be
in touch.
<He hangs up.>
KYLE: (Louie's friend was involved with Nile? I think Louie and I need to
have a little chat.) [Where is Louie?]
[05:50 PM]
<He heads to the 1st floor.>
KYLE: Huh?
<A door opens.>
KYLE: Someone's coming down the hallway. (...It's Dunning.)
DUNNING: Hey, it's you!
KYLE: Got a sec?
DUNNING: Whatcha need?
<goes to QUESTIONS. If you look at your notebook, Dunning asks, "So, what're
ya reading?" If you write in your notebook, Dunning asks, "So, what're ya
writing?">
[Question: Who's Jenny?]
KYLE: Who's Jenny?
DUNNING: ...Jenny? Where'd ya hear that name?!
KYLE: Little bird told me.
DUNNING: Why the hell ya asking me about Jenny?! Ya ain't been pokin'
around my office, have ya? Someone ransacked my office! Was it you?
KYLE: Nope. I was too busy stealing towels from my bathroom.
DUNNING: Don't get smart with me, pal! I know ya was in my office!
I knew there was somethin' wrong about ya! You ain't welcome here! Pack
up and get the hell out!
KYLE: Huh? (That's not what I intended. He wasn't supposed to react this
way...)
<flashback>
DUNNING: What's goin' on, Hyde? Why the hell ya asking me about that?
Ya ain't been pokin' around my office, have ya?
<flashback ends>
KYLE: ...Damn.
[GAME OVER]
[Question: What's with Dec. 5th?]
KYLE: You know anything special about December 5th?
DUNNING: ...December 5th? Fifth day'a the twelfth month. What of it?
KYLE: Nothing, I guess...
DUNNING: What's goin' on, Hyde? Why the hell ya askin' me about that?
You ain't been pokin' around my office, have ya? Someone ransacked my
office! Was it you?
KYLE: Nope. I was too busy stealing towels from my bathroom.
DUNNING: Don't get smart with me, pal! I know ya was in my office!
I knew there was somethin' wrong about ya! You ain't welcome here! Pack
up and get the hell out!
KYLE: Huh? (That's not what I intended. He wasn't supposed to react
this way...)
<flashback>
DUNNING: What's goin' on, Hyde? Why the hell ya asking me about that?
Ya ain't been pokin' around my office, have ya?
<flashback ends>
KYLE: ...Damn.
[GAME OVER]
<You can also choose to show Dunning items from your item list, but some
of them will net you a game over. If you show the pliers, memo, screwdriver,
crowbar, or small red box:>
<GAMEOVER1>
DUNNING: Hey! That's... Where'd ya get that? Oh, now I get it. Yer
the one!
KYLE: Huh?
DUNNING: Things have gone missin' 'round the hotel lately, and now
I know why! You been stealin' 'em! Knew there was somethin' fishy
about ya! Pack yer things and get out before I toss ya out!
KYLE: Huh? (That's not what I intended. He wasn't supposed to react
this way...)
<flashback>
DUNNING: Hey! That's... Where'd ya get that?
<flashback ends>
KYLE: ...Damn.
[GAME OVER]
[Question: Where's Louie?]
KYLE: Where's Louie?
DUNNING: DeNonno? No idea. And speakin' a'him, Rosa let me in on yer secret.
Told me you and DeNonno are old friends.
KYLE: In a way. Look, there's something I need to talk to him about.
DUNNING: That so? He SHOULD be helpin' t'get the restaurant ready. So he's
either in the kitchen or loafin' in his room. I'd put a sawbuck on which...
KYLE: That's quite an employee you have there.
DUNNING: Damned if I don't know it! Anyways, kitchen and his room are both
through the door behind me. If he ain't in the kitchen, I'm sure you'll find
him in his room. I'd go grab him by the scruff'a the neck m'self, but I'm a
bit tied up. Go see what ya can find, will ya?
<end questions. This happens even if you didn't get the chance to ask the
other two questions. Although considering how those two questions end, that's
probably a good thing.>
DUNNING: We done here? Good. I'll see ya around.
[Dunning finishes talking or mumbling or whatever he does and walks away.]
<Kyle enters the left hallway door. If you go to the kitchen instead of
straight to Louie's room, you'll find Rosa:>
KYLE: Got a minute?
ROSA: What do you think you're doing? Stop! You can't come in here!
This is the kitchen! It's off-limits to guests! That means you!
<goes to QUESTIONS. If you didn't ask Rosa "Who's Jenny?" and/or
"What's with Dec. 5th?" earlier, these questions are here. If you ignore
any or all questions, it goes to ROSA2J. If you look at your noteboook,
Rosa asks, "What're you looking at?" If you write in your notebook,
Rosa asks, "What're you writing?">
[Question: Who's Jenny?]
KYLE: You know who Jenny is?
ROSA: Jenny? No, I don't know anyone named Jenny.
<If you have more questions, it goes back to the Question list. If not,
it goes to ROSA2J>
[Question: What's with Dec. 5th?]
KYLE: The date December 5th mean anything to you?
ROSA: December 5th? Let me think... December 5th... Twelve five...
Hmmm... Well, my birthday's June 30th! And I'm pretty sure that
Dunning's is October 8th. Least I think so. Sorry. Doesn't ring a bell.
Wait! Wait... Nope, sorry. Nothing.
KYLE: Gotcha.
<If you have more questions, it goes back to the Question list. If not,
it goes to ROSA2J>
[Question: Where's Louie?]
KYLE: Where's Louie?
ROSA: You mean Louis? HA! He's not here! Lazy slacker! Probably in his
room wasting time or hiding under the bed or something.
KYLE: Where's his room?
ROSA: Go out of here and take a left. Can't miss it. Smells like cheese.
<ROSA2J>
ROSA: Are you done? You're done, right? Please go. My kitchen's a busy
place, and I'm a busy lady. Always working, working, working...
<If you try to enter the restaurant via the door in the kitchen:>
ROSA: Where do you think you're going? Stay out! Out! I mean it!
The restaurant's not ready yet!
<Kyle goes to Louie's room.>
KYLE: This must be Louie's room.
<Kyle knocks on the door. Louie opens it.>
LOUIS: Huh? Oh, it's you. How's it hangin', Officer?
KYLE: Got a second?
LOUIS: What d'ya want, man?
KYLE: We need to talk, and I don't want any extra ears. Especially not Rosa
or Dunning.
LOUIS: ...Like I got a choice. C'mon in, man.
[I enter Louie's room.]
KYLE: Listen, Louie--
LOUIS: What gives, man? Why you gotta come in here?
KYLE: We need to talk.
LOUIS: Yeah? Well, you might wanna talk, but I don't wanna listen. I told ya,
man, I wanna leave everything in the past. So just...leave me alone, dig?
KYLE: Can't do it. I gotta talk to you, Louie.
LOUIS: Aw, man! What now? You gonna hassle me about old times again or what?
<LOUIE2C>
KYLE: When I mentioned Nile, you looked like you were going to be sick. Why
is that, Louie? Speak up. I can't hear you.
LOUIS: ...I don't wanna talk about it.
KYLE: (Yeah, I bet you don't.)
<followup>
[C'mon, Louie. Why not?]
[Oh, you'll talk to me.]
<If you don't follow up:>
LOUIS: I told ya to get out, capeesh?
<goes to LOUIE2B>
[C'mon, Louie. Why not?]
KYLE: Too bad, Louie. Why not?
LOUIS: <red aura> 'Cause I don't, man. Simple as that. No special
reason. What, you're my shrink now? I told ya to get out, capeesh?
<LOUIE2B>
KYLE: Not gonna happen. We gotta chat, Louie. You hear me?
LOUIS: Talk away, man. I ain't gotta listen.
KYLE: I'm going to keep asking until you start talking.
<goes back to LOUIE2C and to followup>
[Oh, you'll talk to me.]
KYLE: Too bad, Louie. Oh, you're gonna talk. You'll talk, or we'll go
'round and 'round.
LOUIS: I AIN'T TALKIN'! Kick me around or whatever. Makes no difference,
man.
KYLE: I know the score, Louie. You don't want to tell me your dead pal
was neck deep in Nile's business. That's it. Isn't it?
LOUIS: Wha--? Dammit, man! How'd you know that?! Who told ya about
Danny? [Who killed Danny?]
<LOUIE2D>
KYLE: I got bad news, Louie. Nile's looking for you.
LOUIS: ...WHAT?
KYLE: (That got his attention...)
<followup>
[You surprised?]
[That's what LAPD says.]
<If you don't follow up:>
LOUIS: N-no, man, I... I don't know. I don't know anything.
KYLE: Clamming up won't help.
<goes back to LOUIE2D and to followup>
[You surprised?]
KYLE: What is it? That shouldn't be a surprise.
LOUIS: <red aura> ...N-no, man, no. Nothin' like that. I ain't
that surprised. N-no, man, I... I don't know. I don't know anything.
KYLE: Clamming up won't help.
<goes back to LOUIE2D and to followup>
[That's what LAPD says.]
KYLE: What is it? That's the straight skinny from LAPD.
LOUIS: Man! Why this crap gotta happen now? This is why I split
New York in the first place! [Why'd you leave Manhattan?]
<LOUIE2E>
KYLE: When your boy Danny took the big sleep, a lot of cash went
missing. Nile thinks you have it. Thinks you bolted town with a
briefcase full'a dough.
LOUIS: That's impossible.
KYLE: (Wish it were, Louie...)
<followup>
[What's impossible?]
[Did you take the money?]
<If you don't follow up:>
<Louis shakes his head.>
KYLE: I'm gonna ask once more.
<goes back to LOUIE2E and to followup>
[What's impossible?]
KYLE: Keep calm, Louie. What's impossible?
LOUIS: <red aura> ...Nothin', man. Don't worry about it.
<He shakes his head.>
KYLE: I'm gonna ask once more.
<goes back to LOUIE2E and to followup>
[Did you take the money?]
KYLE: Keep calm, Louie. So did you boost the dough or what?
LOUIS: Get off my case, man! I don't know anything 'bout
Danny's money! [Where's Danny's money?]
KYLE: Nile thinks you're a patsy. And until they know who the
big man is, they'll keep watching you. You hear what I'm
saying?
LOUIS: ...They're not gonna kill me? At least, not right now?
That's it, right?
KYLE: That's it.
LOUIS: ...This is a trip and a half, man.
<goes to QUESTIONS>
<If you exit the Question list, Louie says, "..." If you return to ask
questions, Kyle asks, "Got a minute?" and Louie says, "What is it"? and it
goes back to the Question list.>
<If you check your notebook, Louie asks, "What ya lookin' at?" If you write
in your notebook, Louie asks, "What ya writin'?">
<NOTE: If you got TWO or THREE red auras in the above pre-questioning phase,
you need to get only ONE wrong answer in the Questions phase to get a game
over.>
[Question: Who killed Danny?]
KYLE: I think I know who killed Danny.
[I don't think it was you.]
[It was you! Confess!]
[I don't think it was you.]
KYLE: It wasn't you, was it?
LOUIS: 'Course not! There's no way I'd kill him!
KYLE: So who was it?
LOUIS: C'mon, man...
KYLE: Talk, Louie. If you didn't kill Danny, who did?
LOUIE: ...It was J.
KYLE: J?
LOUIS: Yeah, that's what Danny called him, all right? J. [Who's J?]
<back to QUESTIONS>
[New Question: Who's J?]
KYLE: Who's J?
LOUIS: Some cat what works for Nile. He and Danny used to run together.
KYLE: Ever meet him?
LOUIS: No. Just heard about him from Danny. Said J was some kinda
insurance-fraud pro. He'd get an art collector to insure something for a
ton of cash, yeah? Then Nile would steal the piece, and the insurance
money would roll in. When it was over, Nile sold the art back to the
mark for big money. Danny was baggin' the money from one of those sales.
KYLE: Was Danny working with J when he got whacked?
LOUIS: That's what he told me. 'Course, he told me a lot of things...
[Why was Danny killed?]
<back to QUESTIONS>
[New Question: Why was Danny killed?]
KYLE: Why was Danny killed?
LOUIS: ...He got suckered.
KYLE: Suckered?
LOUIS: Yeah. Danny was gonna lift this angel painting from Nile's
hideout, ya know? But all he did was get himself killed. [An angel
painting?] Well, that ain't exactly right... It wasn't his idea to
boost the painting. It was J's.
<back to QUESTIONS>
[New Question: What's the angel painting?]
KYLE: What was this angel painting?
LOUIS: No clue, man. That's just what Danny called it. Some big painting
he found in Nile's warehouse. He was crazy 'bout the stupid thing. Said
it was worth a fortune. Said if we could score it, we'd be set for life.
Cars, clothes, babes, everything.
KYLE: Ever see this painting?
LOUIS: Naw, just heard Danny run his mouth about it.
<If you have more questions, it goes back to the Question list. If you
got the other 2 main questions wrong, it goes to LOUIE2F. Otherwise,
it goes to LOUIE2G>
[It was you! Confess!]
KYLE: It was you, wasn't it?
LOUIS: <red aura> ...What're you talkin' about?! You think I did it?
You suspect me? Accuse me like that? No way, man! No way I'd do somethin'
like that!
<If you have more questions, it goes back to the Question list. If not,
it goes to LOUIE2F>
[Question: Who stole the money?]
KYLE: I bet I know who stole the money Danny was carrying.
[It was you! Confess!]
[I don't think it was you.]
[It was you! Confess!]
KYLE: Was it you?
LOUIS: <red aura> C'mon, man. Don't be stupid. If I had that kinda
bread, you think I'd be workin' here? I'm a dope, but not stupid. That's
the kinda thing gets a man killed.
<If you have more questions, it goes back to the Question list. If
you got the "Who killed Danny?" question wrong, it goes to LOUIE2F.
Otherwise, it goes to LOUIE2G>
[I don't think it was you.]
KYLE: And it wasn't you. So who took it?
LOUIS: Man, it was... It was the guy who killed him!
<If you have more questions, it goes back to the Question list. If
you got the "Who killed Danny?" question wrong, it goes to LOUIE2F.
Otherwise, it goes to LOUIE2G>
[Question: Why'd you leave the city?]
KYLE: Why'd you leave the city? Let me guess.
[You stole the cash!]
['Cause Danny got killed.]
[You stole the cash!]
KYLE: It's 'cause you stole all that money, right?
LOUIS: <red aura> Oh, you got me, man. I stole the money. That's why
I work in this dump. You're way wrong.
<If you have more questions, it goes back to the Question list. If
you got the "Who killed Danny?" question wrong, it goes to LOUIE2F.
Otherwise, it goes to LOUIE2G>
['Cause Danny got killed.]
KYLE: Was it because Danny got killed? Had to get outta the city 'cause
your buddy got cut down? That why you left? Why you fled a crime scene?
Don't tell me that had nothing to do with your little cross-country trip.
LOUIS: ...Had everything to do with it. We had a plan, ya know? A good
plan. If Danny's job went OK, we were gonna blow outta there.
KYLE: Drop everything and run?
LOUIS: Yeah... Least, that was the plan.
KYLE: Why?
LOUIS: I'll tell ya, but you won't get it. Danny and me were a couple'a
poor suckers from the street. No family, no nothing. Just two punks with
no future. Problem is, neither of us had the nerve to make it as big-time
crooks. So... We were gonna go someplace else, ya know? Become new people
with new lives. Yeah... What a couple of losers, right?
KYLE: What happened?
LOUIS: We needed some serious bread to get outta the city. Danny was
gonna get the money by doing one last big job. [A final big job?] I tried
to stop him, man. Told him it was too risky. But he wouldn't listen...
He always was an idiot.
<back to QUESTIONS>
[New Question: What was the job?]
KYLE: So what was the big job?
LOUIS: At first, it was just lifting this painting, yeah? But things
started gettin' outta control fast. He started talkin' about takin' all
kinds of art stuff they had stashed.
KYLE: He wanted to steal Nile's entire collection? Not smart.
LOUIS: You tellin' me, man? But look, Danny didn't come up with this
on his own. He was just sucked into J's plan.
KYLE: J's plan...
<If you have more questions, it goes back to the Question list. If
you got the "Who killed Danny?" question wrong, it goes to LOUIE2F.
Otherwise, it goes to LOUIE2G>
<LOUIE2F>
LOUIS: Officer Hyde.
KYLE: What?
LOUIS: You ain't built for this, man.
KYLE: Huh?
LOUIS: You got no idea what's goin' on. No way I'm talkin' to you 'bout
any of this. Matter of fact, I never want to see your face again!
Get out.
KYLE: What?
[I went back to Room 215.]
KYLE: How'd I screw this up? You're an idiot, Hyde. You've lost it.
Things going the way they are? You'll never catch Bradley. Better to
just give up. Spend the rest of your life as a half-assed salesman...
[Hyde gave up and spent the rest of the night brooding in his room...]
[GAME OVER]
<LOUIE2G>
<Louie shakes his head.>
KYLE: ...What?
LOUIS: You don't get it, do ya? You don't understand a damned thing! Not
about Danny, and not about Nile. You're a total washout, man.
KYLE: You sayin' you do?
LOUIS: Yeah, man. More'n you at least!
KYLE: So enlighten me, Einstein. Tell me how smart you are.
<They stare at each other.>
LOUIS: Night Danny died? I was trippin' out 'cause he never showed at the
restaurant, right? So I head over to check out Nile's warehouse. Soon as I
walk up to the door... BANG! Somebody inside fires a gun. I duck down, scoot
over to the door, and take a peek inside... Know what I see, man? Dude in a
long coat with a piece in his hand. Then I look past him... There's somebody
else in back of the warehouse. Layin' on the ground... It's Danny. Guy
shot him dead. That was three years ago. December 24th, 1976. I'll never
forget it.
KYLE: The guy who shot Danny...
LOUIS: It was J. Danny was just lying there, bleedin' and cryin' and...dyin'.
But I had nothin', man. No gun, nothing. Just had to wait for J to split. By
the time I got to Danny... Too late, man. Guy could barely talk, but he
managed to tell me one thing... Said he'd been tricked. ...Said J was a cop.
Then he actually apologized to me. Said he was sorry he couldn't get us the
money. Dammit, Danny...
KYLE: ...Louie.
LOUIS: Officer Hyde... What ya told me earlier in the lobby? You know, about
workin' the Nile case? The part about the guy working undercover's what done
it. I figured it out, man.
KYLE: What?
LOUIS: Look at this picture.
<He takes a photo from Louie.>
KYLE: This...
LOUIS: Yeah, that's right. Guy in the middle's my buddy, Danny. The guy on
the right...
KYLE: ...It's Bradley.
LOUIS: No. It's J. You dig? You get it now? ...It was YOUR friend, man.
YOUR partner. That's who killed Danny! The cops used him, man. Just a tool
in their little investigation. They used him, and then they killed him when
they didn't need him anymore! And nobody cared, right? Just some dead street
punk. What's that worth to the cops? Nothin', man. Less than nothin'.
KYLE: ...
LOUIS: Your partner gettin' shot on the docks? That was justice, man. He
screwed up his case and got popped by Nile. Got what he deserved. That's
the reason ya got canned, ain't it? Your partner blew it, and the Nile
investigation went out the window.
KYLE: ...No.
LOUIS: No? What d'ya mean, no?
KYLE: I mean you're wrong. About Bradley... Nile didn't shoot him.
LOUIS: But...
KYLE: I did.
LOUIS: WHAT?!
KYLE: Bradley was a busy boy. He double-crossed a lot of people. Including
the police. When I heard, I went after him.
<flashback to police station>
KYLE: <answers phone> This is Hyde.
VOICE: Bad news, Hyde. It's Bradley. He... He's on the take.
KYLE: What the hell?
<He shoots Bradley.>
<flashback ends>
KYLE: Bradley took a dive in the Hudson. Body never turned up. I took the
heat for the shooting and quit the force. But...
LOUIS: ...Whoa. Man, that's heavy. That's a crazy story, man. That dirtbag...
He screwed everybody, didn't he? Even you. You must really hate him. Wait...
you don't think he's dead. Do ya? I get it, Officer Hyde! Yeah, I get it now!
THAT'S why you're some loser salesman! You're looking for J! I mean, Bradley.
<Kyle nods.>
LOUIS: Wow... What a trip... Listen, Officer Hyde, why don't we team up?
KYLE: Team up?
LOUIS: If your story's on the level, Nile's watchin' me and they want me dead.
And I've never even smelled their damn money! Your partner framed me good,
man. It's all his fault. So if Bradley's still alive and kickin'? I say we
grab him and hand him over to Nile.
KYLE: You serious?
LOUIS: Yeah, man. Now that we're on, like, the same team... I'll do whatever,
ya know? Just give the word.
KYLE: Lemme think on that, Louie. I'll talk to you later.
<Louie nods. Kyle leaves the room.>
KYLE: (Bradley murdered his Nile connection and made off with the money. Why
the hell would he do it? Could it be this angel painting? Did he betray us
all for a damn piece of canvas? Bradley... OK, hold on, Hyde. Take it easy.
I gotta get my ducks in a row here...)
<goes to CHAPTER SUMMARY>
Summer dropped off my package, and I checked out the order sheet. While
searching for the things listed there, I ran into Rosa. She was cleaning, but
I learned some news about Louie. Louie's fallen hard for a dame named...
1. Iris
No, that ain't right. Iris is the snooty dame in 216.
2. Mila
Yeah, that's her. Rosa said Louie's gone gaga for Mila.
3. Helen
No, that ain't right. Helen's the old gal staying in 212.
When I cornered Louie in the linen room, he told me something interesting.
Said there's been a weird story about the hotel floating around for years.
Seems people are talking about a ghost appearing here. The story got its
start about...
1. Ten years ago
That's right. A young girl was murdered here ten years ago. Case was
never solved.
2. Five years ago
No, that ain't it. Five years back was when Dunning bought the hotel.
Picked it up after it'd gone bankrupt.
3. Three years ago
No, that ain't it. Three years ago is when I quit the force. The same
time Bradley disappeared.
Louie told me that lost and found items were kept in the main office. I waited
for Dunning to leave, then went in and tossed the place. The thing I found in
the cabinet was...
1. A crowbar
No, that ain't it. I found the crowbar in a toolbox in the linen storage
room.
2. A paper clip
No, that ain't it. The paper clip was on the desk in Room 215.
3. A small red box
That's right. After I figured out how to unlock the cabinet... I found
the little red box I'd been looking for.
When I came out of Dunning's office, I ran into Louie. He wanted to know if
I'd been talking to Rosa or Dunning about him. He was worried I'd told 'em
about his criminal record, but I hadn't. But when I talked to Ed later on,
I learned something new about Louie. That new thing was...
1. He would get fired
No, that ain't it. I did give Louie a bit of an earful about that, but
I don't really care.
2. Nile was after him
That's right. That's what Ed told me. Louie's pal got murdered, and all
the money he was carrying disappeared.
3. He was in love
No, that ain't it. Whoever Louie decides to moon over's no concern of
mine.
I decided to track Louie down and get the dirt on why he left Manhattan.
I found him in his room and made him spill his guts. I needed to know why he
decided to leave the streets behind. Louie finally cracked and told me what
was what. Seems there was an undercover cop involved in his friend's murder.
The name of Louie's pal was...
1. Danny
That's right. Louie's buddy was named Danny. Louie told me all about
how his pal got double-crossed by an undercover cop. The cop was
investigating Nile. The cop was Bradley.
2. Dunning
No, that ain't right. Dunning's the old coot that owns this place.
3. Jeff
No, that ain't right. Jeff's the young kid who gave Mila a ride to
the hotel.
Meeting Louie helped me learn some things I didn't know before. That
information brought me a step closer to Bradley's trail. But why did Bradley
turn his back on the force? Why did he betray me? Even after all this time.
<sic; that should probably be a comma, but it's a period in the game.> I still
don't have a clue. Listen, Bradley, I don't know where you're at, or what
you're doing. But I think the answer is somewhere in this hotel. A man
stayed here six months ago. A man with my name. I know you're connected in
some way, Bradley. Tonight, Hotel Dusk's going to show me how.
==================================
4c. CHAPTER 3: DECEMBER 28TH, 1979
6:00 ~ 7:00 P.M.
==================================
<Kyle is back in his room. The phone rings.>
KYLE: Huh? It's the phone.
<If you try to leave the room:>
KYLE: Phone's ringing. Better answer it.
[The phone's ringing.]
<He answers.>
RACHEL: Kyle?
KYLE: Rachel? What now?
RACHEL: Hey, sweetie. Who's Bradley?
KYLE: ...What?
RACHEL: After you got off the phone with Ed, I heard him talking to himself.
Well, muttering is more like it. He said something about giving up the search
for Bradley. C'mon, Kyle. Who's Bradley?
[Forget it, Rachel.]
[Can't talk now!]
[Forget it, Rachel.]
KYLE: Bradley... Forget it, Rachel. It's got nothing to do with you.
RACHEL: Well, aren't you just full of Christmas cheer? C'mon, handsome.
Tell me. Pleeeease?
KYLE: Look, it's a long story. And I hate long stories. Pain in my ass.
RACHEL: OK, OK. I get it.
[Can't talk now!]
KYLE: I can't get into it now.
RACHEL: ...OK, I get it. I won't push you.
KYLE: Thanks.
KYLE: Hey, is Ed there? Put him on, will you?
RACHEL: Sorry, sweetie, but he just stepped out.
KYLE: Figures. Have him page me when he gets back.
RACHEL: Will do. Take care.
<He hangs up.>
KYLE: Maybe he's right. Maybe my search for Bradley is a fool's errand...
'Course, I don't know what I'd do if I gave it up... Other than quit this
miserable job.
<He leaves his room.>
KYLE: (Ah, screw it. I'm hungry. Guess I'll head down to that five-star
restaurant and see what they've got.)
<He goes to the restaurant and sees Kevin and Melissa outside the door.>
KYLE: Oh, look who's here. Wonder what they're talking about.
KEVIN: Melissa!
<Melissa looks away with an angry expression on her face.>
KEVIN: Look at me when I'm speaking to you, young lady! Why would you do
that while we're eating?
MELISSA: But--
KEVIN: But nothing!
MELISSA: Dad--
KEVIN: Don't "Dad" me! I've had it up to HERE with your back talk! For once,
could you just do as you're told and be quiet? I'm so tired of this, and
I don't want to hear any more excuses! Go back to the room. I'll be up in
a few minutes.
MELISSA: ...Dad. Dad... I... I HATE YOU!!
KYLE: (Nice, kid. That'll score you points with the old man.)
<followup>
[Everything OK?]
[Why so angry, kid?]
<If you don't follow up:>
<goes to MELISSA3A>
[Everything OK?]
KYLE: Hey. What's going on?
MELISSA: Nuthin'...
KYLE: You got quite a set of pipes there.
MELISSA: Yeah, I'm loud. So? You gonna yell at me, too?
[Why so angry, kid?]
KYLE: Hey. Why you so ticked off?
MELISSA: Leave me alone. You... You wouldn't understand!
<MELISSA3A>
[Melissa turns and runs up the stairs.]
KEVIN: Melissa?
KYLE: Hey.
KEVIN: Yes?
KYLE: Looks like a rough job. Raising kids, I mean.
KEVIN: Oh, yes. Sometimes it is... I'm sorry you had to see that.
KYLE: (You and me both...)
<followup>
[You should be sorry!]
[Nothing to apologize for.]
<If you don't follow up:>
<goes to KEVIN3A>
[You should be sorry!]
KYLE: Hold it... Yeah, if I were you, I'd be sorry as hell, too.
KEVIN: Pardon me?
KYLE: You think yelling's the only way to get a kid to listen to you?
Keep it up. She'll ignore you and you'll end up with a sore throat.
KEVIN: Somehow I didn't expect to get parenting advice from a stranger...
If you don't mind my asking, do you have children?
KYLE: You're a funny guy.
KEVIN: Well, are... Are you married?
KYLE: Why would I want to do that?
KEVIN: I see...
[Nothing to apologize for.]
KYLE: Hold it... Don't be sorry. Kids need to be kept in line, right?
KEVIN: Well, yes, but... I'd rather not be seen scolding my daughter
in public.
KYLE: It happens.
<KEVIN3A>
KYLE: What's your name?
KEVIN: Oh, that's right. We haven't... This is a bit after the fact, but let
me introduce myself. I'm Kevin Woodward. I'm a surgeon at Robbins Memorial
Hospital in Santa Monica.
KYLE: (...Kevin Woodward, huh? Nice name, buddy.) Kyle Hyde. I'm a salesman
for Red Crown.
KEVIN: Kyle Hyde?
KYLE: Yeah.
KEVIN: Kyle Hyde... Interesting...
KYLE: (What's the big deal?)
<followup>
[What is it?]
[Good name, isn't it?]
<If you don't follow up:>
KEVIN: Oh, nothing. Sorry about that. I was just...musing...
[What is it?]
KYLE: Now what? You got a problem?
KEVIN: No, no! It's nothing. I just thought I'd heard your name before.
That's all. [He knows my name?] Have we perhaps met before?
KYLE: Nope. First time.
KEVIN: Of course it is. Of course... I'm sure my memory's just playing
tricks on me. Please forgive me.
[Good name, isn't it?]
KYLE: Now what? You like my name?
KEVIN: Oh...yes, I suppose.
KYLE: You suppose?
KEVIN: By the way, Mr. Hyde... It seems you've spoken with my daughter Melissa
on previous occasions. Would you mind telling me what sort of conversations
you had?
[I don't follow.]
[Nothing special.]
[I don't follow.]
KYLE: What do you mean?
KEVIN: I was just hoping she hadn't bored you or...told you
anything...um...
KYLE: Just spit it out, will you, pal?
KEVIN: Well...specifically, I was wondering if you talked about her
mother. [About her mother?] If you didn't talk about anything in
particular, that's fine, too.
<goes to QUESTIONS>
[Nothing special.]
KYLE: We just chatted. Nothing specific.
KEVIN: I see...
<goes to QUESTIONS. If you chose "Good name, isn't it?" in the followup
or if you didn't follow up, you have no questions and it goes to KEVIN1.
If you chose "What is it?," you have the question below:>
[Question: Someone has my name?]
KYLE: You know somebody with my name?
KEVIN: No, I think one of my patients may have had a similar name, but...
I'm sure my memory's just playing tricks on me. Yes, that must be it...
After all, we just met for the first time, yes?
<end questions>
KEVIN: I'm sorry for rambling. If you'll excuse me?
[Kevin leaves.]
<Kyle walks toward the restaurant, then stops and thinks:>
KYLE: (Wait a minute... What did Kevin say?)
<flashback>
KEVIN: It seems you've spoken with my daughter Melissa on previous
occasions. Would you mind telling me what sort of conversations you had?
<flashback ends>
KYLE: I wonder what Kevin's so worried about?
<goes to Scene 3.1>
<If you look at your notebook during the Question phase, Kevin asks, "May
I ask what you're looking at?" If you write in your notebook, he asks,
"May I ask what you're writing?" If you quit the Question list early or
you decide not to talk to Kevin again, then go through the restaurant door,
Kevin disappears.>
<If you leave the Questions list then talk to Kevin again, Kyle asks, "Got
a minute?" and Kevin says, "What is it?" then goes back to QUESTIONS.>
<KEVINQ1>
[Question: Why are you asking about her mom?]
KYLE: Why are you asking about her mother?
KEVIN: Well, if Melissa didn't mention anything, then it's nothing to
worry about.
KYLE: She told me her mom can't come home. Is that what this is about?
KEVIN: So she brought it up after all...
KYLE: Yeah. She also said that you're taking her to see her mom. This
supposed to be a secret?
KEVIN: ...Oh, no, nothing like that. It's just...
KYLE: (Talkin' to this guy's like pulling teeth from a grizzly...)
<followup>
[It's just what?]
[Something worrying you?]
<If you don't follow up:>
KEVIN: No, it's nothing. Nothing at all...
<If you still have questions, it goes back to the Question list. If
not, it goes to KEVIN2 then to Scene 3.1. If you chose "Good name,
isn't it?" or didn't follow up in the first followup, then it goes
to KEVIN2 and then to KEVIN3>
[It's just what?]
KYLE: ...Yes? You going to finish a sentence for once?
KEVIN: Please, every family has its own situation, its own...
difficulties. Melissa's just a child. Don't put too much stock
in what she says.
<If you still have questions, it goes back to the Question list. If
not, it goes to KEVIN2 then to Scene 3.1. If you chose "Good name,
isn't it?" or didn't follow up in the first followup, then it goes
to KEVIN2 and then to KEVIN3>
[Something worrying you?]
KYLE: ...Yes? You worried about something?
KEVIN: Well, yes. Maybe a little...
KYLE: What is it?
KEVIN: I doubt you're the type to believe everything you hear,
but... Melissa's just a child. Don't put too much stock in what
she says.
<If you still have questions, it goes back to the Question list. If
not, it goes to KEVIN2 then to Scene 3.1. If you chose "Good name,
isn't it?" or didn't follow up in the first followup, then it goes
to KEVIN2 and then to KEVIN3>
<end KEVINQ1>
<KEVINQ2>
[Question: Someone has my name?]
KYLE: You know somebody with my name?
KEVIN: No, I think one of my patients may have had a similar name,
but... I'm sure my memory's just playing tricks on me. Yes, that must
be it... After all, we just met for the first time, yes?
<If you still have questions, it goes back to the Question list. If not,
it goes to KEVIN2 then to Scene 3.1>
<end KEVINQ2>
<KEVIN2>
KEVIN: I'm sorry for rambling. If you'll excuse me?
[Kevin leaves.]
<end KEVIN2>
<KEVIN1>
KYLE: Gotta go.
<Kevin is still standing there. If you try to talk to him again:>
KYLE: Got a minute?
KEVIN: What is it?
<goes to QUESTIONS. Still no questions.>
<As Kyle walks toward the restaurant, you may get one or all of the
following depending on how you followed up and what choices you made:>
<If you didn't unlock the "Why are you asking about her mom?" question:>
KYLE: (Wait a minute... What did Kevin say?)
<flashback>
KEVIN: It seems you've spoken with my daughter Melissa on previous
occasions. Would you mind telling me what sort of conversations you had?
<flashback ends>
KYLE: I wonder what Kevin's so worried about?
<If you didn't get the "Someone has my name?" question:>
<KEVIN3>
KYLE: (Wait a minute... What did Kevin say?)
<flashback>
KEVIN: Kyle Hyde... Interesting...
<flashback ends>
KYLE: Something about my name set Kevin's mind on its ear.
<end KEVIN3>
<If you didn't already get the "Kevin leaves" scene before this, then Kevin
will still be standing there and you can talk to him again.>
KYLE: Got a minute?
KEVIN: What is it?
<goes to QUESTIONS>
[Question: You worried about Melissa?]
KYLE: Are you worried about something Melissa may have told me?
KEVIN: Well... Specifically, I was wondering if you talked about
her mother. [Why's he want to know that?] If you didn't talk about
anything in particular, that's fine, too.
<back to QUESTIONS>
[New Question: Why are you asking about her mom?]
<goes to KEVINQ1>
[Question: What's with my name?]
KYLE: Why'd you give my name the once-over?
KEVIN: Nothing, it's... I just thought I'd heard it before. That's all.
[You know my name?]
<back to QUESTIONS>
[New Question: Someone has my name?]
<goes to KEVINQ2>
<Scene 3.1>
<Kyle enters the restaurant door. Once you start the conversation with
Louie, Kevin disappears from outside the restaurant.>
LOUIS: Good evening...uh...sir. Welcome to the Moonlight Grill.
KYLE: I like the "sir." That's a nice touch.
LOUIS: C'mon, brother, don't hassle me! I'm just doin' my job.
KYLE: You the host for this restaurant, too?
LOUIS: I told ya! Dunning's a total slave driver. Sun goes down and I gotta
run this place and the bar, too. [Where's the bar?] Anyway, we got a table
ready. Tonight's special is a big steak with some kinda weird garlic butter.
KYLE: I could go for a steak. The grub any good here?
LOUIS: Better'n ya'd think. Rosa's an old windbag, but she knows which end
of the spoon to use.
KYLE: All right, I'll take the steak. And some spuds and eggs, too. Hash
brown potatoes, eggs sunny-side up.
LOUIS: Damn! Sounds good, man!
KYLE: I'm hungry.
LOUIS: Oh, wait! I gotta ask before I forget again. Anything wrong with your
room?
KYLE: Wrong?
LOUIS: Ya know? Lights don't work or the water's messed up or rats or
whatever?
KYLE: Nope. Everything's aces.
LOUIS: Cool. Good to hear. Some of the rooms on the second floor are messed
up, ya know? Dunning ain't let anyone stay in 'em for six months now.
KYLE: (That's odd...)
<followup>
[Six months?]
[There a lot of vacancies?]
<If you don't follow up:>
LOUIS: Well, ain't like this hole is gonna fill up anytime soon, so
who cares? Right? Fact they don't need the rooms is pretty scary. They
were kinda scuzzy rooms anyway, so we just locked 'em up.
<goes to LOUIE3A>
[Six months?]
KYLE: Hey. You've had rooms out of commission for the past six months?
LOUIS: Yeah, they're all messed up. Total holes. 'Course, Dunning won't
fix 'em. Says it's a waste'a dough. Guy's like Scrooge, only fatter and
meaner.
<goes to LOUIE3A, then to QUESTIONS>
[There a lot of vacancies?]
KYLE: Hey. There a lot of vacancies?
LOUIS: Yeah, man. Four empties tonight. Three of 'em are too run down to
use, but still...
<LOUIE3A>
KYLE: Which rooms?
LOUIS: Let's see...217, 220, and 218. [...Room 217?]
KYLE: (Three rooms that aren't being used, huh? Better write that down
in the ol' notebook. I can't remember crap.)
<goes to QUESTIONS>
<If you write in your notebook, Louis asks, "What're ya writin'?" If you
check your notebook, Louis asks, "What're ya lookin' at?">
<If you still have the "Room 217 isn't being used?" question but try to
exit the Questions list:>
LOUIS: Yo, Hyde? There's somethin' else ya wanna say. Right?
<goes back to QUESTIONS>
[Question: Where's the bar?]
KYLE: So where's the bar?
LOUIS: Straight down the hall, my man. Look for the Seven Stars sign. Bar
opens at nine. Wanna grab a drink with me later?
KYLE: Depends. You got any decent bourbon?
LOUIS: Yeah, booze is one thing Dunning don't skimp on. That bar, my man,
is well stocked. Got a whole buncha Kentucky gentlemen to introduce ya to!
KYLE: Sounds good.
LOUIS: Hell yeah it does! I ain't had a decent drinkin' buddy in forever, man!
<If you have more questions, it goes back to the Question list. If not, it
goes to LOUIE3B>
[Question: Room 217 isn't being used?]
KYLE: So Room 217's on the fritz?
LOUIS: Yeah. Ain't been touched in six months or so.
KYLE: Really? (Six months, huh? Seems like a long time to let a room sit
there...)
LOUIS: What's goin' down?
KYLE: I know that room. That's where the guy with my name stayed.
LOUIS: No way, man! How'd ya find that out?
KYLE: I looked at the guest register.
LOUIS: Ya did? How?
KYLE: I broke into Dunning's office.
LOUIS: ...Aw, man. Ya gotta be pullin' my chain. Ya broke into the office?!
Why'd you go and do a thing like that?
KYLE: I think the guy with my name was Bradley.
LOUIS: Get outta here!
KYLE: It's a hunch, but I think I'm right.
LOUIS: Look, man... Even if you're right? Ya can't just go runnin' around
the hotel like your ass is on fire! Chasin' clues is one thing, but this is
crazy! You ain't a cop no more! Ya can't be pickin' locks and breakin' doors
and all that! If Dunning finds out, he's gonna totally trip out.
<Kyle looks abashed.>
LOUIS: C'mon, man! You need to know anything 'bout what happens here, just
ask me. You hear me, brother?
KYLE: I hear you. All right, I got something for you. Get me into Room 217.
LOUIS: Huh?
KYLE: I want to poke around in there.
LOUIS: Poke around? That special cop lingo? Yeah, all right, man. I'll see
what I can do. Dunning keeps all the room keys locked up, so I gotta wait
for the right time. But don't worry! There's one thing I know, it's boostin'
stuff from old people.
KYLE: Do it.
<If you have more questions, it goes back to the Question list. If not,
it goes to LOUIE3B. If you still have the "Where's the bar?" question but try
to leave the Question list:>
LOUIS: Yo, Hyde? There's somethin' else ya wanna talk about,
ain't there?
<goes back to QUESTIONS>
<LOUIE3B>
LOUIS: Restaurant's in the back, around the corner. One of the center tables
is open. Go ahead and sit there.
KYLE: Right.
<If you talk to Louie again:>
KYLE: Louie.
LOUIS: What?
<goes to QUESTIONS. You probably have no questions, but you can show
items to Louie if you want. When you exit the Question list:>
LOUIS: Restaurant's thataway.
<Kyle walks toward the restaurant. If you go into the kitchen:>
ROSA: The kitchen's too busy for chitchat! What are you thinking?
You'll have to leave. Come on, get out! Go on now!
KYLE: All right.
<Kyle is back in the hallway.>
<He goes to the restaurant and sees Iris standing right outside, looking
troubled.>
KYLE: (What's the princess want now?)
IRIS: Ah...
KYLE: (Huh?)
<followup>
[What is it?]
[You're in the way.]
<If you don't follow up:>
KYLE: What are you daydreaming about? You never heard me coming, did you?
IRIS: Oh, I'm sorry, Mr. Hyde. I'm just so upset! I can't believe what
she said. She said she HATED me! She told me to go away! Can you believe
it? [Who said she hated you?]
<goes to IRIS3A>
[What is it?]
KYLE: Hey. What's wrong?
IRIS: Oh, Mr. Hyde! You...you scared me.
KYLE: What're you daydreaming about? You never heard me coming, did you?
IRIS: Oh, I'm sorry. Something awful happened, and now I'm depressed.
KYLE: (This is a high-maintenance dame...)
<followup>
[You seem upset.]
[Depressed? You?]
<If you don't follow up:>
IRIS: Listen to this, Mr. Hyde!
KYLE: Sorry. I gotta eat.
IRIS: Oh, please! I'm sure you can spare a moment.
KYLE: ...Fine.
IRIS: I can't BELIEVE what she said to me! She said she HATED me!
She told me to go away! Can you imagine? [Who said she hated you?]
<goes to IRIS3A>
[You seem upset.]
KYLE: Yeah? What's wrong?
IRIS: Tell me, Mr. Hyde... Have you ever been hated by someone?
KYLE: Once or twice. Why?
IRIS: I can't BELIEVE what she said to me! She said she HATED me!
She told me to go away! Can you imagine? [Who said she hated you?]
<goes to IRIS3A>
[Depressed? You?]
KYLE: Yeah? What? You're depressed?
IRIS: Mmm-hmm.
KYLE: You're telling me you get depressed?
IRIS: Of course I do. Being disliked depresses me. I can't BELIEVE
what she said to me! She said she HATED me! She told me to go away!
Can you imagine? [Who said she hated you?]
<goes to IRIS3A>
[You're in the way.]
KYLE: Hey. You're blocking the road. Move it.
IRIS: ...What did you say?
KYLE: I'm trying to get into the restaurant. You're in the way.
IRIS: You're such a caveman. You're just like that awful child. [What
child?]
<goes to QUESTIONS. If you leave the questions list, you will get the
scene marked IRIS-TALK when you talk to Iris again.>
[Question: What child?]
KYLE: What child?
IRIS: She says mean and hateful things...much like you. She doesn't know
anything about human feelings. No one's ever said anything like that to
me before. It was such a shock... It's that awful child's fault. I doubt
I'll ever recover. [Awful child?]
<goes to IRIS3B>
<IRIS3A>
<goes to QUESTIONS. If you leave the Questions list, Iris will still stand
there, blocking the restaurant door. When you talk to her again:>
<IRIS-TALK>
KYLE: Got a minute?
IRIS: What is it?
<goes to QUESTIONS>
<end IRIS-TALK>
[Question: Who said she hated you?]
KYLE: Someone tell you they didn't like you?
IRIS: Yes! And I've never had that happen to me before. It was such
a shock... It's that awful child's fault. I doubt I'll ever recover.
[Awful child?]
<IRIS3B>
<back to QUESTIONS>
[New Question: An awful child, huh?]
KYLE: What are you talking about?
IRIS: Just what I said! It's all that girl's fault! Did you see a young girl
on your way here?
[Nope. Didn't see her.]
[You mean Melissa?]
[Nope. Didn't see her.]
KYLE: Nope.
IRIS: Truly?
KYLE: Yeah. Truly. Cross my heart and all that jazz.
[You mean Melissa?]
KYLE: A young girl? You mean Melissa?
IRIS: Is that her name? Melissa?
KYLE: Yeah.
KYLE: What'd this young girl do to you?
IRIS: I merely spoke to her! That's all I did, you must believe me! And do
you know what she did? She threw her rag doll at me and ran off! [She threw
her doll? Why?]
<back to QUESTIONS>
[New Question: She threw her doll?]
KYLE: So why'd she throw a doll at you?
IRIS: I'm sure I have no idea! Probably raised by wolves or hippies or the
like... But I swear to you, I did NOTHING to provoke the little hellion. She
had an adorable handmade doll, and I just asked her who made it.
KYLE: That's it?
IRIS: Yes, that's it! I didn't say anything that could be construed as rude
or mean. That's why I was so surprised! I've never had a child treat me like
that before.
KYLE: (Huh?)
<followup>
[You're nuts.]
[I bet you hate kids.]
<If you don't follow up:>
IRIS: It was truly shocking! You understand, don't you? Surely you do!
KYLE: Sure. Why not?
IRIS: I'm glad I had the chance to talk to you, Mr. Hyde. I'm feeling a
bit calmer now. If you'll excuse me?
[Iris finishes talking and saunters off.]
<goes to Scene 3.2>
[You're nuts.]
KYLE: Never, huh? What're you talking about?
IRIS: Pardon?
KYLE: Stop lying to yourself, lady.
IRIS: ...Lying to myself?
KYLE: Never been an adult that some kid didn't hate.
<Iris pouts and looks away.>
IRIS: Mr. Hyde? I find you to be an ill-tempered brute!
[Iris finishes yapping and storms off. ...Maybe now I can finally get
some grub.]
<goes to Scene 3.2>
[I bet you hate kids.]
KYLE: Never, huh? You even like kids?
IRIS: What do you mean by that?
KYLE: Kids. Do you like 'em?
IRIS: Well, yes, of course! As long as they are well mannered!
KYLE: Figures.
IRIS: Figures? What figures?
KYLE: Figures the kid saw right through you.
IRIS: And what does that mean?
KYLE: She smelled your act from a mile away.
IRIS: I still see no reason for her to throw her doll at me! What a
horrid child!
<Iris pouts and looks away.>
IRIS: Mr. Hyde? I find you to be an ill-tempered brute!
[Iris finishes yapping and storms off. ...Maybe now I can finally get
some grub.]
<goes to Scene 3.2>
<Scene 3.2>
<He enters the restaurant. If you walk straight and bypass the chair with
the doll:>
KYLE: ...Huh? What's that?
<If, after you get the above scene, you then try to leave the restaurant
at any time without getting the doll:>
KYLE: Oh, right. That doll...
<When you examine the chair with the doll:>
[There's something on the chair.]
KYLE: Huh? This is...
[I found a rag doll.]
KYLE: So this is it? This is the doll Iris was talking about? (Melissa
must've forgotten it. Guess I'll run it up to her later. Might as well jot
it down in my notebook so I don't forget.)
[I sit down at a table in the middle of the restaurant.]
KYLE: (Guys like me get used to eating at odd times but... I haven't had
dinner this early in a long while.)
ROSA: Sorry to keep you waiting. Busy busy, you know? Anyway, here's your rib
eye steak, Mr. Hyde! And you also ordered hash browns and eggs sunny-side up,
right? This steak was seared with salt, pepper, and my own homemade garlic
butter. Smells delicious, doesn't it? It sure does!
KYLE: Yeah.
ROSA: Enjoy!
[Rosa places my dinner on the table and walks away. There's a huge plate on
the table. It's filled with chow. It all looks delicious.]
KYLE: Smells good...
<He finishes eating.>
KYLE: Oh... That was fantastic.
ROSA: Are you finished?
KYLE: Huh?
ROSA: I'll take your plate now if that's all right. Is it? I'm sure it is!
Well look at that! You joined the Clean Plate Club! Not a crumb left!
KYLE: Thanks, Rosa. That was delicious.
ROSA: Well, isn't that nice to hear?! It does my heart good to see a man eat!
Oh, and this dessert is from Mr. Smith. It's his way of apologizing for the
mix-up with your package. It's another house specialty. Tea chiffon cake!
KYLE: Sounds great.
ROSA: Take your time, no need to rush! Enjoy your food!
[Rosa leaves the cake on the table and walks away.]
KYLE: That's quite the cake...
<He finishes eating.>
MARTIN: Mr. Hyde?
KYLE: ...Huh? (Oh. It's Summer. ...Bet he wanted a bite of my cake.)
MARTIN: I'm sorry to interrupt your meal, but may I have a moment of your
time?
KYLE: ...Sure, why not. I'm too full to run away.
MARTIN: Er...yes, quite. Actually, it's about the package mix-up we had
earlier. I was curious as to whether or not there was something else inside
the box. Something other than the notebook, that is.
KYLE: Something else?
MARTIN: Yes, something that you may have overlooked. Something small? [Like
what?] It's possible it fell into the box during transport. It was supposed
to have been placed within the pages of the notebook. [What was written in
there?] Mr. Hyde, would you mind searching that box for me one last time?
<goes to QUESTIONS. If at any time you leave the Question list and then
talk to Martin again:>
KYLE: Got a minute?
MARTIN: What is it?
<goes to QUESTIONS>
<If you try to leave the restaurant without talking to Martin or, later
after dinner, Rosa:>
KYLE: (It's rude to walk away from a conversation...)
<If you look at your notebook, Martin asks, "What are you looking at?" If you
write in your notebook, Martin asks, "What are you writing?">
[Question: What am I looking for?]
KYLE: Something small? Like what?
MARTIN: A bookmark. [A bookmark?]
<back to QUESTIONS>
[New Question: What kind of bookmark?]
KYLE: What kind of bookmark?
MARTIN: It's quite small, and it has a picture of an angel on it.
KYLE: Sounds lovely.
MARTIN: Yes, it is quite lovely. It is a blue bookmark with a ribbon.
Please do remember to look for it, Mr. Hyde.
<If you have questions left, it goes back to the Question list. If not, it
goes to MARTIN3A>
[Question: What was in that notebook, anyway?]
KYLE: So what was written in that notebook?
<Martin looks shocked.>
KYLE: I saw the title on the front. The Secret Word, wasn't it? Is it a book
or a manuscript or something like that?
MARTIN: Mr. Hyde, did you see fit to read the contents of my notebook?
[Just looked at the cover.]
[Yeah, I read it.]
[Just looked at the cover.]
KYLE: I'm not much of a reader. I just looked at the cover.
MARTIN: ...I see. That is for the best.
KYLE: (What's this guy so worried about?)
<If you have questions left, it goes back to the Question list. If not,
it goes to MARTIN3A>
[Yeah, I read it.]
KYLE: Yeah, I read it.
MARTIN: <red aura> YOU WHAT? You read it!? I cannot believe you had the
audacity to read my notebook!
KYLE: (...Huh?)
<followup>
[Hey, don't get upset.]
[Screw you, Shakespeare!]
<If you don't follow up:>
MARTIN: Mr. Hyde, The Secret Word is indeed a manuscript. One of
mine, in fact. And you must know that authors value such things
above even their own lives!
KYLE: Yeah, I thought it looked like a manuscript.
MARTIN: What? Well...yes, it did, but... You're missing the point,
Mr. Hyde!
KYLE: Sorry I looked. Good stuff, though. Pretty gripping.
MARTIN: You liked it?
KYLE: Sure.
MARTIN: Mr. Hyde, I apologize for my outburst. It was no way
for a mature adult to behave.
KYLE: Don't worry about it. I was outta line, too.
<If you have questions left, it goes back to the Question list.
If not, it goes to MARTIN3A>
[Hey, don't get upset.]
KYLE: ...Hold it. I guess I shouldn't have read it, but it was
good stuff.
MARTIN: ...Excuse me?
KYLE: It's one of your books, right?
MARTIN: Yes, it is. Did you really like it?
KYLE: Yeah, I suppose.
MARTIN: Mr. Hyde, I apologize for my earlier behavior. I had no
cause to raise my voice.
KYLE: Don't worry. I'm too full of cake to fight anyway.
<If you have questions left, it goes back to the Question list. If
not, it goes to MARTIN3A>
[Screw you, Shakespeare!]
KYLE: ...Hold it. I take it you didn't want me to read it?
MARTIN: I most certainly did not!
KYLE: Still no reason to bust a gut, you know? After all, you took
a buzz through my package, right?
MARTIN: ...Yes, but...
KYLE: So why are you tryin' to give me guff? I just finished a good
meal. I was full and happy, which is pretty rare for me. But now
I'm just pissed off. So do yourself a favor and get outta my sight!
MARTIN: How dare you, sir! How dare you speak to me like that!
You're nothing more than a common thug! A brigand! I expected better
from you, Mr. Hyde. Congratulations, sir! You have proven me a fool!
[Summer leaves the restaurant in a huff.]
ROSA: What's going on in here?
[There's someone yelling behind me.]
KYLE: Huh?
ROSA: Mr. Summer just went flying out of here! And did he ever
look angry! Did something happen? What? What happened? Tell me!
KYLE: Nothing to tell. Guy came in here and started shooting off
at the mouth. I gave him what for and sent him packing.
ROSA: You did WHAT?! You had an argument with Mr. Summer? You...you
had words?
KYLE: Not many.
ROSA: Oh my goodness! I have to tell Mr. Dunning. This is terrible!
Oh dear...
KYLE: Whatever you gotta do.
[Rosa turns and hurries out of the restaurant.]
<Kyle leaves the restaurant.>
[Someone's in the hall.]
KYLE: ...Huh? Great. It's Dunning. And he's looking at me
cross-eyed.
DUNNING: Hey, Hyde! Whatcha gone'n done now? Mr. Summer's spittin'
nails!
KYLE: So? He's a weak sister. Who cares what he thinks?
DUNNING: Unlike you, Summer's a special guest of this hotel! He
likes it here, ya see? Likes it a lot! He was gonna tell his
friends about it -- his rich writer friends. But you went and
ticked him off, and now the whole deal's in the crapper! Way to go,
pal. My hotel's reputation just got flushed. Pack yer things and
get outta here, ya bum!
KYLE: Huh? (That wasn't supposed to happen. I was just tired of
him whining at me.)
<flashback>
MARTIN: How dare you, sir! How dare you speak to me like that!
You're nothing more than a common thug! A brigand!
<flashback ends>
KYLE: Damn.
[GAME OVER]
<MARTIN3A>
MARTIN: My bookmark is in your hands, my good man! Excuse me.
KYLE: Sure.
[Summer leaves.]
KYLE: (Can't forget that bookmark. Grief from the talking blimp's one thing
I don't need. I'll just drop a line in my notebook so I don't forget.)
ROSA: Are you finished?
[There's someone yelling behind me.]
KYLE: Huh?
ROSA: How was the cake? Was it good? I sure hope so!
KYLE: It was fantastic, Rosa. Best meal I've had in ages.
ROSA: That's so nice to hear. Many thanks. By the way... The man who was
just here is the guest in Room 211, right? Mr. Summer?
KYLE: Yeah.
ROSA: He seems so familiar...
[I think he's a writer.]
[Don't ask me.]
[I think he's a writer.]
KYLE: He's some kind of writer.
ROSA: What? A writer?
KYLE: Yeah, pretty famous, too. At least in his own mind...
[Don't ask me.]
KYLE: I never heard of him.
ROSA: Hold on a minute.
KYLE: What's wrong?
ROSA: Hold it! Martin Summer... Martin Summer... Oh, I'm such a fool! How
could I have not realized? It's so obvious!
KYLE: What're you talking about?
ROSA: I saw his name on the register and recognized it, of course, but...
I never thought it was THE Martin Summer!
KYLE: (Yeah, who knew?)
<followup>
[You know this guy?]
[Just clean the table.]
<If you don't follow up:>
<goes to ROSA3A>
[You know this guy?]
KYLE: ...Hey. What do you mean, THE Martin Summer?
[Just clean the table.]
KYLE: ...Hey. Who cares who he is. Clean the table, will ya?
ROSA: Oh, be quiet now. You're distracting me! AND you're being rude!
This is much more important than clearing away your dishes.
KYLE: Nothing's that important...
<ROSA3A>
ROSA: It really IS him! Now I'm sure of it! Martin Summer is staying here!
THE Martin Summer! Oh, this is exciting! I'm such a fan! [She's a big fan,
huh?] I still can't believe I didn't recognize him! I just assumed it was
a guest with the same name. [Hey, that reminds me...] I tell you, I'm a
world-class fool! Such a fool!
<goes to QUESTIONS. If you look at your notebook, Rosa asks, "What are you
looking at?" If you write in your notebook, Rosa asks, "What are you
writing?" If you leave the Question list:>
ROSA: What is it? Are we finished talking? Tell me we're finished!
<When you talk to Rosa again:>
KYLE: Got a minute?
ROSA: What is it?
<goes to QUESTIONS>
[Question: You a fan of Summer?]
KYLE: So. You're a Summer fan, eh?
ROSA: Oh, I'm not crazy or anything, but yes. I enjoy his books.
KYLE: So what kinda writer is Summer, anyway?
ROSA: Well, his first book came out about ten years ago and won some major
awards. Publishers were very excited. They called him "the maestro of
mysteries." You must have heard of his first book. It was called The Secret
Word.
KYLE: (That sounds familiar...)
<followup>
[The Secret Word?]
[It was his first book?]
<If you don't follow up:>
<goes to ROSA3B>
[The Secret Word?]
KYLE: Oh yeah. Secret Word, huh?
ROSA: Yes, that's right. That was the title of his debut novel.
KYLE: (...The Secret Word? I know I've heard that name before. Wait.
That's what was written on the cover of Summer's notebook.)
[It was his first book?]
KYLE: Oh yeah. Got lucky on the first try, did he?
ROSA: Yes, his very first one was a huge best seller. I remember everyone
talking about it at the time.
KYLE: (...The Secret Word? I know I've heard that name before. Wait.
That's what was written on the cover of Summer's notebook.)
<ROSA3B>
ROSA: It was a very thrilling story. [What was it about?] That's it!
KYLE: ...What?
ROSA: I must get his autograph!
<back to QUESTIONS>
[New Question: What's the book about?]
KYLE: So what's The Secret Word about?
ROSA: It's about a man who commits the perfect crime! He does so to get
revenge on a friend who betrayed him! Critics called it a gritty descent
into the darkness of the human soul. It's really quite shocking. Oh, listen
to me! Rosa the book reviewer!
KYLE: Revenge on a friend, huh? Hell of an idea.
<If you still have questions, it goes back to the Question list. If not, it
goes to ROSA3C>
[Question: What about the guy with my name?]
KYLE: There was a guest a while back who had the same name as me, right?
ROSA: The same name as you?
KYLE: About six months ago?
ROSA: Six months ago? No, not that I remember. Nope, nope. Nothing. I can't
recall another guest by the name of Kyle Hyde.
KYLE: Really?
<If you still have questions, it goes back to the Question list. If not, it
goes to ROSA3C>
<ROSA3C>
ROSA: Oh, what am I thinking? I don't have time to stand here gabbing with
you! I've got to go. Busy busy!
[Rosa finishes talking and scurries away.]
<Kyle leaves the restaurant and walks along the hall. He sees Louis with
someone near the entrance podium.>
KYLE: Huh? (It's Mila... What's she doing?)
<If you try to talk to Mila:>
KYLE: Hey, you got a minute?
MILA: ...
<If you try to talk to Louie:>
KYLE: What's going on with her?
LOUIS: She wanted to come in and give Rosa a hand in the kitchen, yeah?
But Rosa said she'd just be in the way. Crazy ol' Rosa... Anyway, I was
just tryin' to get her to go back down to Rosa's room.
<Kyle walks a little more forward.>
LOUIS: Yo, babe, it's cool that you wanna help out and all, yeah? I dig ya.
And I know ol' Mama Sass feels the same way. But she's like really busy right
now.
<Mila looks sad.>
LOUIS: Aw, don't look at me like that. You're breakin' my heart, baby! C'mon,
go on back to Rosa's room and hang out for a bit. Please?
<Mila nods.>
[Mila leaves the room.]
KYLE: ...Did Mila actually say anything?
LOUIS: Naw, man, not a peep.
KYLE: (Maybe she can't speak after all...)
LOUIS: Ya think she can't talk, or she just don't wanna? I can't tell, man.
Whole thing blows my mind.
KYLE: Who knows?
LOUIS: She's a fox either way, though, am I right? Awoooooooo!
[06:20 PM]
<If you try to talk to Louie again:>
KYLE: Got a minute?
LOUIS: What? I'm workin', man. Catch me later.
<If you go into the kitchen and try to talk to Rosa:>
ROSA: I'm busy! If you need something, you'll have to come back
later! Shoo!
<Kyle goes through the double doors and sees someone at the end of the hall.>
KYLE: ...Huh? That's Mila. What's she looking at?
<He goes up to Mila.>
KYLE: Hey. What're you looking at? Were you staring at that painting?
<Mila nods.>
KYLE: I don't get art. What's so special about this one? It's not that I don't
like paintings... I just don't get it.
ROSA: So this is where you wandered off to! I knew I'd find you somewhere!
[Someone is squawking up a storm behind me.]
ROSA: What's wrong, Mila? Don't look so sad, honey. Listen, Rosa is really
happy that you want to help! I truly am! It's just that there's nothing for
you to do at the moment. You see? I'm used to doing everything around here
by myself! No one helps old Rosa! So when someone actually wants to help, I
have no idea how to use them.
<Mila nods.>
ROSA: You're a good girl, Mila. Now do me a favor and go back to my room and
rest.
[Rosa leads Mila away.]
<Kyle goes to the 2nd floor.>
[Someone's coming down the stairs.>
KYLE: ...Huh? It's Helen.
HELEN: Hello there, Mr. Hyde. Have you already eaten?
KYLE: Yeah.
HELEN: And how is the restaurant fare? I do hope it's tasty!
KYLE: Yeah, it's pretty good. ...Which shocked me.
HELEN: Truly? Well, that certainly is good news! By the way, Mr. Hyde, I have
a bit of a favor to ask of you. Can you spare a moment for this poor old
woman?
KYLE: ...What?
HELEN: I was wondering if you wouldn't mind escorting me to the restaurant. I
had some trouble with my legs recently, and I don't wish to fall on the way.
KYLE: Uh...
HELEN: I don't mean to impose, but I don't know who else to ask.
[No! I'm busy!]
[Well...maybe...]
[No! I'm busy!]
KYLE: Get walkin', grandma. I'm busy.
HELEN: Wh...what?! You aren't going to help me?
[That's right.]
[Oh, fine.]
[That's right.]
KYLE: I said I'm busy.
HELEN: Oh! I...I see.
KYLE: You seem healthy to me. I'm sure you can make it on your own.
Maybe Dunning has a walker you can borrow.
HELEN: Well, I never! I can see what sort of man you are, Mr. Hyde!
Good day!
[Helen gives me the evil eye and starts to shuffle away.]
LOUIS: Yo, Hyde!
[Someone's yelling.]
LOUIS: Hey, I...
KYLE: For once, Louie, I'm glad to see you.
LOUIS: Eh? No foolin'?
KYLE: See that old lady over there? She needs someone to help her
to the restaurant.
LOUIS: Yeah? So? What, I'm a cane now?
KYLE: That's part of your job, isn't it? Guest relations and all
that?
LOUIS: Yeah yeah, fine. I'll chase Grandma Patch down in a sec.
But hey, check this, man! Found it in the restaurant. It was on
the floor under your table. It's some kinda pen. Figured it was
yours, what that it was under your table.
[I take a fountain pen from Louie.]
KYLE: Nope. Not mine. But I'll keep it.
LOUIS: Really? Figured it had to be yours, man. That's harsh.
Wonder who it belongs to...
KYLE: Look here. There are words carved into the body of the pen.
LOUIS: Oh, hey! You're right, my man! But these letters are all
worn down. I can't read it.
KYLE: Me either.
LOUIS: Well, I better go take care of that old bat. Later, man.
KYLE: (...Hmm. How can I read this?)
<goes all the way down to KYLE3A>
[Oh, fine.]
KYLE: Oh, for the love of... Fine. Let's go.
HELEN: Oh, thank you! I'm so sorry to inconvenience you like this!
<goes to HELEN3A>
[Well...maybe...]
KYLE: Listen, I--
HELEN: Good! It's settled then. I'll just take your arm...
<goes to HELEN3A>
<HELEN3A>
<Kyle and Helen are at the bottom of the stairs. If you try to go
any place other than the restaurant hallway door:>
HELEN: Oh, hello, young man! Where are you off to?
<They go into the hall leading to the restaurant. If you try to go
any place in the hallway other than the restaurant front door:>
HELEN: Oh! Where are you going?
<They finally make it to the restaurant. If you did a certain amount of
wandering about the hotel instead of going straight to the restaurant, you
will get the following scene when you get to the restaurant door. Check
the "Story Notes" section for more details:>
KYLE: This is the restaurant.
HELEN: I'd like to say thank you, but... I'm simply too tired!
KYLE: What?
HELEN: Well, you made me follow you all over this hotel, and now
I'm exhausted! I have to sit down before my varicose veins
collapse!
[Helen finishes yammering and goes into the restaurant.]
<goes to HELEN3B>
<If you took Helen directly to the restaurant or did minimal dickering
about, you will get the following scene when you get to the restaurant door.
Check the "Story Notes" section for more details:>
KYLE: Here you go.
HELEN: Thank you, young man! You're an angel! I think I'll be all
right now. You were such a help, Mr. Hyde. Thank you so much. You're
a true gentleman!
KYLE: Don't get me confused with somebody else. I just helped on a whim.
HELEN: Is that so? Well, either way, I'm grateful for the company.
As you get on in years, you'll learn to appreciate simple acts of
kindness. I know that I do.
KYLE: Fascinating.
HELEN: Mr. Hyde? I'm afraid I have another favor to ask you. Would
you mind seeing me again this evening?
KYLE: ...Seeing you?
HELEN: A bit of awkward phrasing perhaps, but nothing to worry about,
young man! I have a feeling you're the sort of fellow with whom I could
enjoy a nice drink. If the idea appeals, I'd like the opportunity to
buy you a glass of spirits. What do you say?
[I don't need company.]
[A free drink? I'm in!]
[I don't need company.]
KYLE: I drink alone.
HELEN: <looks sad> ...How unfortunate.
<Kyle looks abashed.>
KYLE: But...how's this sound? There's a bar next to the restaurant
called Seven Stars. Place opens at nine. I'm planning to drop by and
have a couple of rounds...then maybe a couple more. So if you happen
to stop by while I'm there, sure. I'll let you buy me a drink.
HELEN: I understand. I'll be on my way then, Mr. Hyde.
[Helen goes into the restaurant.]
<goes to HELEN3B>
[A free drink? I'm in!]
KYLE: A drink, huh? Sure. I never turn down a free belt.
HELEN: Ah, such honesty. That's very refreshing, Mr. Hyde.
KYLE: There's a bar next to the restaurant called Seven Stars.
That work for you?
HELEN: Nicely, I'm sure. I'll be on my way then, Mr. Hyde.
[Helen goes into the restaurant.]
<goes to HELEN3B>
<HELEN3B>
<Kyle goes out into the hallway and heads to the double doors.>
LOUIS: Yo, Hyde!
[I hear someone behind me. ...Wonder who that could be...]
LOUIS: What's up, man? You here for some more grub?
KYLE: No, I was just escorting someone to the restaurant.
LOUIS: Escortin'? What ya talkin' about?
KYLE: The old lady from 212. Her name's Helen. She asked me to help
her down here.
LOUIS: Check you out! Kyle Hyde, savior of the elderly!
KYLE: Shut your head, Louie. I just did your job for you.
LOUIS: Right. Thanks for the solid. Hey, check this, Hyde! Boosted this
up off the floor of the restaurant. It was right under your table, man.
It's your pen, right? I mean, it was under your table and all.
[I take a fountain pen from Louie.]
KYLE: Nope. Not mine.
LOUIS: Really? Figured it had to be yours, man. That's harsh. Wonder
who it belongs to...
KYLE: Look here. There are words carved into the body of the pen.
LOUIS: Oh, hey! You're right, my man! But it's worn down and all the
ink's gone. I can't read it.
KYLE: I can't either.
ROSA: Louis! Louis DeNonno! I need your help right now! Get in here!
Chop chop!
LOUIS: Great. Mama Sass is on my case again. Better go see what she
wants now.
KYLE: Good thinking.
[Louie runs off toward the kitchen.]
<Kyle studies the pen.>
KYLE: (...Hmm. Wonder how can I read this engraving...)
<KYLE3A>
<If you go into the restaurant and try to talk to Helen:>
KYLE: You done eating?
HELEN: Not yet. At my age, even simple tasks can take a while.
<If you go into the kitchen after escorting Helen and try to talk to
people:>
ROSA: I'm busy! If you need something, you'll have to come back later!
Shoo!
LOUIS: You come in here lookin' to chat and Rosa's gonna skin ya alive,
brother! You're better off comin' back later.
<If you use the flour to try to read the engraving on the pen:>
<Kyle goes into the kitchen.>
[There's a busted bag with flour spilled around it.]
KYLE: ...It's flour. Here we go... If I put a little of it on my
finger...
<He rubs the flour on the pen. If you leave the screen before finishing:>
KYLE: I won't be able to read anything like this.
<He finishes rubbing the flour on the pen and then blows it off.>
KYLE: "To Alan, with love." ...Alan? Who's Alan? Maybe Louie knows.
<If you use the chalk:>
<Kyle goes out into the main hallway. The chalkboard catches his eye.>
[There's some chalk lying below the board. <closeup> Couple of pieces
of chalk.]
[There's a piece of chalk here.]
KYLE: There's some chalk powder here, too. Here we go... If I put a
little of it on my finger...
<He rubs the dust on the pen. If you leave the screen before finishing:>
KYLE: I won't be able to read anything like this.
<He finishes rubbing the dust on the pen and then blows it off.>
KYLE: "To Alan, with love." ...Alan? Who's Alan? Maybe Louie knows.
<If you try to go upstairs:>
KYLE: (Oh, right... I'd better show the engraving on the fountain
pen to Louie.)
<He heads back to the restaurant podium.>
KYLE: Hey, Louie. I read the writing on the pen.
LOUIS: You did? So what's it say, man?
KYLE: To Alan, with love.
LOUIS: ...Alan?
KYLE: Yeah. Anyone staying here tonight named Alan?
LOUIS: I dunno. I'll have to check with old man Dunning.
KYLE: Do it. I want to find who owns this pen. Hold on to it for a bit,
will you?
LOUIS: Sure, man.
<He gives back the pen.>
<If you talk to Louie again:>
LOUIS: Lemme know if ya work somethin' out.
KYLE: All right.
<He goes to the 2nd floor. If you head toward Room 215:>
KYLE: (Oh, yeah. What about that damn doll? Guess I'll give it back
to the kid.)
<If you go into Kyle's room to before returning the doll, about halfway into
the room:>
KYLE: (...Guess I'll go check out that box Summer's notebook came in.)
<If you get the bookmark BEFORE returning the doll, you will get slightly
different dialogue than if you get the bookmark AFTER returning the doll.>
<He taps on the box. If you leave the screen at any time before
retrieving the bookmark:>
KYLE: I can't find any bookmark.
<He taps more on the box and a purple thing starts sliding out. He pulls it
all the way out.>
KYLE: This must be Summer's bookmark.
[I found a bookmark in the bottom of the cardboard box. There's a
painting of an angel on it.]
KYLE: (So this is the angel, huh? Don't see what all the fuss is about.)
[I wonder who painted it...]
<If you knock on Room 211 before returning Melissa's doll:>
KYLE: Got a second?
MARTIN: ...Oh, sorry... Look, I'm taking a call right now. You'll have
to come back...
KYLE: Fair enough.
<He knocks on Room 219. Melissa opens the door.>
MELISSA: ...Oh. It's you.
KYLE: Got a sec, kid?
MELISSA: My dad's not here. [Where'd her dad go?]
KYLE: I'm here to see you.
MELISSA: ...What?
KYLE: You forgot something in the restaurant.
<goes to QUESTIONS. If you try to leave the Questions list without
showing the doll:>
KYLE: See you later.
MELISSA: Wait! What did I forget?
<returns to Questions list>
<If you try to leave the Questions list AFTER showing the doll but BEFORE
asking about her dad:>
KYLE: See you later.
MELISSA: C'mon, mister. Stay here and talk to me, OK?
<returns to Questions list>
<You can either show the doll first or ask about her dad first.>
<MELISSA3B>
[Question: Where'd your dad go?]
KYLE: Where'd your old man run off to?
MELISSA: I dunno. I've been a brat. I'm sure he went somewhere so he
didn't have to see me anymore. He hates me.
KYLE: I doubt that.
MELISSA: Yeah, but he's always all mad at me and stuff.
KYLE: Parents have to keep their kids in line. It's part of the job.
MELISSA: Part of the job?
KYLE: Don't worry about it.
<If you already showed the doll, it goes to MELISSA3C. If you haven't shown
the doll yet:>
KYLE: See you later.
MELISSA: Wait! What did I forget?
<goes back to QUESTIONS. No questions. If you try to leave the
Questions screen, this repeats until you show the doll.>
<goes to MELISSA-DOLL>
<end MELISSA3B>
<MELISSA-DOLL>
<He shows the doll.>
KYLE: This is yours, right?
MELISSA: Oh!
KYLE: It's OK. Take it.
MELISSA: Th... Thank you. My mom made this.
KYLE: Must be pretty important to you.
MELISSA: Uh-huh.
KYLE: Then maybe you shouldn't throw it at people.
MELISSA: OK. Sorry.
<back to QUESTIONS. If you showed the doll second, there are no questions
and you can exit the Question screen and it goes to MELISSA3C. If you have
questions, it goes to MELISSA3B>
<MELISSA3C>
KYLE: See you around.
<Melissa looks sad.>
KYLE: What's wrong, kid?
MELISSA: Don't...don't go. Please? Just stay here until my dad gets back.
KYLE: ...What? Listen, kid, I'm not a babysitter.
MELISSA: C'mon. Pleeeease?
KYLE: Oh, fine...
<He goes in the room.>
MELISSA: I know! Let's do a puzzle!
KYLE: Oh, hell no. I know how this goes...
MELISSA: The puzzle's on the table. Let's play over there!
<If you try to talk to Melissa again:>
MELISSA: I know! Let's do a puzzle!
<He goes to the table.>
[It's a puzzle box. There's a jigsaw puzzle on the table.]
<He starts the puzzle. If you leave it early:>
MELISSA: Sn-sniff... Sniff...
KYLE: Hold on. I'm almost done.
<If you examine the puzzle frame on the table:>
[Looks like someone's been working on a jigsaw puzzle.]
<If you try to talk to Melissa before finishing the puzzle:>
MELISSA: Puzzle...
<If you take a long time to finish, Melissa says, "What's taking so long?"
or "Can't do it, huh?">
<He finishes the puzzle.>
KYLE: Got it.
MELISSA: Wow! Oh my gosh, you're so great! That was too easy for you, wasn't
it, mister?
KYLE: A little. Hey, squirt, you know the name of the rabbit on this puzzle?
MELISSA: Um... Mister Rabbit?
KYLE: Nope. Bet you made that up.
MELISSA: Yeah.
KYLE: Well, if you care, the rabbit's real name is Pinkie Rabbit.
MELISSA: ...Pinkie Rabbit?
KYLE: That's right. Pinkie had his own cartoon when I was growing up. I bet
your mom watched it when she was a kid, too.
MELISSA: When my mom was a kid?
KYLE: Yeah, your mom and dad were kids once, too. Everybody starts out as a
kid, you know?
MELISSA: Yeah, I guess.
<Kyle nods.>
MELISSA: My mom gave this to me for my birthday.
KYLE: Yeah? When's your birthday?
MELISSA: June 29th.
KYLE: June, huh? So was your birthday fun?
<She shakes her head.>
KYLE: What? What is it?
MELISSA: That's the day my mom left, so...
KYLE: Oh.
MELISSA: Why do you think my mom... Why do you think she never said anything,
huh? Why...why... Why'd she go away?
<She cries.>
KYLE: (Wait a minute... On the back of that puzzle piece...)
<goes to the puzzle screen. If you leave the screen:>
MELISSA: Sn-sniff... Sniff...
KYLE: (Wait a minute... On the back of that puzzle piece...)
<goes back to the puzzle screen>
<He flips the puzzle over.>
KYLE: (There's a message written on the back of the puzzle! "Good-bye,
Melissa." If she wrote this, she wasn't planning on coming home.) [Why did
Melissa's mom leave?]
<The room door opens.>
KYLE: ...Huh?
KEVIN: Mr. Hyde? What are you doing here?
MELISSA: We were playing!
KEVIN: I told you not to let anyone into our room!
KYLE: Hey, don't yell at the kid.
KEVIN: Pardon me, but I've had quite enough of--
KYLE: I let myself in. She didn't do anything wrong. Sorry. Didn't mean to
step on any toes.
KEVIN: Well...as long as you know how I feel, I guess there's no problem...
Now please leave.
KYLE: Yeah, I'm going, but... Let me ask you something.
<goes to QUESTIONS. If you still have the questions that came up when you
spoke to Kevin near the restaurant, they will also be listed and the dialogue
will change slightly than if you had asked them at the restaurant. If you look
at your notebook during the Question phase, Kevin asks, "What're you looking
at?" If you write in your notebook, Kevin asks, "What're you writing?">
[Question: You worried about Melissa?]
KYLE: You worried about something Melissa may have told me?
KEVIN: Well...specifically, I was wondering if you talked about
her mother. [Why worry about that?] If you didn't talk about
anything in particular, that's fine, too.
<back to QUESTIONS>
[New Question: Why are you asking about her mom?]
KYLE: What's the story with the kid's mother? Is it that she's not
coming home?
KEVIN: What?! Melissa, what have you been telling Mr. Hyde about
your mother?!
<Melissa nods.>
KEVIN: Dammit! Damn it all!
<Melissa looks downcast.>
KEVIN: Mr. Hyde... Every family has its own circumstances which
dictate its existence. Your knowledge of my family comes from the
mouth of a child. Please remember that when drawing conclusions and
passing judgment.
<goes back to QUESTIONS>
[Question: Why did your wife leave?]
KYLE: So why did the kid's mom leave?
KEVIN: Pardon?
KYLE: Wife left you, right?
KEVIN: L-left me?!
KYLE: What did you do? I mean, why'd she take off and leave you and the kid--
KEVIN: Mr. Hyde! This isn't the place to talk about this!
KYLE: (That hit a nerve...)
<followup>
[You got a problem, pal?]
[Easy! Don't scare Melissa.]
<If you don't follow up:>
KEVIN: Get out! NOW!
<goes to KEVIN3B>
[You got a problem, pal?]
KYLE: Easy, pal. No need to get in a lather. Why you so worked up?
KEVIN: I have had enough of this! Why are you constantly bothering me
with these never-ending questions?! What is your motive behind this?
KYLE: I don't need a motive, pal! I wanna ask you a question, I'm gonna
ask it! And you're gonna answer!!
MELISSA: STOP IT! Dad! Mr. Hyde! You can't fight! Please don't fight!
<Kyle looks abashed.>
<goes to KEVIN3B>
[Easy! Don't scare Melissa.]
KYLE: Easy, pal. No need to get in a lather. Keep your voice down.
KEVIN: ...What?
KYLE: I think you're scaring the kid.
MELISSA: ...Dad.
KEVIN: ...Melissa. Don't look at me like that.
<Melissa stares at Kevin.>
<goes to KEVIN3B>
<KEVIN3B>
KEVIN: Mr. Hyde, I'm going to ask you to leave now.
<Kyle leaves the room. This happens even if you didn't get to ask all the
questions about Melissa and/or her mother, if you had them in your list.>
KYLE: (There's something odd about Kevin and Melissa... Oh, right... I've
got to track down that bookmark for Summer.)
[06:40 PM]
<If you talk to Helen in the restaurant:>
KYLE: You done eating?
HELEN: Not yet.
<If you knock on Room 211 without getting the bookmark:>
<Martin opens the door.>
MARTIN: Oh, it was you.
KYLE: Got a minute?
MARTIN: Did you perchance happen to find my bookmark?
KYLE: Nope.
MARTIN: Would you please make it a priority? It's quite urgent!
[Summer closes the door.]
<If you go to Kyle's room to find the bookmark AFTER returning the doll,
about halfway into the room:>
KYLE: (Guess I should check out the box Summer's notebook came in. See
if a bookmark's there...)
<He taps the box and a purple thing slides out. He pulls it out all the way.>
KYLE: This must be Summer's bookmark.
[I found a bookmark in the bottom of the cardboard box. There's a picture
of an angel on it.]
KYLE: (So this is the angel, huh? Guess I should take this back to
Summer.) [I wonder who painted it.]
<He knocks on Room 211.>
MARTIN: Ah, Mr. Hyde!
KYLE: Got a minute?
MARTIN: Did you perchance happen to find my bookmark?
KYLE: Yeah.
MARTIN: You did? Splendid!
<goes to QUESTIONS. If you look at your notebook, Martin asks, "What are you
looking at?" If you write in your notebook, Martin asks, "What are you
writing?" If you try to leave the Question list without returning the
bookmark:>
MARTIN: Mr. Hyde? Don't you have something for me?
<back to QUESTIONS>
<If you return the bookmark first or in between questions:>
KYLE: Here's your bookmark. It was in the bottom of the box.
MARTIN: Yes, this is it! Thank you very much, good sir! Thank you again!
<back to QUESTIONS. If you try to leave the Question list at any time without
asking all the questions:>
MARTIN: Mr. Hyde? Is there something else you wish to discuss?
<back to QUESTIONS>
[Question: Who painted the bookmark?]
KYLE: Hey, there's a picture on the bookmark. You know who did it?
MARTIN: Ah, you noticed! Breathtaking, isn't it. Yes, I'm quite fond of this
particular piece. It's a reproduction of a very famous painting. Are you
unfamiliar with it? The original was painted by a man named Osterzone.
[...Osterzone?] This work is considered to be the pinnacle of his artistic
achievements. There are many rumors surrounding the painter known as
Osterzone. In fact, I intend to use his life story as the basis for my next
mystery novel! Yes, I think it should be quite good, actually...
<back to QUESTIONS>
[New Question: So who was Osterzone?]
KYLE: What kind of painter was this Osterzone guy?
MARTIN: Ah, now you come to the meat of it, for Osterzone was a true enigma!
The mysteries of his life, much like those in his art, both entice and
fascinate! We do know that he was a British painter from the late nineteenth
century. And the angel painting you see on this bookmark is his true coup de
grace! It's rumored to have been Osterzone's final work. As a landscape
painter, he had never before attempted the human form. The painting on the
bookmark is his only such piece. It's entitled Angel Opening a Door, and it
is my favorite Osterzone work.
KYLE: (No kidding.)
<followup>
[Angel Opening a Door?]
[You like this stuff?]
<If you don't follow up:>
MARTIN: Actually, it's his most popular and sought-after painting. I'm
sure you must agree that it is a stunning piece.
KYLE: (Osterzone, huh?)
[Angel Opening a Door?]
KYLE: Tell me something, will you? Angel Opening a Door? That's the
title of the painting?
MARTIN: That is correct. Actually, it's his most popular and sought-after
painting. I'm sure you must agree that it is a stunning work.
KYLE: (Osterzone, huh?)
[You like this stuff?]
KYLE: Tell me something, will you? You like this kind of thing, huh?
MARTIN: Oh, indeed. I'm particularly fond of his masterful use of color.
And the title of the piece is somewhat mysterious, which naturally
appeals to me. The title contains the word door, does it not? And yet no
door is visible! All we are shown is the key in the angel's hand. The
angel is about to use the key to open a door... But what kind of door is
it? The painting stirs the imagination of its viewers. Spectacular, yes?
KYLE: (Osterzone, huh?)
<If you've already returned the bookmark:>
MARTIN: Thank you for locating my bookmark, Mr. Hyde. Good day.
[Summer closes the door.]
<goes to Scene 3.3>
<If you haven't returned the bookmark yet:>
MARTIN: Mr. Hyde? Don't you have something for me?
<back to QUESTIONS. No questions. Kyle returns the bookmark.>
KYLE: Here's your bookmark. It was in the bottom of the box.
MARTIN: Yes, this is it! Thank you very much, good sir! Thank you again!
<back to QUESTIONS. No questions.>
MARTIN: Mr. Hyde, are we finished?
<goes to Scene 3.3>
<Scene 3.3>
<Kyle is back in the hallway. He walks a little way and then hears a knock.>
KYLE: Huh? What's that noise? I think it's coming from behind that door.
<If you knock on Room 219:>
KYLE: Nobody's here.
<He goes to Room 218. If you try the knob.>
KYLE: Nope. Door won't open.
<He knocks on the door.>
MELISSA: ...Sniff...
KYLE: Hey? Is somebody in there? Who's there?
MELISSA: I'm...sniff...scared...
KYLE: ...Hey! What's going on?
MELISSA: ...I'm so scared!!
KYLE: That's Melissa's voice... Hey! Squirt! What're you doing in there?
You're in 219. This isn't your room!
MELISSA: It's dark and I'm scared... Sniff...
KYLE: Hey, squirt. You OK?
<If Kyle knocks on the door again:>
MELISSA: ...Sniff.
KYLE: Hey.
MELISSA: I'm...sniff...scared...
KYLE: ...Hey! Come outta there!
MELISSA: It's dark and I'm scared... Sniff...
KYLE: Hey, squirt. You OK?
<If you try to talk to Rosa in the kitchen:>
KYLE: Got a minute?
ROSA: What is it? Mr. Hyde, I have a ton of work to do. I can't chat now!
Busy, busy, busy!
<He goes back to the restaurant podium.>
KYLE: Hey, Louie.
LOUIS: Huh? What, man?
KYLE: Is Room 218 vacant tonight?
LOUIS: Yeah, it's been outta whack for a while. Damn switchboard's on the
blink, so we got no power in there. That's why... Aw, crap! I forgot to lock
the door!
KYLE: What's wrong?
LOUIS: I went in there to get some stuff and forgot to lock up. Aw, no big
deal. I'll take care of it in a bit.
KYLE: Too late.
LOUIS: What, you did it for me? Hey, thanks, brother!
KYLE: No, you idiot. It's too late to lock the door. Melissa locked herself
in there.
LOUIS: WHAT?! Aw, sweet crispy crap! That's a bad scene right there! It's
dark in there, brother. I mean, like REALLY dark. She won't be able to get
the door unlocked, ya know, and then she's gonna freak.
KYLE: She already has.
LOUIS: Oh, crap... We gotta do somethin'! We gotta... Hey, Hyde! Whatcha know
about wires and power and crap like that?
[I know enough.]
[Um...wires?]
[I know enough.]
KYLE: As much as the next guy. Why you asking?
LOUIS: Gotta fix the switchboard and get power to Room 218. We get the
lights on, the kid'll calm down and unlock the door. Then we won't have
to break the damn thing down. And maybe Dunning won't kill me for
forgettin' to lock up in the first place.
[Um...wires?]
KYLE: Wiring? Why? You want me to tap somebody's phone or something?
LOUIS: Ha ha ha ha! Man, stop thinkin' like a cop, will ya? I need ya
to fix some electrical wiring on the switchboard.
KYLE: Switchboard?
LOUIS: Yup. We gotta fix the switchboard and get power to Room 218.
KYLE: What're you talking about?
LOUIS: We get the lights on, the kid will calm down and unlock the door.
Then we won't have to break the damn thing down. And maybe Dunning won't
kill me for forgettin' to lock up in the first place.
KYLE: Sounds good to me.
LOUIS: Good, man, 'cause I ain't touchin' that stuff! No way I'm gonna get
lit up...
KYLE: You're useless, Louie. You know that?
LOUIS: Yeah, that's what my ma always said. C'mon, let's get to the electrical
room. It's across the hall from my room.
<They go to the electrical room.>
LOUIS: There it is.
<If you talk to Louie again:>
KYLE: What do we have to do?
LOUIS: We gotta hit the breaker on the switchboard.
<Kyle goes to the switchboard. If he flicks only one switch:>
KYLE: What the hell am I supposed to do?
<If you leave the switchboard screen:>
LOUIS: Aw, man, Dunning's gonna murder me! C'mon, you gotta fix it!
<When you go back to the switchboard and you keep flicking just one switch:>
LOUIS: Old man Dunning always used both hands, but...
<Kyle flicks the switches. There's a scene of Melissa back up in Room 218,
looking happy.>
KYLE: Got it.
LOUIS: Nice work, my man.
KYLE: I'll get back to 218.
<If you talk to Louie again:>
LOUIS: Move it, man! Poor kid's probably bawlin' like a little girl!
<Kyle goes back to 218 and knocks on the door.>
KYLE: Hey! Open the door!
MELISSA: ...Sniff...
KYLE: What's wrong?
MELISSA: The...the door won't open! I can't get out! The knob won't turn or
anything!
KYLE: Maybe the lock's stuck...
MELISSA: Mister, you gotta open the door! Please! I'm scared!
KYLE: (What should I do... All right, Hyde. You got no choice. Guess I'll
give the old wire another try...)
<He picks the lock.>
KYLE: That's the stuff. (But that's the end of the road for you, wire.)
<Kyle goes in Room 218.>
KYLE: Hey.
MELISSA: ...Hey, mister.
<He walks farther into the room.>
KYLE: Hey, kid.
MELISSA: ...Hey, mister.
KYLE: You OK?
MELISSA: I was s-so scared! It was dark and scary and I couldn't see anything
and I was all alone!
KYLE: Look, I know it was rough back there... But you can quit being scared
now. I got the door open.
<Melissa nods.>
KYLE: (Why the hell'd she come in here, anyway? Wonder what happened. Maybe
I can get her to tell me.)
<MELISSA3D>
KYLE: Hey, kid. You're in the room next door. Did you come in here by mistake
or what?
<She shakes her head.>
KYLE: Seriously, why are you here?
MELISSA: 'Cause I don't wanna be with my dad anymore.
KYLE: (Big surprise there...)
<followup>
[Things aren't going well?]
[Stop being so selfish!]
<If you don't follow up:>
MELISSA: You don't understand anything, mister! And you don't understand
anything about me!
KYLE: Yeah, you're right. I don't know how you feel.
MELISSA: ...Huh?
KYLE: I got no idea. That's why I'm asking you right now. So talk.
<goes back to MELISSA3D and to followup>
[Things aren't going well?]
KYLE: What's wrong? You having a rough time?
MELISSA: Yeah.
KYLE: What's goin' on?
MELISSA: My dad's a big liar. All he does is lie. All the time. I hate
him. He said I could see my mom, but I can't. He lied about my mom! [He
lied about your mom?]
KYLE: Being locked in that dark room was scary, right?
<She nods.>
KYLE: But you know who locked you in there? You did. So there's no use
crying about it. You reap what you sow.
MELISSA: ...Reap? That's dumb. What's that mean?
KYLE: Buddy of mine likes to say that. You don't understand what it
means, ask your dad.
<MELISSA3E>
MELISSA: No way!
KYLE: Why not?
MELISSA: 'Cause he won't know what it means.
KYLE: (Kid really thinks her dad's an idiot...)
<followup>
[Why do you think that?]
[You're wrong. He knows.]
<If you don't follow up:>
KYLE: Hey, kid?
MELISSA: ...What?
KYLE: When I was a kid, I was just like you.
MELISSA: You were a kid...?
KYLE: Yeah. Your dad was too.
MELISSA: No way!
KYLE: It's true. But once you grow up, you forget what it's like.
So yeah. I don't know why you're upset. No clue.
<Melissa looks downcast.>
KYLE: But I'm trying to find out. And that's why I'm talking to
you now. So why don't you ask your dad?
<goes back to MELISSA3E and to followup>
[Why do you think that?]
KYLE: Hey. Why do you think that?
MELISSA: 'Cause he doesn't know anything. He said he doesn't know
anything anymore. He said he doesn't know where my mom is... And
he doesn't know why she went away, either. [Why did Melissa's mom
leave?]
<MELISSA3F>
KYLE: You and your dad came out here to see your mom, right?
MELISSA: Uh-huh. I thought we were gonna see her right away, but
we didn't. Dad said we gotta stay here until we can see her.
KYLE: (Stay here?)
<followup>
[Did Dad know this place?]
[You stay here before?]
<If you don't follow up:>
<Melissa looks downcast.>
MELISSA: ...Mom...
KYLE: Hey, kid. Tell me that again, will you?
<goes back to MELISSA3F and to followup>
[Did Dad know this place?]
KYLE: Say, kid? Did your dad know about this hotel before?
MELISSA: Yeah.
KYLE: You sure?
MELISSA: Yeah, he had to look for it on a map and stuff. He
kept going, "Where's Hotel Dusk? Where's Hotel Dusk?" So then
I asked him what Hotel Dusk was, 'cause he kept saying it.
And he said it was where we could go and find out where my
mom went. [He came here to find her?]
KYLE: Hey. You want to see your mom, don't you?
MELISSA: Yeah.
KYLE: I want you to see your mom, too.
MELISSA: ...OK.
KYLE: And I'm sure your dad wants you to see her, too.
MELISSA: That's not true!
KYLE: C'mon, kid. Cut him some slack.
MELISSA: But my dad doesn't even know where my mom IS!
And he lies all the time. I HATE him! Dad's... Dad's...
...M-Mom... Sniff... Whaaa...
KYLE: Stop it. Stop! Stop crying, for hell's sake! Wipe your
face and listen up!
<goes to QUESTIONS>
[You stay here before?]
KYLE: Say, kid? Is this the first time you've stayed here?
MELISSA: <red aura> Uh-huh. My dad said it was the first time.
<She looks downcast.> ...Mom...
KYLE: Hey, kid. Tell me that again, will you?
<goes back to MELISSA3F and to followup>
[You're wrong. He knows.]
KYLE: Hey. Give your dad some credit, kid. He'll know what it means.
MELISSA: <red aura> It's true! He doesn't know anything!
KYLE: You know, your old man's got a tough job. Takes smarts to be
a sawbones. I bet he knows all kinds of stuff.
MELISSA: I bet he doesn't!! He doesn't know anything! Especially
not about my mom and me!
KYLE: Hey, kid?
MELISSA: ...What?
KYLE: When I was a kid, I was just like you.
MELISSA: You were a kid...?
KYLE: Yeah. Your dad was too.
MELISSA: No way!
KYLE: It's true. But once you grow up, you forget what it's like.
So yeah. I don't know why you're upset. No clue.
<Melissa looks downcast.>
KYLE: But I'm trying to find out. And that's why I'm talking to you
now. So why don't you ask your dad?
<goes back to MELISSA3E and to followup>
[Stop being so selfish!]
KYLE: What's wrong? Stop being so selfish.
MELISSA: <red aura> But...
KYLE: You get scolded for something?
<Melissa looks away.>
KYLE: Just be thankful you got someone to care about what you're doing.
Lots of kids don't even have parents. Don't be a brat.
MELISSA: You don't understand anything, mister! And you don't understand
anything about me!
KYLE: Yeah, you're right. I don't know how you feel.
MELISSA: ...Huh?
KYLE: I got no idea. That's why I'm asking you right now. So talk. Hey,
kid. You're in the room next door. Did you come in here by mistake or
what?
<goes back to MELISSA3D and to followup>
[Question: Know why your dad lied?]
KYLE: You know why your dad lied about your mom?
[He hated to see you sad.]
[He enjoys tricking you!]
[He hated to see you sad.]
KYLE: It's because he couldn't stand to see you sad anymore.
MELISSA: ...Yeah?
KYLE: Yeah. You were bawling 'cause you wanted to see your mom for
Christmas. Well, your dad didn't want to see you crying anymore. That's
why he said he'd take you to see your mom.
MELISSA: But it was a lie. My mom's not here!
KYLE: Hey, calm down for once! Listen, I know this may sound weird,
but sometimes folks lie out of...sadness.
MELISSA: ...Huh?
KYLE: Your dad's not the only adult to lie. Trust me.
MELISSA: Do you lie, too?
KYLE: Sometimes.
MELISSA: ...Oh.
KYLE: But when you lie, you usually get caught, and then you gotta pay.
MELISSA: Pay how?
KYLE: Even if you think a lie is helping, it usually ain't. Someday that
person'll learn the truth, and you'll have to look him in the eye. You'll
have to see the pain you caused, and that's a hard thing. So I'll make
you a deal. No lies from me. OK?
MELISSA: ...OK.
<If you still have questions, it goes back to the Question list. If you
have no more questions and you got at least the "Know why your mom left?"
question wrong, it goes to MELISSA3G. Otherwise, it goes to MELISSA3H>
[He enjoys tricking you!]
KYLE: He wanted you to feel like a fool! I bet he's laughing it up
right now...
MELISSA: <red aura> What? He's...he's terrible! I hate him!
<If you still have questions, it goes back to the Question list. If you
have no more questions and you got at least the "Know why your mom left?"
question wrong, it goes to MELISSA3G. Otherwise, it goes to MELISSA3H>
[Question: Know why your mom left?]
KYLE: You know why your mom left?
[It's your fault!]
[It wasn't your fault.]
[It's your fault!]
KYLE: Yeah, totally your fault. Nice one, kid. Way to ruin your dad's
life.
MELISSA: <red aura> What? ...WHAAAAAAAA!!!
<If you still have questions, it goes back to the Question list. If
you have no more questions, it goes to MELISSA3G>
[It wasn't your fault.]
KYLE: It wasn't because of you.
MELISSA: You sure?
KYLE: I'm sure about that. She must have had a good reason.
MELISSA: Really?
KYLE: Parents don't up and leave kids. That wasn't her plan. Something
forced her to go. And that same something wouldn't let her take you with
her. Anyway, that's my two cents.
MELISSA: I bet it was 'cause she was fighting with dad. My mom and dad
were always fighting. [They were always fighting?]
<back to QUESTIONS>
[New Question: Your parents argue a lot?]
KYLE: Your parents argue a lot?
<Melissa nods.>
MELISSA: Only all the time...
KYLE: About what?
MELISSA: I dunno. Everything, I guess. Dad would always say that it
wasn't his fault. Then Mom would say they had to find a way to fix
stuff. Then she would cry. That's how it always went.
<If you still have questions, it goes back to the Question list. If you
have no more questions, it goes to MELISSA3H>
[Question: Let's talk about your mom leaving.]
KYLE: You're worried about where your mom went, right? Well...
[Your dad's clueless!]
[I'm sure your dad knows.]
[Your dad's clueless!]
KYLE: Your dad's got no clue. I bet he's just here for the bar.
MELISSA: <red aura> What? ...WHAAAAAAAA!!!
<If you still have questions, it goes back to the Question list. If you
have no more questions and you got at least the "Know why your mom left?"
question wrong, it goes to MELISSA3G. Otherwise, it goes to MELISSA3H>
[I'm sure your dad knows.]
KYLE: I'm sure your dad has a plan. He's on top of it.
MELISSA: Really?
KYLE: Yeah. He must if he's serious about getting you to see her.
MELISSA: I guess...
<If you still have questions, it goes back to the Question list. If you
have no more questions and you got at least the "Know why your mom left?"
question wrong, it goes to MELISSA3G. Otherwise, it goes to MELISSA3H>
<MELISSA3G>
MELISSA: Mister.
KYLE: What?
MELISSA: You're a JERK!
KYLE: ...Huh?
MELISSA: You don't understand anything about me! You're a big jerk and
I hate you!!! ...Sniff... Waaaaaaaaaa!! I...sniff...I never... I never,
ever want to be a grown-up like you! NEVER! WHAAAAAAAA!!
KYLE: Nice, Hyde. Real nice...
[I returned to Room 215.]
KYLE: Wow, that could have gone better. You're a real class act, Hyde.
Always screwing things up just like this... Hell, who are you kidding?
You'll never find Bradley... You're a total loser, Hyde. Always have been.
Always will be.
[Hyde spent the rest of the night brooding in his room.]
[GAME OVER]
<MELISSA3H>
<Melissa stares at Kyle.>
KYLE: What's wrong?
MELISSA: I... I know... I'm not a baby. I know the truth...
KYLE: What do you know?
MELISSA: That my mom... That my mom's never coming home. I know you said it
wasn't my fault. And that my mom didn't leave because of me. But you're
wrong. It WAS my fault.
KYLE: Why do you think that?
MELISSA: Because of what I said. I said some...some really bad things. I told
her I hated her, and that I didn't need her.
KYLE: Why'd you say that?
MELISSA: 'Cause they were always fighting! She and my dad were always
fighting, and my mom always looked all scary and mad. I told her I didn't
need a mom like that. And then... That's why she left. I remember the day she
left. She told me my dad was gonna take me to school that day. I asked her
why she wasn't going to drive me, 'cause she always did. But she didn't say
anything. She just looked real sad.
<Scene of Melissa in the car>
MELISSA: So I got in my dad's car and looked at the house while we were
driving. And my mom was looking out the window and watching us. She was
crying. She was looking at me and crying.
KYLE: She was gone when you came home?
MELISSA: ...Uh-huh.
<She cries.>
KYLE: Look, stop crying. Crying's not going to bring your mom home. Get back
to your room. Your dad'll be worried.
[Melissa left the room.]
KYLE: (Wonder why Melissa's mom hit the road. Sounds like there was trouble
in paradise.)
<He leaves the room.>
KYLE: Huh? Isn't that...
<He sees Kevin in the hallway.>
<If you go back to the electrical room:>
LOUIS: What happened?
KYLE: I got Melissa out of the room.
LOUIS: All right.
KYLE: Hey.
KEVIN: What is it?
KYLE: How's Melissa doing?
KEVIN: Melissa? I... She's fine. I think she's in our room. Why... Why would
you ask?
KYLE: (Dad of the Year award for this guy...) Because about ten minutes ago
she was in a total panic.
KEVIN: What?! What do you mean? Did something happen to her?
KYLE: She got locked in a room.
KEVIN: What?! Where is she?!
KYLE: Easy. She's fine. I got her out a few minutes ago. I just sent her back
to your room.
KEVIN: Oh, OK. I...I don't know what to say. [So where've you been?]
<goes to QUESTIONS. If you try to leave the Question list:>
KEVIN: Is there something you want to talk to me about, Mr. Hyde?
<returns to Questions>
[Question: Where were you?]
KYLE: So where've you been? You know, just out of curiosity.
KEVIN: Uh... I, well... I had to go out for a while. To the roof. I was on
the roof.
KYLE: (The roof?)
KEVIN: If you'll excuse me?
[Kevin went back to Room 219.]
<If you try knocking on 219:>
VOICE: Go away!
<Kyle goes to the roof.>
KYLE: Huh? Someone's there. It's...
<He sees Iris and walks up to her.>
IRIS: Oh, hello. Is something wrong? Why are you here?
[I came to see you.]
[Just needed some air.]
[I came to see you.]
KYLE: Just wanted to find you. Thought maybe we could chat for a bit.
IRIS: ...Pardon? You came to see me? Why on earth... Were you...were
you FOLLOWING me? GO AWAY!
KYLE: What?
[Iris turns and scampers off the rooftop.]
KYLE: (What the hell? I'm used to cold reactions from dames, but that
was nuts.)
<goes to KYLE3B>
[Just needed some air.]
KYLE: What, you own this roof? Knock it off. I just came out to get some
fresh air.
IRIS: That wouldn't be the only fresh thing about you... It's a bit
cold, but it feels nice. Don't you agree?
[All alone, are you?]
[You need air too?]
[All alone, are you?]
KYLE: Out here by yourself, huh?
IRIS: Why? Are you lonely?
KYLE: You didn't meet anyone out here or anything?
IRIS: Like you?
KYLE: Like Kevin Woodward from 219.
IRIS: No, I don't know anyone by that name. I've been by myself
the whole time. Not that it's any of your business.
KYLE: That so?
IRIS: Now if you'll excuse me?
[Iris turns and leaves the rooftop.]
KYLE: (I wonder if she was really here by herself...)
<goes to KYLE3B>
[You need air too?]
KYLE: So you just came out to grab some air, huh?
IRIS: I dislike your tone, Mr. Hyde. Are you implying something?
KYLE: Just seeing if you had any other reason for braving the chill.
IRIS: No. No other reason. Are you this charming to all the ladies
in your life? Now if you'll excuse me?
[Iris turns and leaves the rooftop.]
KYLE: (I wonder if she was really here by herself...)
<goes to KYLE3B>
<KYLE3B>
KYLE: (OK, Hyde... Think. Why did Melissa's mother up and leave. And why
would Kevin take his kid to a hole like this? This whole thing stinks like
last week's lunch. Time to organize, Hyde. Take a second and get your
thoughts together...)
<goes to CHAPTER SUMMARY>
In the evening, I went down to the restaurant for dinner. Before going, I ran
into Melissa's dad, Kevin. Kevin asked me about...
1. The dinner menu
No, that ain't it. He didn't ask me about the menu.
2. Melissa
That's right. He wanted to know if Melissa had told me anything special.
3. Work
No, that ain't it. Kevin told me he's a surgeon at a hospital down in
Santa Monica, but... He didn't ask about my job. Doubt he cares...
I told Louie I wanted to get into Room 217, where the other Kyle Hyde stayed.
Then I sat down and had a delicious meal made by Rosa the Wonder Maid. After
dinner, Summer came by and yapped at me about...
1. A bookmark
That's right. Summer wanted to ask me about the box his notebook was in.
Wanted to know if there was still a bookmark in the box.
2. Drinking together
No, that ain't it. Louie's the one who asked me to have a drink with
him. ...Which I plan to do.
3. Showing him around
No, that ain't it. Helen's the one who asked me to help her to the
restaurant.
There was a picture of an angel on the bookmark I found in the box. It was
based on a painting by a guy named...
1. Alan
No, that ain't it. Alan's the name on the fountain pen that Louie
picked up.
2. Pinkie Rabbit
No, that ain't it. Pinkie Rabbit's the name of the cartoon character on
Melissa's puzzle.
3. Osterzone
That's right. It was a painter named Osterzone. The name of the painting
is Angel Opening a Door.
Melissa argued with her dad, then got locked in a room with no power. I fixed
the switchboard, got power back to the room, and got her out of there. The
room Melissa was locked in was...
1. Room 219
No, that ain't it. Room 219's where she and her dad are staying.
2. Room 218
That's right. Melissa got herself locked in 218.
3. Room 217
No, that ain't it. Room 217's where the other Kyle Hyde stayed six
months ago.
While Melissa was locked in the room, her dad Kevin was nowhere to be found.
Once we freed Melissa, he showed up. When I asked him where he'd been, he
said...
1. On the roof
That's right. Said he'd been up on the roof. When I heard that, I
decided to go and check out the roof myself. When I got there, I ran
into Iris.
2. Looking at a painting
No, that ain't it. Mila was the one looking at the painting. She was
standing in front of a painting with an apple in it.
3. Solving a puzzle
No, that ain't it. I was the one doing a puzzle in Melissa's room. I put
the puzzle together and found a message on the back of it. It was a
message from Melissa's mom.
I got ready for my first night at Hotel Dusk. I get the feeling that all the
guests here are hiding secrets... And why Melissa's mom vanished is just one
of them. There's also the guy with my name who stayed in 217 six months ago.
The story about that bookmark picture got my wheels turning, too. Too many
mysteries in my life. And I'm so damn tired... Well, guess I better poke
around and see what else I can find. Who knows? Something here may get me a
step closer to Bradley.
==================================
4d. CHAPTER 4: DECEMBER 28TH, 1979
7:00 ~ 8:00 P.M.
==================================
KYLE: (Maybe it's time to look into this angel painting. Might help to find
out about that Osterzone fellow, too.)
<His pager goes off.>
KYLE: It's my pager... Better call Rachel.
<He calls.>
RACHEL: Red Crown Enterprises, this is Rachel.
KYLE: Don't you have a home to go to?
RACHEL: It's more fun talking to you, sweetie. Oh, and I have a message from
Ed.
KYLE: Let's hear it.
RACHEL: He says he's going to be late getting back.
KYLE: Went out again, huh?
RACHEL: Mmm-hmm. He went to see his friend in the LAPD. But I'm supposed to
ask if you need anything. So do you?
KYLE: Not right now. But...
RACHEL: But what? C'mon, Kyle. If there's something I can do, just ask.
KYLE: All right. I need you to check something for me.
RACHEL: You got it, handsome. What am I looking for?
KYLE: I need information on a man named Osterzone.
RACHEL: That's a name?
KYLE: Yeah, Osterzone. Guy's a painter. Did a picture called Angel Opening a
Door.
RACHEL: Well, aren't you cultured? All right, sweetie. I'll call when I find
something. Kinda curious why you need info on a painter, though...
KYLE: Tell you later.
RACHEL: Really? You will? I'm looking forward to it.
KYLE: Just get on it.
RACHEL: Oh, yes, sir! See ya, Kyle.
KYLE: Yeah.
<He hangs up. There's a knock on his door.>
KYLE: Great. Who's that?
LOUIS: Psssst... ... PSSSSSSSSTTT!! Yo, Hyde! It's me! Hullo?
<Kyle answers the door.>
LOUIS: I brought the you-know-what from you-know-who! I distracted Dunning
and borrowed the spare office key. Just like old times... Anyway, here ya go,
my man. The key to Room 217.
[I got the Room 217 key from Louie.]
KYLE: Thanks. Now I can get this show on the road.
LOUIS: Just don't get nabbed by Dunning or Rosa, OK? Ya can't let 'em know I
boosted that key!
KYLE: Don't worry. If I get caught, I'll do my time like a man. Hey, tell me
something... You learn anything about that fountain pen?
LOUIS: Naw, man. Asked Mr. Smith 'bout it, but I struck out. Said nobody
named Alan's been here in the last couple of weeks or so.
KYLE: Yeah?
LOUIS: Who d'ya think it belongs to, man?
KYLE: I don't know, but I'm going to hold on to it for a bit. I want to check
something out.
LOUIS: No skin off my hump.
[I take the fountain pen from Louie.]
LOUIS: Good, man, good. Then it's back to the grind for me.
[Louie finishes yapping and heads off.]
<Kyle goes out into the hall and sees Jeff.>
KYLE: What're you doing?
JEFF: I'm not doing anything. And it looks like I should be asking you that,
with the way you're skulking around.
KYLE: Keep asking questions. See where it gets you.
JEFF: Aw, forget it. What do I care what you're up to?
[Jeff goes back into his room and shuts the door. ...Moody little punk.]
<Kyle goes to Room 217.>
[I used the key and opened Room 217.]
<He enters the room.>
KYLE: So this is the room where the other Kyle Hyde stayed a few months back.
According to Louie, it hasn't been used since.
<He checks the dresser.>
[There's some hotel letterhead here. Several sheets have already been used.]
[There's a lighter in the drawer.]
KYLE: This... I've seen this before... ...Now I remember. This is the lighter
Bradley always used.
[I got Bradley's lighter.]
KYLE: This is proof. Now I know about the guy who stayed here six months ago.
It was Bradley.
[There's a painting on the floor. ...That's weird. Why is it there? It's a
painting of some apples. I still don't get why it's on the floor.]
<He finds a paper near the painting.>
KYLE: What's this?
[I got an old photo that was sitting behind the painting. There's a man and
a girl in the photo. They look like father and daughter.]
KYLE: Wonder who they are.
<He turns to leave the room. If you didn't talk to Jeff before entering
Room 217:>
<The door opens and Dunning walks in.>
KYLE: Huh?
DUNNING: Hyde! What in the Sam Hill do ya think yer doin'?!
KYLE: Got lost. Isn't this the bar?
JEFF: Really, Mr. Hyde? And where did you get the key to open the door?
KYLE: Angel... Ran to Dunning and sang like a canary, did you?
JEFF: ...Maybe.
KYLE: You know what happens to stoolies, Angel? Watch your back.
DUNNING: What ya getting all riled up for, Hyde? Yer the one in the
wrong, ya damn sneak! How'd ya get in this room?! Where'd ya get the
key?! I won't have sneaky scum like you in my place! No damn way! Grab
yer stuff! I want ya outta here now!
KYLE: Huh? (Great... That punk Jeff ratted me out.)
<flashback>
DUNNING: Hyde! What in the Sam Hill do ya think yer doin'?!
JEFF: Really, Mr. Hyde? And where did you get the key to open the door?
<flashback ends>
KYLE: Damn...
[GAME OVER]
<If you entered Room 217 AFTER talking to Jeff:>
<After ransacking 217, Kyle leaves the room. He stops in the hall, during
which time he hears a door close.>
KYLE: Huh? Someone was in the hall.
<He goes to his room.>
KYLE: Hey, the door's open...
<He goes inside.>
KYLE: The floor's wet... Is it coming from the bathroom? (Why is the floor
wet?)
<If you check the toilet before getting the above scene:>
[It's a toilet. ...Looks like the tank lid is a bit off-kilter.]
<He goes into the bathroom and examines the toilet.>
KYLE: Huh?
<If you try to flush the toilet:>
KYLE: The stupid thing won't flush. Why not...?
<If you leave the screen:>
KYLE: Why is the floor wet?
<He pulls aside the toilet tank lid.>
KYLE: There's something in the tank. Ah, come to papa...
[I got a stack of cash that was hidden in the toilet tank. The cash was in a
plastic bag.]
KYLE: (Money in the tank, huh? Oldest trick in the book. How did this get
here? Well, until I find out, I probably shouldn't keep this much cabbage
on me...)
<The phone rings. Kyle says one of the following:>
KYLE: Huh? Phone again. Better answer that.
KYLE: Huh? The phone's ringing. Better answer that.
KYLE: Huh? Phone again.
<If you try to leave the room:>
KYLE: Phone's ringing. I'd better answer it.
[The phone's ringing.]
KYLE: Better answer that.
<He answers.>
RACHEL: Hyde?
KYLE: Hey, Rachel.
RACHEL: What's wrong, hon? You sound out of sorts. What happened?
KYLE: Me and trouble just had a little run-in.
RACHEL: You? Trouble? I don't believe it.
KYLE: I found a stack of cash stashed inside my room's toilet tank.
RACHEL: What? Seriously?
KYLE: Yeah. Looks to be about twenty large here.
RACHEL: What's it doing in your toilet?
KYLE: Somebody has a high-fiber diet? How the hell should I know?
RACHEL: So what are you going to do?
KYLE: Whoever stashed the loot in my john is somewhere in this hotel. I'm
gonna find him, and I'm gonna ask him a few simple questions.
RACHEL: With your mouth or your fists? Don't go and do anything too crazy,
Kyle. Last thing we need is for you to get caught up in something dangerous.
KYLE: Don't worry your pretty head. I can take care of myself.
RACHEL: Asking for moderation will get me nowhere, right?
KYLE: Hey, moderation's my middle name. Now tell me about Osterzone.
RACHEL: I've got a friend who works in an art museum. She's looking into it.
I'll give you a call as soon as I hear anything about your mystery painter.
KYLE: Do it.
RACHEL: Talk to you soon.
KYLE: Yeah.
<He hangs up.>
KYLE: All right...what next? (Wonder if anything else's going down in the
hotel. Think I'll wander around and see what's what.)
<He goes to the front desk and sees Jeff.>
KYLE: Hey, you got a minute?
JEFF: What?
KYLE: What are you up to?
JEFF: Seriously? You're looking straight at me and you can't tell what I'm
doing?
KYLE: (...You're impersonating a tree?)
<followup>
[Fine. Fill me in.]
[You need Dunning, right?]
<If you don't follow up:>
JEFF: I don't have time to explain things to anyone that dense. Just
go away, all right?
[Fine. Fill me in.]
KYLE: Well... I don't know. That's why I'm asking.
JEFF: Really? Is that so? Then I'll tell you, OK? I've got business
with the front desk. That's why I'm standing here. Do you understand
now, or should I use smaller words?
[You need Dunning, right?]
KYLE: Well... You got business with the front desk?
JEFF: That's right. That's why I'm standing here.
KYLE: What do you need?
JEFF: I don't think that's any business of yours.
<The conversation ends. If you talk to Jeff again:>
KYLE: You got a minute?
JEFF: You're bugging me. Go away, will you?
<He goes back to the 2nd floor.>
KYLE: Huh? Someone's in the hall.
<He sees Rosa by Room 211.>
KYLE: Oh, it's you. What're you doing?
ROSA: I had some business with Summer! But where is he? I don't know! He's
not in his room... Oh, things are never easy for Rosa, let me tell you! [You
need Summer?] Gosh darn it! I have to get back to the kitchen right away!
<goes to QUESTIONS>
<If you show Rosa the Room 217 key:>
<GAMEOVER-KEY>
ROSA: Hey! What are you doing with the key to Room 217?
<Kyle hears footsteps.>
KYLE: (Huh? Someone's coming. Oh. It's Dunning. Hold on, let me get
excited. ...Nope. Nothing.)
ROSA: Mr. Smith! Am I ever happy to see you!
DUNNING: Huh? What's goin' on, Rosa? Somethin' broke?
ROSA: It's Mr. Hyde! He's got the key to Room 217!
DUNNING: ...What?
KYLE: Oh, crap.
DUNNING: What're ya doin' with the key t'Room 217?!
KYLE: It came with dinner. It was a prize.
DUNNING: It's been you all along, ain't it, Mr. Hyde? Yer the one who
trashed my office! I dunno who the hell ya are, but I don't want ya in
my place! Get yer tail outta here!
KYLE: What? (Nice work, Hyde. Louie warned me when he gave me the key.)
<flashback>
LOUIS: Just don't get nabbed by Dunning or Rosa, OK? Ya can't let 'em
know I boosted that key!
<end flashback>
KYLE: ...Damn.
[GAME OVER]
<If you exit the Questions list without asking anything:>
ROSA: Oh, this is awful. What am I supposed to do now?
<When you talk to Rosa again:>
KYLE: Got a minute?
ROSA: What is it?
<goes to QUESTIONS>
[Question: Why do you need Summer?]
KYLE: What do you want with Summer?
ROSA: Huh? What? What do I want? What do you THINK I want?! I want his
autograph!
KYLE: Oh.
ROSA: That's right! It's not often we have a best-selling author stay here.
You've got to strike while the iron's hot, you know? Sure you do. Wait a
minute! Now wait just one minute... Your showing up has given me an idea,
Mr. Hyde!
KYLE: This doesn't sound good.
ROSA: Oh, hush now. Here, I want you to take this.
KYLE: What is it?
ROSA: It's one of Mr. Summer's novels, of course!
[I take Summer's novel from Rosa. The name of the book is The Secret Word.]
KYLE: Thanks, but I'm more of a sports page kind of guy.
ROSA: Don't get smart with me, mister! Just get Mr. Summer to sign it. OK?
Good.
KYLE: Look, I'm busy. Why do I have to--
ROSA: Because I have to get back to the kitchen, that's why! Now stop
grumbling. Don't forget, Mr. Hyde! Don't you dare!
KYLE: Look, I'm not-- Wait a second!
[Rosa turns and rushes away.]
KYLE: Dammit!
[07:20 PM]
<He goes back to the front desk.>
KYLE: (There's somebody at the front desk. That's...)
JEFF: I'm telling you, that's why I'm here!
DUNNING: Oh, I ain't tryin' to call ya a liar or nothin'! It's just--
JEFF: It's been stolen! There's no doubt about it.
DUNNING: Well, lemme see here--
JEFF: I DEMAND that you start looking! I want this hotel searched now!
DUNNING: Look, son... I mean... Mr. Angel... Do me a favor, will ya? Take
one more look through yer things.
JEFF: No! I've looked enough, you corn-fed hick! Why am I standing here
repeating myself?! It's been stolen! Do you understand what I'm telling you?
Get off your lazy butt and start looking!
DUNNING: Keep yer voice down! Ain't no need to start in with the screamin'
and hollerin'! Yer just gonna get the other guests all in a panic.
JEFF: Like I care. Besides, it's too late to worry about that. Look, that
guy's already heard. And he hardly seems panicked.
DUNNING: Eh?
KYLE: Something happen?
JEFF: Yes, it has!
DUNNING: Ain't nothin'! We was just havin' us a bit of a jaw is all. Mr.
Angel, lemme get back to ya in a bit. I'll come up to yer room soon as I can.
JEFF: Don't make me wait.
[Jeff storms away from the front desk.]
[What was that about?]
<Kyle talks to Dunning.>
KYLE: Got a minute?
<goes to QUESTIONS. If you any point you show Dunning any "contraband"
item -- anything that you shouldn't have in your possession, such as the
stack of cash, any of the tools, the red box, memo, etc.:>
<GAMEOVER2>
DUNNING: Hey! The hell's this? So it WAS you, eh?!
KYLE: What?
DUNNING: Don't try and worm yer way outta this! I knew there was
somethin' fishy about ya! And now you've proved me right, ya lowdown
thief! Get out! Get the hell outta my hotel!
KYLE: What? (That wasn't supposed to happen. That's not how I expected
him to act.)
<flashback>
JEFF: It's been stolen. There's no doubt about it! I DEMAND that you
start looking! I want this hotel searched now!
<flashback ends>
KYLE: Damn...
[GAME OVER]
<You can exchange your cash for coins if you want. You must get coins BEFORE
the time changes to 7:40:>
<COINS>
<He shows his cash.>
DUNNING: Ya need change? Fine, fine. But just this once, ya hear?
[I got some coins.]
<If you try to show your cash again:>
DUNNING: I only give change once!
<end COINS>
[Question: What was all that about?]
KYLE: That's the kid staying up in Room 213, right? Jeff Angel?
DUNNING: Yep.
KYLE: What were you two chatting about?
DUNNING: Ain't nothin'. Nothin' at all. Forget about it, will ya?
KYLE: (That's not suspicious or anything...)
<followup>
[How's Jeff as a guest?]
[What happened?]
<If you don't follow up:>
<goes to MARTIN4A then to KYLE4A>
[How's Jeff as a guest?]
KYLE: ...Hold it. What kinda guest is this Jeff guy, anyhow?
DUNNING: The worst kind! Lemme tell ya! Guy wants softer towels...
Guy wants some fancy Italian thing fer dinner... He's a namby-pamby
whiny little momma's boy's what he is! I'd like t'introduce his ass
to my boot! 'Course I can't do that. Customer's a customer after all.
I just hafta grin and bear it. Ya know the drill.
<goes to MARTIN4A then to KYLE4A>
[What happened?]
KYLE: ...Hold it. Something happen?
DUNNING: Nope! Nothin'.
KYLE: That's a lot of yelling for a bunch of nothing. He complaining
about sharing his bed with roaches or something?
DUNNING: 'Course not! Not in my place! It's just another fire I hafta
put out, that's all. [What was he griping about?] Now I gotta figure
out what I'm gonna do about it.
<goes to MARTIN4A then to JEFF4A>
<MARTIN4A>
MARTIN: Pardon me, do you have a moment?
KYLE: Huh?
MARTIN: Do you perchance have a copy of the newspaper?
DUNNING: Huh? Paper?
MARTIN: Yes, I was rather hoping to read the morning fish wrap.
DUNNING: Well, shoot... Had one layin' around here earlier... Here ya go.
Take this. Compliments'a the Dusk!
MARTIN: Thank you, my good man.
DUNNING: Just throw it on the table in front of the couch when yer done,
all right?
MARTIN: Of course.
[Summer moves away.]
<If you talk to Martin at any time BEFORE getting the lowdown on Jeff:>
KYLE: Got a minute?
MARTIN: Dear me. What is this world coming to?
<The conversation ends.>
<end MARTIN4A>
<KYLE4A>
<The conversation with Dunning ends. If you talk to him again:>
KYLE: Got a minute?
DUNNING: What is it?
<goes to QUESTIONS. No questions. To advance the story, you must walk
toward the lobby area. Kyle stops.>
KYLE: (Wait a minute... What did Dunning say when I asked about Jeff?)
<flashback>
DUNNING: Ain't nothin'! Nothin' at all. Forget about it, will ya?
<flashback ends>
KYLE: He was about to spill something. I wonder what it was...
<He talks to Dunning again.>
KYLE: Got a minute?
DUNNING: What is it?
<goes to QUESTIONS>
[Question: You were about to say...?]
KYLE: When I asked about Jeff earlier, you started to say something.
You want to fill me in?
DUNNING: Ain't nothin'. Just another fire I hafta put out, is all. [Why
was Jeff so angry?]
<JEFF4A>
<back to QUESTIONS>
[New Question: Why was Jeff so angry?]
KYLE: So what's his problem?
DUNNING: Well, t'tell ya the truth... I don't wanna get the other guests all
up in a lather, see? So let's keep this between me and you, OK?
KYLE: Sure.
DUNNING: Sounds like something's been stolen. Guess Angel Boy went down to
the restaurant for a bite t'eat. When he got back to his room, he noticed
somethin' missin'. [What got stolen?]
<back to QUESTIONS>
[New Question: What was stolen?]
KYLE: So what got lifted?
DUNNING: I ain't gonna tell ya that! What if yer the one who stole it? Ya'd
just go and hide it!
KYLE: (That logic is stunning...)
<followup>
[You gonna play cop?]
[You suspect me?]
<If you don't follow up:>
DUNNING: Now I gotta handle this with kid gloves so it don't get all
blown outta whack.
[You gonna play cop?]
KYLE: Are you serious? You planning to hunt down the thief on your own?
DUNNING: I look like Sherlock Holmes to you? If there's an
investigation, I gotta call the police. ...Much as I hate to. Now I
gotta handle this with kid gloves so it don't get all blown outta
whack.
[You suspect me?]
KYLE: Are you serious? You think I had something to do with this?
DUNNING: No offense intended, right? But I ain't trustin' nobody but
me on this. Ya got that? Now I gotta handle this with kid gloves so it
don't get all blown outta whack.
<The conversation ends. If you haven't exchanged your cash for coins yet,
you can do so now by talking to Dunning again:>
KYLE: Got a minute?
DUNNING: What is it?
<goes to dialogue above marked COINS>
<If you buy something from the vending machine:>
[There's a coin slot on the front of the machine.]
<Depending on what you get:>
KYLE: Potato chips. (I got some potato chips. Never know when I might
need these.)
KYLE: It's chocolate. (I got some chocolate. I'll save this for when I
need a pick-me-up.)
KYLE: It's a NougaChew! bar. My favorite. (I got a NougaChew! candy bar.
I'll eat it when I start to feel tired.)
KYLE: It's candy. (I got some candy. This'll do me if I need some
sugar later on.)
<When he eats any of the snacks:>
KYLE: Mmm... Delicious.
<When you talk to Martin AFTER getting all the info on Jeff and the theft:>
MARTIN: Hmph. Sometimes I fear for our future generations...
KYLE: Hey there. Spare a sec?
MARTIN: Oh, hello there, Mr. Hyde. I must tell you about this article I was
reading in the newspaper. It seems there was a burglary in Beverly Hills last
night. Quite brazen, really... The victim was an attorney named Larry Damon.
Mr. Damon happens to be a friend of mine, you see? I do hope he is doing well.
Yes, well, I apologize for the tangent. Did you perchance need something?
KYLE: You know Rosa? The maid? Well, she asked me for a favor. You mind
signing this book for her? Seems she's a big fan of yours.
MARTIN: Oh! But of course!
KYLE: Great.
MARTIN: My apologies, but would you mind bringing it up to my room later? I
apologize for the trouble, but...
KYLE: Hell, why not? I'm already in this thing up to my eyeballs anyway.
[Summer puts down the newspaper and leaves the lobby.]
<If you try to walk to the lobby, the time changes. You can read the paper
before changing the time, or you can completely ignore the newspaper.>
<If you read the paper:>
[There's a copy of some local rag on the table. The date on the paper
is December 28. That's today. What do you know?]
[There's an article about a burglary on the left side of the front page.]
ARTICLE: Home of Prominent Beverly Hills Attorney Burglarized. The
Beverly Hills home of attorney Larry Damon was burglarized last night.
Police say $20,000 and a pistol were taken from a safe in the study. The
perpetrators then fled the scene in Damon's car. A police spokesman said
they are actively pursuing the case.
[There's an article about an art exhibit below the burglary story.]
ARTICLE: Exhibition News: Evans Collection Exhibition. January 10th
through 28th. America's foremost modern art collection is coming to the
Central Gallery. The collection features works by many bright young
painters. The event promises to be fun for the whole family, and a great
way to ring in 1980!
[There's also a personal ad on the front page.]
AD: Missing Person. Alan Parker. I am looking for you. Meet me on your
birthday in the hotel where we last saw each other. -H.
<As Kyle heads to the door of the lobby area, the time changes.>
[07:40 PM]
<If you try to get coins AFTER the time changes:>
KYLE: Got a minute?
DUNNING: What is it? I'm busy. Talk to me later.
<Kyle heads to the 2nd floor stairs and sees Rosa blocking the doorway.>
<If you try to talk to Rosa before passing by her:>
KYLE: Got a minute?
ROSA: What is it? Mr. Hyde, I have a ton of work to do. I can't chat
now! Busy, busy busy!
<Kyle tries to pass by Rosa in the doorway.>
KYLE: (Rosa's cleaning... Shouldn't she be cooking dinner?)
ROSA: Stop! Stop! I'm cleaning the hallway, Mr. Hyde! You'll have to wait!
KYLE: Look, I just need to get through here--
ROSA: I SAID, WAIT! Now wait! I'll be done in a little bit, OK? Fine. But
I'm glad to see you anyway! Did you get Mr. Summer's autograph for me like
I asked?
KYLE: I asked him, but I don't have it yet.
ROSA: You don't? Why not?! What's the holdup? Land sakes, it's not hard!
KYLE: Don't growl at me about it. Want it done fast, shoulda done it yourself.
Hell, Summer just walked by a few minutes ago.
ROSA: He walked through here? Mr. Summer? Really?
KYLE: Yeah, I was just talking to him by the front desk.
ROSA: Stop teasing me, Mr. Hyde! I've been here cleaning for longer than that.
Mr. Summer did not come anywhere near me, and for a fact!
KYLE: Wait, that doesn't make sense. He said he was going back to his room,
and it's on the second floor, right? So then he had to come through here.
ROSA: Well, usually, but... Maybe he saw me cleaning and used the other set
of stairs.
KYLE: (There's another set of stairs in this joint?)
<followup>
[Other stairs?]
[When will you be done?]
<If you don't follow up:>
<goes to ROSA4A>
[Other stairs?]
KYLE: Hey... What do you mean, other stairs?
ROSA: I mean the stairs that aren't THESE stairs! The back stairs!
Maybe he used the back stairs to get to his room. [Where are the back
stairs?]
<goes to ROSA4B>
[When will you be done?]
KYLE: Hey... When're you going to be finished cleaning?
ROSA: When I'm done! It won't be long now! Stop pestering me! Just go
watch some TV in the lobby, will you?
<ROSA4A>
<goes to QUESTIONS. No questions, no items.>
<If you talk to Rosa again:>
KYLE: Got a minute?
ROSA: What is it?
<goes to QUESTIONS. No questions, no items.>
<If you try to walk past Rosa:>
KYLE: Got a minute?
ROSA: No! But I might have a second! Or a few. If you ask nice.
<goes to QUESTIONS. No questions, no items.>
<He walks away, then stops.>
KYLE: (Wait a minute... What did Rosa say when I asked her about
Summer?)
<flashback>
ROSA: Well, usually, but... Maybe he saw me cleaning and used the
other set of stairs.
<flashback ends>
KYLE: What other stairs?
<He talks to Rosa again.>
KYLE: Got a minute?
<If you talk to her by trying to pass by her:>
ROSA: No! But I might have a second! Or a few. If you ask nice.
<If you talk to her by using the "talk" command:>
ROSA: What is it?
<goes to QUESTIONS>
[Question: Where are the stairs?]
KYLE: What do you mean, other stairs?
ROSA: I mean the stairs that aren't THESE stairs! The back stairs!
Maybe he used the back stairs to get to his room. [Where are the back
stairs?]
<goes to ROSA4B>
<ROSA4B>
<back to QUESTIONS>
[New Question: There are more stairs?]
KYLE: So where are the back stairs?
ROSA: Just go out the door in the lobby and head down the right hallway. You
can't miss the stairs. They go up to...well, they go up to the second floor,
of course. I bet Mr. Summer used them when he saw me cleaning these in here.
Mmm-hmm!
KYLE: Got it.
ROSA: You can go ahead and use them, but you have to remember something. The
door to the stairs is locked on the second-floor side! Don't forget about my
autograph, all right? Promise me now!
KYLE: Yeah, yeah.
<If you talk to Rosa again using the "talk" command:>
KYLE: Got a minute?
ROSA: What is it?
<goes to QUESTIONS. No questions, no items.>
<If you try to walk past Rosa:>
KYLE: Got a minute?
ROSA: No! But I might have a second! Or a few. If you ask nice.
<goes to QUESTIONS. No questions, no items.>
<He enters the right hallway door.>
KYLE: Guess these are the stairs Rosa was talking about.
<He goes up to the 2nd floor.>
[A door down the hall opens and someone comes out.]
KYLE: (Oh, it's Dunning. He looks grumpy as ever.)
<If you try to go into the linen room:>
KYLE: (...This ain't good. Going into the linen room now would look
pretty suspicious.)
DUNNING: What's goin' on?
KYLE: Don't mind me.
<If you go back downstairs and talk to Rosa:>
KYLE: Got a minute?
ROSA: I'm almost done with my cleaning. Talk to me later!
<Kyle talks to Dunning.>
DUNNING: Evenin', Mr. Hyde.
KYLE: So what's behind that door? It's not a guest room, is it?
DUNNING: Huh? What is this, twenty questions? It's just a utility closet,
since ya hafta know!
KYLE: Yeah?
DUNNING: Yep. It's where we keep stuff for cleanin' and so forth. I was
just...tryin' to find some things.
KYLE: Your bellboy lose more packages?
DUNNING: Real comedian, ain't ya? No, not this time. To be honest with ya,
I'm in a bit of a pickle.
KYLE: Why's that?
DUNNING: Well, some hotel equipment has gone missing. [Gone missing?]
<goes to QUESTIONS. If you leave the conversation and talk to Dunning again:>
KYLE: Got a minute?
DUNNING: What is it?
<goes to QUESTIONS>
<If for some reason you decide to show any of the missing items -- the
screwdriver, pliers, crowbar, stack of cash, the Room 217 key, red box,
or memo:>
DUNNING: Hey! Huh? What the... HEY! What'n the hell is this?! So it WAS
you, was it?
KYLE: No, I just--
DUNNING: Don't try and worm yer way outta this! I knew there was
somethin' fishy about ya! And now you've proved me right, ya
lowdown thief! Get out! Get the hell outta my hotel!
KYLE: What? (That wasn't supposed to happen! That's not how I
expected him to act!)
<flashback>
JEFF: It's been stolen. There's no doubt about it! I DEMAND that you
start looking! I want this hotel searched now!
<end flashback>
KYLE: Damn. That was really dumb...
[GAME OVER]
[Question: What's missing?]
KYLE: What's missing?
<If you already returned the tools to the toolbox:>
DUNNING: Some things from my office.
KYLE: (...Uh-oh, I'd better watch my step here.)
DUNNING: Looks like someone just waltzed in and took 'em.
KYLE: Really?
DUNNING: And that's not all I've gotta deal with today. One of the
guests is a real head case...
KYLE: (Head case?)
<goes to followup>
<If you haven't returned the tools yet:>
DUNNING: Some tools from a toolbox I keep in the linen closet.
KYLE: (...Uh-oh. Someone noticed they're gone.)
DUNNING: Put 'em all together and I bet they ain't worth two bits, but
still... I'd like to find the thief and take it outta his hide! Maybe
I'll get lucky and whoever took 'em will just put 'em back.
KYLE: Stranger things have happened.
DUNNING: And some things have vanished from my office, too! Don't
matter if those get returned or not. I find the thief, he's outta
here!
KYLE: That so?
DUNNING: Bet yer ass. And to top it off, I got still MORE crap t'deal
with today! Now it's a nutcase guest...
KYLE: (Better not be talking about me.)
<goes to followup>
<followup>
[You mean Jeff?]
[You mean me?]
<If you don't follow up:>
<goes to DUNNING4B>
[You mean Jeff?]
KYLE: Nutcase, huh? You must be talking about Jeff.
DUNNING: Yep, that's the one. All I need's some punk shootin' off his
mouth 'bout how somethin' got stolen. [What got stolen from Jeff?]
<goes to DUNNING4A>
[You mean me?]
KYLE: Nutcase, huh? You talking about me?
DUNNING: Naw, not you. [Who is it then?]
<back to QUESTIONS>
[Question: If not me, then who?]
KYLE: Who is it then?
DUNNING: Young kid named Jeff. Jeff Angel. All I need's some punk
shootin' off his mouth 'bout how somethin' got stolen. [What got
stolen from Jeff?]
<goes to DUNNING4A>
<DUNNING4A>
<back to QUESTIONS>
[New Question: What was stolen?]
KYLE: What got stolen from Jeff?
DUNNING: Cash.
KYLE: Money, huh? (Couldn't be...)
DUNNING: Yep. Now he's telling me I gotta search every guest's things.
I tell ya, I got a headache the size'a Texas.
<DUNNING4B>
DUNNING: Do me a favor and keep yer eyes open, will ya? Ya see anyone actin'
all suspicious, ya lemme know. I wanna nip this thing in the bud before it
gets outta hand.
KYLE: Sure.
DUNNING: Thanks, pal. All right, I gotta get on it.
KYLE: Hold on a second.
DUNNING: Huh?
KYLE: There's something you said when I checked in that's been bugging me. You
said there was another guest a while back with the same name as me, right?
DUNNING: I did? Same name as you? Oh, yep. That's right. I did. I remember
now.
KYLE: Could you tell me a little more about the guy?
DUNNING: Well, he was tall. And he dressed a lot nicer 'an you.
KYLE: Yeah, yeah, you told me that already. You got anything besides a fashion
report?
DUNNING: Naw, that's it.
KYLE: Great...
DUNNING: What's goin' on, Mr. Hyde? Why ya so interested in this guy anyway?
KYLE: Well, truth is, I'm kinda looking for somebody.
DUNNING: Kinda? Either yer lookin' or ya ain't, pal! ...So who ya tryin' to
find?
KYLE: Guy I used to work with.
DUNNING: Hmph. That so? Sorry, but I don't remember anythin' else. Hell, I'm
lucky I remember m'own name.
KYLE: Yeah, I hear you.
DUNNING: I'll see ya later.
[Dunning turns and stomps off to continue his search for justice.]
<Kyle knocks on Summer's door. The door opens.>
MARTIN: Ah-ha! You needed an autograph, did you not? Please, please! Come in,
my philographist friend!
<He goes in the room.>
KYLE: Can I get that autograph?
MARTIN: Most certainly. Now where should I pen my John Hancock? [He seems
pleased...]
<goes to QUESTIONS. You can show Martin the book and/or the fountain pen at
any time from here. If at any time you try to leave the conversation BEFORE
showing the book:>
MARTIN: And where would you like me to affix this inscription?
<back to QUESTIONS>
<Any time after you show the book, if you try to leave the conversation BEFORE
giving him the pen:>
MARTIN: Do you perchance have a pen?
<back to QUESTIONS>
<BOOKSIGNING1>
<If you show Martin the book BEFORE giving the pen:>
KYLE: Sign this, will you?
MARTIN: Certainly. Let me just take up the pen and... Hmm? Well, I was
certain my pen was just here... How odd.
KYLE: What's the problem?
MARTIN: Unfortunately, I seem to have misplaced my pen. Bother. I can't
very well sign anything without a pen, now can I?
<back to QUESTIONS>
<end BOOKSIGNING1>
<FOUNTAINPEN>
<When you show Martin the fountain pen:>
KYLE: This yours?
MARTIN: Why, yes, it is.
KYLE: I picked it up earlier.
MARTIN: Is that so? You have my gratitude, sir! [So this pen is Summer's?]
<back to QUESTIONS>
<end FOUNTAINPEN>
<BOOKSIGNING2>
<When you show Martin the book AFTER returning the pen:>
KYLE: Sign this, will you?
MARTIN: Of course.
[Summer signs the book. Takes his time about it, too.]
MARTIN: Is this acceptable?
<Kyle nods.>
MARTIN: I must say, securing my autograph is not usually such a simple task.
Normally there are lines to be waited in and such, but let us consider this
a favor.
<back to QUESTIONS. If you have no more questions, then when you leave the
Questions list, it goes to MARTIN4C. If you show the book again:>
KYLE: Sign this, will you?
MARTIN: I beg your pardon, but I already did. It wouldn't do to sign
something twice.
<back to QUESTIONS>
<end BOOKSIGNING2>
[Question: You like signing stuff?]
KYLE: You get asked for autographs a lot?
MARTIN: Oh, yes. I'm afraid it's become a part of my daily life. There are so
many fans who wish for me to sign this or that, you see? And the requests to
have photographs taken together are numerous as well. To be frank, there are
times when it all wears quite thin. But then again, when you're a famous
writer such as myself... Well, it seems I can't go anywhere without drawing a
crowd. That is why I was so excited for this chance to relax and unwind. I had
hoped to find solace in this unknown hotel, but some things never change...
KYLE: (Cripes, this guy likes to hear himself talk.)
<followup>
[An unknown hotel?]
[Things never change?]
<If you don't follow up:>
<If you have questions left, it goes to the Questions list. If not, and
if you didn't get the book signed yet, it goes to MARTIN4B. Otherwise,
it goes to MARTIN4C>
[An unknown hotel?]
KYLE: Keep talking. Doesn't get much more unknown than this, huh?
MARTIN: Agreed! Yes, at times when I find myself drained by the
rigors of the craft, I will ofttimes set out in my automobile and let
the open road take me where it will! On these journeys, I make a habit
of staying at cheap and unknown hotels. [But you got a package...]
<back to QUESTIONS>
[New Question: You just ended up here?]
KYLE: So you just decided to stay here on a whim?
MARTIN: That's correct.
KYLE: Really?
MARTIN: Yes. Really.
KYLE: (Why's this overblown windbag lying to me? There's no way he
could have a package delivered here if that were true.)
<If you have questions left, it goes to the Questions list. If not, and
if you didn't get the book signed yet, it goes to MARTIN4B. Otherwise,
it goes to MARTIN4C>
[Things never change?]
KYLE: Keep talking. Stuff doesn't change, huh? What's that mean?
MARTIN: No matter where I choose to stay, I'm soon exposed as a famous
novelist, you see? This is followed by the usual requests for pictures
and autographs...
<If you have questions left, it goes to the Questions list. If not, and
if you didn't get the book signed yet, it goes to MARTIN4B. Otherwise,
it goes to MARTIN4C>
[Question: That was your pen?]
KYLE: Was that your fountain pen?
MARTIN: Yes, it was.
KYLE: Really?
MARTIN: I said yes, and I meant it. Is there some sort of problem, Mr. Hyde?
[What's your name?]
[Where'd you drop it?]
[What's your name?]
KYLE: What's your name?
MARTIN: My name? My dear man, have you forgotten already? It's Martin
Summer.
KYLE: Exactly. Your name's Martin Summer. But that's not the name
inscribed on the pen. The name on the pen is Alan.
<Martin looks shocked.>
KYLE: So you want to tell me again that this is really your pen?
MARTIN: Wh-what are you implying, sir? It is most certainly my pen.
Alan is... Alan is my real name.
KYLE: Oh yeah?
MARTIN: Yes. Martin Summer is my nom de plume. My pen name, if you
will. However, my real name is Alan... Alan Parker!
KYLE: That's comforting.
<If you have questions left, it goes back to the Questions list. If not,
and if you didn't get the book signed yet, it goes to MARTIN4B. Otherwise,
it goes to MARTIN4C>
[Where'd you drop it?]
KYLE: So where do you think I found your pen?
MARTIN: I believe I dropped it in the lobby.
KYLE: Nice try, Shakespeare. It was in the restaurant.
MARTIN: Is that so? I dropped it in the restaurant, did I? I had no
idea whatsoever.
KYLE: You sure it's your pen?
MARTIN: Yes, I'm certain.
KYLE: But the name inscribed on the pen isn't yours. The name on the
pen is Alan.
<Martin looks shocked.>
MARTIN: Oh, well, you see, Alan is... Alan is my real name.
KYLE: Do tell.
MARTIN: Yes. Martin Summer is my nom de plume. My pen name, if you
will. However, my real name is Alan... Alan Parker!
KYLE: That's comforting.
<If you have questions left, it goes back to the Questions list. If not,
and if you didn't get the book signed yet, it goes to MARTIN4B. Otherwise,
it goes to MARTIN4C>
<MARTIN4B>
<The conversation ends. If you leave the room and then knock on the door:>
KYLE: It's Kyle Hyde.
<Depending on when you left the room, Martin says one of the following.
Yes, that lone comma makes all the difference to me:>
MARTIN: Please, come in.
MARTIN: Please come in.
<When you talk to Martin again:>
KYLE: Got a minute?
<goes to QUESTIONS. No questions. When you show the book and/or fountain
pen, depending on the order in which you show them, you will get the
dialogues above marked BOOKSIGNING1 or BOOKSIGNING2, and FOUNTAINPEN>
<end MARTIN4B>
<MARTIN4C>
MARTIN: Mr. Hyde? If you will excuse me for a moment?
KYLE: Where you going?
MARTIN: I fear I need to use the facilities.
KYLE: Oh, yeah, sure. Knock yourself out.
<Martin goes to the bathroom. If you try to talk to Martin in the bathroom:>
KYLE: Got a minute?
MARTIN: Mr. Hyde! Please! Have you no shame, my good man?!
KYLE: All right.
<Kyle checks out the table in the room.>
KYLE: Hmm? It's that notebook again. Let's see what all the fuss was about...
"The sun sets and the city shifts. Traffic reverses direction as people
abandon their offices and shops to join the evening commute. They take the
sounds of the day with them as they go, leaving me alone in a..." Hold on...
I've read this crap before. (Right. The book I had Summer sign...)
MARTIN: Sorry to keep you waiting. Hmm? What is it now?
KYLE: Huh? Oh, nothing.
MARTIN: Mr. Hyde, may I ask what it is you were looking at?
KYLE: Nothing. I'll see you around.
[I leave Room 211.]
KYLE: (Something about that notebook bugs me...)
<He heads to the stairs.>
KYLE: (Someone's coming up the stairs.)
IRIS: Mr. Hyde!
KYLE: Yeah?
IRIS: Can I talk to you for a minute? That Mr. Smith is so rude! I cannot
BELIEVE the nerve of that old man!
KYLE: Something happen?
IRIS: He stopped me in the hallway and searched my things!
KYLE: He searched your...things?
IRIS: YES! He said "Uh...some things'r missin', and I gotta look at yer
belongin's!" Ignorant HICK! Do I look like a thief to you, Mr. Hyde? DO I?
I...am...FURIOUS!!!
KYLE: You don't say.
IRIS: I promise you this, I will NEVER stay in this hotel again!
[Iris turns and stomps off. I think I can see the steam coming from her ears.]
KYLE: (This ain't good... I can't get caught walking around with anything I
don't want folks to see.)
<Kyle goes to the linen closet and returns the tools.>
KYLE: OK, pliers, time to go home. Thanks for your help. And done.
KYLE: It's time to return this crowbar to the toolbox. OK. That takes
care of that.
KYLE: Better put this screwdriver back in the toolbox. You and I never
saw each other, OK?
<Kyle goes to his room.>
[I hid the stack of cash in my suitcase.]
[I stashed the small red box in my suitcase.]
[I tucked the memo away in my suitcase.]
[I put the Room 217 key in my suitcase for safekeeping.]
<If you decide to take anything out of the suitcase:>
[I take the key to Room 217 out of my suitcase.]
[I pull a stack of cash out of my suitcase.]
[I take a small red box out of my suitcase.]
[I take a memo out of my suitcase.]
<Kyle leaves his room and goes down the stairs. If you have no contraband
items, you don't run into Dunning. If you do have any contraband items on
you:>
KYLE: ...Huh?
DUNNING: Can I bend yer ear fer a minute, Mr. Hyde?
KYLE: What is it?
DUNNING: I'm sorry as hell about this, but... I gotta go through
some'a yer stuff. Ya mind?
KYLE: Depends. What do you plan to go through?
DUNNING: Well, yer... Uh... Yer... Yer belongings.
KYLE: No way.
DUNNING: Look, I don't believe fer a second ya took anything from the
hotel or Angel. But I gotta do what I gotta do, ya know? If ya don't
let me, I'm gonna have to ask ya to leave the hotel.
KYLE: ...Doesn't leave me much of a choice.
DUNNING: All righty, then. Let's get this over with.
<Dunning searches. If you have the stack of cash on you:>
DUNNING: ...Hey! Hyde! What the hell ya doin' with all this
scratch?!
KYLE: I won big at the track.
DUNNING: You were the lousy thief all along! So that's the
kinda scum I'm dealin' with, huh? Think yer pretty slick, do
ya? Well, yer nothin' but a lousy bum! Pack yer things and get
out!
KYLE: What? (It's all because of that punk, Angel.)
<flashback>
DUNNING: Yep. Now he's telling me I gotta search every guest's
things. I tell ya, I got a headache the size'a Texas.
<flashback ends>
KYLE: Damn...
[GAME OVER]
<If you have any other contraband on you:>
DUNNING: Hey! Hyde! What the hell ya doin' with that?!
KYLE: Umm... I hang out at yard sales?
DUNNING: You were the lousy thief all along! So that's the
kinda scum I'm dealin' with, huh? Think yer pretty slick, do
ya? Well, yer nothin' but a lousy bum! Pack yer things and get
out!
KYLE: What? (Way to screw up, Hyde...)
<flashback>
DUNNING: Look, I don't believe fer a second ya took anything
from the hotel or Angel. But I gotta do what I gotta do, ya
know? If ya don't let me, I'm gonna have to ask ya to leave
the hotel.
<flashback ends>
KYLE: Damn...
[GAME OVER]
<Kyle goes to the kitchen to talk to Rosa.>
KYLE: Got a minute?
ROSA: What is it, Mr. Hyde?
KYLE: I got Summer's autograph.
ROSA: What? You did? Are you serious? Don't fool ol' Rosa!
<Kyle nods.>
ROSA: Oh, this is wonderful! [You really that happy?]
<ROSA4C>
<goes to QUESTIONS. If you try to leave the Question list before showing
the book, Rosa says, "So, where's my book?" If at any time you leave the
conversation and then talk to her again, Kyle says, "Got a minute?">
<When you give her the book:>
KYLE: Here you go.
ROSA: Thanks. Where is it? Is this really HIS signature? You didn't
write this yourself, did you?
KYLE: Forgery isn't my bag.
ROSA: Ha ha ha! I'm just teasing you. I know for a fact that this is
really Mr. Summer's autograph. Mmm-hmm! You see, Mr. Summer has a
particular way of signing his name. I read a magazine interview where
they discussed his distinctive penmanship. [Distinctive penmanship?]
<back to QUESTIONS>
<end ROSA4C>
[Question: You seem pretty thrilled.]
KYLE: Getting Summer's signature really make you that happy?
ROSA: Of course it does! That gives me fifty! And fifty is nothing to sneeze
at, let me tell you!
KYLE: Fifty what?
ROSA: Autographs, silly! I'm an autograph hound. I collect famous signatures.
And Mr. Summer's is number fifty.
KYLE: Got a thing for famous people's handwriting, huh?
ROSA: I wouldn't put it that way, but yes, I suppose so. Yes. I got my first
one while waitressing at a little diner in Santa Monica. Funny enough, it was
another novelist. To think it's been sixteen years... Well, I've been picking
them up here and there, and now I've got fifty. You can see why I'm so happy
now, can't you?
<If you haven't given Rosa's book back, she says, "So, where's my book?" and
it goes to ROSA4C. If you already gave back her book and you still have
questions, it goes back to the Question list. Otherwise, it goes to ROSA4D>
[Question: How's his signature special?]
KYLE: So what's special about Summer's autograph?
ROSA: It's how he writes the "er" in Summer. Look closely and you can see how
distinct it is.
<Kyle looks at the autograph in Rosa's book.>
KYLE: ...I guess.
ROSA: And it's been like that for a long, long time. He said in an interview
that he's been writing that way since he was a child.
KYLE: The letters "e-r," huh?
ROSA: This sort of handwriting indicates someone who tells audacious lies.
But it indicates the person is a bit of a coward, as well.
KYLE: You cook, clean, and do handwriting analysis? You're a marvel, Rosa.
ROSA: Poke fun all you want, Mr. Hyde, but there's truth to be found in
penmanship!
KYLE: (A lying coward, huh? Sounds like a fair description of writers to me.)
<If you still have questions, it goes back to the Question list. If not, it
goes to ROSA4D>
<ROSA4D>
KYLE: Tell me something, will you?
ROSA: What?
KYLE: When was this book first published?
ROSA: Well, it won a Mystery of the Year award in 1969, so... Ten years ago.
KYLE: You have any more books by this guy?
ROSA: No, the only one I have is The Secret Word. This may sound rude, but I
think it's the only one worth owning, really.
KYLE: That so?
ROSA: Yes it is, Mr. Hyde! Summer published several books after The Secret
Word, but... None of them really took off, as they say. I'm not sure if he's
what they call a one-hit wonder, but who knows? I'm sure it's no easy task
writing a best seller, after all! He must live fairly well off royalties,
and that's something, right?
KYLE: Sure it is. Got one more thing to ask you. Is Martin Summer a pen name?
ROSA: No, sir! Uh-uh! That's his real name. I'm as sure of that as I am of
anything.
KYLE: That's pretty sure. (So all that business about a pen name was a
cartload of bull.)
ROSA: What's going on, Mr. Hyde?
KYLE: Nothing, Rosa. I'm just being nosy. Thanks. See you later.
ROSA: Sure. And thank YOU, Mr. Hyde.
[I leave the kitchen. Rosa is still clutching the book to her chest.]
KYLE: (Summer's story has more holes than a slice of Swiss. Time to chat him
up again.)
<If you talk to Rosa again:>
KYLE: Got a minute?
ROSA: Sorry, I'm busy.
<He knocks on Summer's door. The door opens.>
MARTIN: Greetings, Mr. Hyde.
KYLE: Got a minute?
MARTIN: Please don't tell me you need another autograph.
KYLE: No. I've got some questions for you.
MARTIN: Is that so? Very well, Mr. Hyde! Query away!
<Kyle enters the room.>
<MARTIN4D>
KYLE: Thanks, Summer. This won't take too long.
MARTIN: What is it?
KYLE: Look, I'm just an average Joe. A salesman who doesn't spend time
reading, you know? But talking with you, a guy who's written a best seller,
got me to thinking... What's it like to write a book? To have strangers know
you and all that jazz? So I was hoping you could fill me in on a couple of
things. Like, how do you write a best seller? Stuff like that.
MARTIN: How does one write a best-selling novel? Is that what you are asking
me?
KYLE: Yeah! I mean, you wrote The Secret Word, and everybody read it, right?
So teach me. Tell me how to come up with a story that everyone loves.
MARTIN: Oh ho ho! My dear man, the essence of a novel is not something so
easily distilled.
KYLE: C'mon, Summer. I ain't asking how to turn lead into gold. I just want
a few pointers so I can take a stab at this writing gig myself.
MARTIN: Mr. Hyde... What you are thinking is very nearly impossible.
KYLE: (I thought you'd say that, you overblown walrus.)
<followup>
[Impossible, huh?]
[But if you can do it...]
<If you don't follow up:>
<The conversation ends. If you leave the room and knock on the door
again, Kyle says, "Got a minute?" and enters the room. When Kyle talks
to Martin again, it goes back to MARTIN4D>
[Impossible, huh?]
KYLE: Wait, hold on. What do you mean by impossible?
MARTIN: <red aura> Bu... But you can't... Be reasonable, sir! I intend
no offense, but the thought of a man such as you taking up the pen
is... The world of literature is not such an easy and forgiving place.
Speak no more of it!
<The conversation ends. If you leave the room and knock on the door
again, Kyle says, "Got a minute?" and enters the room. When Kyle talks
to Martin again, it goes back to MARTIN4D>
[But if you can do it...]
KYLE: Wait, hold on. I guess I got the idea after seeing that notebook.
MARTIN: ...Notebook?
KYLE: Yeah, the old notebook that got delivered to me by mistake. That
was the manuscript for your novel, right? I mean, it looked like the
same story to me, but what do I know? So anyway, that's how you get
started writing a book, right?
MARTIN: Yes, but-- Mr. Hyde, you read my notebook! You read it! [Why's
he so worked up?]
KYLE: Yeah. I did. And you know what else? There's something odd about
it. The handwriting in the notebook? Not yours.
<MARTIN4E>
MARTIN: ...Um...
KYLE: (Got you on the ropes now, don't I, Shakespeare?)
<followup>
[You're a big liar!]
[Different handwriting.]
<If you don't follow up:>
KYLE: Sorry about this, but let me ask you one more time.
MARTIN: My good man! Enough! How much longer must I stand here
while your cries of "j'accuse!" assail me?
KYLE: There's something odd about it. The handwriting in the
notebook? Not yours.
<goes to MARTIN4E and to followup>
[You're a big liar!]
KYLE: Give it up. I don't think it's really your notebook.
MARTIN: <red aura> What are you talking about? Of course it's
mine!
KYLE: Sorry about this, but let me ask you one more time.
MARTIN: My good man! Enough! How much longer must I stand here
while your cries of "j'accuse!" assail me?
KYLE: There's something odd about it. The handwriting in the
notebook? Not yours.
<goes to MARTIN4E and to followup>
[Different handwriting.]
KYLE: Give it up. The handwriting inside didn't look anything like
your signature. Maybe you...I don't know...dictated your story to
someone?
MARTIN: This...this conversation is beyond the pale, sir!
Beyond the pale indeed! [Why's he so mad over this?]
KYLE: And you know what else? See, I can't get that pen out of
my head.
<MARTIN4F>
MARTIN: Er...
KYLE: (Snappy comeback, Summer.)
<followup>
[Your name's not Alan!]
[Is that REALLY your pen?]
<If you don't follow up:>
KYLE: OK. Let's go over this again.
MARTIN: Enough! I cry enough! Spare me more of this
madness!
KYLE: See, I can't get that pen out of my head.
<goes to MARTIN4F and to followup>
[Your name's not Alan!]
KYLE: So? You told me that your real name is Alan. You're
a liar. Your name's no more Alan than mine is.
MARTIN: What did you say?!
KYLE: Martin Summer's not your pen name, it's the one
your mother gave you.
MARTIN: Now see here! I... I won't... [So who the
hell's Alan?]
KYLE: What's the problem? It's a simple question. I
don't see why this is so hard for you.
MARTIN: You...you don't understand. You CAN'T
understand! There are so many steps in producing a
work of art, so many...
<goes to QUESTIONS>
[Is that REALLY your pen?]
KYLE: So? Does that pen really belong to you?
MARTIN: <red aura> Are you implying something, sir? It
is indeed my pen.
KYLE: OK. Let's go over this again.
MARTIN: Enough! I cry enough! Spare me more of this
madness!
KYLE: See, I can't get that pen out of my head.
<goes to MARTIN4F and to followup>
[Question: Why are you so angry?]
KYLE: Let me take a wild guess here, Shakespeare. I think I know why you're
so bent over my looking at your notebook.
[The handwriting is awful.]
[It exposes you!]
[The handwriting is awful.]
KYLE: It's because the handwriting is such a mess.
MARTIN: <red aura> Don't be ridiculous! That has nothing to do with it!
<If you still have questions left, it goes back to the Question list.
If you have no more questions and you got this response wrong, it goes
to MARTIN4G. Otherwise, it goes to MARTIN4H>
[It exposes you!]
KYLE: It's because there's a secret hidden inside. And there's
something else that doesn't add up, too. If it's your notebook, why
did you send it to yourself?
MARTIN: Well, I... I didn't. I had someone send it here for me. [Who
sent it to you?]
<back to QUESTIONS>
[New Question: Who sent the notebook?]
KYLE: Who mailed you the notebook?
MARTIN: Th-that...
KYLE: This whole thing reeks to high heaven. What're you hiding?
MARTIN: Uh...
<If you still have questions left, it goes back to the Question list. If
you have no more questions and you got the "Why are you so angry?"
question wrong, it goes to MARTIN4G. Otherwise, it goes to MARTIN4H>
[Question: Who wrote the novel?]
KYLE: The author of the story in the notebook?
[C'mon. Who really did it?]
[It isn't you, liar!]
[C'mon. Who really did it?]
KYLE: Who is it?
MARTIN: <red aura> It's me, of course! Could it be anyone else?
Mr. Hyde, on what do you base your assertion? How can you claim that
I am not the author of the notebook? Do you have some proof to back
your preposterous proclamation? If you do, then I must insist that
you present it at once!
<goes to MARTIN4J>
[It isn't you, liar!]
KYLE: It ain't you.
MARTIN: <red aura> Don't be ridiculous! I wrote every word in that
notebook! It's a true labor of love! Mr. Hyde, on what do you base
your assertion? How can you claim that I am not the author of the
notebook? Do you have some proof to back your preposterous
proclamation? If you do, then I must insist that you present it at
once!
<MARTIN4J>
KYLE: Proof?
MARTIN: Correct, sir!
KYLE: All right. You want proof? I think I can come up with something.
MARTIN: Excuse me?
KYLE: Give me your autograph.
MARTIN: I hardly think this is the time to--
KYLE: Close your head and sign. And make it your real name. Got me?
MARTIN: My real name?
KYLE: Sign here. Use that fancy pen of yours.
[I open my notebook and hand it to Summer.]
MARTIN: If... If you insist. I must say, Mr. Hyde, you are being most
disagreeable.
[Summer signs the notebook.]
MARTIN: I hope this will satisfy your mad request!
KYLE: Yeah, that'll do. Now show me your old notebook.
MARTIN: I beg your pardon?
KYLE: Your real name's gotta be written in the old notebook, right?
I'm going to compare the signatures.
MARTIN: Mr. Hyde! That's... That's...
<goes to signatures. If you don't circle the correct parts of the
signatures, Martin says, "I'm afraid that is not going to work."
The game will not advance unless you circle the correct parts.>
<If you try to exit the signatures screen:>
MARTIN: Mr. Hyde, if you have proof, I demand you present it
immediately!
KYLE: Yeah, yeah, I hear you. Keep your pants on.
<returns to signatures. Why is that exit button even there if
the game won't let you leave unless you get it right?>
<Kyle circles the irregular parts of the signatures. Martin looks
shocked.>
KYLE: There's no way you wrote the story in this notebook. Look at the
"er." That's not how you write them. Not even close.
MARTIN: Th-that's...
<back to QUESTIONS. The "Who wrote the novel?" question is still listed.>
[Question: Who wrote the novel?]
<This conversation occurs AFTER you ask this question the first time and
after you compare signatures.)
KYLE: The author of the story in the notebook? It wasn't you!
MARTIN: Urgaah!
KYLE: So who actually wrote it? Was it Alan?
MARTIN: Th...that... [How are they connected?]
<back to QUESTIONS>
[Question: Who's Alan?]
KYLE: Who's Alan?
MARTIN: Th-that...
<If you still have questions left, it goes back to the Question list. If you
have no more questions and you got the "Why are you so angry?" question wrong,
it goes to MARTIN4G. Otherwise, it goes to MARTIN4H>
[New Question: How do you know Alan?]
KYLE: What's the connection between you and Alan?
MARTIN: Th-that's...
<If you still have questions left, it goes back to the Question list. If you
have no more questions and you got the "Why are you so angry?" question wrong,
it goes to MARTIN4G. Otherwise, it goes to MARTIN4H>
<MARTIN4G>
MARTIN: Mr. Hyde.
KYLE: Yeah?
MARTIN: I had hoped my conversation with you would prove more
entertaining.
KYLE: Want me to juggle?
MARTIN: You, sir, are nothing more than a discourteous lout. There is
nothing more I wish to discuss with you. This has been a most unpleasant
experience. Please leave.
KYLE: Huh?
[I returned to Room 215.]
KYLE: Way to go, Hyde. You couldn't think your way out of a paper bag.
Dammit... Always screwing things up like this... Hell, who are you
kidding? You'll never find Bradley... You're a total loser, Hyde. Always
have been. Always will be.
[Hyde spent the rest of the night brooding in his room.]
[GAME OVER]
<MARTIN4H>
<Martin looks shocked, then angry.>
KYLE: What's the problem?
MARTIN: Enough! Who are you? Who hired you? Was it the publishing company?
Or was it that treacherous Dan fellow?
KYLE: What're you babbling about? I don't work for any publisher, and I don't
know anyone named Dan.
MARTIN: Don't lie to me! Someone must have sent you! Do not think to treat me
like a common fool! I am not a stupid man! Do you truly think to extort more
money from me? It will not stand, sir! It will not!
KYLE: Hey, calm down. You're getting all worked up for nothing. I'm not a
private eye. I'm not a hired thug. I'm just a salesman who happened to run
into you in this hotel.
MARTIN: But...but you discovered it...
KYLE: Discovered what?
MARTIN: My secret!
KYLE: Looks like it. The question is, which secret? The fact that your debut
novel was written by somebody else? Or that someone found out and is
blackmailing you? You got two secrets, and now I know 'em both. That about
cover it, or you got more skeletons rattling around in your closet?
MARTIN: Mr. Hyde, I must ask you again. Who are you?
KYLE: Like I said, pal. Just a salesman.
MARTIN: Then why are you going to expose my secrets?
KYLE: That's not my plan. There's nothing in it for me. And blackmail's
a dangerous game that I won't play. I just want the truth.
MARTIN: The truth? The truth is something I fear, lest it be discovered and
exposed to all. It haunts me, and has kept me from even one restful night
these past ten years. Mr. Hyde... If I could take the secrets I've kept hidden
away in my soul... If for one moment I could share them with another human
being... It might not be too late. I might yet be able to make a fresh start.
<Kyle looks at Martin.>
MARTIN: Please, Mr. Hyde, would you do me the favor of hearing my sad,
ponderous tale? When I was young, I wanted nothing more than to be a novelist.
Upon graduating university, I found work writing for a small magazine.
I reported local news by day and chased my dream every other waking moment.
And yet, as the years slipped by, I realized I was failing...and fading.
I was incapable. I had no muse to guide me, no words would come, I... I...
I prepared to let my dream wither and die. But it was at that moment, my
darkest hour, that I met Alan.
KYLE: Guy who owns the pen.
MARTIN: That's correct. Alan, he... He was my friend.
KYLE: Keep going.
MARTIN: We frequented the same cafe and knew each other's faces well. One day
we struck up a conversation, and soon after became fast friends. Our lives
were very strikingly similar. We were the same age, for one. In addition, we
were both reporters, and we had both been raised by our fathers. The thing
that surprised me most was discovering Alan's dream for the future. As you
may have surmised, Alan, too, longed to be a novelist. And yet... Although we
shared many similarities, there was one aspect where we differed. Alan had
not abandoned his dream. In fact, he was totally consumed by it. He pursued
the craft with a fervor and desire I could only faintly recall. Moreover, he
was a man of immense talent.
<Scene of a younger Martin>
MARTIN: As for myself, I never shared my own aspirations with Alan. For some
reason, I simply did not wish to speak to him of that. So Alan knew nothing
of my impotent ambitions, and one day he... He gave to me a manuscript that
was to be his entry in a writing contest. Humbled by his trust, I gave it my
full attention, reading it all in a single night. It was...amazing. A work of
singular power and beauty. Alan had actually done it. He had created a snare
of prose and passion with which to capture his dream. He would be a novelist.
<Scene of the notebook>
MARTIN: I couldn't think. I was drained, empty, filled with jealousy and rage
and... And into this dark void an even blacker thought was born. If only the
manuscript were mine... If it were mine, my forsaken dream might yet come to
fruition.
<Scene of Martin taking the notebook>
MARTIN: And so I acted! I opened Alan's desk and took the manuscript! It was
like being part of a waking dream, where the actions were not my own. I took
it home, typed it up, and submitted it under my own name. As you know, the
book was named the winner, and I was a novelist.
KYLE: And Alan? What happened to him?
MARTIN: Alan had been betrayed by his only friend. He disappeared. Vanishing
one day without a trace. Oh, how I have searched for him these past ten years.
And yet, I am no closer to finding him than I was when I started.
<Kyle looks at him.>
MARTIN: Mr. Hyde, I became a novelist by stealing Alan's work, but... I do
not possess his talent. Each book I write is poorer than the one before...
And then...the unthinkable. My assistant, Dan, found Alan's purloined notebook.
KYLE: So you paid Dan off and he sent you the notebook. That it?
MARTIN: ...Yes, it is.
KYLE: So why'd you choose this hotel to take care of your transaction?
MARTIN: That, at least, is a question which I can answer quite easily. I had
heard of this hotel from Alan. He told me that Hotel Dusk was a special place
to him. He said something very important happened to him here.
KYLE: Something important, huh?
MARTIN: Yes. Alan mentioned it to me but once. Whatever it was, I could see
how he treasured and safeguarded it.
KYLE: Yeah, I'd treasure this rathole, too.
MARTIN: Mr. Hyde, I...
KYLE: Can it. I'm done with you. I'll see you around.
<Kyle leaves the room.>
KYLE: (So Summer stole his pal's story... Wonder what his buddy Alan's up
to now. And what was the memory he told me about? What in the hell happened
here? How many secrets does this place have? Starting to get on my nerves.
C'mon, Hyde... Think... All right, hold on. I gotta get all this straight
in my head.)
<goes to CHAPTER SUMMARY>
Summer piqued my interest with his yapping about a painter named Osterzone.
I gave Rachel a buzz and asked her to dig up info on the guy. While I was
waiting, I figured I'd check out the room the other Kyle Hyde stayed in. With
my old pal Louie's help, I got the key to Room 217 and let myself in. That's
where I found the lighter. The one that I think belonged to Bradley. But that
wasn't the only clue I found in Room 217. Along with the lighter, I also
found...
[$20,000 in cash]
No, that ain't it. I found the stack of cash in the toilet tank in
Room 215.
[An old photo]
That's right. I found an old photograph in Room 217. There's a man and
a little girl in it. Probably his daughter...
[A newspaper]
No, that ain't it. There was no newspaper in Room 217. The newspaper
was in the lobby. Summer was reading it.
I finished checking out 217, then headed back to my room for a break. That's
when I found the stack of cash hidden in the toilet tank. I needed to know
who left it there and why, so I put on my detective face and left. That's
when Rosa cornered me and saddled me with one of Summer's books. She insisted
that I...
[Get an autograph]
That's right. She asked me to get Summer to sign her book. Kyle Hyde,
professional autograph hound. Cripes...
[Look for stolen goods]
No, that ain't it. Rosa wasn't in the lobby demanding that Dunning pat
down all the guests. That was some other idiot.
[Let her clean]
No, that ain't it. She asked me not to come through while she was
cleaning, but... That wasn't when she gave me the book.
I tracked Summer back to his room to get the autograph. That's when Summer
noticed he'd lost something. The thing Summer dropped was...
[His novel]
No, that ain't it. Rosa's the one who had Summer's book.
[A crowbar]
No, that ain't it. The crowbar's what Dunning was looking for. He was
in a huff when he noticed it was missing from his toolbox.
[A fountain pen]
That's right. Summer lost a pen. Same pen Louie found and gave to me.
I gave the pen to Summer, and he signed Rosa's book. But now I was onto him,
and getting more suspicious by the second. See, Rosa said something that got
me interested in Summer again. She talked about...
[Her collection]
No, that ain't it. This has nothing to do with Rosa's autograph
collection.
[Summer's real name]
That's right. Summer said he wrote under a pen name. But Rosa told me
Martin Summer is his given name. My money's on Rosa.
[The back stairs]
No, that ain't it. That's what Rosa said while she was cleaning the
hallway. It didn't make me suspicious of Summer.
I knew Summer was guilty of something, so I put him under the bare bulb. Guy
cracked like Humpty Dumpty and spilled his guts about his debut novel. The
big secret was...
[He stole a friend's work]
That's right. Summer stole the story from some guy named Alan. The
same Alan whose name was inscribed on the pen Louie found.
[He has odd handwriting]
No, that ain't it. True, Summer's autograph didn't match the writing
in the notebook. And it did lead me to question his story, but that
wasn't the secret.
[This hotel holds memories]
No, that ain't it. He told me that Hotel Dusk was a place where
something important happened... But he wasn't talking about himself.
He was talking about his friend, Alan.
Searching Room 217 confirmed my hunch. Bradley was here six months ago. But
now I got some other things to take care of before I can follow up on these
leads. The guests here eat, sleep, and hoard secrets like squirrels hoard
nuts. I was willing to let 'em take their private affairs home and let it be.
But that was before somebody decided to stash a wad of cash in my john. Now
it looks like I gotta be part of this circus sideshow. Well, so be it. I feel
the old instincts kicking in, and somewhere a part of me grins. I'm still
looking for anything that'll lead me to Bradley, but... Nothing's stopping me
from taking out the trash along the way.
==================================
4e. CHAPTER 5: DECEMBER 28TH, 1979
8:00 ~ 9:00 P.M.
==================================
<Kyle is back in his room.>
KYLE: (What am I supposed to do with all that loot?)
<The phone rings.>
KYLE: Huh? ...The phone. Again.
<He answers it.>
RACHEl: Hi there, handsome. You doing OK?
KYLE: What is it, Rachel?
RACHEL: Your usual cheery self, I see. Listen, I dug up some info on this
Osterzone fellow.
KYLE: Let me have it.
RACHEL: You're welcome. OK, let's see... He was born in England in 1875. And
he died in 1910 at the age of thirty-five. Whole career is one big mystery.
The guy was a complete unknown while he was alive. Then, about forty years
after he died, ten or so of his works were discovered. Suddenly, people love
his stuff and he becomes the art world's new darling. From what I've read,
artsy types appreciate his "subtle and distinctive brushwork." There are a
lot of collectors out there who want his paintings in a big way. You wouldn't
BELIEVE how much folks are paying for his stuff! It's crazy! Oh, and his most
valuable painting is something called Angel Opening a Door.
KYLE: Angel Opening a Door, huh?
RACHEL: Mmm-hmm. But the thing's been stolen, so there you go.
KYLE: Someone stole it?
RACHEL: That's right. It says here it was taken from the Travis Art Museum...
Let's see... Yep, three years ago.
KYLE: Interesting.
RACHEL: Apparently it's the largest of all Osterzone's paintings. And the most
popular. Isn't this all just fascinating?
KYLE: Yeah.
RACHEL: So...Kyle? Sweetie?
KYLE: Huh?
RACHEL: Why the sudden interest in dead painters?
KYLE: Actually, I just wanted to know about angel paintings.
RACHEL: Angel paintings? You mean paintings of angels, right?
KYLE: Yeah, whatever. Listen, I found some dirt on Bradley in the last few
hours.
RACHEL: Bradley? That's the man you're looking for, right? The one you won't
tell me about?
KYLE: Bradley was my partner when I was on the force. Three years ago, he went
rogue and stabbed me in the back. Used his badge to steal a boatload of cash
and a big angel painting. Then he vanished... I want to know what happened.
Why he did it. That's why I'm tracking him down.
RACHEL: Oh...
KYLE: Let me guess. Ed's out again, isn't he?
RACHEL: Um...yeah. Yeah, he's out. I'll have him give you a ring when he gets
in.
KYLE: Do it.
RACHEL: And, Kyle? Thanks for telling me. About Bradley.
KYLE: Sure.
<He hangs up.>
KYLE: OK... Eight bells. Time to go see Rosa.
<He goes down to the 1st floor.>
[...A door opens at the end of the hallway.]
<He sees Jeff.>
KYLE: (Huh?)
<followup>
[What's wrong now?]
[...I got nothing to say.]
<If you don't follow up:>
<goes to JEFF5A>
[What's wrong now?]
KYLE: All right, what's wrong now? Something happen? You look like
roadkill.
JEFF: It's nothing.
KYLE: Really? Great. See ya around.
[...I got nothing to say.]
KYLE: (I got nothing to say to this punk.)
<JEFF5A>
JEFF: Hey... Wait a minute, will you?
KYLE: ...What?
JEFF: Dunning say anything to you?
[About you? Yeah, plenty.]
[Like what?]
[About you? Yeah, plenty.]
KYLE: Yeah, I heard somebody made off with your stuff.
JEFF: So you heard, huh? [What was stolen?]
<goes to QUESTIONS>
[Like what?]
KYLE: Like what?
JEFF: Aw, never mind. You didn't hear anything anyway.
KYLE: Yeah, I heard. Somebody boosted your stuff, right? That what this
is about?
JEFF: So you did hear, huh? [What was stolen?]
<goes to QUESTIONS>
[Question: What was taken from you?]
KYLE: So what got taken?
JEFF: I'm not telling you that!
KYLE: (...Not telling?) Hey, hold on.
<followup>
[You lost $20,000, right?]
[Come on. Tell me.]
<If you don't follow up:>
KYLE: (...Not telling?)
JEFF: Get serious! You could be the thief, for all I know!
<goes to JEFF5B>
[You lost $20,000, right?]
KYLE: Twenty large, right?
JEFF: <black aura> What? How...
KYLE: That's how much scratch you lost, right? Twenty thousand dollars?
Am I wrong?
JEFF: Oh, I get it. It was you! Wasn't it, Mr. Hyde?
KYLE: Huh?
DUNNING: The hell's goin' on here?
[Someone's yelling behind me. And I think I know who it is.]
DUNNING: Somethin' happen?
KYLE: We're just talking.
DUNNING: Great. Last thing I need in my life's more useless chitchat.
JEFF: I've solved the case. The thief is right here.
DUNNING: Huh? Mr. Hyde? You better have proof before ya say somethin'
like that, kid!
JEFF: He knows exactly how much was taken from me.
<If you have the stack of cash on you:>
DUNNING: Oh yeah? All right, Mr. Hyde. I'm gonna need ya to show me
yer things.
KYLE: You want to buy me dinner first?
DUNNING: Don't get smart, pal! Just get it done so we can both feel
better. That satisfy ya, Angel?
JEFF: ...I suppose so.
KYLE: Not gonna happen.
DUNNING: Sorry, Mr. Hyde, but I gotta do it. Now lemme see if ya got
twenty thousand in cash on ya...
<He searches and finds the cash.>
DUNNING: ...Hey! Mr. Hyde! What the hell ya doin' with this?
KYLE: That? Just...you know. Hanging on to it.
DUNNING: So you're the thief! Ya been stealin' stuff all along! I
see the kinda man ya are, ya lowdown rat! Get outta my place! Get
out 'fore I toss ya out m'self!
KYLE: What? (Oh, crap!)
<flashback>
JEFF: Oh, I get it. It was you! Wasn't it, Mr. Hyde?
<flashback ends>
KYLE: ...Damn.
[GAME OVER]
<If you don't have the cash on you:>
DUNNING: Oh yeah? Mr. Hyde. Can I get ya t'show me yer things?
KYLE: My what?
DUNNING: Yer belongin's!
KYLE: Why do you want to see my...belongin's?
DUNNING: 'Cause otherwise I'll toss ya outta my place, that's why!
That satisfy ya, Angel?
JEFF: ...I suppose so.
KYLE: Um...
DUNNING: All right, here goes nothin'...
<Dunning searches.>
JEFF: Well? Did he have anything?
DUNNING: Hell no, he didn't! I swear to heaven this crap's gonna
kill me. Enough's enough already!
JEFF: You call that a search? You couldn't find dirt in a graveyard,
old man! I demand that you call the police!
<goes to JEFF5C>
[Come on. Tell me.]
KYLE: Why not?
JEFF: Get serious! You could be the thief, for all I know! But I will
get my things back. That idiot manager is searching right now. Room to
room... Which means he'll visit you, too. Does that frighten you at all?
KYLE: This fun for you, kid? You like playin' cops and robbers?
JEFF: Huh?
KYLE: Look at you, standing there with that idiot grin on your face.
...What a sap.
<JEFF5B>
DUNNING: What'n the name'a Sam Hill's goin' on here?!
[Someone's yelling behind me. ...And I think I know who it is.]
DUNNING: Somethin' happen?
KYLE: We're just talking.
DUNNING: Great. Last thing I need in my life's more useless chitchat.
JEFF: Then stop wasting time and start searching! You are so utterly useless!
Why won't you look for my things?!
<JEFF5C>
<Dunning stares down Jeff.>
[Jeff clamps his mouth shut and storms off.]
DUNNING: Well, crap.
KYLE: You plan on going through everyone's things?
DUNNING: I look like Sherlock Holmes to you? If there's an investigation, I
gotta call the police. ...Much as I hate to.
KYLE: I bet.
DUNNING: But...
KYLE: (What's eating him now?) OK, I'll bite.
<followup>
[What's the problem?]
[Why not call the cops?]
<If you don't follow up:>
KYLE: (What's eating him now?)
<goes to JEFF5D>
[What's the problem?]
KYLE: What's wrong?
DUNNING: Aw, ain't nothin'. But...
KYLE: Again with the "but." What is it?
<goes to JEFF5E>
[Why not call the cops?]
KYLE: Why not just get it over with and call the cops?
DUNNING: I'm a grumpy old man, Mr. Hyde. I hate jumpin' through hoops.
You know how many damn hoops the cops have? Lots.
<JEFF5D>
<goes to QUESTIONS. No questions, no items, unless you want to get a
game over by showing him a contraband item.>
<The conversation ends. Dunning is still standing in the hall. If you
talk to him again:>
KYLE: Got a second?
<goes to QUESTIONS. No questions, no items.>
<Kyle walks a little way, then stops.>
KYLE: (Now that I think of it... Dunning did say something, didn't he?)
<flashback>
DUNNING: I look like Sherlock Holmes to you? If there's an investigation,
I gotta call the police. ...Much as I hate to. But...
<flashback ends>
KYLE: What was that last part about?
<He talks to Dunning again.>
KYLE: Got a second?
<goes to QUESTIONS>
[Question: Something bothering you?]
KYLE: What's with the "but"? Something bothering you?
DUNNING: Aw, ain't nothin'. But...
KYLE: That's a lot of grief for a whole bunch of nothing.
<JEFF5E>
DUNNING: It's that Angel kid. He's...off-kilter, ya know? Rubs me the wrong
way. [What about him is off-kilter?]
<goes to QUESTIONS>
[Question: What makes him off-kilter?]
KYLE: Why does he seem off-kilter?
DUNNING: Sometimes when I call him? He don't react!
KYLE: Doesn't react? Like how? He ignores you?
DUNNING: I ain't exactly sure, but... I'll talk to him, and it's like he don't
hear me. Gotta say his name'a few times 'fore he pays attention. And he's all
bent outta shape 'bout his stuff bein' stolen, right? But he don't seem upset
in the right way. More like it's an act. And all this business 'bout searchin'
everyone's stuff? Had enough'a that!
KYLE: You think he's lying?
DUNNING: I dunno. But I don't wanna call no cops! I hate cops!
KYLE: What are you going to do?
DUNNING: Gonna think things over for an hour is what I'm gonna do!
KYLE: One hour exactly? You got a show to watch or something?
DUNNING: I'm a punctual man! Anyway, I'm gonna give it an hour, then hear his
story again. Then I'll decide whether or not t'call the police.
[Dunning finishes talking and slouches off.]
<Kyle goes to Rosa's room. She's standing outside the door.>
ROSA: Oh, Mr. Hyde! Hello! What good timing you have! I was hoping you'd come
along, and here you are!
KYLE: Something happen?
ROSA: It's Mila. She's not feeling very well, poor thing! She's running a
fever!
KYLE: How bad?
ROSA: She seems tired, but I think that's the worst of it. At least for now.
I'm going to run to the front desk and get some medicine. Do me a favor. Go
to my room and watch her until I get back. OK? Good! I'll be back in a jiffy!
[Sure.]
[Sorry, can't help you.]
[Sure.]
KYLE: Yeah, OK. Why not.
ROSA: Thank you, Mr. Hyde! I'll be back before you know it! Just you
wait!
[Rosa finishes talking and scuttles away.]
[Sorry, can't help you.]
KYLE: Forget it. Want a babysitter? Hire a kid. Maybe Melissa can help.
ROSA: Hmph! Is that so? Have it your way, then! I'll ask no more favors
from YOU!
[Rosa finishes talking and storms off.]
[08:20 PM]
<Kyle opens the door to Rosa's room.>
KYLE: I wonder what Mila's doing...
<He goes in the room.>
KYLE: That's... <He sees Mila on the couch.> Sleeping, huh? Hey. <He wakes
her up.> How you feeling?
MILA: ...
KYLE: Rosa's gone to get you some medicine. Take it easy, OK? Meeting all
these new people tired you out, didn't it?
<Mila nods.>
KYLE: Thought so. So, hey. I got something I need to ask you. Can you tell me
something about your bracelet? Was it a present?
<She nods.>
KYLE: Yeah? Who gave it to you? <She looks away.> Can't tell me, huh?
(Great... Now what? Wait a second...) Mila, can you write? <She nods.> Here.
Write down the name of the person who gave you the bracelet. Write it here.
[I open my notebook and give it to Mila. She writes something in the
notebook.]
<He takes back the notebook.>
KYLE: ...Huh? <He reads the notebook.> Papa? You got the bracelet from your
father? <She nods.> What's his name? Here, write it down.
[I open my notebook and give it to Mila. She writes something in the
notebook.]
KYLE: Hmm... <He reads the notebook.> Robert Evans? Your father's name is
Robert Evans? Huh. All right... So what's your father do? Where does he live?
Here. Write it down for me. <She looks away.) What's wrong? You don't want to
tell me?
<The door opens. Rosa comes in.>
KYLE: Huh? Oh, it's you.
<If you said yes to watching Mila:>
ROSA: Thank you for coming, Mr. Hyde! I'll take over now. You can go.
OK? Good.
KYLE: We're in the middle of a conversation.
ROSA: Well, it'll have to wait! Mila's tired. Finish up later, all right?
Now skedaddle!
KYLE: Fine.
<If you said no to watching Mila:>
ROSA: Oh, it's you, is it? What are you doing here? Huh?
[That's my business.]
[I thought it over.]
[That's my business.]
KYLE: That's my business.
ROSA: Goodness gracious, you sound like a twelve-year-old! I'm tired
of this nonsense! You want to act like a child, I'll treat you like
one! Why don't you run along now?
[I thought it over.]
KYLE: I thought about what you said. I figured I'd come by and make
sure everything was OK.
ROSA: You did, did you? How nice! Well, I'm here now. You can go
ahead and leave.
KYLE: Actually, we're in the middle of a conversation.
ROSA: It'll wait! You hear? Mila's tired. Finish up later, all
right?
KYLE: Fine.
<Kyle leaves the room. He meets Dunning in the hall.>
DUNNING: That you, Mr. Hyde? What ya doin' here? ...Lemme tell ya somethin',
Mr. Hyde. I see no reason for ya to be wanderin' the halls like some kinda
spook. Ya keep sneakin' around, and I'm gonna get suspicious! Why don't ya go
on back to yer room and sit still for a bit.
[Dunning turns and goes into the room.]
<Kyle goes back to his room. There's a knock on his door.>
KYLE: Huh? Who is it?
<He answers the door.>
MELISSA: Mr. Hyde?
KYLE: What is it, squirt?
MELISSA: Um...Mr. Hyde? Can you help me?
KYLE: With what?
MELISSA: One of my wings came off.
KYLE: You have wings?
MELISSA: No, my doll. I ripped one of the wings on my doll.
KYLE: C'mon, kid. Get your old man to fix it.
MELISSA: He can't sew. He's a man.
KYLE: He's a surgeon. He sews up people all the ti... HEY! I'M a man!
MELISSA: Yeah, whatever. But Mr. Summer said to ask you. He said you could
fix it, so can you fix it? Please?
KYLE: Summer told you I could fix it?
MELISSA: Uh-huh. He said you're a salesman and have gadgets and stuff like
that. He said a buncha other stuff, too, but I didn't understand him. And
then he kept talking and I got bored. He smells weird. But he said that you
had something that could fix my doll.
KYLE: Summer, you two-bit con artist...
MELISSA: What's a con artist?
KYLE: Can't believe anyone would think I could sew...
<Melissa starts crying.>
KYLE: All right, all right! Relax. Hold your breath and count to a million or
something.
<If Kyle talks to Melissa again:>
KYLE: Look, squirt...
MELISSA: Please, mister!
KYLE: Can't believe anyone would think I could sew...
<Melissa starts crying.>
KYLE: All right, all right! Relax. Hold your breath and count to a
million or something.
<He roots through the cardboard box on his bed.>
[I got a mini sewing machine.]
<He talks to Melissa again.>
KYLE: Look, squirt...
MELISSA: Please, mister!
<She hands him the doll. He sews the wing back on.>
KYLE: There, all done.
MELISSA: YAAAAAAAAY!
KYLE: Pretty good, huh? Now get lost.
MELISSA: Thank you! Thank you thank you thank you!
<He nods.>
MELISSA: Hey, mister?
KYLE: What?
MELISSA: Are you and that one guy friends?
KYLE: What one guy? Louie?
MELISSA: I dunno. He's the guy in Room 213.
KYLE: Him? No, he's a chump. Why did you think we're friends?
MELISSA: 'Cause I saw him coming out of your room. I thought you were talking
or something.
KYLE: You saw him what? (So it was Angel...)
MELISSA: What's wrong, mister?
KYLE: Nothing, kid. Take your doll and go back to your room. Your old man's
probably wondering where you are.
MELISSA: 'Kay.
[Melissa takes her doll and leaves.]
[08:40 PM]
KYLE: (So Jeff was in my room, was he? Think it's time he and I have a little
chat. ...And see where it goes from there.)
<He knocks on Room 213.>
[Knocking gets me nothing.]
KYLE: Nobody home, huh? Wonder whose room he's breaking into now. (Wait a
second... When I saw him in front of the restaurant...)
<flashback>
JEFF: Ah...
<flashback ends>
KYLE: (He'd just come out of the left hallway door. I bet he was up to no good
on the other side...)
<He goes inside the left hallway door and starts checking all the rooms. He
goes into the laundry room and pokes around.>
KYLE: A linen cart... Wonder if it's worth searching?
<He tosses everything out. If you leave the screen:>
KYLE: Hmm. Nothing? That seems weird...
<He lifts up a corner of the cart's inside panel.>
KYLE: What have we here?
[I found a pistol hidden in the laundry cart.]
KYLE: Guess someone didn't like the room service.
<The laundry room door opens.>
KYLE: ...Who's there? Oh, Louie. It's you.
LOUIS: Brother, you GOT to stop sneaking around! What ya doin', anyway?
[I found something good.]
[Mind your business!]
[I found something good.]
KYLE: Close your head, Louie. I just found something interesting.
LOUIS: Hyde? That's laundry. You find Dunning's used tighty-whiteys or
somethin'?
KYLE: It's a gun.
LOUIS: WHAT?
KYLE: Yeah. In the linen cart.
LOUIS: In the cart? Oh, man, TRIP! You're playin' with me, ain't ya? Yo,
did you break into the bar or something? 'Cause you're talking like a
crazy man. Wait, for real? You really find a piece? C'mon, man, lemme
see it!
KYLE: Here it is.
LOUIS: Holy crap! What kinda crazy person hides somethin' like that here?
Rosa ain't been in here today, and ya know I ain't doin' laundry 'less I
have to. Maybe it was that one guy. [Who used the laundry today?]
<goes to QUESTIONS>
[Mind your business!]
KYLE: Nothing.
LOUIS: <black aura> Nothing? Naw, I ain't buyin' that, man.
KYLE: It's nothing if I SAY it's nothing. Drop it.
LOUIS: Chill, man! No reason to chew my damn head off! I'm helpin' ya
look for that dirtbag Bradley, right? I thought we was on the same team,
man! Ya know? Partners? But it's a one-way street with you, ain't it? Ya
need somethin', ya yell for Louie. "Get me this, Louie! Get me that!"
But otherwise, it's just "Shut up, Louie!" and "Get the hell outta here,
Louie!" That's OK, that's cool. You're still a cop, man. Ya ain't like
us normal folk. I'm just a damn stooge to you! Shoulda known...
[That's not true.]
[That's right!]
[That's not true.]
KYLE: That's not how it is, Louie.
LOUIS: S'okay. Ya ain't gotta baby me. I ain't gonna start cryin'.
KYLE: I'm not trying to baby anyone. Louie. Look at me. You're not
just some snitch, OK?
LOUIS: Yeah, whatever, man. Let's just forget it.
<Kyle nods.>
LOUIS: Tell me what happened, yeah?
KYLE: I found something.
LOUIS: Yeah? Good for you, man.
KYLE: It's a piece.
LOUIS: C'mon, man! Stop yankin' my chain already!
KYLE: Dead serious, Louie. It was in the laundry cart.
LOUIS: The laundry cart? Now I know you're trippin'! All that's in
there is sheets and stuff.
KYLE: This ain't a sheet.
LOUIS: Holy crap! What kinda crazy person hides somethin' like that
here? Rosa ain't been here all day... And ya KNOW I ain't doin'
laundry 'less I have to. Maybe it was that one guy. [Who used the
laundry today?]
<goes to QUESTIONS>
[That's right!]
KYLE: Yeah, you should have known. But you never were all that
bright.
LOUIS: <black aura> WHAT?!
KYLE: Get serious, DeNonno. You think I was going to team up with a
punk like you?
LOUIS: Damn, I'm stupid. Can't believe I thought I could trust a
rat like you.
[Louie turns and leaves the room.]
<Kyle leaves the room. He sees Louie just outside the door.>
KYLE: Huh? Louie?
LOUIS: Mr. Smith! There he is!
DUNNING: Hold it, pal! Louie told me all about ya, Hyde! Told me
yer fuzz!
KYLE: Huh?
DUNNING: Don't play soft with me! I ain't about to let no damn cop
stay in my place causin' trouble! Ya got business here? Come back
when ya got a warrant! Now haul yer ass outta here!
KYLE: Huh? (Bad move, Hyde. Didn't think Louie had the guts to do
it...)
<flashback>
LOUIS: Damn, I'm stupid. Can't believe I thought I could trust a
rat like you.
<flashback ends>
KYLE: ...Damn.
[GAME OVER]
[Question: Who did laundry today?]
KYLE: Any guests use the laundry today?
LOUIS: Yeah, man. Dude in 213. That Jeff Angel guy. He was wanderin' up and
down the hall, so I gave him a holler. Asked if we had a laundry room, and I
told him where it was.
KYLE: (Angel, huh? Figures.)
LOUIS: Where's the little prince think he is, man? This ain't the Ritz, ya
know? Something 'bout him gives me the willies. Plus, he does nothing but cry
and moan! "I don't like what's on the menu." "My bed's too hard." Guy won't
shut up! I wanna tell him to take his pansy-ass outta here and run home to
momma! Oh, and now? AND NOW?! He's wailin' about how all his crap got stolen.
I tell ya, man, he's drivin' Dunning nuts. Old man's spittin' nails!
KYLE: What got stolen from Jeff? Cash?
LOUIS: What else, right? But listen to this... Guy lost twenty Gs! Can ya
believe that? Who has that kinda moolah in a hotel? Guy with that much cash?
Musta done something dirty, right?
KYLE: So he claims someone lifted twenty large from him, huh?
LOUIS: That's his story.
KYLE: His cash is in my room.
LOUIS: Whoa...
KYLE: I found it wrapped in a plastic bag in my room's toilet.
LOUIS: OK, now I KNOW you're playin' with ol' Louis! Who'd go and do somethin'
like that?
KYLE: You tell me. I went downstairs after I found it, and Jeff was already
yapping away.
LOUIS: So ya think...
KYLE: Yeah. I think. Timing was too close to be coincidence. And here's the
kicker: I got an eyewitness. Melissa saw Jeff come out of my room.
LOUIS: No way! What a dirtbag! Whatcha gonna do, Hyde? Dunning's thinking
'bout callin' in the cops on this, and LAPD is no joke! You gotta watch your
step, brother!
KYLE: ...You're right. Last thing I need is to get caught up in Hollywood
drama. Especially now that I found a lead on Bradley.
LOUIS: Hold it! You got a lead? Did you find somethin' in Room 217?
KYLE: A lighter.
LOUIS: A lighter?
KYLE: That's right. Looks just like the one Bradley carried.
LOUIS: So the cat what stayed here six months ago under your name was...
KYLE: That's my hunch.
LOUIS: Yeah, but if that's true... Why'd the dude use your name, man? And
why's he stayin' here in the first place?
KYLE: No clue, Louie. That's what I've got to find out. But first I have to
clear up these distractions.
LOUIS: I dig ya, brother. That punk Jeff's plannin' something! We gotta make
him talk! Gotta find out why he's tryin' to set you up!
KYLE: My thoughts exactly.
LOUIS: We gotta trick him, yeah? Make him slip up and do something stupid! He
ain't from the streets! He's some spoiled rich punk! We can roll him, easy!
KYLE: All right, Louie, let's do it.
LOUIS: Yeah, I guess... Hmm... Wait! Wait, we could... Nah...
KYLE: How do we play it?
LOUIS: OK, got it! Check this out, my man!
KYLE: Yeah?
LOUIS: I get Jeff to come outta his room, right? And then while he's gone...
KYLE: I go in and give the place a quick shakedown.
LOUIS: Bingo! I bet my last dime there's something in his room that'll nail
him.
KYLE: I think you're right.
LOUIS: So you want I should go ahead and set the trap? Ya got any dirty cop
tricks I can use? Beat sticks or sweet talk or that kinda crap?
[Create a distraction.]
[Just call him away.]
[Create a distraction.]
KYLE: Think you can create a distraction?
LOUIS: Yeah, yeah. I can do that. Punk's in Room 213, and the room
next to him is vacant. So Room 214's where I'll do my thing. I'll
go there and...uh...get his attention by makin' a buncha loud noises
or something.
KYLE: That's some plan.
LOUIS: Don't sweat me, man! Look, I'll get him outta his room! Then
I'll just keep him busy for a while, ya dig?
KYLE: I guess that'll work.
[Just call him away.]
KYLE: Keep it simple. Give him a call and get him out of the room.
LOUIS: A call? That's it? C'mon, man, I wanna be like Kojak and bust
down his door or something. Man, you're such a drag... All right,
I'll just go and tell him I found his dough.
KYLE: Where?
LOUIS: Uh...in the...utility closet. Yeah, I'll have him follow me
down there. Then I'll mess with the lock and keep him busy for a
few.
KYLE: Got it.
LOUIS: OK, let's go in five. All ya gotta do is go and wait in Room 217, yeah?
[Louie finishes talking and rushes out of the room.]
<Kyle goes to Room 217.>
KYLE: Here's my spot.
<If you told Louie to make a distraction:>
[SLAM! KA-WHUMP!]
LOUIE: HEY! SOMEBODY! HELP! HEEEEEEEEEEELLLLLPPP!
[SLAM!]
KYLE: Real subtle there, Louie. There goes Jeff. OK, Hyde. Time to go to
work.
<If you told Louie to call Jeff out:>
<Soon Kyle hears Louie's voice.>
LOUIS: Mr. Angel, I found your money. You know...the money that you...um,
lost? Yeah... I mean the money what was stolen. The stolen money. Look,
just come with me.
KYLE: You're an idiot, Louie. No one's dumb enough to fall for--
JEFF: My money? Where?
<Kyle hears the sound of a door closing.>
KYLE: Oh... He fell for it. Guess I forgot how stupid crooks can be. OK,
Hyde. Time to go to work.
<If you told Louie to call Jeff out, and you go to the utility closet:>
KYLE: Louie.
LOUIS: Whoa! You're not supposed to be here, man.
JEFF: Huh?
KYLE: Right. Sorry.
<He leaves the closet.>
[Someone's in the hall.]
KYLE: Huh? Dunning's looking this way.
DUNNING: What're ya doin', Mr. Hyde?
KYLE: Um... Admiring the carpet?
<A door opens.>
JEFF: That's him! That's the thief! He's the one who stole my money!
KYLE: What?
DUNNING: What're ya talkin' 'bout?
JEFF: Search his things! You'll see!
DUNNING: So yer the one behind all this, eh, Mr. Hyde? Cough up the
money and haul yer ass outta here!
KYLE: What? (How did this happen? Damn...)
<flashback>
LOUIS: Whoa! You're not supposed to be here, man.
JEFF: Huh?
<flashback ends>
KYLE: Right.
[GAME OVER]
<Kyle enters Room 213 and takes a look around.>
[There's a bag on the sofa.]
KYLE: Look what's in his bag...
[I got the Room 215 key.]
KYLE: So Jeff's got the master key to my room, huh?
[That must be Jeff's coat. Wonder if it would fit me.]
KYLE: Hm? There's something in the jacket pocket.
[I got Jeff's student ID. The name on the card is Jeff Damon.]
KYLE: Jeff Damon... Damon? I've heard that name before. (Oh, right... It was
in the lobby paper.)
<flashback>
MARTIN: It seems there was a burglary in Beverly Hills last night. Quite
brazen, really... The victim was an attorney named Larry Damon. Mr. Damon
happens to be a friend of mine, you see? I do hope he is doing well.
<flashback ends>
KYLE: What the hell? (Is the attorney in that article Jeff's father?)
<He turns to leave the room, and the door opens.>
KYLE: Huh?
JEFF: What's the deal?
[Jeff closes the door and comes into the room.]
JEFF: What're you doing in here? This is my room! You'd better get out of
here now.
KYLE: Yeah? I thought it was the kitchen. Ain't Rosa around here somewhere?
JEFF: Are you trying to be funny? Are you LAUGHING at me? Well, laugh this
off! I'm calling the front desk and getting the police over here!
KYLE: Bad idea, pal. You're the last person who wants to see the cops.
JEFF: What's that supposed to mean?
KYLE: Oh, just a feeling I got.
JEFF: Now wait just one--
KYLE: So here we are, in your room. Just a couple of guys, having a harmless
chat. Tell me something, Jeff. You got a thing for cops and robbers, right?
Is a little casual B&E a crime? That's breaking and entering, if you were
confused.
JEFF: I... I know what it is, all right? I'm not stupid! Of course it's a
crime! Now get out of my room!
KYLE: Oh yeah, I'm going. Don't you worry about it. But tell me something.
Since you're so smart and all... Why'd you do it?
JEFF: ...Do what? [Why's he using a fake name?]
<JEFF1A>
KYLE: What did you do when you broke into my room, huh? Watch TV? Nap on the
bed?
JEFF: Are you accusing me of something?
KYLE: (Time to play this sap like a violin.) Time to sing, little birdie.
[You got my floor wet.]
[You hid cash in my john.]
<If you don't follow up:>
KYLE: (Time to play this sap like a violin.)
<goes back to JEFF1A and to followup>
[You got my floor wet.]
KYLE: You got the floor all wet. Didn't you?
JEFF: <red aura> I got your floor wet? You've got to be kidding. If it's
wet, it's because the plumbing's shot like everything else in this dump!
<goes back to JEFF1A and to followup>
[You hid cash in my john.]
KYLE: You hid a stack of cash inside the toilet tank. Didn't you?
JEFF: Huh? Look, if I had a stack of cash, I'm sure I wouldn't hide it
in somebody's toilet, OK? [Why'd you hide the cash?]
<JEFF1B>
KYLE: Gonna play dumb, huh?
JEFF: Unless you have proof, I think you should drop it.
KYLE: (Proof? Aren't you the guy who wanted to search everyone in the
entire hotel?) Oh, I got proof. I got all the proof I need.
<followup>
[I got intuition.]
[I got an eyewitness.]
<If you don't follow up:>
KYLE: (Proof? Aren't you the guy who wanted to search everyone in
the entire hotel?)
<goes back to JEFF1B and to followup>
[I got intuition.]
KYLE: I got intuition.
JEFF: <red aura> Intuition? Ha! I think you're confusing that with
imagination.
<goes back to JEFF1B and to followup>
[I got an eyewitness.]
KYLE: I've got an eyewitness who saw you come out of my room.
JEFF: Uh...
KYLE: Yeah, nice comeback. Oh, and I also know about the piece you
stashed in the cart.
JEFF: Knock it off! You can't just say things like that! [Why'd you
hide the gun?]
KYLE: Give it up, kid. You're not getting away with this. Why'd you
do something so stupid, anyway?
<goes to QUESTIONS>
[Question: I know about the cash.]
KYLE: There's a reason you hid that cash in my room. You wanted to see me
ake a fall!
JEFF: Look, I didn't hide any cash in your room. How would I ever get in
there?
<The following dialogue is said after whichever question you ask first:>
KYLE: What?
JEFF: If you're going to say things like that, you'd better have proof.
KYLE: (...Proof? I guess I need something more to nail this punk.)
<back to QUESTIONS. The "cash" question is still listed.>
[Question: I know about the gun.]
KYLE: I know why you hid the pistol in the laundry cart. You wanted to make
somebody else into a criminal.
JEFF: I didn't hide a gun in the laundry cart. I don't know what you're
talking about.
<back to QUESTIONS. The "gun" question is still listed.>
[Question: Your real name is...]
KYLE: Your real name is... Jeff Damon, right?
JEFF: What...what are you talking about? My name's Angel. Jeff Angel.
<back to QUESTIONS. The "name" question is still listed.>
<Kyle shows the duplicate Room 215 key.>
JEFF: Oh.
KYLE: You want to tell me what you're doing with this?
JEFF: ...
<back to QUESTIONS. All questions are still listed.>
[Question: I know about the cash.]
<This conversation happens after showing the key.>
KYLE: You hid the cash I found in my room, didn't you?
JEFF: I told you I don't know anything about it! You're really getting on my
nerves!
<back to QUESTIONS. All questions are still listed.>
<Kyle shows the pistol.>
JEFF: Why are you showing me that?
KYLE: Found this piece in the laundry room. That's where you hid it, right?
JEFF: I don't know what you're talking about.
KYLE: You're lying, punk.
JEFF: Why are you so convinced that I hid it? I bet if you dusted it for
prints, you'd only find yours.
<back to QUESTIONS. All questions are still listed.>
[Question: I know about the gun.]
<This conversation happens after showing the gun.>
KYLE: I know why you hid the pistol in the laundry cart. You wanted to see me
take a fall!
JEFF: You're nuts! I told you I don't know anything about that!
<The following dialogue is said when you ask the "gun" or "name" question
after showing the appropriate evidence:>
KYLE: What?
JEFF: If you're going to say things like that, you'd better have proof.
KYLE: (...Proof? I guess I need something more to nail this punk.)
<Alternative dialogue if you ask the "gun" question after showing the pistol:>
KYLE: I know why you hid the pistol in the laundry cart. You wanted to
make somebody else into a criminal.
JEFF: No! I didn't! I told you I don't know anything about that!
<back to QUESTIONS. All questions are still listed.>
<Kyle shows the student ID.>
JEFF: What's that supposed to be? I don't know anything about it.
<back to QUESTIONS. All questions are still listed.>
[Question: Your real name is...]
<This conversation happens after showing the ID. Kyle says one of the
following:>
KYLE: Your real name's Jeff Damon, isn't it?
KYLE: Your real name is Jeff Damon, isn't it?
JEFF: No! It's NOT! How many times do I have to tell you? My name's Jeff
Angel!
<The conversation is at a stalemate. Kyle leaves the room.>
KYLE: (Wait a minute... What was that windbag Summer going on about...)
<flashback>
MARTIN: I must tell you about this article I was reading in the newspaper. It
seems there was a burglary in Beverly Hills last night. Quite brazen,
really... The victim was an attorney named Larry Damon. Mr. Damon happens to
be a friend of mine, you see? I do hope he is doing well.
<flashback ends>
KYLE: (That's it. That newspaper...)
<If you knock on Room 213 without having the newspaper and stack of cash:>
KYLE: It's Kyle Hyde.
JEFF: I've got nothing to talk to you about.
<Kyle goes to the front desk area and reads the paper.>
[Date on the newspaper's December 28th. That's today.]
KYLE: Let's see what's in the paper today...
ARTICLE: Home of Prominent Beverly Hills Attorney Burglarized. The Beverly
Hills home of attorney Larry Damon was burglarized last night. Police say
$20,000 and a pistol were taken from a safe in the study. The perpetrators
then fled the scene in Damon's car. A police spokesman said they are actively
pursuing the case.
[I picked up the lobby newspaper.]
KYLE: (So that's it, huh? The cash from my john is from this robbery.)
<Kyle goes to his room.>
[I pull a stack of cash out of my suitcase.]
<He knocks on 213 again.>
KYLE: It's Kyle Hyde.
JEFF: I'm not talking to you. Go away.
KYLE: Open up. You asked for proof, I've got proof.
<The door opens and Jeff comes out.>
KYLE: You're busted, kid. I know what you did in Beverly Hills.
JEFF: ...What?
KYLE: Let me in. One way or another, I'm coming in.
JEFF: All right, all right. Come in.
<They go in the room.>
<goes to QUESTIONS>
<If you show the stack of cash BEFORE showing the newspaper:>
JEFF: It was you! I knew it! You stole my money!
KYLE: You hid this dough in my room.
JEFF: I don't know what you're talking about.
KYLE: Where'd you get the money?
JEFF: I said I don't know what you're talking about! What don't you
understand?
<back to QUESTIONS>
<If you show the cash again BEFORE showing the newspaper:>
JEFF: That was stolen! You stole it!
<back to QUESTIONS>
<If you show the room key again BEFORE showing the newspaper:>
JEFF: ...
<If you show the gun again BEFORE showing the newspaper:>
JEFF: Put that away! I told you I don't know anything about that.
<If you show the ID again BEFORE showing the newspaper:>
JEFF: You must not be very bright. I told you I don't know anything
about that.
<back to QUESTIONS>
<Kyle shows the newspaper.>
JEFF: Hey... That article...
KYLE: The guy who got robbed in Beverly Hills is named Damon. The same name
that's on this student ID.
JEFF: That's...
KYLE: And guess what was taken from the Damon residence? Twenty large and a
gun.
JEFF: Er...
<back to QUESTIONS>
<Kyle shows the stack of cash AFTER showing the newspaper.>
JEFF: That's...
KYLE: What're you doing with this much scratch? You steal it from mommy and
daddy?
JEFF: Uh...
<back to QUESTIONS>
<If you show the room key again AFTER showing the newspaper:>
JEFF: Uh...
<back to QUESTIONS>
<When you show the ID again AFTER showing the newspaper:>
JEFF: Hey...that's... My student ID.
<back to QUESTIONS>
<When you show the gun again AFTER showing the newspaper:>
JEFF: ...Ah.
<back to QUESTIONS>
<If you show the newspaper again:>
JEFF: That's...um...
<back to QUESTIONS>
<In order for the Questions to finally be answered, you MUST show the stack
of cash AFTER showing the newspaper, AND you must have shown all the other
pieces of evidence at least once.>
[Question: I know about the cash.]
KYLE: There's a reason you hid that cash in my room.
[You had to hide the cash.]
[You wanted trouble.]
[You had to hide the cash.]
KYLE: You didn't have a better place to hide it, right?
JEFF: <red aura> What are you talking about? I don't know anything about
that.
<If you still have questions, it goes back to the Question list. If you
have no more questions and you got 2 or 3 responses wrong, it goes to
JEFF1C. If not, it goes to JEFF1D>
[You wanted trouble.]
KYLE: You wanted to cause a big stink. So you took the master key to my
room and hid the money in the john.
JEFF: Er...
KYLE: Those aren't the actions of your average Joe, pal. The only one
who's gonna get hurt in this mess is you. So why'd you do it? Twenty
large just something to play with for you? You mistake me for a sap that
would just take the fall? Is this a game to you? That it? Stop playing
the fool and grow up!
JEFF: Grow up... Like I haven't heard that before. You sound just like
him, you know? [I sound just like who?] That makes me so mad! Stop
treating me like I'm stupid! I'm not a kid! Don't pretend to know one
single thing about me!
<back to QUESTIONS. The "cash" question finally disappears.>
[New Question: Who do I sound like?]
KYLE: Who do I sound like?
JEFF: Huh?
KYLE: I told you to grow up, right? You said I sounded like somebody.
JEFF: Yeah... Like my poppa.
KYLE: ...Poppa? You telling me you call your old man "poppa"?
JEFF: That's right. What of it?
KYLE: Uh... Nothing, I guess. So, uh, what kind of man is your...poppa?
JEFF: What kind of man is he?
KYLE: What's he do for a living?
JEFF: He's a lawyer.
KYLE: Lawyer, huh? Sounds like he's got his act together.
JEFF: Not even close.
KYLE: Look, I've had about--
JEFF: You're wrong! DEAD WRONG! My poppa's a total scumbag! [What's wrong
with his father?]
<back to QUESTIONS>
[New Question: Your old man that bad?]
KYLE: Your old man as bad as all that?
JEFF: Worse. He's an arrogant scumbag who thinks he's always right about
everything. And he doesn't trust anyone but himself. Not even his own
family.
<If you still have questions left, it goes back to the Question list. If
you have no more questions and you got 2 or 3 responses wrong, it goes
to JEFF1C. Otherwise, it goes to JEFF1D>
[Question: I know about the gun.]
KYLE: I know why you hid the pistol in the laundry cart.
[You felt the heat!]
[You wanted it found.]
[You felt the heat!]
KYLE: You didn't have any place to stash the thing.
JEFF: <red aura> What are you talking about? You're not making any sense.
<If you still have questions left, it goes back to the Question list. If
you have no more questions and you got 2 or 3 responses wrong, it goes to
JEFF1C. Otherwise, it goes to JEFF1D>
[You wanted it found.]
KYLE: It's because you wanted somebody to find it. You stole the gun from
your own house.
JEFF: ...Yeah? So what?! [Why'd you do it?]
<back to QUESTIONS. The "gun" question finally disappears.>
[New Question: Why put the gun there?]
KYLE: Why'd you put the gun where somebody would find it?
JEFF: I figured they'd call the cops once it got found. That's all.
<If you still have questions left, it goes back to the Question list. If
you have no more questions and you got 2 or 3 responses wrong, it goes to
JEFF1C. Otherwise, it goes to JEFF1D>
[Question: Your real name is...]
KYLE: Your real name is...
[Jeff Angel.]
[Jeff Damon.]
[Jeff Angel.]
KYLE: Jeff Angel.
JEFF: <red aura> That's right. So?
<If you still have questions left, it goes back to the Question list. If
you have no more questions and you got 2 or 3 responses wrong, it goes to
JEFF1C. Otherwise, it goes to JEFF1D>
[Jeff Damon.]
KYLE: Jeff Damon. The proof's on your student ID.
JEFF: Er...
KYLE: Why're you hiding your real name?
JEFF: It's my father's name... I don't need it! [Don't need it? Why?]
<back to QUESTIONS. The "name" question finally disappears.>
[New Question: You hate your dad's name?]
KYLE: Why you hate your old man's name so much?
JEFF: I don't want to have a jerk like him as my father. That's why.
<If you still have questions left, it goes back to the Question list. If
you have no more questions and you got 2 or 3 responses wrong, it goes to
JEFF1C. Otherwise, it goes to JEFF1D>
<JEFF1C>
JEFF: Mr. Hyde?
KYLE: What?
JEFF: You're nothing, you know that? I expected more from you.
KYLE: ...Nothing?
JEFF: You can't help me. Get out of my room. NOW!
KYLE: Huh?
[I made my way back to Room 215.]
KYLE: What did I do to screw that up? Damn... I'm getting nowhere at the speed
of light... I'll never find Bradley at this rate... You're a loser, Hyde. A
two-bit, no-good, useless loser.
[I spent the rest of the night alone in my room. I didn't have the courage to
go out again.]
[GAME OVER]
<JEFF1D>
KYLE: Look, kid, I don't care if your name's Angel or Damon or McGillicutty.
Got it? I don't even care whose money that is. All I want to know is why you
did it.
JEFF: You think I know? Why are we talking about this? Nobody understands me.
KYLE: Give it a rest, will ya? You're an open book, kid. Had you pegged from
the moment I laid eyes on you.
JEFF: You're such a liar. What do you think you know about me?
KYLE: Where do you want me to start? Never worked a day in your life, so you
got no idea about the true value of money. That's why you can steal twenty
grand from your old man without blinking an eye. That's why you could take it
and use and lose it just to get a little attention.
<Jeff looks shocked.>
KYLE: You never used a gun in your life. Oh sure, you imagined what it would
be like. But you got no idea what it's like to pull the trigger. To take a
life. You got no idea what it takes to bleed a man out and watch his light go.
That's why you toss a gun into a laundry cart like it means nothing.
<Scene of Jeff and his father>
KYLE: I don't know what set you off, but I know you wanted to put a scare into
Poppa. That's why you took his cash and his heater and ran like hell. 'Course,
you didn't know what to do with 'em after you stole 'em. And after you showed
your belly and ran, you had nowhere to go.
<Scene of Jeff finding Mila>
KYLE: So you find a girl on the road with a hotel brochure, and you end up
here. And that's when you meet me. Just some down-on-his-luck salesman. Not
too bright. Not too dangerous. You plant the goods on me, then sit back and
wait for Poppa to love you again.
JEFF: I... I didn't... I wasn't...
KYLE: ENOUGH! I did NOT come to this hellhole just to hear you bleat like a
damn sheep! You are going to tell me everything, and you are going to do it
now. Do not make me ask twice.
JEFF: ...All right. All right. What do I say? I mean...you're right. You lived
in the world. Me? I mean, I'm just a kid. I'm nothing. Just a spoiled little
rich kid.
KYLE: This I know. Keep going.
JEFF: It's...it's true. Everything you said is true. I can't stand my poppa.
I can't forgive him for who he is and what he does. I did all this just to get
under his skin. I didn't plan it. I just...opened the safe and grabbed the
stuff and ran. But I didn't know what he'd done until I saw the newspaper. He
knew it was me who took his precious money and his damn gun. He knew it was
me, and he still called the cops. You know what my parents are doing right
now? Mom's crying on the sofa. And Poppa? He's telling her how he's doing this
for me. Teaching me a lesson. You want to know what my poppa's like, right?
Let me tell you.
<Scene of Jeff and his dad>
JEFF: He's a defense lawyer. And not just any lawyer. The best. A genius.
Hire Poppa, and he'll convince a jury that black is white and night is day.
That's why people spend a fortune getting him to defend them. And if you can
pay, it doesn't matter what you've done. Theft? OK! Assault? Sure! Tax
evasion? No problem! Murder? He's your man. He'll go to bat for anyone. Even
organized crime. Hell, ESPECIALLY organized crime.
KYLE: Organized crime?
JEFF: Yeah, right now he's working for a group of lowlifes called Nail or Nile
or something.
KYLE: ...What? (Jeff's old man is working for Nile? Oh, kid...)
JEFF: Yeah, that's who he is. That's my poppa... Scum of the earth!
KYLE: Where'd you learn all this?
JEFF: He'd bring these men by the house from time to time. Unsociable types,
you know?
<Scene of Jeff's dad with several men>
JEFF: Poppa said they had business they couldn't discuss at the office. I
happened to...overhear some of their conversations, and that's how I found
out. That these guys were part of Nile, I mean.
KYLE: That's it, huh?
JEFF: Poppa's getting filthy rich off what these guys are paying him. So it's
cool that I, uh, boosted a small chunk of it. Right?
KYLE: (Twenty thousand is a small chunk? I'm in the wrong business.) So what's
the plan?
JEFF: Since I learned Poppa called the cops, I've been thinking... He wants
me to come crawling home with my tail between my legs. And hey, why not,
right? That's what I've always done... But I've changed. I'm not going to do
that again. I'm going to embarrass him. That's why I did all this and tried
to get Dunning to call the police. I figure they'll get here, see through my
story, and arrest me. My being arrested will cause all kinds of trouble for
Poppa. Then the press will come and ask why I did it... And I'll tell 'em.
I'll tell them what a crook Poppa is. I'll tell them all the dirty stuff he's
doing.
KYLE: Ha ha ha!
JEFF: What's so funny?
KYLE: You know something, kid? I've seen dumb before, but it's not often I
meet stupid.
JEFF: Wh-what?
KYLE: You trying to punch your old man's ticket to the morgue?
JEFF: I don't...
KYLE: Knock this crap off!
[I toss the cash, the gun, and the student ID on the floor.]
KYLE: This is yours. Take it and go home. Go see your father. You think this
is a good plan? Think you're smart? What happens when you go to the press and
talk about how your old man's mobbed up? You think Nile's just going to sit
back and do nothing? Go ahead. Shoot your mouth off. You and the old man can
push up daisies together.
JEFF: But...
KYLE: SHUT UP! You want your poppa away from Nile? You want him to keep
breathing? Here's what you do: take your sorry ass home and NEVER do anything
like this again.
JEFF: But, how...how am I... What am I supposed to do then?
KYLE: You want the old man to change? You change first. Stop depending on him
for everything. Try standing on your own two feet.
JEFF: Mr. Hyde...
KYLE: Do that, and your old man'll come around. You'll be showing him how to
live. Now get outta here.
<Kyle leaves the room.>
KYLE: (Looks like I've wrapped up Jeff and his burglary fiasco. But... Still
can't believe Jeff's old man has ties to Nile. The coincidences are piling up
faster than I can count. How many times have I heard the name Nile since I've
been here? I'd better take a breather and clear my head. I need to have all
this sorted out before I go on.)
<goes to CHAPTER SUMMARY>
After I heard Summer's confession, I went back to my room. Then Rachel called
and told me about the painting Angel Opening a Door. Seems the thing was
stolen from a New York art museum three years ago. We talked, then I went to
meet Rosa and ended up running into Jeff. Jeff asked me...
1. What's wrong with him?
No, that ain't it. That's what Dunning said.
2. Did Dunning say anything?
That's right. That's what the punk said. He was grinning from ear to ear,
like he was glad he got robbed.
3. Look after Mila, will you?
No, that ain't it. That's what Rosa said.
I heard from Rosa that Mila was running a fever. I went to check up on her
and used my notebook to chat with her. I learned that her father's name is...
1. Robert Evans
That's right. Mila's father's name is Robert Evans. The bracelet she
wears was a gift from him.
2. Kevin Woodward
No, that ain't it. That's the name of Melissa's father.
3. Martin Summer
No, that ain't it. That's the name of the sap in Room 211.
I did my best Betsy Ross imitation and sewed up Melissa's rag doll. That's
when Melissa told me she'd seen Jeff coming out of my room. I knew Jeff was
trouble, so I went back and gave the laundry room a quick search. What I found
there was unexpected. It was...
1. A crowbar
No, that ain't right. That's what I put back in the toolbox.
2. A Room 215 master key
No, that ain't it. That's what I found in Jeff's bag in Room 213.
3. A gun
That's right. I found it under a mountain of sheets in the laundry cart.
Nice piece, too.
Louie waltzed into the laundry room, so I told him about the pistol and the
cash. We both figured Jeff was involved somehow and decided to roll him up.
While Louie kept Jeff busy, I I took a little stroll through his room. I
patted down Jeff's jacket and found...
1. A mini sewing machine
No, that ain't it. The mini sewing machine's one of the products I'm
supposed to be selling.
2. Jeff's Student ID
That's right. I found Jeff's student ID in the breast pocket of his
coat. I saw the name on the card and realized that Jeff was using a fake
name.
3. A newspaper
No, that ain't it. That was left at the front desk.
I put together proof that Jeff was lying through his teeth. Then I stuck his
feet to the coals and asked why he was trying to stir up trouble. Jeff told
me all about his idiotic plan, and how he was ticked off at the old man. His
father's name is Larry Damon, and he makes a living as a...
1. Lawyer
That's right. Jeff's father is a lawyer. Knocked me for a loop when I
heard he was a hired mouthpiece for Nile.
2. Doctor
No, that ain't it. That's what Melissa's father does.
3. Writer
No, that ain't it. That's Summer's job. Or his fake job, anyway.
Jeff's yarn was sad in a pitiful sort of way. Another father-and-son story
gone wrong. It did convince me of one thing though: people do stupid things.
But when you ask them, they always got a reason. Tell me, Bradley... Why'd
you do it? For what price did you sell our trust? Your soul? Maybe that's all
I want to know. Maybe that's why I'm chasing ghosts and lies. The sun sets,
and Hotel Dusk retreats into darkness. Like the shadows that creep across the
floor, I'm moving toward an answer.
==================================
4f. CHAPTER 6: DECEMBER 28TH, 1979
9:00 ~ 10:00 P.M.
==================================
<Kyle is back in his room.>
KYLE: (Nine o'clock. ...Bar's open. Hell, I cleared up that mess with Angel.
Might as well celebrate with a drink.)
<As he turns to leave his room, the phone rings.>
KYLE: Hmm? Phone again.
<He answers.>
RACHEL: Hey, sweetie.
KYLE: Heya, gorgeous.
RACHEL: Well, you seem to be feeling better! Listen, Ed's back. I'll put him
through...
ED: ...Hyde! It's Ed! What's the good word?
KYLE: Louie and me had a little chat about his pal Danny.
ED: I'm listening.
KYLE: Louie wasn't involved in the murder. And he didn't make off with the
cash, either.
ED: Yeah? So who iced him?
KYLE: ...Bradley.
ED: What?!
KYLE: Seems Bradley was working for Nile under the name of J.
ED: J? That's a helluva'n alias.
KYLE: Louie and Danny had a meet scheduled, but Bradley crashed the party.
ED: Well, I'll be damned.
KYLE: He blew Danny away, then took a painting the kid had swiped from Nile's
hideout. Bradley also got the money Danny was using to close the deal.
...Nile's money. This was three years back. Right before I met Bradley on the
docks. At least, that's Louie's story. For what it's worth, I think he's
playing me straight.
ED: Makes sense. Keep talkin'.
KYLE: I told Louie I was still on the hunt for Bradley. He put two and two
together and told me everything. Now he wants to help out. Keeps saying we're
partners.
ED: Har! Revenge makes strange bedfellows.
KYLE: Yeah, there's more. When I checked in, I heard a guy with my name had
stayed here. Happened about six months back. Anyway, I searched the room the
guy stayed in and found a lighter.
ED: Oh yeah?
KYLE: Yeah, and it's a lighter I remember well, if you follow.
ED: You telling me Bradley stayed at that hotel? That what you're thinking?
KYLE: Could be.
ED: Uh-huh... You thinking you can pick up his trail?
KYLE: Worse things could happen.
ED: Tell me something, Hyde. Why you still chasing this ghost?
KYLE: He's no ghost.
ED: You hate him. That it?
KYLE: Ed, I...
ED: Hell, I understand. Bradley was your partner. Your friend. One day he
double-crosses you, and the world gets a little bit colder. So you trail him
to the docks and give him the lead kiss.
KYLE: That's not--
ED: And when his mug don't turn up with all the other floaters in the
Hudson... You go after him again. Even losin' the badge can't stop you. Hate
like that eats a man alive.
KYLE: It isn't hate, Ed. Never was. I just need to know why he did what he
did. Why he sold me out. Bradley had a reason. I know it.
ED: So you say.
KYLE: Ed?
ED: ...Yeah?
KYLE: I didn't expect much when you sent me to this hole. But what I've found
tonight with Louie. And Bradley... You still think it's coincidence?
ED: 'Course it is! The hell else could it be?
KYLE: Yeah, maybe...
ED: Hey, I heard you been putting Rachel through the paces. Having her run
research on some dead art mope? What's the story?
KYLE: One of the guests keeps talking about a painting. Thing's called Angel
Opening a Door. Supposed to be worth a fortune. Rachel says it was pinched
from an art museum three years ago.
ED: Lemme guess... You think it's the painting Bradley nicked.
KYLE: Just a hunch.
ED: A hunch, huh? Been a long time since I heard you say that. Your little
DeNonno reunion get the cop instincts flowing again?
KYLE: It's not like that. I just...
ED: You just what?
KYLE: I know this sounds nuts, but I don't care. There's something about this
place, Ed. I know it. Something here is going to lead me to Bradley.
ED: Huh... You really believe that?
KYLE: Yeah. I do.
ED: OK, Hyde. I'll give you one last night to follow this. But if nothing
shakes loose tonight, it's time to hang it up. I ain't gonna watch this thing
ruin your damn life.
KYLE: I don't have much of a life to ruin, Ed.
ED: All right, enough'a this crap. Let's talk business. Remember those items
I asked you to find? Well, I may need you to hand 'em over to the client
directly.
KYLE: Sure.
ED: I'll ring you up later.
<He hangs up.>
KYLE: (Bradley...)
<He goes to the bar.>
KYLE: So this is the bar... Hmm?
LOUIS: Yo, Hyde! Get in here! Welcome to the Seven Stars, my man!
KYLE: I prefer my barkeeps to be prettier... But I guess you'll do.
LOUIS: Now why you wanna go and hurt me like that? Ain't no one else could
look this good behind the counter!
KYLE: Hope you tend bar better than you deliver packages.
LOUIS: Lemme tell you a secret, my man... This here is the best place in the
whole hotel. Most every job old man Dunning makes me do is a total drag. Makes
me wanna take a long lunch and just keep on walkin', ya dig? 'Cept this one.
Brother, I could stand back here all day. So whaddya think? Beauty of a bar,
ain't she?
KYLE: Not bad.
LOUIS: Damn straight! So c'mon, Hyde! Take a load off, for once. What's your
poison?
KYLE: Bourbon. Make it a double.
LOUIS: Comin' at ya!
[I take a seat at the end of the bar.]
LOUIS: Hyde, my man? You got no idea what Louie has in store for ya... This,
my brother? This is an eight-year bourbon from the grasslands of Kentucky.
And it's on me.
[Louie sets my drink on the counter and leaves me in peace. ...Good man. I
swirl the deep amber around the glass and listen to the music of the ice. It
smells of good earth, with hints of charcoal dancing around the edges. The
first sip is a slow burn. I sit for a moment, letting the fire spread through
me...]
LOUIS: Hyde? You OK?
<Kyle gives a wide grin.>
LOUIS: ...HA HA HA! Oh, my brother, my BROTHER! Been forever since I seen a
cat make a drink look that good!
KYLE: Been a long time since I had an eight-year. Thanks, Louie.
LOUIS: Hey, you're the cat what made my day! Feel like the best barman in
L.A. now! Say, Hyde, I don't mean to interrupt your quiet time or nothin'.
But we got us a jukebox in the corner there if you want some drinking tunes.
[This dump has a jukebox?] Oh, and see those matches on the shelf over there?
My work, man. Matches by Louis DeNonno. [You make matches?] Check 'em out
when you got a sec. It's a trip. Oh, and there's somethin' else I gotta clue
ya in on.
KYLE: Spill it.
LOUIS: It's about the cat what was here six months ago. The one with your
name? Yeah, so the day he stayed here? Me and Rosa were both out.
KYLE: (...That's interesting.) So what's the story?
[You had a vacation?]
[You called in sick?]
<If you don't follow up:>
KYLE: (...That's interesting.) And no one's been in 217 since that day,
right?
LOUIS: That's right.
<goes to QUESTIONS>
[You had a vacation?]
KYLE: Dunning gave you a day off?
LOUIS: For real, man. Rosa, too. Days where me and Rosa both catch a
break are pretty rare. I don't think Mama Sass was even s'posed to get
that day off. But I guess Dunning got his wires crossed, 'cause she was
outta here, too. So, yeah. Me and Rosa both missed out on seeing that
cat's face. Total drag. [So only Dunning saw him?] If that guy was
really your amigo Bradley, then he's got some kinda luck. If I'd been
there...? Woulda killed him on the spot with how he done for Danny!
KYLE: And no one's been in 217 since that day, right?
LOUIS: That's right.
<goes to QUESTIONS>
[You called in sick?]
KYLE: You have enough of Dunning's crap and call in sick?
LOUIS: Naw, man. Wasn't like that. I had me a planned vacation.
KYLE: And no one's been in 217 since that day, right?
LOUIS: That's right.
<goes to QUESTIONS>
[Question: Tell me about the jukebox.]
KYLE: You have a jukebox? And it works?
LOUIS: I know. Trip, right? Ain't the newest model or nothin', but it gives
the old bar some class.
KYLE: What's a song run me?
LOUIS: Can't charge for MUSIC, man! Thing's free as can be. You see a song
you like, just give it a spin.
<If you still have questions, it goes back to the Question list. If not, it
goes to LOUIE1>
[Question: Talk about the matches.]
KYLE: So tell me about these matches of yours.
LOUIS: Dig it, man. Label's a custom DeNonno original! 'Fore I came, place
didn't even HAVE matches.
<If you still have questions, it goes back to the Question list. If not, it
goes to LOUIE1. If you chose "You had a vacation?" in the followup, then you
will also have the following question in your list:>
[Question: So only Dunning saw him?]
KYLE: So Dunning's the only one who saw the mystery man?
LOUIS: You got it. Hey... Why don't I show the boss a photo of Bradley! I'm
sure the old coot could tell if he was the mystery guest or not, yeah?
KYLE: Works for me.
LOUIS: Dig it, man. I'll just show him the photo like it's no big, and see
what he says. Leave it to me, my man! Plan'll go down smooth as that bourbon!
KYLE: Thanks, Louie.
LOUIS: You know, I don't get this, Hyde. Say the guy what stayed here really
was Bradley. I mean, why's he come here? What's he thinkin'? Guy musta had
SOME reason for comin' here, yeah?
KYLE: I don't know, Louie. I can't figure that out.
<LOUIE1>
LOUIS: 'Nother drink, my man?
KYLE: Yeah, hit me again.
<The door to the bar opens.>
KYLE: Someone's here...
<Helen walks in.>
LOUIS: Oh, hey! Welcome to the Seven Stars! Uh...ma'am. Just take a seat
anywhere ya want.
KYLE: (It's the old gal from upstairs.)
LOUIS: Whatcha havin'?
HELEN: What a nice young man! I'll have a gimlet, if you please. And mind
you, a real gimlet is half gin and half lime juice, and nothing else!
<Kyle can now wander around the bar. If you chose "You called in sick?" or
didn't follow up in the followup, then you will get the scene below marked
LOUIE2>
<LOUIE2>
<Kyle starts to walk away from the bar, then stops.>
KYLE: (Wait a second... What did he say again...?)
<flashback>
LOUIS: It's about the cat what was here six months ago. The one with your
name? Yeah, so the day he stayed here? Me and Rosa were both out.
<flashback ends>
KYLE: They were both out on the day he came?
<Kyle can wander about the bar again. If you talk to Louie again, it goes to
LOUIE3>
<end LOUIE2>
<LOUIE3>
<Kyle talks to Louie again.>
KYLE: Louie.
LOUIS: Yeah?
<goes to QUESTIONS>
[Question: You both had a day off?]
KYLE: You and Rosa both had the same day off?
LOUIS: I know, man. Trip, right? Days where me and Rosa both catch a break
are pretty rare. I don't think Mama Sass was even s'posed to get that day
off. But I think Dunning got his wires crossed, 'cause she was outta here,
too. So, yeah. Me and Rosa both missed out on seeing that cat's face. Total
drag. [So only Dunning saw him?] If that guy was really your amigo Bradley,
then he's got some kinda luck. If I'd been there...? Woulda killed him on the
spot with how he done for Danny!
<back to QUESTIONS>
[New Question: So only Dunning saw him?]
KYLE: So Dunning's the only one who saw the mystery man?
LOUIS: You got it. Hey... Why don't I show the boss a photo of Bradley! I'm
sure the old coot could tell if he was the mystery guest or not, yeah?
KYLE: Works for me.
LOUIS: Dig it, man. I'll just show him the photo like it's no big, and see
what he says. Leave it to me, my man! Plan'll go down smooth as that bourbon!
KYLE: Thanks, Louie.
LOUIS: You know, I don't get this, Hyde. Say the guy what stayed here really
was Bradley. I mean, why's he come here? What's he thinkin'? Guy musta had
SOME reason for comin' here, yeah?
KYLE: I don't know, Louie. I can't figure that out.
LOUIS: 'Nother drink, my man?
KYLE: Yeah, hit me again.
<end LOUIE3>
<If Kyle checks out the jukebox with Louie in the room:>
[There's a big jukebox in the corner. ...Wonder if they have any jazz?]
LOUIS: Yo, spinnin' some tunes? Whatcha got?
<If you check the right-hand set matches on the shelf:>
[There are some matches here.]
KYLE: ...What's this?
<He sees brain teasers printed on the matchbooks.>
[Can you solve this puzzle? The goal is to create three triangles. The
hard part is to do so by taking away six of the matches.]
<If you don't solve it, Kyle says, "Wait, how does this work?" If you
solve it, Kyle will sometimes say "Easy-peasy," "There, did it," "That
wasn't too tough," or "That was easy.">
<If you check the left-hand set of matches.>
[There are some matches.]
KYLE: ...What's this?
[Can you solve this puzzle? The goal is to create three squares. The
hard part is to do so by taking away four of the matches.]
<If you don't solve it, Kyle says, "..." If you solve it, Kyle will
sometimes say "There, did it," "Easy-peasy," "That wasn't too tough,"
or "That was easy.">
<If you check the right set of matches again:>
[What do you know? Matches.]
<OR:>
[There are some matches laid out here.]
KYLE: What the hell. I'm bored. Might as well give it a shot.
[Are you a puzzle nut? Try this mind-bending match problem! The goal is
to create three triangles. The hard part is to do so by taking away six
of the matches.]
<If you check the left set of matches again, you will get one of the
following lines:>
[There are some matches.]
<OR:>
[There are some matches. Why doesn't anyone ever hand out lighters?]
KYLE: C'mon, Hyde, you can do this.
<OR:>
KYLE: What's this?
[Are you a puzzle nut? Try this mind-bending match problem! First, set
aside four of the matches. Now line up the remaining matches to make
three squares!]
<OR:>
[Are you a puzzle nut? Try this mind-bending match problem! The goal is
to create three squares. The hard part is to do so by taking away four
of the matches.]
<If Kyle talks to Louie again:>
KYLE: Louie.
LOUIS: Yeah?
<goes to QUESTIONS. If you already asked the "So only Dunning saw him?"
question, you will have no questions listed.>
<Kyle talks to Helen.>
HELEN: And a good evening to you, Mr. Hyde! Are you down here all by yourself?
KYLE: Yeah. I drink alone. Less hassle that way.
HELEN: Oh, I couldn't agree more. But tell me, what are you drinking this
evening?
KYLE: I'm a man of habit. First one's always a bourbon. Then I let the others
take care of themselves.
HELEN: My stars! Spending a Friday evening chatting with a fine,
bourbon-drinking gentleman! I can't even remember the last time I did
something like this! Goodness, it takes me back. It truly does...
KYLE: So... You have family?
HELEN: No, I'm all alone. [You don't have any family?] And you, Mr. Hyde?
KYLE: Same story. No family, no ties. I'll tell you something, though. This
is the first time I ever spent the last Friday of the year in a hotel bar.
And the first one I ever spent with a nice, gimlet-drinking lady like
yourself.
HELEN: Oh, Mr. Hyde! You certainly are a charmer!
KYLE: Now that I think about it, you said something when I first saw you. You
wanted to stay in the room that grants wishes, right?
HELEN: That is correct. There's a wish of mine that simply must come true, no
matter what. [A wish that must come true?] That's why I came to this hotel,
you see.
KYLE: C'mon, that's just Dunning flapping his gums. You really believe that
fairy tale?
HELEN: And is it such a shame if I do believe it, Mr. Hyde? Perhaps the
fairy-tale nature of the story makes me more inclined to believe, hmm?
<goes to QUESTIONS>
[Question: How long have you been alone?]
KYLE: You always been alone?
HELEN: Oh no. No, not always. There was a time when I had someone in my life.
[So you had family once?] A lot can happen when you live as long as I have.
<back to QUESTIONS>
[New Question: You had a family once?]
KYLE: So you had family once?
<Helen looks away.>
KYLE: Not everything you hoped it would be?
HELEN: Oh no, it's nothing like that. It's just... Well, it's all in the
past, you see. Nothing interesting to speak of.
KYLE: You don't want to talk about it, I'll mind my business...and my drink.
Just thought hearing about you in the heyday might be a kick in the pants.
<If you still have questions, it goes back to the Question list. If not, it
goes to HELEN1>
[Question: What's your wish?]
KYLE: So what's this wish of yours?
HELEN: Now now, Mr. Hyde. That's my secret. All people have at least one
genuine wish in their heart, don't you think? But you never really hear about
such things, because they are so personal. Not the kind of thing you'd just
give away to anyone, don't you agree?
<If you still have questions, it goes back to the Question list. If not, it
goes to HELEN1>
<HELEN1>
LOUIS: Sorry to keep ya waitin'! We got a gimlet for the beautiful young
woman.
HELEN: Oh ho! What a rascal you are! Oh, and bartender? I'd like to order
this man a bourbon.
LOUIS: Coming right up.
[Louie heads back down the bar.]
HELEN: Now, Mr. Hyde, how would you like to play a little game with me? Just
to pass the time until your bourbon comes.
KYLE: I'm not much for games.
HELEN: Oh, but you'll like this one! It's more of a trick, really. Now just
give me one moment to set this up... ...All right, I think that should do.
Now, as you can see, I have six coins in front of me. You must arrange them
so there are four in a row both vertically and horizontally. Oh, but here's
the fun part... You can only move one coin! Do you think you can beat my
little game, Mr. Hyde?
KYLE: OK, I'll bite. But if I win, you have to tell me about your past. Deal?
HELEN: Agreed!
<goes to the coin game. If you leave the coin screen:>
HELEN: You're not giving up already, are you, Mr. Hyde? I'm sure you can
figure it out!
KYLE: ...Yeah, maybe.
<The conversation ends. When he talks to Helen again:>
HELEN: Would you like to try again? You must arrange them so there are
four in a row both vertically and horizontally. But you can move one
coin and one coin only!
<He solves the puzzle.>
KYLE: There.
HELEN: Oh, you solved it! Wonderful! Perhaps it was too easy for you. Very
well then! As promised, I'll tell you a little about my past.
KYLE: I'm listening.
HELEN: The truth is, this is not my first stay at this hotel.
KYLE: (Can't believe someone would stay here more than once...) Wait a minute.
<followup>
[When were you here?]
[You stayed here before?]
<If you don't follow up:>
KYLE: (Can't believe someone would stay here more than once...)
HELEN: I first stayed here twenty years ago. Then I returned ten years
later.
<goes to HELEN2>
[When were you here?]
KYLE: When did this happen?
HELEN: I first stayed here twenty years ago. Then I returned ten years
later.
<goes to HELEN2>
[You stayed here before?]
KYLE: You've stayed here before?
HELEN: Yes, I have. I first stayed here twenty years ago. Then I
returned ten years later.
<HELEN2>
KYLE: Wait. You've been coming here once a decade for thirty years?
HELEN: That's correct. Back then, the stories about Room 215 didn't even
exist. It all happened so long ago. At that time, I was working in Las
Vegas.
KYLE: (Seriously?) So...
<followup>
[What did you do?]
[You lived in Vegas?]
<If you don't follow up:>
KYLE: (Seriously?)
[What did you do?]
KYLE: So what'd you do? Professional gambler?
HELEN: No, no, nothing so glamorous, I'm afraid. I was a magician.
Yes, before I lost this eye, I used to entertain huge crowds of
people.
KYLE: You were a MAGICIAN?
<Helen nods.>
[You lived in Vegas?]
KYLE: You lived in Lost Wages, eh?
HELEN: Lost Wages? Ha, ha, ha! Oh, Mr. Hyde, I haven't heard that
one in years! Yes, it was a long time ago, but I was a magician,
you see! Yes, before I lost this eye, I used to entertain huge
crowds of people. Las Vegas was the place to be for people in my
line of work.
KYLE: You were a MAGICIAN?
<Helen nods.>
LOUIS: Hyde, my man? Do I have something special for you... This, brother,
is the best bourbon in the house. Aged twelve years.
HELEN: Oh my, look at the time! I'm sorry, gentlemen, but I must be off.
Thank you for engaging this old lady in such spirited conversation, Mr. Hyde.
Please enjoy the rest of your drink. Bartender, would you please help me up
to my room?
LOUIS: Huh? Oh, uh...yeah. Sure. Yo, Hyde, looks like I gotta run Grandma
Patch back to her room. Can ya keep an eye on the place till I get back?
KYLE: Sure.
[Helen and Louie leave the bar together.]
<If you try to leave the bar, Kyle says, "I've got to wait for Louie to get
back.">
<Kyle checks out the bar. You must check an item to trigger the next scene.
Certain items will trigger the scene:>
[There's a bottle of bourbon on the bar.]
[The glass is filled with bourbon.]
<Solving the triangle match puzzle triggers the next scene. Kyle says
"That was easy" after solving it.>
<Solving the square match puzzle triggers the next scene. Kyle says
"That should do it" after solving it.>
<If Kyle checks the jukebox playlist when no one else is in the bar, he
says, "What should I play?">
<The door opens.>
KYLE: Who's there?
IRIS: Well, if it isn't Mr. Hyde.
KYLE: Oh. You.
IRIS: Are you the only one here?
KYLE: Yeah. Bartender had to step out, but he's coming back.
IRIS: Yes, I should have expected that in this place... So are you heading
for bed, Mr. Hyde? I would hate to interrupt your leaving...
KYLE: Nope. Barkeep asked me to watch the place until he gets back. ...Which
will probably take a while.
IRIS: Oh, I see. I can't imagine why I'm asking you this, but would you like
to have a drink together?
[No thanks.]
[No way!]
[No thanks.]
KYLE: Sorry. Maybe later.
IRIS: Oh really? OK, I get it.
KYLE: Get what?
IRIS: You're not used to sharing a drink with a young, attractive woman
such as myself.
KYLE: (Think what you want. I still ain't drinking with you.)
[No way!]
KYLE: Hell, if I drink and you drink and we're in the same room, I can't
stop it.
IRIS: How could I refuse an offer like that?
KYLE: But I should warn you... Folks say I get pretty mean when I drink.
IRIS: ...You don't say?
KYLE: Yeah. 'Course, I black out all the time, so I can't really say if
it's true or not.
IRIS: Truly?
KYLE: Check the knuckles. Things are covered in scars, and I don't
remember any of 'em.
IRIS: You really are unbelievable, Mr. Hyde. And after that tale, I
certainly don't want to share a drink with the likes of YOU!
KYLE: (Heh... No better way to shake an unwanted drinking partner.)
[09:20 PM]
<If Kyle talks to Iris again:>
KYLE: You mind?
Iris: Not at all. <She smiles.>
KYLE: Never mind, I think I'll drink alone tonight.
<Iris pouts.>
<Kyle checks an item in the bar.>
[There's a bottle of bourbon on the bar.]
[The glass is filled with bourbon. My old friend.]
[There's an old juke in the corner of the bar.] <The next scene begins
after you choose a song. If you check the jukebox when Iris is in the
bar, she says, "What's playing?">
<Solving the triangle match puzzle triggers the next scene. Kyle says
"That wasn't too tough" after solving it.>
<Solving the square match puzzle triggers the next scene. Kyle says
"That's it" after solving it.>
<The door opens.>
KYLE: Who's there?
<Martin enters.>
MARTIN: And a fine evening to you, Mr. Hyde!
KYLE: Summer. ...Don't you have a book to plagiarize or something?
MARTIN: So this is where you have sought refuge from the weight of this
cruel world. I thought you might be in your room, but found it empty.
KYLE: You been looking for me? Why?
MARTIN: Our last discussion ended on somewhat...awkward terms. I had hoped
to start anew.
KYLE: No thanks, Shakespeare. I got no interest in anything else you have
to say.
MARTIN: Your words wound me, sir. I had hoped to find you in a more
charitable mood. Perhaps you do not appreciate the gravity of my earlier
confession. The truth remains that I revealed a secret which I had guarded
for ten years. And to a traveling salesman that I had met not hours before!
You are a curious fellow, sir, and I find myself in awe of your gruff nature.
And so I thought we could engage in a further bit of light conversation.
IRIS: Mr. Hyde?
KYLE: Yeah?
Iris: I'm finding that drinking alone is just as sad and pathetic as I
thought it would be. I'll be leaving now. Do enjoy the remainder of your
thrilling evening.
[Iris leaves the bar.]
MARTIN: I say...
KYLE: What?
MARTIN: Who was that woman?
KYLE: She's the dame staying in 216. Name's Iris.
MARTIN: Iris? Oh no, that's not right.
KYLE: (You know something I don't, pal?) Hold it.
<followup>
[What's not right?]
[What's the deal with Iris?]
<If you don't follow up:>
KYLE: (You know something I don't, pal?)
[What's not right?]
KYLE: What's not right?
MARTIN: Oh, it's nothing really. I just had a feeling I'd seen that
young woman before. [He met Iris before?]
[What's the deal with Iris?]
KYLE: So what's the skinny with Iris?
MARTIN: Oh, it's nothing really. I just had the feeling I'd seen that
young woman before. [He met Iris before?]
MARTIN: By the way, Mr. Hyde... I have just remembered a small nugget that
may be of interest to you.
KYLE: Go on.
MARTIN: You recall asking me about Osterzone, yes? Well, during our chat, I
failed to mention something about the image on my bookmark. Three years ago,
you see, that particular painting was on display, and--
KYLE: Somebody nicked it.
MARTIN: Oh! You knew already?
KYLE: Yeah.
MARTIN: But... But how could you possible know this? Not two hours ago, you
did not even know the name of Osterzone! How did you manage to find out about
the theft so quickly?
KYLE: I did a little research.
MARTIN: Research, you say? And just how did you manage this?
KYLE: I ain't playing twenty questions with you, pal. See you around.
MARTIN: Wait! Please, Mr Hyde, just... One moment, please! It is as I
suspected. You, sir, are no ordinary salesman. Yes... Yes, it's clear as day
now. It all makes sense. [What makes sense?]
<goes to QUESTIONS>
[Question: What all makes sense?]
KYLE: You figure something out?
MARTIN: Just a bit of deductive reasoning, is all. I am, after all, a mystery
novelist first and foremost. I couldn't help but attempt to grasp your true
nature!
KYLE: (A thieving mystery novelist...)
MARTIN: You claimed to know nothing of Osterzone or his work. And yet you
seem quite well informed on this matter. How is that? You are also employed
as a salesman, but lack even the most basic of people skills. So what can we
deduce from this, hmm?
KYLE: (Maybe I can deduce my fist to your face. Bet that would shut you up.)
MARTIN: But enough wordplay! It is time to, as they say, lay my cards on the
table. You, sir, are on the trail of Osterzone's stolen masterpiece! Yes, a
work such as Angel Opening a Door must be insured for a princely sum. I
surmise that you are in the employ of this insurance company. You have been
hired to track down the painting and return it to the rightful owners!
<Kyle scratches his head.>
MARTIN: This salesman act is nothing more than a mink stole on a cheap lady
of the night! Now that, sir, is deduction! Behold the power of my reasoning
and wit!
KYLE: You done making stuff up?
MARTIN: Wh-what?! Are you telling me that this is NOT your purpose here?
KYLE: Yeah. That's what I'm telling you.
MARTIN: Oh... But I had deduced... I was so certain of it!
KYLE: Well, I'm certain that you're an idiot, and only one of us is right.
And you couldn't deduce your way out of a wet sack. That's why your books
sell like fried crap at a county fair.
MARTIN: ...I see. I supposed I should thank you for such honest advice. But
know this! The more you resist, the more determined I am to learn about you!
<If you still have questions, it goes back to the Question list. If not, it
goes to MARTIN1>
[How do you know Iris?]
KYLE: Where'd you meet her?
MARTIN: I think... Perhaps it was... No, I'm sorry, Mr. Hyde. I fear my
memory has failed me. But if I manage to lift the fog from my mind, I shall
notify you posthaste!
<If you still have questions, it goes back to the Question list. If not, it
goes to MARTIN1>
<MARTIN1>
MARTIN: Make no mistake about it, Mr. Hyde! I shall discover your true
identity!
[Summer leaves the bar.]
KYLE: I've had about enough of that guy...
<Kyle checks an item in the bar.>
[The glass is filled with bourbon. ...How I've missed you.]
[There's a bottle of bourbon on the bar.]
<Solving the triangle match puzzle triggers the next scene. Kyle says
"Easy-peasy" after solving it.>
<Solving the square match puzzle triggers the next scene. Kyle says "I
think I got it" after solving it.>
<The door to the bar opens.>
KYLE: ...Hmm?
LOUIS: Yo, Hyde, thanks for watchin' the place. Anyone swing by while I was
out?
KYLE: Two birds showed, but they both left.
LOUIS: Aw, man! Wish they'd stuck around till I got back!
KYLE: You're better off this way. Trust me.
LOUIS: That's cold, Hyde! I thought you were s'posed to be workin' with
people now! Can't never let a customer leave angry, dig?
KYLE: Louie, you're makin' my head hurt.
LOUIS: Sorry, man. Didn't mean to bring ya down.
KYLE: Wasn't you. I think I'm done here.
LOUIS: OK, cool. Well, bar's open till midnight, so swing back if ya get
bored, yeah? We still gotta have that drink together!
<Kyle can now wander around the bar again. If you got the LOUIE2 scene but
haven't asked Louie the appropriate questions yet and you try to do so now,
you will get the following scene:>
KYLE: You mind?
LOUIS: Need a refill, my man?
KYLE: Not yet.
LOUIS: Then gimme just a sec here, yeah? I'm polishin' glasses, but I'll
be done soon.
<conversation ends>
<Kyle leaves the bar and comes upon Rosa in the hall.>
ROSA: Oh, Mr. Hyde! Good evening!
KYLE: You're still cleaning?
ROSA: Oh, yes! Clean, clean, clean! That's all poor Rosa does! This old
hotel's about to fall apart, you know? Sometimes I think I'm the only thing
that keeps it going... Besides, the key to good housekeeping is sticking with
it. Can't let dirt win!
KYLE: Guess not.
ROSA: So where were you? Huh? Did you stop by the bar?
KYLE: Yeah.
ROSA: Oh! And how was it?
KYLE: Not bad.
ROSA: That's good to hear! Dunning decided to let Louis manage the bar all
by his lonesome! That boy! When it comes to cleaning, he just wants to loaf,
but he loves that bar!
KYLE: Seems so.
ROSA: Well, that's Louis for you. I wish he would put the same effort into
helping me! but will he? Land sakes, no!
KYLE: How long has that bar been here?
ROSA: Oh, quite a while now! I heard it was opened to celebrate the hotel's
tenth anniversary. [When was the anniversary?] Mmm-hmm! Me? I think it's too
small, but folks seem to be taken with it anyway. It's always full! And the
folks there always leave me a terrible mess!
<goes to QUESTIONS>
[Question: When was the anniversary?]
KYLE: So when was the tenth anniversary?
ROSA: Well, let's see... The hotel was built twenty years ago... That was
1959, so... 1969! If my math is right, and I just know it is!
KYLE: Ten years ago... (Wait a second... That incident with the missing kid
happened about ten years ago.) So I heard about a strange incident that went
down ten years ago. You know anything about that?
ROSA: Oh... [So something did happen.]
<back to QUESTIONS>
[New Question: Tell me about the story.]
KYLE: So the story's true?
ROSA: So you heard, did you? I can just guess who told you!
KYLE: Little bird.
ROSA: I just bet! Well, I'm a terrible liar, so I guess I can't pretend not
to know!
KYLE: So it's true?
ROSA: ...Yes, Mr. Hyde, it's true. Every word.
KYLE: That's interesting.
ROSA: ...HA! Oh, Rosa fooled you but good! Ha ha ha ha ha! Oh, I'm sorry,
Mr. Hyde!
KYLE: What?
ROSA: Oh, you should have seen your face... Whew! No, I'm afraid it's just
a rumor. But when I started here? I thought it was true, too, and for a fact!
KYLE: Rosa... You made a joke. Did it hurt?
ROSA: Oh, hush now! Anyway, when I first asked Dunning if it was true, he
flat out laughed at me! And here I was, hoping to get a peek at a ghost! What
silliness!
KYLE: That's one word for it.
ROSA: Dunning says that this kind of thing happens all the time! What with
hotels changing owners and closing down and so forth? Well, rumors get
started and folks talk about ghosts and murders and there you go! Oh, look
at me! Chatting away like I have all the time in the world! So much cleaning
still to do, and look at the time! Busy, busy, busy...
KYLE: I'll get out of your hair.
ROSA: Oh, but Mr. Hyde! Maybe you want to hear more about this hotel's
history? Hmm? Well, if I were you, I'd ask Dunning himself! Yes I would! I'm
sure the old coot is around somewhere!
KYLE: I'll do that.
ROSA: You will? Good! And I'll get back to my cleaning!
<If you try to talk to Rosa again:>
ROSA: I'm cleaning? Can't you see that? Land sakes! Talk to me later,
OK? Good.
<If you try to turn on the front-desk TV after hours:>
[There's a power switch and a channel selector.]
KYLE: Is this thing broken? What a wonderful hotel this is...
<If you buy something from the vending machine:>
[There's a coin slot on the front of the machine.]
<If you enter the secret number:>
KYLE: Something fell out of the vending machine.
[I got a Pinkie Rabbit doll.]
KYLE: Pinkie Rabbit, huh? Better than a poke in the eye, I guess.
<Kyle goes to the restaurant.>
KYLE: Huh? Wait, that looks like... Oh, it's Dunning. [What's he looking at?]
<He goes to where Dunning's standing.>
KYLE: Hey there.
DUNNING: Huh? Oh, it's you, Mr. Hyde. Whaddya need?
KYLE: Tell me about the hotel's history.
DUNNING: Its history? Now why'n the Sam Hill ya wanna go askin' 'bout that
nonsense?!
KYLE: I'm a curious guy. Look, I was just down in the bar, and someone told
me a little bit about it. Said the bar was built for the hotel's tenth
anniversary. That true?
DUNNING: So ya heard, did ya?
[When was it built?]
[Has the name changed?]
[When was it built?]
KYLE: When was this place built?
DUNNING: Oh, 'bout twenty years ago, give'r take. Back then, place was
whatch'd call real popular. Used'a have bands playin' in the restaurant,
even. And weekends were outta control! Wild parties and everythin'!
KYLE: Sounds like it was the place to be.
DUNNING: Yep. Used t'be all right... But by the time I took over, the
place'd changed. [When did Dunning take over?] No more parties or fancy
bands. Reputation just went down the crapper.
<goes to QUESTIONS>
[Has the name changed?]
KYLE: Has it always been called Hotel Dusk?
DUNNING: Yep, yep. Been the same since Day One. 'Parently, the fella
who built the place gave it that handle. Went up on the roof after
they'd finished buildin', and took a look at the sunset. Fella was so
impressed, he named the joint Hotel Dusk. Leastwise, that's what I
heard. Yeap, I thought about renamin' the place when I started runnin'
it. [When did Dunning take over?] But when I heard how much it costs
t'change a damn sign, I 'bout near fainted!
<goes to QUESTIONS>
[Question: What were you looking at?]
KYLE: So what were you staring at when I came in?
DUNNING: Pictures.
KYLE: Pictures?
DUNNING: Yep. Take a look up above the piano. See them frames? Got lots'a
old shots of the place in there. They're all pictures'a guests in the
restaurant. Most've 'em are from before my time here.
KYLE: That old, huh?
DUNNING: Real comedian, ain't ya, Hyde? ...'Course, they're all up'n gone
now. Shucks. Even a hard-ass like me can get a bit weepy thinkin' 'bout the
past...
<If you still have questions, it goes back to the Question list. If not, it
goes to DUNNING1>
[Question: When did you take over?]
KYLE: How long you been running the place?
DUNNING: 'Bout five years now. I'd been thinkin' 'bout startin' up a business
when I saw this hotel for sale. Place was goin' for a song, so I bit. Talk
about a sucker! Shoulda just buried my cash in a damn hole... I thought a
hotel'd be a perfect way t'make some quick scratch. 'Course, after openin',
I did nothin' but break my back every damn day! Can't tell ya how many times
I thought 'bout hightailin' it back to my old job... [What did Dunning used
to do?] But I tightened m'belt and just kept 'er runnin'. Thanks to good
people like yerself, of course!
<back to QUESTIONS>
[New Question: What did you do before?]
KYLE: What did you do before you ran this place?
DUNNING: What, ya mean my job? Ain't no business'a yours!
[OK. Just curious.]
[How'd you get this place?]
[OK. Just curious.]
KYLE: Hey, just curious. You're a real piece of work, Dunning. Makes
me wonder how you got started.
DUNNING: Well, I'll save ya the trouble of listenin'! Ain't a man alive
with a life story more borin' than mine! I ain't got a damn thing ya'd
wanna hear about.
KYLE: If you say so.
<If you still have questions, it goes back to the Question list. If not,
it goes to DUNNING1>
[How'd you get this place?]
KYLE: Tell me something, Dunning. How does a guy like you get into hotel
management?
DUNNING: Aw, it ain't nothin' special. I was just yer average paper
pusher, ya know?
KYLE: You saved up enough money to buy a hotel by working in an office?
DUNNING: Yep. Pretty much.
KYLE: So what's a hotel run you these days?
DUNNING: I ain't tellin' ya that! It's a secret!
KYLE: C'mon, you can tell me.
DUNNING: I said no! Ya don't just start askin' 'bout other people's
cash flow! Ain't right!
<If you still have questions, it goes back to the Question list. If not,
it goes to DUNNING1>
<DUNNING1>
DUNNING: Aw, that's enough of hearin' me jaw. I gotta get back t'work...
KYLE: I won't stop you.
DUNNING: By the way, Mr. Angel in 213 called me up a few minutes ago. Told
me that whole mess'a his is taken care of. Found his missin' stuff in his own
room. Just where I told him it was!
KYLE: Maybe you could quit this gig and go tell fortunes.
DUNNING: Don't I know it! Last thing I needed was the fuzz sniffin' 'round
my joint.
[Dunning heads out of the restaurant.]
<Kyle leaves the restaurant. If you go back in the bar and talk to Louie
again:>
KYLE: Got a minute?
LOUIS: What? I'm workin,' man. Catch me later.
<Kyle runs into Rosa in the hall.>
ROSA: Mr. Hyde!
KYLE: What now?
ROSA: You're still here!
KYLE: That a problem?
ROSA: No, no, just the opposite! It's perfect! Just perfect!
KYLE: (What's she rambling about now?) Rosa! Slow down a second!
<followup>
[What's perfect?]
[What do you want?]
<If you don't follow up:>
KYLE: (What's she rambling about now?)
[What's perfect?]
KYLE: What's perfect?
ROSA: Listen, you're free, right? Sure you are! Well, I need a favor
from you!
KYLE: Again?
[What do you want?]
KYLE: What do you want, Rosa?
ROSA: Oh, good! I knew you'd agree if I asked nice. Yes I did!
KYLE: I'm not talking to Summer again.
ROSA: Just listen! It's about the restaurant! See, sometimes when our guests
order wine, they like to keep the labels. Well, when that happens, we always
deliver it to their room later. But I'm as busy as can be, and Louis has to
run that darn bar of his! And so neither of us can spare the time to do it!
And then when I saw you, I thought...
KYLE: You thought I'd do it.
ROSA: Oh, aren't you sharp! Yes, that's my thought. Exactly!
KYLE: I do this, and you're just going to give me a dustpan.
ROSA: Hush! I will not! And I'll give you a free breakfast to make up for it!
KYLE: ...Keep talking.
ROSA: We've got fresh blueberry muffins and my very own Spanish omelets!
KYLE: Sounds good.
ROSA: So you'll do it? Oh, say you will, Mr. Hyde!
KYLE: ...Fine. Who wants the damn label?
ROSA: Language! ...And the label goes to Mrs. Parker up in Room 212.
KYLE: (The old woman...)
ROSA: It's quite a touching story, actually! Yes it is! You see, Mrs. Parker
ordered wine ten years ago when she came with her friend. [Who was Helen here
with?] So tonight, the poor woman ordered that very same bottle of wine! I
didn't want to snoop, but I watched her drink it, and she looked so sad...
Well, when she finished, she started talking about this and that... And she
told me how she wanted to take the label home with her!
<goes to QUESTIONS>
[Question: Who did Helen come here with?]
KYLE: Who was Helen here with ten years ago?
ROSA: I'm sure I have no idea! I told you all I know, Mr. Hyde. Why are you
so nosy?
KYLE: Just my way.
ROSA: But if Rosa had to guess... I'd say it was her son! Yes I would!
KYLE: Her son?
ROSA: Oh, I can't say for sure... But I'm sure it's true!
KYLE: ...You don't say?
ROSA: I just know it! I saw how she talked to him back then! I know she's
just like me... [...Just like you?]
<back to QUESTIONS>
[New Question: She's just like you?]
KYLE: Hold on. How is Helen Parker just like you?
ROSA: Her son, silly! He lives far away, just like my boy!
KYLE: You sure about that?
ROSA: Of course! Well, kind of... Stop confusing me! Listen, I may not know
the first thing about her personal life, but I know I'm right! I'd stake my
mop on it!
KYLE: Wait... You have a son?
ROSA: Yes, I do, Mr. Hyde. Is that a surprise to you? My boy lives in
Manhattan. [What's Rosa's son like?]
[New Question: What's your son like?]
KYLE: What's he like? Your son, I mean. And what's he doing in New York?
ROSA: He works on Wall Street.
KYLE: No kidding. Rosa the Wonder Maid and her stockbroker son.
ROSA: You pegged him true, Mr. Hyde! He went to a good university and found
himself a nice place to work. Yes he did!
KYLE: I bet you're proud of him.
ROSA: Mmm, yes. I guess it seems like that from your point of view.
KYLE: You're not proud of him?
ROSA: It's not that, Mr. Hyde. It's just...he doesn't understand me one bit!
KYLE: Well, you're a pretty complex person.
ROSA: Do you know what he said to me? Do you?! He told me to QUIT MY JOB!
Can you imagine? "Come to Manhattan!" he says! "We'll live together!" he
says!
KYLE: Sounds like a nice offer to me.
ROSA: Oh? And what about it strikes you as nice?! I do good, honest work
here! I support myself with my own two hands! I'm not so old that I need my
son to take care of me! And I'm sure not changing my life just because HE
says so! Uh-uh! Not me! Not Rosa!
KYLE: (This is a familiar tune... She sounds just like my mother.)
ROSA: Well, thank you in advance, Mr. Hyde!
KYLE: So where's this wine bottle?
ROSA: Well, let's see... Two of them are in the kitchen, and one is in the
restaurant.
KYLE: Sounds like the old lady has a serious drinking problem.
ROSA: Don't tease, Mr. Hyde! We had three guests order wine tonight! Mrs.
Parker only had one. Mr. Summer himself drank the second bottle! And the
third was the young woman in 216. Iris, I think her name is. Anyway, I was
so busy when I was clearing off the tables and cooking and so forth... And,
well, I just lost track of which bottle belonged to her!
KYLE: That omelet better be worth it.
ROSA: Oh, it is! Don't you worry! Anyway, could you please find her bottle?
When you do, just peel the label off and deliver it to her room. OK? Good!
I've got laundry to do, so I can't talk anymore. Busy busy busy, you know!
And thank you again, Mr. Hyde.
[Rosa hurries off.]
[09:40 PM]
<Kyle goes to the restaurant.>
[There's a wine bottle on the table.]
KYLE: This is a bottle of rose. [Who had rose?]
<He goes to the kitchen.>
[There's a bottle of wine on the counter.]
KYLE: This is a bottle of white wine. [Who had white wine?]
[There's a wine bottle next to the microwave.]
KYLE: This is a bottle of red wine. [Who had red wine?]
<He goes upstairs and knocks on 211.>
MARTIN: Who is it?
KYLE: Kyle Hyde.
<Martin opens the door.>
MARTIN: Do you have some business with me, Mr. Hyde?
KYLE: I got something to ask you.
<goes to QUESTIONS>
<If you knock on Martin's door before checking the wine bottles, you'll get
this scene:>
<No questions, no items. When you exit the question list:>
MARTIN: I'll be off then. A good evening to you.
[Summer closes his door.]
[Question: What wine did you drink?]
KYLE: You had wine with dinner, right?
MARTIN: But of course! Food without wine is like a body without a soul to
fill its--
KYLE: What kind?
MARTIN: Um... Well, it was white. Yes, a crisp Chardonnay with hints of
apple and a rich--
KYLE: Don't care.
MARTIN: Oh, I... I see. Well... I guess we are finished here. Yes, well...
good evening, sir.
[Summer closes his door.]
<If you knock on 211 again:>
MARTIN: Go away!
<He knocks on 216.>
IRIS: Yes? Who's there?
KYLE: It's me. Kyle Hyde.
<Iris opens the door.>
IRIS: Mr. Hyde. I figured you would be drunk in a ditch by now.
KYLE: You and me both, sister.
<goes to QUESTIONS>
<If you knocked on Iris's door before checking the wine bottles, you'll get
this scene:
<No questions, no items. When you exit the question list:>
IRIS: You are a very strange man, Mr. Hyde. Good night!
[Iris turns and slams the door behind her.]
[Question: What wine did you drink?]
KYLE: I'll make it quick. You drank wine with dinner, right?
IRIS: Why, did you want to see if there was any left?
KYLE: I don't suppose you remember what kind?
IRIS: Rose. And it was quite nice. Why on earth are you asking me this?
KYLE: Just checking. Don't mind me.
IRIS: ...So you came up to my room to ask me... So that's it? Nothing more?
Well, good night then.
[Iris turns and closes the door behind her.]
<If you knock on 216 again:>
IRIS: Please go away. I'm quite busy at the moment.
<Kyle goes to his room and grabs the adhesive remover.>
KYLE: This should get the label off in no time.
[I take the adhesive remover.]
<If you try to use the remover on the wrong bottle:>
<Rose wine:>
KYLE: Nope, this isn't Helen's wine.
<White wine:>
KYLE: Nope. This wasn't Helen's bottle.
<He goes back to the kitchen.>
KYLE: Hmmm...red wine. I bet this is the bottle Helen ordered. Looks like
there's still a bit of wine in the bottom of the bottle. I don't need the
whole bottle. Just the label.
<He uses the adhesive remover on the label. If you leave the screen before
covering the whole label:>
KYLE: Great. How the hell do I peel this stupid thing off?
<returns to the label screen>
<He starts peeling off the label. If you exit the screen before peeling it
off all the way:>
KYLE: The label hasn't been removed all the way.
<returns to the label screen>
<If you pull it too fast, the label will rip and you'll get the scene below:>
KYLE: I'm beat.
<He hears footsteps.>
KYLE: Huh?
ROSA: So here you are, Mr. Hyde.
KYLE: Yeah.
ROSA: Are you having trouble with the wine label? You seem to be...
OH NO!
KYLE: Huh. That was flimsier than I thought.
ROSA: You ripped it, Mr. Hyde! You RIPPED it! Now what are you going
to do? Huh?
KYLE: Go to bed? Stop running errands for people?
ROSA: We don't have any more bottles of this wine! And poor Mrs. Parker
was so looking forward to taking this label home with her. She's going
to be heartbroken. So let me ask you again, what are you going to do
about it?
KYLE: Great... Smooth, Hyde. Real smooth.
[Hyde spent the rest of the night brooding in his room.]
[GAME OVER]
<He peels off the label.>
KYLE: There we go.
[I take the wine label.]
KYLE: (Wonder what kind of memories this wine holds for the old gal. Guess
it's time she and I had ourselves another chat.)
<He goes upstairs and knocks on 212.>
HELEN: Oh, Mr. Hyde! What brings you here?
KYLE: Rosa has her hands full. She asked me to bring you this wine label.
HELEN: You came all this way just for me? Please! Please, come in!
<He enters the room.>
HELEN: I'm sorry that you had to run all over the hotel for my sake.
KYLE: Don't worry about it. I got nothing better to do.
HELEN: Oh, posh! I'm sure you're a very busy man. But now that you're here,
please feel free to sit for a spell. My room is your room!
KYLE: Thanks.
HELEN: Oh, I'm so happy...
KYLE: Yeah?
HELEN: Oh, yes, dear. Don't you get excited when friends come to pay you a
visit? Everyone likes to have visitors... And you're not just any visitor!
I find our conversations quite peculiar, Mr. Hyde, but in a very good way.
You make me feel like I did ten years ago. [What happened ten years ago?]
<goes to QUESTIONS. If you give the label back first:>
KYLE: Here's your label.
HELEN: Oh, thank you! This is simply wonderful! It will make for such
a nice memory...
<back to QUESTIONS>
[Question: What happened back then?]
KYLE: Yeah? What happened ten years ago?
HELEN: Hmm? Oh, nothing. I'm just reminiscing. Please forgive this old woman
her fancy.
KYLE: (The old gal is hiding something. Time to drag it out of her.)
<If you already gave back the label, it goes to HELEN1A. If you haven't given
the label back yet:>
HELEN: But...Mr. Hyde? I thought you brought a wine label for me?
<goes to QUESTIONS. He gives the label.>
KYLE: Here's your label.
HELEN: Oh, thank you! This is simply wonderful! It will make for such
a nice memory...
<back to QUESTIONS. No questions, no items. When you exit the Question
list, it goes to HELEN1A>
<HELEN1A>
KYLE: Mind if I ask you something?
HELEN: And what would that be?
KYLE: Rosa said you shared that wine with someone a few years ago. Who was it?
HELEN: Does it really matter?
KYLE: (She's trying to dodge me...) Actually...
<followup>
[Out with it! Who was it?!]
[C'mon. I'm just curious.]
<If you don't follow up:>
KYLE: (She's trying to dodge me...)
<goes back to HELEN1A and to followup>
[Out with it! Who was it?!]
KYLE: Yeah. It matters.
HELEN: <red aura> I can't say that I appreciate your tone, Mr. Hyde!
I have no intentions of discussing that with you. Please understand.
<goes back to HELEN1A and to followup>
[C'mon. I'm just curious.]
KYLE: It isn't the end of the world, but it's been bugging me for a
while.
HELEN: Oh?
KYLE: You told me you've been here before. So when did you share a
bottle of wine with someone?
HELEN: Mr. Hyde, you are persistent! If you must know, that day took
place ten years ago. [Who'd she meet ten years ago?]
<HELEN1B>
KYLE: So the guy you met ten years ago? What happened to him?
<Helen looks away.>
KYLE: (She looks pretty shaken up.) Let me guess.
<followup>
[You don't know, do you?]
[I bet he's dead!]
<If you don't follow up:>
KYLE: (She looks pretty shaken up.)
<goes back to HELEN1B and to followup>
[You don't know, do you?]
KYLE: You don't know where he is, do you?
HELEN: I'm sure he's fine. It's just... We just haven't been in
contact since that day. [Why weren't they in contact?]
<goes to QUESTIONS>
[I bet he's dead!]
KYLE: So he's pushing up daisies or what?
HELEN: <red aura> Heaven forbid! No! No, of course not! I can't
believe that's true!
<goes back to HELEN1B and to followup>
[Question: Who was this person?]
KYLE: Let's talk about the person you met ten years ago.
[You hate him.]
[You care about him.]
[You hate him.]
KYLE: It was someone you hate.
HELEN: <red aura> Heaven forbid! Whatever are you saying, Mr. Hyde? No,
of course not!
<If you still have questions, it goes back to the Question list. If
you have no more questions and you got the "Why don't you contact him?"
question wrong, it goes to HELEN1C. Otherwise, it goes to HELEN1D>
[You care about him.]
KYLE: The person is pretty special to you. Right?
HELEN: Oh, yes. That person meant the world to me. But then I... I...
I betrayed him. [Why would she betray someone?]
<back to QUESTIONS>
[New Question: How did you betray him?]
KYLE: Why did you betray him?
HELEN: Because I'm selfish! Because I was thinking only of myself. Of
what I thought I wanted. I left him behind, Mr. Hyde. I abandoned him.
<If you still have questions, it goes back to the Question list. If you
have no more questions and you got the "Why don't you contact him?"
question wrong, it goes to HELEN1C. Otherwise, it goes to HELEN1D>
[Question: Why don't you contact him?]
KYLE: I wouldn't think it would be hard to contact this mystery person. But
I bet I know why you haven't.
[He forgot all about you.]
[You miss him too much.]
[He forgot all about you.]
KYLE: I think he forgot you.
HELEN: <red aura> Nonsense! He would never forget me! No! No...
Impossible!
<If you still have questions, it goes back to the Question list. If
you have no more questions and you this response wrong, it goes to
HELEN1C. Otherwise, it goes to HELEN1D>
[You miss him too much.]
KYLE: You think about him a lot, don't you?
HELEN: Oh, yes. Each and every day. I want so badly to see him again...
But alas, I cannot. I can't bear the thought of causing the boy more
grief. [What boy is this?]
<back to QUESTIONS>
[New Question: Who is this mystery person?]
KYLE: I think I know who you're talking about.
HELEN: I... But how...
KYLE: It's your son. Isn't it?
<Helen looks away.>
KYLE: (Let's see if Rosa knows her hunches.)
HELEN: ...Yes. That was the man I met ten years ago. ...My only son.
KYLE: What's his name?
HELEN: Alan. [Alan, huh?]
<back to QUESTIONS>
[New Question: Your son's name is Alan?]
KYLE: Your son's name is Alan?
HELEN: Yes, that's correct. Alan Parker.
KYLE: Nice name.
HELEN: We met here for dinner ten years ago, and then went our separate
ways.
KYLE: Any chance you gave him a fountain pen?
HELEN: ...Why, yes. Yes I did! But how on earth could you possibly know
that?
KYLE: You gave him that pen, huh? ...Wait right here.
HELEN: What? Does this have to do with Alan's pen?
KYLE: Yeah. Give me two minutes. I'll be right back.
HELEN: All... All right.
<He leaves the room and knocks on 211.>
MARTIN: Who is it?
KYLE: Kyle Hyde.
<Martin opens the door.>
MARTIN: Do you have some new business with me, sir?
KYLE: Yeah. Your fountain pen. I need it.
MARTIN: My...my pen? But you gave it to me not two hours ago! Why do
you now decide--
KYLE: Just give me the damn pen.
MARTIN: ...All right.
[I take the fountain pen back from Summer.]
KYLE: (This should do it.)
MARTIN: At the risk of having your response delivered to the bridge of
my nose--
KYLE: Don't ask.
MARTIN: ...Very well.
[Summer gives me the wary eye and shuts the door.]
<Kyle returns to 212. You can just open the knob to enter, but if you
decide to knock, Helen will answer the door.>
HELEN: Good evening, Mr. Hyde. Won't you come inside?
<He goes inside.>
<Kyle shows the pen.>
KYLE: Ever seen this before?
HELEN: Where did you get this?! It's his! It's my son's! [The pen
belongs to her son?]
<back to QUESTIONS>
[New Question: It's your son's pen, huh?]
KYLE: So this is your son's pen, huh?
HELEN: That's correct. I gave it to him ten years ago, when we were
finally reunited. [Finally reunited, huh?]
<back to QUESTIONS>
[New Question: You had to be reunited?]
KYLE: You were on the outs for a while, huh?
HELEN: It was because I... I... I left him behind. I abandoned him,
Mr. Hyde. I walked out of his life.
<If you still have questions, it goes back to the Question list. If you
have no more questions, it goes to HELEN1D>
<HELEN1C>
HELEN: Enough!
KYLE: What now?
HELEN: I thought perhaps you were the one person I could tell about my past,
Mr. Hyde.
KYLE: Yeah?
HELEN: But obviously you are a man who crashes through life oblivious to
emotions. I have nothing more to say to you. Please leave my room.
KYLE: ...Huh?
[I make my way back to 215.]
KYLE: What's with Helen? Why didn't she open up? Way to go, Hyde. You've
officially hit a dead end. Never thought my search for Bradley would get
derailed by a little old lady. Gues that's what I get for being such a sap.
[Hyde spent the rest of the night brooding in his room.]
[GAME OVER]
<HELEN1D>
HELEN: Mr. Hyde... You must tell me! How did that pen come to be in your
possession?
KYLE: I found it in the restaurant. A guest dropped it.
HELEN: A guest dropped... So my son... That means Alan is in this hotel!
KYLE: No. He's not.
HELEN: But then... Who dropped the pen, if not him?
KYLE: A friend of his. Well, he's not much of a friend, actually.
HELEN: But... But why? How? Oh, this is all too much!
KYLE: Alan is missing. Guy with the pen is looking for him.
HELEN: My boy is missing? Please, Mr. Hyde, tell me that is not true!
KYLE: As I understand it, Alan wrote a book and this chump stole it from him.
Sounds like your boy was shook up about it, and vanished soon after.
HELEN: That...that can't be...
KYLE: Wish I had better news for you, but there it is.
HELEN: My son had always dreamed of being a writer. On that night ten years
ago, he told me that he'd almost achieved his dream. It was hard work, but
I knew he would never give up. It was a dream, after all. Oh, to think that
it has been taken from him! It breaks my heart... It truly does.
KYLE: Yeah, that's a shame.
HELEN: Tell me about this theft, Mr. Hyde!
KYLE: Why?
HELEN: I want to find the man who stole his work and make him pay!
KYLE: Look, you're a tough broad and I like that, but it's too late. The guy
who plagiarized your son's novel already fessed up. He's searching for your
son so he can clear things up and make amends. I think the real question is
whether or not your son will forgive him.
HELEN: I have faith that he will forgive this man. I know my boy, Mr. Hyde.
Alan will surely forgive him.
KYLE: You seem pretty sure.
HELEN: That's just the way he is. His heart is large, and he has forgiven
greater trespasses before this. After all, he forgave his own mother for
turning her back on him...
KYLE: (She's finally going to spill it.)
HELEN: Mr. Hyde, may I implore you for a favor? Would you lend your ear to
a sad and shameful story?
<Kyle nods>
HELEN: Years ago, you see, there lived an absolute fool of a woman. In her
youth, she became enraptured with show business...and magic. But soon she
married, and her husband convinced her to settle down. She agreed... But
her secret heart yearned for a return to the lights and the glory.
<Scene of Helen walking away from a young Alan>
HELEN: In time, the pull of the stage became too great, and she abandoned
her family. At first, her return to the world of magic filled her life with
color. She had chosen the path of the entertainer once more. It became her
everything. The woman lived for the moment when applause swept over her like
a wave. But to her dismay, the more acclaim she received, the emptier she
began to feel. Suddenly, being known as the greatest magician of all time
mattered not. All she could think of was meeting the son she left behind so
long ago. ...What a fool she was.
KYLE: So the woman sets up a meeting with her son.
HELEN: No, not at first. Their first encounter was a simple twist of fate.
The woman had been called to perform at the grand opening of a new hotel.
And by the strangest of chances, her son was invited to the same party. When
she saw him, she was filled with fear, and certain he would be enraged. But
instead he took her by the hand and forgave her. That day, they made a promise
to each other. A promise to meet in ten years at that same hotel. And ten
years later, they did that very thing. The boy told her of his own dream. Of
how he longed to become a writer.
<Scene of a gift-boxed fountain pen>
HELEN: And the woman presented her son with a small fountain pen to help him
on his way. It was the first and last gift she ever gave him... Or so I hear.
They made no more promises, arranged no more meetings. The year after meeting
her son at the hotel, the woman quietly retired. And this time, she walked
away from the stage for good.
KYLE: So where'd she go next?
HELEN: That is the end of my story, Mr. Hyde. Where she went and how she
spent her days after that? No one knows.
KYLE: Yeah? Well, let me tell you what I heard.
HELEN: Oh?
KYLE: The woman's son told his thieving pal how much the hotel meant to him.
Said it was his most special place in the world. A place filled with memories
that he treasured more than anything. At least, that's what I heard.
HELEN: Oh, Mr. Hyde...
KYLE: I think you should have this pen. Maybe you can give it back to its
owner someday.
HELEN: I... I don't have the words.
KYLE: Anyway, sorry to take up all your time. I'll see you around.
<Helen smiles. Kyle leaves.>
KYLE: (Alan is Helen's son... Didn't see that one coming. Summer's going to
do backflips when he hears this. And I'll probably have to tell him. OK, Hyde.
Time to think. Take a second and get your thoughts together...)
<goes to CHAPTER SUMMARY>
Just before nine I made my way down to the bar for a couple of belts. Louie
was working the bar, and doing a damn fine job of it. The next person to
stumble into the bar was...
1. Iris
No, that ain't it. Iris didn't come through until a bit later.
2. Helen
That's right. The old lady from 212, Helen Parker, was the next person
to enter the bar. Me and Helen shot the breeze while she sipped a gimlet.
The drink loosened her up, and she told me how she'd stayed here before.
3. Summer
No, that ain't it. The Great American Novelist didn't swing by until
later.
After a couple of drinks, I decided to split the bar. I picked Rosa and
Dunning's brains to learn more about the hotel's history. I didn't get much,
but what they did spill was pretty interesting. For one, the bar was built
for the hotel's ten-year anniversary. Which means the hotel was built twenty
years ago. Also, I got Dunning to talk about when he took over the place. It
was...
1. Five years ago
That's right. Five years ago. Put down cash on the barrelhead and took
over that same day.
2. Six months ago
No, that ain't it. Six months ago was when the guy with my name stayed
here. I gotta rethink this.
3. Three years ago
No, that ain't it. Three years ago was when all that crap with Bradley
went down. Back when I was still on the force.
Next, Rosa came by and made me deliver a wine label to Helen. After ransacking
the whole place for the bottle, I finally got the label. What kind of wine
was she drinking again?
1. White wine
No, that ain't it. Summer was drinking the white wine. Damn near told me
every ingredient, too.
2. Rose wine
No, that ain't it. Iris was the one who ordered rose. I don't even know
what that stuff is...
3. Red wine
That's right. Helen had a bottle of red. Went for the same stuff she had
ten years ago.
When I dropped off the label, Helen was all smiles and started chatting me
up. We got to talking about who she came here with ten years ago. Her
companion's name was...
1. Dunning
No, that ain't it. Helen didn't say a word about Dunning.
2. Alan
That's right. It was her son, Alan.
3. Kevin
No, that ain't it. Kevin's name didn't come up.
I found out the pen Summer dropped is the same one Helen gave her son. I told
Helen, and she spilled her entire life story. I ain't much for sob stories,
but I listened as patiently as I could. Helen told me that she left her son
to become a...
1. Magician
That's right. A magician. Still can't wrap my mind around that one. She
left her family to pursue the dream, and it's tortured her ever since.
Maybe she sleeps better tonight.
2. Bartender
No, that ain't it. Louie's the guy who's in love with bartending.
3. Detective
No, that ain't it. Helen didn't want to be a cop. Patch would make it
hard to shoot straight...
Night has fallen over the city...and the hotel. I know the dark. It's a cover
that lets people's bad sides run wild. Envy. Doubt. Grief. ...They all come
out at night. Bradley... What do you think of at night? When the darkness
comes? I've got until dawn to find out.
==================================
4g. CHAPTER 7: DECEMBER 28TH, 1979
10:00 ~ 11:00 P.M.
==================================
<Kyle is back in his room.>
KYLE: (And the clock strikes ten... Maybe I'll join Louie in the bar for
another belt.)
<He goes to the bar.>
LOUIS: Look what the cat dragged in. Have a seat, Hyde.
KYLE: Bar's empty.
LOUIS: Yeah, got the entire place to ourselves. Take a load off, my man. You
wanna drink?
[Give me a scotch.]
[I'll have a martini.]
[Give me a scotch.]
KYLE: Why you think I'm here? Scotch on the rocks. Make it a double.
[I'll have a martini.]
KYLE: Why you think I'm here? Give me a martini. Make it dry.
LOUIS: Comin' right up. You're looking kinda grim, man. Somethin' got your
shorts in a bundle?
KYLE: Something like that.
LOUIS: Lay it on me, brother. Louie the bartender's all ears.
KYLE: More like all mouth. What is it with folks wanting to yap it up tonight?
LOUIS: That what's up? Folks been laying all their problems on you?
KYLE: That about covers it.
LOUIS: Kyle Hyde, advice columnist to lowlifes and crooks the world over!
KYLE: You're a regular comedian, DeNonno. Why the hell people want to drop
their problems on a guy like me?
LOUIS: Ha ha... You don't get nuthin'! It's 'cause people always wanna talk
to a guy like you!
KYLE: (I'm talking to LOUIE about this? How many drinks have I had?) ...Hey.
<followup>
[A guy like me?]
[What don't I get?]
<If you don't follow up:>
KYLE: (I'm talking to LOUIE about this? How many drinks have I had?)
[A guy like me?]
KYLE: What do you mean "a guy like me"?
LOUIS: Guy who looks like he don't give a damn. Guy who ain't gonna
preach or judge. A guy who looks like he's taken a few punches and knows
what it's like to hurt.
[What don't I get?]
KYLE: I don't get "nuthin'"?
LOUIS: Yeah, man. Don't get pissed, OK? Not gettin' it is vintage Kyle
Hyde. Just how you're wired. And that's the point, man! Folks look for
guys like you. Guy who looks like he don't give a damn. Guy who ain't
gonna preach or judge. A guy who looks like he's taken a few punches and
knows what it's like to hurt.
LOUIS: Look, man, I think I know how they feel. Check this out... We're in
the middle of the holiday season, right? Last Friday night of the year? They
look around and realize they're all alone in this sad ol' wreck of a hotel...
Gets 'em thinkin', ya dig? 'Bout their lives. What they've done. Where they're
goin'. You know what happens next? All their secrets and worries and stuff
kinda...boil over. Then they go lookin' for somebody to talk to. Know what
I'm sayin'?
KYLE: Hell, Louie, you're the one that sounds like an advice columnist.
LOUIS: Maybe, but I'm right, yeah? Look at you, man. You got secrets and crap
hidden in your heart, right?
[Not this guy!]
[I might...]
[Not this guy!]
KYLE: Not a one, pal.
LOUIS: Yeah, all right. Have it your way.
[I might...]
KYLE: ...Maybe.
LOUIS: See? Trust ol' DeNonno on this one. You're a good guy, even if ya
don't know it.
[I take a seat at the end of the bar.]
LOUIS: Here ya go.
[Louie puts a glass on the counter.]
<If you chose the scotch:>
[I take a drink of scotch. The world stops for a moment as I sit and
stare into the glass. The ice shifts. A single piece slips beneath the
surface, never to rise again... And then I hear Bradley's voice in my
head... "Hey, buddy. When this case wraps up, we need to have a chat.
There's something I need to talk to you about. Can you make the time?"]
<If you chose the martini:>
[I take a drink of my martini. For a minute, the world stops as I sit
and stare into the glass. The taste of gin and vermouth lingers on my
lips. The only kiss I've known in years... And then I hear Bradley's
voice in my head... "Hey, buddy. When this case wraps up, we need to
have a chat. There's something I need to talk to you about. Can you make
the time?"]
LOUIS: Yo, Hyde? Yo! Hyde!
KYLE: Huh?
<If you got the scotch:>
LOUIS: How's the scotch? Goes down smooth, don't it?
KYLE: Yeah. Nice glass, too. It's got a good weight to it.
<If you got the martini:>
LOUIS: How's the martini? Ya know, someone once called it the "elixir of
quietude."
KYLE: Smart man, too. I gotta hand it to you, Louie, this is the best
martini I've ever had. You even got the perfect amount of lemon in it.
LOUIS: Nice, huh? I can tell what ya like, my man.
KYLE: Looks like it.
LOUIS: I told you 'bout this, right? This is the one job I take seriously.
KYLE: Good gig, huh?
LOUIS: <nods> I'm gonna tell you somethin', but don't go laughin'... I know
it's stupid, but I always wanted a place like this for my own.
KYLE: That so?
LOUIS: I ain't saying it all started 'cause I met you... But you know when
I started thinkin' 'bout it? It was after ya laid that story on me in the
cop shop back in Manhattan. [What story?]
<goes to QUESTIONS>
[Question: What story did I tell you?]
KYLE: What story is that?
LOUIS: Ah, man! Don't tell me you forgot. Was the third time ya busted me.
We was in one of them crappy little interview rooms. C'mon! I can still hear
ya! "You dream of being a thief as a kid, Louie? This your dream job? I'm sure
there's something else you wanted, right? Fireman? Doctor? Superhero?" I was
starin' at the ceiling and thinkin' you was gonna play good cop that day.
Gimme the "you can turn your life around, son" speech, yeah? Then ya got real
quiet, and this serious look came into your eyes. Remember? That's when ya
did it, man. Ya made up that story to save me from myself.
KYLE: (What's he talking about?) Hold on.
<followup>
[I don't remember this...]
[I yelled at you, huh?]
<If you don't follow up:>
KYLE: (What's he talking about?)
LOUIS: What? STILL nothin'? Musta made that drink stronger than I
thought. It was that story 'bout your pops. [I told you about my father?]
<back to QUESTIONS>
[I don't remember this...]
KYLE: I don't remember making up a story.
LOUIS: Here's the last hint. If ya still don't remember, I give up.
...It was 'bout your pops. [I told you about my father?]
<back to QUESTIONS>
[I yelled at you, huh?]
KYLE: I was preachin' at you, huh? Sounds like me.
LOUIS: Yeah, brother. Thought me a choir was gonna rush the room or
somethin'. Here's the last hint. If ya still don't remember, I give
up. ...It was 'bout your pops. [I told you about my father?]
<back to QUESTIONS>
[New Question: I told you about my father?]
KYLE: Wait, wait... I said something about my father?
LOUIS: I see a lightbulb... It's gettin' brighter... There it is! Yeah, man.
Told me your pops was some kinda genius safecracker.
KYLE: Oh. That story...
LOUIS: I remember the whole thing. You was ten... Your pops decides to go
straight... Decides to take one last box job and then gets bumped off? I
gotta tell ya, Hyde. Even when I knew you was pulling my leg, I almost cried.
[Thought it was a lie, huh?] You told me your pops didn't wanna be a thief.
Said he wanted to be an artist. Then ya leaned in close and talked so quiet I
could barely hear. "Don't make the mistake he did. Don't live a lie." Total
trip, man... Then ya told me that unless I was lookin' to do hard time, I
better find what I wanted. "Find it, grab it, and never let it go." Amen to
that, my man. When I first started working here, I couldn't sleep. Just laid
on that crap-ass bed Dunning gave me and stared at the ceiling. And then one
night, that story just pops in my head, yeah? And it hits me. Even though I'm
just a damn street punk, I got somethin'. Seems pretty small to most normal
folks, but it's mine and I got it.
<back to QUESTIONS>
[New Question: You believed my story?]
KYLE: Thought it was a lie, huh?
LOUIS: Huh? No way... It's TRUE?!
[...It's a lie.]
[It's true.]
[...It's a lie.]
KYLE: No, I... I was lying.
LOUIS: 'Course not, man. ...I knew that. You was just trying to set me
straight, yeah? I getcha, Hyde. But, hey, who's gonna believe a cop's
pops was crackin' safes? Gotta do better next time, dig?
KYLE: ...Yeah. I'll... I'll do that.
[It's true.]
KYLE: It's the truth, Louie. Every word.
LOUIS: Whoa... Wait! You're yankin' my chain, ain't ya?
KYLE: Not this time.
LOUIS: It was TRUE? Damn... What a trip.
LOUIS: So whaddya say? Another round?
KYLE: Why not? What do I want next?
LOUIS: Take your time, man. Yo, Hyde, I got something else to tell ya. Pouring
drinks ain't the only thing that's got my attention these days, yeah?
KYLE: Let me guess... It's a dame.
LOUIS: That's a given, brother! But no, that ain't what I'm talkin' about.
Check this out.
KYLE: What?
LOUIS: ...Right here, my man. <He raises his arm.>
[I don't get it.]
[I REALLY don't get it.]
[I don't get it.]
KYLE: I don't get it.
LOUIS: I'm talking 'bout bowling! You know? Balls? Pins? Those little
hand-dryer thingies?
KYLE: I thought I was the only guy around here who liked bowling.
LOUIS: Get outta here! You roll, Hyde? No way!
KYLE: You want to see? When I throw a strike, pins beg for mercy.
LOUIS: Yeah, right. What else ya sellin'? What do you say, Officer?
Think you can keep up with my hook?
[I REALLY don't get it.]
KYLE: I really don't get it.
LOUIS: Stop trippin', man! Bowling, Hyde! I'm talkin' 'bout bowling!
KYLE: Oh, yeah. I should have seen that coming.
LOUIS: Well? You any good?
KYLE: Ha ha ha!
LOUIS: Yeah, laugh it up, brother. We'll see how good you are! What do
you say, Officer? Think you can keep up with my hook?
KYLE: When and where?
LOUIS: Wanna try and beat me? Be here at eleven.
KYLE: Here? What're you talking about? There's no way we can bowl in here.
LOUIS: No joke. Bowling. Tonight. Eleven o'clock sharp!
<The door to the bar opens.>
KYLE: Huh? Someone's here.
<Martin walks in.>
LOUIS: A customer.
KYLE: (Summer again? Crap.)
LOUIS: How ya doin'?
MARTIN: Good evening, gentlemen.
LOUIS: Take a seat right here! What can I get ya?
MARTIN: I believe I'll have a gin and tonic, my good man.
<The conversation ends. Kyle can do whatever. If he talks to Louie again:>
KYLE: Louie?
LOUIS: What?
<goes to QUESTIONS. No questions, no items. No, not even that question
about Dunning from Chapter 6 if you never asked it.>
<If he checks the jukebox again:>
[It's a jukebox. Pretty flashy little number. Hope it's got some decent
tunes on it.]
<Kyle talks to Martin.>
KYLE: Got a minute?
MARTIN: Yes, of course.
KYLE: I got something I wanted to talk to you about.
MARTIN: What a coincidence! You see, I was hoping to run into you. There's
something I had hoped to discuss with you as well. [What do you want to
discuss?] But I believe my news can wait until later. If you are so inclined,
Mr. Hyde, please begin.
[Talk about Alan.]
[Talk about plagiarism.]
[Talk about Alan.]
KYLE: Well, it's about your buddy, Alan.
MARTIN: Alan, did you say?
KYLE: You sure you got no idea where he's at?
MARTIN: Quite sure.
KYLE: No clues or leads or anything like that, huh?
MARTIN: No, nothing of the sort.
KYLE: But it's not like you went out of your way to look for the guy.
MARTIN: And what, may I ask, do you mean by that?
KYLE: Common sense. It's better for you if he's out of the picture.
[Talk about plagiarism.]
KYLE: It's about you being a low-down book thief.
MARTIN: Yes, the manuscript...
KYLE: What's your plan?
MARTIN: Mr. Hyde... I will be checking out of this hotel on the morrow. I
will then proceed to the offices of a local newspaper and tell them my story.
I believe they will enjoy the tale of the famous author and his fall from
grace. You see, I plan to use the media to search for Alan.
KYLE: Didn't see that one coming. Listen, Summer. I stumbled on your secret
by accident. I didn't have plans to tell anyone about it.
MARTIN: You..."didn't" have plans?
KYLE: Yeah. But...well...I was talking to someone and it slipped.
MARTIN: I... I see. Well, then it is fortunate that I'm planning on telling
my tale to the public. If I may ask, to whom did you reveal my secret?
[I'll tell him the truth.]
[I better lie to him.]
[I'll tell him the truth.]
KYLE: The old lady in Room 212. Name's Helen Parker.
MARTIN: Helen... Parker?
KYLE: She's the one who had the pen engraved for Alan.
MARTIN: Mr. Hyde...
KYLE: I gave the pen back to her.
MARTIN: Hmm?
LOUIS: Here ya go! One gin and tonic. Looks like you're havin'
yourselves a good time over here!
<Martin looks downcast. Kyle looks thoughtful.>
LOUIS: Eh? No? Nothin'...? Yeah, well... I'll just go over here then.
[Louie leaves.]
<goes to QUESTIONS>
[I better lie to him.]
KYLE: The maid. Rosa.
MARTIN: What did you say? The person for whom you requested my autograph?
KYLE: Yeah, she's a fan of yours.
MARTIN: I...see... She must have been gravely disappointed to learn of
my duplicity.
KYLE: Could be.
MARTIN: Hmm?
LOUIS: Here ya go! One gin and tonic.
MARTIN: Forgive me, but please cancel my order. I find I've lost my
thirst.
LOUIS: Huh?
MARTIN: If you'll excuse me...
[Summer turns and slowly walks away, head down and shoulders slumped.]
LOUIS: Man, what happened? You kill his cat or somethin'?
KYLE: Nothing.
LOUIS: Whatever you say... Well, hope you like drinkin' alone.
[Louie leaves.]
KYLE: (Guess I didn't need to say that.)
<The conversation ends. Kyle can now do whatever. He goes out into the
central hallway and sees Rosa.>
KYLE: Hey, Rosa.
ROSA: Oh, hello, Mr. Hyde. Sigh...
KYLE: Glad I inspire such high spirits. What's wrong?
ROSA: Well, Mr. Summer just came up to me and... He asked me the
strangest thing! He asked me to return his autograph. Can you believe it?
KYLE: Huh?
ROSA: Exactly! I don't know what I'm supposed to do. I can't very well
erase it...and I'm not giving him my book! I don't care if he wrote it!
And when I asked him what was wrong? And why he needed it back? He just
kept saying the same thing over and over; "You know why! You know why!"
And he was red in the face! It was like talking to a tomato, and for a
fact! What sent him over the edge? I swear I just don't know!
<Kyle hears footsteps.>
KYLE: Huh? Someone's coming... (Oh, it's Dunning. Let me guess... He's
angry.)
DUNNING: So here ya are, Hyde.
KYLE: You need me for something?
DUNNING: Got somethin' to ask ya!
ROSA: Something wrong, Mr. Smith?
DUNNING: Ya could say that! Mr. Summer just checked outta the hotel.
ROSA: He checked out? Really? At this hour? But why?
DUNNING: Hell if I know!
KYLE: So? What's this got to do with me?
DUNNING: I'm gettin' to it, all right? I thought ya might know why Mr.
Summer decided to skedaddle off!
KYLE: What?
DUNNING: I heard Mr. Summer mumblin' to himself on his way out the door.
Said he wished he'd never talked to ya.
KYLE: What? (Way to go, Hyde. This is what I get for lying to Summer
earlier.)
<flashback>
MARTIN: If I may ask, to whom did you reveal my secret? What did you
say? The person for whom you requested my autograph?
<flashback ends>
KYLE: ...Damn.
ROSA: Are you all right, Mr. Hyde? You look like you don't feel well.
DUNNING: Somethin' wrong, Hyde?
KYLE: Yeah, maybe... I gave Summer a hard time earlier. Didn't think
he'd get so upset he'd leave the hotel.
ROSA: Land sakes, Mr. Hyde! What were you thinking? He was--
DUNNING: Shut yer yap, Rosa.
ROSA: Don't talk to me like that, you old sourpuss! And why aren't you
angry?
DUNNING: Don't let it bother ya, Mr. Hyde. Truth be told, I never liked
that puffed-up fool. Guy never knew when to shut up.
KYLE: ...Really?
DUNNING: And he worried 'bout every little thing! Little mama's boy,
that one! What sorta man don't get havin' a drink and needlin' his pals?
All he had t'do was laugh it off and give ya a shot back. Am I right?
KYLE: I guess...
DUNNING: Damn straight I am!
KYLE: Well, that's what I was thinking.
DUNNING: Look at that, Mr. Hyde. You and me agree on somethin'. What
say we amble down to the bar and have a <sic> ourselves a drink? Nothin'
washes away the stress like a stiff belt, am I right?
KYLE: Sure. Why not?
DUNNING: Rosa! I'm gonna let you finish up here. I'm gonna go buy Mr.
Hyde a drink.
ROSA: Why am I not surprised?
DUNNING: C'mon, Mr. Hyde! We got a long night ahead of us!
KYLE: We do?
[Hyde and Dunning went into the bar and didn't come out until morning.]
[GAME OVER]
[Question: What do you want to talk about?]
KYLE: You said there was something you wanted to talk about. What is it?
MARTIN: Quite right. I was so surprised by your admission, I completely
forgot my own topic. Actually, it's about the woman we met earlier in this
very establishment.
KYLE: Who? Iris?
MARTIN: Yes, that's her. I must say, she bears a striking resemblance to the
actress Cecily Lee. [Iris looks like who?] If you felt a sense of deja vu
upon meeting Iris, you now know why! There's a quite striking photo of her
doppelganger on this month's issue of Va-Voom!
<back to QUESTIONS. If you show Martin the men's magazine:>
MARTIN: Yes! That's her! Mr. Hyde, the voluptuous creature on this cover
is Cecily Lee. Aphrodite in a bathing suit. Striking, no?
<back to QUESTIONS>
[Question: Who is Cecily Lee?]
KYLE: What kind of actress is this Cecily Lee?
MARTIN: My good man? Are you truly unfamiliar with her?
KYLE: I don't get out much.
MARTIN: She is an up-and-coming thespian who's garnered quite a bit of recent
popularity. She got her start on one of those tawdry daytime soap operas. Her
performance received wild praise from critics and fans alike! I believe she
is scheduled to make her debut on the silver screen next year. Few people know
that she was a model before she took up the craft of acting. She's not as
young as the other new starlets, but she has a certain...something.
KYLE: That's quite the intro, Summer. You steal her biography?
MARTIN: Please, Mr. Hyde! I'm merely reciting the information I've heard. And
I do not appreciate your attempts at jocularity at my expense. The question,
sir, is why would Cecily Lee be staying in this hotel on her own? It does
arouse one's curiosity, does it not?
KYLE: All right, enough chatter. I gotta blow.
MARTIN: Truly? Well, I shall remain a while longer and savor the proffered
spirits.
<The conversation ends. If you talk to Martin again:>
KYLE: Got a minute?
<goes to QUESTIONS. No questions, no items. If you show the magazine
again:>
MARTIN: How fortunate for this publication to have Cecily Lee grace its
cover. She's quite an eyeful, don't you agree?
<back to QUESTIONS. No questions, no items.>
<If you check the right-hand set of matches yet again, you'll find that the
puzzle has changed:>
[Look...matches.]
KYLE: What's this?
[Are you a puzzle nut? Try this mind-bending match problem! The goal is
to create three triangles. The hard part is to do so by taking away four
of the matches.]
<If you don't solve it, Kyle says, "..." If you solve it, he says,
"Easy-peasy.">
<If you check the left-hand set of matches yet again, you'll find that the
puzzle has changed:>
[There are some matches.]
KYLE: What's this?
[Are you a puzzle nut? Try this mind-bending match problem! First, set
aside six of the matches. Now line up the remaining matches to make two
squares!]
<If you don't solve it, Kyle says, "..." If you solve it, he says,
"Easy-peasy.">
<He leaves the bar and comes across Melissa in the hallway.>
KYLE: Hey, squirt.
MELISSA: Hi, mister.
KYLE: What're you doing here?
MELISSA: Dad's gone.
KYLE: What, again? Are you looking for him?
MELISSA: Uh-huh.
KYLE: Well, he's not in the bar.
MELISSA: The bar?
KYLE: It's a place for adults. It's called the Seven Stars Bar. It's through
that door at the end of the hall. See the sign with the big star on it?
MELISSA: Star? Oh, I remember! I saw that before. It was all pretty and stuff.
It was kinda like the star on top of a Christmas tree.
KYLE: Yeah, I suppose.
MELISSA: Didja get any Christmas presents this year?
[I'm not a presents guy.]
[Oh, yeah. Tons.]
[I'm not a presents guy.]
KYLE: I look like the kind of guy who gets presents?
MELISSA: No. But that's sad.
KYLE: Don't worry about it. Adults don't need presents. How about you?
[Oh, yeah. Tons.]
KYLE: Yeah, tons. I had to chop down a redwood tree so they could all
fit under it.
MELISSA: Wow!
KYLE: Nice, huh?
MELISSA: Uh-huh.
KYLE: How about you?
<She shakes her head.>
KYLE: You get anything?
MELISSA: Mmm...
KYLE: Yeah, guess that figures. But at least you got to decorate the tree.
Right?
<She shakes her head.>
MELISSA: My dad's a jerk!
KYLE: (Can't argue with you there, kid.) Can't argue with that.
<followup>
[Dad's a jerk, huh?]
[Hey, calm down.]
<If you don't follow up:>
KYLE: (Can't argue with you there, kid.)
MELISSA: We didn't have anything for Christmas! No presents, no
cookies... Not even a stupid tree!
KYLE: That's too bad. But listen, try not to get so worked up. You throw
a fit this time of night, you won't be able to sleep.
[Dad's a jerk, huh?]
KYLE: So why's he a jerk?
MELISSA: We didn't have anything for Christmas! No presents, no
cookies... Not even a stupid tree!
KYLE: That so?
[Hey, calm down.]
KYLE: Calm down, will you? You get all worked up now, you won't be able
to sleep.
MELISSA: But we didn't have anything for Christmas! No presents, no
cookies... We didn't have a tree! You know? A Christmas tree?
KYLE: I hear you, but you get all worked up now, you won't be able to
sleep.
<She looks downcast.>
KYLE: Hey, kid. Don't worry about your old man. He'll be back soon. Go wait
in your room.
[Melissa sighs and heads out the door.]
[10:20 PM]
<Kyle goes out into the central hallway and runs into Rosa.>
KYLE: Huh?
ROSA: Oh, Mr. Hyde. Good evening!
KYLE: You still cleaning?
ROSA: Oh yes. Everyone else gets to take a break, but not Rosa! Oh no! But,
this is it. Once I'm done here, I'm finished for the day.
KYLE: Melissa come through here?
ROSA: Melissa? Yes, she just went up to the second floor. Why? Why are you
asking?
KYLE: (Looks like the kid actually went back to her room.)
ROSA: But the poor thing looked as sad as can be! Did something happen? What
happened?
[Her dad's a jerk.]
[She misses her mom.]
[She misses her mom.]
KYLE: Her mom ran out on her.
ROSA: Is that so?
KYLE: Yeah.
ROSA: Poor child. All families have their grief, but... Losing a mother?
That's too much to ask of any child!
<goes to QUESTIONS. No questions, no items. When you leave the question
list, it goes to ROSA1>
[Her dad's a jerk.]
KYLE: She's looking for her old man. You haven't seen Woodward, have you?
ROSA: Why no, I haven't. He left her? Alone? Here?! No wonder she's
upset!
KYLE: I suppose.
ROSA: Mr. Woodward is not getting passing marks in parenting from me.
No he is not! A child shouldn't be made to look for a parent at this
time of night! I know that young girls can be a handful, but it's
bedtime! A father must watch over his children, Mr. Hyde! Surely you
agree! This is the kind of thing that drove his wife away! I'd bet my
mop on it!
KYLE: (Ouch. Rosa the marriage counselor strikes again.) ...Ouch.
<followup>
[Wait, you knew?]
[What drove his wife off?]
<If you don't follow up:>
KYLE: (Ouch. Rosa the marriage counselor strikes again.)
ROSA: Oh, you don't have to cover for him! I know because I'm a
maid, Mr. Hyde. I go everywhere and hear everything! People don't
watch me, but I'm watching them! Rosa knows, Mr. Hyde! Rosa knows
all. Give me ten seconds with someone, and I can tell you that
person's problem! [You can tell problems? Really?]
<goes to QUESTIONS>
[Wait, you knew?]
KYLE: You knew about Melissa's mom taking a powder?
ROSA: "Taking a powder"? Honestly, Mr. Hyde, no one talks like
that. That's movie talk. But no, I didn't know about it. It doesn't
surprise me, though.
KYLE: Expected it, huh?
ROSA: For a fact! Rosa can see that sort of thing in her sleep! I
know because I'm a maid, Mr. Hyde. I go everywhere and hear
everything! People don't watch me, but I'm watching them! Rosa
knows, Mr. Hyde! Rosa knows all. Give me ten seconds with someone,
and I can tell you that person's problem! [You can tell problems?
Really?]
<goes to QUESTIONS>
[What drove his wife off?]
KYLE: What did you mean the kind of thing that drove his wife away?
ROSA: I mean not watching after your children, that's what! What
woman could love a man incapable of protecting his own? I know
because I'm a maid, Mr. Hyde. I go everywhere and hear everything!
People don't watch me, but I'm watching them! Rosa knows, Mr. Hyde!
Rosa knows all. Give me ten seconds with someone, and I can tell you
that person's problem! [You can tell problems? Really?]
<goes to QUESTIONS>
[Question: You know people's problems?]
KYLE: You can tell people's problems by watching them for a few minutes?
ROSA: Yes, I can! Why? Are you doubting me? Do you want proof? Fine! Let me
tell you what's troubling you, Mr. Hyde.
KYLE: That's not necess--
ROSA: Surely you have troubles!
[Maybe one or two.]
[Nope. Not a one.]
[Maybe one or two.]
KYLE: A few.
ROSA: Don't I know it!
KYLE: All right, let's see what you got. Gaze into your crystal mop or
whatever you use.
ROSA: Don't make fun! Now, let me see... Hmm... Hmmmmm... You're
troubled by... By... A lack of money!
KYLE: Huh?
ROSA: I'm right, aren't I? Aha ha ha ha ha!
KYLE: Oh, for the love of...
<goes to ROSA1>
[Nope. Not a one.]
KYLE: Not a one.
ROSA: Ha! Am I to believe that? You sure look troubled to me!
<ROSA1>
KYLE: All right, I've got to get going.
ROSA: Wait, Mr. Hyde! Wait just one second, please! There's something that's
been bothering me.
KYLE: Shoot.
ROSA: It's about Melissa. See, she asked me if the hotel had a Christmas
tree. Well, I told her that we did, but Christmas has already come and gone,
you see. I explained how Dunning always takes down the decorations on the
26th... And well, she just looked so sad! It near to broke my heart, it did!
KYLE: Yeah, that's... That's sad, all right.
ROSA: Do you have any idea why she would be asking about a tree?
[She didn't get one.]
[Don't know. Don't care.]
[She didn't get one.]
KYLE: It's because she didn't have one at home. No presents, either.
ROSA: Oh, how sad! That poor thing. ...What an AWFUL father that Kevin
Woodward is! Well, it's no wonder she wanted to see a tree!
KYLE: Yeah.
ROSA: What a shame. The tree and decorations are in the storage room on
the first floor. What a shame...
KYLE: See you around.
<The conversation ends. If you try to talk to Rosa again:>
KYLE: Got a minute?
ROSA: What is it?
<goes to QUESTIONS. No questions, no items.>
[Don't know. Don't care.]
KYLE: No idea. I don't get why she's so crazy about the whole thing,
anyway.
ROSA: What kind of thing is that to say?! Children love Christmas! Why,
when I was a child, I wished EVERY day was Christmas.
KYLE: I bet.
ROSA: You, sir, have a bad attitude. We always have such a nice tree
near the front desk. If only Melissa had been here while it was up. I'm
sure she would have enjoyed it.
KYLE: Where's the tree now?
ROSA: We took the decorations down and put the tree in the first-floor
storage room.
KYLE: See you around.
<If you talk to Rosa again:>
KYLE: Got a minute?
ROSA: What is it? Mr. Hyde, I have a ton of work to do. I can't
chat now! Busy, busy, busy!
<If Kyle goes upstairs and knocks on 219:>
<The door opens.>
MELISSA: Mr. Hyde...
KYLE: Your dad back?
MELISSA: Not yet.
KYLE: I'll tell him to come to your room if I see him. Just hang in
there, OK?
MELISSA: 'Kay.
<She looks sad. She closes the door.>
KYLE: (Nice work, Woodward. You're a hell of a father.)
<He goes to -- where else? -- the storage room.>
KYLE: Christmas tree... The tree must be behind these boxes somewhere. Can't
believe I'm actually looking for a Christmas tree. I'm going soft...
<He moves the boxes aside and finds the tree.>
KYLE: That's the tree box.
<The storage room door opens.>
KYLE: Who's there?
<Melissa comes in.>
KYLE: Hey, squirt. What're you doing here?
MELISSA: Rosa came to my room and told me to get down here. She said I could
see a Christmas tree if I went to the storage room. She said you'd be here,
too. And she told me I could decorate the tree. So, can I? Huh?
KYLE: (Rosa saw right through me. ...This hotel is turning me into a real
sap.)
MELISSA: Hey, mister... Let's decorate the tree together! C'mon, huh?
KYLE: Sure, kid. Why not?
<They hang the ornaments.>
MELISSA: Yaaaaaay! It's a Christmas tree for meeeeee!
KYLE: Sure is.
MELISSA: Uh-huh.
KYLE: Well, squirt, it's three days late, but here you go. Merry Christmas,
kid.
MELISSA: Merry Christmas, Mr. Hyde!
<The door opens again.>
KYLE: Who's there?
<Mila comes in.>
KYLE: Mila?
MELISSA: Oh! Did you come to see my tree? It's pretty, isn't it? It's the
best tree EVER! Yaaay, tree! Mr. Hyde and me decorated it together.
<Mila stares.>
KYLE: <to Mila> What're you doing here?
<The door opens yet again.>
KYLE: Who else is going to waltz in here?
LOUIS: That'd be me. 'Cept I don't waltz. Mambo, maybe, but...
KYLE: Louie? What do you want?
LOUIS: Easy, man! No need to go junkyard dog on me. Rosa told me what ya was
up to. Said ya was gonna have a Christmas shindig, right? When I heard Melissa
and Mila were gonna be here, I knew I had to swing by. Can't have a party
without Louie, brother! Am I right? Awwwoooooooo!
KYLE: So, Mila, did Rosa tell you to come here, too?
<Mila nods.>
KYLE: Figures.
LOUIS: C'mon! Let's have ourselves a good time! Time to party like it's 1990!
KYLE: Do whatever you want! Just stop trying to make me have fun.
<Kyle can now do whatever. He talks to Mila.>
KYLE: What do you think of the tree? (Look at how she's staring at it. Like
a little kid...)
<He talks to Louie.>
KYLE: How's the tree?
LOUIS: Good, man. 'Course these lovely ladies make it even better, yeah?
<He talks to Melissa.>
MELISSA: I like having everyone here. It's really... Yaaaawwwnn... It's fun...
KYLE: Good times, huh?
MELISSA: Uh-huh. It's...the... Yaaaaaaawwwnn...
KYLE: Getting sleepy?
MELISSA: Zzz...zzz...
KYLE: Hey.
MELISSA: Zzz...zzz...
KYLE: Out like a light. Hey, Louie.
LOUIS: Yeah?
KYLE: Melissa fell asleep. Take her back to her room.
LOUIS: Huh? Me? Why do I gotta do it? I wanna chat with Mila, man! You know,
flash her a bit of the DeNonno charm!
KYLE: Louie, the kid's asleep. Take her back to her room before she catches
a cold. You work here, remember?
LOUIS: Like I could forget. Yeah, all right, I'm goin'.
MELISSA: Zzz...zzz...
LOUIS: Melissa? Hey, c'mon. Let's get ya back to your room.
[Louie picks up Melissa and carries her out of the room.]
<If Kyle tries to leave the storage room:>
KYLE: (Maybe I should talk to Mila a bit more...)
<Kyle talks to Mila.>
KYLE: How you feeling? Fever gone?
<She nods.>
KYLE: Good. So, what did you do for Christmas? Who'd you spend it with?
[I open my notebook and hand it to Mila. Mila writes something in my
notebook.]
<He takes back the notebook.>
KYLE: Hmm? "I have no one?" ...Creepy. By yourself, huh? Where was your
father? Here you go.
[I hand Mila my notebook. Mila writes something.]
KYLE: Let's see... Where is dad now? He's gone? What, you don't know where
he's at?
<She nods.>
KYLE: What does your father do? What's his job? Can you tell me where he
lives? Just write it down for me.
[I give Mila my notebook. Mila hesitates, then writes something.]
KYLE: Thanks. Santa Monica. Gallery May. Gallery May in Santa Monica? Your
father owns an art gallery?
<Mila nods to both questions. The door opens.>
KYLE: Huh? Oh, it's you.
ROSA: Oh, look at that! What a lovely tree. I bet Melissa was happy.
KYLE: Yeah, her and Louie both.
ROSA: That's nice. Something good came from your snooping after all! Come on,
Mila. I think it's time to go. Good night, Mr. Hyde. I'll be taking Mila back
to my room now. Oh, and you can go ahead and leave the tree up! It's just
too nice to take down!
[Rosa leaves, taking Mila with her.]
<Kyle checks out the lockers in the storage room.>
[There's a black light in the locker. I got a black light.]
KYLE: (This might come in handy. Or I could use it to throw Iris a party.)
<He leaves the storage room and walks down the hall. He stops.>
KYLE: Huh? <He looks around.> Is that door open?
<He goes into the room with the open door.>
KYLE: This must be Dunning's room.
<He looks around the place. One of the things he sees is a framed picture
on a stand.>
[It's a picture... There's a framed photo on the shelf. It's a picture of a
young girl.]
KYLE: Hmm... [Wonder who's in the photo.]
<The door opens and Dunning walks in.>
KYLE: Huh? Ah...
DUNNING: Hyde! What in the hell are ya doin' in here?
KYLE: Isn't this the lobby?
DUNNING: Don't get smart with me, pal! This is my own room!
KYLE: My mistake. Sorry to barge in.
DUNNING: If yer sorry, then haul yerself outta here! Now, buddy! Move it!
<Kyle leaves.>
KYLE: (That picture of the young girl in Dunning's room... Who could it be?)
[10:40 PM]
<Kyle goes to the lobby area.>
[Someone's in the lobby.]
KYLE: Huh? That's Melissa's old man.
<He talks to Kevin.>
KYLE: Got a minute?
KEVIN: Oh, hey there! Lookie here! Ish Mr. Hyde! Isha lovely night, isn't
it?! Haw haw haaaaw!
KYLE: I see you're in a good mood.
KEVIN: Thassh not...*hic*...true. I'm jussshh... Haw haw har!
KYLE: (Drunk as a skunk...) Been to the bar, huh?
KEVIN: I have! Yessir...
KYLE: Your daughter was looking for you.
KEVIN: Yer a liar, Mr. Hyde. A LIAR!
KYLE: I'm a liar?
KEVIN: Thassh right! My liddle girl... She...HATESH me! She'd never look fer
me. Thass why I know yer lyin'... Haw haw!
KYLE: She was looking for you. Got to your room and ask her. If you can make
it that far.
KEVIN: Mine yer business! Whadda YOU know? ...NUSHING! Thash what! Get outta
my life! Leave me alone!
[Kevin turns and stumbles his way towards the front desk.]
KYLE: (What the hell's eating him?)
<Kyle goes to the front desk area.>
KYLE: Hey, Woodward!
<Kevin turns toward Kyle, then turns away.>
KYLE: Huh? He ignored me.
<He goes up to Kevin.>
KYLE: Got a minute?
KEVIN: Don't want... Don't want company... Lemme...alone... Just lemme
alone... ...Bllluuurpp!
KYLE: (He'd better not puke on my shoes.) Hey.
<followup>
[You OK?]
[You're really plowed, doc!]
<If you don't follow up:>
KYLE: (He'd better not puke on my shoes.) How's the taste, doc?
KEVIN: 'Shnot funny! Ooouuhhh... Think I'm shick...
KYLE: C'mon, doc. What were you thinking, drinking like this? You make
yourself sick and waste good booze.
KEVIN: I'm juss like ANYBODY elsh! Shometimes I wanna...DRINK! [Who
were you drinking with?]
<goes to QUESTIONS>
[You OK?]
KYLE: What's wrong?
KEVIN: Iss nothing... I don't drink mush, and now I don't feel... Feel
shhho good... [Who were you drinking with?]
<goes to QUESTIONS>
[You're really plowed, doc!]
KYLE: You were really putting 'em down, huh?
KEVIN: ...Urgh... M-maybe... [Who were you drinking with?]
<goes to QUESTIONS>
[Question: Who were you drinking with?]
KYLE: Who were you drinking with?
KEVIN: What difference...that make? Iss nonna yer...BUSINESS!!
KYLE: Have it your way.
KEVIN: Don't want company... Lemme...alone...
<The conversation ends. If he talks to Kevin again:>
KEVIN: Don't want company... Lemme...alone...
<Kyle goes to the lobby area.>
KYLE: (Wonder who Kevin was throwing them back with?)
<Kyle goes into the bar and sees someone.>
KYLE: Huh? (It's Iris.)
LOUIS: Thanks for comin' in.
IRIS: The drinks were delicious. I was pleasantly surprised.
LOUIS: Good to hear...I think. Anyway, hope ya come back.
IRIS: I will. <blows Louie a kiss>
LOUIS: See ya later.
KYLE: Hey.
LOUIS: GYYAAA! Dammit! Stop sneakin' around, Hyde! You're gonna give me a
heart attack!
KYLE: If you weren't moonin' over the dame, you'd have heard me come in.
IRIS: Ah, Mr. Hyde. As tactful as ever, I see. If you'll excuse me?
[Iris turns and totters out of the bar.]
KYLE: Looks like you were having a good time.
LOUIS: Don't be gettin' the wrong idea, brother. I was just makin' sure the
lady enjoyed herself. Part of the job.
KYLE: Whatever you say, Louie. You may want to pick your tongue off the
floor, though.
LOUIS: Give it a rest already. Ya wanna drink?
KYLE: No, not now.
LOUIS: Yeah, I hear ya. You've had enough tonight anyway. Knowing when to
stop shows ya appreciate a good drink. Can't abuse the stuff, right? Forget
that and ya'll end up like the dynamic duo I had in earlier. Sloshed to the
gills! [Dynamic duo?]
<goes to QUESTIONS>
[Question: Who was drinking in here?]
KYLE: Who's the dynamic duo, Louie?
LOUIS: Well, the better half just left. That babe Iris was tossin' 'em back
with Melissa's pops.
KYLE: Kevin and Iris were drinking together?
LOUIS: Yeah, and more'n a little! Got back from putting Melissa to bed and
here they are! Planted at the counter like a couple of regulars! Looked like
they was talkin' 'bout something serious, too. [What were they talking about?]
Then they both pounded back a row of drinks and got fried to the tonsils.
Melissa's pops ain't much of a drinker. Thought he might repaint the bar,
yeah? Luckily for me, he got up and stumbled outta here. Iris stuck around
and had a couple more. She wasn't as bad off as I thought. Hurts to say it,
man, but she wasn't here to chat me up. She was just killin' time.
<back to QUESTIONS>
[New Question: What were they talking about?]
KYLE: So what were they talking about?
LOUIS: Who knows, man. Weather? Sports? Whatever rich, fancy people chat
about?
KYLE: You telling me you didn't overhear anything?
LOUIS: Well... I guess I did hear something. Melissa's pops said something
about a Gallery May in Santa Monica. [Gallery May? Santa Monica?]
<back to QUESTIONS>
[New Question: What about the gallery?]
KYLE: What did he say about the gallery?
LOUIS: Sorry, brother. All I heard was a name. Guy was slurrin' like a
prize-fighter, yeah?
KYLE: (Gallery May in Santa Monica? Does all this tie in to where Mila's
father works?)
<If you still have questions, it goes back to the Question list. If not, it
goes to LOUIE1>
[Question: Who's the girl in the photo?]
KYLE: There's a framed photo of a little girl in Dunning's room. You know who
it is?
LOUIS: Picture of a kid? No clue, man. Dunning ain't never invited me in for
tea and cookies, ya dig?
<If you still have questions, it goes back to the Question list. If not, it
goes to LOUIE1>
<LOUIE1>
LOUIS: What's up, Hyde? Ya thinkin' deep again?
KYLE: You could say that.
LOUIS: Well, c'mon, man! Don't leave me hangin'. What is it?
KYLE: I learned some things about Mila's old man.
LOUIS: You did? How? More snoopin'?
KYLE: I asked Mila some questions and had her write the answers in my
notebook.
LOUIS: Damn! Why didn't I thinka that?
KYLE: Mila's old man is named Robert Evans. He owns Gallery May in Santa
Monica.
LOUIS: Whoa! There ain't two of 'em, no?
KYLE: Doubt it.
LOUIS: Yo, Hyde. You thinkin' what I'm thinkin'?
KYLE: It depresses me, but yeah. I guess I am. Strange things from strange
sources, huh? I better have a chat with your drunken friends.
<If you talk with Louie again:>
KYLE: Louie.
LOUIS: Whatcha waitin' for? Ya better check that lead out. Go talk up
some cats, yeah?
<If Kyle checks the right-hand set of matches again:>
[Hey, it's matches.]
KYLE: Maybe it'll help me think.
[Are you a puzzle nut? Try this mind-bending match problem! The goal
is to create three triangles. The hard part is to do so by taking away
four of the matches.]
<If you don't solve it, Kyle says "..." If you do, he says "Easy-peasy.">
<If Kyle checks the left-hand set of matches again:>
[There are some matches.]
KYLE: What the hell, I'm bored. Might as well give it a shot.
[Are you a puzzle nut? Try this mind-bending match problem! First, set
aside six of the matches. Now line up the remaining matches to make two
squares! It's fun!]
<If you don't solve it, Kyle says "..." If you do, he says "Easy-peasy.">
<He leaves the bar.>
KYLE: (Here we go... Think I'll start with Iris.)
<If you go to the front desk and talk to Kevin:>
KYLE: Got a minute?
KEVIN: I'm not feeling well. Go away. Please, just...
<He goes upstairs and knocks on 216. The door opens.>
IRIS: Can I help you?
KYLE: Something I wanted to ask you.
IRIS: ...Fine.
KYLE: You know anybody runs a gallery down in Santa Monica?
IRIS: That's a rather odd question, isn't it?
KYLE: You were talking about a gallery at the bar. While you were drinking
with Kevin Woodward? Remember? Guy from Room 219?
IRIS: I remember my actions quite well, thank you. I didn't black out or
anything. And what business is this of yours?
KYLE: Just curious.
IRIS: Do you want me to believe that you've suddenly become a patron of the
arts?
KYLE: Yeah, that's me. I'm a big fan of apple paintings and armless statues.
IRIS: Hmph! If you must know, I merely mentioned a gallery where an associate
of mine works. Mr. Woodward then told me, with no prompting from me, that he
knew of it. [Woodward knew the gallery?] Actually, I... I'm glad you're here.
I need to speak with you about something. Believe it or not, I don't have
anyone else to turn to for help.
KYLE: Oh, I believe it.
IRIS: Just come in, will you?
<He goes in the room.>
KYLE: So where's the fire, Iris?
IRIS: When I returned to my room, it felt...odd. Then I saw it! And it IS odd!
KYLE: (Odder than a looker like you in a dump like this?) Hey.
<followup>
[Odder than you? Ha ha!]
[What's odd?]
<If you don't follow up:>
KYLE: (Odder than a looker like you in a dump like this?) Out with it,
lady. What's going on?
IRIS: I'll tell you if you stop interrupting! My suitcase has been
moved! It's subtle, but it's definitely been moved. Someone has been in
my room! Whoever it was must have waited until I was out, then broke in.
[Was anything stolen?]
<goes to QUESTIONS>
[Odder than you? Ha ha!]
KYLE: Odd? You mean something besides yourself, right?
IRIS: Pardon? Are you saying I'M odd? You're such a cad! Get out!
<He leaves the room. Kyle can now do whatever, but unfortunately you'll
have to deal with Iris to advance the story. He knocks again and Iris
opens the door.>
IRIS: You again? What now?
KYLE: Sorry about earlier. I got a bit carried away. Talk to me. I
promise to close my head and listen.
IRIS: ...Very well.
<They go in the room.>
KYLE: Get to the point, lady. Something happen?
IRIS: Yes, something happened! My suitcase has been moved! It's subtle,
but it's definitely been moved. Someone has been in my room! Whoever it
was must have waited until I was out, then broke in. [Was anything
stolen?]
<goes to QUESTIONS>
[What's odd?]
KYLE: What's odd?
IRIS: My suitcase has been moved! It's subtle, but it's definitely been
moved.
KYLE: You're sure?
IRIS: Yes, I'm positive. Someone's been in here. Whoever it was must
have waited until I was out, then broke in. [Was anything stolen?]
<goes to QUESTIONS>
[Question: Was anything stolen?]
KYLE: Was anything stolen?
IRIS: ...Yes.
KYLE: You contact the front desk? I hear Dunning has experience with this
kind of thing.
IRIS: Not yet. I mean I should, but... There'll be so many questions, and I
hate questions. Besides, no one ever tries to catch a thief unless lots of
money is stolen.
KYLE: So they didn't take your money?
IRIS: That's right.
KYLE: ...So what DID they take?
IRIS: I can't say.
KYLE: Then I can't help.
IRIS: You would consider helping me?
KYLE: Depends on how cooperative you are.
<Iris smiles.>
IRIS: I lost a small envelope. [Wonder what was in it...]
<back to QUESTIONS>
[New Question: What was in the envelope?]
KYLE: So what was in this small envelope? A small letter?
IRIS: I can't tell you. I was sworn to secrecy, Mr. Hyde. You must believe
me. I made a promise to the person who gave it to me. [You got it from
someone else?]
<back to QUESTIONS>
[New Question: Who gave you the envelope?]
KYLE: So someone gave you the envelope, right? Anything else you can tell me?
Was there anything written on it?
IRIS: I can't say.
KYLE: Then I can't help. Good luck, lady. I'm outta here.
IRIS: Why must you be such a crass, insensitive lout?! Fine! Fine, I'll tell
you! Just...give me a moment...
KYLE: I'm impatient. Who gave it to you?
IRIS: It was Grace. [Who the hell's Grace?] You'll find her name written on
the back of the envelope.
<back to QUESTIONS>
[New Question: Who is Grace?]
KYLE: You going to tell me who Grace is?
IRIS: She's...a friend.
KYLE: What kind of friend?
IRIS: She's a friend, Mr. Hyde! What about that is so difficult for you to
comprehend? You may live your life all alone under a rock somewhere, but I...
Oh, why am I talking to you about this? It's none of your business!
KYLE: None of my business? All right, lady, whatever you say.
<If you still have questions, it goes back to the Question list. If not, it
goes to IRIS1>
[Question: What about the gallery?]
KYLE: So what's the name of the gallery you know?
IRIS: ...Gallery May.
KYLE: (Huh?) Wait a second.
<followup>
[What's the owner's name?]
[How do you know it?]
<If you don't follow up:>
KYLE: (Huh?)
<If you still have questions, it goes back to the Question list. If not,
it goes to IRIS1>
[What's the owner's name?]
KYLE: You know the name of the owner?
IRIS: No. Why? Are you going to tell me that YOU own it?
<If you still have questions, it goes back to the Question list. If not,
it goes to IRIS1>
[How do you know it?]
KYLE: How do you know about the place?
IRIS: ...A friend of mine works there. That's all.
<If you still have questions, it goes back to the Question list. If not,
it goes to IRIS1>
<IRIS1>
KYLE: All right. I'm off. I'll drop in if I find anything.
IRIS: ...Thank you. Helping me is more kindness than I expected.
KYLE: Don't get used to it. I ain't doing this for you.
IRIS: But then...
KYLE: I'm just curious about what got stolen. That's all.
IRIS: You don't say?
KYLE: Oh, but I do. Got a hunch about your mystery envelope and whatever's
inside it. I think it's going to shine a light on some shadows I've been
following around.
IRIS: Mr. Hyde, what on earth are you talking about?
KYLE: See ya.
<He leaves.>
KYLE: (A little envelope... Something that would fit inside a little
envelope...)
<He walks down the hall and runs into Kevin.>
KYLE: Huh? What're you doing here?
KEVIN: Uh...nothing... Good-bye.
[Kevin leaves.]
KYLE: (Wonder if he was hoping to see Iris. Either way, he's up to something.
Guess it's time to put the good doctor to the coals.)
<Kyle goes to the front desk area.>
KYLE: You got a minute?
KEVIN: Go away.
KYLE: What're you doing here?
KEVIN: Go away. I just... I just want to be by myself.
KYLE: I got questions for you.
KEVIN: Didn't you hear me? I'm not...in any condition to speak right now...
<KEVIN1>
KYLE: I saw you hanging around Room 216. Were you looking for Iris?
KEVIN: It's none of your business who I...who I see...
KYLE: (That hit a nerve.) Easy, doc.
<followup>
[Don't get mad at me!]
[You two had business?]
<If you don't follow up:>
KYLE: (That hit a nerve.)
KEVIN: Just go away... Please...
KYLE: Don't be a mean drunk, doc. We need to talk. You want to talk to
me, don't you? 'Course you do.
<goes back to KEVIN1 and to followup>
[Don't get mad at me!]
KYLE: Why you so hot under the collar?
KEVIN: <red aura> I'm not angry, I'm simply... It's just... I'm not
angry. Just go away... Please...
KYLE: Don't be a mean drunk, doc. We need to talk. You want to talk to
me, don't you? 'Course you do.
<goes back to KEVIN1 and to followup>
[You two had business?]
KYLE: Were you looking for Iris? Heard you two tossed a few back in the
bar.
KEVIN: ...And? ...And if I were? Is there a LAW against me drinking with
Iris? [What's the deal with you two?]
<KEVIN2>
KYLE: What were you and Iris chatting about? You two been friends long?
KEVIN: Why... Why are you asking me these things? I don't... You have
no right... It doesn't matter who my friends are... Who I talk to. You
don't have a right to HOUND me like this! I don't have to tell you
anything!
KYLE: Don't be a mean drunk, doc. Just talk to me.
KEVIN: Enough... Enough! I'm out of patience! I'm tired of your
questions... Tired of YOU!
KYLE: (Huh?) Close your head!
<followup>
[You're a loser, doc!]
[I got reasons for asking.]
<If you don't follow up:>
KYLE: (Huh?)
KEVIN: Mr. Hyde, I... I feel ill. I'm going back to my room.
KYLE: Hold your horses, doc. We're not done yet.
KEVIN: We're done talking.
KYLE: Not me. You maybe, but not me.
<goes back to KEVIN2 and to followup>
[You're a loser, doc!]
KYLE: YOU'RE out of patience? You don't know the half of it, pal!
KEVIN: <red aura> ...What? What are you...
KYLE: You left your little girl alone in a run-down hotel full of
strangers! And why? So you could go off and get sauced with some
skirt you just met. Can the righteous indignation, doc! You ain't
got a leg to stand on.
KEVIN: Mr. Hyde, I... I feel ill. I'm going back to my room.
KYLE: Hold your horses, doc. We're not done yet.
KEVIN: We're done talking.
KYLE: Not me. You maybe, but not me.
<goes back to KEVIN2 and to followup>
[I got reasons for asking.]
KYLE: I ain't asking these questions for my health, all right?
KEVIN: Then why ARE you asking them? Why are you...
KYLE: I'm looking for someone.
KEVIN: Looking? You? Ha! I don't... Don't believe it...
KYLE: That's right. There's a young girl staying here who's looking
for her father.
KEVIN: Are you talking about Melissa? How... How DARE you!
KYLE: No. Different kid. So I need to ask you about Gallery May.
In Santa Monica? Seems the girl's father owns the joint.
KEVIN: ...Really?
KYLE: You know the place, right? Gallery May?
KEVIN: Y-yes...
KYLE: How?
KEVIN: How? Well, my... My wife used to work there. [His wife
worked there?] We're done... We're done here... I'm going back to
my room.
KYLE: Not yet, doc. I've got more questions.
KEVIN: Mr. Hyde, what... What do you want...? Yes, I... I know
Gallery May. My wife used to work there before she... She... She
used to work there. Iris is just... We just met. We had drinks.
That's why my head...my head hurts... She mentioned the gallery.
I was...surprised. That's all. No mystery. No... There's no mystery
here. I don't know the owner... Never met him.
KYLE: You playing straight with me?
KEVIN: Gya! Enough! Please, Mr. Hyde, please... My head hurts, and
I'm tired, and I know nothing!
KYLE: Nothing, huh? You're hiding something. Spill it.
KEVIN: How... How DARE you! We're done! Done talking! My problems
are MINE! Got it? MINE! NOT yours! ...Not yours...
KYLE: Not my business, huh?
KEVIN: Look, you... You were kind to my daughter, and... And I
think you... Maybe you mean well... But that's enough. I have
limits... I'm not going to...unfold my life to a...a stranger.
KYLE: All right, point made. Let's step back a second. We've both
been around the block, right? Got a few scars to show for it? I got
no interest in digging in your private life. But there's something
you know... And that something's the key I need to find what I'm
looking for.
KEVIN: What you're...looking for? What's that?
KYLE: It's got nothing to do with you. But you answer my questions,
and I'll tell you what you want to know.
<goes to QUESTIONS>
[Question: Talk about Iris.]
KYLE: Let's talk about Iris.
[I believe you just met.]
[I bet you're lovers!]
[I believe you just met.]
KYLE: This the first time you met her?
KEVIN: That's right. I... I never met her before tonight. But, she...
She said she knew Grace, and... [Who's Grace?]
<back to QUESTIONS>
[New Question: Who is Grace?]
KYLE: Who's Grace?
KEVIN: Melissa's mother. My...my wife. Iris...Iris mentioned Gallery May
in the bar. It...surprised me. But THEN! Then...she told me she knew
Grace! I didn't... I couldn't... I didn't know what to say.
KYLE: What else does she know? Does she know your wife left you?
KEVIN: I...I don't know.
KYLE: Why didn't you ask her? Maybe she knows where your wife is now.
KEVIN: NO! I'm... I'm TIRED of talking to strangers about how my wife
left me! I have SOME pride! Some... But... Oh, who... Who am I kidding?
It's all my fault! She left because of me. [So why did she leave?]
<back to QUESTIONS>
[New Question: Why did Grace leave?]
KYLE: Why'd she leave you?
KEVIN: That, um... I...
<If you have more questions, it goes back to the Question list. If you
got any response wrong, it goes to KEVIN3. Otherwise, it goes to KEVIN4>
[I bet you're lovers!]
KYLE: You and her got a thing?
KEVIN: <red aura> What? No! No, it's not... It's nothing like that. I
never met her before.
<If you have more questions, it goes back to the Question list. If not,
it goes to KEVIN3>
[Question: Talk about Gallery May.]
KYLE: I got a hunch about Gallery May.
[You worked there, too.]
[You never worked there.]
[You worked there, too.]
KYLE: Did you work there, too?
KEVIN: <red aura> Huh? Me? Noooo... No, not me. I'm a...a doctor. I've
never worked at a gallery.
<If you have more questions, it goes back to the Question list. If not,
it goes to KEVIN3>
[You never worked there.]
KYLE: You never worked there. So when did she start at the gallery?
KEVIN: No, I... I didn't, but she was... She was there seven years
ago...
KYLE: Long time.
KEVIN: Wife was working at the gallery when we... When we got married.
Then Melissa was born, and... She took a few years off. It was
important... She thought spending time together was important... But she
missed the gallery. She... She wanted to use her training... So... So
when Melissa turned two, Grace found work at an art museum.
KYLE: And things were still all right between the two of you?
KEVIN: ...Yes. They...they were. [Why didn't things work out?]
<back to QUESTIONS>
[New Question: Talk about Grace.]
KYLE: I bet I know what went wrong between you and the wife.
[It was Melissa.]
[It was you.]
[It was Melissa.]
KYLE: It was Melissa.
KEVIN: <red aura> No! No... My wife loved Melissa...
<If you have more questions, it goes back to the Question list. If
not, it goes to KEVIN3>
[It was you.]
KYLE: It was you. Right, doc?
KEVIN: ...Yes, it was... It was all my fault. [What do you mean?]
<back to QUESTIONS>
[New Question: How was it your fault?]
KYLE: How was it your fault? What did you do?
KEVIN: Well, er... ...Urp!
<If you have more questions, it goes back to the Question list. If
you got any response wrong, it goes to KEVIN3. Otherwise, it goes
to KEVIN4>
<KEVIN3>
KEVIN: Mr. Hyde...
KYLE: What?
KEVIN: What're you SAYING?
KYLE: I'm saying that--
KEVIN: SHUT UP! I can't... I can't follow you at all. You're... You make no
sense. Talking to you is a waste of time... I gotta go... I'm... I gotta go.
KYLE: Huh?
[I went back to Room 215.]
KYLE: Another problem I couldn't fix. Damn. He had the information I needed.
No way I'll ever catch Bradley now. Pathetic loser? Hell, Hyde, look in the
mirror...
[I spent the rest of the night in my room, staring at the ceiling.]
[GAME OVER]
<KEVIN4>
KEVIN: Aaah... Uuuuurrp!
KYLE: You feelin' low?
KEVIN: My... My head... It's going to explode...
KYLE: I bet. Well, you'd better get to your room before you make Rosa's life
a living hell. Can you make it? 'Cause I ain't carrying you.
KEVIN: You're right, it's... It's just like you said...
KYLE: I'm right? Hey, hold up.
KEVIN: What...is it?
KYLE: You're pathetic, you know that? I give you a load'a crap about how you
raise your kid, and you don't get mad? No woman likes a coward, pal. I bet
that's why your wife left you high and dry.
KEVIN: Oh YEAH? Oh... Oh yeah...?
KYLE: I bet she'd been planning to dump you for a long time. You know she
left a message on the back of one of Melissa's puzzles, right? The one she
gave her as a gift? She left a good-bye message on the back.
KEVIN: She did...did what?
KYLE: You didn't know? Where's your head at, doc?
KEVIN: I never knew... That was the problem. I never knew anything.
<They stare at each other.>
KEVIN: You wanna hear my story, Mr. Hyde? I'll tell you...everything.
KYLE: Tell you what. You want to talk? I'll stand here till I get bored.
KEVIN: Two years ago, I... I lost a patient in the operating room. I did what
I could, but... The family... They sued me. Sued for malpractice, and...
KYLE: They won, huh?
KEVIN: Oh, yes. They won... A court made me pay... It was so much money, and
my insurance wouldn't... I didn't have it. I couldn't get that much... It was
just so much... I was...drowning. I didn't know what to do. Grace...she kept
working at the museum while I...while I waited... When they gave me the
verdict, I... I asked for a divorce. It was MY mistake, my... I... I didn't
want Grace to pay for my mistake. But Grace refused. She... She said no. She
told me no. "This won't beat us," she said. "I won't lose my...family," she
said... She was going to... She told me... Told me she would raise the money.
KYLE: And?
KEVIN: She did. Yeah, she... I don't know where it came from, but...she did
it.
KYLE: How?
KEVIN: She made me promise not to ask. Said it was a...a price we paid to
stay together. Said we'd be together forever... She was WRONG! ...Wrong. I
loved her. From that day, I just... I just loved her so damn much... She was
everything. But you know what? I didn't... I didn't trust her. ...How crazy
is that? But, I mean... Where did she get that money? It was a LOT of money!
And so I asked her and asked her and asked her... But she WOULDN'T TELL ME!
So we fought. Oh, we just... We fought about everything... ...Everything.
Then one day, she... She...
KYLE: She left you.
KEVIN: Yes. I tried to find her. I've been everywhere and tried and... I don't
know. I don't know.
KYLE: So why'd you come here?
KEVIN: Matches. I found a matchbook from this hotel. It was in... In her
purse. So I came here. I thought I could find a clue or a... You know. A
clue... Just one little clue. But I failed. I failed, I... I didn't find a
damn thing. So you're right, Mr. Hyde. I don't know anything. I'm a loser.
I'm pathetic.
KYLE: That's one word for it.
KEVIN: I know...
KYLE: But I think you're going to pull out of this. You've got a chance.
KEVIN: I... I do?
KYLE: Comes a day in every man's life when he realizes he's a fool. But you
got someone who needs you, no matter what a lousy drunk you are. You know what
I'm saying, doc?
KEVIN: I...
KYLE: You can pull your ass out of the gutter for that person. Right?
KEVIN: Mr. Hyde...
KYLE: Melissa loves you more than anything. You're family. Hell, you're the
only family she's got left.
<Kevin leaves the front desk area.>
KYLE: (So that's what happened to Melissa's mom, huh? Wonder how Grace scored
all that cash. Why did she come to Hotel Dusk? And how are Iris and Grace
connected? Take a deep breath, Hyde... Get your ducks in a row here...)
<goes to CHAPTER SUMMARY>
I went down to the Seven Stars Bar at ten to meet up with Louie. While I was
enjoying some good scotch, Summer barged in. I told him that Helen was Alan's
mother, then split before he talked more. After leaving the bar, I ran into...
1. Rosa
No, that ain't right. Rosa wasn't in the hallway at that time.
2. Melissa
That's right. Melissa was roaming the hallway outside the bar. She was
looking for her old man, Kevin, and she didn't look happy.
3. Iris
No, that ain't right. I didn't bump into Iris.
I told Melissa it was late and she should go back to her room. But something
about how sad she looked stayed with me. After talking with Rosa, I decided
to get the hotel Christmas tree out of storage. Figured a tree with all the
trimmings might pick the kid's spirits up. The room where I found the tree
was...
1. Storage
That's right. I dug the tree out of a box in the storage room. Then I
decorated it for Melissa. Hadn't done anything like that in years. Made
me look like a sap, but it actually wasn't a half-bad time...
2. Rosa's room
No, that ain't right. There was no tree in Rosa's room.
3. Kitchen
No, that ain't right. There was no tree in the kitchen.
Melissa came to the storage room to see the Christmas tree. She looked pretty
happy to celebrate Christmas, even if it was three days late. Couple of other
people heard about the tree and came down to join us. First was Mila, and
then...
1. Kevin
No, that ain't right. Melissa's old man didn't bother to show.
2. Dunning
No, that ain't right. Dunning didn't show.
3. Louie
That's right. Who else would crash a party but Louie? Guy's got a nose
for bright lights and dames.
The lights of the tree pushed back the shadows of the storage room for a bit.
After Melissa fell asleep, Louie took her back to her room. Mila and I were
left in the storage room, so I got out my notebook. That's when I learned that
Mila's father owned his own business. The name of it was...
1. Seven Stars
No, that ain't right. That's the name of the hotel bar.
2. Gallery May
That's right. Mila wrote the name down in my notebook. Mila's father
owns an art gallery in Santa Monica. It's called Gallery May.
3. Moonlight Grill
No, that ain't right. That's the name of the hotel restaurant.
Louie told me that Iris and Kevin were drinking together. He said they were
talking about Gallery May. That's when I decided to ask the two of them some
questions. But when I went to 216 to see Iris, I learned something else. A
mystery man broke into Iris's room and nicked something from her. The thief
made off with...
1. A small envelope
That's right. Whoever it was took a small envelope. At least that's what
Iris said.
2. A matchbook
No, that ain't right. The matches were on a counter in the bar.
3. A fountain pen
No, that ain't it. I returned the fountain pen to Helen.
What was in the envelope? Just another question for the pile. Evening wasn't
a total bust, though. Kevin tied one on, and I waved the fumes away long
enough to grill him. He told me Melissa's mom, Grace, worked at a place called
Gallery May. Also told me about some malpractice suit he lost a few years
back. But I need to know how Grace raised the money to pay the thing off. As
I listened to Kevin spill his guts, an idea started to swirl in my brain.
There's a connection here. Bradley disappears with Osterzone's angel
painting... Doc's missing wife works at an art gallery. Like my old man used
to say, "Where there's stink, there's flies." You hear me coming, Bradley?
Hotel Dusk's got the key to this whole mess, and I'm going to find it tonight.
==================================
4h. CHAPTER 8: DECEMBER 28TH, 1979
11:00 ~ 12:00 A.M.
==================================
<Kyle is back in his room.>
KYLE: (Eleven o'clock. Time to show Louie how a real man bowls. But first,
I've got some real business to take care of. Someone took an envelope from
Iris, and I want to know who...and why.)
<The phone rings.>
KYLE: Hmm? Phone.
<He answers.>
RACHEL: Hey, sweetie!
KYLE: I hope Ed's paying you for the graveyard shift.
RACHEL: I just do this for kicks, hon. But hey, Ed told me that you're onto
something. Did you find a clue about your friend Bradley?
KYLE: Think so.
RACHEL: Ed's been talking about you all night. Told me all about why he thinks
you won't stop looking for Bradley.
KYLE: Ed talks too much.
RACHEL: I think it explains a lot.
KYLE: I don't need explaining.
RACHEL: Right. And I don't need a better job. You're just one big puzzle after
another, Kyle. But I guess that's what makes you so darn charming.
KYLE: Rachel, listen. Do you think--
RACHEL: Oops! Sorry, handsome. Ed needs you.
ED: Hyde! What's the good word?
KYLE: I'm shaking trees, but the acorns aren't falling. No direct ties to
Bradley yet, but I did find one thing.
ED: Yeah?
KYLE: It's a name. I need you to run it for me.
ED: Go.
KYLE: See what you can dig up on a Gallery May in Santa Monica. And get me the
skinny on the owner, too. Guy named Robert Evans.
ED: Gallery May... Robert Evans... Got it.
KYLE: Thanks. You got fingers in a lot of pies, Ed. I know you can find
something. Both names keep popping up in strange places. And at least one
person here is hot to find this Evans character. There's something here, Ed.
I know it.
ED: I'll do what I can on my end. But give me details. What are you fishing
for?
KYLE: I met a young girl here. She's wearing the same bracelet that Bradley
used to have. Girl's name is Mila.
ED: ...Mila? Hyde, are you saying--
KYLE: No. It's not his sister. Mila says the bracelet is from her father.
Robert Evans. I think she's looking for the guy.
ED: This the same guy that owns the gallery?
KYLE: Yeah. Same guy.
ED: Right. Gimme an hour or so. Let me talk to my people. I'll give you a
buzz when I track something down.
<He hangs up and goes out into the hallway. A door slams.>
KYLE: Huh? ...Sounds like that came from one of the rooms at the end of the
hall.
<If he goes to the bar before checking out the utility closet:>
LOUIS: There he is! The man of the hour! The cop with a heart of gold!
Kyyyyyyle Hyde! So ya wanna put a fiver on this first game or what?
KYLE: Something's come up, Louie. Give me a few.
LOUIS: What? Oh, man, but I was ready to ROLL! Just make it quick, yeah?
<If he checks the right-hand set of matches, he'll find the puzzle has
changed yet again:>
[Oh, look. Matches.]
<Or, after solving the puzzle once:>
[And here's the matches.]
KYLE: What's this?
<Or, after solving the puzzle once:>
KYLE: What the hell, I'm bored. Might as well give it a shot.
[Are you a puzzle nut? Try this mind-bending match problem! The
goal is to create three triangles. The hard part is to do so by
taking away four of the matches.]
<If you solve it, Kyle says, "Easy-peasy." If not, he says, "...>
<If he checks the left-hand set of matches, he'll find the puzzle has
also changed yet again:>
[Hey, look. Matches.]
<Or, after solving the puzzle once:>
[What do you know? Matches.]
KYLE: What's this?
<Or, after solving it once:>
KYLE: Maybe it'll help me think. I could use a good zone-out,
anyway...
[Are you a puzzle nut? Try this mind-bending match problem! The
goal is to create four squares. The hard part is to do so by taking
away six of the matches.]
<If you solve it, Kyle says, "Easy-peasy." If not, he says, "...">
<If you go to Louie's room before talking to him and try to mess with the
door:>
KYLE: I'd better not barge in. That seems to get me in trouble.
<If you go to the front desk area BEFORE listening to the tape:>
KYLE: You sober yet?
KEVIN: Oh, it's... It's you.
KYLE: You forget what room you're in?
KEVIN: No, no, I was just... Just trying to clear my head. I'm going
back now.
[Kevin nods and slowly wanders down the hall.]
<Kyle goes to the utility closet and searches around.>
[There's something in the garbage can.]
<He looks in the can.>
[Someone's tossed away some bits of paper.]
[I got no use for garbage. Best to leave it be.]
[I got a cassette tape.]
KYLE: (Wonder who threw this away?)
[There's some brown paper in here. I got a discarded envelope.]
KYLE: (It's addressed to Iris. This must be it.)
<After you retrieve the tape, even if you didn't get the envelope out of the
trash can yet, the description of the trash can changes to:>
[There's nothing in the garbage can.]
<He goes to the bar.>
LOUIS: Kyle Hyde! When he's not solving crimes, he's playin' Santa to the
ladies! Ready to take a licking from this street punk? I'm gonna roll strikes
till dawn!
KYLE: Almost. But first you have to help me out. I need a cassette player.
LOUIS: Really? Well... I got a deck. It's in my room. Man, I tell ya, that old
thing is in serious demand tonight!
KYLE: (Other people want his cassette player?) Hey, Louie?
<followup>
[Someone else wanted it?]
[So can I have it or what?]
<If you don't follow up:>
KYLE: (Other people want his cassette player?)
LOUIS: Old man Dunning just came asking to borrow it. Whatcha gonna
listen to, Hyde? It ain't disco, yeah? Tell me it ain't disco.
[Someone else wanted it?]
KYLE: Who else wanted your cassette deck?
LOUIS: Dunning, man. Came through a little bit ago wantin' to borrow
the thing.
KYLE: Dunning?
LOUIS: Don't ask me, man. Said he wanted some music. Probably country,
yeah? Whatcha gonna listen to, Hyde? It ain't disco, yeah? Tell me it
ain't disco.
[So can I have it or what?]
KYLE: So can I have it? Or are you afraid I'll run out of here with it
under my arm?
LOUIS: Naw, man, it ain't like that. Just a trip, is all. Dunning asked
to borrow it, too. Whatcha gonna listen to, Hyde? It ain't disco, yeah?
Tell me it ain't disco.
KYLE: I don't know.
LOUIS: Trip, man. Sounds pretty suspicious.
KYLE: I'll know when I hear it.
LOUIS: ...Tell ya what, man. Thing's just sittin' in my pad. Go ahead and use
it, but don't take it outta there.
KYLE: Thanks.
LOUIS: I'll swing by a bit later. Oh, but, hey! Don't try to rewind anything!
Oh, yeah... And you can't fast-forward, neither. Buttons are all busted up.
KYLE: Got it.
<If he talks to Louie again:>
LOUIS: Wanna spin some tunes, man? Sure thing. Grab the box in my room.
I'll come by later and make it a party, yeah?
KYLE: Sure.
<He goes to Louie's room.>
KYLE: Now where is that cassette deck?
<He looks around the room.>
[Louie's got a cassette deck sitting on a wooden crate. Real classy. This
cassette deck's seen better days.]
<He tries to put the tape in the deck.>
KYLE: (The tape's unwound. This is no good. So how do I fix it?)
<He looks around the room again. If you didn't get the pen during your first
sweep of the room, you can get it now.>
[It's a ballpoint pen. I got myself a ballpoint pen.]
KYLE: (I'm sure I can put it to good use.)
<He tries to use the pen to roll up the tape.>
KYLE: Hmm... This pen is round. It won't catch on the reels. ...I'm stumped.
(How do I fix this thing... The pen is too round. I need something with an
angle.)
<He leaves Louie's room. If you didn't get the envelope out of the trash can
and you try to do so after this point, you won't be able to:>
[There's nothing in the garbage can.]
<He goes back to his room and searches through his suitcase. You can grab the
pencil at any time after you find the tape.>
[I take a pencil out of my suitcase.]
<He goes back to Louie's room and uses the pencil to wind the tape. If you
already know the game or had some great insight before now, you can use the
pencil from the beginning and skip the whole scene with trying to use the
ballpoint pen.>
KYLE: Bingo.
[I rewound the cassette tape.]
KYLE: (Now I can hear this thing.)
<He puts the tape in the deck. If you try to fast-forward the tape for too
long a time:>
<The tape snaps.>
KYLE: Hey!
<The door opens and Louie comes in.>
LOUIS: Yo, Hyde.
KYLE: Louie.
LOUIS: What's up? Learn anything? Huh? Ah!
KYLE: Damn...
LOUIS: Aw, man... What're ya doin'?
KYLE: I screwed up.
LOUIS: I told ya, my man! No rewindin' or fast-forwardin'! Thing's
busted! I thought you was listenin' to me, brother. What am I s'posed
to do now? My music was all that kept me sane in this joint, yeah?
KYLE: Great... Nice work, Hyde...
[Hyde went into his room and didn't come out until the next morning...]
[GAME OVER]
<If you leave the tape deck without listening to the tape:>
KYLE: ...
<He listens to side A and eventually hears music.>
KYLE: Huh? What's this? A cassette tape? ...
<He listens to side B. After awhile, he hears voices.>
TAPE: ...at you're asking is... ...ossible! ...an't work any faster than
I...eady am. You heard me! This is... ...last one... ...ah, I got the
painting supplies...ut he doesn't... ...get it. I know, but...
KYLE: ...Last one, huh? I wonder what that means.
<The door opens.>
KYLE: Who's there?
LOUIS: Yo, Hyde!
KYLE: Louie.
LOUIS: Ya get that tape workin'? What's on it, man?
KYLE: Not sure. Here. Take a listen and see what you think.
[I play the cassette tape for Louie.]
LOUIS: Aw, man! Not cool, Hyde! That thing is a total freak-out! Didja hear
how those two cats were talkin' all quiet and staticky? Sounded like... I
dunno. Like someone bugged the room or somethin', ya dig?
KYLE: That's my guess, too.
LOUIS: Where'd you get this thing, anyway?
KYLE: Trash can in the utility closet.
LOUIS: Trip! Who tossed it there?
KYLE: The same person who stole an envelope from Iris's room.
LOUIS: OK, man, now you totally lost me. Who stole what from who now? Fill me
in, man. And use small words, yeah? I ain't the brightest bulb in the lamp.
KYLE: I'll tell you everything later, Louie. I have to find Iris first.
LOUIS: Yeah, OK, man. If ya say so.
<He leaves the room.>
KYLE: (Time to make Iris sing like a canary.)
<He goes upstairs and knocks on 216.>
KYLE: It's Kyle Hyde.
IRIS: Go away.
KYLE: We've gotta talk. Open up.
<Iris opens the door.>
IRIS: Don't you have a cave to go home to?
KYLE: Play nice. I found your stuff.
IRIS: Oh! You really found it? [Why did she have it, anyway?] Hand it over,
please.
KYLE: In a second. I got some questions first.
<goes to QUESTIONS. You can show the tape, the envelope if you grabbed it
from the rubbish can, or ask a question. If you leave the Question list
without doing anything:>
KYLE: All right. See ya.
IRIS: Wait! Wait, Mr. Hyde, what... What did you find? Please show me.
<back to QUESTIONS>
<When you show the tape during whatever part of the conversation:>
KYLE: Is this what was in your mystery envelope?
IRIS: Where did you find it?
KYLE: Trash can in the utility closet.
IRIS: Really?
<back to QUESTIONS. If you still have questions or the envelope, you can take
care of those. If not, it goes to IRIS1 when you leave the Question list. When
you show the envelope if you have it, during any part of the conversation:>
KYLE: Is this your envelope?
IRIS: Where did you find it?
KYLE: Trash can in the utility closet.
IRIS: Really?
<back to QUESTIONS. If you still have questions or the tape, you can
take care of those. If not, it goes to IRIS1>
[Question: Why did you have the tape?]
KYLE: What's a dame like you doing with something like this?
IRIS: I'm sure I have no idea what you're talking about.
KYLE: This is from a bugged room, and the guys on the other end mean business.
IRIS: ...What?! You LISTENED to it?!
KYLE: Yeah. I was curious about what got taken from you. I figured it was
something interesting. But I never imagined it would be something like this.
<Iris pouts. If you've already shown the tape, it goes to IRIS1. If you
haven't shown the tape yet:>
KYLE: All right. See ya.
IRIS: I can't believe you found my tape...
<goes to QUESTIONS. No questions. If you try to leave the Question
screen, it replays the above bit until you finally show the tape. You
can also show the envelope at this point. After showing all items, it
goes back to the Question list. When you leave that screen, it goes to
IRIS1>
<IRIS1>
KYLE: Shed some light on this for me.
IRIS: ...Fine. Come in.
<He enters the room. If you try to leave the room:>
KYLE: (There's more... And I'm not leaving until I hear it all.)
IRIS: What do you want to know?
KYLE: Give me the skinny on the tape.
IRIS: The tape is none of your concern. Just give it back.
KYLE: You want the tape? I want answers. Who are the voices on the tape?
IRIS: I have no idea.
KYLE: No idea? You really do think I'm an idiot, don't you? Where does a
princess like you get something like this?
<IRIS2>
IRIS: I told you. Grace sent it to me. She asked me to bring it here. That's
all.
KYLE: (This was a favor?) Hold it.
<followup>
[I don't follow you.]
[Why bring it here?]
<If you don't follow up:>
KYLE: (This was a favor?)
IRIS: I can't tell you any more, Mr. Hyde. That is everything I know
about this whole affair.
KYLE: Where does a princess like you get something like this?
<goes back to IRIS2 and to followup>
[I don't follow you.]
KYLE: Bring what here?
IRIS: <red aura> Do they not have subtlety where you come from, Mr.
Hyde? The tape. The one that you refuse to return to me. I can't tell you
any more, Mr. Hyde. That is everything I know about this whole affair.
KYLE: Where does a princess like you get something like this?
<goes back to IRIS2 and to followup>
[Why bring it here?]
KYLE: Why'd you bring it here?
IRIS: Because I was TOLD TO!
KYLE: Grace gave you the tape. What was the plan?
IRIS: She told me to wait for her to contact me again. If I didn't hear
from her by Christmas, I was to bring the tape to this hotel. [Why would
Grace want that?]
<IRIS3>
KYLE: You and Grace were close?
IRIS: That's right.
KYLE: So you must know all about her, right? About her family? That why
you were boozing it up with her husband, Kevin Woodward?
IRIS: Her... Her HUSBAND?
KYLE: (That got her.) Well?
<followup>
[You didn't know?]
[You knew, didn't you?]
<If you don't follow up:>
KYLE: (That got her.) Fill me in. I got questions and I'm running
out of time.
<goes back to IRIS3 and to followup>
[You didn't know?]
KYLE: Guess you didn't know.
IRIS: Are you sure? That man is Grace's...husband? Then that little
girl... The girl in the restaurant is...
KYLE: Yeah. That's her kid.
IRIS: Oh... Now I understand why she had that doll with her. [You
know about the doll?]
KYLE: When did you last see Grace? Where is she now? Talk, dammit!
Where is Grace! Where has she gone?!
IRIS: You stupid, insensitive FOOL! I don't know, all right? I DON'T
KNOW! And YOU are the one who should be telling ME what's going on!
KYLE: ...Wait, I don't--
IRIS: I'm the one who knows her, you idiot! I'm the one who's
SEARCHING for her! I HAVE to find her! There's something I have to
ask her! [What's she going to ask?]
<goes to QUESTIONS>
[You knew, didn't you?]
KYLE: Cut the crap. I doubt you were with the guy for his sparkling
conversation.
IRIS: <red aura> I...I had no idea. You must believe me. I can't
believe this is true...
KYLE: Fill me in. I got questions and I'm running out of time.
<goes back to IRIS3 and to followup>
[Question: Let's talk about the plan.]
KYLE: I think I know why Grace asked you to do this. And why she wanted the
tape brought here.
[Grace is here.]
[The tape is insurance.]
[Grace is here.]
KYLE: I think she plans to pick it up here.
IRIS: <red aura> ...What? I don't think that's true.
<If you still have questions, it goes back to the Question list. If not,
it goes to IRIS4>
[The tape is insurance.]
KYLE: That tape is insurance. She needs it to give someone the
strong-arm.
IRIS: ...
KYLE: I guessed right, huh?
IRIS: I don't know what the tape is for. When Grace sent me the tape, she
gave me a message. If I didn't hear from her by Christmas, I was to come
to this pathetic hotel. And I had to bring the tape with me. I'm supposed
to hand it over to a certain man. [And who would that be?]
<back to QUESTIONS>
[New Question: Who gets the tape?]
KYLE: Who gets the tape?
IRIS: I don't know.
KYLE: Nice plan.
IRIS: I asked her. Grace, I mean. I asked her who she meant. But... She
just told me to give it to the man who painted the angel. I hoped that
I'd understand when I got here, but I don't.
KYLE: The angel, huh?
IRIS: So here I am. A girl with no plan, trapped in the worst hotel in
the world. I'm lost, Mr. Hyde. I have no idea who this man is or how to
find him.
<If you still have questions, it goes back to the Question list. If you
have no more questions and you got any response wrong, it goes to IRIS4.
Otherwise, it goes to IRIS5>
[Question: Let's talk about the doll.]
KYLE: Melissa's doll caught your eye, huh? What's going on there?
[You wanted to steal it!]
[You recognized it.]
[You wanted to steal it!]
KYLE: You're going to steal it.
IRIS: <red aura> Don't be absurd! You're wrong!
<If you still have questions, it goes back to the Question list. If not,
it goes to IRIS4>
[You recognized it.]
KYLE: You've seen that doll before tonight, huh? After all, Grace is the
one who made it.
IRIS: I didn't... I didn't know she made it. That explains why it looks
so much like our dolls. [...Our dolls?]
<back to QUESTIONS>
[New Question: You had that doll?]
KYLE: You have one of those dolls, too?
IRIS: I've seen that doll before. Maybe not that exact one, but... It
looks just like the dolls Grace and I used to have when we were kids.
<If you still have questions, it goes back to the Question list. If you
have no more questions and you got any response wrong, it goes to IRIS4.
Otherwise, it goes to IRIS5>
[Question: Let's talk about Grace.]
KYLE: I figured it out. I think I know why you're looking for Grace.
[It's about Kevin.]
[It's because she vanished.]
[It's about Kevin.]
KYLE: You were going to ask her about Kevin.
IRIS: <red aura> You really are an idiot. I told you, I only met him
tonight. I couldn't possibly ask her about him.
<If you still have questions, it goes back to the Question list. If not,
it goes to IRIS4>
[It's because she vanished.]
KYLE: You're trying to track her down.
IRIS: Yes. I thought she was married and...happy. You know? I refuse to
believe that she just vanished for no reason!
KYLE: Woodward got hit with a big lawsuit back in '77. He was about to
lose everything. Grace raised a whole bunch of dough and pulled his ass
out of the fire.
IRIS: But how?
KYLE: Good question. If you find out, tell Kevin, will ya? Apparently,
Grace refused to tell him where she got the cash. Guy couldn't take it.
They fought about the cash and he stopped trusting her. Then she decides
to skip town.
IRIS: Oh, Grace...
KYLE: This isn't some tape Grace picked up at a yard sale. What's the
story? What does it mean?
IRIS: I don't know.
KYLE: Kevin got sued for a king's ransom. Where'd Grace get the money to
pay that off?
IRIS: I don't know! OK? I don't have any idea. [I bet it was dirty
money.]
[New Question: Where did Grace get the money?]
KYLE: How did Grace pull together that much sratch?
IRIS: I have no idea.
<If you still have questions, it goes back to the Question list. If you
have no more questions and you got any response wrong, it goes to IRIS4.
Otherwise, it goes to IRIS5>
<IRIS4>
IRIS: Mr. Hyde?
KYLE: What?
IRIS: Your intuition is awful, and you haven't understood a single thing I
said.
KYLE: ...Oh.
IRIS: You think you're bright and clever, but I don't think it's true. Please,
I... I don't want to talk to you anymore. Just go.
KYLE: Huh?
[I went back to Room 215.]
KYLE: Why couldn't I figure out what Iris was trying to tell me? Hmm... She's
right, Hyde. You couldn't find mud in a pigsty. Hell, I'll never find Bradley
now. Damn...
[Hyde went into his room and didn't come out until the next morning...]
[GAME OVER]
<IRIS5>
IRIS: I guess we're past the point of hiding secrets. I doubt you're the kind
of man I can conceal much from, anyway...
KYLE: This about the tape?
IRIS: No. ...It's about Grace. Well, about Grace and me, actually.
KYLE: What's the story?
IRIS: I'm her little sister.
KYLE: No kidding.
IRIS: She's four years older than I am.
KYLE: ...I didn't see that coming.
IRIS: Our mother was a kind, beautiful woman, but she was weak. Terrified of
being alone, easily manipulated, terribly sad. I'm sure you know the type. She
fell in love so easily, and always with the wrong kind of man. They used her
and hurt her and left her... And then she would just find another one. We
lived on the run. Running away from the last bad man and toward the next. And
every time we moved, we got a new father. In truth, Grace and I are only half
sisters. I don't even remember her father. But it didn't matter. Growing up,
we were inseparable. When you're always the new kid, you hang on to what you
have. We were best friends. But then my mother died, and Grace and I were
separated... I thought I would die as well.
KYLE: Your mom died young?
IRIS: Yes, in a plane crash. Do you remember that Las Vegas plane crash in
1960? She was on it. I was nine years old, and far too young to understand.
She was just...gone. The man she was with at the time was a pathetic snake.
The airline gave Grace and me a large sum of money, and he took it all. Once
that was done, he stashed us in separate orphanages and vanished. Grace and I,
we... We lost contact. I was eventually adopted, but I didn't care much for
my new parents. At fifteen, I ran away and spent five years in a blur of
hotels and highways... When I was twenty, I found work at some run-down diner
in Santa Monica. And one day, Grace walked back into my life. It's funny. I
knew her right away, but she... She didn't know me at first. I guess those
five years changed me more than I thought. Anyway, after a few moments, she
recognized me and we were reunited. She was so beautiful, Mr. Hyde.
Just...beautiful. She had gone to college and made something of herself.
<Hyde nods.>
IRIS: She was working as a curator at a place called Gallery May. And she was
engaged to a doctor. We promised to meet up later, but instead I quit and
fled Santa Monica. I heard Grace was looking for me, but I never tried to
contact her.
KYLE: Why's that?
IRIS: Because I was ashamed, Mr. Hyde. She was radiant, and I was...pathetic.
I didn't want her to see me like that, and so I ran away. ...Again. I decided
to follow my dream of becoming an actress. I jumped from city to city, taking
any role that was thrown my way. And in that fashion, time just...passed.
But two years ago, Grace tracked me down. I had just been featured in some
small-time magazine photo shoot. Grace saw it and tracked me down through the
agency. I was shocked by what she had become. The girl from Santa Monica was
gone. Her eyes, Mr. Hyde. Her eyes were so sad... She waited until we were
alone and then broke down. She told me she needed money. She begged me to help
her.
KYLE: And did you?
IRIS: Mr. Hyde, I could have sold my entire life and not come close to what
she needed. And she wouldn't even tell me what it was for! I told her no. I
had no choice, I... I couldn't dream of getting that kind of money. She was
sobbing, Mr. Hyde. Sobbing and apologizing and... She told me she was sorry
for asking the impossible. And that she didn't really care about the money.
She just wanted to see me. She said it gave her the courage to do what must
be done. ...For her family. It was like we were little girls all over again.
KYLE: How so?
IRIS: We were still so young... We moved from place to place, and I spent all
my time in the car, sobbing. Mom was too caught up with her men to do more
than scold me. But Grace was my savior. She used to put my favorite doll
between her arms. Then she would hold me and talk to me until I calmed down.
I thought back to that after she left the agency. After a few seconds, I
decided to chase her down. But when I ran out the door, she... She was gone.
<Kyle nods.>
IRIS: The envelope arrived about a year and a half after that. It contained a
letter and that cassette tape. I don't have the letter, but I read it again
and again and remember every word. "Iris, my family desperately needed money,
and I did a terrible thing. If you don't hear from me by Christmas, I need
you to do something for me. Take this tape to Hotel Dusk." The letter went on
to tell me to give the tape to the man who painted the angel. So! Here I am.
What a fantastic Christmas this is turning out to be... Anyway, that's all I
know, Mr. Hyde. The tape is a mystery. The letter is a mystery. I was scared
when that tape went missing, but I guess it doesn't matter. None of it tells
me how to find this man who paints angels. I hoped that coming here would
clear everything up, but it didn't. I'm clueless, Mr. Hyde. Clueless and
frustrated and just plain tired of it all.
KYLE: Kevin's been looking for Grace for a long time. And Melissa's getting
pretty desperate, too. Guess we can add you to the mix.
IRIS: I just want to see her again. I want to know that she's all right.
KYLE: Don't worry. We still got hope. We know the guy who made the angel
painting is here. And I'm going to look for him. If I find him, I bet I'll
find Grace, too.
IRIS: ...Mr. Hyde.
KYLE: Maybe that'll make your Christmas a little better. I'll be around. Grab
me if you think of anything else. And here's your tape back.
IRIS: ...Mr. Hyde.
<He leaves the room.>
KYLE: (So Iris is Grace's sister... Grace knew a man who paints angels. Hotel
Dusk and the angel painting have to be connected. Maybe I can figure it
out... And maybe that'll tell me why Bradley came here in the first place.)
[11:20 PM]
<Kyle goes back to Louie's room.>
LOUIS: Yo, Hyde! Didja figure stuff out and bust heads and all that cop
stuff? C'mon, man, hit me! What's the deal with the tape?
KYLE: The tape was sent to Iris by a woman named Grace.
LOUIS: Grace? Yo, I should know this Grace or what?
KYLE: She's Iris's sister.
LOUIS: Iris has a SISTER? Seriously? Awwwwooooooooo!!!
KYLE: ...You're a moron, Louie. There's more. Grace is Melissa's mother.
LOUIS: Awwwooo... Huh? No joke? Aw, wait, man! That means...
KYLE: Yeah. Grace is actually Kevin's missing wife.
LOUIS: Well, I'll be damned! You're some kinda cop, Officer Hyde!
KYLE: Apparently Kevin isn't much of a doctor, because he lost a big
malpractice suit. Grace got the money to pay the thing off, but Kevin doesn't
know how.
LOUIS: Aw, TRIP, man! Sounds like dirty money to me!
KYLE: You and me both, brother. About six months ago, Grace up and vanished.
That's the same time she sent the tape to Iris. Thing came with a letter that
told her to sit tight until Christmas. If there was no word by then, Iris had
to bring the thing here.
LOUIS: Here, man? This hotel?
KYLE: She's supposed to give it to a man who paints angels.
LOUIS: That don't make no sense, man.
KYLE: I know, but there it is.
LOUIS: Yeah... There it is.
KYLE: Listen, I need you to take a buzz through the guest log from two years
ago.
LOUIS: Sure, man. I'll do my sneakin' around thing soon as Dunning takes off.
You want I should check if Grace Woodward stayed here, right?
KYLE: Smart boy, Louie.
LOUIS: If only my ma could see her Louis now! But first, we gotta settle
something like men ...Men who ROLL!
KYLE: You're on.
<NOTE: There's actually an error; the game shows that the person who says
the above line is Louis, but it shows up under Kyle and is obviously spoken
by Kyle.>
<They leave the room.>
LOUIS: Psssst! Yo, over here, man!
KYLE: You want to do this here, Louie?
LOUIS: Aw, man, it's way more fun this way! C'mon!
KYLE: If you say so.
LOUIS: Now let's get it on!
<goes to the bowling minigame>
LOUIS: After you, my man.
<After you roll, Louis makes a comment:>
<5 pins or less:> LOUIS: Haw haw! Man, that the best ya can do?!
<more than 5 pins:> LOUIS: Hey, not bad, Hyde.
<I have no idea what he says if either of you get a strike. After Louie's
comment:>
LOUIS: Now it's MY turn. Watch this action!
<After he rolls, Louie makes a comment:>
<5 pins or less:> LOUIS: Aw, crap. That stunk.
<more than 5 pins:> LOUIS: Guess that's the way the ball rolls, huh?
<Depending on who wins:>
LOUIS: The first game's all mine.
LOUIS: A tie? Great, first game's a stinkin' tie.
<In the second game, Louie's comments stay the same. Depending on who wins:>
LOUIS: You win the second game.
LOUIS: Second game goes to ME!
<Third game, Louie's comments stay the same. If Kyle doesn't knock down a
total of at least 10 pins in the 3 games, you'll get the scene below:>
LOUIS: You'll never win what with rolls like that!
KYLE: Once more?
<goes back to the bowling game>
LOUIS: After you, my man.
<The bowling game replays and replays until Kyle gets at least 10 pins.
So get ready for a lot of bowling if you suck as much as I do in the
game.>
<If Kyle knocks down a total of at least 10 pins in the 3 games, this scene
happens when Louie gets ready to roll his third ball:>
LOUIS: Now it's MY turn. Watch this action!
<Louis throws the ball. They hear a crash.>
LOUIS: Aw, man! Total bummer, man. OH NO! No, man! No, no, no, no, no... Man,
that's Dunning's plant! Guy LOVES that stupid plant! Aw, man, he's gonna have
my head for that!
KYLE: What have we here?
LOUIS: Huh?
KYLE: This is...
[I got an old key.]
LOUIS: That a key? What's a key doin' in old man Dunning's plant?
<A door opens.>
ROSA: What is going on out here! What ARE you up to now? Huh? Answer me!
LOUIS: Easy, Mama Sass! We're just having us a little chat.
ROSA: Don't "Mama Sass" ME, Louis DeNonno! You were playing that ridiculous
bowling game again, weren't you?
LOUIS: Aw, man...
ROSA: What? You thought it was a secret? You talk about it to everyone you
meet! I'm sure even Mr. Smith knows by now! You should pray that he never
catches you, or it'll be your job!
LOUIS: Aw, c'mon, Rosa! Why ya gotta be Captain Hard-Ass all the time?
ROSA: Your fun is no concern of mine, Louis DeNonno!
LOUIS: That's cold, Mama. Real cold.
ROSA: I don't have time for this! Mila is missing! Where is she? Have you
seen her?
LOUIS: Mila?!
KYLE: You lost Mila?
ROSA: I did not LOSE her, Mr. Hyde! She left my room and hasn't come back. I
checked the lobby and restaurant already... Oh, this is terrible...
KYLE: You seem pretty worried. There something I should know?
ROSA: ...Huh?! What? No! Nothing, just... Just trying to find her!
KYLE: Sure you are.
ROSA: I'm busy! I have to go! If you see Mila, tell her to go back to my room
and wait! All right? Good!
[Rosa scuttles off down the hall.]
LOUIS: Hoo-wee! Sounds like they had themselves a fight or something, yeah?
KYLE: Something like that.
LOUIS: Hey, man! We should help look for Mila! Ya know...just to be nice and
all...
KYLE: I know why you're looking, Louie. And it's fine. You take the first
floor. I'll take the second.
LOUIS: Gotcha!
KYLE: And Louie?
LOUIS: Yeah?
KYLE: Keep this safe.
LOUIS: What, the old key?
KYLE: See if you can find out what it goes to.
LOUIS: Yessir, Officer!
<If you talk to Louie again:>
LOUIS: I'll take the first floor, and you take the second.
<He goes upstairs.>
KYLE: Where did Mila go?
<He goes to the roof.>
KYLE: ...Hmm? Someone's there. It's...
<He walks over to Mila.>
KYLE: Mila. <He touches her, and she turns around.> What's wrong? Just
stargazing? It's cold. And that's not much of a coat. <She looks away.> Rosa's
looking for you. Something happen between you two? <She shakes her head.>
Did Rosa say something to you? <She nods.>
[I hand my notebook to Mila. Mila writes something in my notebook.]
KYLE: ...? Who are you looking for? "Who are you looking for?" That's what
Rosa said to you? <She nods.> So she knows you're looking for your father,
huh? Guess you told her about that. <She shakes her head.> Wait, you didn't?
I don't get it. Here. Write down what she told you.
[I hand my notebook to Mila. Mila writes something in my notebook.]
KYLE: ...? She said "I know your father." Rosa knew your father? She said
that? <Mila nods.> (How the hell does Rosa know Mila's old man?) Wind's
getting chilly. And Rosa will murder me if you catch cold. Let's get you back
to her room, OK?
[11:40 PM]
<Kyle and Mila go to Rosa's room. He knocks on the door.>
KYLE: It's Hyde.
<The door opens.>
KYLE: I found Mila.
ROSA: Mila! Come in quickly, dear. Come on, come on! Where was she?
KYLE: On the roof.
ROSA: What? Land sakes, no wonder she's cold! Poor thing will catch her
death! Mila, you just sit and I'll make you some tea. And don't mind what I
said earlier! You don't have a thing to worry about, dear.
KYLE: You got a second?
ROSA: What is it? I'm very busy.
KYLE: It won't take long. It's about Mila.
ROSA: Yes?
KYLE: Actually, I need to talk to both of you.
ROSA: Oh, all right! Go wait in the back room. OK? Good. I need to give Mila
her tea first.
<They all go in Rosa's room. If you talk to Rosa again:>
ROSA: Just wait! We'll come back in a second.
KYLE: All right.
<If you try to talk to Mila:>
KYLE: Hey, you got a minute?
MILA: ... <She shakes her head.>
<Kyle goes in the back room. You must look at all three photos in the room
and then try to leave before Rosa will walk in.>
ROSA: Sorry, Mr. Hyde! Sorry for making you wait!
KYLE: How's Mila?
ROSA: Oh, she drank some of my special honey tea and is feeling much better.
KYLE: Good.
ROSA: So what did you want to talk to me about? Hmm? Out with it!
KYLE: Hold on. I got a question about these pictures first.
ROSA: Oh, Mr. Hyde. Why were you looking at my pictures?
KYLE: I got a short attention span. So who are these folks?
ROSA: Those are pictures of me, Mr. Hyde!
KYLE: Pictures of... The bride, too?
ROSA: Of course!
KYLE: ...Oh.
ROSA: Now what's that face for? Don't look so surprised, Mr. Hyde. I was
young once, you know.
KYLE: Oh, I know. It's just...
ROSA: Just WHAT?!
KYLE: This is a bit awkward.
ROSA: I'll awkward YOU, Mr. Hyde! Out with it!
KYLE: I just thought she was a real good-looking dame.
ROSA: Oh my! <She looks abashed.>
KYLE: So you marrying your one true love there or what?
ROSA: Yes, I was. I thought I was the happiest girl in the world.
KYLE: Yeah, I bet. 'Course, everybody says that.
ROSA: Yes, but I was serious! I couldn't have been any happier to marry
that man!
KYLE: Rosa, you never cease to amaze me. Your husband really that great?
ROSA: To me, he was! He was the best man I'd ever met.
KYLE: So what happened?
ROSA: I think he's on a boat somewhere.
KYLE: No kidding? Married a sailor, huh?
ROSA: I assume he's still a sailor!
KYLE: You assume?
ROSA: It's been quite some time since I've seen him, is all.
KYLE: Oh.
ROSA: I think the last time we saw each other was... Oh, at least five years
ago.
KYLE: That's a long time.
ROSA: No, now I'm sure that was it. I remember now, because it's when I
started to work here.
KYLE: (...Guess it takes all kinds.)
ROSA: I doubt you really care about my husband, Mr. Hyde! I thought you had
to ask me about Mila!
KYLE: Yeah, I do. Lemme get on that.
ROSA: Well! Out with it!
KYLE: How do you know about Mila?
ROSA: What? I don't understand the question, Mr. Hyde!
<ROSA1>
KYLE: When I ran into Mila, her wheels were really turning. She was thinking
about something you said. So what did you say to her?
ROSA: I'm sure I don't know! I haven't said anything to that girl.
KYLE: (You're sure, huh?) Wait a minute.
<followup>
[I don't believe you!]
[C'mon, Rosa. Don't lie.]
<If you don't follow up:>
KYLE: (You're sure, huh?)
ROSA: I'm just concerned about the poor girl, you see?
KYLE: Oh, I believe you, Rosa. But I think there's more to the story.
<goes back to ROSA1 and to followup>
[I don't believe you!]
KYLE: You haven't spoken to her? Not at all? Not one little word?
ROSA: <red aura> That's right! I haven't said a single thing to her!
I'm just concerned about the poor girl, you see?
KYLE: Oh, I believe you, Rosa. But I think there's more to the story.
<goes back to ROSA1 and to followup>
[C'mon, Rosa. Don't lie.]
KYLE: Rosa... Come on. Don't start lying to me now. I know you talked
to her. And I know you asked who she's looking for.
ROSA: ...Wh-what?! And just how would you presume to know about that,
hmmm?
KYLE: Mila told me.
ROSA: Oh, she told you? She told you! Miss Talkie just up and told you,
is that it?
KYLE: She wrote it down in my notebook.
ROSA: Oh! ...Oh. Guess it's silly for me to try and hide it, then...
KYLE: How did you know she was looking for someone?
ROSA: It's because of that old brochure. [What's with the brochure?]
<ROSA2>
KYLE: You know something about her that the rest of us don't. And I
need you to tell me.
ROSA: ...I don't know anything! It's not like I'm...hiding something
from you!
KYLE: (Poor Rosa. Such an open book.) C'mon, Rosa.
<followup>
[Rosa... Come on, now.]
[You think I'm an idiot?!]
<If you don't follow up:>
KYLE: (Poor Rosa. Such an open book.)
ROSA: Mr. Hyde, I don't have anything to tell you.
KYLE: I heard you the first time. But you didn't hear me. So let's
try this again.
<goes back to ROSA2 and to followup>
[Rosa... Come on, now.]
KYLE: Rosa. We've been through a lot tonight, right? Helped each
other? Had a few laughs?
ROSA: I'm not... I'm not hiding anything, Mr. Hyde. And I swear I
don't know boo about that poor girl's father.
KYLE: Her father?
ROSA: Oh, darn my fool mouth! [What about her father?]
KYLE: What are you hiding?
ROSA: Please, Mr. Hyde! I promised not to tell. [...A promise, huh?]
<goes to QUESTIONS>
[You think I'm an idiot?!]
KYLE: You take me for a chump? Huh? Is that it?
ROSA: <red aura> I said I don't know anything! And you're scaring
me! I'm an honest woman! Stop treating me like a criminal! Mr. Hyde,
I don't have anything to tell you.
KYLE: I heard you the first time. But you didn't hear me. So let's
try this again.
<goes back to ROSA2 and to followup>
[Question: Talk about the pamphlet.]
KYLE: I think I know what's going on with the brochure. You were talking
about...
[My brochure.]
[Mila's brochure.]
[My brochure.]
KYLE: This brochure? The one I got when I checked into this dump?
ROSA: <red aura> No. Not that one.
<If you still have questions, it goes back to the Question list. If not,
it goes to ROSA3>
[Mila's brochure.]
KYLE: You mean the brochure Mila was carrying.
ROSA: Yes, that's right. She got a ride from that terrible Angel boy
in 213, remember? I think she showed it to him, and that's why he came
here. And as soon as I saw that brochure, I knew! [What did you know?]
[New Question: What did the pamphlet tell you?]
KYLE: What did that brochure tell you?
ROSA: Well, see, I just figured that if she had that brochure with
her... Then she must be looking for someone who stayed here a long time
ago! Makes sense, right? Sure it does. Anyway, that's what I thought
when I saw it.
<If you still have questions, it goes back to the Question list. If you
have no more questions and you got any response wrong, it goes to ROSA3.
Otherwise, it goes to ROSA4>
[Question: Talk about Mila's father.]
KYLE: What about her father? You said you didn't know anything about him,
right?
[You don't know squat!]
[You DO know something!]
[You don't know squat!]
KYLE: I don't think you know a thing about him.
ROSA: <red aura> Oh, is that so? Well, I think I know more than you, and
for a fact!
<If you still have questions, it goes back to the Question list. If not,
it goes to ROSA3>
[You DO know something!]
KYLE: So you do know something?
ROSA: Probably!
KYLE: ...Probably? What's that supposed to mean?
ROSA: Well, it's just that if that girl is looking for her father...
Then, yes. Maybe I do remember something. [What do you remember?]
<back to QUESTIONS>
[New Question: What did you remember?]
KYLE: What did you remember?
ROSA: I can't tell you that!
KYLE: Come on, Rosa. I got you an autograph. I fetched wine labels.
Trust me for once.
ROSA: I don't know...
KYLE: I don't have a secret agenda, Rosa. I just want to know what Mila
was doing here by herself. And what her father was up to. That's all.
ROSA: And why? Huh?
KYLE: I want to set her free.
ROSA: And what does that mean?
KYLE: I know a little something about searching for people... I know it's
hard. Not something a girl like her should have to face. When you find
people that don't want to be found, you learn some hard truths. Mila
knows that those truths are coming... But she can't stop looking. It'll
hurt when she's done, but only for a bit. Then it's over and done with.
But until she finds her old man, she's just going to go on hurting.
<If you still have questions, it goes back to the Question list. If you
have no more questions and you got any response wrong, it goes to ROSA3.
Otherwise, it goes to ROSA4>
[Question: Talk about the promise.]
KYLE: You made a promise, huh? I think I know who you made this promise to...
[A stranger.]
[Someone I know.]
[A stranger.]
KYLE: I bet it was someone I haven't met yet.
ROSA: <red aura> Not true! I thought your intuition was better than
this, Mr. Hyde.
<If you still have questions, it goes back to the Question list. If not,
it goes to ROSA3>
[Someone I know.]
KYLE: It's someone I know. Isn't it?
ROSA: Yes, as a matter of fact. The person trusted me. Trusted me with
a secret. [So what's the secret?]
<back to QUESTIONS>
[New Question: So what's your big secret?]
KYLE: What's this secret, Rosa? What are you hiding that can help this
girl?
ROSA: I can't tell you. I promised.
KYLE: Yeah, you said that. And I know you mean well. But the person who
told you this secret? They told you because they trusted you.
ROSA: I suppose.
KYLE: Then maybe you can trust me in the same way. If it's something to
do with Mila, I can help her. And I need you to trust me with it. I'll
keep your name out of it.
<If you still have questions, it goes back to the Question list. If you
have no more questions and you got any response wrong, it goes to ROSA3.
Otherwise, it goes to ROSA4>
<ROSA3>
ROSA: Mr. Hyde?
KYLE: What?
ROSA: I can't believe that your intuition is so poor!
KYLE: ...The hell?
ROSA: I told you what I knew. I thought you could help. But you were just too
darn thick to understand! Please leave, Mr. Hyde.
KYLE: Huh?
[I went back to Room 215.]
KYLE: Why couldn't I figure out what Rosa was trying to tell me? Hmm... Oh,
that's what it was... Now I'll never find Bradley. Damn...
[That night Hyde went into his room and stayed there until morning.]
[GAME OVER]
<ROSA4>
ROSA: Oh, Mr. Hyde! I don't know what to do!
KYLE: Tell me what you know. I'll make sure it doesn't come back to you.
ROSA: Yes, I heard you before! Well, if it's really just so you can help
Mila... I guess I can tell you. I like you, Mr. Hyde. And I do trust you,
I guess.
KYLE: I like you too, Rosa.
ROSA: But you have to swear that you'll look for her father! You told her
you would, so you have to promise!
KYLE: I will.
ROSA: Well, you see... It's about the old brochure that Mila was carrying.
I knew as soon as I saw it. I knew... I had seen it before.
KYLE: Where?
ROSA: In Mr. Smith's room.
KYLE: His office?
ROSA: No, his personal quarters. He normally won't let anyone go in there!
But he's such a lazy man, and he asked me to clean it once or twice. And
anyway, that's how I saw the brochure. And once I saw that Mila had the same
one, it all became clear as day!
KYLE: You want to fill me in?
ROSA: That poor girl must have been here a long time ago!
KYLE: Why do you think that?
ROSA: Because Dunning told me so, that's why! ...See, he only became the
owner of this place some five years ago. And that brochure is much older than
that, which made me curious. So I asked him about it a little while back.
About where he got it. And he told me. He said he had stayed here once with
his family a long time ago. And that's how he got the brochure.
KYLE: Wait... Dunning has a family?
ROSA: Well, I can't be sure about the details. He won't talk much about
himself. But last year I told him a bit about my husband. And then he talked
about his family.
KYLE: What did he tell you?
ROSA: He has a daughter. But I think she lives pretty far away.
KYLE: A daughter... So that picture...
ROSA: That's right. I pretended not to know anything when you brought it up.
But I think the girl in that picture is his daughter. But something happened
that has kept them apart for quite some time. So when I figured out that Mila
was looking for someone... I instantly thought about Mr. Smith.
KYLE: That's why you told Mila that you knew her father?
ROSA: That's right! Oh, it just felt so perfect! But Mila just looked so
sad, and then she left!
KYLE: I see.
ROSA: Mr. Hyde, you don't suppose that Dunning really is--
KYLE: No. He's not.
ROSA: Oh, dear...
KYLE: Mila's father is a gallery owner named Robert Evans.
ROSA: Oh, but I... I was so sure... Oh, heavens. I opened my big mouth and
spoke without knowing! That poor girl...
KYLE: Don't beat yourself up about it.
ROSA: How can I not? I mean... I... She... Well, now I'm just all kinds of
confused!
KYLE: Why?
ROSA: About Dunning! I thought that was why he was upset when I took Mila
in! And why he wouldn't get anywhere near her! So I guess... There must be
something between them. Just not what I thought...
KYLE: Maybe so.
ROSA: You know what Mr. Smith said to me? He said, "You take her to the
police first thing in the morning!" And when I asked him if that was really
the best thing to do? He couldn't even look me in the eye! Mr. Hyde, I'm just
like you. I just want to help this poor girl. I'll do whatever I can. But you
have to help her!
KYLE: I will. But I need to know one more thing. Is there a painting of an
angel in this hotel?
ROSA: An angel?
KYLE: Yeah. Wings, halo, little clouds. Angel.
ROSA: No, not that I know of. But we do have lots of apple paintings!
KYLE: Yeah, I noticed that.
ROSA: Land sakes, those things are everywhere! Pictures of apples all over the
hotel! Now, why anyone would need that many apple paintings is beyond me...
KYLE: Rosa, I don't care about apples. I care about the angel.
ROSA: Well, we don't have one. At least, I've never seen it. Just apples.
KYLE: (Again with the stupid apples. Can't sneeze without hitting one of
those. There's even one in my room...)
<The conversation ends. If you talk to Rosa again:>
KYLE: I want to hear what you have to say.
ROSA: What?
<goes to QUESTIONS. No questions, no items.>
<He goes to the outer room and talks to Mila.>
KYLE: Don't worry. I'll find your father.
<He leaves the room and his pager beeps.>
KYLE: ...It's my pager. I've got to call Ed.
<He goes to his room.>
[Guess I should give Ed a call...]
RACHEL: Red Crown, Rachel speaking.
KYLE: Rachel? Go home. Seriously.
RACHEL: I was going to, sweetie, but I'm worried about you.
KYLE: I'm fine. You're the one who has to go home at midnight.
RACHEL: Aren't you sweet! But I'll just make Ed give me a ride. Anyway, he's
right here.
ED: Hyde! What's the good word?
KYLE: Tell me you got good news, Ed. Tell me about Gallery May and Robert
Evans.
ED: I shook something loose. Looks like this gallery of yours closed down
seven years ago.
KYLE: No kidding?
ED: Yeah. It was one of the older galleries in Santa Monica. Seems this Evans
fellow inherited it from his grandfather. He was twenty-three when he got it,
and that was back in 1933.
KYLE: Sounds like he had some success.
ED: That's what I hear. Art types say Evans had a good eye for rare stuff.
Was real good at finding undiscovered works by famous painters.
KYLE: He make any money?
ED: Plenty. When new art shows up from famous painters, folks pay attention.
And then all of a sudden... Nothing. Gallery shuts down seven years ago.
KYLE: Why?
ED: Got no clue. When it closes, Evans does a runner and disappears.
KYLE: And he's been gone ever since?
ED: Yeah. Real missing-persons type stuff. Hyde, you said his daughter was
in that hotel? Think she's been looking for him this whole time?
KYLE: I don't know... I don't think so.
ED: I rang up some old friends in LAPD and asked about your case. They say
no one in the family ever pressed for a full search.
KYLE: That's interesting.
ED: I looked into the Evans family, by the way. Wife Mary died in a plane
crash in 1960. They had one daughter. Name'a Mila. I got a couple calls in
to some other folks. I'll ring you if it pans out.
KYLE: I appreciate it.
ED: Don't worry. Something pops up, I'll get you on the horn, pronto.
<He hangs up.>
KYLE: (So Robert Evans went missing seven years ago. What the hell happened
to him? And I want to know more about Dunning's daughter. All right. I'm
getting close. Let me think about this for a bit...)
<goes to CHAPTER SUMMARY>
Ed called a little after eleven. I asked him to check two things for me. One
was Gallery May, and the other was...
1. Kevin Woodward
No, that ain't it. I didn't ask him to investigate Kevin for me.
2. Robert Evans
That's it. I asked Ed to collect info on Robert Evans and Gallery May.
3. Iris
No, that ain't it. I never asked him to dig up news on Iris.
I borrowed an old cassette deck from Louie's room. Then I used it to listen
to Iris's tape. It seemed to be a recording of some shady transaction. The
person who sent the tape to Iris was...
1. Grace
That's right. Grace sent Iris the tape. Seems that Iris is actually
Grace's little sister. And she's come here to try and find her.
2. Melissa
No, that ain't it. Melissa wasn't the one who sent Iris the tape.
3. Rosa
No, that ain't it. Rosa didn't send Iris anything.
From what Iris said, it sounds like Grace is connected to the angel painting.
I asked Louie to check the guest log from two years back and see what was
there. And then we went bowling. Go figure... While we were knocking pins,
we found something odd in a hallway planter. The thing we found was...
1. A cassette tape
No, that ain't it. I found the cassette tape in the utility closet
garbage.
2. A pencil
No, that ain't it. The pencil was in my briefcase.
3. An old key
That's it. When the bowling ball broke the planter, we found an old
key. Key's got no markings or anything on it. I got no idea what it's
used for.
Rosa stumbled across me and Louie's little game, and was less than thrilled.
But she stopped yelling long enough to tell us that Mila had vanished. Ever
the heroes, Louie and I went to search for her. When I found Mila, she was...
1. In the restaurant
No, that ain't it. She wasn't in the restaurant.
2. On the roof
That's right. Kid was on the damn roof. Rosa said something about her
father that upset her.
3. In the lobby
No, that ain't it. Mila wasn't in the lobby.
I took Mila back to Rosa's room, then the Wonder Maid and I had a chat. Rosa
told me that Dunning has a daughter. She thinks there's a connection between
Mila and Dunning... But she doesn't have any real proof. When we were done,
my pager went off and I called Ed. He had some info on Mila's old man, Robert
Evans. Seems Evans took a powder after he closed down his art gallery. He went
missing about...
1. Seven years ago
That's right. Evans went missing seven years ago. Even made the LAPD
missing-persons list. Has Mila really been looking for him this whole
time?
2. Six months ago
No, that ain't it. Six months ago was when Melissa's mother Grace left.
3. Two years ago
No, that ain't it. Two years ago was when Kevin committed some medical
error.
Iris's tale... Rosa's confession... Ed's new info... Things are starting to
come together, but I still got questions. Questions about Mila's father,
Dunning's daughter, and some picture of an angel. The strands of this mystery
are starting to fray. I can see them getting rough around the edges. And
Bradley? I think your story is the one thread I need to pull. The one that'll
make this whole damn thing unravel.
==================================
4i. CHAPTER 9: DECEMBER 28TH, 1979
12:00 ~ 2:00 A.M.
==================================
<Kyle is back in his room. The painting in his room catches his eye.>
KYLE: (A painting of an apple, huh? Rosa said there were five apple
paintings.)
<You can check the paintings in any order. When he examines the first
painting:>
KYLE: There's a letter painted into the picture...
<He goes to each picture and looks at them. When he examines the pictures:>
<The painting in his room:>
KYLE: A picture of five apples...and the letter Y?
<He writes it in his notebook.>
KYLE: (There are other apple paintings besides this one...)
<The alcove in the 2nd-floor hallway:>
KYLE: A picture of two apples...and the letter E?
<He writes it in his notebook.>
KYLE: (There's still another apple painting.)
<The painting in the first-floor hall:>
KYLE: A picture of three apples...and the letter N?
<He writes it in his notebook.>
KYLE: (There's still another apple painting.)
<In Room 217:>
KYLE: A picture of four apples...and the letter N?
<He writes it in his notebook.>
KYLE: (There's still another apple painting.)
<After he examines the fourth picture, rather than Kyle following up with
the corresponding comment as outlined above, he says:>
KYLE: (This is the fourth apple painting I've seen. I need to find one
more...) [Where's the last apple painting?]
<He goes into the lobby area.>
LOUIS: Yo, Hyde!
KYLE: That you, Louie?
LOUIS: Where you been, man? I been all over this place tryin' to track ya
down! I finally found Mila down in Rosa's room. Looks like someone found her
and led her there, yeah? Man, you shoulda said something! Make me waste all
my time like that! I was looking for her too, ya know?!
KYLE: Sorry.
LOUIS: Naw, I get it. Just forgot all about ol' Louis again, yeah? No, I see
what it is...
KYLE: Knock it off, Louie. I got some new info.
LOUIS: 'Bout Mila?
KYLE: It's about her father. Seems her old man went missing seven years ago.
LOUIS: Trip, man. That's a long time to be off the map. So, what? Mila's been
lookin' for her pops this whole time?
KYLE: Maybe. Something rough happened to her, but I don't know the full
story. I have to poke around some more.
LOUIS: Yeah, well check this, I got me some info, too! It's about that old
key. [What's that key for?] Oh, and I also did that B&E that you wanted. To
find out 'bout Melissa's ma. Looked up the guest book from two years back.
[Was Grace here two years ago?]
<goes to QUESTIONS>
[Question: Where's the apple painting?]
KYLE: Just point me to the apple paintings.
LOUIS: Wha--?! Those crappy things? Man, what you want to know about those
for?
KYLE: Just a hunch I need to check. Rosa said there were five paintings. But
I can only find four.
LOUIS: Apples, huh? You sure you ain't been hittin' the bourbon again, Hyde?
OK, lemme think... Ya got the second-floor hallway... Yeah, and your room,
too! You remember that one?
KYLE: I saw those. There's also one in 217 and one at the end of the central
hallway.
LOUIS: Oh, right! Right... Yeah, lemme see... Naw, man, sorry. I dunno about
the last one.
<If you still have questions, it goes back to the Question list. If not, it
goes to LOUIE1>
[Question: What's the old key for?]
KYLE: So what's that key for?
LOUIS: It's the key for the booze cellar! And are you thinkin' what Louie's
thinkin'?!
KYLE: Probably not.
LOUIS: Guess I had to try, yeah? Anyways, this is the one key old man Dunning
never let me touch. Didn't even keep a copy with those other keys what he
keeps in the office. But, man... Hidin' it inside a PLANT? Never woulda
guessed. What a trip.
KYLE: Yeah, it's odd.
<If you still have questions, it goes back to the Question list. If not, it
goes to LOUIE1>
[Question: What's the story with Grace?]
KYLE: So was Grace here two years ago?
LOUIS: See, that's the thing, man... I dunno. Guest logs in the office only
go back one year. I got no idea if he tossed the old ones or what.
KYLE: Gotcha.
<If you still have questions, it goes back to the Question list. If not, it
goes to LOUIE1>
<LOUIE1>
LOUIS: So hey, Hyde? You gonna go scope out that booze cellar?
KYLE: Yeah.
LOUIS: Well, just hurry up before Dunning finds out you have that key, dig?
Listen, I gotta swing over to Seven Stars and close up shop. But come down
to the cellar after one, dig?
DUNNING: Louis!
KYLE: ...Huh?
LOUIS: Oh, crap, man!
DUNNING: What'n the Sam Hill are ya doin' here? Yer s'posed t'be mindin' the
bar!
LOUIS: I'm... I'm going, Mr. Smith! I'm on my way!
DUNNING: Then get to it! Thought I could trust ya with watchin' my bar! Don't
make me regret it!
LOUIS: Yessir! I'm going!
[Louie runs down the hall.]
DUNNING: Damn kid. Gotta whole lotta learnin' to do... I'm sorry ya had to
hear all that, Mr. Hyde!
KYLE: Don't worry about me.
DUNNING: Well, ain't ya just a big sweetheart. But tell me somethin', Mr.
Hyde. Why ya talkin <sic> t'Louis at this hour, anyhow?
KYLE: Just bored.
DUNNING: That so? Well, all right then. S'cuse me...
[Dunning stomps off down the hall.]
[12:20 AM]
<He knocks on Rosa's room. The door opens>
ROSA: Well, Mr. Hyde, what can I do for you?
KYLE: You got a minute?
ROSA: Of course.
<They go in the room. If you try to talk to Mila:>
KYLE: Hey, you got a minute?
MILA: ... <shakes head>
ROSA: Have you learned anything about Mila's father? Huh? Well, have you?
KYLE: Rosa, it's been about twenty minutes. I'm good, but not that good.
ROSA: Oh! Oh, yes, I suppose not. Well, I guess you'll just have to put on
your sleuthing cap!
KYLE: But I may have one thing.
ROSA: Yes?
KYLE: Mila's father is a guy named Robert Evans.
ROSA: Robert Evans? Robert Evans! Oh my goodness! Oh my stars!
KYLE: Easy, Rosa. I take it you've heard of him?
ROSA: No, I'm just excited.
KYLE: Oh.
ROSA: So your father's name is Robert Evans, is it, Mila? I wonder where he
could be. Never you fret, Mila honey! Mr. Hyde is going to find him for you!
Right, Mr. Hyde?
KYLE: Sure...
<goes to QUESTIONS>
[Question: Where's the apple painting?]
KYLE: Listen, where are those apple paintings you were talking about? You
said there were five, right?
ROSA: That's right.
KYLE: Are there really five?
ROSA: For a fact! This hotel isn't that big, you know! And I've counted them
many times! Those paintings have been here as long as I have. I guess you saw
how each painting has a different number of apples? Well, I was sure that had
some kind of meaning, but darned if I know it! I tried asking Mr. Smith about
it once, but that man is just useless. "Who knows," he told me. I bet HE
knows, the old coot!
KYLE: I don't know about that, but I did learn something else.
ROSA: Truly? Oooo! Tell Rosa! Come on now!
KYLE: There's a hidden letter in each painting.
ROSA: Letters? Goodness, me!
KYLE: I think those letters mean something. That's why I need to know where
all the paintings are hung.
ROSA: I see. Well, there are three on the second floor and two on the first
floor. Right?
KYLE: Wait, there are TWO on the first floor?
ROSA: Of course! There's the one in the hallway and then... Oh, but you
wouldn't know... You wouldn't know about the one in the special room! [What's
the special room?]
<back to QUESTIONS>
[New Question: You have a special room?]
KYLE: OK, I'm curious. What's the special room?
ROSA: It's at the back of the lobby. It's the only room like it in the entire
hotel.
KYLE: And that's where the fifth painting is?
ROSA: That's right! It says Room 111 on the door.
KYLE: Can you get me into Room 111?
ROSA: So you can see the apple painting. Is that it? Well... I suppose so.
All right. But only for Mila! Oh, and because I'm a little bit curious, too!
KYLE: Thanks.
ROSA: I'm going to have to sneak the key away from Mr. Smith! Once I do that,
I'll go into Room 111 and wait for you. Then you can just slip in later. OK?
Good!
KYLE: Got it.
ROSA: Mila is counting on you to figure this all out! So don't mess it up!
And for mercy's sake, don't let Dunning know about any of this! Sneak around!
[Rosa sneaks off down the hall.]
KYLE: OK... (Now what? Should I ask Mila about her old man?) Mila... All
right, all right. Don't look at me like that. (I'll just wait until I know
what's what with those paintings.) You coming along for the ride?
<She nods. They leave the room. If you go straight back into the lobby area
from the right hallway, you'll get this scene:>
<They go into the lobby.>
DUNNING: Hyde!
KYLE: ...Huh?
DUNNING: What're ya doin', Mr. Hyde? Where do ya think yer takin' Mila?
Don't ya know what time it is?
KYLE: I left my watch at home.
DUNNING: There's somethin' shifty 'bout ya, mister, and I don't like it!
No sir! Pullin' a young gal like Mila 'round a hotel in the middle of
the night... I don't need creeps like ya in my place, and ya better not
be here come sunrise! Hit the road, ya creep!
KYLE: Huh? (Nice job, Hyde. Guess I should have listened to Rosa...)
<flashback>
ROSA: I'll get the key to Room 111 and open the door. Just be sure that
Mr. Smith doesn't see you! I'll meet up with you at Room 111, OK? Good!
<flashback ends>
KYLE: ...Damn.
[GAME OVER]
<They use the back stairs to go to the 2nd floor, then come back down to the
1st floor and into the lobby area. They enter Room 111.>
ROSA: So you managed to avoid Mr. Smith, did you?
KYLE: I'm sneaky when I need to be.
ROSA: I don't doubt it! The apple painting is in the back. Go on, now!
KYLE: I'm on it.
ROSA: I'm just going to wait here with Mila, if that's all right by you.
<If he talks to Mila:>
KYLE: Hey, you got a minute?
MILA: ... <shakes head>
<If he talks to Rosa:>
ROSA: Now hurry up and go look at that painting!
<He goes into the back room and examines the painting.>
[What do you know, it's a still-life painting. It's an apple painting.]
KYLE: A picture of an apple...and the letter J?
<He writes it in his notebook.>
KYLE: (That's all of the hidden letters. I wonder what they mean?)
<He checks out the letters he's written. If you leave the screen:>
KYLE: (What do the letters mean? The painting with three apples in the
central hallway had an "N" on it. The painting with one apple in Room 211
had a "J" on it. The painting with five apples in Room 215 had a "Y" on
it. The painting with four apples in Room 217 had an "N" on it. The
painting with two apples in the second-floor hallway had an "E" on it.
Now what order should these letters be in?)
<goes back to the notebook>
<He puts the letters in order.>
KYLE: J-E-N-N-Y? (...JENNY? If I arrange them in order of the number of apples
in each painting, it spells... JENNY. Jenny... Wait, I've seen that name
before... It was on the birthday card I found in Dunning's office.)
<He returns to the front room.>
ROSA: AAAAAAAAAHHHH!
KYLE: What now?
<He sees Mila fallen on the floor.>
KYLE: Mila!
ROSA: MILA! OH, MILA! Oh dear! Oh dear, oh dear, oh NO! What do we do? What
do we do? She's not breathing! I can't hear her!
KYLE: What?!
ROSA: Do something! Do something, Mr. Hyde! Help the poor girl! Help Mila!
<goes to a closeup of the unconscious Mila. If you use the stylus and tap on
the incorrect parts of Mila's body, Rosa will not shut up:>
ROSA: You've got to put your face next to hers, Mr. Hyde!
<OR:>
ROSA: That's not going to do Mila any good!
<If more than half the screen turns black:>
ROSA: What're you waiting for? Hurry up! Oh my stars!
<If you choose to leave the screen, or if you don't resuscitate Mila in time:>
ROSA: Take over for me!
KYLE: There's no time!
<NOTE: In the two lines above, those are the names given in the game,
but I'm pretty sure those are typos and that Kyle is actually the one
saying the first sentence and Rosa is saying the second sentence.>
ROSA: WHAT ARE YOU DOING?!
KYLE: Huh?
ROSA: You... You... You useless waste of space!
KYLE: Why couldn't I help Mila? What have I done? Now I can't look for
Bradley. Now I'll never... Ah, what have I done...?
[Hyde went back to his room and didn't come out until morning.]
[GAME OVER]
<He performs CPR, or keeps tapping her face. She wakes up.>
KYLE: You OK?
MILA: ...Y-yes.
KYLE: What the... Mila?
MILA: ...Uhh... Ahh... ...Don't... ...Take... ...Jen...ny...
KYLE: Holy crap. She's talking.
MILA: ...Unhh...
ROSA: ...Mila! Dear, your voice...
MILA: ...I... I...
ROSA: Oh, what a blessing! This is a true miracle! Mila, you can speak again!
Your voice has returned!
KYLE: Mila?
MILA: ...I...I...
KYLE: You OK? <She nods.> What's wrong?
MILA: ...I...remember... ...I... I... Re...member... [What do you remember?]
I remember... It all went dark... Just like that one time... [What happened
then?]
ROSA: Mila? Sweetie? Dear, how did you lose your voice? It's OK, you can tell
Rosa.
MILA: ...I...
KYLE: Mila? Hey, take it easy. Just tell me what happened. [How did you lose
your voice?]
<goes to QUESTIONS>
[Question: What did you remember?]
KYLE: What do you remember?
MILA: ...I was...playing with her. ...In this room.
KYLE: This room? You've been here before?
MILA: ...Yes.
KYLE: Are you sure?
ROSA: Please, dear. Answer Mr. Hyde.
KYLE: Who were you playing with in here?
MILA: ...Jenny. [Jenny?] ...I was with... Jenny... ...I was waiting...for
Papa. [Mila's father was here?]
<back to QUESTIONS>
[New Question: Who's Jenny?]
KYLE: Who's Jenny?
MILA: ...A girl... ...A friend I met here... My friend... Papa said... Stay
and wait... With Jenny... So...we played... But Jenny...she...she...
KYLE: Someone took her. Didn't they? <She nods.> Who was it?
MILA: A...man... A strange man...with a scary face...
<If you still have questions, it goes back to the Question list. If not, it
goes to MILA1>
[New Question: Where's your father?]
KYLE: Mila, where is your father?
MILA: ...I don't know. ...The gallery was gone... So...we came here... Papa
and me...came here...
KYLE: How long have you been looking for him?
MILA: ...A long time... Ever since I... I woke up... A long time. [You woke
up?]
<back to QUESTIONS>
[New Question: When did you wake up?]
KYLE: When did you wake up?
MILA: ...Don't know... I was...asleep. For...a long...time... Then they told
me... I... I just woke up...
<If you still have questions, it goes back to the Question list. If not, it
goes to MILA1>
[Question: What do you mean, "like that time"?]
KYLE: What did you mean when you said "like that time"?
MILA: ...That time everything...went dark...
KYLE: It went dark?
MILA: ...When I was...waiting...for Papa.
KYLE: Mila, when was this?
MILA: ...When...I was...nine...
KYLE: So how old are you now?
ROSA: Mila! Answer him! How old are you?
MILA: ...Nineteen. ...That's...what they said...
ROSA: Someone had to tell you? Who? Who said that?
KYLE: What happened, Mila?
MILA: ...I don't know. It was because...I was...over there for a long
time... [Where is "over there"?]
<back to QUESTIONS>
[New Question: Over there? Where's that?]
KYLE: You said you were over there. Where is that?
MILA: ...Robbins Hospital. ...I woke up. I was...in a bed. ...No one was
there... ...So I tried to call for... For Papa... ...But I...couldn't speak.
ROSA: And your mother? Sweetie, where was she during all this?
MILA: ...Mom...wasn't there... She was...in a crash... A plane crash. I...
I waited...for Papa...for a long time... But...Papa...never came. So...
KYLE: So you came here? <She nods.>
<If you still have questions, it goes back to the Question list. If not, it
goes to MILA1>
[Question: Why couldn't you speak?]
KYLE: How did you lose your voice?
MILA: ...I was...scared... ...Jenny was crying... Jenny said..."help me"...
...I was...scared...
<If you still have questions, it goes back to the Question list. If not, it
goes to MILA1>
<MILA1>
ROSA: Oh, Mila! You poor, poor girl! You must be tired! Let's get you back
to Rosa's room! It's OK! I'm going to take good care of you! Mr. Hyde, I'm
going to see to it that this little girl gets the rest she needs! You'll have
to ask her about your paintings later!
KYLE: ...Why not. Nothing else has gone according to plan tonight.
[Mila and Rosa leave.]
<He leaves the room.>
KEVIN: Mr. Hyde? I'm sorry, I couldn't sleep, and I overheard...
KYLE: Hey, doc. How's the night treating you?
KEVIN: I've...I've felt better. But I think the worst is over. At least, I
hope...
KYLE: Yeah, me too.
KEVIN: Did something happen? You seem tired.
KYLE: I am tired. But I'll live.
KEVIN: ...In that case, can I... Can I trouble you for a moment? I need to
ask you something.
KYLE: I'm not loaning you money.
KEVIN: You just came out of Room 111, right?
KYLE: Yeah. What of it?
KEVIN: Well... Um... Were you with her?
KYLE: With who?
KEVIN: The woman. The young woman in white? She just came out of that room
with the maid.
KYLE: You mean Mila?
KEVIN: ...Mila. ...That's it. That was her name.
KYLE: (All right, enough dancing.) What's your story?
<followup>
[You knew about Mila?]
[You don't like her name?]
<If you don't follow up:>
KYLE: (All right, enough dancing.)
<goes to QUESTIONS. No questions, no items. When you leave the Question
list, it goes to KEVIN1>
[You don't like her name?]
KYLE: You got a problem with her name? I think it's a great name.
KEVIN: No, I'm... I'm not complaining about her name...
<goes to QUESTIONS. No questions, no items. When you leave the Question
list:>
<KEVIN1>
KYLE: (...Hold it. What did Kevin just say?)
<flashback>
KEVIN: ...Mila. ...That's it. That was her name.
<flashback ends>
KYLE: Kevin knew about Mila?
<The conversation ends. Kevin is still standing there. When you talk
to Kevin again:>
KYLE: You got a second?
KEVIN: What is it?
<goes to QUESTIONS>
[Question: You know Mila?]
KYLE: You know about Mila?
KEVIN: Something of her, yes. I just remembered something when I heard
her name. Her name is Mila Evans. [How do you know Mila?]
<goes to KEVIN2>
[You knew about Mila?]
KYLE: You know something? Spill it.
KEVIN: Yes, I just... I just remembered something when I heard her
name. Her name is Mila Evans. [How do you know Mila?]
<KEVIN2>
<goes to QUESTIONS>
[Question: How do you know Mila?]
KYLE: How do you know her?
KEVIN: She was a patient at the hospital where I worked.
KYLE: Interesting.
KEVIN: Yes... Robbins Memorial in Santa Monica. But I never expected to
see her here. Not at all... [Why was Mila in the hospital?]
<back to QUESTIONS>
[New Question: Why was she in the hospital?]
KYLE: What was she doing in the hospital?
KEVIN: It's an odd case. She was brought to us unconscious, with no
visible injuries. She spent almost the next ten years in a coma...
KYLE: Ten years? That's a long time to be in the dark.
KEVIN: It sure is. We didn't see any sign of hope, but then half a year
ago she just...came around. The attending physician was astonished.
He called her recovery a miracle... Not that I take stock in such
things... But unfortunately, we had trouble contacting her family.
KYLE: (Huh...) Then let me ask you something.
<follouwp>
[Did you know her family?]
[Did you reach her family?]
<If you don't follow up:>
KYLE: (Huh...)
KEVIN: I don't think they have any idea that she has recovered.
Her father used to come in once a month and check on her progress.
His visits were clockwork.
<goes to KEVIN3>
[Did you know her family?]
KYLE: You know anything about her family?
KEVIN: Yes. Her father used to come in once a month and check on
her progress. His visits were clockwork.
<goes to KEVIN3>
[Did you reach her family?]
KYLE: Did anyone try to contact Mila's family?
KEVIN: Of course. The attending physician attempted to, but... He
was unable to locate anyone.
KYLE: Couldn't find a soul, huh?
KEVIN: Apparently. Her father used to come in once a month and
check on her progress. His visits were clockwork.
<KEVIN3>
KYLE: He came once a month for ten years?
KEVIN: Without fail, but... But for some reason, he never appeared after
she woke up.
KYLE: Sounds like he picked a bad time to hang it up.
KEVIN: Yes, perhaps... We tried several times to contact him, but... He never
returned our calls. Oh, and the bills. The bills had all been paid in advance.
No one ever came to see her besides her father. He may have no idea what has
happened.
KYLE: You ever meet her old man?
KEVIN: No, I just... I heard about it from the nurses and such.
KYLE: Right.
KEVIN: Oh, and Mr. Hyde? I just remembered something else, if you can spare
a moment...
KYLE: Go ahead.
KEVIN: Do you remember the first time we met this evening? When I thought I
had heard your name before? I just remembered why. I don't know how I missed
it, but... Well, anyway... Right before Mila woke up, she had a new visitor.
KYLE: Keep talking, doc.
KEVIN: His name... The name of that visitor was Kyle Hyde.
KYLE: Oh, you're kidding me.
KEVIN: When we couldn't reach Mila's father, we thought... I mean, the
hospital, they tried to notify this Hyde fellow, but to no avail. Mr. Hyde,
did you visit Mila before she woke up?
KYLE: Wasn't me.
KEVIN: ...I see. Well, please keep an eye on her. And try to keep her from
overdoing it. I can't imagine she has fully recovered her strength yet. Excuse
me.
[Kevin leaves the lobby.]
KYLE: (So Kevin knew about Mila. And Mila came out of a coma six months
ago... And somebody named Kyle Hyde visited her. Could that have been you,
Bradley?)
<His pager goes off.>
KYLE: ...Pager, huh? (Maybe Ed's figured out something else.)
[12:40 AM]
<If you go into the bar:>
KYLE: Louie's not here...
<If you go to Louie's room:>
KYLE: Louie's not here...
<He goes back to his room.>
[Guess I should give Ed a ring.]
ED: Hyde! What's the good word?
KYLE: What, no Rachel?
ED: Everybody's gotta go home sometime. Listen, I just heard a little chestnut
about Evans. You sitting down? Ten years ago, Robert Evans bought himself a
little place called... Hotel Dusk.
KYLE: Robert Evans bought this hotel?
ED: Yeah. Seems Evans bought the thing in 1969. He owned it for three years,
then sold it to some mope for a song.
KYLE: So he sold it seven years ago?
ED: You must be tired, Hyde. You're repeating everything. Anyway, he sold it
to Dunning Smith. You probably met him by now. I don't know what you found
here, Hyde, but that place has a troubled history.
KYLE: Tell me.
ED: Dusk used to be a real party joint, but in 1969 it just shut down. You
follow me? Means Evans shut the place down the moment he bought it! Now why
the hell would a guy do a thing like that? Who buys a business just to shut
it down? And why'd he sell it to Dunning Smith? My thinking is that Evans
played Smith and dumped the place, but I don't know. Lotsa questions here,
Hyde. You might not like where this night of sleuthing ends up. I'd get ready
for a bad surprise.
KYLE: Thanks, Ed.
<There's a knock on his door.>
KYLE: ...What? Who's that?
ED: You got visitors at this hour? You're busier than I thought.
KYLE: Looks like it.
ED: Well, I'll leave you to it. Watch your back.
<He hangs up and goes to the door.>
KYLE: Yeah? <He opens the door.> Oh. Rosa. Now what?
ROSA: Oh, Mr. Hyde, it's just terrible!
KYLE: Rosa! Pull yourself together! What's going on?
ROSA: It's Mila...
KYLE: What about her?
ROSA: She hasn't come back! He came and took her, and she hasn't come back!
Mr. Smith came and took her away!
KYLE: Dunning?
ROSA: Yes! I was trying to take Mila back to my room, you know? And then Mr.
Smith just came out of nowhere! He told me to take Mila to the police first
thing in the morning. But then I... I told him. Oh, what a fool thing I did!
I told him she could speak, and that we knew why she had come here. Then he
said there was no need to call the police at all! And then he said that he
was going to have a little chat, and he took her away!
KYLE: Wait, he took her?
ROSA: Yes! Oh, what is going on?
KYLE: Where are they?
ROSA: I figured they went back to his room. But no one answers when I knock,
and... What should I do, Mr. Hyde?
KYLE: Go back to your room and sit still. I'll go find them.
ROSA: All right... If you say so.
[Rosa turns and scurries off down the hall.]
KYLE: (Dunning and Mila are having a chat, huh? I guess I should try his room
first.)
<He goes to Dunning's room and is about to knock on the door.>
LOUIS: Yo, Hyde!
KYLE: Huh? Louie!
LOUIS: I just got done talking to Mama Sass, my man! Heard the boss man came
and took your new friend away, yeah? That's cold!
KYLE: I was about to check his room.
LOUIS: Better you than me, my brother, but I got your back if you need it!
Otherwise, I'll swing 'round the hotel and see what I can find.
KYLE: Wait, Louie. What about the wine cellar?
LOUIS: No, man, I ain't been there yet.
KYLE: Check it out. I'll swing by once I take a buzz through Dunning's room.
LOUIS: Whatever you say, Officer!
[Louie runs off.]
<He goes into Dunning's room.>
KYLE: (No one here.)
<He checks around. If you look inside the fridge:>
[There's a glass bottle in the refrigerator.]
KYLE: (There's a blue sludge inside the bottle. What the hell's this?
...I think this is paint.)
[I got some old paint.]
<He goes into the inner room and looks around.>
[There's a hotel brochure on top of the desk.]
KYLE: This brochure... (This is the same brochure Mila was carrying. The one
from ten years ago. Why would Dunning have one of these, too?) What's this?
There's something written here... It's a sketch of a wine cellar with some
kind of symbol on it.
[I got the old brochure that was on the desk.]
<He sees a newspaper under the brochure.>
[The date on the paper is 1972. ...That's seven years ago.]
KYLE: (The article reads...) "Osterzone's works, while smaller pieces, feature
a distinctive expression. Light and shadow are used in a way beyond that of
any other contemporary artists. Overflowing with a sensibility that is subtle
yet bold, these canvases charm easily. They can also capture the purest
essence of a thing in a single fleeting moment. Most notably, the work Angel
Opening a Door is a masterpiece. It so opens ambiguities in the viewer's
powers of imagination that even a layman can..." (Nice fifty-cent words, pal.
I wonder if Summer wrote this. But why would Dunning keep a newspaper article
about Osterzone?)
[I got the Osterzone article.]
<He checks the desk.>
[There's something in the drawer here. There's a bunch of birthday cards in
the drawer.]
KYLE: I've seen this card before. (There was one just like it in the office.)
Happy Birthday, Jenny! (The cards are all addressed to Jenny. What does this
mean?
<If you check the cards again:>
[It's a birthday card with an <sic> picture of a bear on it. Cute.]
<He leaves the room.>
KYLE: (Where are Dunning and Mila? And what could that symbol written on the
old brochure mean? I need to figure this out, and fast.)
<He goes to the pantry and stands in front of the wine cellar door.>
KYLE: (Could Mila and Dunning be here?)
<goes to CHAPTER SUMMARY>
Once I heard about the apple paintings from Rosa, I decided to have a look.
There were five in all... Two on the first floor, and three on the second. I
found one of the second-floor paintings in the hallway. And I found another
one in my room. The last one on the second floor was in...
1. The utility closet
No, that ain't right. There's no apple painting in the utility closet.
2. Room 217
That's right. The last second-floor apple painting was in Room 217. I
found five apple paintings in all.
3. Room 214
No, that ain't right. Room 214 was empty.
Each painting had a different letter hidden on it. I had Rosa open Room 111
so I could look at the final painting. Then I rearranged the letters that I
found in each of the paintings. Had to mix 'em up so they matched the number
of apples in the paintings. When I finished, the spelled out the name...
1. JENNY
That's right. They spelled the name Jenny.
2. HELEN
No, that ain't right. That wasn't the name the letters spelled out.
3. KEVIN
No, that ain't right. That's some other bird in this hotel.
Once I solved the puzzle, I went back to Mila and Rosa. I found Mila on the
floor. Her breathing had stopped, so I had to give her mouth-to-mouth. When
she came to, Mila was able to start talkin'. I grilled her for a bit and
learned a few things. Like that she had been to this dump before with her
father. When they came here, Mila was...
1. Nineteen years old
No, that ain't right. Nineteen is Mila's current age.
2. Thirty-three years old
No, that ain't right. That's my age.
3. Nine years old
That's right. Mila was nine years old when she came here with her old
man. She made friends with a girl named Jenny. Guess the shock of seeing
Jenny get abducted put Mila in a coma.
Mila went under when she was just nine years old. And she was in that coma
for a long time. Kevin told me he knew her from his time at the hospital
where she stayed. And the name of that hospital was...
1. Red Crown
No, that ain't right. Red Crown is the name of the company I work for.
2. Robbins
That's it. She went to Robbins Memorial Hospital in Santa Monica. She
only woke out of that coma six months ago.
3. Nile
No, that ain't right. Nile was the name of the criminal organization
that Bradley infiltrated.
When Mila regained her voice, some of these mysteries started making sense.
Then Ed called and told me about the hotel's previous owner. Seems Robert
Evans bought the place ten years back, then dumped it on Dunning. Then Rosa
showed and told me that Dunning had taken off with Mila. Dunning wasn't in
his room, but I tossed the place anyway. I found something in his desk
drawer. It was...
1. Birthday cards
That's right. I found a whole bunch of birthday cards. They were all
addressed to Jenny. When I saw them all together like that, I figured
it out. Jenny is the name of Dunning's daughter. The one Rosa told told
<sic> me about.
2. An old pamphlet
No, that ain't right. The old brochure was on top of the desk. Not in it.
3. An old newspaper
No, that ain't right. The newspaper article about Osterzone's paintings
was on top of the desk.
How do Dunning and Evans tie together? What kind of shady dealings were they
up to? Evans and Mila... Dunning and Jenny... Two men and their daughters.
And what about the Kyle Hyde that paid Mila a visit? Was that you, Bradley?
Outside, in the L.A. night, the worst side of humanity has license to roam.
And here? Inside this hotel? Am I going to find something that I don't want
to see? I guess it doesn't matter. I'm getting close to the truth, Bradley.
...And to you.
<Kyle enters the wine cellar and sees Louie on the floor.>
KYLE: What the...? Louie! Hey! <He tries to wake Louie up.> What happened?
<Someone comes up behind Kyle and bashes him on the head.>
KYLE: Unngh...
===================================
4j. CHAPTER 10: DECEMBER 28TH, 1979
2:00 A.M. ~
===================================
<It's all black.>
ROSA: Mr. Hyde? Mr. Hyde! Mr. Hyde! Wake up! Oh, what am I going to do? You
can't be... Are you DEAD? Land sakes, Mr. Hyde! Get up!
KYLE: ...Ooh... ...Mm...nrgh... ...Ow.
<He gets up.>
ROSA: You're alive!
KYLE: Must be. Being dead wouldn't hurt this bad.
ROSA: Thank goodness! I'm so glad you're not dead! Are you going to be all
right? Well, are you?
KYLE: Yeah, I... I think so. Head's killing me.
LOUIS: I hear you, brother... Got me a whole 42nd Street traffic jam blarin'
away...
KYLE: You going to make it, Louie?
LOUIS: Yeah, man, I'm breathing. But I got a knot on my noggin the size of a
baseball.
KYLE: You and me both.
ROSA: I'm glad that's all it is! To come in here and find the two of you on
the floor...goodness! I near to fainted clean away! What on earth happened?
LOUIS: We got thumped good. Some dirtbag hit us from behind. Yeah, Hyde?
KYLE: That's my take on it. I walked in here and saw Louie on the floor. When
I went to check on him... Somebody dry-gulched me. Never saw it coming.
ROSA: Who would do such a thing?
KYLE: Didn't see a face. How 'bout you, Louie? You see who sapped you?
LOUIS: Naw, man. All I saw was stars and the floor. I was checkin' out the
shelves in the cellar when I got whacked. Oww...can't believe how much this
hurts, man!
KYLE: Know how you feel.
ROSA: That's enough whining from both of you! Pull yourselves together and act
like men! Mr. Hyde, Mila hasn't come back yet!
KYLE: She's still gone?
ROSA: Yes! And I'm as worried as can be! I can't believe any of this. Just
when the girl starts to talk, she up and vanishes!
LOUIS: Whoa! Hold up, Mama Sass. Mila started talkin'? When this happen? I
ain't heard squat 'bout that!
ROSA: I just haven't spoken to you about it yet, Louis DeNonno!
LOUIS: ...Same ol' song and dance. No one tells Louie nothin'. So when did
Mila start talkin'? ...And did she say anything about me? Huh?
KYLE: Focus, Louie. We were in Room 111. Rosa opened it so I could eyeball an
apple painting.
LOUIS: Apple painting? The one what you been lookin' for?
KYLE: That's it. There are five of them in this joint. And each one's got a
different letter of the alphabet in it. String all five of them together and
they spell out a name. Jenny.
LOUIS: Jenny? I don't know no Jenny!
ROSA: Jenny? That's... But that's the name of the girl Mila was talking about!
KYLE: Yeah. It is.
LOUIS: Whoa, whoa! Slow down! I just got cracked upside the head, remember?
Did Mila start talkin' while you was looking at the painting?
KYLE: No. It was after. I came out of the room and she had keeled over.
LOUIS: What? She, like, fainted?
ROSA: For a fact! Poor thing lost consciousness, and then stopped breathing!
LOUIS: Oh man...trip...
ROSA: But Mr. Hyde gave her mouth-to-mouth and saved her life!
LOUIS: Mouth-to-mouth? Hyde? Oh, man, talk to me, brother!
KYLE: You're an idiot, Louie.
ROSA: Once Mila came around, she started talking. And that's all there is to
that!
KYLE: I think Room 111 triggered something.
LOUIS: What's that?
KYLE: She remembered coming to the Dusk ten years ago with her father.
LOUIS: You think that's true?
KYLE: Yeah. Sounds like she was playing in 111 with this Jenny kid. Then
somebody up and snatches the kid right in front of her.
LOUIS: Aw, get outta here!
ROSA: I took Mila back to my room, and Mr. Smith showed up. He told me to take
Mila to the police in the morning. Well, I told him that Mila could talk, and
that we didn't need the police's help. Mr. Dunning's eyes got as wide as
hotcakes, and he said he had to talk to her!
LOUIS: Wait, so he took Mila? Man, this is trippy. But I think I follow you so
far...
KYLE: There's more. Kevin Woodward knows Mila.
LOUIS: Melissa's pops?
KYLE: Woodward's a doctor down at Robbins Memorial Hospital. Mila was a
patient there for a long time.
ROSA: You did NOT tell me any of this, Mr. Hyde! Is the poor girl sick?
KYLE: Not exactly. She was in a coma for ten years.
ROSA: Oh my stars...
KYLE: Then six months ago, she wakes up. Woodward says it was a total surprise.
LOUIS: Man...now my melon's really achin'. You can't make up crap this weird.
Lemme make sure I follow... Mila was here ten years ago, yeah? I dig that. But
then she goes under for ten years? That's crazy.
KYLE: It gets crazier. Woodward told me Mila's old man used to visit her once
a month. Nice guy, right? But right before she opens her eyes and rejoins the
world? Her old man vanishes. No one's heard from him.
ROSA: Oh, that poor man! It's possible he doesn't even know that she
recovered.
KYLE: Possible.
ROSA: And that's why Mila's trying to find him.
LOUIS: Yo, Hyde, you sure WE ain't still knocked out? This is the freakiest
story I ever heard.
KYLE: Better sit down then, Louie, 'cause I ain't done. Right before Mila came
around, she got a new visitor. Wasn't her old man, either. It was somebody
using the name Kyle Hyde.
LOUIS: All right, that's enough! You gotta be kiddin' me, right? 'Cause if
that's true, then you-know-who was at the hospital!
KYLE: I know.
LOUIS: Whole thing blows my mind, man...
ROSA: Mr. Hyde, I'm awfully worried about Mila! We have to hurry and find
where she and Mr. Smith have gotten to.
KYLE: Yeah, I know. But we also have to check out this wine cellar.
<If he talks to Rosa again:>
ROSA: Mr. Hyde, where's Mila?
<If he talks to Louie again:>
LOUIS: Where we supposed to look next, Hyde?
<He checks out the cellar.>
[It's a shelf designed to hold alcohol. Bless you, shelf.]
<He checks out the shelves.>
[It's a case of whiskey. There are whiskey bottles in this case.]
KYLE: There are three bottles in here...
<He looks around some more and finds another whiskey bottle on the right
shelf.>
[There's a whiskey bottle on top of the shelf.]
KYLE: This whiskey... It's the same stuff that was in the case on the back
shelf. (This bottle's only half full. This...)
[I pick up a half-full whiskey bottle.]
<If you check the whiskey bottle on the right shelf SECOND, after checking
the whiskey box, AND you're carrying the other bottle in your inventory:>
KYLE: This whiskey... It's the same stuff that was in the case on the
back shelf.
<If you check the whiskey bottle on the right shelf SECOND, after checking
the whiskey box, AND you're NOT carrying any other whiskey bottle in your
inventory:>
KYLE: This whiskey... It's the same stuff that was in the case on the
back shelf. (This bottle's only half full. It's the same as that other
bottle I found.)
[I pick up a half-full whiskey bottle.]
<If you combine the whiskey into one bottle BEFORE you put a bottle in the
whiskey box, you will NOT get the scene below. If you put a half-full bottle
in the case:>
KYLE: I think I'll put this whiskey bottle in one of the open spaces in
the case.
<He puts the bottle in the case.>
ROSA: Hmm...
LOUIS: What's wrong?
ROSA: Something about that whiskey bottle seems odd to me.
LOUIS: Huh? Like what? It's just a whiskey bottle. Not a thing odd about
it. Trust me on this one, I know whiskey.
ROSA: Spare me your expertise, Louis! If I say something's odd, it's odd!
Why is there a half-full bottle of whiskey in the wine cellar? If you're
going to open a bottle, why wouldn't you put it in the bar? Wait a...
LOUIS! Have you been down here drinking on the sly?!
LOUIS: What? C'mon, Masa Sass, gimme a break! I run the bar! If I wanna
drink, I'll pound 'em down up there!
<If he checks the whiskey box again:>
[There's a box on the shelf. There are bottles of whiskey in the box. Ah,
my old friend.
<Kyle goes to the left shelf.>
[There's a whiskey bottle on top of the shelf.]
KYLE: This whiskey... It's the same stuff that was in the case on the back
shelf. (This bottle's only half full. It's the same as that other bottle I
found.)
<If you check the whiskey bottle on the left shelf FIRST, after checking the
whiskey box:>
KYLE: This whiskey... It's the same stuff that was in the case on the
back shelf. (This bottle's only half full. Just maybe...)
[I pick up a half-full whiskey bottle.]
<If you check the whiskey bottle on the left shelf SECOND, after checking the
whiskey box, AND you're carrying the other bottle in your inventory:>
KYLE: This whiskey... It's the same stuff that was in the case on the
back shelf.
<He goes to the back shelf. If you already have a half-full bottle in the box
and then use the second bottle:>
KYLE: I'll pour one more bottle of whiskey into a bottle in the case.
<He combines the contents of the half-full bottles into one bottle.>
KYLE: Perfect. Didn't spill a drop. Now I'll put it back in the case,
and...
<If you combine the whiskey BEFORE putting a bottle in the whiskey box, then
you will NOT get the diagloue with Rosa and Louis above and will just get this
scene:>
KYLE: I'll pour the whiskey from the bottle I picked up into the bottle
that was on the shelf.
<He combines the contents of the half-full bottles into one bottle.>
KYLE: Perfect. Didn't spill a drop. Now I'll put it back in the case,
and...
[I pick up a whiskey bottle.]
<He goes to the back shelf.>
KYLE: I put a bottle in the case.
<He hears a sound.>
KYLE: (Huh? What was that sound?)
<He pushes at the shelves.>
KYLE: Huh?
<The shelves slide to the side and reveal a door behind it.>
KYLE: Thought so.
LOUIS: Whoa!
ROSA: Oh my stars!
LOUIS: What's goin' on? Crap, Hyde! There's stairs behind the shelf!
KYLE: Yeah. This is why we got cooled, Louie. Somebody didn't want us finding
this.
LOUIS: Aw, man!
KYLE: Did you know this place had a basement?
ROSA: I had no idea! The only one who ever comes down here is Mr. Smith. Do
you think that he...
KYLE: Yeah. I do.
LOUIS: So what next, Hyde?
KYLE: What do you think? I'm gonna follow the rabbit down the hole.
LOUIS: Not by yourself, you ain't! I'm goin' too!
KYLE: No. Stay here with Rosa.
LOUIS: No way, man! No damn way! I'm goin' with you!
KYLE: You'll do what I tell you to do, and I'm telling you to wait here.
LOUIS: Gimme one good reason!
KYLE: I need backup. I don't know what's down there. If something happens,
you're going to have to come haul my ass out of the fire.
ROSA: I'll see that he stays put, Mr. Hyde. If you're not back in an hour,
I'll send Louis after you. For what good that'll do...
LOUIS: Yeah, all right, Hyde. Be careful, brother.
<If he talks to Louie again:>
LOUIS: Don't do anything crazy, brother. Ya dig?
<If he talks to Rosa again:>
ROSA: Oh, be careful, Mr. Hyde! I don't like this one bit!
<He walks down the stairs.>
KYLE: Who knew there was a place like this under the hotel?
<He walks down the hallway and comes upon a barred door.>
[I moved the bar out of the way.]
<He opens the door and goes in the room.>
KYLE: Shelves, huh? Those look interesting.
<He starts checking the shelves. He hears footsteps.>
KYLE: Huh? Footsteps...
[What the...? I heard someone bar the door.]
KYLE: Damn! I think that thing's airtight! The door's been closed from the
outside! I better figure a way out of here fast, or I'm a goner.
[There are some dust-covered books on the shelf. Guess no one reads around
here. Title on the spine of the book reads, "Osterzone, the Phantom Painter."]
KYLE: This is all about the discovery of Osterzone's works. It was published
in 1963. And it was written by... Robert Evans.
[I picked up a book on Osterzone.]
KYLE: Hold it... There's something stuck in between the pages. It's a photo.
That's the little girl I saw in the photo from Dunning's room. This must be
Dunning and Jenny.
[I got a photo of Dunning.]
KYLE: There's a date written on the back of the photo. (May 18, 1967, huh?
Five-eighteen...)
[There's an old guest register here.]
KYLE: What do we have here? The guest register from two years ago. Let's see
if I can find Grace in here. (Here she is. August 1977. Grace Woodward. This
proves it. Grace was here two years ago.)
[There's a book on the shelf. It's called Life Trivia.]
<He reads it.>
[This ain't trivia. This is some kind of random folk-wisdom collection.]
KYLE: How to sharpen cutlery, huh? This should be fascinating...
BOOK: It's common practice to use whetstones or crock sticks to sharpen
blades. But did you know you can also use aluminum foil? --Instructions--
Take the blade you wish to sharpen, and use it to cut up some aluminum foil.
You'll be shocked at how sharp the blade becomes!
KYLE: 101 uses for pencil lead! This is the dumbest book ever...
BOOK: Pencil lead is great! And it's actually graphite mixed with clay. But
it's still great! It can be used to lubricate and increase the conductivity
of electrical contacts! Just grind the pencil lead into powder and sprinkle
it on electrical contact points!
KYLE: Sounds simple enough.
<He checks out the table near the door.>
[There's a machine with a monitor and keyboard on the table. There's a switch
on the right side of the machine.]
KYLE: What's this thing supposed to be? Might as well turn it on and hope it
doesn't blow up. Huh? Nothing happened. That seems odd...
<He tries to turn on the power button, but it doesn't stay on. He looks around
on the table.>
[It's paper with some weird ink on it. How can I read this?]
<He uses the blacklight on the piece of paper. A number appears. If he checks
the paper again:>
[There's a piece of white memo paper on the table.]
<If you take a long time:>
KYLE: ...Crap... It's getting...hard to...breathe...
<He checks the metal box on top of the table.>
[There's something in the drawer. There's a lockbox in the drawer.]
<It's locked with a combination lock. If you leave the lock screen:>
KYLE: Wonder what the combination is?
<He unlocks the lockbox.>
[There's an old envelope inside the lockbox.]
KYLE: The letter's addressed to Dunning Smith. Sender's name isn't anywhere on
the envelope. "This is your last job. Finish it and you're free. I won't ask
anything further of you. However, our secret must never be revealed. Keep
silent, and I promise that Jenny will one day be returned to you. Go back to
Hotel Dusk. Be patient. September 9. 1972. Robert Evans." Evans sent this
letter to Dunning seven years ago. That's the same time Evans closed up his
gallery and disappeared. Our secret must never be revealed... What do these
letters at the end mean? I wonder if it's some kind of code.
[I got a letter from Evans.]
<If he checks the lockbox again:>
[The lockbox that held Evans's letter is in the drawer.]
<He checks the other drawer.>
[There's something in the drawer. These scissors are dull. I couldn't cut hot
butter with these things. I found a file.]
<He looks under the table.>
[There's a toolbox under the table. Hey, look. A hammer. I love hammers. I got
a hammer.]
KYLE: (Never turn down a hammer. Who knows when I'll need to thump somebody.)
<He sees a electrical socket under the table.>
[This cable's attached to the machine on the table.]
KYLE: I wonder if this is plugged in all the way.
[The machine on the table is plugged into the socket.]
KYLE: It's plugged in, but... It doesn't look like it's making enough contact.
That means it's not going to conduct electricity.
<If you take even longer:>
KYLE: ...Hahh... I'm getting...dizzy...
<He checks the bottom drawer again.>
[I found a file.]
KYLE: Hey, I can use this to sharpen my pencil, and...
<He grinds up the tip of pencil and has a pile of dust.>
KYLE: That should be enough.
[I got some graphite powder.]
KYLE: This should improve the contacts on that plug.
<He looks at the plug again.>
KYLE: First, pull the plug out of the socket and... Sprinkle some of this
graphite powder on it... That should do it.
<He turns on the machine. If you leave the machine monitor:>
KYLE: What's this thing supposed to be? What's that number above the
switch supposed to mean?
<He goes to the machine and enters in the letters from Evans's letter, and the
number from the piece of paper. A message appears on the machine's monitor.>
[OSTERZONE IS DUNNING SMITH]
KYLE: (Osterzone is Dunning Smith? Well, holy crap. This thing's some sort of
code breaker. And this is the secret that was never to be revealed...)
<He hears a sound at the door.>
KYLE: Huh? Who's there?
LOUIS: Yo, Hyde! You in here?
<If you take too long to figure everything out, or if you don't go to the door
in time when Louie yells at you:>
KYLE: Gotta get out... ...Urrgh...aaa... C-can't... (I'm...in trouble...
Think I'm...gonna die...at Hotel Dusk... ...Damn, I hate this place...
Aaaa...)
[GAME OVER]
<Kyle goes to the door and bangs on it.>
KYLE: Louie! It's me! I'm locked in!
LOUIS: Yeah, I dig! I'm gonna open the door, man!
<Louie opens the door.>
LOUIS: Yo, Hyde! You all right?
KYLE: ...Think so.
LOUIS: I was gettin' worried, so I came to check up on ya. Good thing, too!
Looks like you needed my help after all, yeah?
KYLE: Yeah...
LOUIS: So, how'd you get locked in?
KYLE: The door was open when I came down here. I was poking around when
somebody shut the door from the outside.
LOUIS: Oh, TRIP! So where'd this mystery door-closer go, huh? Ain't come
through the hall, man.
<He and Louie walk down the hall. A sound catches their attention. You must
walk close enough to the wall in order to trigger the next scene.>
KYLE: Huh?
LOUIS: Wazzat?
KYLE: You hear that? What...
LOUIS: Hey, check it out! The bricks from the wall...
KYLE: Yeah, some of them have fallen. But why are they...
<If you leave the basement and talk to Rosa:>
KYLE: Did someone come through here?
ROSA: No. Why? Did something happen?
KYLE: ...Hmm.
<Kyle checks the wall.>
[I can see where bricks have fallen off the wall.]
KYLE: I can see the wall through gaps in the bricks. These bricks look like
they've been put up recently. Maybe we can...
LOUIS: Yeah, somethin's there.
<Kyle tries hitting the wall with his fist.>
KYLE: No, that's not it... This isn't working. I need a tool with some heft.
<He takes out the hammer.>
KYLE: This should work...
<He pounds at the bricks with the hammer. If you try to leave the screen:>
KYLE: Guess I'll give it a go.
<He breaks down the brick wall.>
LOUIS: There's a door back there!
<They enter the door. The room is full of painting supplies.>
LOUIS: Yo, what's that smell, man? Somebody been paintin' in here?
KYLE: Yeah... Dunning.
LOUIS: Huh? You tryin' to tell me ol' man Dunning paints? You're trippin',
Hyde!
KYLE: Dunning's the one who painted all the apples, Louie.
LOUIS: I think the fumes is gettin' to me. I thought you said Dunning painted
apples.
KYLE: You heard right. Now keep listening. Dunning's got a daughter he hasn't
seen in years. Her name's Jenny.
LOUIS: Jenny?
KYLE: That's the name of the girl who was kidnapped from Room 111 ten
years ago.
LOUIS: Yeah, and it's the name what them apple painting letters spell
out, too.
KYLE: Yeah. But here's something I learned in the basement. Dunning knew Evans
before he took over this hotel.
LOUIS: Wait... Evans? That's Mila's pops, yeah? You sure 'bout all this? Hard
to believe Dunning and Mila's pops were pals.
KYLE: I'm sure. They knew each other, and they shared a secret they'd die
before revealing.
LOUIS: That's a heavy secret, man. But you know it, yeah? C'mon, brother,
lemme hear it!
KYLE: You know the angel painting Bradley stole from Nile's warehouse? Dunning
painted it.
LOUIS: WHAT?! You're crazy! That don't make no damn sense!
KYLE: Listen, Louie. The proof is in this room. I'm sure of it. Help me
find it.
<They check out the room. He sees a table at the back of the room.>
[This palette's been used a lot. There's a palette knife on the table.]
KYLE: Hey, look. It's a...whatever these things are called. Palette knife? Is
that it?
[I pick up a palette knife.]
<They look around more. Kyle finds a canvas on an easel.>
[It's a huge sheet of canvas. One side of the canvas is covered in white
paint.]
KYLE: This painting is...
LOUIS: Painting? Ya callin' this a painting? What is it, white cat in a
snowstorm? I tell ya, man, I don't get this whole art thing.
KYLE: (This paint is real thick... What's going on here?)
<He brings out the palette knife.>
KYLE: Here goes nothing...
LOUIS: Yo, man, whatcha gonna do with that?
<He uses the palette knife to scrape off the white paint on the canvas. If you
leave the screen:>
LOUIS: What's up, Hyde? Ain't ya gonna do nothin'?
KYLE: I'm getting ready to go.
KYLE: Damn, I'm good.
LOUIS: Whoa! Who'd have thunk a painting was under there? That's an angel,
ain't it?
KYLE: Sure is.
LOUIS: An angel...
KYLE: You ever see this painting before, Louie?
LOUIS: Naw, man, didn't spend too much time in church as a kid, ya dig? Wait a
minute... No way! Yo, Hyde! Is...is that it?
KYLE: One and the same, Louie. This is the angel painting Bradley stole from
Nile.
LOUIS: I need a drink, man. Hell, I need three. But what... How... What's it
doin' here?
KYLE: It's like I said. THIS angel painting was created by Dunning.
LOUIS: Yeah, but... How ya expect me to believe that?
KYLE: Hey, Louie, you know the name of this painting?
LOUIS: Ain't it Angel Painting? That's what Danny always called it.
KYLE: No offense to Danny, but it's called Angel Opening a Door.
LOUIS: Angel Opening a Door? Sure, why not? If I gotta buy that ol' man
Dunning painted it, I can believe anything.
KYLE: You're getting loopy on me, Louie. Now listen. The rest of the world
thinks this was painted by a guy named Osterzone. Osterzone was an artist born
in the nineteenth century. Or so the story goes. Couple dozen or so of his
paintings were discovered forty years after he died. And then all the artsy
types went gaga over 'em. Angel Opening a Door is supposed to have been his
masterpiece.
LOUIS: So, wait. This Osterzone cat really did do an angel painting? And then
Dunning, like, copied it?
KYLE: This isn't a copy, Louie. This is the original.
LOUIS: The original? But...I... That can't be right. You said this painting is
one'a Ostertoes... Er... Oserman... Ozzie... Whatever!
KYLE: Still don't get it?
LOUIS: Get WHAT?
KYLE: Dunning IS Osterzone!
LOUIS: ...Oh, trip... This is like findin' out your girl's your sister or
somethin'. It's messed up. Three years back, my pal Danny got plugged over
this painting! Thought he could sell it and get enough scratch for us to break
outta the city. And...and here it is. In some secret vault under my damn
bedroom, a million miles from New York! This blows my mind. ...Why? WHY?! The
HELL is it doing here?
KYLE: Louie--
LOUIS: Don't Louie me, man! Tell me!
KYLE: You want to know how it got here? I think Bradley returned it to the man
who painted it.
LOUIS: What? Bradley RETURNED it? What's that supposed to mean?
KYLE: I think Bradley knew the truth about Osterzone.
LOUIS: Aw, you're killin' me, Hyde.
KYLE: He knew Osterzone was just a painter somebody made up.
LOUIS: Wait, but you said--
KYLE: Look, Osterzone's story is that he was a painter who died before his
work was valued. Truth is, no one ever heard of the guy at all. Not until
somebody wrote a book about him. Thanks to the book, he went from nobody to
somebody overnight. And his paintings started selling for a whole lot of
dough.
LOUIS: What kinda book is it?
KYLE: It's called "Osterzone, the Phantom Painter." It was published in 1963.
You know who wrote it? Robert Evans.
LOUIS: Robert Evans? That's Mila's pops, ain't it? But that means... OK, OK.
I think I follow. So Mila's pops is part of this whole angel painting thing,
too?
KYLE: Yeah. This angel's one popular dame. Got herself a whole flock of
admirers. The thing I haven't figured out yet is why. Why did Evans and
Dunning create Osterzone in the first place? And how did Bradley stumble
onto it?
LOUIS: More mysteries? You know, I used to like mysteries. Not anymore, man.
<Kyle thinks.>
LOUIS: You got it figured out?
KYLE: Not all of it, but I think I'm getting close. I've just got to line
everything up. Here's what I got so far. Evans's book on Osterzone came out
sixteen years ago. Then Mila and her old man came here ten years ago.
LOUIS: Yeah, that's when the hotel closed up for a bit.
KYLE: And the story about the girl going missing from the hotel? Ten years
ago.
LOUIS: Oh! Oh! And that's when Mila went into a coma and got put in the
hospital!
KYLE: And it's when Mila's old man bought the hotel. A lot happened ten years
back.
LOUIS: Wait, wait. Mila's pops used to own the Dusk?
KYLE: Yeah. Robert Evans used to be the owner. But seven years ago, he
suddenly closes up his art gallery and disappears. And then Dunning buys the
hotel.
LOUIS: Hold it. Woodward said Mila's pops always came to see her in the
hospital. And he only stopped comin' six months ago, yeah?
KYLE: That's what he said.
LOUIS: It don't add up, man.
KYLE: When did Dunning reopen the Dusk? Five years ago, right?
LOUIS: Yeah, and Bradley killed Danny three years ago. Then you went and shot
Bradley right after.
KYLE: ...Yeah.
<flashback to the New York police station>
<Hyde answers the phone.>
KYLE: This is Hyde.
VOICE: Hyde, I've got bad news. It's Bradley. He... He's on the take.
KYLE: What the hell?
<He shoots Bradley.>
<flashback ends>
LOUIS: Yo, Hyde. Can I ask you somethin'?
KYLE: Sure.
LOUIS: Why'd you shoot Bradley? I mean, you guys were partners. And friends,
too, yeah? You the kinda cat what hunts down a pal if you think he did you
wrong? Just line him up and put him down? Cold, brother. Real cold.
KYLE: ...I don't know.
LOUIS: How don't you know?
KYLE: I heard what he did. Heard he went rogue. ...I tore up the city looking
for him. I finally caught up to him at the docks. I was mad as hell, Louie. I
could barely see. I pulled my piece and yelled at him. Asked him why he did
it...
LOUIS: So what'd he say?
KYLE: Nothing... Not a word. Just turned and looked at me. There was a message
there, but I couldn't read it. It was all too fast. Then he turned, and I
thought he was going to make a run for it. I... My gun was out, and I... I
pulled the trigger.
LOUIS: Whoa... Hey, um... Sorry I asked, ya know? But I get it, man. You
didn't get to talk to him, never got to hear his side of things. That's why
you're lookin' for him. Tryin' to make your final peace, yeah?
KYLE: Enough about that. We need to focus on what's in front of us.
LOUIS: Yeah, man, sure.
KYLE: When did Dunning reopen the Dusk? Five years ago, right?
LOUIS: Yeah, and Bradley killed Danny three years ago.
KYLE: And then Bradley vanished with the angel painting. Which brings us to
six months ago when he checked in here as Kyle Hyde.
LOUIS: Right... And that's when Mila's pops vanished. And Bradley came
to town.
KYLE: Yeah.
LOUIS: But man, none of this means squat! All just a buncha dates and numbers
to me! Unless... Unless you got this all figured out.
KYLE: Most of it. At least, I think so. C'mon, Louie. We have to find Dunning
and Mila. We talk to them? I got a hunch this'll all come together.
LOUIS: Whatever you say, Officer.
<If you check the canvas again:>
[Angel Opening a Door, huh? Hard to see what all the fuss is about.]
<They leave the room and walk back down the hall.>
KYLE: Huh?
LOUIS: What is it, man?
KYLE: Check out the wall.
LOUIS: Huh?
KYLE: There's a strange line running through it.
LOUIS: What do you think it is?
KYLE: It's a door, Louie. The wall's a door.
LOUIS: Aw, man! This is like that cartoon with the dog and the dude what's
always hungry!
<Kyle pounds on the door.>
KYLE: Hey! Is someone in there?
<The door opens.>
KYLE: Dunning! Mila!
LOUIS: Hey, good-looking! Am I ever glad to see you safe'n sound!
KYLE: You all right?
<Mila nods. Kyle looks at Dunning.>
KYLE: Got yourself quite a series of hideouts, Dunning. You make 'em all
yourself?
DUNNING: Nope.
KYLE: Yeah? Then who did? And why?
DUNNING: None'a yer business!
KYLE: Time to come clean. You're going to tell me everything you know. Start
talking!
DUNNING: All right, I hear ya. But just the two'a us! I aim to talk at ya
alone!
KYLE: Louie, take Mila upstairs.
LOUIS: Don't ask me twice! C'mon, Mila, Rosa's waitin' in the wine cellar.
Let's go see her.
MILA: ...No.
LOUIS: Hey, you CAN talk! And you told me no. Just like all the girls in my
life.
KYLE: Stop playing the fool, Louie. Get her out of here.
LOUIS: Yeah, yeah, I hear ya. Let's go, Mila.
MILA: No. I'm staying here. I need to hear what he says.
LOUIS: Aw, c'mon, Mila!
MILA: No! I need to hear it!
KYLE: Fine. You can both stay.
DUNNING: Ya tellin' me I gotta talk in front of the girl? And DeNonno? Ain't
happenin'! No, sir! It ain't necessary, and it ain't gonna happen!
KYLE: It might not be necessary for you, but it is for them.
DUNNING: What're ya talkin' about?
KYLE: Mila's the daughter of your former partner. Mila came here to find him.
To find her father. And the info rattling around in your head is the only
lead she's got.
MILA: Where is my papa? Where is he?
KYLE: And Louie here...
LOUIS: You hit me, didn't ya? You lousy, no-good, tightfisted, backbreaking
old coot! Was you tryin' to KILL me? Hell, you coulda just fired me! I woulda
walked away!
DUNNING: 'Course I wasn't tryin' to kill ya! Don't be daft!
KYLE: Louie drifted out to the West Coast three years back. You know why he
left the city? Because his childhood friend Danny was murdered.
DUNNING: Murdered?
KYLE: Let me lay it out for you. Danny was killed trying to steal a painting.
It was in a warehouse run by a crime syndicate called Nile. A painting of an
angel.
DUNNING: ...What?
LOUIS: Think you're surprised? I'm the one what just found the thing in the
damn basement!
KYLE: What do you say? You going to share your story with us? Why'd you bring
Mila to the basement?
<DUNNING1>
DUNNING: It's 'cause... 'Cause I wanted her to see the place.
KYLE: Why?
DUNNING: ...Well. This is the last place Evans and me ever saw each other.
KYLE: (What?) What do you mean?
<followup>
[You killed him here!]
[You talked to him here.]
<If you don't follow up:>
KYLE: (What?) I'm going to ask you once more, and then I'm going to get
mad. Why'd you bring Mila to the basement?
<back to DUNNING1 and to followup>
[You killed him here!]
KYLE: The last place... Hold on... Did you kill him? Here?
DUNNING: <red aura> Don't be a damn fool! I'm not a killer! Don't matter
what he did! No way in hell I'm gonna kill a man...
KYLE: I'm going to ask you once more, and then I'm going to get mad.
Why'd you bring Mila to the basement?
<back to DUNNING1 and to followup>
[You talked to him here.]
KYLE: The last place you spoke? What did you chat about?
DUNNING: Now look, that ain't--
KYLE: About Osterzone?
DUNNING: No! We...we talked 'bout Jenny. [Jenny? Keep going.]
<DUNNING2>
KYLE: I found your secret room. I know what's in there. I found Angel
Opening a Door.
DUNNING: Ya found... Ya found it, did ya?
KYLE: Yeah. Why is it here?
DUNNING: Persistent, ain't ya? It's 'cause that man left it here.
KYLE: (That man?) I think I know who left it here...
<followup>
[It was Robert Evans.]
[It was Bradley.]
<If you don't follow up:>
KYLE: (That man?) Keep going.
<goes back to DUNNING2 and to followup>
[It was Robert Evans.]
KYLE: It was Robert Evans.
DUNNING: <red aura> Naw. I ain't seen Evans in a dog's age.
KYLE: Keep going.
<goes back to DUNNING2 and to followup>
[It was Bradley.]
KYLE: It was the other Kyle Hyde. Wasn't it?
DUNNING: Hey! Who told ya that?
KYLE: You did. Just now.
DUNNING: Hmph. So ya know the guy or somethin'?
KYLE: Yeah. The guy who stayed here six months ago was my partner.
My friend. He's the ghost I've been chasing for three years.
DUNNING: Partner? Didn't know that door-t'door salesmen had
partners!
LOUIS: Yo, Mr. Smith? Lemme introduce... Uh... Officer Kyle Hyde.
Until three years ago, he was a detective with NYPD.
DUNNING: Ah, crap.
KYLE: My partner's name is Brian Bradley. Three years ago, he was
investigating a crime syndicate called Nile. But he decided to steal
your angel painting and skip town. Hasn't been seen since.
DUNNING: Nile, huh? Well, I'll be damned. I guess what he told me
was true after all. [What did Bradley tell Dunning?]
KYLE: I found an old letter in the cellar lockbox.
DUNNING: I see. Read it, didja?
KYLE: Yeah. Then I used your little code machine and--
DUNNING: Real smart guy, ain't ya, Hyde? So smart ya can't keep yer
nose outta my business! Well, lemme guess...
KYLE: No need. I'll tell you. I know the secret you and Evans were
hiding.
DUNNING: Oh.
MILA: Please, where's my papa? I told you everything about the night
Jenny got taken away! Everything... So you have to tell me where he
is! You have to!
KYLE: You know where Evans is, don't you?
MILA: I remember when Papa and I came here ten years ago. We ate
dinner, and then he said he had some business to take care of. He
told me he was going to meet a friend. And that I should play with
Jenny until he got back.
<Scene of a young Mila and Jenny>
MILA: So we played, and I waited for him. But he never came back. We
were tired and sleepy. And we...we both fell asleep. Then the man...
The door opened, and there was a scary man. He grabbed Jenny and
tried to take her. Jenny started screaming. Screaming and crying.
She was crying so hard. I...I thought she was going to die... So I
yelled at the man! I ran to him and told him to stop, and... Then I
was flying...
<Scene of an unconscious Mila>
MILA: I don't... I don't remember anything else.
KYLE: I'm sorry, Mila.
DUNNING: Ah, Jenny...
LOUIS: You know what happened then, Mr. Smith? Mila was in a coma.
Spent the next ten years layin' in some hospital bed. Then six
months ago she wakes up and starts looking for her pops.
DUNNING: ...Damn.
MILA: Are you mad at me? Are you mad that I couldn't stop those
men? The ones who took Jenny? Is that why you won't tell me where
my papa is?
DUNNING: No, girl, that ain't it. I just... I don't know where Evans
is. That's why I'm here. It's all I can do. Just sittin' and waitin'
to hear from Evans. [He's going to contact you?] Waitin' for my
Jenny t'come home.
<goes to QUESTIONS>
[Question: What did you and Evans discuss?]
KYLE: You and Evans talked about Jenny after that night, right? Fill me in.
DUNNING: I asked him why Jenny was taken. He said... Said it was 'cause I
wouldn't paint no more. Said if I'd just pick up the brush, Jenny'd be
returned.
KYLE: Kidnapping is a rough business. I bet I know who organized it...
[It was Evans himself.]
[It was Nile.]
[It was Evans himself.]
KYLE: It was Evans, wasn't it?
DUNNING: <red aura> No! Evans wouldn't do somethin' like that. Didn't
have it in him.
<If you still have questions, it goes back to the Question list. If you
have no more questions, it goes to DUNNING3>
[It was Nile.]
KYLE: It was Nile.
DUNNING: Likely as not. Leastwise, that's what Evans said. Told me these
Nile fellas knew the truth 'bout Osterzone. Said they wanted me to do
more paintin'. But I told Evans t'go screw himself! Told him no. [Why'd
you tell him no?] And that's why they took m'Jenny away.
<back to QUESTIONS>
[New Question: Why'd you stop painting?]
KYLE: Why did you tell Evans you weren't going to paint anymore?
DUNNING: 'Cause I was tired! More popular Osterzone got, the lousier I
felt. Evans's plan was movin' ahead without a hitch, but... To really
make it stick, I had to bury my own work. Bury who I was. People loved my
paintin'! Collectors wanted 'em! But all the praise, all the glory...
Osterzone got it. Not me. Couldn't take it no more.
<If you still have questions, it goes back to the Question list. If you
have no more questions and you got any response wrong, it goes to
DUNNING3. Otherwise, it goes to DUNNING4>
[Question: What did Bradley say?]
KYLE: What did Bradley tell you?
DUNNING: Night he stayed here, your pal invited me to have a drink with him.
Well, one turned into a whole bunch, and soon I wasn't feelin' no pain...
That's when Bradley stops chattin' 'bout this n' that and asks if I knew
Evans.
KYLE: Some stranger asking you about Evans? I bet know what you told him...
[You told him the truth.]
[You lied.]
[You told him the truth.]
KYLE: I bet you told him the truth.
DUNNING: <red aura> Hell, no! What kinda fool ya take me for?! Told him
I ain't never heard'a any Robert Evans!
<If you still have questions, it goes back to the Question list. If you
have no more questions, it goes to DUNNING3>
[You lied.]
KYLE: You're smart. You lied to him, right?
DUNNING: Yep. No way I was gonna tell some mystery man I knew Evans. So
this Bradley fella got real quiet-like, and stared at his glass for a
bit. ...Then he looked up and stared me square'n the eye. Told me he was
being chased by Nile. Said they was after him 'cause he knew Evans's
secret. [Evans had a secret?]
<back to QUESTIONS>
[New Question: What is Evans's secret?]
KYLE: What was Evans's secret?
DUNNING: This is what yer pal told me, so ya might want to take it with a
grain'a salt. He said Evans actually chose to work with Nile. 'Cept they
knew him as Norman.
KYLE: Norman?
DUNNING: That's what he said. Said Evans was in deep with Nile. Said he
chose t'stay there.
<If you still have questions, it goes back to the Question list. If
you have no more questions and you got any response wrong, it goes to
DUNNING3. Otherwise, it goes to DUNNING4>
[Question: Is Evans going to contact you?]
KYLE: Is Evans going to contact you?
DUNNING: Hell, I dunno. Three years after I lost m'Jenny, I... I hit rock
bottom. I was sad and pissed off. Told him I knew Jenny ain't never comin'
home. Took a knife to the paintings I was workin' on and slashed 'em to
ribbons. I was even thinkin' 'bout breakin' m'hand so I couldn't paint no
more. Well, Evans saw how crazy I was. He talked me back from the edge. Said
he'd take care of everythin'. Promised me he'd get m'Jenny back. Said I should
just sit tight and wait here. And that he'd contact me soon as everythin' was
square. Then he turned'n walked off the face of the earth.
KYLE: Would a guy like that mention his own daughter? Let me take a guess...
[He told you about her.]
[He didn't say a thing.]
[He told you about her.]
KYLE: Did Evans tell you what happened to her?
DUNNING: <red aura> Nope. That's one thing we never talked about. Evans
never brought it up.
<If you still have questions, it goes back to the Question list. If you
have no more questions, it goes to DUNNING3>
[He didn't say a thing.]
KYLE: Evans never told you what happened to her, did he?
DUNNING: Sure didn't. That night ten years ago, we had a couple'a drinks
and talked about what was what. When we went t'get the girls, Mila was on
the floor, and... Jenny was gone. Evans grabbed Mila and raced her to the
hospital, and I... I thundered 'round like a madman looking for my little
girl. Next mornin', Evans came back from the hospital. When I asked Evans
'bout Mila, he told me it was nothin' and she was fine. [Why didn't he
talk about Mila?]
<back to QUESTIONS>
[New Question: Why'd he keep Mila a secret?]
KYLE: Why didn't Evans tell you about Mila?
DUNNING: I dunno. Ain't got a clue...
<If you still have questions, it goes back to the Question list. If
you have no more questions and you got any response wrong, it goes to
DUNNING3. Otherwise, it goes to DUNNING4>
<DUNNING3>
DUNNING: Mr. Hyde? I can't.
KYLE: What?
DUNNING: Thought I could tell ya everythin', but...
KYLE: Wait a minute! Just...wait, I'm so close! Don't do this! Not now,
dammit!
DUNNING: Sorry. I don't think it's gonna work out. Something just ain't right.
I got nothin' else t'say.
KYLE: No! Dunning, wait! Wait...
[I went back to Room 215.]
KYLE: Dammit! I was so damn close! Now I'm out of time! I'll never find
Bradley now! Ah, dammit...
[I spent the rest of the night sitting in my room...listening to the world
slip away.]
[GAME OVER]
<DUNNING4>
KYLE: Let's hear it. All of it.
DUNNING: All right, Mr. Hyde... I'm done tryin' to hide all'a this. I'm gonna
tell ya everythin'. Tell ya how Evans'n me got started... Why they took
m'Jenny... Why Evans disappeared seven years ago... And... I'll tell ya 'bout
the other Kyle Hyde I met six months back. Yer pal Bradley. I'll tell ya
everythin' he told me, everythin' I know.
KYLE: All right. You talk, I'll listen.
DUNNING: Ya want me to get into this in front of Mila? She might not like it.
KYLE: Her call.
MILA: I want to hear it. If it's about Papa, I want to hear it all.
DUNNING: Might be hard.
MILA: <nods> I... I'm just like you.
DUNNING: Just like me?
MILA: When I told you about Jenny... You wanted to know everything, didn't
you? What she said, how she... How she cried. You asked me over and over.
DUNNING: ...Mila.
MILA: I...I understand. I understand why you kept asking me to repeat things.
I was talking about Jenny. You wanted to hear it all, no matter how terrible
it was. You wanted to be close to her, and that was the only way. That's how
I feel, too. I want to know everything about Papa. I don't care what it is.
I just want to know.
KYLE: I think that settles it.
<Mila nods. Louie shakes his head. Dunning thinks.>
KYLE: Start talking.
DUNNING: It all started when Evans and me... We was what ya call reunited by
tragedy. There was a plane crash in Las Vegas in 1960. Two'a the women who
died on that plane left behind little girls. One was Jenny's mom. M'wife. The
other was married to Evans. That's yer mom, Mila.
<Scene of Evans and Dunning meeting at the airport>
DUNNING: I was in the airport, just...sittin' there. Numb. Then I saw Evans.
He and I'd been at the same college, studyin' art and hopin' to be painters.
And then five years later, we're new widowers in the Nevada desert. Took
different paths after graduation, ya see? Evans followed in his father's
footsteps and took over the family art gallery. And me? Thought I was pretty
big news, and I tried t'make a livin' as a painter. But no one gave a rat's
ass for m'work. Barely had two quarters to rub together.
<Scene of Dunning and Evans drinking>
DUNNING: What with our wives dyin', it gave us a chance to talk 'bout the old
days. We shared a buncha drinks and talked 'bout everythin' under the sun.
Then Evans said he thought I was a good artist. 'Bout near knocked me out my
chair. Then he went on praisin' me and tellin' me how great I was. 'Course,
I swallowed it all... He told me somethin' else, too. Said he'd given up on
bein' a painter 'cause he knew I was better'n him. Then he looked me square
in the eye and told me he'd see me famous or die tryin'.
<Scene of Dunning and Evans drinking>
DUNNING: 'Bout a year later, Evans comes up with this crazy idea... Said he
wanted to prove he had an eye for art. Told me it was my chance to prove
m'self, too. Yer a great painter, he said, and history'll prove me right. It
sounds silly now, but... He was so sure of himself. Got me all worked up, too.
We just wanted t'show the world what for, ya know? Couple'a damn fools...
Well, we spent the next three years thinkin' up all the details. And between
the two'a us, we created Marcel Osterzone outta thin air.
<Scene of Dunning painting>
DUNNING: Evans rounded up a buncha old canvases and paint from some art
museum. Then I painted up 'bout a couple dozen pieces or so that we could say
were his. My job was t'just stay outta sight and paint till my hand cramped.
Evans hung 'round the gallery and made the art folks think he knew somethin'.
He also wrote up a book 'bout how he discovered Osterzone.
KYLE: The one I found in the basement?
DUNNING: Yup. It introduced the world to the mystery painter that died too
young. In less time'n it takes t'change a lightbulb, his works took off.
Collectors started buyin' up the stuff, and payin' a fortune for it, too.
Evans'n me were just happy as pigs in filth. Art world loved Osterzone. And
loved his paintings. I just kept paintin' and paintin' as much as I could.
And Evans sold every last one of 'em for more money than I'd ever imagined.
But...
<Kyle looks at him.>
DUNNING: 'Bout that time, Evans and me stopped seein' eye t'eye. Evans liked
our scam. He liked pullin' the wool over people. He started lookin' for other
ways t'fleece people, and started gettin' good at it. But me?
<Scene of a younger, dejected Dunning>
DUNNING: The more popular Osterzone's works got, the heavier m'brushes got.
I couldn't take hidin' in the shadow of a painter I created. It was too much.
After a while, I just lost m'talent. I couldn't paint no more.
<Mila, Kyle, and Louis look at Dunning.>
DUNNING: ...That's what led to the worst day of my life. Evans invited me to
the hotel, so I threw Jenny in the car'n came on over. Evans brought Mila,
and... Our girls started playin' together right away. Kids were cuter'n
anythin'.
<Scene of young Jenny and Mila together>
DUNNING: Evans and me left 'em in Room 111 and headed for the bar. We hadn't
had a relaxin' night in a while. We just shot the breeze, had a couple'a
drinks... Nothing outta the ordinary. Then Evans said he wanted t'show me
somethin'. So he brought me down here. We were standin' right about here...
Evans told me he bought the hotel and built this room just for me. Wanted me
t'hide down here and just keep paintin'. "Yer a genuis," he says to me.
"You'll be paintin' again 'fore ya know it! Ya wanna give Jenny the good life,
don't ya? All ya gotta do is turn into Osterzone again and paint. You'll have
enough scratch t'give Jenny whatever she wants. Make her happy."
MILA: No! That's not true! That wouldn't make anyone happy! Why would Papa
say that?
DUNNING: Man didn't have a choice, girl. He had t'say that to me. It was all
he could do.
KYLE: What do you mean?
DUNNING: Any fool could see Evans wasn't behind this hotel. Had to be someone
else. Seems that in all his buyin' and sellin', Evans got mixed up with some
heavy hitters. And one group'a crooks called Nile had their claws sunk into
him but good. All ya had t'do was take a look at this room. Evans didn't make
all this for a mope like me. This was a place for crooks t'do all their dirty
business. I didn't talk much at first. Just let Evans say his piece. But then
I told'm no. Told'm that I wasn't gonna paint no more. So then, they... They
took her, Mr. Hyde. The damn bastards took m'baby girl.
MILA: They took Jenny.
DUNNING: Aw, dammit... ...Anyway, Evans sat me down and told it straight.
"Become Osterzone," he says. "Just paint. Do that'n Jenny'll come back to
ya." The hell else could I do? I moved down here and started paintin'. And
Osterzone was back. But I didn't care 'bout fame, or money, or nothing. I
just wanted m'girl back. But... She didn't come back. No, sir.
<Louis looks at him.>
DUNNING: So I kept paintin' for three years, thinkin' they'd keep their word.
But one day I had enough. Told 'em all to go t'hell. That's when Evans sent
me that letter ya saw. I can tell ya the damn thing word for word... "This
is yer last job. Finish it and yer free. I won't ask nothing further of ya.
However, our secret must never be revealed. Keep silent'n I promise that
Jenny'll one day be returned to ya. Go back to the Dusk. Be patient." He sent
me the deed to this hotel with his letter. I tried to track'm down, but...
Like I said earlier, I ain't no detective. Gallery was all closed up, and I
didn't know where else t'look.
MILA: Papa... Where did you go?
DUNNING: I didn't have no idea how to start lookin' for him... So I just
decided t'stay here and wait 'er out. I made a promise to m'self, ya
understand? I was gonna wait here for m'Jenny, and if I died waitin', so much
the better. So five years back, I opened the Dusk back up again. But no one
wanted t'stay here. People heard stories 'bout the night Jenny was taken
and... Well, it kept 'em away. So I made up that load'a crap 'bout the wish
room and told a buncha newspapers. Then I tried t'run the place. ...Guess ya
can tell I ain't much of a people person.
KYLE: Did you hear from Evans?
DUNNING: Naw. Not a peep. But a couple'a years back, I got a visit from a gal
who used t'work in his gallery. She just showed up one day shakin' and nervous
as hell. I asked if I could help her, and outta the blue she said she knew I
was Osterzone. Also said she knew Evans forced me t'do all the paintings. Then
she threatened me. Said she'd reveal m'secret 'less I painted one for her.
Thought she might know where Evans had gotten off to, so I did it. I gave her
the paintin', but never heard from her again. Nothin' from Evans, neither.
KYLE: That's interesting.
DUNNING: Yep. Oh, and then... Six months ago? That other fella showed up. The
one with yer name. Got some news 'bout Evans from him.
KYLE: Bradley. What did he tell you?
DUNNING: Don't quite know what t'make of it. I liked'm well enough, so we had
a drink. Then he turned to me and asked if I knew Evans. 'Course, I didn't say
a word. Just kept nursin' m'drink. But he kept talkin'... Said Evans was in
deep with Nile, and callin' himself Norman. Then he told me he knew all about
Osterzone. This fella knew everythin', and he just kept talkin'. Said he knew
we'd created him, and that he knew I'd been paintin'. Didn't think I should
say nothin', so I just sat and listened. After a bit, he quit talkin' and just
swirled his ice around. I figured he was done and made t'leave, but then he
said somethin' real quiet... Told me he made a deal with one'a Nile's men.
...A man named Norman.
KYLE: What kind of deal?
DUNNING: He said they had his sister. Said they were holdin' her hostage. That
was the deal that Norman...er...Evans wanted t'make. He wanted yer pal to
tell'm everythin' the cops knew in exchange for his sister.
KYLE: WHAT?! No, I refuse to--
DUNNING: Hold on, Mr. Hyde! I ain't done yet! Yer pal told me he made the
deal. Said he betrayed his friends. But when he went t'find his sister... She
was already dead.
KYLE: Mila. Oh, no...
DUNNING: He's holdin' his sister's dead body, watching' the steam rise, when
he hears a voice. "Ya can't change anything. Ya sold out yer people, and ya
can't take it back. Yer sister's dead, and ya don't have any family left. Ya
got nothin' left. Come'n work for me. That's the only road open for a man like
you." I tell ya, the sound of that voice... He's a wounded man, Mr. Hyde. So
then yer pal finished his story and his drink, but he never raised his eyes.
And I asked him what he done next. He kept lookin' at his glass, but I could
tell he was seein' somethin' else. "I accepted his offer," he told me. "I knew
it was the only way to avenge my sister. The only way t'make Evans pay."
KYLE: Bradley...
DUNNING: When he finally looked at me, his eyes were hard as any I ever seen.
"You won't see Robert Evans again" was the last thing he said to me.
<Mila shakes her head, then looks away.>
DUNNING: Next mornin', he checked out. Left me quite a goin'-away present,
though... The paintin' that had been hangin' above the bed in 217 had been
taken down. And hangin' there was Angel Openin' a Door. He left a photograph
and a key on the bed. Photo was the same one ya found. Evans always carried
that photo with him. And this here's the key.
<Kyle takes the key.>
KYLE: What's it for?
DUNNING: No clue. Key's a mystery I ain't solved. But once I saw the paintin'
and the photo, I knew one thing. I knew everythin' he told me was true. Was a
tough pill to swallow, ya know? Evans workin' for Nile. Never believed things
coulda got that messed up. I took Angel Openin' a Door off the wall and
carried 'er down to the basement. Then I covered the damn thing with a coat'a
white paint. I just wanted to forget everythin' I knew 'bout Mr. Robert Evans.
That's why I locked up 217 and didn't let no one stay there anymore.
<Mila looks away. Louie covers his face.>
DUNNING: ...And that's it, Mr. Hyde. Everythin' I know. Every last bit. When
you showed up claimin' the same handle as that man... I got to thinkin'
somethin' bad was gonna happen. That's why I was so nervous. Something bad...
Ha! Go ahead'n laugh. I'm nothin' but a damn fool. This place and its secrets
draws bad things like flies to honey. But I'm still here. Still doin' what I
can to protect that secret. Waiting's 'bout all I can do anymore...
<A montage of images flashes by...Dunning...the Angel...Bradley...Kyle. Then
Kyle is back in room 215 and talking on the phone.>
ED: Hyde! What's the good word?
KYLE: I got it, Ed. I finally got it...
[I told Ed everything that Dunning said. I told him about Evans, and Jenny,
and Mila... And Bradley. Ed didn't say a word the whole time. But I knew he
was listening.]
ED: So that's it, huh?
KYLE: Now I know! He had a reason for selling us out! He's alive, Ed! Bradley
is alive. And he was here six months ago. It's funny... He left all these
little clues all around the hotel... Almost like he knew I'd be coming.
ED: Actually, Hyde... I think you hit the nail on the head. I just got off
the horn with the guy who wanted the red box and the magazine. He settled the
bill, but said he didn't care about getting the items back.
KYLE: Ed, wait. That means... Those items were just...
ED: Listen, Hyde. Lie down. Get some rest. You need to clear your head. I'll
call you tomorrow.
<He hangs up.>
KYLE: (If the customer I've been working for was actually Bradley... Then the
key Dunning gave me in the basement...)
[I tried using the key to open the small red box. The key turned. The lock
clicked. I opened the box and... I saw a letter written in a hand I knew
well.]
KYLE: (...This letter...)
[I read the letter, my eyes poring over each word.]
BRADLEY'S LETTER: Hey partner. I'm writing this in the hope that you'll find
it and give it a read. Six months ago, I heard that you turned in your badge
and left Manhattan.
KYLE: (...Bradley.)
LETTER: I figured it was my chance, so I arranged for you to be here. You know
why I did it, don't you, partner? Because I know you. Because I knew you'd
solve all the riddles hidden in this dump of a hotel. I knew you'd discover
what happened here, and what happened to me. You're a damn bulldog, Hyde.
I knew you wouldn't let it go. I had to believe that. Three years ago,
I betrayed you. I put your finger on that trigger, and I made you pull it.
You know, Hyde, I can still hear your voice. Asking me why... You have any
idea how angry you sounded? Of course, you always were the crazy one. But
every time I hear it in my head... I see Mila. I see the way Evans killed my
baby sister. And I remember the day six months ago when I took revenge. I know
you understand, Hyde. And so I'm on the run now. Nile wants me dead. Cops want
me dead. Some life, huh, partner? Stop looking for me, Kyle. My way is a
dead-end street. Let me go. I'm a ghost now. --Bradley
KYLE: (Bradley... I can see the surprise on his face when he hears her name
for the first time... Mila. He stood by her bed and watched her sleep,
thinking all the while of HIS Mila. Then he took his bracelet off his wrist
and slipped it onto hers... And then... Tell me something, Bradley... Did you
watch and wait? When Evans came to see Mila... Did you kill him?)
[08:00 AM]
<Morning rises over Hotel Dusk. The phone in Kyle's room rings.>
KYLE: Urr... Wha...
<He answers it.>
RACHEL: Morning, handsome! So what's the good word? Hee hee! Isn't that what
Ed always says?
KYLE: Yeah, that's it. Is he there?
RACHEL: Not yet, sweetie. I'm here all by my lonesome.
KYLE: Give him a message for me. Tell him I'm gonna take some time off.
RACHEL: Wait, time off? YOU?
KYLE: Yeah. Gonna hit the open road for a couple of weeks. ...See where it
takes me.
RACHEL: Kyle... Did you find Bradley? Is that it?
KYLE: ...No. No, nothing like that. I just... I need a vacation.
RACHEL: OK, hon! I'll let the big man know.
KYLE: Ed's gonna kill me, isn't he?
RACHEL: Oh, probably! You know Ed! He'll huff and puff and slam doors and
all that nonsense. Probably tell me to get you on the horn, pronto!
KYLE: Sounds like Ed.
RACHEL: Just make sure you come back, OK, Kyle? I'll be waiting for you.
KYLE: Thanks.
<He hangs up.>
KYLE: OK, Hyde. Time to hit the road.
<He picks up his suitcase. There's a knock on his door.>
KYLE: Huh? Who's there?
<He opens the door. Jeff is standing there.>
KYLE: Oh. It's you.
JEFF: Look, do you... Do you have a minute?
KYLE: What is it?
JEFF: I wanted to...to apologize. You know?
KYLE: You?
JEFF: Yeah. I caused you a lot of trouble. I know that. And...I'm sorry.
KYLE: Don't worry. Long as you mean it, we're square. So what's the plan,
Angel? You heading back to Beverly Hills?
JEFF: No, not yet. First I'm going to the police.
KYLE: Talking to the Man, huh? You're turning yourself in?
JEFF: Something like that.
KYLE: You sure? It's going to be one hell of a hassle.
JEFF: Yeah, I know. But I did this, and I need to take responsibility for it.
KYLE: Spoken like a man.
<Jeff nods.>
JEFF: Oh, wait. Here. This is for you.
<He hands Kyle a letter.>
KYLE: You wrote me a letter?
JEFF: No, not me. I ran into that guy Summer in front of his room. I said I
was coming to see you, and he asked me to deliver this. Guy wouldn't shut up,
either.
KYLE: Yeah, that's Summer.
JEFF: Anyway, maybe I'll see you around.
[Jeff wanders down the hall and out of sight.]
KYLE: Guess I'll read Summer's letter. ...Hope it doesn't put me to sleep.
SUMMER'S LETTER: Dear Mr. Hyde, I met Mrs. Parker and spoke at length with
her about Alan. What a charming woman! At any rate, I have made her a promise.
A promise to find Alan. I am going to start over, Mr. Hyde. I shall pen a best
seller, and it will be mine and mine alone! And I have decided to model my
protagonist after yourself! When my novel is finished, you will be the first
person to whom I show it. Farewell, good sir! May the winds of fortune be
always at your back!
KYLE: Oh. ...Joy.
<He leaves the room and walks down the hall.>
KYLE: Huh?
<A door opens.>
HELEN: Good morning, Mr. Hyde. Are you leaving?
KYLE: Yeah.
HELEN: Thank you so much for your kindness of last night. I had a wonderful
time.
KYLE: You're not a bad drinking buddy yourself.
HELEN: Will you be coming back this way again, Mr. Hyde?
KYLE: Maybe. Who knows? You?
HELEN: Oh, most definitely. And next time I will stay in the wish room! My
wish will be granted, Mr. Hyde. I'm sure of it!
KYLE: I hope so.
HELEN: Thank you.
KYLE: Well, I'd better get going. Got a lot of miles to make.
HELEN: Take care, dear.
KYLE: You, too.
<Helen nods. Kyle goes to the roof and sees Iris.>
IRIS: Mr. Hyde...
KYLE: Nice morning, isn't it?
IRIS: Yes, it is. It's a bit chilly, but it feels good in a way.
KYLE: You talk to Kevin?
IRIS: Mmm-hmm. I told him I was Grace's sister. I also talked about our
childhood and how we were raised.
KYLE: How'd he take it?
IRIS: I think he understands. I think he can see how important family is
to Grace. That's why she did what she did to raise that money.
KYLE: You talk about the tape?
IRIS: ...No. Grace gave it to me for a reason. ...And not to him. I didn't
feel right bringing it up.
KYLE: Makes sense.
IRIS: Are you leaving?
KYLE: Yeah.
IRIS: Yes, me too. I've got a photo shoot tomorrow.
KYLE: Good luck with that.
IRIS: Say, Mr. Hyde... Grace will come home, won't she?
KYLE: What do you think?
IRIS: I think she will. No... I know she will.
KYLE: Well, there you go.
IRIS: Yes. Well... Good-bye, Mr. Hyde.
<Iris leaves. Kyle goes to the first floor and runs into Melissa.>
KYLE: Hey, kiddo.
MELISSA: Hiya, mister!
KYLE: Nice morning, huh? You finally get some sleep?
MELISSA: Uh-huh. When I woke up, my dad was sitting next to me. And he told
me good morning right away!
KYLE: Sounds nice.
MELISSA: Yeah, and today we're gonna drive to the beach! And then we're
finally gonna go home! Yaaaay!
KYLE: That so?
MELISSA: Oh! And my dad told me a secret!
KYLE: You want to tell me?
MELISSA: ...He said that my mom loves me. And that's why she's gonna come
home someday.
KEVIN: Melissa!
MELISSA: Daddy!
KEVIN: Good morning.
KYLE: Mornin'.
KEVIN: We're all checked out, sweetheart. Tell Mr. Hyde thank you for being
so nice to you.
KYLE: Don't worry about it.
KEVIN: I'm glad I had the chance to talk to you, Mr. Hyde. I really am.
Let's go, Melissa.
MELISSA: OK! Bye, Mr. Hyde!
<Kyle smiles. He walks into the lobby.>
LOUIS: Top o' the mornin', Hyde.
KYLE: "Top o' the mornin'"? Hey, DeNonno, you're Italian, remember?
LOUIS: To the bone, paisan! So what's the deal? Why ya carrying your suitcase?
Don't tell me you're hitting the road already!
KYLE: I am.
LOUIS: What? Aw, c'mon, Hyde, ya can't be serious. What now? Cat stuck in a
tree somewheres? Grandma Patch need help crossin' a road?
KYLE: You're hilarious, Louie. And I'm done helping people. I'm taking a
vacation. Maybe get some sun. Find a nice beach somewhere and relax.
LOUIS: You? Relaxin'? World's gone crazy! But yeah, that sounds good to me,
too.
KYLE: So... How's Mila?
LOUIS: Aw, she's in Rosa's room. Heard she didn't sleep too good last night.
All the stuff what she's learned since comin' here? Must be rough, yeah?
KYLE: Yeah.
LOUIS: Yeah, but I bet she'd like to see you, man. Best to stop by before
you leave, ya dig?
KYLE: I might.
<If you talk to Louie again:>
LOUIS: Yo, Hyde. Make sure you go an' see Mila.
<Kyle goes to Rosa's room and stands outside the door.>
KYLE: Huh? That's Mila's voice.
MILA: ...But, Rosa!
ROSA: You can stay here as long as you want, Mila, honey! There's no need to
feel guilty about anything, and for a fact! You're not alone anymore,
sweetheart. Louis and I are here for you. Hmm? Mr. Hyde? Well, no, he doesn't
work here. He can't stay with you.
<Kyle looks downcast. If you try to knock on the door again:>
KYLE: (I'd better just go...)
<He walks back to the lobby. If you talk to Louie again:>
LOUIS: How's Mila doin'? Ya get a chance to talk to her? Did she
mention me?
KYLE: I didn't see her.
LOUIS: Why not, man?
KYLE: It's better this way. Listen, Louie, I want you to take care of
Mila.
LOUIS: What're you talkin' 'bout? Me and Mama Sass got everything
covered. I bet even ol' man Dunning will lend a hand. Don't worry 'bout
a thing. So, uh, Hyde? You think Nile's still after me?
KYLE: I think you're in the clear, pal. I think Nile's going to be busy
chasing Bradley.
LOUIS: Oh, trip, man...
KYLE: Louie, this whole damn day has been a trip.
LOUIS: I hear you, brother. So... See ya around?
KYLE: Bet your life, brother. We're partners, remember.
LOUIS: That's what I'm talking about!
<If you talk to Louie again after this:>
LOUIS: Take care of yourself, Officer Hyde. And stay outta trouble!
<Kyle goes to the front desk.>
DUNNING: Ya checkin' out?
<Kyle nods.>
DUNNING: Well, alrighty then. Ya paid for yer room in advance, but... I'll
be damned if ya didn't run up some charges!
KYLE: Dunning, is that a phone bill?
DUNNING: Ah, forget it. This time it's on the house. But... Next time yer
here, ya gotta promise t'stay in my suite! It's a peach of a room!
<They look at each other.>
DUNNING: Anyway, ya got yer room key? Gotta get Wish ready for the next
guest, ya know.
<Kyle nods and looks at the key.>
KYLE: ...The room that grants wishes, huh?
DUNNING: Yep. I hear tale some guests claim the room's magic.
KYLE: Ha ha ha!
DUNNING: Ya think that's funny? Ya like laughin' at an old man's tales of
the fantastic?
KYLE: No, Dunning. It's not that. I was just thinking that...maybe there's
some truth to it, is all. Maybe it granted a couple of my wishes, too.
DUNNING: Couple, huh?
KYLE: Yeah. Can't get greedy, though. Guy like me has a lot of wishes.
DUNNING: ...That so?
<Kyle hands back the key.>
DUNNING: Well, thank ya much. Year's almost over, ain't it? Happy New Year
to ya.
KYLE: You too, Dunning.
<Kyle leaves. He gets into his car. He takes one last look at the hotel and
drives off.>
<If you resusciated Mila by giving her mouth-to-mouth rather than by tapping
her face, you will get this scene:>
<Kyle exits the hotel. Just outside the hotel, Mila runs out.>
KYLE: Huh?
MILA: Wait!
KYLE: ...Mila.
MILA: Where...where are you going? Can I... Can I go with you?
KYLE: Mila...
<He nods. Mila smiles. The two of them get in Kyle's car. He starts the
engine. He takes one last look at Hotel Dusk... and they drive off.>
<CREDITS ROLL>
==============================================================================
==============================================================================
5. GAME POSTSCRIPT
If certain requirements are fulfilled during the game, you will get this
scene after the credits:
[DECEMBER 31, 1979
9:00 AM
Hotel Dusk front desk]
DUNNING: Ya done with the cleaning, Rosa?
ROSA: Almost! Land sakes, be a little patient for once!
DUNNING: Where's Louis?
ROSA: He's getting the bar ready for the New Year's party.
DUNNING: I bet.
ROSA: Does that take care of all the guests, Mr. Smith? Did everyone check
out?
DUNNING: Yep. All done. Been a helluva year, ain't it, Rosa? But it's all
done now.
ROSA: Is it really?
DUNNING: What're ya mumblin' 'bout, Rosa?
ROSA: It's probably nothing, but... I just had the strangest feeling.
DUNNING: You and yer feelings! I had a dime for every one, I'd be a damn
millionaire. Last thing we need's for somethin' t'happen on New Year's Eve.
I just want to...
ROSA: ...Mr. Smith? What is it? What's wrong? You're white as a sheet!
DUNNING: It's...
<A young woman walks into the hotel.>
DUNNING: ...Jenny?
[THE END]
==============================================================================
==============================================================================
6. COMMENTS ON ITEMS, DOORS, AND PEOPLE
Kyle makes some pretty funny comments when you're examining items.
============================
6a. FIRST FLOOR AND BASEMENT
============================
FRONT DESK:
Desk calendar: It's a calendar. Great, now I can keep track of how long
I've been standing here.
Phone: A telephone. Am I supposed to call someone to help me?
Wall calendar: There's a calendar on the wall. It's even in sync with the one
on the counter.
TV: There's a TV at the end of the counter. <closeup> It's an older model
with a pair of rabbit ears. Classy.
TV controls: There's a power switch and a channel selector. Is this thing
broken? What a wonderful hotel this is...
Paper on TV: There's a note stuck to the side of the TV. "TV operational
hours: 7:00 to 9:00 P.M."
Shelves: There's an old shelf with cubbyholes behind the counter.
Clipboard: Hey, it's a clipboard. That settles it, there's gotta be somebody
around here.
Counter: There's no one at the front desk.
Bell: Guy's got a bell on the counter. Nice touch.
<After meeting Mila> It's a bell. Guess I gotta ring it for service.
FRONT DESK AREA:
Table: Solid little table. Too bad it's all nicked up.
Sofa: Leather sofa, huh? Looks like it's been around the block a few times.
Clock: A clock that looks like a dartboard. What is this, a frat house?
Plaque: It's the hotel's business permit. I bet it's expired.
License plate: There's a license plate on the wall. Did a mechanic decorate
this dump?
Picture: Nice bikini. Too bad a girl like that would never stay in a place
like this. <closeup> Wonder how many losers have imagined she was looking
at them?
Sticker: There's a sticker underneath the frame.
Lamp: Wonder if the shade on that table lamp used to be white.
End table: The end table's covered in dust. Hope the rooms are cleaner.
LOBBY AREA:
Table: There's a simple wooden table in front of the chairs.
Vending machine: A vending machine. The bachelor's best friend.
<Kyle thinks, "Need coins, huh?">
Vending machine sign: "get change at the front desk." --Join the Hunt!--
Find the seven lucky numbers hidden in this hotel. Calculate the sum
of the numbers, then input it into the machine for a prize! Get lucky
for just 25 cents!
Sticker: There's a sticker on the side of the vending machine.
Chair: Looks like someone picked these up at a garage sale. ...Or from the
dump.
Chair #2: There are a couple of chairs in the corner of the room.
Cabinet: Looks like the cabinet I owned when I still lived in the city.
Lamp: I had a lamp just like this. It's worth about a buck-fifty. New.
CENTRAL HALLWAY:
Painting: There's a still-life painting on the wall. <closeup> It's a painting
of a couple of apples and a bottle of wine. Cute.
Wall light: Light from the lamp is casting weird shadows.
Frame: It's a framed line of poetry. ...It doesn't even rhyme.
Sticker: There's a sticker next to the frame.
Plant: There's a decorative plant in the corner of the hall. Must be
hiding a stain.
Restaurant sign: It's a neon sign advertising the hotel restaurant.
<closeup> Moonlight Grill. Not a half-bad name.
Chalkboard: There's a chalkboard near the restaurant entrance.
<closeup> There's a message on the board. "Moonlight Grill In preparation.
Open at 6:00 P.M."
<closeup when restaurant is open> Moonlight Grill
Open for Business
Today's Special
Rib Eye Garlic Steak
Desserts
Raspberry Cake
Chocolate Ice Cream
Tea Chiffon Cake
Chalk: There's some chalk lying at the bottom of the board.
<closeup> It's some chalk.
KITCHEN:
Sack: It's a large cloth sack. Wow, that's fascinating.
Box: There's a box of foodstuffs on the shelf.
Box #2: Boxes of canned foods. Wonder if Louie has to lug these around.
Box #3: More boxes of foodstuffs. Guess I should have expected that.
Box #4: There are more boxes in the corner of the room.
Boxes: It's a bunch of cardboard boxes stacked neatly in a corner of the room.
Boxes #2: There are some cardboard boxes stacked here.
Boxes #3: There are some white cardboard boxes stacked here.
Boxes #4: It's a bunch of cardboard boxes tossed into the corner.
Cans: I see lots of canned food. Guess we're ready if the Soviets drop the
big one.
Cans #2: Looks like a bunch of canned food.
Cans #3: Canned vegetables? I was hoping for fresh picked.
Cans #4: Looks like lots of canned foods.
Cans #5: There's some canned fish here. I haven't had that in forever.
Cans #6: Cans of whole tomatoes. How appetizing...
Cans #7: More canned foods. Hope I don't have to eat all of this.
Cans #8: That's a big can. Must have a whole side of beef stuffed in there.
Fridge: There's a big refrigerator in the corner of the room.
Fridge #2: That's a big refrigerator. ...Wonder if they got any bodies
in there.
Flour: It's a small bag of flour.
<closeup> The bag's torn, and some flour spilled out.
Plates: It's an empty dish.
Plates #2: There are a bunch of dishes on the counter. Looks like Louie's
running behind.
Silverware: There's a case full of forks and knives.
Shelf: It's a shelf for spices.
Can: It's some kind of seasoning. Don't ask me... I can't cook worth a damn.
Can #2: It's a can of sauce. I bet it tastes like sawdust.
Can #3: It's a can of ketchup. ...Who puts ketchup in a can, anyway?
Table: Kitchen's clean. That's a load off my mind...
Stove: Guess you need a big range to cook for a restaurant.
Microwave: Those are a couple of huge microwave ovens.
Wine: There's a bottle of wine on the counter.
Wine #2: There's a wine bottle next to the microwaves.
<after the label is removed> The bottle of wine next to the microwave
ovens is missing its label.
Crate: This is where they keep their supplies.
Crate #2: It's jam-packed with all kinds of foodstuffs.
Fryer: They've even got a deep fryer. I'll have to get some onion rings later.
RESTAURANT HALLWAY AND RESTAURANT:
Chair: It's a wooden chair. Nothing interesting about it.
Chair #2: Just your average wooden chair. All the tables have 'em.
Chair #3: A wooden chair. Nothing special about it.
Chair #4: It's a wooden chair. I bet it'll give me splinters if I sit on it.
Chair without doll, closeup: It's a wooden chair. Looks uncomfortable.
Dishes: There are still some dishes on the table.
Corner floor lamp: That's a lamp. Hell, this one's only 30 years out of style.
Podium: It's a podium. They must use it as a reception desk for the
restaurant.
Sticker: There's a sticker on the podium.
Hallway lamp: Just a lamp. Yep...another cruddy lamp.
Window: Yeah, there's nothing very interesting outside.
Window #2: Can't see much out this window. I don't think it's been cleaned
in years.
Table: Tablecloth is nice and clean. Not a stain to be seen.
Table #2: The table's been wiped and clean.
Table sign: There's a little sign on the table. It says Reserved.
Wine bottle: That's a bottle of wine.
Piano: A piano, huh? Wonder if Dunning tickles the ivories.
Piano bench: There's a small bench in front of the piano. Too bad I don't
play.
Sticker: There's a sticker on the piano.
Speakers: Those speakers are huge.
Amp: That's quite the amp.
Frame #1: This photo must be older than Helen.
Frame #2: Looks like a photo of people who stayed here before.
Frame #3: Looks like they're having a good meal.
Frame #4: A newspaper article on the hotel. Nothing useful here.
Frame #5: This photo is old and hard to see.
Frame #6: Looks like this was taken at the hotel's grand opening.
Frame #7: It looks like a photo, but it's really a painting. That's actually
kind of clever.
SEVEN STARS BAR:
Bottle: It's a bottle of bourbon, and it's open. I like this place already.
Glass: It's a glass of bourbon. Huh. Someone knew I was coming.
Counter: The counter's cleaner than an operating table.
Jukebox: There's a big jukebox in the corner. ...Wonder if they have any jazz?
Sticker:
Plant: Nice plant. Wonder if they water it with leftover drinks.
Poster: It's a poster of a bottle of booze. Now that's classy.
Frame: There are some black-and-white posters.
Frame #2: There's some pop art on display.
Shelf: They've got shelves on the walls to hold drinks. My kinda place.
ELECTRICAL ROOM:
Locker: There's a locker in the corner of the room.
Breaker: The cover of the switchboard has been taken off.
Breaker #2: This switchboard is covered in dials and knobs and crap.
Breaker #3: There's a cover on the switchboard.
Breaker cover: It's a switchboard cover.
BOILER ROOM:
Boiler: It's a boiler.
Boiler #2: It's a small boiler. This must be why there's no hot water in
this place.
Handle: It's equipped with a big handle.
Tanks: It's some kind of storage tank, and it's creeping me out.
Box: It's a wooden box. Yippee.
LAUNDRY ROOM:
Cabinet: It's a wooden cabinet.
Cabinet #2: There's a wooden cabinet next to the washing machine.
Linen cart: The linen cart's full of dirty sheets and whatnot.
Shelf: There's a shelf above the washing machine.
Towel rack: It's a metal towel rack. Do they really air-dry towels
around here?
Iron: Looks like a heavy iron. Rosa's arms must be huge.
Clothes rack: It's a hanger rack.
Hanger: It's a hanger.
Ironing board: There's nothing on the ironing board.
Trash can: Garbage can's empty. At least Louie did something.
Washer: There are some sheets in the washer. Hope they're mine.
Washer #2: It's an industrial washing machine.
Washer #3: Nothing inside the washing machine.
Washer #4: It's a big washing machine. Maybe I'll clean my socks later.
Washer #5: Now that's a big washing machine. Guess hotels do a lot of laundry.
Washer #6: The washing machine's empty.
Bottle: It's a jar of cleanser. It looks homemade. That's a scary thought...
Bottle #2: It looks like a cleanser of some sort.
Bottle #3: I bet this is bleach or some kind of stain remover.
Bottle #4: There's not a lot of detergent in here.
Bottle #5: I'm no scientist, but I think that's a bottle of bleach.
RIGHT HALLWAY:
Plant: It's a plant of some sort.
Plant #2: There's a potted plant in the corner of the hall.
LEFT HALLWAY:
Plant: It's a potted plant. Wonder if anyone ever talks to it.
Plant #2: There's a potted plant in the corner of the hall.
<after it's broken> There's a broken planter in the corner. How sad.
PANTRY:
Boxes on floor #1: There are some big, big cardboard boxes stacked here.
Boxes on floor #2: It's a bunch of dirty cardboard boxes. I bet they
belong to Louie.
Boxes on floor #3: There are some white cardboard boxes stacked on top
of each other.
Boxes on floor #4: That's a big pile of all kinds of stuff. Or so my
detective senses tell me.
Boxes at top of shelf: There are more cardboard boxes on the shelves.
Boxes on shelf #1: There are boxes full of supplies here. Not very
interesting, actually...
Boxes on shelf #2: Boxes of foodstuffs? Guess this is where they belong.
Boxes on shelf #3: Boxes filled with canned foods. ...Reminds me of
my place.
Boxes on shelf #4: I should raid this place later tonight. I could eat
for a year.
Boxes on shelf #5: Hey, some dusty boxes. Detective work is so exciting.
Boxes on shelf #6: Cardboard boxes full of canned goods are sitting here.
Boxes on shelf #7: Boxes of beer... I'll have to remember where these are.
Boxes on shelf #8: A box full of beer... Lucky box.
Cans #1: Canned fish? Guess that's all they can afford.
Cans #2: A can of thyme. Now that's just silly. No one needs that
much thyme.
Cans #3: Cans of whole tomatoes? If I shook 'em up, could I make ketchup?
Cans #4: I see canned vegetables. Never was much into those.
Cans #5: Some big cans of food. For the man with a hearty appetite.
Cans #6: I see two blue cans. ...That's a nice color for a can.
Cans #7: It's a blue can. Maybe it's full of blueberries.
Cans #8: Looks like canned fish. A tuna sandwich sounds pretty good
right now.
Sacks: Looks like some bags of grain. Never can have enough fiber, huh?
Sack on shelf: Looks like a small bag of food. I can't identify it.
Sack on shelf #2: It's a small bag of some kind of food.
Sacks on shelf: There are two small bags of food stacked here.
Refrigerator: It's a commercial-sized refrigerator. Bet you could hide
a body in there...
Refrigerator #2: It's a commercial-sized refrigerator full of meat and
vegetables.
STORAGE ROOM:
Lockers: It's a big locker.
Box: There's nothing in the cardboard box.
Rope: No way. I'm not touching any rope that comes from a dirty hotel.
DUNNING'S OFFICE:
Large cabinet, top right drawer: This looks like Cabinet 3. Yeah, this is
Cabinet 3 all right.
Large cabinet, during closeup of memo: This cabinet must weigh a ton.
Lock on large cabinet: There's a combination lock on the cabinet.
Drawers in large cabinet: The cabinet drawer won't open.
Large cabinet, bottom right drawer: This cabinet looks like it weighs a ton.
Frame: There's some sort of certificate in the frame.
Frame #2: The wall's decorated with contracts. Doesn't really do much for me.
Frame #3: Dunning's got a framed diploma or something on the wall.
Frame #4: There's a shot of a brick-lined street tacked to the wall.
Desk: Dunning's desk is against the wall.
Chair: Nothing on the chair.
Book: There's a book on the desk. It's about hockey.
Corkboard: There are a bunch of receipts and memos on the corkboard.
Corkboard #2: Nothing on the board has any real importance to what I'm after.
Key holder: Dunning's got all the room keys hanging on the wall.
<closeup> Dunning's got all the room keys hanging on the wall. There's
no key for Room 215.
Pencil holder: There's only one pen in the penholder.
Newspaper: Look at this... The sports page. What a surprise.
Newspaper #2: There's a newspaper on the desk.
Calendar: There's a calendar on the left side of the desk.
Phone: There's a phone on the desk. I should make some free long-distance
calls.
Sofa: Nice sofa. I spent a month sleeping on one of these once...
Table: There are some papers on the table.
Papers: There's a newspaper on the table. Looks like today's.
TV: Another TV? Dunning must be a real couch potato.
Books: Nothing unusual here. Just some files and books.
Cabinet shelf: There are some books on the shelf above the cabinet.
TV cabinet drawer #1: The cabinet drawer is locked.
TV cabinet drawer #2: The drawer is unlocked.
Files: Looks like a tourist brochure and a map.
ROOM 111, FRONT AREA:
TV: Even the TV's a newer model. Maybe I should've stayed here.
Dresser: There's a small storage space under the TV.
Fridge: It's one of them mini-fridges.
Mirror: It's a mirror. And boy, am I ever pretty.
Brochure: There's a hotel brochure on top of the fridge.
Corner lamp: That's quite a tall lamp in the corner of the room.
Couch: A leather couch? Is this the suite Dunning was trying to talk me into?
Couch #2: Bet that sofa cost a pretty penny.
Table: Check out the table in front of the sofa. Looks pricey.
Painting: Look at that. Another painting that's not dogs playing poker.
Table lamp: There's a small lamp in the corner of the room.
Tea set: There's even a tea set on the table.
Round table: It's a round table. Wonder where King Arthur and his knights are.
Minibar: A minibar with booze? I'm moving in.
Hat stand: That's one heck of a hat stand. Wish I had a fedora to throw at it.
Chairs: It's a chair.
Frame: Looks like Dunning framed the Hotel Dusk mission statement or
something.
ROOM 111, BEDROOM AREA:
Closet: Now that is a big closet. Maybe this is the room where fat guys stay.
Chair: Now that looks like a cozy chair.
Desk: There's a small desk in the corner of the room.
Desk lamp: There's even a desk lamp.
Tub: Looks like the bathtub's spic-and-span.
Shower curtain: Got a shower curtain around the tub.
Toilet: Another toilet. I'm gonna assume it's clean.
Toilet paper: It's toilet paper. Good thing, too, this being a bathroom
and all.
Sink: Sink's clean.
Towel: Towels have been freshly changed.
Mirror: Mirror's so clean I can see myself. ...'Course, it IS a mirror.
Shampoo: It's a bottle of shampoo.
Bathroom light: There's a light above the mirror. Smart thinking, that.
Air conditioner: It's an air conditioner. Not that it's needed in December,
but...
Table lamp: There's a small lamp on the table.
Phone: And next to the bed is a telephone. Great for wake-up calls.
End table: Side tables on both sides. That's a bed built for two.
Bed: Bed's nice and neat. Looks comfy, too.
Window: Curtains are pulled shut.
LOUIE'S ROOM:
Box: He's got all kinds of crap laying around in here.
Stuff on floor: Garbage on the floor... This place smells like the floor of
a taxi.
Chair: It's a chair.
Dresser: There's a small shelf in the corner of the room.
Coat: Louie's coat is hanging on the wall.
Stuff on walls: Walls are covered with newspaper articles and bikini pinups.
Stuff on walls #2: Everyone here loves old newspaper clippings. ...And dames
in bikinis.
Books: I got no interest in any book Louie would read.
Bottle: It's a bottle of booze. If I worked here, I'd need this too.
Can: Cans of beer? Ah, Louie, you're so young...
Can #2: That's an empty. Another dead soldier for the pile.
Cocktail shaker: Well, well, well. It's a cocktail shaker. Guess this place
has some merit.
Plate: It's empty.
Photo: It's a small photo. <closeup> It's a picture of three men.
(Kyle thinks, "Bradley...")
Pen: It's a ballpoint pen.
Blanket pillow: Nice pillow. Looks like a rolled-up blanket or something.
Bed: That's more of a cot than a bed.
Crate: There's a cheap wooden crate next to the bed.
Cassette: There's a cassette with the tape pulled out on the crate.
ROSA'S ROOM, OUTER ROOM:
TV: It's a TV. I bet she watches soap operas.
Floor lamp: That's quite a tall lamp.
Bookshelf: Rosa's got herself a built-in bookshelf.
Photo: It's a picture of a young woman.
Photo #2: It's a picture of Rosa and some guy.
Books: It's a bunch of cookbooks.
Books #2: She's got some books on fortune-telling.
Books #3: Rosa sure has a lot of cookbooks.
Books #4: Books on language, huh? When's she find time to study?
Books #5: Law books? Wonder if Rosa's planning on going back to school.
Books #6: None of these books mean much to me.
Sofa: A red couch. At least all of her upholstery matches.
Chair: It's a big chair with red upholstery.
Table: It's a big table.
Paper: There's a crossword puzzle on the table. Man, I hate those things.
Vase: There are some flowers in the vase.
Corner table: She's got a little side table in the corner of the room.
Painting: It's a painting of some sunflowers.
China cabinet: Got herself a nice, big china cabinet.
Dishes: Hey, dishes. Rosa's not as neat as I thought.
Fridge: It's just your average refrigerator. Wonder if she's got any cheese.
ROSA'S ROOM, BEDROOM AREA:
Top picture on wall: There's a picture of a couple in the frame.
Bottom picture on wall: There's a picture of a family in the frame.
Desk: There's a small desk in the corner of the room.
Brochure: There's an old, worn brochure on the desk. I'm gettin' tired of
seeing these things...
Lamp: It's a lamp. Shade looks familiar... Think I wore one like it as a
hat once.
Chair: It's a wooden chair. Looks pretty worn.
Calendar: Hey, a colander. No, wait...that's a CALENDAR.
Picture on nightstand: There's a picture of Rosa with a man.
Nightstand: There's a shelf next to the bed.
Bed: This must be Rosa's bed.
Window: It's pitch black outside. I can't see a thing.
Painting: There's a picture of some flowers on the wall.
Tub: Bathtub looks clean enough.
Shower curtain: There's a shower curtain around the tub.
Toilet: It's a toilet, and that's all I need to know.
Towels: Freshly laundered towels... One of the benefits of living in a hotel,
I guess.
Sink: Nothing in the sink. It's freshly cleaned, though.
Toilet paper: Toilet paper. Can't have a toilet without toilet paper.
Wouldn't be right.
Light: There's a light above the mirror.
Mirror: I could use a shave.
Shampoo: It's a bottle of shampoo.
DUNNING'S ROOM, OUTER ROOM:
Painting: There's a painting of flowers hanging on the wall.
Hockey stick: It's a hockey stick. Goes well with the flower painting.
Award: There's some kind of award here. ...I got no idea what this thing is.
Books: It's a bunch of books on tax law. Looking for loopholes, eh, Dunning?
Books #2: There are some cookbooks here. Dunning cooks? Who knew?
Books #3: Looks like some books on literature. Must belong to somebody else.
Books #4: None of these books seem all that important to me.
Books #5: These are all books about sculpting.
TV: That's a pretty big TV. Wish the one in my room was that big...
Frame #1: It's a picture of Dunning. Whew, the camera sure ain't kind to him.
Frame #2: That's a photo of a couple of guys.
Frame #3: It's a picture of a woman.
VCR: It's the latest in video decks. Dunning's got more money than I thought.
Artwork: It's a pop art calendar. Huh. Dunning struck me as more of a
landscape guy...
Fireplace: Who needs a fireplace in L.A.?
Clock: There's a clock. Wow, I'm glad I broke in here for this.
Chair: It's a leather chair. Looks comfy.
Bureau. It's a simple wooden bureau.
Table: The tablecloth looks like the Stars and Stripes.
Bottle: It's a half-empty bottle of booze. 'Course, I like to say it's half
full.
Bottle #2: It's a chilled bottle of booze. Oh, why do you tempt me?
Can: It's an empty can.
Glass: It's an empty glass. Saddest thing I've seen all day.
Newspaper: It's the sports page.
Fridge: That's a pretty big refrigerator.
Jars: There's some jam here. Wonder what flavor it is?
Bottle in fridge: I think that's paint.
Drawers: It's a small shelf for knickknacks and crap.
Closet: Got himself quite a closet. Bet it's filled with nothing but T-shirts.
Corner door: No one answers when I knock.
<knob> Door won't open.
DUNNING'S ROOM, BEDROOM AREA:
Tub: Tub's clean enough to eat off of. ...That's gross, Hyde.
Shower curtain: There's a shower curtain around the tub.
Toilet: That's the cleanest toilet I've ever seen. Rosa must scrub in here,
too.
Sink: Sink's nice and shiny. Dunning sure is a neat freak.
Toilet paper: It's toilet paper. Bet the old boy's got some nice two-ply
stuff in here.
Towels: Clean towels. Nice.
Mirror: Hey, now there's a handsome devil.
Bathroom light: He's got a light above the mirror.
Shampoo: It's a bottle of shampoo.
Bed: Dunning's bed. Bet it's not as lumpy as the one in my room.
Bed table: There's a shelf next to the bed.
Table lamp: Got a little lamp here, too. All the comforts of home.
Phone: There's a phone on the shelf. I wonder if he ever calls anyone.
Window: Curtains are closed. Guess he doesn't want anyone peeking in the
window.
Bookshelf: It's a big bookshelf.
Stuff on walls: There are a lot of newspaper clippings on the wall in front
of the desk.
Stuff on walls #2: There are magazine and newspaper clippings on the wall
next to the desk.
Chair: There's an upholstered chair in front of the desk.
Desk: It's a small work desk.
Pile of wood: It's some wood. Must be for his carving hobby. I bet he calls
it "whittlin'."
Desk lamp: There's a desk lamp.
Photo: It's a picture of Dunning and a young girl.
Desk carving: Looks like some kind of wood carving.
Books: There are some books stacked up on the desk.
Brochure: There's a brochure on the desk.
WINE CELLAR:
Whiskey bottle: It's a whiskey bottle.
Box: There are bottles of booze in here.
Box #2: It's a wooden box. It's too dirty to make out the lettering.
Box #4: It's a box of liqueur. The label is in some fancy language that I
can't read.
Box #3: There's a rolled-up newspaper in this box.
Box #5: This box is partly crushed, and the bottom is bulging out.
Box #6: It's a stack of dirty wooden boxes.
Box #7: This box is full of tattered paper. Thrilling.
Box #8: It's a pile of boxes. Maybe I can build a fort later.
Box #9: It's a box with a simple label.
Box #10: Boxes with the names of alcohol printed on them.
Box #11: Boxes of booze. I've never heard of this company... I'll have to
amend that.
Box #12: Empty boxes. Wonder if they're lonely.
Box #13: A big beer box. Nice.
Box #14: Boxes of hooch. If I turn to a life of crime tonight, I'll come back
for these.
Box #15: It's an empty wooden box. Smells moldy.
Box #16: It's a dirty wooden box.
Box #17: Some boxes of alcohol kind of shoved together. Must be Louie's work.
Box #18: More empty boxes.
Box #19: Boxes full of liquor.
Box #20: There's nothing in these boxes.
Box #21: It's a dirty wooden box.
Box #22: It's an empty box. ...Master gumshoe Kyle Hyde strikes again.
Box #23: It's a box from a distillery I've never heard of.
Box #24: It's a box with the name of some distillery on it.
Box #25: It's a dirty wooden box. Who uses wood boxes anymore?
Box #26: It's a box. The name of the booze company's written on it.
Bottles: Expensive-looking bottles of hooch.
Bottles #2: The label is coming off these bottles. I can't read any of them.
Bottles #3: These labels have a bunch of grapes on them. Now that's creative.
Bottles #4: Yep. More bottles.
Bottles #5: More wine bottles. ...Never was a big wine guy.
Bottles #6: Wine bottles. Who cares?
Bottles #7: Wine bottles covered in dust.
Bottles #8: Alcohol is leaking out of a crack in the bottle. What a terrible
waste...
Barrel: An entire barrel of beer...
Filled whiskey bottle: It's the whiskey bottle that was on the other shelf.
BASEMENT:
Boxes: There are some boxes piled on the floor.
Boxes #2: Boxes are so dirty they've changed colors.
Files: This is a pretty random filing system.
Files #2: The shelves are crammed full of files.
Files #3: The labels are peeling off. I can't read anything.
Book: Nothing interesting written here.
Table: It's an old wooden table.
Chair: It's an old wooden chair.
SECRET ROOM:
Chair: The chair's ripped and full of holes.
Box: The box holding the canvas is worn out.
Box #2: It's a cardboard box filled with paint.
Box #3: It's a dirty box. Go figure.
Canvas: There's a sketch of a woman on the back of the canvas.
Canvas #2: There's a charcoal drawing of a building on the back of the canvas.
Canvas #3: There's a landscape painted on the other side.
Canvas #4: There are all kinds of colors painted on the canvas.
Canvas #5: It's a long piece of canvas.
Canvas #6: There's a painting leaning against the wall.
Canvas #7: There's a date on the back of the painting.
Bucket: There's paint in the bottom of the bucket.
Bucket #2: The bucket's pretty dusty. Guess no one used it for a while.
Can: There's green paint in the can.
Can #2: There's blue paint in the can.
Can #3: There's yellow paint in the can.
Can #4: There's not much red paint left.
Canvases in box: It's a blank canvas.
Painting: There's a painting of flowers on the wall.
Bottles: An old bottle filled with paint. I didn't know paint came in
bottles...
Bottles #2: About half of the paint's been used.
Spray bottle: A spray bottle of turpentine. Better keep this out of my eyes.
Table: This wooden table is all nicked up.
Wood: There's some wood on the table.
Stool: The wooden chair has paint on it.
================
6b. SECOND FLOOR
================
ALCOVE:
Painting: There's a painting on the wall. It's a still life. <closeup> It's a
painting of a couple of apples and a bottle of wine.
Frame: There's a frame on the wall. Looks like the history of the hotel.
Table lamp: There's a lamp on the cabinet.
Cabinet: It's a small wooden cabinet. My favorite.
Wall lamp: There's a small light on the wall.
Plant: It's a potted plant of some kind.
END OF HALLWAY:
Frame: There's a legal document on the wall. Probably lets them run the place.
Wall lamp: It's a small light stuck to the wall.
Table lamp: There's a lamp on the cabinet.
Cabinet: It's a small wooden cabinet.
Sticker: There's a sticker on the cabinet.
ROOM 211 (SUMMER'S ROOM):
TV: TV's turned off.
Dresser: What's the little table thingie under a TV called? TV table? TV
stand?
Fridge: It's a small refrigerator. Maybe Summer left a sandwich in there...
Brochure: That's one of the hotel brochures.
Floor lamp: There's a tall lamp in the corner of the room.
Shower curtain: There's a shower curtain around the tub.
Tub: Good day, bathtub. Looking rather sparkly today.
Toilet: Hello there, toilet. How's it feel to be spoken to?
Sink: Nice to see you, sink. My, how shiny you are.
Towels: Towels are fresh and fluffy. Rosa's the only good thing about this
place.
Toilet paper: Toilet paper. Quite possibly the best invention ever.
Mirror: The mirror's very clean.
Shampoo: There's some shampoo. What, no conditioner?
Bathroom light: There's a light above the mirror.
Bed: Let's see...blankets, mattress, pillows... Yeah, it's a bed.
Painting: Hey, it's another of my favorite paintings... A still life.
Phone: There's a telephone on the shelf.
Bed tables: There's a shelf next to the bed.
Table lamp: Hey, a lamp. Shocking.
Table: There's a round table near the window.
Chairs: There's a pair of chairs in front of the table.
Bottle: Is that a bottle of hooch on the table? It is... This must be a test.
Can: There's an empty beer can on the table. Looks like my old place.
Cup: There's a cup on the table.
Newspaper: There's a newspaper on the table. I don't have time to read it.
Window: Can't see much out the window. Not that there's much out there...
ROOM 213 (JEFF'S ROOM):
TV: Huh? This isn't the same TV I've seen in the other rooms.
Desk lamp: There's a lamp on the desk.
Desk: Nice desk. Wish my room had one of those.
Chair: There's a checkered chair in front of the desk.
Bed: Bed's a mess.
Painting: And another still-life painting on the wall. I've seen a few of
those.
Phone: That's the same phone I've seen in every room.
Bed tables: There's a small stand next to the bed.
Bed lamp: There's a reading lamp in the corner of the room.
Tub: Yep, Rosa's definitely been in here. It's spotless.
Shower curtain: It's a shower curtain.
Toilet: Yeah, it's a toilet. I don't need to look any further.
Toilet paper: It's toilet paper.
Sink: Sink's as clean as can be. Rosa deserves a raise.
Towel: For once, I'd like to see some towels that look like they've been used.
Mirror: Mirror's clean. Real clean. Almost scary clean.
Shampoo: It's a bottle of shampoo.
Table: There's a low table in front of the sofa. Great for resting your feet.
Sofa: That's a nice leather sofa. Angel got the swank room for sure...
End table: There's a small stand in the corner of the room.
Corner lamp: There's a lamp on the stand.
Can: It's an empty beer can. Just one? Huh...
Fridge: What's under the TV? Oh, it's a fridge. Nice.
ROOM 215 (KYLE'S ROOM):
Phone: There's a phone next to the bed, which means I can call Rachel.
Brochure: Hotel brochure's next to the phone.
<closeup> There's a paper clip on the brochure. (If you haven't answered
the phone yet when Kyle first enters the room, Kyle says, "A paper clip,
huh?" and leaves it alone.)
Dresser: Hey, a dresser! I've just got an old box in my place.
Dresser lamp: It's a lamp with a dingy shade. Bet it used to be white.
Painting: There's a painting on the wall. It's a still life.
<closeup> Those are some tasty-looking apples. I must be getting hungry.
Lamp over painting: There's a light above the painting.
Bed: So this is where I'll be sleeping? Bed's a bed, I guess.
Window: Can't see anything out the window.
Bed lamp: I've got a small lamp next to my bed. Beats candles.
Nightstand: There's a shoddy-looking wooden stand here.
TV: Now THAT'S an old TV. Bet it's black-and-white.
Fridge: Hey, there's a mini-fridge under the TV. How's that for class?
Bureau: Got myself a small bureau. It's empty, and it's going to stay
that way.
Pitcher: There's a pitcher and a cup on the bureau. Last thing I want is
water.
Floor lamp: There's a floor lamp in the corner of the room.
Table: There's a round table in the corner of the room.
Suitcase: My suitcase is on the table. (If you haven't answered the phone yet
when Kyle first enters the room, Kyle adds: "Phone's ringing. Better get
it.")
<alternate> My suitcase is on top of the table.
Chair: That's a wooden chair.
Hanger rack: There's a wooden hanger rack attached to the wall.
Hanger: The hanger's attached to the rack. Do people really steal these?
<closeup> That's a wire hanger. <closeup after you try using the paper
clip> Hmmm...thick wire. I bet this'll come in handy. <closeup when you
need to cut it> The hanger's made of thick wire.
Tub: Bathtub's clean. That gets a gold star in my book.
Shower curtain: There's a shower curtain around the bathtub.
Toilet: It's a toilet. Big surprise, this being the bathroom and all.
Toilet paper: It's toilet paper. This hotel's looking better and better
all the time.
Sink: That's your basic sink. Just like the one I got at home.
Mirror: There's a mirror above the sink.
Shampoo: There's some shampoo and stuff in front of the mirror.
Bathroom light: There's a lamp on the wall.
Towels: Got some towels on the shelf. Nice to see things in order.
SUITCASE:
Socks: Those are my socks. Gotta wash 'em...
Bottle: It's a bottle of whiskey. The good stuff, too.
Tie: This is a necktie. Got it on sale.
Shirt: It's a clean shirt. My only one, actually.
Razor: It's an electric razor. I hair up fast, so this is nice.
Pencil: That's a pencil. I don't need this right now.
Map: It's a map of L.A.
Receipts: This is a stack of receipts. Gotta turn these in to Ed and get
paid...
Photo: That's a photograph.
Brochure: It's one of Red Crown's brochures.
Newspaper: That's yesterday's paper.
Client list: It's the client list Rachel sent over.
ROOM 217:
Tub: Bathtub's clean as can be.
Shower curtain: There's a shower curtain around the bathtub.
Toilet: Toilet's clean. Good thing, too. I don't want anything to do with
a dirty one.
Toilet paper: Toilet paper. Man's best friend.
Towels: Fresh, clean towels. I'm definitely taking some of those with me.
Sink: And another sink you could eat off of.
Bathroom light: There's a light above the mirror.
Mirror: Mirror's sparkly. Rosa even cleans the rooms that no one uses. What
a trooper.
Shampoo: A bottle of shampoo.
TV: The television's not turned on. Too bad, I'd like to see the news.
Mini fridge: What's under the TV? Oh, it's a fridge. Nice.
Dresser: It's a dresser.
Letter paper: There's some hotel letterhead here. Several sheets have
already been used.
Envelope: It's a hotel envelope.
Chair: That's another wooden chair. Hope this place never catches on fire...
Table: It's a round wooden table.
Floor lamp: There's a tall lamp in the corner of the room.
Menu: A restaurant menu's on top of the table.
Tea set: A tea set? Huh. Didn't know L.A. folks liked tea so much.
Window: I can see the highway from the window.
Phone: Same phone I've seen in every other room.
End table: There are small tables on either side of the bed.
Brochure: A hotel brochure. Different room, same brochure.
Bed: I'd love to see just one bed that looked like it's been slept in.
Wall lamp: An ugly lamp is attached to the wall.
Empty wall space: Looks like there used to be a painting there.
Table lamp: There's a lamp on top of the table. Nothing too interesting there.
ROOM 218:
TV: The TV is off. Who ever heard of TV hours, anyway?
Fridge: There's a refrigerator underneath the TV.
Floor lamp: There's a tall lamp in the corner of the room.
Round table: There's a round wooden table.
Chair: That's a wooden chair. I think it used to be white.
Tea set: There's a basic tea set on the table. ...Who drinks tea?
Menu: There's a restaurant menu sitting on the table. Let me guess... Steak.
Bed: The bed's been made by a pro. It's as neat as can be.
Table lamp: There's a lamp on the stand. For late-night reading, I suppose.
End tables: There are stands on either side of the bed.
Painting: There's a painting on the wall. Oh, hey. Fruit. Didn't see that
coming.
Phone: It's a phone. I should see if Dunning's refrigerator is running...
Window: Can't see anything out the window.
Tub: The bathtub's clean.
Shower curtain: There's a shower curtain around the tub.
Toilet: The toilet's clean.
Sink: The sink's clean. ...I wonder what Dunning pays Rosa, anyway.
Towels: Towels are fresh and neatly folded.
Toilet paper: I hope Dunning buys the good kind of toilet paper.
Shampoo: It's a bottle of shampoo. Only free thing in this whole place.
Bathroom light: There's a light above the mirror.
Mirror: Hey! That mirror's dirty! No, wait... Oh, just had something in
my eye.
ROOM 219 (WOODWARDS' ROOM):
Dresser: Next to the refrigerator is a small cabinet.
Fridge: There's a little fridge under the TV. Maybe I'll raid it later.
TV: The TV's been turned off.
Brochure: It's a hotel brochure. Same one I have.
Tub: I don't know how parents keep things clean, but this tub is spotless.
Shower curtain: There's a shower curtain around the tub.
Toilet paper: There's some toilet paper.
Toilet: Toilet's clean as a bean. What does that mean, anyway...?
Towel: Towels are clean.
Sink: Sink's clean.
Mirror: The mirror's been cleaned. Rosa's work, no doubt.
Shampoo: It's a bottle of shampoo.
Bathroom light: There's a light above the mirror.
Painting: There's an oil painting on the wall.
Bed: I guess there's nothing special about this bed.
Windows: I can see the road out the window.
Table lamps: I see a couple of small lamps on either side of the bed.
Can: There's an empty soda can on the table.
Cup: There's a cup on the table.
Phone: There's a phone next to the bed. Now Melissa can make prank calls.
Table: It's a bookcase. ...No, wait. It's a table. My mistake.
Frame: There's a frame on the wall.
Floor lamp: That's a lamp. It's tall. And I'm the king of the obvious.
Chair #1: There's a wooden chair. How fun.
Chair #2: There's a wooden chair. It's pretty boring.
End tables: There are a couple of small tables on either side of the bed.
LINEN CLOSET:
Bottle: There's a bottle of cleanser on the shelf.
Bottle #2: It's a bottle of bleach. Keep out of reach of children.
Towels: These look like towels for the guest rooms.
Sheets: These must be sheets for the guest rooms.
Cart: It's a linen cart. Empty as can be. Louie must be slacking
again.
Ironing board: There's an old, worn ironing board next to the wall.
Iron: That iron looks heavy.
Spray bottle. That's a spray bottle.
Trash can: It's a plastic garbage can.
Mop: There's a mop leaning against the wall.
Locker: There's a locker on the wall. It's unlocked.
Mops: There are some mops in the bottom of the locker.
Rag: Looks like a dust rag to me.
Cleaners: Bottles of floor cleaner are next to the toolbox.
Toolbox: There's a toolbox on a shelf in the locker.
<closeup> It's a toolbox.
UTILITY CLOSET:
Sink: This sink's been used a lot. I don't think it will ever be white again.
Trash can: There's nothing in the garbage can.
Faucet: It's a faucet. Just a boring old faucet.
Bucket: It's a bucket and a mop.
Mop: It's a bucket and a mop. I'll mop the floor with you, mop! Ha ha ha...
Sign #1: The sign says No Admittance. This would just make me curious.
Sign #2: "Caution: Cleaning in Progress." Pays to be safe, I guess.
Box #1: There are some cardboard boxes stacked up in the corner of the room.
Box #2: There are some cardboard boxes stacked up in the corner of the room.
Box #3: Some cardboard boxes. Must be full of cleaning supplies.
Locker near door: There's a steel locker next to the door.
Locker #1: It's a steel locker.
Locker #2: It's a steel locker.
Locker #3: It's a steel locker. Wonder if I could cram Louie into this thing?
Heavy-duty mop: It's a mop. Gotta have these if you want clean floors.
Dustpan: It's a broom and a huge dustpan. Dust bunnies? More like dust
mammoths.
Bottle: That's a bottle of cleanser. Smells like a hospital.
Bottle #2: It's a bottle of cleanser. Generic brand, I think.
Bottle #3: There's a bottle of cleanser on top of the locker.
=========
6c. DOORS
=========
FIRST FLOOR
-----------
Right hallway, 1st floor: Huh. Guess nobody's home.
<knob> The door won't open.
Left hallway: Looks like the place is deserted.
<knob> The door's not opening.
Restaurant: Guess no one's home.
<knob> Door's locked.
<sign> Sign on the door reads closed.
Main office: Nobody's in.
<knob> The door's locked.
Laundry: All I'm doing is bruising my knuckles.
Pantry: I bet everyone here made an agreement not to answer the door.
Wine cellar: Knocking's getting me nowhere.
<knob> Door's locked.
Electrical room: Nobody's responding to my repeated pounding on this door.
Boiler room: Knocking is proving to be an exercise in futility.
Storage: Nobody's in. Well, at least I'm getting really good at knocking.
<knob> Locked. Question is, are they locking me out or someone else in?
Bar: It's the door to the bar. No one answers when I knock.
<knob> The door's locked.
Rosa's room: Doesn't look like anyone's coming to the door.
<knob> Door's locked.
Dunning's room: No one's coming to the door. Maybe I should've called first.
<knob> The door's not opening without a fight, and I'm too tired to kick
it.
Louie's room: Knock, knock, knock... Is there a party someone didn't tell
me about?
<knob> Door won't open.
Office door from hallway: I guess knocking on random doors isn't the best
way to meet people.
<knob> Locked. And here I am without a key. ...Or an axe.
Right hallway, 2nd floor: Knocking's not getting me anywhere.
<knob> Door's locked and won't open. Stupid door...
Hallway door in Dunning's office: I keep knocking on these doors, but nobody
answers. Maybe it's my breath.
<knob> Door won't open.
The other door in Dunning's office: All this knocking is making me a little
crazy.
<knob> Door won't budge. ...Stupid door.
Basement door: What a surprise. Knocking's not doing me any good.
Secret room door: No one answers when I knock.
SECOND FLOOR
------------
Right hallway, 2nd floor: Knocking's not getting me anywhere.
<knob> Door's locked and won't open. Stupid door...
Roof: Guess no one's in here.
<knob> Door's locked.
Linen closet: Looks like no one's in.
<knob> The door's locked.
Utility closet: Knocking's not bringing anyone to the door.
<knob> Door won't open.
111: Knocking's not getting me anywhere.
<knob> The door's locked.
211: Knocking's not doing me any good. No one's in.
<knob> Door's locked and won't open. Damn.
212: No one seems to be in. Maybe these doors are soundproof...
<knob> The door won't open.
213: Guess nobody's home.
<knob> Door won't open.
214: Knock, knock... Anyone home? Guess not...
<knob> Door's locked tight.
215: Nobody seems to be in.
<knob> The door's locked. Guess that figures. The key I got at the front
desk should open it. Unless the owner is an idiot...
216: Doesn't look like anyone's here.
<knob> The door won't open.
217: Guess this room's empty.
<knob> The door won't open.
218: Nobody seems to be in.
<knob> Nope. Door won't open.
219: Doesn't appear to be anyone in.
<knob> The door's locked and won't open.
220: Guess no one's here. Or they're ignoring me.
<knob> The door won't open.
===============================
6d. CHARACTER COMMENTS ON ITEMS
===============================
These comments come when you enter the Questions list and you show people
various items in your inventory. Some of them WILL lead to a "GAME OVER,"
so be careful!
If you show DUNNING:
--------------------
Pliers, memo, screwdriver, crowbar, small red box: These result in a game
over as described in Chapter 2 in the scene marked GAMEOVER1. If you show
any of these items in Chapter 4 after Jeff talks about something being
stolen, you will get the scene marked GAMEOVER2.
Puzzle piece, broken suitcase key, paper clip, thin wire, order sheet, thick
wire, Bradley's lighter: "The hell's that?"
Pager: "Well, ain't we fancy? I'd stow that pager 'fore it gets swiped."
Room 215 key: "This is yer room key. Don't go losin' it."
Hotel brochure: "This is a hotel brochure and building map."
Men's magazine: "That ain't mine."
Cash: "That all the cash ya have? Good thing I keep prices reasonable
'round here."
Fountain pen: "Yep, that's a fountain pen. So what?"
Old photo: "It's a photo. Wanna see some'a mine? I got dozens."
Room 217 key: This results in the scene marked GAMEOVER2.
Summer's novel: "Summer's novel, eh? No thanks! If I wanna sleep, I'll
go to bed!"
Coins: "That's the change I gave ya earlier."
Potato chips: "Hey, chips! I love chips! Thanks a bunch, Mr. Hyde!"
<The chips disappear from your inventory.>
Chocolate bar: "I ain't a fan'a chocolate. Gives me gas."
NougaChew! bar: "NougaChew!, eh? Yeah, I ain't much for that. Go ahead'n
eat it yerself."
Candy: "I ain't a big fan'a candy."
If you show MELISSA:
--------------------
Suitcase key, broken suitcase key, hotel brochure, paper clip, old
notebook, order sheet, men's magazine, pliers, thick wire, cash, memo,
small red box, bookmark: "Yeah, that's not mine."
Pager: "What's that?"
Room 215 key: "Yeah, that's the key to your room and stuff."
Crowbar: "What's that thing?"
If you show JEFF:
-----------------
Suitcase key, puzzle piece, paper clip, old notebook: "Why are you showing
that to me? I don't know a thing about it."
Pager: "Yeah, that's a pager. So what?"
Room 215 key: "That's the key to Room 215. My room is 213. It's called
Trust. I know...stupid, right?"
Hotel brochure: "That's a brochure for this dump."
If you show LOUIS:
------------------
Broken suitcase key, paper clip, puzzle piece, client list, order sheet,
pliers, thick wire, memo, small red box: "I got a job, Hyde. I don't need
your handouts."
Pager: "What ya showing me a pager for, man? I got no need for fancy
electronics."
Room 215 key: "Don't lose your room key, brother, or old man Dunning'll
skin ya alive!"
Hotel brochure: "Ya think these brochures really do anything for business?"
Men's magazine: "Now THAT'S what I'm talkin' about! Awwwooooooo!!"
Cash: "I hear you, brother. I could use more of the green stuff, too."
Crowbar: "Planning a little B&E, Officer Hyde?"
If you show ROSA:
-----------------
Suitcase key, broken key, paper clip, old notebook, client list, order sheet,
pliers, screwdriver, thick wire, memo, small red box, Bradley's lighter,
coins: "Huh? What? What's that? Put that away, will you?"
Pager: "Yes, yes. That's a very nice...one of those things."
Room 215 key: "That's your room key. You know, for opening the door? Don't
lose it."
Hotel brochure: "That's a pamphlet for the hotel. I clean those off the
floor all the time!"
Men's magazine: "Mr. Hyde! You have no cause to show me that, and for a fact!"
Cash: "Looks like both of us could use more money, am I right?"
Crowbar: "Don't go breaking any of our windows with that thing, now!"
Room 217 key: Gets you the scene marked GAMEOVER-KEY in Chapter 4
Fountain pen: "Huh? What? Yes, that's a pen. Very nice."
Old photo: "That? That's an old photo. No, I don't know who it is."
Stack of cash: "...Oh my goodness! If you've got that kind of money, why
are you staying here?"
Chocolate bar: "Chocolate? Are you giving that to Rosa? Are you really?"
<The chocolate disappears from your inventory.>
NougaChew!: "A NougaChew!? Is that for me? Oh, say it is!"
<The NougaChew disappears from your inventory.>
Candy: "Candy! Oh, yum! Is that for me?"
<The chocolate disappears from your inventory.>
Chips: "Chips? Are those barbeque flavor? That's my favorite."
<The chips disappear from your inventory. I have to admit I didn't expect
Rosa to take ALL the snacks I offered her.)
Summer's Novel (without autograph): Nothing seems to happen. Guess Rosa
refuses to acknowledge its existence until Kyle gets that signature.
If you show IRIS:
-----------------
Broken suitcase key, pager, paper clip, old notebook, order sheet, pliers,
thick wire, cash, memo, small red box: "I can't imagine why you're showing
me this, but I'm sure I can't care less."
Room 215 key: "Your room is called Wish? They stuck me in Success. Fitting,
I suppose..."
Hotel brochure: "Do you feel the need to carry around a brochure for this
place?"
Men's magazine: "Are you implying something, Mr. Hyde?"
Crowbar: "Is that a crowbar? I should have expected that from you."
If you show MARTIN:
-------------------
Broken suitcase key, paper clip, pliers, screwdriver, thick wire, memo, small
red box, rag doll, Bradley's lighter, stack of cash, coins: "What might
that be, Mr. Hyde? Let me assure you, I know nothing of it."
Pager: "Is that a pager? Some say the pager marks the death of personal
privacy."
Room 215 key: "That is the key to your room, is it not? I am in 211, or
'Honor,' as it is known."
Hotel brochure: "The writing in this brochure has no spark to it, sir. I find
it uninspiring at best!"
Old notebook: "Eureka! That's my notebook."
Order sheet: "I saw that in the parcel you received and I apologized,
sir. Now please put it away."
Men's magazine: "Why, I do believe that I have a subscription to that
particular publication."
Cash: "There's no need to wave your money at me, sir!"
Crowbar: "Put away that crude iron bludgeon before you break something!"
Room 217 key: "I may be mistaken, but aren't you supposed to be staying
in 215?"
Old photo: "That's quite an old photo. I don't believe I know those people..."
Potato chips: "Have you been eating chips? Don't touch my manuscript with
those greasy hands!"
<Alternative> "Please, Mr. Hyde, stop showing me your snacks. I've no
interest in your layman's diet."
Chocolate bar: "Now, it's not that I don't care for chocolate, you see...
I fear I'm not feeling very peckish right now. A thousand apologies,
my good man!"
<Alternative> "Chocolate? Not now, my good man! I'm saving my appetite
for more of Rosa's cooking."
NougaChew!: "Ugh! What a positively pedestrian confection!"
<Alternative> "NougaChew!, eh? The name alone is enough to turn my
stomach! Do put it away."
Candy: "I do love sweets, but I fear now is not a good time."
<Alternative> "No thank you, Mr. Hyde, I've just brushed my teeth."
If you show HELEN:
------------------
Broken suitcase key, pager, paper clip, client list, order sheet, crowbar,
screwdriver, pliers, thick wire, cash, memo, small red box: "No thank
you, young man. I don't need that."
Room 215 key: "Oh, how I wanted your room, you rascal! But they put me in
212. It's called Angel!"
Hotel brochure: "Your brochure doesn't do this beautiful hotel justice!"
Men's magazine: "Well, I never! Mr. Hyde! Put that smut away this instant!"
If you show KEVIN:
------------------
Broken suitcase key, paper clip, order sheet, screwdriver, pliers, thick
wire, cash, memo, small red box, bookmark: "Do I need to see that? I...
I don't think so. No..."
Pager: "Wearing a pager means you never really leave work. I can relate..."
Room 215 key: "I'm glad you know where your key is. I'm in 219, which
they've named 'Bravery.'"
Hotel brochure: "I got one of those as well. Not much to look at, is it?"
Men's magazine: "I'd appreciate it if you kept that kind of trash away
from my daughter."
Cash: "I don't really need money, but thanks."
Crowbar: "I don't know why you pulled that crowbar out, but you should
put it away."
======================================
6e. DESCRIPTION OF ITEMS (IN NOTEBOOK)
======================================
If you try to use an item in a situation where it won't help, Kyle says,
"Not going to get anywhere using this right now."
Suitcase Key: The worn old key to my suitcase.
Broken Suitcase Key: The key broke when I tried to open my suitcase.
Pager: A gift from Ed. I'm supposed to call Rachel when it goes off.
Room 215 Key: The room number and the word "Wish" are engraved on the key.
Hotel Brochure: The hotel guide and map I got when I checked in.
Puzzle Piece: The puzzle piece I picked up on the stairs where the young
girl dropped it.
Paper Clip: The paper clip that was in the Room 215 brochure.
Old Notebook: The notebook that was in the package mistakenly delivered
to my room.
Client List: A list Rachel sent along with the order sheet. I'm supposed
to put it in my suitcase.
Order Sheet: The order sheet containing the items Ed wants me to search for.
Men's Magazine: The magazine I found on a shelf in the linen room. Cecily
Lee's on the cover.
Pliers: The pliers I found in the toolbox in the linen room.
Screwdriver: The screwdriver I found in the linen room toolbox.
Crowbar: The crowbar I found in the toolbox in the linen room.
Thick Wire: The thick wire I made from the hanger.
My Cash: <before paying room tab> I'm carrying around seventy bucks.
<after paying room tab> I'm carrying about thirty bucks.
<after getting change> I'm <sic> got about twenty nine bucks.
Memo: <ripped version> Part of the memo that was stuck under Dunning's
cabinet. It has dots and numbers on it.
<entire memo> The memo that was under the file cabinet. There are
weird dots on it.
Small Red Box: The small red box that was on Ed's list.
Rag Doll: The rag doll I found in the restaurant.
Fountain Pen: The fountain pen that Louie picked up in the restaurant.
Bookmark: A bookmark with a picture of an angel on it.
Room 217 Key: The key to Room 217, which hasn't been used in six months.
Bradley's Lighter: The lighter that was in a cabinet drawer in Room 217.
Old photo: An old photo I found in Room 217.
Stack of Cash: The stack of cash that was hidden in the toilet tank in
Room 215.
Summer's Novel: The book Rosa asked me to have Summer autograph.
Coins: Four quarters. I can use these to buy snacks.
<as you use them up> Three quarters. I can use these to buy snacks.
<two coins> Two quarters. I can use these to buy snacks.
<one coin> Two bits. I can use this to buy snacks.
Potato Chips: The potato chips I bought from the vending machine.
Chocolate Bar: The chocolate bar I bought from the vending machine.
NougaChew!: The candy bar I bought from the vending machine.
Candy: The candy I bought from the vending machine.
=======================================
6f. DESCRIPTION OF PEOPLE (IN NOTEBOOK)
=======================================
Dunning Smith: Hotel Dusk owner.
Rosa Fox: Hotel Dusk maid. She's taking care of Mila.
Louis DeNonno: Hotel Dusk bellhop. Until three years ago, he was a
pickpocket in NYC.
Mila: Girl seen on the highway. She's wearing a bracelet like the one
Bradley wore.
Jeff Angel: Guest in Room 213.
Helen Parker: Guest in Room 212. She's an old woman with an eye patch.
Martin Summer: Guest in Room 211. He's a writer.
Iris: Guest in Room 216.
Kevin Woodward: Guest in Room 219. He's Melissa's old man.
Melissa Woodward: Guest in Room 219. She's staying with her father.
Brian Bradley: The main I'm looking for. My ex-partner.
Ed Vincent: Head of Red Crown. He's a friend of my dad.
Rachel: Red Crown employee. She's Ed's secretary.
===============================================================================
===============================================================================
7. STORY NOTES AND POSSIBILITIES STILL TO EXPLORE
There are still lots of possibilites to play through, and I'm sure I missed a
lot or got something wrong. If you can give me more details on what needs to
be fulfilled to trigger certain events or responses, please email me!
- In my original playthrough, I followed up at every chance and went for the
obvious "nicer" responses.
- 2nd playthrough: Started over with a fresh game file rather than restarting
a finished game file. Here, I went for the "total jerk" Kyle, at least as
much as I could without leading to a game over. This meant triggering as
many red/black auras as possible without leading to a game over. I also did
not follow up in any conversation, so as to uncover the least amount of
information possible, to see if that would change later conversations. Also,
I did not ask optional follow-up questions (such as asking Helen why she's
staying here, or asking Rosa about Jenny and Dec. 5th).
Chapter 1:
- There are basically several events you must finish before Louie will
arrive with the package: Melissa's puzzle, ask Dunning about the 3 main issues
(Kyle's name, the wishing room, and trouble with the package), and break the
suitcase key. (You don't need to actually try to pick the lock.)
- You don't need to try to pick the suitcase lock with the thin wire to
advance the story. You can ignore it and go straight to using the thick wire
later in Chapter 2.
- What happens if you do unlock all 3 primary questions during the check-in
conversation with Dunning but don't ask them right away?
- When exactly does Kyle say "Where is that package?"
- I could have sworn I had an instance when Louis DIDN'T say "I love it, my
man! Grrrrrawl!" during Kyle's first conversation with Iris. But if there was,
I don't remember anymore. I could have been dreaming it.
Chapter 3:
- In the scene where you escort Helen to the restaurant, I've come to the
conclusion that at the very least you must go to 1 place in the central
hallway AND to the kitchen door in the restaurant hallway for Helen to chew
you out. The Seven Stars bar door seems to have NO effect, probably because
it doesn't cause Helen to ask where you're going. Your choice of Kyle's
conversation route -- "Well, maybe..." or "No! I'm busy!" -- does not seem
to give you any more or less leeway in irritating Helen. I haven't mapped out
all the possible combinations of places, though, so this could be incorrect.
I do know that going up to 6 places in the central hallway alone (I repeated
going to the stairway, left hallway door, and lobby door twice, but I did
NOT go to the kitchen) did NOT trigger Helen's annoyance.
Chapter 4:
- You don't need to read the newspaper at this point to advance the story,
but if you do, you can get a little insight into certain hotel guests.
- When you're about to break into Room 217, what happens if Kyle goes into
the linen closet or utility closet while Jeff's in the hall?
- Does anything change if you maintain a "pleasant" relationship with Iris?
- What happens in the bar in Chapter 6 if you don't help Helen down to the
restaurant in this chapter? Does any conversation change?
- "A door down the hall opens and someone comes out": This sentence, when you
meet Dunning on the second floor after Rosa blocks you because she's cleaning,
is actually in blue text in the game and is marked as Kyle thinking it in his
head. However, with the way it's phrased, it makes more sense as a nonspoken
narrative, so I've marked it as such in this script.
- I showed Martin all the vending machine snacks during his "revelation"
dialogue and got different responses than when I showed him the first time
around. This might be something to follow up on with the other characters.
The thought of suddenly pulling out these snacks in the middle of a serious
interrogation makes me laugh -- I was cracking up when I had Martin on the
ropes and then showed him candy in the middle of it.
Chapter 5:
- In Jeff's "revelation" dialogue, it's unclear what circumstances
will cause you to get which particular "gun" dialogue after showing the
pistol. I've played through the scene several times, and I still can't
figure it out, so it might be randomized.
Chapter 6:
- If you don't ask Louie the "So only Dunning saw him?" question before
talking to Helen, when is the next time you can do so? He'll constantly brush
off your attempts to talk to him, and the question disappears when you reach
Chapter 7.
- What happens if you don't check the matches in this chapter? Will the match
puzzles still be the same in the next chapter, or will they change to the
second set of puzzles?
- I have the strong suspicion that if you exit the wine label screen without
peeling it all the way, that will greatly increase your chances of ripping
the label.
- When Kyle is minding the bar, solving a match puzzle seems to immediately
trigger a scene. Funny thing is, one time I chose the matches for all three
scenes, but the third time I chose the matches, the game didn't let me even
examine the matches before the last scene was triggered (when Louie returns
to the bar).
Chapter 7:
- In the chapter summary, Kyle says "I was enjoying some good scotch" whether
or not you actually chose the scotch in the beginning of the chapter.
- Again, what happens if you don't check the matches in this chapter? Will the
match puzzles still be the same in the next chapter, or will they change to
the third set of puzzles?
Chapter 8:
- The bowling minigame is really difficult to pin down (no pun intended ^_~ ),
unless you're a great virtual bowler (which I am not, especially on a portable
system), so I'm not 100% sure what the criteria are needed to trigger the
"broken plant" scene. In my original playthrough, I bowled 9-0-6 in the first
3-game match and triggered the plant scene when Louie bowled in the third
game after my 6-pin knockdown. In my second playthrough, I bowled 0-0-2 in the
first 3-game match (yeah, I know) and got the scene in which Kyle says, "Once
more?" It's only an educated guess on my part that Kyle needs to knock down at
least 10 pins to trigger the plant scene.
- When in Rosa's room, all you have to do is look at all the pictures before
trying to leave. You don't have to look at anything else.
Chapter 10:
- I'm not sure how long a time has to elapse between the times Kyle gasps for
air in the basement. I estimate that he makes a comment about the air about
every four items you check. If you check ONLY the necessary items and do only
the necessary motions, you will be able to escape in time.
- What happens to the dialogue with Louie and Rosa if you DON'T ask Louie
about the apple painting in Chapter 9?
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8. SPECIAL THANKS, CONTACT INFO, AND OTHER NOTES
- Special thanks to Sumiyoshi for double-checking this script for errors and
helping with the initial transcribing.
- Thanks to everyone who's e-mailed me since the first version of this
script was posted! I haven't been able to respond to everyone or act on all
the suggestions and story notes, but I do appreciate the e-mails.
- If you catch any spelling errors, punctuation errors, etc., or would like
to send me suggestions, story possibilities, or other comments, feel free to
e-mail me at chibischala (at) yahoo (dot) com. Thanks!
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9. VERSION HISTORY
** Version 1.0 **
April 16, 2007
- Direct and complete transcriptions done
- 1st version of item and door comments done
** Version 1.1 **
December 2009 - Added a bunch of stuff to Chapter 1 and the first part of
Chapter 2 as detailed below. Unfortunately I lost my game cart in the
meantime, so I had to borrow someone else's game and start a fresh file.
General changes and additions:
- Made slight changes in formatting to separate optional dialogue from
mandatory dialogue. This is detailed in the "Disclaimers" section.
- Corrected some typos
- Re-edited certain parts so there's less repetition of lines
- Re-edited the intros into the followups to more accurately reflect the
dialogue you'd receive
- Rearranged dialogue choices so that they follow the order in which they're
given in the game
- Added a few more door and item comments
- Started adding comments people make if you look at your notebook or write
in your notebook during the Questions phase
- Added first version of comments people make on items if you show them
via the Questions list
- Added first version of Characters and Items descriptions found in Kyle's
notebook
Changes to Chapter 1:
- Added dialogue with Rosa in the central hallway that takes place before you
have the check-in conversation with Dunning
- Added internal dialogue that Kyle has if you don't unlock all the
necessary questions in the check-in conversation with Dunning
- Added a brief scene if you don't follow up with Melissa in a certain
conversation tree when you first meet her on the stairs
- Added comments Melissa and Kyle make when he's solving the jigsaw puzzle
- Added a slight change to Kyle's internal dialogue when he first enters
Room 215
- Added a phone conversation with Rachel before Louie delivers the package
- Added a few "game over" routes if you hassle Melissa or if you don't
correctly deal with Louie when he delivers your package
- Added additional conversation with Dunning if you don't unlock all the
pertinent questions during the check-in conversation
- Added dialogue with Kevin if you knock on Room 219 after asking about
Melissa
- Added a question about Melissa that you can ask Dunning if you don't ask
Jeff
- Streamlined and re-edited the Melissa conversation about her mom
- Streamlined and re-edited the Jeff conversation about why he's at the hotel
- Added a mini scene regarding the bell at the front desk (within the
Melissa conversation)
- Added an alternative conversation with Louie and Iris during your first
meeting with Iris
- Added the "princess" question with Iris
- Added a "game over" route with Iris
- Added alternative dialogue with Martin when he delivers your package
- Added a bunch of other comments and slight conversation changes that
I forgot the details of
Changes to Chapter 2:
- Added a small scene with Melissa at the beginning of the chapter
- Added alternative dialogue with Louie in the linen closet
** Version 1.2 **
January 7, 2011
General changes and additions:
- More of the same changes to text formatting made as detailed in Version 1.1
- Added more item comments
- Corrected minor typos
- Added text of the Moonlight Grill chalkboard after the restaurant is open
Changes and additions to Chapter 2:
- Added more door and item comments
- Added a slightly different descriptions of the desk calendar and birthday
card if you check those items again
- Added a "game over" route when trying to retrieve the memo
- Added dialogue to and slightly reformatted the memo retrieval scene
- Added extra scene with Louie after getting the red box, if you anger him
and then try going back into Dunning's office
- Added "game over" scene if you show Dunning any "contraband" items
- Added description of items in pantry
- Clarified "game over" conditions in "Louie confession" scene in his room
Changes and additions to Chapter 3:
- Streamlined and re-edited the Kevin conversation outside the restaurant
- Re-edited the Iris scene regarding the doll outside the restaurant
- Streamlined and re-edited the Rosa conversation in the restaurant about
Summer's book
- Added a short dialogue with Rosa in the kitchen after dinner
- Added a scene with Helen if you screw up with escorting her to the
restaurant
- Added dialogue by Kyle if you don't finish rubbing the flour or chalk
dust on the fountain pen
- Added dialogue if you delay asking Kevin the questions that first came
up in front of the restaurant and instead ask them while in Room 219
- Clarified "game over" conditions for the Melissa dialogue in Room 218
- Added short dialogue with Louie in the electrical room after you get
Melissa out of 218
** Version 1.3 **
January 17, 2012
General changes and additions:
- More of the same changes to text formatting made as detailed in Version 1.1
- Moved the Version History section to the end of the file because it was
getting way too long
- Changed most of the scene numberings in Chapters 1 to 4 so that they use
the chapter number and a letter. (In case you noticed, the letter "I" is
not being used in scene markings.)
- Added some item comments that Kyle makes that I missed before
- Added more item descriptions found in the notebook
- Added more comments that people make if you show them items
Changes and additions to Chapter 4:
- Added a "game over" scene if you show the Room 217 key to Rosa
- Added brief dialogue if you leave the Questions list when talking to Rosa
outside of Summer's room
- Re-edited the dialogue and scenes with Dunning and Martin when talking about
Jeff and the theft
- Added a brief line if you try to get change from Dunning more than once
- Added dialogue when buying (and eating) something from the vending machine
- Added a scene if you try to go in the linen closet while Dunning is in
the hallway
- Added a "game over" scene if you show Dunning any contraband items when he
talks about hotel equipment being missing
- Added short dialogue with Rosa if you return downstairs and talk to her
while she's still cleaning (after you see Dunning on the second floor)
- Re-edited the book-signing dialogue with Martin to more accurately reflect
the different directions it could go depending on when you show the book
and/or pen
- Added internal dialogue Kyle has if you remove any contraband items after
stashing them in his suitcase
- Added a brief dialogue with Rosa in the kitchen if you try talking to her
again after returning her book
- Re-edited the Martin "revelation" scene so that there are fewer large
blocks of text
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