Runaway FAQ/Walkthrough
By King Kool

Table of Contents

   1.  Legal Notice
   2.  Version Information
   3.  Gameplay Overview
        3:1 - Controls
        3:2 - Back Story
   4. Wake Me Before Dying
   5. The Mysterious Crucifix
   6. The Great Escape
        6:1 - Trapping The Thugs
        6:2 - Find a Getaway Vehicle
        6:3 - Distract The Thugs
   7. Close Encounters Of The Fourth Kind
   8. Gifts From The Crypt
   9. The Indian, The Nun and The Finger
  10. Epilogue
  11. Special Thanks
 
=====================================================================
                      CHAPTER 1: LEGAL NOTICE
=====================================================================

This FAQ was written by and is the property of Jeff Hibbert, also
known as, and hereinafter called "King Kool." It is written solely
for use at GameFAQs.com. With the exception of private and
nondistributive use, it is not meant to be reprinted, copied, stolen,
or published, either in part or as a whole, with the author credited
or not, whether for profit or not, under any circumstance whatsoever.
Not reading this notice is not an excuse, either.

This FAQ is not up for sale, and the exclusivity is not up for
debate. I do not accept email offers from websites offering to host
my FAQs. I've observed many other websites, and none have compared
favorably to GameFAQs. I am not interested in any other websites at
this time, and bribes do not convince me of the reverse.

Should the time come that I want my FAQ on a website other than
GameFAQs.com, I'll be the one to offer it, should they want it. This
means no other website will be getting my FAQs unless I want the
site to host them. Therefore, writing me asking for them is useless,
and wastes my time. If a website possesses the disrespect to disavow
this plea, it will be immediately disqualified from EVER being
allowed to host my FAQs.

In less words: don't call me, I'll call you.

All other correspondence IS more than welcome. Believe it or not, I'm
a nice guy, but the actions of certain Internet denizens requires me
to be Draconian at times. For reports of misuse, questions,
corrections, comments, concerns, fanmail, hatemail, please contact
King Kool at:

kingkool@gmail.com

=====================================================================
                    CHAPTER 2: VERSION INFORMATION
=====================================================================

Version 1.00: The first time this FAQ was contributed. - 5/29/05

Version 1.01: Email change, and a few minor changes. - 1/11/07

=====================================================================
                    CHAPTER 3: GAMEPLAY OVERVIEW
=====================================================================

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
3:1 - Controls
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

Controls in games like this couldn't be much simpler. Your only input 
is the mouse. Hover your mouse over something and click to move 
towards it or interact with it. Switch how you interact with something 
by clicking the right mouse button; this will switch you from "look" 
(an eyeglass) to "pick up/talk/use." (a hand or talking balloon). To 
move to other areas, left-click when you have an arrow icon showing.

Click on the bag in the top of the screen to access your inventory, 
and the controllers to access the menu. To use an item in your 
inventory, "use" it with the hand icon and either click on something 
in the environment or on another item to use the two items together.

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
3:2 - Back Story
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Hello! My name's Brian. I'm here to tell you about something that 
happened to me a few weeks ago...

But first a question: Isn't it truly amazing that your life can be 
turned upside-down in just one-tenth of a second? It can, and soon 
you'll find out why...

Let's not bore you with a lot of details about my life. I'll cut to 
the chase. I was born in New York twenty-three years ago, and growing 
up I was always somewhat of a child prodigy. I studied at Columbia and 
finished my Physics degree with honors last year.

During the summer, I arranged interviews with several universities, 
hoping I'd get into a decent PhD program, and in the end I was chosen 
by the best. Professor Silva at Berkeley offered me the chance to do 
my doctoral studies at the Applied Physics Department he runs there. 
It was a dream come true!

I packed my bags and got ready to move to California. I was ready to 
drive from coast to coast without stopping. I had no idea of the 
events that would take place within just a few days! About the mess I 
was gonna get in! The strange people about to cross my path! The 
hundreds of dangers lurking behind every corner!

Yes, it was quite an adventure!

But, let's go back to the beginning. As I told you, my old car and I 
were ready to go to California. I decided to take off at night and get 
a few miles behind me before dawn. I said goodbye to my parents, my 
sister and my dog, and I got behind the wheel.

That's when I remembered I forgot to pick up a book I'd ordered at a 
bookshop downtown in Manhattan. Luckily, it was one of those 
bookstores that stays open 24/7, so I decided to grab the book on the 
way. I could've asked them to mail it to me once I got to California, 
but no, I decided to go into Manhattan and get it myself. That one 
detour changed my life forever.

--Brian Basco, From The Opening Cinema
---------------------------------------------------------------------

Brian has packed his entire life into his car. He's going to drive 
into New York to pick up a book, then take the trip to California to 
go to school. But fate has a peculiar habit of throwing something in 
your path you didn't expect. In this case, it was a bombshell in a 
pink dress, tearing your life apart like any good bombshell should.

Perhaps hitting her with your car wasn't the best way to get 
acquainted. From her bed at the hospital, she claims she's being 
chased by a mob family because she witnessed her father's murder. She 
says she has a crucifix her father gave her before the goons showed 
up, but she knows it's not long before she is done away with, too.

Looks like school is going to have to wait.

All this plays out after what must be the worst theme song in a video 
game EVER, along with the worst lip-synch EVER. (I know the game was 
translated from Spanish, but still...)

=====================================================================
                  CHAPTER 4: WAKE ME BEFORE DYING
=====================================================================
It did, I'm telling ya!

On the way to the bookshop, I hit that girl with my car! I was scared 
stiff! She suddenly ran out in front of me. There was no way I could 
stop!

Luckily for both of us, she wasn't that badly hurt. They did a bunch 
of tests on her at the hospital and said she had no major injuries. 
She was just in shock. So they decided to keep her under observation 
for twenty-four hours. A nurse took her to a room and gave her some 
strong medicine that put her to sleep.

By the way, I don't know if I mentioned: her name was Gina... and she 
was amazing beautiful. The truth is I had no reason to stick around, 
so I went to say goodbye to her and go on my way...

--Brian Basco, Chapter 1
---------------------------------------------------------------------

So, there you are. Standing next to the beautiful woman whom you 
nearly killed with your car. She's telling you that gangsters are 
chasing her and you need to protect her.

Happens every day, right? Well, whether or not you believe her story, 
think of Brian. Are you going to let this dork lose his one 
opportunity to save the life of a staggering beauty like Gina?

The brown paper bag at the top of the screen is your inventory, and 
the controller and disk is the main menu. Your inventory should have 
four things in it: your wallet, your car keys, your order form (for 
the book you were on your way to get) and your piece of amber, a lucky 
charm of sorts. None of these items are going to be useful right now, 
so ignore them for now.

Before she went to sleep, Gina was given some pills by the doctors. 
The small green package is sitting right there on the nightstand to 
the left of her bed, so go ahead and grab it. It's "SNOOZITOL." While 
you're at it, grab the glass sitting next to it. It's cracked, as Gina 
probably dropped it when she took water with her pills.

Look left to the bed that Gina's not sleeping in. There's a blue-green 
sheet sitting on the bed, the same type Gina is under right now. 
Further to the left is a locker, just to the right of the window. 
Brian intones that it's "where the patients keep their personal 
belongings." Brian can't open it, as he doesn't have the key. No, his 
car keys don't unlock it, and yes, I tried that thinking it might 
work. However, it seems the nurses didn't have the key either; as 
Gina's bag is sitting right on top of it.

Head back to the far right of the room. There is a door that leads to 
the bathroom, but before you enter the bathroom, look at the emergency 
exit map on the door. Brian will see that to the immediate left of the 
room Gina is in is a storage room. We'll head there later. First, the 
bathroom.

You're now in the bathroom. To be honest, it's pretty dilapidated for 
a hospital bathroom. But, it has running water and other proper 
facilities. Brian will say a funny thing if you try to "use" the 
toilet. Anyway, on the shelf beneath the mirror, to the left, is a 
white bottle with a red cross on it. It's a bottle of alcohol. He says 
it's "196-proof alcohol," but I don't remember them measuring 
disinfectants or rubbing alcohol in proof. Grab that, and use the 
wastebasket to find a marking pen inside the trash. Always good to 
have something to write with, right?

That's just about all the bathroom will hold for you at this point, so 
leave back to the main room. There is still that store room to 
explore, but it might not be safe to go out into the hall. That, and 
the animators didn't draw an actual exit to this room. So, your only 
option is to go out the window and walk along the ledge between the 
two windows.

You arrive in the storeroom, and this place has a ton of stuff. 
Moreso, it has a ton of useless crap. But, enough of it is useful that 
you can begin to see Brian's plan taking shape. First, on the file 
cabinet to the immediate right of the window, right near the handle of 
the window is a green book. Brian recognizes it as a "vademecum," an 
encyclopedia of medicines.

In that same file cabinet, in the second drawer, poking out of the 
middle of the drawer is a "piece of paper." It can be difficult to get 
your mouse over it precisely, but it's there. It's a blank medical 
chart like the one at the foot of Gina's bed. Now, to the right of the 
cabinet is a facsimile human used in medical schools. In theory, you 
could take the dummy with you and put it in the bed next to Gina's... 
but you'd never get the whole body out the window. Better just take 
the head.

Now, let's look at the left side of the room. On the floor, between 
the cart and the shelf are two pillows. Grab them both. On the third 
shelf from the floor, there's a spray can of cleaner, and just beneath 
that, there's a box of syringes. The box is kinda hard to notice, but 
if you slowly move the mouse down from where the can was, you should 
be able to find it.

Ok, head back for Gina's room. With what you have, the plan should be 
clear. Take the head and pillows to make a body in the next bed, and 
switch Gina's card to that bed, replacing her card with one you make 
up with the marker. If thugs really are after her, they should be 
fooled by the card and attack the dummy.

But, there are two small problems: first, the head from the medical 
school dummy has parts of his skull removed so you can see his brain. 
It wouldn't fool anyone. Second, the marker you removed from the 
garbage is dry and won't write. It WAS thrown out, after all.

We'll deal with the marker first. Use the syringe on the bottle of 
alcohol to fill the syringe. Then, use the syringe on the marker. It 
should breathe enough life into the pen for what you need it for. Use 
the pen on the blank medical chart, and Brian will pull some names out 
of the air. Now, use the fake medical chart on Gina's medical chart so 
nobody will know Gina is actually in that bed.

Second, let's work on this phony body. That hole in the dummy head 
isn't getting any smaller. Unfortunately, Brian didn't bring his 
cranial repair cream today. There's not much else in your inventory 
that will help. Let's look inside Gina's bag. First, he will remove a 
matchbox from Gina's place-of-employment. "Oh, my problems are 
solved." you think sarcastically. Well, let's take another look. Brian 
will now produce a wig from the bag. That should do nicely to cover up 
the hole. Use the wig on the head to put them together, and use the 
head on the bed. Brian will make the fake patient in the bed with 
covered almost completely by the sheet. The only thing left to do is 
to slip Gina's medical chart into the empty slot on this bed.

With a job well done, why don't you go to the bathroom and wash your 
hands? Once in there, a cinema will start in which one of the goons we 
saw in Gina's flashback comes in and pumps a few into the dummy. It 
turns out she was right. Now, you know she's not safe, and you need to 
get out of there.

Go ahead and try to stir her. You could probably bring a parade in 
there, and she wouldn't so much as roll over. What on earth was IN 
those pills? Luckily, you're armed with a vademecum. Use it in your 
inventory and find out all about Snoozitol. Apparently, the only way 
to wake someone up prematurely is a cold shower. Brian doubts he can 
carry Gina into the shower, probably because she's unconscious (ever 
try to pick up a sleeping cat?) so the shower in the bathroom is out.

You could try using the cup that Gina used to take the sleeping pills 
to splash cold water from the sink on her. Problem is, the cup is 
cracked so fundamentally that the water leaks out before you get to 
her. That's not going to work, either, I'm afraid.

Look at the ceiling of the room, directly above the locker where you 
found Gina's bag. There's a small little light flashing from a little 
thing depending form the ceiling. It's the sprinkler system. You could 
use the matches to set it off, but it's too high off the ground. You 
need to amplify the fire somehow. Use the spray can (labeled 
"flammable spray can" in your inventory, wink-wink) on the sprinkler 
and you'll set off the sprinklers, waking Gina... and causing a fire. 
Well, so long as Gina's awake, you two gotta get outta there.

=====================================================================
                CHAPTER 5 - THE MYSTERIOUS CRUCIFIX
=====================================================================

I guess there was no other excuse for getting involved.... Gina had me 
dazzled, I can't deny it! But... what would you have done? A beautiful 
girl asks you for help, so what do you do...  kick her out of your car 
on some corner? I don't think so!

It took us a whole day to get to Chicago because the old hunk of junk 
I drive is no racecar. Along the way, we stopped to have some snacks 
and keep the car from overheating. We took turns driving so both of us 
could get in some shut-eye. We got to the museum pretty late but my 
friend Clive knew we were on the way so he waited up for us...

Brian Basco -- Chapter 2
---------------------------------------------------------------------

You'll see a cinema with Brian's friend Clive. He will tell you that 
he has a new scanner that could tell you just about anything about the 
artifact, but it must first be restored. The restoration specialist, 
Dr. Olivaw, is currently too busy to do anything, so it might be hard 
to convince her to work on it. Brian leaves to talk to her, while 
Clive and Gina go off on a tour of the museum.

Speak to Dr. Olivaw about all available topics. She will tell you 
about her tight schedule, having to restore all the numbered items on 
the shelf to her left before the exhibition opens. She'll mention the 
most important piece of the exhibition, the "Son of Uxitza" mask, an 
artifact so priceless, it's being held in a special climate-controlled 
case in the lab next door. You'll learn her procedure for restoration, 
using the lathe she's using now, and then the laser in the other half 
of the room. Once you finish your conversation, she will walk to the 
laser at the other side of the lab and zap the artifact she's working 
on twice.

Let's explore her lab. There must be some interesting stuff around 
here, right? On the shelf in the center of the room, beneath the 
blinds and to the right of the water dispenser, there's a weird brown 
object. It's a tiny brush with talcum powder. On the far right of the 
room, (beneath the poster with the heads) sits a purple briefcase. It 
has different colors of varnish in it. Grab it, and Brian will select 
some nice, colorless varnish.

Look to the shelf to the left of Dr. Olivaw. There are five artifacts 
there, all needing to be restored. It would seem that she's too 
absorbed in her work to notice what's there and what's not. It may not 
seem like a good idea to let the crucifix out of your sight, but you 
don't really have an option. Trade the crucifix with the item in the 
shelf meant next to be restored. You'll hang on to a strange-looking 
Mayan backscratcher... or something.

For now, leave the good doctor alone. You'll come out on the second 
floor. From left to right, there are stairs leading downstairs, a 
coffee machine (which is unfortunately empty), Clive's office, Susan's 
office, the analysis laboratory (which has a passcode required for 
entry), another set of stairs and finally, a payphone. The code for 
the analysis laboratory is four numbers, meaning ten thousand 
combinations. It would take all night to try to wardial it, and that's 
if it didn't set off an alarm and bring the cops.

Head down to the first floor. You'll see a custodian getting paid for 
doing nothing, it seems. His name's Willy. While self-important, he's 
amiable enough. He claims he runs a lab equipment facility and gives 
you his card. It will give you a chance to talk, but Willy's cell 
phone rings and he has to shuffle off on business.

Brian will look up to the balcony as Willy enters the laboratory. 
Whatever can be drawn from him being a jerk and stealing stuff from 
his job and selling it, he knows the combination. Before you can try 
anything, you need to leave the area (go into Olivaw's lab or 
something) to make certain Willy and you don't cross paths. He doesn't 
need to know that you know that he knows the passcode.

Now, it's theoretical that you could dust the pad for prints. Problem 
is, you won't know which prints are Willy's, so that won't do enough 
on its own. Instead, use the clear varnish on the pads, eliminating 
all of the fingerprints. If you can get Willy to enter the lab, you'll 
know which four buttons to press. So, use the payphone and call Willy. 
Brian will bullcrap his way into getting Willy to re-enter the lab. It 
works like a charm. Again, enter another area and leave so you two 
won't cross paths.

Now, you can use the dust on the varnish, which will reveal which four 
buttons make up the combination. 1, 3, 7, and 8 are the four, it turns 
out. Brian will try to guess which order the numbers go by their 
tonality, but since this is a FAQ, I'll just tell you the combination 
is 8137.

Inside the lab, to the left of the door, there's a cylindrical chamber 
with three shelves, and numbers flashing at the top. This must be the 
controlled-environment chamber Dr. Olivaw spoke of, since it looks as 
though the "Son of Uxitza" mask is inside it. To open it, you need to 
press the little green button on the left center of the chamber. 
Often, Brian steps in front of the door and makes it hard to see the 
buttons.

...or so it SEEMED. It's actually a voice recognition system. This 
kind of thing is useful to keep pesky adventure gamers away from your 
precious artifacts. I have one at home. You should get one; it's 
great. Nobody steals my Cheez-Its anymore.

Ok, enough silliness. No matter what name you say, the computer 
doesn't recognize your voice and will not allow you to open it. But 
this does not mean that your trip inside the laboratory has been 
without purpose. To the immediate right of the door, and to the left 
of the first-aid kit, there's a "golden object" sitting on top of a 
piece of paper. Pick it up, and Brian will see the note under it. The 
note calls it a key, and says it belongs to Clive.

If it belongs to Clive, maybe it unlocks something in Clive's office. 
Head there. It's the door furthest to the left on the second floor. A 
little exploring doesn't show much that would seem to need a key. But 
he does have a "pair of books" sitting on the right corner of his desk 
(from our view, left corner). Brian doesn't know too much about 
archeology (and neither will most players, I feel it's safe to say), 
so it could help him. Grab them.

But what's that beneath the books? There's a small X-shaped crack in 
his desk. It's kinda hard to tell form the picture in the inventory, 
but the gold key you found in the lab has an X-shaped end. It fits 
perfectly into the hole in the desk and opens a safe hidden in the 
first panel of the front of the desk. There's some money, some 
documents and a "device," which turns out to be a voice recorder. 
Sounds like just what you need.

Now, whose voice do we record? While Willy may have found out the code 
to the laboratory through some surreptitious means, I don't think he 
has access to the mask, probably for good reason. The only other 
person around is Dr. Olivaw, who obviously has access to it. Let's 
give her a visit. Remember to lock Clive's safe before leaving his 
office; best keep it a secret among friends.

Use the voice recorder on the good doctor, who will give you her voice 
quite readily. Now, all that's needed is to return to the lab and use 
the recorder on the thermal chamber. But the battery in the tape 
recorder dies! It's always something, isn't it? You can go to Willy 
and ask to borrow a battery, but he says the word "lend" doesn't exist 
in his vocabulary. (Yeah, but "steal" does, that bastard.) He offers 
to sell you a battery for a hundred bucks. F that; there's another way 
to get a working battery.

In the scanner laboratory, at the far right, there's a tank with 
warning yellow-black painted behind it. It's a tank of liquid 
nitrogen. You may or may not have heard, but low temperatures can put 
some life back into a battery. I dunno if its true or not, but it's 
worth a shot. (Actually, I didn't remember this either, but the guy 
who reviewed Runaway for Game Informer spoiled it in his review. This 
was actually how far I got on my first time playing; I was stuck so I 
called it quits. I wondered what GI gave it and it was in his review.)

The thing is, you can't just put the battery into the liquid nitrogen 
with your hands. That's not even a slightly good idea. To the left of 
the tank, just above the green-blue bar, is a ladle which almost 
certainly goes with the liquid nitrogen. Take the ladle and combine it 
in your inventory with the dead battery. Now, use the ladle with the 
liquid nitrogen tank to freeze the battery. The battery will come out 
very frosty, but can still snap right back into the tape recorder. NOW 
try to use it on the button, and the case will open, allowing you to 
snag the Son of Uxitza mask.

You may be wondering, at this point, "WHY am I pilfering a priceless 
artifact?" I skipped this detail, but if Brian looks at the laser Dr. 
Olivaw periodically uses, he says it can be made stronger with a 
larger ruby. I thought that was an odd thing to say, or at least a 
little too deliberate. Obviously, the game wants you to crank up the 
laser so Olivaw will inadvertently destroy the artifact she's working 
on now and proceed to the crucifix.

But, how do you get the ruby out of the mask? It's impossible to do 
with just your fingers. Instead, try that "strange Mayan object," the 
Mayan bottle-opener. It will pry the ruby off with ease. Now, insert 
the ruby into the laser in Susan's office and watch as poor Dr. Olivaw 
slips into a near-nervous breakdown.

"I need an iced mocha... now!" She cries to the heavens. She destroyed 
that artifact, so now she's too despondent to work. Unfortunately, the 
coffee machine is out of coffee, so it doesn't seem like she'll be 
getting an iced mocha until it's refilled. But she's not gonna start 
working again until she gets one, so let's go a-refillin'.

Now, on the first floor, there's an exit other than the two stairs to 
another part of the map which I skipped. It's hard to miss; it's the 
big "Mayan Art" entrance to the right of the first floor. I skipped it 
because this is the only time you really need to go in here. Beneath 
the monolith in the near-center of the room is a bowl filled with 
brown stuff that looks like coffee. Brian grabs it. (I should note 
that you actually have to look at the coffee machine to know it's out 
of coffee and be able to take the bowl.)

Present this to Willy, who doesn't make much of the fact that you're 
presenting it to him inside an ancient artifact. He simply states that 
the machine will only take ground coffee, not beans. But grinding the 
beans is no big deal; just return to Dr. Olivaw's lab and use electric 
lathe on her desk to smatter the beans this way and that. He still 
doesn't accept it (and probably wisely so), stating he'd rather remain 
loyal to his brand.

Outside Clive's office, just beneath the fire extinguisher, is a 
wastebasket. Inside is an empty package of coffee. If you're like me, 
I tried to grab that thing a hundred times while going through this 
chapter. But up until this point, he wasn't interested. Maybe he just 
doesn't wanna reach into garbage unless absolutely necessary. At any 
rate, the package of coffee in there is just what you need. Pluck it 
from the garbage and pour the coffee into it. Now Willy will accept it 
graciously and refill the machine.

The following cinema will bring you right to the machine. Use it and 
the coffee machine will make a cup just like a good machine should. 
Bring it to Dr. Olivaw immediately. She drinks it and immediately 
starts working on the crucifix. When she's finished (after a cinema), 
it will look brand new. Bring it to the laboratory for analysis. It 
will show that the crucifix is of Hopi origin, but not particularly 
valuable, certainly not worth killing someone over.

You'll be summoned out of the lab by Clive, but unfortunately, it 
won't be for a coffee.
=====================================================================
                 CHAPTER 6 - THE GREAT ESCAPE
=====================================================================
As you can imagine, this is when things got really out of control.

Luckily, those guys were interested in knowing what we'd found out... 
...otherwise I'd doubt they'd have let us live. Of course, that blow 
to the head knocked me out and I didn't know what was going on for 
quite a while. When I came to, I realized we were flying in a 
helicopter. My head ached and pounded, and when Gina told me what 
happened to Clive...

Well, I felt absolutely awful to know they'd done away with him. I 
couldn't stop thinking that if I hadn't gone to the museum that night, 
he'd still be alive...

I did my best to get over it and decided that feeling sorry for him 
would get us nowhere. The sad truth was I'd have the same fate as 
Clive if I didn't come up with a plan. The instinct for survival and a 
desire for revenge took over my thoughts and I totally forgot about 
Clive.

A bit later the helicopter began to descend. I could see we were 
landing in a desert area in the middle of what looked like an old oil 
field... We were taken out of the helicopter and put inside of an old 
cabin. It was pretty obvious they were mainly interested in Gina.

As soon as we got into the cabin, they tied her to a chair and started 
to beat the living daylights out of me. They put me to sleep once 
again with a well-aimed pistol whip at the back of my neck. When I 
woke up, I was all turned around, and I thought my head was gonna 
explode...

Brian Basco -- Chapter 3
---------------------------------------------------------------------
You stir, all battered and in a strange cabin and with all your 
possessions taken from you. Gina is tied up in the other room, holding 
her own very well. You need to save her, but that will be difficult 
from within the cabin. The thugs don't know you're awake yet, so you 
have an advantage. First things first, you need to escape the cabin.

To the left of the room, you can see your ripped shirt on the door of 
the busted safe and your glasses fractured nearby. Above the glasses, 
on top of the box, there's a "bellows," the ancient accordion things 
used to get a fire burning by pumping oxygen-rich air over it. If 
nothing else, you can take it to the Antique's Roadshow or whatever 
that show was called. Grab it.

On the wall, there's an antique telephone. To the right is a shelf 
with a bottle of cleanser on it. Continuing right, to the right of the 
shelves are three items on interest: on the floor, there's a small 
mushroom-knob thing (round piece of wood), which was part of the coat 
rack on the wall (coat rack peg). To the right of that, there's a 
crowbar, and further right, hanging off the lip of the barrel, there's 
a tan "rag," which turns out to be a chamois.

Finally, at the far right of the room is a freezer. At the top of the 
freezer is the "freezer lid." Open it, and you can see the freezer is 
full of huge blocks of ice. It would be impossible to so much as 
budge, and Brian will slip a disk if you try to push it. Ok, not 
really. Near the corner of the screen, you can see the black plug in 
the wall. Unplug the freezer and the ice will begin to melt. But even 
in this kinda heat, it will take hours to melt.

To hasten this process, look to the window above the freezer. It's so 
filthy, no sunlight is getting in. Take the chamois and use it on the 
bottle of cleanser. Then, use the "wet chamois" to clean the glass. If 
you didn't shut the freezer lid, the ice should begin to melt.

Of course, this is of little help, since ice weighs exactly the same 
as water; you'll STILL pop a disk trying to shove that thing. But at 
the bottom of the freezer, to the right is a drain. Use it, and the 
water will pour out. Now you can push the freezer with no sweat. As 
Brian suspected, there was a trap door hidden beneath it. But it's 
locked with a padlock. Well, we just go ask the goons for the key, 
right?

Seldom in adventure games does brute strength amount to much puzzle-
solving value. But this is one of the exceptions. Use the crowbar to 
break off the padlock. Now, open the trap door and escape the cabin. 
You'll soon be accosted by three stranded drag queens... that's right. 
Three stranded drag queens.

After this, Brian comes up with a plan, which is placed in his 
inventory. There are three aspects of the plan:

1. Get the thugs to leave so you can get Gina out of the room through 
the trap door.
2. Trapping the thugs back IN the cabin so they can't come after you.
3. Finding a suitable escape vehicle so you, Gina and the drag queens 
can escape the desert.

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
6:1 - Trapping The Thugs
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

Go the map screen. Of the many areas, in the lower-left corner, there 
is an area that consists of a lot of twisted metal and such. It's an 
airplane graveyard with a classic World War II plane lying in 
disrepair. If you think THIS will do as an escape vehicle, you've been 
watching The Flight Of The Phoenix too much... but that doesn't mean 
the plane is going to be totally useless.

Towards the tail of the ship is a machine gun. At current, it's too 
rusty to use. But in the distance, you can see the thug's cabin. If 
you could get some ammo, that could serve as a nice way to keep the 
thugs pinned. First things first, let's go find something to grease up 
the gun with.

Return to the drag queens' bus. Mariola, the redhead, is sunning 
herself on the hood of the bus. She occasionally puts her sunglasses 
on to see how her tan is progressing. A bottle of tanning oil rests on 
the fender of the bus. You can try to take it, but Mariola still 
requires it. She hasn't quite gotten the tan she's looking for yet. 
Brian isn't one to steal from a lady... or even a reasonable facsimile 
of a lady.

Enter the bus. Towards the right, there are stacks and stacks of crap. 
At the bottom, there's a brown trunk. Resting on that is a pair of 
sunglasses identical to the one's Mariola has. In theory, you could 
swap them with the pair she has, but that won't get you anywhere.

Go back to the map screen. Now, in the upper-right hand corner of the 
map, there's an oil well. Just in front of the well is a small puddle 
of petroleum, blue-black in color. If you dip the sunglasses in the 
petroleum, it tints the lenses to make everything look even darker 
through them.

Return to Mariola. When she has the glasses resting at her side, "use" 
the sunglasses in your inventory on her sunglasses. It will say 
"switch sunglasses" if you did it right. Now she'll think she's a 
bronze goddess. Satisfied with her new darker tan, Mariola will freely 
give up her tanning oil if you try to take it.

Return to the airplane graveyard and use the tanning oil on the 
machine gun. Now the gun can move freely. You'd be able to use it if 
you had any ammunition. But just beneath the machine gun, there rests 
a small chain. It's a "string of bullets," how they used to feed the 
old machine guns. It would seem to work, but it has no bullets in it. 
Well, you're one step closer.

Return to the front of the drag queen bus. Just above where you found 
the sunglasses, there's a plastic container with an enormous pile of 
lipstick. You don't need the whole pile, and the girls aren't likely 
to miss one little stick of lipstick. Go ahead and snare one.

Now, in your inventory, you can try to combine the lipstick and the 
string of bullets. As it turns out, the lipstick fits into the slots, 
but it obviously won't work because it's a lipstick and not a bullet. 
Life is full of disappointments, huh?

Return once again to the map screen. We've been to the other corners, 
so let's go to the upper-right-hand corner. You find an abandoned 
train caboose. Once again, chances are slim that this will serve as a 
sufficient getaway vehicle. But it might still have something 
interesting in it. You can enter the train car and check out what 
remains after a hundred years.

This place has got all kinds of crap. Most of it is just that; crap. 
What's worse, it's crap that you can't use. But there's something in 
the back of the train car that you can definitely use; a barrel that 
bears the legendary symbol "XXX." Since it's probably not alcohol 
(since this isn't a 1930's cartoon), pornography (this game is rated 
"T") or Vin Diesel (he has his own game), there's only one thing that 
could be in there: gunpowder! Oh, yes.

But, you can't really carry the whole BARREL of gunpowder around, as 
much as that would be freaking sweet. But if you look just behind the 
stove-looking contraption in the back-left, there's a bucket of 
screws. You can take one (you don't need the whole bucket anymore than 
you need the whole barrel of gunpowder) and insert it into the coat 
rack peg I told you to pick up earlier. They will join inextricably to 
make a corkscrew. You could drill into the barrel to get some 
gunpowder out, but you don't have anything to catch the gunpowder in.

There's a bucket you can 'borrow' beneath the thugs' cabin. It's 
probably where the water from the freezer drained out. Either way, it 
will do nicely to hold the gunpowder in. And if not, you can always 
use it to lay down the occasional beat.

Go back to the train car and use the bucket on the barrel, then use 
the "makeshift corkscrew" on the barrel. You'll have yourself a 
wonderful little bucket of potential death.

Now the plan is beginning to take shape; hare-brained as it may seem, 
use the lipstick with the gunpowder. It will make a "makeshift 
bullet." Now, for those of you who say that this wouldn't work: I'm 
pretty sure gunpowder, especially old gunpowder, leaks nitroglycerine. 
The firing pin from the gun should be enough to jolt the explosive. It 
might not kill anyone, but it will probably sound like the real thing.

Put the makeshift bullet into the belt; as we already found out, it 
fits nicely. But one lonely bullet isn't going to cause much of a 
commotion. You need to fill up the whole string. Go back to the drag 
queen bus and snag the entire pile of lipstick. Use the bucket of 
gunpowder on the pile of lipstick (making a stack of bullets), and 
then use the lipstick on the string of bullets. Now, you've got a full 
belt of the fanciest bullets ever fired from a WWII plane. Use the 
bullets on the machine gun in the airplane graveyard. J. Edgar Hoover 
might just be proud...

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
6:2 - Find a Getaway Vehicle
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

If you're doing this in the order I've written it in, you'll notice 
there's only one place you haven't been yet. On the little mesa-like 
thing that the thug's cabin stands on, there's a bigger, barnlike 
building. Since you haven't found any other potential getaway vehicles 
(or a spare tire), this could be the place.

Once you enter the place, you'll hear noises from around the edge of 
the barn. It's a thug drinking beers and chucking them into the nearby 
sunken barrel. As Brian easily surmises, he's not a good guy. But, he 
must be here for a reason other than to drink. If you peek inside the 
barn, you can see the helicopter that brought Gina and you to this 
desert hell. Maybe it could get you out of here as well... but not 
with that alcoholic lummox standing watch.

You can get into the barn if you try to enter it through the front 
doors; Brian will mention he saw a window on the other side of the 
house. You can crawl through and watch him drink beers over and over 
again. If you're hoping to wait it out for this guy to succumb to 
alcohol poisoning, you're out of luck. This guy has a liver of steel. 
There must be a way to get him out of the way.

Well, I'm no expert on alcohol, but one of the drag queens might know 
her way around a cocktail. As it turns out, Carla is your girl. She's 
resting in the back of the drag queen's bus, a place of such gaudiness 
that even Prince might have nightmares.

Talk to Carla on all topics; knowledge is power. She'll mention she 
accidentally mixed a certain stomach medicine she takes with alcohol 
and was sent into a dozy torpor. That sounds like the perfect thing 
for Muscles McDrinksalot guarding the helicopter. But when you ask her 
for one, she says she has none left; she dropped the last one through 
the grate in the floor. You can see the grating just above Carla, but 
you can't spot it with just your eyes.

Go back to the front of the bus. Just behind the door are triple-bunk-
beds, like something out of a Ducktales cartoon or something. Odd as 
it is, beneath the lowest bed is a handle extending out. If you grab 
it, you'll find it's a handheld vacuum, perfect for the drag queen on 
the go!

Return to the back of the bus and use the vacuum on the grating. It 
works perfectly; you get the pill. Unless this is some OTHER pill the 
girls take... but you'll have to take that chance. Before you leave, 
look at the shoes near the left-hand wall. At the base, there's some 
thread and a long needle.

Rude as it may seem, rummage through Lula's trunk. The only item of 
interest is a deflated basketball. It would seem to me that a 
basketball would be about as familiar to a drag queen as a tool belt, 
but perhaps that's unfair. It doesn't matter much because the 
basketball is no good; it has a broken seam, so it can't be inflated.

You can see where this is going; use the needle and thread and stitch 
up the basketball. It's not much more fun to play than when it was 
broken, though; you need to inflate it, too. That's the job of the 
bellows that I had you guys grab while you were still in the cabin. It 
does a damn good job, too. Now the basketball is ready for playing.

Then again, you probably won't find anyone to play against except that 
lummox guarding the helicopter. He's constantly bragging about his 
beer-can-dunking skills. I don't think he's up for a game. It's about 
this time you may notice that Lula's about seven feet tall. Brian 
can't shake off the feeling that he's seen her before (though he's 
never been to one of their shows.)

You can return to the hanger and attempt to slip the roofie to 
Jockstrap McCirrhossis, but Brian figures it'd be impossible to put it 
in the beer without him noticing. You need to do this to realize you 
need help. Return to the drag queen bus and give Lola the basketball. 
She will confess that she is Lou Lamerre, a basketball player who 
vanished in 1995. She and Brian will contrive a plan where she will 
perform a Cyrano-De-Bergerac style routine.

The long and short of it is that Steroid McBeerstein will leave with 
Lula to shoot cans from further away. While their distracted, place 
the stomach medicine in the can of beer he's left on the barrel. Once 
their game is finished, he will take a seat on the tires and finish 
the can... and slowly drift into dreamland. He's not entirely 
unconscious, but he's basically helpless. Now you can take the 
helicopter without fear.

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
6:3 - Distract The Thugs
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

You need to do this one after getting the helicopter, for reasons 
which will be apparent.

Since you are probably starting this one right after the previous one, 
there are two things you need to do in the hanger area. The first is 
to look at the motorcycle at the left of the barrels and tires. Brian 
tells of how he used to hammer on an old motorcycle his father used to 
have. It would be cathartic to relive old times. Take the crowbar and 
give the old hunk of junk a few taps. If you watch closely, you can 
see something fall off, resting behind the small bush in the corner. 
It's a footrest.

Second, on the barrel where the stud rested his beers, there's a 
'bottle,' which looks a lot more to me like a jar. It's a jar of 
peanut butter, almost empty. Pick it up and the stud will warn you 
that the wild ants (as opposed to the tame ants?) in this area love 
peanut butter. He might be hallucinating, but let's file it under "W" 
for "weird," just in case.

Then again... you don't really have any other leads. What the heck? 
Let's make a batch of peanut butter. Maybe we can use it to scare the 
stud into telling us something else. "Oooh... peanut butter... rich 
and creamy..."

So, how do you make peanut butter? Do you just mix peanuts and butter 
together? That can't be it; that's retarded. It must be more 
complicated than that.

Go to the inside of the abandoned train caboose. There are barrels 
against the right wall; only one of them is sealed. Use the crowbar to 
pry the barrel open to reveal... peanuts! I mean, you find actual 
peanuts, not "peanuts" being nothing, which is what the other barrels 
are full of.

Anyway, now that we have peanuts, let's pretend for a moment that 
mixing peanuts and butter would make peanut butter (it might, but I 
don't think my parents would appreciate me experimenting.) You know 
you're not going to find a barrel full of butter that hasn't decayed 
about ninety-five years ago. The only place it might be is in the 
fridge at the back of the drag queen bus, but it's locked.

Return to the front of the bus. You can see the hexagonal axle where 
the door-opening handle once sat is. The footrest from the motorcycle 
should fit nicely on it. Now you can close the door and trap yourself 
in the bus. I know you never want to leave such a swanky place, but 
the real reason to close the door is to reveal the hidden pocket on 
the inside of the door. It holds the key to the refrigerator, which 
just happens to bear a pound of fresh butter.

You could just smash the butter in with the peanuts, but that won't 
make the mixture homogenous. It will only be peanuts IN butter, not 
peanut butter. You could mix it in the bucket you found beneath the 
thugs cabin, but the rust is not very appetizing. You need a cleaner 
pot to cook it in.

Your salvation awaits at the airplane graveyard, resting on the right-
hand part of the broken airplane wing. It's an old infantry helmet 
from the Second World War. An odd find at an airplane graveyard, but 
it should work serviceably as a pot.

All you need now is a hot place to melt it all together. Everything's 
hot in the desert, yes, but we want something especially hot. Return 
to the trap door of the thug's cabin. It's not great to be back in 
there, but the freezer lid has now been simmering under the sun for 
hours. It's the perfect place to cook up the peanut butter. Put the 
butter in the helmet, then the peanuts, and use the helmet on the 
freezer. You wind up with some rather discolored but suitable peanut 
butter substitute.

Now... what to use the peanut butter on? In the area with the 
abandoned train caboose, there's a small shack with a sign on the 
ground that reads "Danger: Explosives." Explosives are always useful. 
So, use the peanut butter on the shack. A swarm of ants will devour 
the peanut butter and the shack along with it. The dynamite inside the 
shack is left intact, thankfully.

Go back to the oil well. Use the dynamite on the oil well, and Brian 
will set it up so the detonator is behind the large rock near the 
entrance. It will serve properly to distract the thugs.

Once all three parts are set, Brian will return to the girls and begin 
the plan.

=====================================================================
       CHAPTER 7 - CLOSE ENCOUNTERS OF THE FOURTH KIND
=====================================================================
What a getaway, huh!? You can't deny it... it was amazing! The 
helicopter ride...? Well, let's just say it was pretty... intense. 
Carla hadn't piloted a plane for years and... I admit my palms were a 
bit sweaty!

But the important thing is that she got us to the part of the desert 
where the Hopi people live. We thought we'd find more information 
about the weird crucifix there! Fortunately, I got the crucifix back 
along with the rest of my stuff when I went into the cabin to save 
Gina. And luckily the girls had all their wardrobe with them, too, so 
they could lend Gina and me some clothes. We knew it'd be better to 
put on clothes better adapted for the part of the desert we were going 
for...

Brian Basco -- Chapter 4
---------------------------------------------------------------------

It happened in an instant... Gina's gone and there was nothing Brian 
could do. I guess it wasn't meant to be...

You are closer to understanding the crucifix, or as it turns out, the 
key. Brian wanders into an old town and nearly gets shot by Sushi, an 
amiable enough gal who runs Douglasville, a ghost town with only three 
inhabitants.

Speak to Sushi about all topics. One of the things she'll tell you is 
that the mine was run by her ancestor, but they broke through to the 
Hopi village. There was a dreadful fight and a medicine man cast a 
curse on the mine and the town, causing pestilence, poverty and a 
tragic railroad derailing, turning into a ghost town.

She tells you that if you want to find your way through the mine and 
possibly get to the Hopi village through there, a map might be in the 
safe in the basement of the bank.

In Douglasville, there are five places to go: into the hotel, in which 
Sushi will immediately talk to you, into the sherrif's office, into 
the destroyed bank, near the ruined locomotive, and in the lower-left 
corner of the screen, blocked by the balcony, there's the entrance to 
the saloon. I point this out explicitly because I didn't see it for a 
while and I was stuck for a damn long time. (Thanks to the community 
of the Runaway website boards for pointing that out to me!)

Let's start with the saloon. The lower floor of the saloon looks like 
a greenhouse, which is certainly impressive for what seems to be a 
harsh desert. Beneath the stairs looks to be the habitat of a real 
Rastafarian. Right beneath the stairs in a small flower pot with 
nothing growing in it. Go ahead and grab it.

To the right of the stairs leading up, there's a small closet. "Use" 
the shed to look for something interesting. Brian will find a pair of 
pruning shears. Those are always useful.

Go upstairs and you'll find Kevin, also called Saturn. He's sculpting 
away at some metal conglomeration. Talk to him about all topics. He's 
not too interesting, but his place is interesting. He's even got a 
contraption with a paint bucket on it. If you touch the lever near the 
wooden thing to the right of Saturn, it will launch a paint bucket far 
away. Saturn will snap at you, and rightfully so, but he'll be OK 
about it.

Keep exploring the rest of Douglasville. The Sheriff's Office has a 
jail at the end of it, and there's a skeleton inside it. Next to the 
jail cell is a stove with firewood next to it. The skeleton's not 
gonna need to stay warm, so you may as well take the wood.

The liquor store's been boarded up many years ago, so you won't be 
getting in there. The bank is the next stop, and it may as well be 
boarded up, because it's a real mess. The train derailing completely 
wrecked the place. But some things have miraculously survived. Behind 
the cash register, you can see a peculiar red-and-cobalt thing sitting 
on the low shelf. It's an antique stapler with three staples. 
Considering it's a hundred years old, it's in damn good shape. Go take 
that. At the desk in the center of the bank, there a rubber stamp that 
could also come in handy.

The one thing you can't find in there... is a way into the basement. 
No stairs or trapdoors or anything.

There's a wagon between the Hotel where Sushi lives and the Sheriff's 
office. It has a long strap attached to an iron ring on the wagon. You 
can use your pruning shears to cut it off. That will definitely come 
in handy.

If you go back to Sushi and ask her about the body in the jail, she'll 
tell you it was an alcoholic doctor who caused a child's death. He was 
in there awaiting his trial when the train derailed and was stuck. The 
only person with the key was the sheriff, who heard the train was out 
of control and rode up to try to stop it, but he fell into the boiler 
and died, and the doctor was out of luck.

The derailed locomotive holds a certain tragic charm; you can even 
climb into the driver's cab by climbing into the window. You can play 
around with the various switches and whatnot inside, but it's not 
going to do any good. This train certainly isn't going anywhere. 
Nothing you can do with it for the time being, so you may as well 
leave it alone.

If you return to the abandoned mine, Brian will walk right up to the 
entrance which has been blocked by a gigantic boulder. If you can move 
the rock, you can certainly get into the mine. Of course, there's no 
way any human could move that thing. That's impossible. Anyway, on the 
far left of the screen, leaning against a rock, there's a "recipient," 
or an oil can. Grab that.

Go to the crater in the upper-left corner of the map screen. It's a 
lunatic called Joshua, whose trying to make contact with 
extraterrestrials with his gigantic machine, dirt bike and tent. He 
doesn't know anything about the Hopi village, but he's in a bit of a 
bind. His communication machine is broken; a rotor is supposed to spin 
and give power to the machine, but something in the machine isn't 
giving it power.

Go to the small adobe house in the lower-right-hand corner of the map, 
set inside the arch in the foreground. It's the house of Mama Dorita 
with a gigantic man named Oscar. He doesn't know anything about the 
Hopi village, and he insists neither does this Mama Dorita, who is 
apparently in touch with spirits. Oscar's a great guy to talk to, but 
he doesn't do much other than chew his "menthol chewing tobacky." For 
now, you can leave him to his machinations.

To the left of the door, right next to a ladder, there's a small 
"vessel," a small clay bowl. Brian theorizes Mama Dorita might have 
cats, but whatever the reason, a bowl is always a good thing to have. 
Grab it.

Leave the front of Mama Dorita's house. There should be an area where 
there's a well and a shrunken head in the foreground. Look to the left 
of the well, and you'll find a stone on the ground. It's an 
interesting shape, with a natural hole in it that almost looks carved. 
Now, to my philistine eyes, I think it looks like any other damn rock 
you could hope to find. Brian disagrees, though, and he can pick it 
up.

For starters, let's see if we can help Joshua make contact with ET. 
Granted, that machine might do just as much good for Joshua off as it 
does on, but for the moment, we'll assume it WOULD work if it was 
powered. We need some kind of rotary power. Joshua has his motorcycle 
with the wheel suspended in the air, so if we had some kind of belt, 
we could connect the wheel and the rotor to make it spin! Genius! All 
those games of The Incredible Machine paid off in the end!

So, if you haven't yet, go back into Douglasville and use the pruning 
shears you found in the closet in the saloon to cut it off. Next, use 
the ancient stapler you found in the bank on the strap from the wagon, 
and you'll mend the strap into one unified cable to connect the wheel 
and the rotor. Give it to Joshua, and he says to leave it there and 
he'll connect them himself when he's done with a message he just got. 
Leave the area and come back.

...and he hasn't put it up yet. Brian goes to talk to him and Joshua 
explains that he can't put the strap on the wheel without removing the 
wheel of his motorcycle, and he needs a number 10 wrench to do that. 
Now Brian sees he should have stapled it AFTER putting it on the 
wheel. Nothing we can do about that now until we find a wrench.

The person voted most likely to have a No. 10 wrench is certainly 
Saturn. Go back to the saloon and ask him to borrow the wrench. He'll 
happily give it to you, but it's not on the wall. He had it in his 
pocket and playfully throws it at you, but it falls down towards the 
street into a trough full of nasty stuff of unknown origin. I wouldn't 
wanna stick my hand in there, either, so I don't blame Brian for being 
reluctant.

What you need to do is go out to the balcony and drop the potted plant 
you found beneath the stairs in the saloon. The plant will land in the 
trough and before you can say "displacement," the wrench will come 
flying out. It will be sitting right in front of the trough at the 
entrance to the saloon. Bring the wrench to Joshua and leave the area 
to let him set up.

...and when you return, it STILL won't work. The motorcycle is out of 
gas. Insert frustrated curse words against many and various deities 
and prophets here. Once again, talk to Saturn, as he's a gearhead and 
might have gas. In fact, you may have noticed that green can near the 
tool table. It is gasoline, but Saturn can't give away something 
that's going to be used up. Douglasville works on a bartering system, 
so if you want the gasoline, you need to trade something for keeps.

Unfortunately, the only thing he's interested in is a piece of art. 
Try giving him the rock you found outside Mama Dorita's house near the 
well. It has a sculpted shape, but Saturn isn't really fooled. He 
thinks it needs some work. Look outside on the balcony where you 
dropped the potted plant. Near one of the doors is a small item, a 
sanding block. You can use it to polish the stone and give it a more 
presentable finish.

Saturn STILL isn't convinced. Much as Brian protests, you're going to 
have to use your piece of amber. You weren't going to use it to open 
Jurassic Park anyway. Use the piece of amber on the stone and give it 
to Saturn. He's finally convinced. He gives you the gas, but NOW he 
tells you it's special concentrated gasoline that you have to mix with 
water. If he worked at Sears, this would be called "bait and switch."

Anyway, Saturn gives you the concentrated gas and two measuring 
beakers, thirty and fifty CCs. You need forty CCs of concentrated gas 
per liter. You can get water to mix it with from his tank, which is 
sometimes obscured by some modern art in the foreground. I can 
appreciate the aesthetic good of parallax, but sometimes, I feel like 
I'm watching Eyes Wide Shut or something.

Anyway, there are two important things to consider about this puzzle. 
First off, you can pour gas into the beakers, beakers into other 
beakers, and beakers back into the tank. Second, remember to consider 
the space REMAINING in the tubes as well as the space filled with gas. 
This is important when you start mixing things up.

To get forty CCs, begin by pouring gas into the fifty-CC beaker. This 
will give you fifty CCs of gas. Now, pour the fifty tube into the 
thirty-CC tube. This will give you twenty CCs in the fifty beaker, 
giving you thirty CCs of empty space. Dump the thirty-CC beaker back 
into the tank.

Now, pour the twenty CCs in the fifty-CC beaker into the empty thirty-
CC beaker. This will give you ten CCs of empty space at the top of the 
thirty-CC beaker. So, if you fill up the fifty-CC beaker and pour it 
into the partially full thirty-CC beaker, you'll pour out only ten 
CCs, leaving forty CCs in the fifty-CC beaker.

Fill the bottle up at Saturn's water tank and pour the 40 CC's into 
it. You'll now have gas to bring to Joshua. And this time, nothing 
strange comes up to screw things up again.

Joshua explains what he needs you to do to help him make contact. He 
goes to the center of the crater to get the best reception. You have 
to hit only five notes of the seven notes, none of them more than 
once. To try to find the right combination, Joshua will return and 
tell you how many of the notes you selected were part of the 
combination and how many were in the right position.

Normally, I dislike puzzles like these in adventure games. They don't 
require any particular skill. But in trying to find this one, I think 
I may have finally cracked the code of how to do these successfully, 
though.

For completeness, I'm going to demonstrate how I solved it on paper. 
Then, if you come across a puzzle like this in another game, you might 
be able to solve it on your own. I think that's within my 
responsibility as a FAQwriter. If it's not, I don't care.

Anyway, the notes are just like the seven notes on a keyboard. They go 
"CDEFGAB." So, for my first try, I decided to try "CDEFG," the first 
five notes in order. Joshua said there were three correct notes, with 
two in the right position. So, I tried the opposite, the last five 
notes in reverse order: "BAGFE." Joshua said four were correct, but 
none were in the right position.

So: CDEFG = 3, 2; BAGFE = 4, 0. This means that only one of the 
numbers of the second sequence is wrong. Still, there's not much to 
draw from this.

I decided to try "CBAGF," the first letter of the first sequence and 
the first four of the second. I forget why; I had a suspicion of C. 
Joshua said that four numbers were correct and one was in the right 
position. Now, I decide to root out the note that isn't correct. I 
exchange G for E and enter "CBAEF" and still get four correct letters, 
one in the right position.

So what can I draw from this? If I changed G to E and got the same 
answer (4, 1), then maybe those are the two letters not part of the 
combination! To test my theory, I put in what would have to be the 
five correct notes in alphabetical order: ABCDF. Joshua tells me I 
have THREE correct notes, none in the right position.

See, I made a mistake. I came to the wrong conclusion; exchanging G 
and E just meant I was exchanging one correct letter for another while 
leaving in the incorrect letter (which has to be F).

I totally forgot something important about this kind of puzzle; if you 
only get three correct notes in a guess, that means the two notes you 
DIDN'T select have to be the other two! With my first guess "CDEFG," I 
left out A and B, which have to be right, since two are wrong in that 
guess and there's nothing else those two correct notes could be.

I try "CBAEG" and Joshua tells me I have all five correct, and one in 
the right position. In theory, all you need to do is try all 125 
combinations those five notes could be, right? For those of you who 
don't have all day, there is an easier way.

First off, I had suspected for a while that C was meant to be the 
first letter of the combination. So far, the only guesses I've had 
with anything in the right position have begun with C. So, if we 
assume momentarily that C is correct, that reduces our possible 
combinations to twenty-four. That's still a lot to try. I try one for 
the heck of it, "CEBAG," with five correct, one in the right position. 
I kinda figured they wouldn't have a combo with a word in it.

So, rather than just guess all twenty-four until we stumble upon it, 
let's look back at our past guesses.

Guess #1: CDEFG = 3, 2
Guess #2: BAFGE = 4, 0
Guess #3: CBAGF = 4, 1
Guess #4: CBAFE = 4, 1
Guess #5: ABCDF = 3, 0
Guess #6: CBAEG = 5, 1
Guess #7: CEBAG = 5, 1

Again, we're presuming that C is in the correct position in the first 
digit. The second digit can't be A because Guess #2 didn't have any in 
the correct position and its second digit was A. It can't be B because 
Guess #5 didn't have any in the correct position, either, and it has B 
in the second position. It can't be E because Guess #7 had E in its 
second digit and it only had one right (which we presume is C). So, 
assuming C is in the right position, it would have to be G.

The third digit can't be A because that would contradict Guesses #3, 
#4 and #6. It can't be B because that contradicts Guess #7. And it 
obviously can't be G if the second digit is already supposed to be G. 
So, it has to be E, which also matches the first guess (which has two 
right, one of which is probably C).

Therefore, the fourth digit cannot be either C, G or E. It can't be A 
because that would contradict Guess #7. So, the fourth note is B and 
the fifth has to be A. That makes the likely solution "CGEBA."

CGEBA. Type that into the keyboard and be prepared for something 
magical, or perhaps extraterrestrial.

See, that wasn't so hard, was it? Got it in only eight guesses.

The only evidence of Joshua's journey is the patch of scorched earth 
in the center of the canyon with his telepathic helmet sitting in the 
center of it. Joshua's not going to need it anymore, so go ahead and 
take it. Brian won't be using it, but perhaps someone whose having an 
inspirational crisis will want it.

Take the telepathic helmet to Saturn. He will gladly accept it and, in 
a mad rush of inspiration, run out of his studio to find a stone to 
sculpt. Let's just hope that Saturn can keep his marbles along with 
it.

Now that he's gone, there are two things you can do. First off, pick 
up his blow torch. I don't care WHAT Frankenstein says: Fire good. 
Second, if you haven't yet, touch the lever on the catapult in the 
center of the room (if you did this while Saturn was there, he'd get 
mad at you, which is pretty funny). The can of paint that was sitting 
there is launched into the bank.

This is where this gets odd. Use the crane controls between the 
sculpture Saturn was working on and the catapult. Brian will put "The 
Great Dosiqua" on the catapult. Then, activate the catapult. The Great 
Dosiqua will fly through the air and land in the same spot in the bank 
as the bucket of paint. Of course, the sculpture is far heavier than 
the paint, so it goes straight through the floor, giving you access to 
the basement.

...but, if the statue was heavier, wouldn't it not have flown as far? 
Such questions are meaningless in a game like this. I'm reminded of 
the rock catapult in Monkey Island 1, where you hit a far-off banana 
tree, and Guybrush remarks "I'll bet the odds against that are 
incredible!"

Anyway, go to the bank and climb down the statue. The safe is a few 
feet from the entrance to the basement. You can try to fiddle with it, 
but you can't guess the combination. Or you could, but you'd die of 
exposure, or possibly old age. Don't bother asking Sushi; she doesn't 
know, either.

To proceed, we need to fiddle with that derailed locomotive. You can 
see it has turned on its right side. You can access the cab by 
climbing in. For now, look to the left of the smokestack. There's a 
little yellow thing sticking out; that's where water would be poured 
in to make steam. Now, a locomotive needs a lot of water, so take the 
recipient (the "oil can" in your inventory) and fill it with water. It 
takes five of these to fill the tank sufficiently. To make less trips 
back to Saturn's, fill the oil can and the bottle you had the gas in, 
and then pour the bottle into the oil can.

Climb into the cab. Use the firewood you found next to the jail cell 
in the boiler and light it with the blowtorch. To the right of the 
screen are four dials, two outlets and a dial at the top. The dial 
increases pressure in the boiler, the upper switch releases steam, and 
the lower one will screw things up if you touch it (Brian is smart 
enough not to fiddle with it). There's not quite enough pressure in 
the boiler to let any steam out yet, so turn the dial ONCE, then 
activate the steam outlet.

Something will be flung out of the smokestack. There's a gold object 
in near the bush in the foreground. It's a key, almost certainly 
belonging to the sheriff who fell into the boiler when the train 
derailed. It may be too late to parole the guy, but his cell might 
hold something interesting.

Other than a smelly skeleton and his earthly possessions, there's 
nothing of great interest. He does have his doctor's bag, which 
contains two things of interest; liniment and a stethoscope. The 
liniment is a old kind of medicine that contained mint, and the 
stethoscope is what doctors use to listen to the inside of people's 
bodies.

The liniment is the last ingredient you can get for another improvised 
creation. If you talked to Saturn about where he gets his rocks to 
sculpt, he says he gets the help of Oscar, the bodyguard outside Mama 
Dorita's. He can move the boulders all by himself and asks for nothing 
but some menthol chewing tobacco. If you looked in the closet near the 
stairs where you found the pruning shears, you'd find some dried 
tobacco leaves.

Now, leaves are only good for smoking, not chewing. So, you need to 
mix the liniment and the tobacco, but you need something to mix them 
properly. If you combine the clay vessel you found at Mama Dorita's 
and the stamp from the bank, you can make a nice improvised mortar and 
pestle. Use that with the tobacco and you'll whip up a nice hunk of 
chewing tobacco for Oscar. Present it to him, then say "I need your 
help." in conversation. He'll gladly move that giant boulder like it 
was a gallon of milk.

The path is clear, but you still don't have a map of the mine, which 
Sushi said was in the safe in the bank. The stethoscope's application 
should be apparent; use the stethoscope on the safe and advance the 
dial right, then left, then right. Once Brian here's the tumblers 
clicking, he will not let it move in the wrong direction. With the 
right combination, he will unlock the safe and pull out a map of the 
mine.

It still wouldn't be wise to go down there without any light or a 
climbing rope. Luckily, Joshua was prepared. Return to the crater and 
go inside his tent. He has a climbing rope and a flashlight that 
should come in handy.

Now, you have everything you need to enter the mine and find the Hopi 
Village. Return to the mine and enter.


=====================================================================
                CHAPTER 8 - GIFTS FROM THE CRYPT
=====================================================================
What can I tell you...? Getting over the loss of Gina was really 
hard...

Only one thing kept me going: My strong determination to unravel the 
whole mystery surrounding the crucifix, which ended up being a key to 
a sacred crypt!

I wasn't too concerned about having to get through that old mine, 
since I've always loved spelunking... But I wasn't aware of the 
unpleasant surprise waiting for me in one of the chambers!

Brian Basco -- Chapter 5
---------------------------------------------------------------------

You finally leave the mine, if not in the bravest way possible. You've 
come to the edge of the cliff, and you can see where the village may 
be dug into the cliff. If you could just get down the cliff, you might 
just find the Hopi village. There's a small rock at the edge of the 
cliff that's too heavy to move, but is probably not strong enough to 
hold your weight. You need to find something strong to secure your 
weight to.

In the center of this area, there's a long piece of wood in the 
ground. Wood is always handy, so grab it. Of more interest is the 
"metal object" that's under the plank. It's an old mining tool similar 
to a large hammer, complete with nail-remover in the back. In fact, 
there's a nail sticking out of the diagonal piece of wood on the 
leftmost part of the entrance to the mine. But you won't be able to 
get the nail out with just the head.

To the right of the entrance to the mine is a skeleton, left 
undisturbed for over a century. While it's not the best option, grab 
the skeleton and Brian will pick out a serviceable femur. Combine the 
femur and the tool head in your inventory and you've got a dandy, if 
sepulchral, tool.

Use the tool on the nail in the frame of the entrance to the mine. 
Then, use the nail on the "edge of the cliff," and Brian will hammer 
it into place in the hard earth. Finally, use the rope on the nail and 
you'll begin climbing down the cliff face. It can be kinda hard to 
find the nail once its hammered in; it's a little black mark on the 
cliff. Move your mouse slowly over the area until you see the HUD word 
change.

On the way down, you'll come down to some ruins to find Gina! She's 
alive, though she suffered a broken leg from the fall. That's better 
than being dead, but it's going to make it hard to get her back up the 
mine. She insists you solve the mystery of the crucifix before taking 
her back, and Brian reluctantly agrees.

From here, there are three places to go: you can go right towards the 
giant statue, you can leave off the left-hand side of the screen to an 
"unexplored area," and into the ruins at the upper left part of the 
screen. For now, we're going to go to the unexplored area. A small 
cinematic will show you going all through the desert to the entrance 
to the crypt.

You'll come upon a stone monolith that must be the entrance to the 
crypt. He's got a mouth that looks like the key would fit nicely into. 
Certainly, this is how you enter the crypt. So, use the crucifix key 
on the monolith's mouth.

But Brian sez, "Bad news!" The keyhole is filled with sand and the key 
won't work. You need something to clean it out with. The shrub between 
the stones on the left side of the monolith should do well. Break off 
a branch and use it to clean out the monolith's mouth. Now the key 
will open the crypt, the monolith moving out of your way. It's time to 
put this mystery to bed once and for all! Step bravely into that cave!

A cinema will begin showing Wupuchim anticipating you and presenting 
you with a human finger preserved in a bottle of formaldehyde. 
Wupuchim tells you to speak to the person who poisoned his Hopi blood 
by putting it there, which must be Gina's father. But he's not Hopi, 
and more importantly, he's dead. Still, Wupuchim insists that's not an 
obstacle. He tells you to leave the key there, so the holiness of the 
crypt can never again be desecrated.

Yeah... I guess anyone reading this saw the table of contents and knew 
the mystery was not going to be revealed in this chapter, if for no 
other reason that there's one chapter left.

Return to the area where you found Gina. There are two other ways to 
go from here. To the right, there's the "cave" that leads to the giant 
statue. On one of the stones to the right of the statue, there lies a 
tomahawk. As it turns out, it's a tomahawk-pipe, which certainly is a 
unique find.

Well, you can go on eBay after you save Gina's life. This tool is just 
what you need. You can use it to cut the rope you used to lower 
yourself down, but you can't do it on the ground; the piece you would 
make would be too short. To get to the top, you need to enter the door 
in the ruins at the far left of this area. The ruins are kinda like a 
small maze. Enter the door at the bottom, then take the door to the 
right, the door all the way to the left, and then the door to the 
right. You'll arrive just beneath the ceiling of the cave, which 
should be high enough to be able to tie around her entire leg.

But a rope alone is a lousy splint. But, you still have that board you 
found the mining tool under. It would be dandy if it weren't too long. 
But not to fear. The tomahawk comes in handy again. Use the tomahawk 
to cut the board in two. Now, it will make a fine splint. Once the 
splint is on her leg, Brian and Gina will slowly make their way though 
the cave.


=====================================================================
        CHAPTER 9 - THE INDIAN, THE NUN AND THE FINGER
=====================================================================
Would you believe...? Gina was alive! I was flabbergasted to find her 
after her after thinking I had lost her forever!

As for the mystery we were trying to solve... We were almost worse off 
then in the beginning. All we had was a human finger in a bottle of 
formaldehyde, and that was an even greater mystery than the crucifix 
itself! Thank goodness I could count on Mama Dorita's help. Which was 
more than just fixing up Gina's leg...

Brian Basco -- Chapter 6
---------------------------------------------------------------------

No offense to the makers of this game, but they really didn't have me 
fooled. Even when Gina fell down into the mine, I figured she was 
alive. Mainly because there were pictures on the box with her on it 
that hadn't happened yet. Hell, there are pictures on the CD itself 
with her on it that hadn't happened yet!

But enough cynicism. Let's just be glad she IS alive. You gain control 
while speaking to Mama Dorita. Ask her "I need to speak with a dead 
person." She explains the procedure, which requires herself, a person 
with close ties to the deceased, and a medium. Speak with her on all 
topics within this convo, and you'll find you're probably the only 
reasonable candidate. Even so, you're not currently equipped to lower 
your consciousness to the proper level.

Go and speak to Gina about what happened. She's doing much better, but 
just as confused as you. She's willing to take part in the sťance, but 
Brian mentions something he heard from Wupuchim; the person who 
entered the sacred Hopi tomb was Hopi himself. That means it couldn't 
have been Gina's father. Just who ELSE is mixed up in this?

Leave Mama Dorita's house and return to the map. You won't be allowed 
to back to the abandoned mine, and the crater holds nothing of 
interest (other than a freaky cinema). Return to Douglasville and 
enter the hotel. Sushi will certainly be interested in the story. 
Brian will confess the whole story to Sushi; Sushi believes you, even 
though you don't entirely yourself. She says she'll be willing to help 
however she can.

As of yet, Sushi can't help much. Let's go into the saloon and see if 
Saturn can help some. You'll find the third member of the trio, 
Rutger, sitting on the couch beneath the steps. Brian will immediately 
engage him in conversation. Speak to him on all topics. In particular, 
ask him "I was thinking..." about getting something to enter a trance. 
To avoid the stereotype, he certainly knows his drugs. But you need to 
offer him something in exchange, as that's how it works around here.

Give the tomahawk-pipe to Rutger. It looks right up his alley. He 
accepts it and uses it to give you the drugs to lower your 
consciousness. Brian quickly runs to Mama Dorita before he loses it. 
Mama Dorita is still unimpressed. Apparently, that stuff didn't work.

Go complain to Rutger; you might at least get a refund. Tell him "That 
stuff you put in the pipe didn't work." Rutger tells you about a Hopi 
brew that you can use to leave your body. It sounds like just the 
right stuff. But Rutger is missing one ingredient; the 'yawaskel.' 
They only grow on sacred Hopi lands, apparently, and Rutger has been 
unable to find them.

Once Brian leaves the conversation, he will look at the branch he used 
as a brush for the mouth of the monument in Chapter 5. There are three 
red pods stuck to it, which just might be yawaskel! He pulls them off, 
but the pods are hard as hell; he can't get them open with just his 
hands.

Who would have something sharp you could borrow? How about the 
skeleton in the jail? He was a doctor. In fact, he has a scalpel. Now 
you can cut the yawaskel out...

Or not. Even the scalpel isn't strong enough. These things are 
invincible! What could make it cut better? Go to the hotel, but stay 
on the bottom floor. To the far left, there's a fireplace. I don't 
know why it's lit, either. Perhaps it powers Sushi's computers. 
Anyway, grab the poker in the can to the right of the fireplace 
(you'll need it later) and place the scalpel in the fire. Once Brian 
takes it out of the fire, you'll be able to cut open the freakin' 
yawaskel. (If anyone wants to know how dumb I am, I thought you'd need 
to use the fireplace to heat the scalpel so you could hammer it and 
reshape it to make it sharper...)

Bring the yawaskel to the saloon and give them to Rutger. He'll whip 
up the brew for you and give it to you. Brian will drink it and run to 
Mama Dorita before he trips his balls off. Mama Dorita will be 
satisfied and will ask you to kneel before the altar and say a prayer 
for your soul. You can't do anything but say the prayer, since if you 
came down from your high, you wouldn't be able to make another.

An enormous cinema begins. The long and short of it was that there was 
a gangster called Johnny the Indian who was part of a bank heist four 
years ago. He hid it somewhere before going to jail. He thought the 
Sandrettis would forget about it, but 20 million bucks doesn't just 
slip through the cracks. Once Johnny was paroled, they found him at 
the Pink Iguana.

Everything Gina said happened to her father actually happened to 
Johnny. He was killed before he confessed to keeping the money, but 
Gina learned he did during the sťance. She remembers he had a trailer 
around somewhere near this area, but she doesn't know where. It might 
have an important clue, but the finger in the bottle is still your 
best bet, it would seem.

As mad as Brian is at her for this deception, we all know damn well 
she's dead meat without something to start a new life. So, you 
reluctantly agree to help her find the money. You can ask Oscar or 
Mama Dorita if they've seen the trailer, but neither of them have.

When you return to Douglasville, you'll immediately go to talk to 
Sushi. Brian will explain the whole shebang and nearly break the 
fourth wall. Sushi hasn't found the trailer, but maybe Rutger or 
Saturn knows something. (While you're here, if you haven't yet, get 
the poker from the right of the fireplace downstairs.)

Rutger hasn't seen anything, but you can thank him for the cocktail. 
Go up the stairs to see Saturn. He's working on an... interesting 
sculpture. Saturn will be able to recall seeing a trailer about half a 
year ago. The location will be added to your map in the upper-left 
corner. Go there, and Brian will stumble upon a crummy-looking trailer 
in the middle of nowhere. Unfortunately, it's locked. This is where 
the poker comes in handy. Use the poker you found at Sushi's to pry 
the door open.

Brian will enter the trailer, but there's nothing to see around there. 
There's some old cheese in the fridge, a crummy bed, a trunk full of 
old clothes and a nun's habit hanging from a hook near the door. No 
money. Johnny wasn't so dumb to hide the money there.

Leave the trailer and look at the door. There's a tray on the lower-
half of the inside of the door. "Use" it to search in it and you'll 
find an advertisement for a bank. Chances are good that's where he put 
the money. Return to Douglasville and give the bank brochure to Sushi. 
She'll look at it after she's done with her current business. Leave 
town and come back and Sushi will be done.

Sushi will talk for a day and a half. Long story short, the finger is 
the key to the money in this bank, which uses a fingerprint from the 
index finger. The account is under the name of Johnny's sister, a nun 
who was murdered four years ago. Gina could enter as the nun with the 
habit and get the money. So, you need to return to the trailer and get 
the habit that was hanging up.

Return to the trailer and snag the habit; it's to the right of the 
door. But once you do, you'll hear a car in the distance. And just 
about the last two people you wanted to see appear; Gustav and Feodor, 
the two goons. It's too bad that Douglasville doesn't have a sheriff. 
The last sheriff fell into the boiler of the train a hundred years 
ago.

Hmm... there may be something to this. Return to the driver's cab of 
the derailed locomotive. Surprisingly, the logs are still burning. 
Release the steam outlet once more; it's the lever above the dials. 
It's had over a day to build pressure, and something interesting will 
come out... the badge of the old sheriff.

But who would make a good sheriff? Obviously, it's Oscar. The guy's 
about eight feet tall and built like a house. Remember him moving that 
boulder? Brian will also snare Sushi's rifle to give to Oscar. He will 
swiftly bring the thugs back to the town jail.

Leave the hotel and enter the jail. The bag full of the stuff Oscar 
confiscated is on the desk near the door. It's pretty typical mob 
stuff. Give it to Sushi and she might be able to come up with 
something. Leave the hotel and come back. Sushi wasn't able to come up 
with anything concrete, but the conversation will wander into one 
about movies. Tell her your favorite director is "Woody Allen" and 
that your favorite movie of his is "Manhattan Murder Mystery." This 
will give Sushi an idea. She'll tell you to return in an hour.

Tick, tock. Sushi's plan is to use the thugs' voices to make the 
Sandrettis think Gustav and Feodor have decided to keep the 20 million 
themselves. She'll give you an MP3 recorder. All you need to do is 
"use" the MP3 player on the thugs to secretly record them. Then, go to 
Mama Dorita's and record Gina's part (after a bizarre cinema). Return 
to Douglasville and give the MP3 player to Sushi.

That's basically it. Everything past this is automatic. I won't spoil 
it for you. I was kinda disappointed with this chapter, since there's 
only one apparent task throughout and it goes on autopilot about 
halfway through. Even so, I'm glad to see that adventure games can 
still be made, and made well.

=====================================================================
                        CHAPTER 10: EPILOGUE
=====================================================================
I remember some time ago, there was a review for Gabriel Knight III in 
PC Gamer. The review was somewhat bitter at the death of adventure 
gaming in the vein of the classic ones at the turn of the 90's. I 
believe on of the lines he said was "Adventure gaming is dead; you 
gamers killed it."

I resented that very much, the idea that a genre should persist just 
becuase it was, at one time, viable and popular. That's such a rotten 
philosophy to have. Adventure gaming has dwindled to a mere speck of 
its former self, but in order to introduce gaming in capacities which 
we could not have imagined back in the early 90's. If adventure games 
are to still exist, they must be of the quality to compete in today's 
times, rather than living in the past.

And that's precisely what Pendulo Studios has done. Rather than 
pouting about it, they made an adventure game in the most classic 
sense to demonstrate to a new generation of gamers what this genre can 
do. And I say bravo.

=====================================================================
                      CHAPTER 11: SPECIAL THANKS
=====================================================================

CJayC - Administrator of GameFAQs. Hardest working man in showbiz.

Alexander Davidson of LiquidNinja - He programmed Metapad,
an awesome pure text editor of extraordinary utility that I used in
the making of this FAQ. Visit him at liquidninja.com/metapad/

My other real-life friends - You know who you are.

And of course, the society of GameFAQs, and the GameFAQs
Message Board.

============
This FAQ is copyright Jeff "King Kool" Hibbert, 2005-2007.
See Chapter 1 for details.

Cuz the road keeps on telling me to go on
Something is pulling me
I feel the gravity of it all