Riot

<center> <h1>RIOT</h1>By Taylor Johnson </center> <hr style="color:grey;"> <center>[[Start->2]]</center>

Inside an armoured vehicle sit twelve men. Each adorned with riot gear, each a hulking physical specimen, and then there’s you. You’re Parker, you’re just a cadet, and you’ve never done this before. Your hand is shaking. It’s never done that before. [[Hide it.->3]] [[Observe it.->4]]

You try to cover the shaking with your other hand but it won’t stop. A hand that dwarfs your own clamps yours still. This hand belongs to Kurt. You’re only real friend and without whom, you would not have this opportunity. [[Look at Kurt.->5]]

The impulse to hide the tremor comes and goes. You’re more fascinated by it. By what happens to the body when adrenaline becomes a constant companion. A hand that dwarfs your own clamps yours still. This hand belongs to Kurt. You’re only real friend and without whom, you would not have this opportunity. [[Look at Kurt.->5]]

You look at Kurt and his expression of stone. The message is clear: be ready. The vehicle is filled with the hum of tire tread. It’s interrupted sporadically by the crack of debris being thrown against the vehicle’s walls. Each officer is locked into their own routine. Some are animated, some are casual, one's headphones blare pump-up music. But these routines come with the abundance of experience that you sorely lack. The Sergeant in control of your unit stands and begins to speak. SARGE: We’re almost there. DRIVER: Four minutes! SARGE: So let’s go over it again one more time. He points to a screen at the head of the vehicle, behind the driver’s seat. An overhead map of the city’s core appears. He taps the screen and a red circle appears on the center of the image. SARGE: This is the center of the riot and this is where we’ll engage the event. The powers that be want us to remove the rioters from the downtown core as quickly as possible in order to minimize the cost of damage to property. DRIVER: Three minutes! SARGE: There’s already a perimeter set on the outside edge of downtown (a larger green shape outlining a perimeter of streets surrounds the smaller red circle). Our job is to force the crowd outward toward the perimeter where they’ll be dealt with. When you were briefed at the station, the plan seemed bizarre… start in the core and work your way out? You couldn’t work up the nerve to say something. Now three minutes from the riot, you're still unsure. What do you do? [[Question the plan.->6]] [[Keep your mouth shut.->9]]

The last thing you want to be is a liability. You raise your hand and it’s still shaking. Everyone, including the Sergeant, looks at you genuinely concerned. SARGE: Parker, you don’t need to raise your... What is it? [[Bail. This wasn’t a good idea.->7]] [[Keep going. You still don’t have an answer.->8]]

DRIVER: Two minutes! SARGE: One last thing. I want to reiterate that there will be no firearms in this operation. Batons, shields, and teargas only. The powers that be don’t like the…optics of lethal weaponry. KURT: Toy guns for toy soldiers. The others nod grimly. SARGE: Our plain-clothes guys on the ground are reporting that while large, the riot is not particularly violent at this time. We’ll be fine if (pointed glance at you) we stick to our objective. DRIVER: One minute! The Sergeant walks over to you, kneels to your level, and adopts a smile that he hasn’t really figured out how to use yet. SARGE: You going to be okay today, son? [[Yes, sir.->10]] [[I hope so.->10]]

You lower your hand and shake your head. The eyes of the others gradually shift back to the Sergeant. [[Just listen.->9]]

You lower your hand and press on. PARKER: If the rioters are in one spot, why would we try and get in the middle of them? Why not just contain them? The Sergeant glances at Kurt then back at you. SARGE: Were you briefed, Parker? PARKER: Yes but- SARGE: I should throw you out of this car. All eyes are on you. SARGE: As your experience literally consists of the ride from the station to here, I’m not looking for your feedback. This is the plan. Wake the hell up. [[Focus.->9]]

Kurt cuts you off. KURT: He’ll be fine. SARGE: Kurt lobbied hard to get you out on this mission. Don’t make him look stupid. The vehicle swerves violently then screeches to a standstill. DRIVER: Shit. Sorry boys. This is it! [[Enter the riot.->11]]

You exit the hot seat and enter the furnace. The high-noon sun beats down on you through the shroud of smoke. You can taste the burnt rubber in the air. Your city is in chaos. You pick up a shield and Kurt shepherds you to the end of the line of officers. KURT: You’ll be safer here. Just shoulder-check the alleys and be on alert for flanking activity. You’ll be fine. Before you can respond, he’s gone. Closer to the center and closer to the action. You try to find him in the line but can’t. The order is given and you advance. In the distance you can see where you’re headed: a crowd of rioters lie ahead. They’re not moving. You’ll engage them soon. [[Shoulder-check.->12]]

Nothing in the first alley but dumpsters. Keep moving forward. You’re twenty meters out. You can see the rioter’s faces now. Only their eyes are visible over bandanas. They’re all carrying something… sticks or rods? You can’t be sure. KURT: They have weapons! SARGE: Deploy! Your neighbour in the line reaches for his teargas launcher. Do you follow suit? [[Deploy your teargas.->13]] [[Shoulder-check. ->15]]

You mimic you’re neighbour’s every move and fire a canister of the gas. Yours joins the volley of the other officer’s canisters and the view of the crowd is lost in a sea of mist. [[Shit! Shoulder-check!->14]]

You swing your head around to look down the next alley…nothing. You heave a deep relieved breath. You look back and think you can make out a silhouette on the crowd’s edge. It’s pointing the rod at the line! [[Brace!->16]]

No need to mess around with equipment you’re not 100% confident using. You check the alley… nothing. A crack draws your attention to the arching volley of canisters sent into the air. The crowd is lost in a sea of mist. You think you can make out a silhouette on the crowd’s edge. It’s pointing the rod at the line! [[Brace!->16]]

You tuck behind your shield as jets of light emerge through the mist. Sparking streams of red and green harmlessly scatter over your shield’s transparent face. Fireworks? Nervous laughter comes from your fellow officers. SARGE: Keep moving! The line advances. Roman candles continue to fire. Then, the rioters get serious. Molotov cocktails arch their way towards you. But what do you do? [[Block the Molotov.->17]] [[Dodge the Molotov.->18]]

You raise your shield and feel the glass shatter across its face. Its surface is engulfed in flames. NEIGHBOUR: Snuff it out! You press it against the pavement. The flames are incredibly persistent but finally dissipate. You regain your composure but your transparent shield is warped and charred. [[Keep Moving.->19]]

You hold your ground and wait as the cocktail misses you, but strikes your neighbour. His shield is engulfed in flames. You move towards him but he pushes you away. He presses his shield against the pavement struggling mightily to snuff the fire. His shield is badly warped. NEIGHBOUR: Just do your job! [[Keep moving.->19]]

Under the hail of bottled fire, the line advances. But not the whole line. While completing a shoulder-check left, you look right and see an officer frozen to the spot. It’s Kurt. What’s wrong? Is he hurt? Has he seen something? [[Call to him.->20]] [[Hold your ground.->21]] [[Go help him.->22]]

PARKER: Kurt!!! You call but there’s no answer, not even a look. It’s as if his blood turned to cement. [[What now?->23]]

You need to hold the line. Someone will see him, right? You keep moving. You shoulder check and… [[Oh god.->24]]

Kurt is in trouble. There’s no way you’re going to leave him. The line keeps moving as you run back. Kurt’s eyes are wide, his mouth lies slack and he doesn’t respond to your calls or shaking. You hear the clatter of heavy footfalls and see blurred movement in the reflection of Kurt’s visor. You turn. [[Oh god.->24]]

[[Hold your ground.->21]] [[Help him.->22]]

A rogue wave of rioters are sprinting at you from the alley. [[Hold your ground and face them.->25]] [[Warn the others.->26]]

You brace yourself and raise your baton. [[WHAM.->27]]

PARKER: Left fla- [[WHAM.->27]]

The sheer number of the rioters overtakes you. Your head hits the cement hard and your helmet rolls away, broken and useless. Your body tenses as you beg for footfalls to miss you. You lie prone for what seems like a couple of seconds. And as you look up, you see the legs of the last rioter pass by your head. [[Swing your baton.->28]]

Your blow connects with the rioter’s ankle. You struggle to your feet as he limps his way back down the alley. [[Pursue him.->29]]

Your head swims from the fall but you follow at a run. You twist and turn through the narrow path until you reach a dead end. The rioter stands waiting. [[Warn him verbally.->30]] [[Subdue and arrest him.->31]] [[Fire teargas into the alley.->32]]

He’s already hurt. Give him a chance to give up. PARKER: Come with me and we’ll take a look at that leg, okay? Silence from the rioter. [[What Now?->33]]

Here we go… PARKER: You are under arrest for participating in a riot. (You advance) Place your hands behind your head and drop to your knees. You retrieve your cable-tie cuffs and grip your baton. He follows neither of your requests. He bolts. [[Trip him.->34]] [[Tackle him.->35]]

You still have some teargas. You fire the canister into the rioter’s end of the alley. The cloud engulfs him and you wait. He has to come out eventually. You retrieve your cable-tie cuffs and grip your baton. He bolts. [[Trip him.->34]] [[Tackle him.->35]]

[[Subdue and arrest him.->31]] [[Fire teargas into the alley.->32]]

You’re half his size but with his leg, you’re quicker. As he tries to pass you, you lunge out with your leg. He falls and on his way down, he connects with the corner of a dumpster. He lies face down. You pin him and retrieve your cuffs. It’s over. You pull the cuff tight on one of his wrists when you see a creeping pool of blood on the pavement emerging from the rioter’s head. You’ve killed him. He’s dead. [[Get off of him.->36]]

With his leg he’s less of a threat. Take him down…now! You lunge and are just able to bring him down. He struggles, but you’re able to fit your cuffs on one of his wrists. PARKER: Just stop! He disobeys. He blindly flings an elbow from his uncuffed arm at your head. It barely misses. Screw this. You throw all of your weight forward, throwing him onto the ground. He seems to have gotten the message, he no longer struggles. You take a breath and go to cuff his free hand when you notice a creeping pool of blood on the pavement emerging from the rioter’s head. You’ve killed him. He’s dead. [[Get off him.->36]]

You jump off him with the instance of a reflex. The sun beats on the alley like a spotlight. The shock seeps through your skin, engulfing you. The heat! Your vision wanes and waxes from focus. You’re too hot! [[Strip off your gear.->37]]

You shed your shell of hard plastic but the weight remains. Your balance leaves you and you drop… [[Let go.->38]]

KURT (At certain points in the story you will briefly inhabit a character other than Parker. This is one of those times.) <hr> The skirmish is over. The rioters have either been arrested or have fled and now you finally have a moment to think. You froze… And you don’t know why. The thought crept into your head and a question was whispered: What if you didn’t hold the line? And you stopped. Then, the engagement. They flanked the line on Parker’s side and scattered your structure but you regrouped, and endured. Parker… where is he? You swing your head one way and the other but can’t find your friend. KURT: Parker!?! The only response is the crackle of cars burning. You see a group of officers crowded in a circle. Is that him? [[Find out.->39]]

You part the circle and see the Sarge lying on the ground. His visor melted to his face by a cocktail. You can’t tell where his helmet ends and his face begins. He’s in shock, muttering. SARGE: Get it off… Get…off. Four officers lift him in unison and carry him back to the vehicle. OFFICER: Our commanding officer is down. Now what? [[Improvise a strategy.->40]] [[Stick to the plan.->41]]

KURT: We get the hell out of here. This plan was odd but we’re in it now. We’ll push forward as quickly as possible. But first, let’s find Parker. OFFICER: Yeah to everything except Parker. I haven’t seen him either but he knows the mission as well as we do. He’ll find us. In the distance an explosion echoes. You watch as a new pillar of smoke emerges above the cityscape. KURT: Let’s go. [[Move out.->42]]

KURT: We get the hell out of here. Sarge may be outbut the plan stays the same. We’ll push forward as quickly as possible. But first, let’s find Parker. OFFICER: Yeah to everything except Parker. I haven’t seen him either but he knows the mission as well as we do. He’ll find us. In the distance an explosion echoes. You watch as a new pillar of smoke emerges above the cityscape. KURT: Let’s go. [[Move out.->42]]

PARKER <hr> You come to. The sun that once shone straight into the alley now hides behind skyscrapers. How long have you been out? You turn and see the body. The halo of blood is dry now, like sunbaked kelp at low tide. You need to get out of this alley. You take your baton and… [[Leave.->43]]

Your thoughts echo in the vast emptiness of the city street. Any signs of the skirmish, and your unit, have vanished. A blanket of smoke hangs high above the city. Pillars of fresh smoke feed it like rising tornadoes. One of these pillars is close and is glowing orange. You have your heading. You walk. The empty road feels more like a river when it’s deserted. The tall buildings like the stalks of ever-reaching trees and you, very much alone in it all. And then you’re not alone. [[Who is that?->44]]

In the distance, snaking towards you is a tandem bike, with a single rider. He pedals on as his invisible companion’s pedals rotate behind him. As he gets closer, you notice he’s wearing a riot police helmet that’s comically too big for him. It rotates on his head like a limb that’s lost circulation. He seems to break out of a his trance and notices you with a start. He loses control of the bike and his body slaps to the ground. Unfazed, he rises and takes a bow. His eyes peek at you from under his lowered forehead. He awaits the audience’s review. [[You don’t have time for this.->45]] [[Make him wait a little longer.->46]] [[Play along.->47]]

The more time away from your unit, the harder it’ll be to get out of here. That’s all that matters. You take out your badge from underneath your shirt. You show it to him. PARKER: That helmet isn’t yours, kid. Where did you find it? The rider panics, he struggles to hoist the tandem bike’s frame from the road. You’re already there, and you have your baton. What comes next? [[Wedge the baton in the wheel’s spokes. You’re not a thug.->48]] [[Maybe you are. How do you think he got that helmet? You need information.->49]]

You say nothing. Sometimes it’s best to let the talkers talk. RIDER: Ha. Hey man, a smile would kill ya? I mean yeah I bailed pretty hard but I wore it like a champ and I’d expect a little sympathy. Is it the helmet? I just didn’t want a ticket. Ha! I mean it’s not mine, or anything. Obviously. But it looked like a cool souvenir. You’ve waited long enough. PARKER: Where’d you find it? The rider eyes you hard. RIDER: Why, is it yours? He exhales into a half laugh. [[PARKER: It might be, actually.->51]]

You clap heartily. RIDER: Thank you! Thank you! What’s up, man? You look pretty beat. PARKER: I’m fine. There was some fireworks earlier which was pretty cool but, you know, just taking it all in. What about you? (Gesture to the helmet) Looks like you’ve seen some shit. RIDER: Yeah, man! Just trying to be a fly on the wall you know? Cruising through each moment. This is all pretty surreal and it doesn’t happen every day. Yeah, kid it’s magical. Get back to the helmet. PARKER: I bet. It’s all pretty crazy. So, what’s the story with that helmet? How does a fly on the wall get that? RIDER: This? Oh, I just don’t want to get a no-lid ticket. This city’s all about law and order. He laughs at his own joke but sees that you aren’t. PARKER: Seriously though, where’d you get it? [[Pull out your badge.->52]]

As he begins to push on his pedals, you wedge your baton in the rear wheel. Once again, the rider tumbles to the ground. He sits looking up at you with terror in his eyes. The helmet droops over his face and he yelps as he regains his vision. Not once in your life have you been considered terrifying. The guilt scratches inside your stomach. PARKER: Hey, it’s okay. I just need to know where the helmet came from and then you can go. That’s it. He squints as sweat drips into his eyes but he fights not to close them. RIDER: One of those…swat truck things. One of them’s burning. Right over there. He points to one of the closer plumes of smoke. PARKER: Okay. You can go. He tosses the helmet aside and runs. The bike lies abandoned in his wake. PARKER: Your bike! But he’s gone. Well, time is of the essence, and now you have a bike. [[Ride to the smoke.->50]]

You hold the baton across both your hands and cross-check the rider to the ground. He sits looking up at you with terror in his eyes. His helmet slides over his eyes hiding the origin of two tear streaks sliding down his cheeks. Well, he’s scared now. You wrench the helmet off his head and look him in the eyes. PARKER: Where did you get this? He begins to turn his head but you pull it back to face yours. PARKER: No. I’m right here. Where did you get this? RIDER: I – I’m trying to show you. There. Right there. Trying not to turn from you he points to a nearby plume of smoke. PARKER: What happened? RIDER: I don’t know! I got there afterwards. There wasn’t much left. They burnt one of those SWAT truck things and this is what’s left. That’s it I promise! PARKER: Okay. You can leave. And he’s gone. He’s running as fast as he can from you. Guilt tugs at the top of your stomach. Not once has someone thought of you as terrifying, until now. What are you doing? Anyway, time is very much of the essence and now you have a bike. [[Ride to the smoke.->50]]

You hop onto the bike and head towards the smoke. You glance back over your shoulder and see the rear pedals spinning on their own. It’s a strange feeling riding a tandem bike alone. You round a corner and find a strange scene unfolding. You coast towards a group of people surrounding a once very expensive burning car. One by one, they each take a turn at trying to run across the flame-engulfed roof of the vehicle. It reminds you of those people who can walk on a bed of coals and come out unscathed. That kid was right, it’s easy to be a fly on the wall while riding this thing but do you go closer and explore this event? [[What could it hurt? Moments like these can’t be manufactured in police training.->53]] [[You shouldn’t screw around. Getting out of here is your only priority.->54]]

He frowns but then sees your baton in your belt loop. RIDER: Shit. Hey man I just found it and picked it up. I didn’t do anything. I’m more of an intrigued observer if you know what I mean. PARKER: So… RIDER: Right! Right over there, man. (he points to a nearby plume of smoke) it was pretty crazy. I mean the cops and stuff. PARKER: I can imagine. Thank you. You take a step forward and he begins to backpedal. RIDER: You know, I think I’m just going to go home now. Really not the safest place to be. Probably some bad life experiences and stuff so… yeah. He turns and runs. Going, going…gone. Well, that was odd. But time is of the essence and now you have a bike. [[Ride to the smoke.->50]]

The rider panics, he struggles to hoist the tandem bike’s frame from the road. You’re already there, and you have your baton. What comes next? [[Wedge the baton in the wheel’s spokes. You’re not a thug.->48]] [[Maybe you are. How do you think he got that helmet? You need information.->49]]

The angel and devil joust on your shoulders but the latter wins out. You glide closer to the flames. You lay the bike down and proceed on foot. If the others in the crowd notice you, they don’t show it. All of them stare at the car, mouths agape, eyes unblinking. The next contestant tries his luck. He strides backwards to get a running start, psyches himself up, then runs. Giant strides close the distance quickly. He’s on the hood, the winsheild… Then he slips. He slides across the roof of the car but bounces to his feet as fast as he fell. Clothes singed, he decends off of the car’s trunk and rolls on the ground to smother any notions of a fire. The others whoop and cheer and the man raises his arms in adrenaline-fueled ecstasy. You hear a soft and steady sobbing from the other side of the car. You walk around the group’s perimeter and see a man in a once very expensive suit. He sits on the curb as tears tug his body forward. In his hands are a set of car keys. You put two and two together and look at the burning remains of the man’s car. You look at the crowd and see that they are now looking at you. When you walked to the sobbing man you walked right where the last contestant started his run up. You look down the path to the flames. What do you do? [[Run through the flames. Who knows what they’d do to you if you refuse?->55]] [[Get the sobbing man and make for the bike. What will they do to him once the flames go out?->56]]

You turn and look for another way around. [[Press on.->58]]

A voice inside your head whispers…"go". You run at the car with everything you have, all the guilt that writhes in your body, all the fear of what comes next. You’re at the hood, the windshield, the roof, flames singe the souls of your shoes, the trunk and then… the road. You roll like the runner before you and rise to the whoops of the crowd. But then they’re silent. They stare at with a consuming emptiness. What is it? Then you follow their eyes to your chest. Your badge has become dislodged from behind your shirt. [[Run.->57]]

It’s time you lived up to your job description. You run at the car but at the last moment peel off towards the man. You grab him and run toward the bike. An unspoken covenant has been broken and you know it. The group barrels down towards you both. You run like hell until your hands seize the handlebars. You hop on the bike and the man follows your lead. With each pedal you press all of your weight towards the ground. They’re gaining on you. You look back at the sobbing man and urge his pedals to spin. PARKER: Faster!!! They oblige, and spin faster as the two of you synch-up. Your pursuers lose pace and fall back until they finally they stop. You round the corner leaving them behind. As soon as you’re out of sight you feel the back of the bike swerve. You turn to see the back of the sobbing man running away from you. [[Press on.->58]]

You run like hell toward the bike. Your hands seize the handlebars. You chance a look and see the group barelling down on you. You run with the bike then hop onto it, pushing down on each pedal with all your weight. They’re gaining on you. You look back at the phantom rider and will his pedals to spin. PARKER: Faster!!! They oblige and spin faster. Your pursuers lose pace and fall back until finally they stop. You round the corner, leaving them behind. [[Press on.->58]]

Finally you arrive at the source of the smoke. You leave the bike and move cautiously forward. The fire is almost out now. Nothing left to burn. You get closer and explore the steaming skeletal remains of your riot vehicle. There’s nothing left. All this way for nothing. Until… You find a body. It’s a young girl. She can’t be more than twelve. She’s not moving. What could have possibly led to this? Who could have just left her behind. She slowly opens her eyes. They find you and widen. With a powerful cry, she’s up and swinging. Shocked, you recoil, trying to convey that you pose no threat. She’s panting, panicked, standing rooted to the spot. What now? [[Question her. If you know more, you can help her. Who was she with? Why is she here?->59]] [[Calm her. She’s terrified and with good reason. Help her calm down, she needs to know she’s not in danger.->60]]

PARKER: Whoa, whoa, whoa. It’s okay! What happened here? Are you okay? Her eyes stay locked on you. She says nothing. You try again. PARKER: I’m going to help you get out of here. You can trust me. Were there any police officers here? She nods. PARKER: Okay, good. I’m one too. [[Take out badge.->61]]

Maintaining eye contact, you sit cross-legged. You’re not a threat. PARKER: Are you okay? I thought you were hurt. I’m just looking for my friend. Is it okay that I sit here? You can see the gears turning. She nods. PARKER: Okay. Can you tell me if there were police officers here? She nods again. PARKER: Good, that’s a big help. I’m a police officer. [[Take out your badge.->61]]

You seem to have her attention. Her fists fall to her sides but she still stays planted. [[Toss her the badge.->62]] [[Establish a rhythm. Build trust.->63]]

You remove the badge from around your neck and lob it toward her. It sails and falls at her feet. She picks it up and runs her thumb across its surface. PARKER: So what do you think? She puts it around her neck. PARKER: Cool, right? You can wear it for a bit if you’d like. My name’s Parker, what’s yours? She pauses. Looks at her reflection in the sheen of the badge. ALICE: I’m Alice. PARKER: Okay, Alice. Can you keep that safe for me? She hides it under her shirt and nods. PARKER: Good- ALICE: You’re bad at this. PARKER: What do you mean? ALICE: You’re not asking questions right. Questions are important, you know. You need to ask good questions to get good answers. PARKER: Uh, am I not doing that? I know your name. I know there were police officers here. ALICE: Hi, my name’s Sarah. Hi, my name’s Bob. PARKER: So are you Sarah, Bob, or Alice? ALICE: See? You don’t know. And now I’ve got your badge. I told you, you’re bad at this. [[Good. Let her think she’s in control.->64]] [[Oh yeah?->65]]

She reaches out for the badge but you hold back. PARKER: I’ll let you take a look at this if you answer a couple of questions for me, okay? She nods. PARKER: Great. So, what’s your name? ALICE: Alice. She takes a step forward and you do too. PARKER: Okay, Alice. Can you tell me if you saw any police officers here? ALICE: Yes. She takes a couple more of steps forward. PARKER: Where did they go? You step forward. You’re no more than two meters apart. PARKER: Catch. [[You toss her the badge.->63A]]

PARKER: Good point. Maybe we should team up? We could help each other and both get out of here. ALICE: How do you help me? PARKER: How old are you, Alice? ALICE: Twelve. PARKER: Are the people you’ve seen around here mostly older or younger than you? ALICE: Older. PARKER: Interesting. Have they been bigger or smaller than you? ALICE: Bigger… I get it. PARKER: Yeah, having an adult around might not be the worst idea. ALICE: Yeah. PARKER: Okay then. Which way did the police go? Alice spins slowly like the needle of a compass until finally she stops. Her finger points down the road, further from the core. [[That way.->66]]

PARKER: Okay. Why were you playing dead? ALICE: I…I thought people would leave me alone. PARKER: How’s that working out for you? Alice looks at her shoes. PARKER: Playing dead actually attracts attention. And that’s the last thing you want. ALICE: I guess a cop would know all that. PARKER: Help me get back to my friends, and we can both get out of here. You can see the gears turning in Alice’s head again and she nods. PARKER: Which way? Alice spins slowly like the needle of a compass until finally she stops. Her finger points down the road, further from the core. [[That way.->66]]

The walk is mostly spent in silence. You’re not sure how to make small talk with a twelve year old. The hazy circle of the sun drops below the skyline and the air shifts from hot to cold. Alice is shivering so you pause beside the smoldering embers of a burned out car to warm up. PARKER: So if you’re twelve, what grade are you in? ALICE: Six. PARKER: Yeah, you’ve got some grade six attitude. ALICE: It’s not attitude, I just ask good questions. PARKER: Hm. Do you know why police officers are called cops? Alice shakes her head no. PARKER: It’s short for copper. A long time ago every police officer wore a uniform that had shiny copper buttons. So when people saw those buttons, they knew it was a cop. ALICE: Why aren’t you wearing a uniform? She does ask good questions. [[Tell a half-truth.->67]] [[Deflect.->68]]

PARKER: I don’t want people to know who I am right away. So I don’t make it easy to spot the copper buttons. ALICE: So you use your badge? PARKER: When I need to. The embers of the car go out. The cold returns. Time to get moving. ALICE: What goes up must go down. You look at her, puzzled, then follow her gaze to the sky. The smoke that was held aloft by the day’s heat steadily sinks to the surface. In the distance, only the glow of streetlights can now be seen. Like lily pads on a pond, you can use them to cross through the darkness. You need to go. Now. PARKER: Ready to go? Alice looks at the smoke, then at you. She hugs your arm with both of hers and takes a steadying breath. ALICE: Ready. [[Enter the mist.->69]]

PARKER: Who needs one when you’ve got an badge? Don’t you think I’d look weird in the uniform all by myself? ALICE: So it’s okay when there’s a lot of you but when you’re alone you don’t like to look like a policeman? PARKER: Something like that. The embers of the car go out. The cold is more present. You can’t just sit here. ALICE: What goes up must go down. You look at her, puzzled, then follow her gaze to the sky. The smoke that was held aloft by the day’s heat steadily sinks to the surface. In the distance, only the glow of streetlights can now be seen, like lily pads on a pond you can use them to cross through the darkness. You need to go. Now. PARKER: Ready to go? Alice looks at the smoke, then at you. She hugs your arm with both of hers and takes a steadying breath. ALICE: Ready. [[Enter the mist.->69]]

The mist is thick. After only a few steps your once white shirt is now stained grey. You roll your feet from heel to toe so as to move as silently as possible. Due to her size, Alice can barely be heard. You move forward. The streetlamp you seek no bigger than a pixel ahead of you. But it’s not the only source of light. Glowing rectangular slabs swing and bob in the distance. What are they? Before you can speculate, a scream cuts through the fog. One rectangle goes out. The shadows that prompted the scream dart past you. You get a glimpse of their bandana-clad faces. Thankfully they don’t see you. Alice’s grip tenses but she doesn’t make a sound. Good girl. You keep moving, fixed on the static light in the distance. You can feel the soot coat the inside of your mouth. Alice tries but fails to stifle a cough. You lower yourself to her level and find her eyes bursting apologetically. You smile at her and have an idea. You tug at the collar of her shirt and hook it over her nose. It’s not perfect but it should help. What about you? You think about covering your own face but remember the bandana wearing attackers that passed. Do you risk being mistaken for one of them or do you leave yourself open to the filth that surrounds you? [[Cover your face. If you’re found it won’t matter who people think you look like.->70]] [[Leave your face uncovered. In a flash encounter, first impressions are everything. You will not look like one of them.->71]]

You cover your face and immediately feel the relief of cleaner air. You find the streetlamp’s light and keep moving. You’re getting closer now. But another light pulls your focus. You look to your left and finally the source of the glowing rectangles. They’re phones. This one belongs to a woman who holds hers aloft, trying to avoid potential obstacles. The cruel irony is that the light keeps her eyes from adjusting to the darkness, leaving her blind and vulnerable to those whose eyes have. As if on cue, you hear the footfalls of the attackers you saw before. They creep closer to the woman. Alice’s nails bite into your arm. What do you do? You can’t call out to her or the attackers will see you. But you can’t just watch. You reach for your baton. As you unsheathe it from your belt loop you guide Alice behind you. The last time you attacked someone they ended up dead. Maybe you can prevent harm this time. You take a deep breath through your shirt. [[Now.->72]]

You spit out the grime that lines your mouth and keep moving. You are not a threat and you won’t look like one. You find the streetlamp’s light and keep moving. You’re getting closer now. But another light pulls your focus. You look to your left and finally understand the glowing rectangles. It’s a phone. This one belongs to a woman who holds it aloft, trying to avoid potential obstacles. The cruel irony is that the light keeps her eyes from adjusting to the darkness, leaving her blind and vulnerable to those whose eyes have. As if on cue, you hear the footfalls of the attackers you saw before. They creep closer to the woman. Alice’s nails bite into your arm. What do you do? You can’t call out to her or the attackers will see you. But you can’t just watch. You reach for your baton. As you unsheathe it from your belt loop you guide Alice behind you. The last time you attacked someone they ended up dead. Maybe you can prevent harm this time. You filter a deep breath through gritted teeth. [[Now.->74]]

You raise your baton and prepare to strike. Then a blinding light. You shield your eyes as a voice rings out. JACK: Bludgeoned, tear gassed, and still ticking, this is Jack Brown continuing to…exclusively from…damn. Can we take that again? MAYA: We’re live, Jack. JACK: Right, never mind. As your eyes adjust, you see that these are the voices of a reporter and camerawoman. Her face is protected with a scarf but the reporter’s face is open. The light has lifted the curtain on the scenario about to unfold. Jack sees the woman holding her phone. JACK: And yet another poor soul lost in this dead zone. She turns from the camera light and sees the men now illuminated behind her. She screams and is gone. JACK: There! The bandana-clad ruffians who prey on the helpless. You cowards! The two attackers flee as Jack takes a swing at them with his microphone. Then the camera’s light turns on you. MAYA: There’s another one! And a kid. Jack faces you. JACK: What have we here? You realize how this looks. Your face covered, baton raised…and the camera is pointed right at you. Talking your way out of this wont help you. But the camera can’t film what it can’t see. [[Break the light.->73]]

In one fluid motion you smash the light with your baton. Once again you’re surrounded by darkness. JACK: Sabotage! PARKER: Quiet! The light attracts them. JACK: Who? PARKER: The, uh, “ruffians”. Now, be quiet and let’s get out of here. Everyone link up. You keep Alice in front of you and feel Jack grab a handful of your shirt. JACK: Ready. You move together as a train. JACK (whispering): For those of you just joining us, we are being led, blindly, through the infinite darkness by a mysterious stranger. [[Shut him up.->75]] [[You kind of like being the “mysterious stranger”…->76]]

You raise your baton and prepare to strike. Then a blinding light. You shield your eyes as a voice rings out. JACK: Bludgeoned, tear gassed, and still ticking, this is Jack Brown continuing to…exclusively from…damn. Can we take that again? MAYA: We’re live, Jack. JACK: Right, never mind. As your eyes focus, you see that the voices belong to a reporter and camerawoman. Her face is protected with a scarf but the reporter’s face is open, like yours. The light has lifted the curtain on the scenario about to unfold. Jack sees the woman. JACK: And yet another poor soul lost in this dead zone. She turns from the camera light and sees the men now illuminated behind her. She screams and is gone. JACK: There! The bandana-clad ruffians who prey on the helpless. You cowards! The two men flee as Jack takes a swing at them with his microphone. Then the camera’s light turns on you. MAYA: There’s another one! And a kid. Jack faces you. JACK: What have we here? You realize how this looks. Even without a bandana you stand with your baton raised, about to strike…and the camera is pointed right at you. There’s no time to explain what happened but the camera can’t film what it can’t see. [[Break the light.->73]]

PARKER: You think talking won’t attract attention? Jack seems to get the point and is silent the rest of the way. [[Continue.->77]]

You allow yourself to smile. There hasn’t been much to laugh at today. JACK: Ouch! Maya? The camerawoman, Maya, seems to understand the need for silence. Jack gets the point and is silent the rest of the way. [[Continue.->77]]

Finally you reach the streetlight. A halo of light greets you as you exit the blackness. But you’re not alone. Two others sit at the lamp’s base, one consoling the other. JACK (to you): Finally! Permission to speak, Sir? The two are startled by your sudden appearance. One runs and the other hurls a piece of debris at you before bolting. [[Duck!->78]]

You hear the projectile whistle by your head followed by a muffled crunch. MAYA: Jack! You swing around to see Jack on the ground. His hands are pressed against his nose. Blood drips from between his fingers. You go to help. JACK: Ahhhh! Oh, for Pete’s sake! MAYA: That little prick. JACK: No. No, I startled them. You lead him closer to the center of the light’s halo to get a better look at the damage. His nose is very broken. You need straighten it while you can. But should you warn him, or just do it? [[Warn him. You don’t know this man and this is going to hurt.->79]] [[It’s going to hurt a lot less if you surprise him. Rip the Band-Aid.->80]]

PARKER: Jack? I’m going to need to straighten this out so it heals properly. It’s going to be a bit- Jack waves you off. JACK: Yes, yes, just do it, son. [[Do it.->80]]

You place your thumbs on either side of the mangled cartilage and press. Jack yelps with pain as his nose cracks into place. His fingers run along the now straight arch. This is your first opportunity to actually see Jack. He’s older, close to the mandatory age of retirement. His hair and skin are stained grey by silt but his eyes are a hard and icy blue. You look at them and see that Jack is doing similar visual reconnaissance. JACK: Thank you. You nod. JACK: And thank you for getting us out of there. You were quite right, like moths to the flame, hm? MAYA: Thanks? This guy broke my camera-light! He’s with some kid and looked pretty comfy in the dark. Jack looks at you but talks to Maya. JACK: You’re quite right. But there are many reasons that could account for what we saw. MAYA: But- JACK: Maya, please. Give this man a chance to defend himself. First, who is the child? [[Tell him what’s going on. You did nothing wrong…this time.->81]] [[Keep your cards close to your chest. Why do you need to prove yourself to him?->82]]

PARKER: Her name is Alice. She was lost and abandoned. I’m just trying to get her out of here. JACK: And the baton? The camera? You didn’t exactly look passive back there. PARKER: I found Alice near an overturned police vehicle. I took the baton for our protection. MAYA: And my camera? PARKER: I’m sorry. I panicked. I knew there wasn’t time to explain. I had to get that light out. JACK: Alice, my dear. Is what he’s saying true? Alice nods without hesitation. Jack’s face softens with relief, Maya’s not so sure. JACK: Then there you have it. What’s your name, sir? PARKER: Parker. JACK: It’s truly good to meet you, Parker. He beams at you as you shake hands. Alice runs to your side, once again clinging to you. JACK: I’m not sure what you have planned, but there’s a restaurant a little ways from here where other journalists have been filing their stories. It’s one of the few places left with an internet connection. If you come with us we should be able to get both of you out. You think of Kurt and the others but now that you have Alice, how would that work? JACK: Believe me, you’re not likely to find other allies in this place. Between the rioters and the police, this is the best chance at staying safe. PARKER: What do you mean the police? MAYA: Here. She shows you footage from her camera’s viewfinder. You box out Alice so she can’t see. Police violently detain a man. They keep swinging. Then she shows you another clip of the same. MAYA: It’s happening all over. Another clip. JACK: There seems to be no one in charge. And another clip. JACK: Unchecked recklessness. Then in the last clip you see Kurt. He’s standing as two officers pin a young man to the ground. He’s just watching. Then he steps forward. You push the camera away. PARKER: I get it... We’ll go with you. JACK: Good. It’s too far to go tonight. Let’s find a place to sleep and leave first thing. Shall we? The images you just saw bite into your eyes. What is happening? Alice looks at you, politely puzzled. You regain focus. PARKER: Okay, let’s go. [[Get going.->83]]

You say nothing. And stare Jack down. JACK: I want to trust you, son. Alice runs between you and Jack. She clings throws her arms around your waist. ALICE: My name is Alice and he didn’t do anything wrong! I was lost and he’s just trying to help me. He’s a good-guy. She looks up at you and smiles. You see the chain of your badge glint around her neck. You smile back. JACK: I’m glad you’re safe, Alice. He looks back at you. JACK: But what about the baton? And the camera? ALICE: He- JACK: I’d like to hear it from him, sweetheart. Jack looks at you and doesn’t blink. This will get complicated if you don’t explain. PARKER: I found Alice near an overturned police vehicle. I took the baton for our protection. MAYA: And my camera? PARKER: I’m sorry. I panicked. There wasn’t time to explain. I had to get that light out. JACK: Alice, my dear. Is all of this true? Alice nods without hesitation. Jack’s face softens with relief, Maya’s not so sure. JACK: Then there you have it. What’s your name, sir? PARKER: Parker. JACK: It’s truly good to meet you, Parker. He beams at you as you shake hands. Alice runs to your side, once again clinging to you. JACK: I’m not sure what you have planned, but there’s a restaurant not far from here where other journalists have been filing their stories. It’s one of the few places left with an internet connection. If you come with us we should be able to get both of you out. You think of Kurt and the others but now that you have Alice, how would that work? JACK: Believe me, you’re not likely to find other allies in this place. Between the rioters and the police, this is the best chance at staying safe. PARKER: What do you mean the police? MAYA: Here. She shows you footage from her camera’s viewfinder. You box out Alice so she can’t see. Police violently detain a man. They keep swinging. Elbows and knees. Then she shows you another clip of the same. MAYA: It’s happening all over. Another clip. JACK: There seems to be no one in charge. And another. JACK: Unchecked recklessness. Then in the last clip you see Kurt. He’s standing as two officers pin a young man to the ground. He’s just watching. Then he steps forward. You push the camera away. PARKER: I get it... We’ll go with you. JACK: Good. It’s too far to go tonight. Let’s find a place to sleep and leave first thing. Shall we? The images you just saw bite into your eyes like a raw wound. What’s happening? Alice looks at you, politely puzzled. You regain focus. PARKER: Okay, let’s go. [[Get going.->83]]

The group settles on an abandoned construction site and feasts on the spoils of a nearby vending machine. Alice sits with Maya who’s reluctantly letting her play with the camera. As you digest your meal of chocolate and chips. The clips you saw play on a continuous mental loop. Not for a moment did you think that Kurt would stumble. He was a rock, a prodigy, and the core of your plan. He’d know what to do about…the body. It even hurts to think the word. Now it seems that you’re not the only one who has fallen. JACK: What’s on your mind, Parker? You jump. He must have sat down and you didn’t notice. PARKER: What? Oh, nothing. How’s the nose? JACK: Oh, fine. Fine. Thank you for that. PARKER: Hey, I’m the one who ducked. JACK: And thank you again for earlier. We might have been in a bit over our heads. PARKER: You looked fine to me. I’ve never been so scared of a microphone. JACK: You’re very kind. PARKER: Maya doesn’t seem to think so. You look and see Maya gritting her teeth as Alice pulls on a part of the camera that doesn’t seem to want to be pulled. JACK: Yes well she’s a bit of a grump. It’s hard for her to see the good in most things, let alone in people. The good in people? PARKER: Have you looked around? JACK: Yes I have and I’ll admit that even I was beginning to doubt my fellow man until I ran into you. PARKER: Ha. Sorry I was the best that you could come up with. JACK: Well I see a young man who is brave, who is sheltering a child against some of the harshness of this world, who came to the rescue of two strangers, journalists I might add! And who has yet to give me any evidence to the contrary. [[Just thank him and be done with this.->84]]

PARKER: That’s very kind, Jack. Thank you. Jack nods and drops the subject. Alice and Maya join the two of you. ALICE: Before we go to sleep Maya had an idea. MAYA: I was just thinking that it’s been hard on all of us, being here. So I thought we could use some time to be alone and just talk. PARKER: To you? ALICE: Nope, to the camera. Maya sets the camera down on a box and. MAYA: This footage will be completely private. If once we’re out of here you want it deleted, just say the word and it’s gone. Alice, want to go first? Alice nods and sits cross-legged in front of the camera. Maya does as best she can to light the scene with a couple of discarded work lights and once she’s satisfied, you all... [[Leave Alice alone.->85]]

ALICE <hr> You’re on TV! Kind of. You run your hands across your shirt to press out any wrinkles and look into the camera. You should start talking, you suppose. Where should you start? [[Mom and Dad.->86]]

ALICE: Hi mom. Hi dad. It’s Alice. I just want you to know that I’m okay and keeping out of trouble. Your mind jumps to… [[A friend.->87]] [[Your adventure.->91]]

ALICE: I made a friend. His name is Parker and he’s really nice. He gave me this (you show the badge) so that I’d be safe. It’s working so far. But… [[People are getting hurt.->88]] [[He needs help too.->89]]

ALICE: This is definitely an adventure. I’ve found friends, and a kind of mission. It’s been a learning experience. You can feel your excitement drain away, you want to look happy for them but you’re scared. You take a breath and… [[Tell the truth.->92]] [[Put on a brave face.->93]]

ALICE: But I think it’s going to get more dangerous soon. Someone we’re with broke his nose. Parker fixed it but I’m worried that things are going to get worse. I don’t like it here. Your eyes sting but you tilt your head back to fight down tears. The words spill from you. [[I’m sorry.->90]]

ALICE: But I don’t know who’s going to help Parker if he’s busy helping me. He looks sad when no one’s looking. But I guess that’s okay. This place is sad. [[I’m sad too.->90]]

ALICE: I’m sorry! I’m sorry that I ran away. I wish I didn’t. I just wanted get away. But I hate this. I just want to be at home with you. You take a moment to wipe the wet streaks from your cheeks. ALICE: I’ll see you soon. Miss you. [[Give them a kiss.->94]]

You move to the camera and kiss the top of the lens. Your turn’s over. You walk to where the others are sitting and point to... [[Maya.->95]]

MAYA <hr> You pick up the camera and scrub through the files. You find your folder and look at the thumbnails for all of your previous video-journal entries. You see lots of smiling you looking back. You set the camera down and flip the viewfinder so you can frame yourself properly. You could really use a fill light to deal with the ominous shadows, but you suppose it fits the mood. You look into camera. [[Hello again.->96]]

ALICE: But I hate it here, mom, dad. I want to go home. I thought I wanted to get away, but I don’t! [[I’m sorry.->90]]

ALICE: I’m getting used to it here. It was hard at first but now I have help. I… I’m okay. You can’t keep this up. [[I’m sorry.->90]]

MAYA: Hello again. This is my thirty-eighth journal entry and I thought I might miss this one. And all at once you feel normal. All of the haze or static coursing through your body settles down. Now you can just talk. [[I can’t believe this is happening.->97]] [[I need to get out of here.->98]]

I’m absolutely in it right now! And I’ve filmed some stuff. Some…real stuff. It’s weird not doing anything in the moment. I’m obviously doing something by filming it but it feels wrong. Like I’m just watching it all happen. At least Jack gets to take swings at people. You look at your self in the viewfinder. [[I wish I could do something about it.->99]]

This is starting to be too much for me. I’m so glad I could do this today. But everyone’s getting hurt. Even Jack! He’s always had this sage-like invincibility about him but I guess that bubble burst. You look at yourself in the viewfinder. [[I wish I could do something about it.->99]]

MAYA: Police shit happens but it’ll all get painted by the riot. It’ll be “under the circumstances” and “with everything that was going on”. But look at me. I’m here. And I’ve restrained the urge to run around beating people. You stew on your last words and think of... [[Jack.->100]] [[Alice.->101]]

MAYA: Jack’s trying his best to put a happy slant on this. He needs to for some reason. He needs to find some Good Samaritan to make it all a wash. We’ll see. Okay, that’s it for now. Bye, Maya. You wave at the lens and exit frame. [[Who’s next?->102]]

MAYA: I’m terrified for this girl. I don’t know who Parker is but he’s not telling us something. But people seem to trust him. Maybe he’s the “hero” that Jack’s been looking so hard for. But I swear, if anything happens to that girl… Anyway I guess that’s it for now. Bye, Maya. You wave at the lens and exit frame. [[Who’s next?->102]]

JACK <hr> Pressing hard on your shoulders, Maya sits you down in front of the camera. This is silly. JACK: Where’s my frame? MAYA: No one’s going to see this, Jack. You hold your arm horizontally in front of your face and slowly move it down until… MAYA: There. That’s as low as the camera sees. You do the same moving your arm slowly up. MAYA: And there. That’s how high the camera sees. You’re all set. JACK: Thank you. Maya leaves you alone. [[Face the camera.->103]]

You’ve looked into a camera five days a week for nearly forty years…so why does this feel so strange? Then it strikes you, the urge to talk to someone who can never again be on the other side of that screen. "A chance to talk," Maya called it? Very well. JACK: Hello, Emily. The camera stares at you. [[You would be so angry with me.->104]] [[I miss you very much.->107]]

JACK: I’m off “gallivanting” as you would say. Out amongst a fair bit of chaos and danger. So, my apologies for that. At least you don’t have to watch today on TV. You smile to yourself for a moment. What would Emily want to know? [[I broke my nose.->105]] [[I found a child.->106]]

JACK: These are the times that I needed you most. I would always know that you were glued to the set, watching me. I hope that’s still true. Who do you need to tell her about? [[Parker.->108]] [[Maya.->109]]

JACK: You always said I’d hurt myself if I kept this up. Well, you were finally right. I broke my nose today. I’m just sorry that you didn’t have the chance to say, “I told you so”. It’s fine now, though. A nice young man set it for me. [[Tell her about Parker.->110]]

JACK: There’s a child with us, Emily. A sweet little girl. It’s so strange to see someone so wonderful thrust into such a darkness as this. Thank goodness that she’s not alone. [[Tell her about Parker.->110]]

JACK: I finally did it Emily. I found you a happy story to tell. You used to bother me so much. The bringer of doom and gloom. But now I’ve done it. I’ve found a moment where the clouds can part. You get to your feet. JACK: Until next time, my darling. [[Leave.->111]]

JACK: I’ve run into a peculiar young man. He seems so troubled but does the most wonderful things for those around him. He can’t see it but he’s doing a great deal of good. [[So I am happy to say…->110]]

gJACK: Maya’s keeping me on my toes. She’s looking out for me. Trying to keep me out of trouble for the most part. She’s quite fierce, actually. Poor Parker, a fellow with us now, is getting the brunt of that. Parker. You take a breath and say what you’ve wanted to since you found him. [[Tell her about Parker.->110]]

PARKER <hr> You sit staring into the camera. PARKER: This is stupid. This isn’t going to help. [[A few minutes of camera talk can’t fix this.->112]]

PARKER: It’s not like I’m going to talk for a few minutes and not have killed someone. You realize what you just said. You lurch towards the camera but stop. PARKER: Saying it doesn’t change anything. It’ll never be different. You can feel the knot unraveling. You keep going. [[It was an accident.->113]] [[You could get away with it.->114]]

PARKER: I didn’t mean to kill him. I don’t know what that’s worth, but it’s true. I didn’t know that a life could end so easily. All it takes is one strange twist. One hit to the head. And it’s gone. You feel…still. Almost quiet. You take a breath. Feel it stretch your chest and leave again. You look into the camera. [[And speak.->115]]

PARKER: No one saw it happen. The thought clings to your mind like the roots of a weed. With a great mental wrench you tear it from the ground. PARKER: I don’t mean that I’ll hide, but it’s insane. If I just kept going. Got out of here… it would all be over. But it wouldn’t change anything. You feel…still. Almost quiet. You take a breath. You feel it stretch your chest, then leave again. You look into the camera. [[And speak.->115]]

PARKER: I’m sorry. [[Leave.->116]]

Morning comes and you set out with the others. The streets are empty. It’s not long before you reach the restaurant. Jack and Maya run ahead as they see coworkers. They’re surrounded and hugged from all angles. You wait back. Alice squeezes your hand. You look down, she’s holding your badge out to you. [[Take it.->117]] [[Let her keep it.->118]]

PARKER: Are you sure? ALICE: I think you’ll need it more than me now. You think so too. You place the chain around your neck. Keeping it visible outside your shirt. You bend down to her level. PARKER: Tell Maya to keep my clip. Alice nods with a frown. ALICE: You’re not coming? You shake your head. PARKER: There’s something I still need to do. Alice opens her arms and you hug. She turns and runs after Maya and Jack. [[Walk away.->119]]

PARKER: That’s okay. I don’t want it. Plus, it kept you safe. I bet it’ll keep working. She puts the badge back around her neck. You bend down to her level. PARKER: Tell Maya to keep my clip. Alice nods with a frown. ALICE: You’re not coming? You shake your head. PARKER: There’s something I still need to do. Alice opens her arms and you hug. She turns and runs after Maya and Jack. [[Walk away.->119]]

The walk back to the riot’s core is like looking at the rings of a tree trunk. So much time is contained within so short a distance. You see the construction sight where you just slept. Where the dead zone was, now without all of its fog and darkness. The overturned riot vehicle where you met Alice. The charred remains of the climbed-upon car. The tandem bike. And then finally… [[The alley.->120]]

You slowly retrace your steps. You turn the corner. There he is. The body lies just as you left it. A thin layer of silt covers it like black snow. You sit down beside him and look at his one cuffed hand. [[Cuff yourself to the other.->121]]

You pull the cuff tight and lean back against the wall. [[You look at your hand...->122]]

It isn’t shaking. <hr> <center>[[THE END->Title]]</center>

You lob the badge toward her. It sails and falls at her feet. She picks it up and runs her thumb across its surface. PARKER: So what do you think? She puts it around her neck. PARKER: Cool, right? Can you keep that safe for me? She hides it under her shirt and nods. PARKER: Good- ALICE: You’re bad at this. PARKER: What do you mean? ALICE: You’re not asking questions right. Questions are important, you know. You need to ask good questions to get good answers. PARKER: Uh, am I not doing that? I know your name. I know there were police officers here. ALICE: Hi, my name’s Sarah. Hi, my name’s Bob. PARKER: So are you Sarah, Bob, or Alice? ALICE: See? You don’t know. And now I’ve got your badge. I told you, you’re bad at this. [[Good. Let her think she’s in control.->64]] [[Oh yeah?->65]]