(Cut to: the Morales Residence, Third Floor Corridor. The group is presently standing directly outside the Holo-Room. Aaron opens the door and gestures for everyone to step inside. One by one, they all file in. Once all of the other thirty people are inside, Aaron steps in and closes the door behind him.)
(Cut to: the Holo-Room. Everyone has spread out around the Room, standing a certain amount of space apart from each other. Sylvia stands by the panel on the wall.)
Aaron (to the other adults): We had the pleasure of showing your children this room yesterday. It's a place where illusions become realities. We simply call it the Holo-Room.
Carol: How does it work?
Sylvia: The mainframe uses a multitude of projectors, illusory probes, and motion trackers to design any place – factual or fantasy – in its memory banks. We can make the recreation seem as vast or as open as the actual location would be in real life.
Gerald: You mean like in Star Trek: The Next Generation?
(Brief pause)
Aaron: Yes, exactly. Here, we'll give you a few demonstrations (He gives his wife a signal with his right hand. Sylvia turns to the panel and enters a code. Shortly after she does, the grid-like pattern disappears and is replaced by what appears to be desert, as there seems to be nothing but miles of sand in every direction. Aaron continues talking as everyone gazes around in amazement). In reality, this room encompasses an exact area of 225 square feet. But at this moment, the equipment we installed in the walls makes this room appear to be as massive as the Sahara Desert.
Sharon (wiping her brow): It certainly is hot in here.
Sylvia: That's another part of the program; whenever the computer recreates a certain landscape, the landscape's climate is reproduced alongside it.
Mrs. Testaburger: How does it manage that?
Sylvia: Temperature resonators. They control the levels of heat energy and moisture in the air of the room. If this were a recreation of Antarctica, it would be much colder and drier. If it were a rainforest, it would be hot and more humid. If it were the area just outside this house, it would be cold and moist.
Cartman: But since this is a desert, it's just downright hot and dry as hell?
Aaron: Correct.
(Stan and Wendy are standing right next to each other)
Wendy: It actually is pretty hot in here.
Stan: That's 'cause you're standing next to me (They chuckle).
Randy: Good one, Stan.
Stan: Say, I have an idea for how we could cool off.
Wendy: How?
Stan: Let's shed some of our clothing!
(No one speaks for a few moments. Then some people laugh strangely.)
Randy: Bad idea, son.
Stan (smirking): Relax, Dad. I'm joking! (whispers under his breath) Or not.
Sylvia: Let's just change the setting (She turns back to the panel and enters in another code. The desert fades away and is soon replaced by an island surrounded by vast bodies of water. Everyone seems to be even more stunned than before. Shelly steps up to the shoreline and puts her hand in the water. She quickly recoils after this.)
Shelly: Jeez, that water is freezing!
Aaron: It's not real water, Shelly. It's merely another illusion created by the Holo-Room. This program is able to manipulate one's senses, as well as one's depth perception, into believing that water is all around them. It essentially looks, smells, feels, sounds, and even tastes like actual water. We've even used this room to go swimming at times.
Randy: That's not a bad idea. The only month of the year where snow doesn't cover the ground here is June. It's occasionally green in July, but we rarely have the opportunity to go swimming in this town.
Sylvia: This could remedy that problem (She enters a different code into the panel. Now the ocean and the island disappear and they are replaced by a huge ball room. This vicinity covers an approximate area of 105,000 square feet. The ball room has round tables with chairs near the side walls and the center of it is clear. One discerning feature about this program is that this time, there are people all throughout the room).
Sharon: Where are we now?
Sylvia: We're in the Orlando World Center Marriott's ball room. It's the largest ball room to date.
Sheila (noticing the new people): Are these real people?
Aaron: Yes and no. Each person you see is based upon an actual living human being, but they are merely part of the program. They only interact with us if we choose to do so, and they do not possess sentience.
Stan: Could we stick with this program for a while? I like it.
Wendy: Yeah, me too. I think a ball room would be a nice touch.
Aaron: I don't see why not. Anyone here interested in dancing?
(Everyone looks around at each other and most merely shrug.)
Gerald: Sure, why not? After all, we're all dressed for the occasion.
Sylvia: Excellent. Let me just get some music playing first (She enters another code into the computer. After a moment, Johann Pachelbel's "Canon in D" plays all throughout the ball room [If you are unfamiliar with that canon, I'd recommend you look it up. Odds are you've heard it at one point or other in your lifetime]. Several of the holographic figures get up to dance in pairs. The real people do the same, starting with the adults. Every man places his hands on his wife's waist and every woman places her hands on her husband's shoulders. Next the children get paired up. Stan pairs with Wendy and Kenny pairs with Juliana. As they join the adults, Kevin pairs with Shelly and Quincy pairs up with Karen. Now the only children left unpaired are Cartman, Kyle, Ike, Bebe, Red, and Lola. The boys gaze at the girls with blank expressions across their faces.)
Cartman (whispering): You go first, Kyle.
Kyle (whispering back): Me? Why should I be the first to ask?
Cartman: Because Jews always go down first! That's why!
Kyle: Whatever (He walks over to Bebe and wipes his brow anxiously). Bebe, you wanna dance?
Bebe (giggling): Sure, Kyle. I'd love to (Lola and Red chuckle as Kyle takes Bebe's hand and they go off to join the others).
(Cartman and Ike stand with each other. Lola and Red appear to be somewhat apprehensive, as if they are both worried that Cartman will ask them to dance. Soon, Ike bounces over to the girls.)
Ike (holding out his hand): Want to dance, Lola?
Lola (blushing): Sure, Ike. I'd be happy to dance with you (She lets Ike take her hand. Despite the fact that he is half her size, he pulls her along as if they were the same height and weight).
(Red and Cartman are now left alone. Liane is sitting in a chair next to her son.)
Liane: Go on, Eric. Ask her.
Cartman: Mom, don't pressure me, please!
Liane: Alright, hun.
(Cartman puts Butters' iPad away and takes a deep breath. He slowly approaches Red at the rate of one step every five seconds. Initially, she doesn't even seem to notice him. But when he's about five feet away, she acknowledges his presence.)
Red (frustrated): Just get it over with, fat-ass.
Cartman (slightly offended): Well, ex-cuuuse me! I'm trying to be a gentleman here!
Red: That would be a monumental accomplishment for someone like you.
Cartman: Red, maybe you should be wondering why no one else asked you to dance.
Red (after a moment of silence): Why do you think?
Cartman: 'Cause you're a ginger, that's why! You may not have freckles or pale skin, but you still got the hair!
Red (drily): My hair is not orange, stupid. Why do you think people call me 'Red?'
Cartman (jokingly): Maybe it's because you're Irish.
Red (confused): What?
Cartman: Haven't you ever seen The Shawshank Redemption?
Red: Yes, of course I- (realizes the reference). Oh, I get it (she chuckles).
Cartman (smiling): Oh, so I can get you to laugh? I just knew you had a sense of humor.
Red: What made you think I didn't?
Cartman: I've just never seen you laugh at anything I say. I thought your sense of humor was as dry as Christopher Walken's dreams.
Red (laughing again): That's actually a good one, Eric.
Cartman (holding out his hand): Care to dance now?
Red: Why would you want to dance with me? I thought you disliked gingers.
Cartman: I did. Until I came to terms with the fact that my biological father was a ginger. Now I've become a little more sympathetic to others.
Red: I assume by "sympathetic" you mean "tolerant?"
Cartman: Sure, you could say that. Now you want to dance or not?
Red (shrugging): Oh, what the hell! (She takes Cartman's hand and the two of them join the others on the dance floor.)
(Across the room, Kyle and Bebe watch them in amazement.)
Bebe: Never thought I'd see the day where Cartman managed to get on Red's good side.
Kyle: He can be very persuasive, Bebe.
(Stan and Wendy are dancing together not too far away from their best friends. However, it is notable that they have less space between the two of them, and Stan's hands are positioned a little lower than Wendy's waist. Sharon and Randy dance by them.)
Randy (looking down at his son): Stan, you're not holding Wendy the right away.
Stan (looking up at his father): I know, Dad.
(Randy and Sharon look at each other in concern.)
Sharon: Stan, are you feeling alright tonight?
Stan: Of course I'm feeling alright! Why wouldn't I be?
Randy: Stanley, you've been acting a little oddly this evening around Wendy.
Wendy: We're on a date, Mr. Marsh. The dinner party just happened to coincide with it.
Sharon: Well, you two have fun. Just don't get carried away.
Stan: Mom, Relax! You don't have to be so inquisitive!
Sharon: I wasn't being inquisitive, Stanley. I was just expressing my motherly concern.
Stan: I appreciate that, but don't worry about us. We just want to enjoy the evening.
Sharon: Okay, if you insist. (She and Randy dance away from them. Stan and Wendy then look around and see that the coast is clear)
Stan: I think this Marriott program is exactly what we need. Let's see if it recreated more of the building.
Wendy: I thought you'd never ask! (The two of them look around to make certain that the coast is clear, and once they're certain no one is looking, they make their way to an exit. They arrive in the front lobby and walk over to the elevators. Stan presses the "Up" button. Before long, an elevator opens and the two step in. Wendy presses the button for the top floor and the elevator closes up. It quickly begins its ascent.)
Stan: This is going to so sweet.
(Cut to: the Ball Room. Liane is sitting on her own, watching Cartman dance with Red. She smiles at the sight. One of the holographic figures approaches Liane from behind. He is dressed in a black suit and he is holding a cocktail in his right hand. He places his hand on Liane's shoulder.)
Hologram: Good evening, ma'am. Enjoying the festivities?
Liane: Yes, it is quite lovely here today.
Hologram: Oh, today is nothing. You should see what this place is like on holidays! It'll blow your mind!
Liane: I'm certain it would.
Hologram (sitting down next to her): Are you here for the week?
Liane: No, I'm just here for the evening with my son.
Hologram (noticing Cartman): Oh, oh, my apologies, ma'am (he seems a little embarrassed). I did not realize you were married.
Liane: I'm not. I had an affair with a member on the Denver Broncos once. Eric is the result of that.
Hologram (regaining his confidence): Well, in that case, can I buy you a drink?
Liane: Sure, why not? But first, may I ask your name?
Hologram: Chris. Chris Kirkpatrick (He leaves to get Liane a drink).
(Sharon and Randy have been watching Liane interact with the holographic recreation of Chris Kirkpatrick. They dance as a pair over to Aaron and Sylvia and talk with them without pulling apart.)
Sharon: Was that really Chris Kirkpatrick?
Aaron: No, it was just a recreation of him. However, the real Chris Kirkpatrick does in fact live in Orlando. So we decided to add him to this program.
Randy: Wow. Do you have any other celebrities from Orlando in here?
Sylvia: Yes, we do. We also have a bunch that live in Miami. In fact, look at that table over there (He briefly takes his left hand off his wife's waist to point out a certain table. There are three people seated there). That's Sylvester Stallone, Stephen King, and Nicolas Cage.
(Across the room, these three individuals are in fact seated at a table. Sylvester Stallone looks as if he is inebriated, Nicolas Cage looks bored, and Stephen King looks as if he is tense. King is writing something down on paper.)
Stallone: So, Nick and I was thinkin'; what if we tried to make another of your books into a movie?
King (looking up): I assume you two would want a part in it?
Cage (monotonously): Perhaps. First we'd want to have the screenplay ready in advance so we'd have time to get into character.
King: How much time do you normally spend getting into character?
Stallone: About a week. Maybe two if I have nothing better to do.
King (not amused): Neither of you guys has really shined much this past decade. If I want people to still think I'm a literally genius, I need to take my work seriously!
Cage (monotonously): Relax, Steve. We value our work as much as you do.
King: I certainly hope so. I do not want the next film to have the same fan reaction as DreamCatcher!
Stallone (yawns): Just write something and we'll go with it.
King (sighs): Sure. Why not? It's not like I got anything better to do, after all!
(Sharon, Randy, Sylvia, and Aaron stand by watching the three holograms interact with each other.)
Randy: Wow, that was just like observing the real-life versions of them!
Aaron: You can credit our children with that.
Sharon: What do you mean?
Sylvia: You see, the technology that runs this room is not permanently imbedded into the wall. It is 100% portable. Quincy and Juliana designed this entire thing themselves while we were living in Wyoming. It was the first thing our little geniuses made on their own.
Randy (in disbelief): All of it?
Sylvia: Yes, all of it. We helped design the programs, but the fundamental elements were all developed by them.
Randy: Amazing. That definitely sounds like something to brag about.
Aaron: Actually, we don't like to brag about our children's intellect.
Randy: Why not? I sure as hell would if mine were as smart as yours.
Sylvia: We'll tell you why later. For now, let's just dance.
(Cut to: the Top Floor of the Holographic Recreation of the Marriott. Stan and Wendy have arrived there via elevator and are looking around for a vacant room. Just then, they see a housekeeping person come out of one of the rooms.)
Stan: Looks clear. Let's see if we can get in there.
Wendy: We'll need a plan, first (They stand thinking).
Stan: I've got it! (He whispers something into Wendy's ear. When he's finished, she nods in agreement. Stan then casually walks up to the housekeeping employee.) Excuse me, ma'am.
Housekeeping Employee: Yes, sir?
Stan: Could you please direct me to the ice vendor?
Housekeeping Employee: Certainly. Follow me (She first places a doorstop down at the base of the room she is cleaning. Then she leads Stan down the hallway. While she does, Wendy sneaks into the room and hides. A minute later, the housekeeping employee comes back to her cart. She steps inside the room, drops off some towels and mints, and then removes the doorstop and leaves with her cart. Once she is gone, Stan comes back and makes his way to the same room. He knocks on it carefully, and Wendy lets him in).
Wendy: Great plan! If only it was that simple in real life!
Stan: It is that simple for some of us. But who cares? We've got the room to ourselves. How does it look?
Wendy: It looks great. In fact, this isn't just a standard hotel room. It's a luxury suite! The bedroom has a canopy bed, the refrigerator is stocked with wine, and there's a great selection of music.
Stan (deviously): You had me at "bedroom."
Wendy (grabs his hand): Let's go there, then (she pulls him into the next room. There is indeed a king-sized canopy bed with clean sheets in there).
Stan: You go ahead and get comfortable. I'll get some wine.
Wendy (in mock alarm): Aren't we a little young to be drinking wine?
Stan: Yeah, but don't forget that it's not real; it's holographic. Besides, we're also a little young to do what we're here to do.
Wendy: Can't argue with that! (She jumps onto the bed and spreads herself out. Stan goes into the kitchen and gets a bottle of Pinot Noir from the chill chest. Next he searches around for a corkscrew into the drawers. Once he succeeds, he walks back to the bedroom and gets onto the bed with Wendy.)
Stan: Stay right here. I'll go grab a couple of glasses. (He leaves the room again. Wendy sighes and holds the bottle in her hands. She is clearly having a great time with her boyfriend.)
(Abruptly, Wendy hears a noise, like the door to the suite being electronically unlocked. Alarmed, she gets off the bed and hides underneath the bed. A moment later, a holographic recreation of Julia Roberts enters the room. She is wearing a full-body dress with a soft woven jacket around her shoulders.)
Roberts: Thought that party would never end! I'm just glad it did; now I finally have some time alone (She tosses her purse onto a chair. Then she steps in front of a full-length mirror and checks out her hair. When she's satisfied with her image, she starts to unbutton her jacket. When she's finished, she slides it off and tosses it onto her bed. Then she unzips her dress at the back, bringing her zipper all the way down. She slowly steps out of her dress and neatly lays it out on the bed. Now she is only wearing a white bra and panties. She stands in front of a mirror and gazes at herself, smiling vainly). Look at you, you sexy beast!
(Under the bed, Wendy just rolls her eyes. She then sees Stan coming back from the other room with the glasses. However, just before he enters the room, he spots her underneath the bed. He mouths the words "What's wrong?" to her. She just points a part of the room he can't see from her position. Stan carefully looks around the door frame and sees Julia Roberts admiring herself in her lingerie. After seeing this, he ducks back into the next room, accidentally knocking a chair over. Julia Roberts stops admiring herself for a moment upon hearing the noise.)
Stan (quietly): Shit! (He tries hiding behind a couch)
Roberts: Who's there? (She starts making her way into the next room. Then she smells the air.) What's that smell? Is someone here? (Stan begins to sweat nervously when he realizes that she can smell his cologne. She turns to the couch and approaches it. Stan sees her shadow get closer on the opposite wall, and he clings to the couch to remain hidden. However, just before Roberts discovers him, she freezes in midair as if she has suffered a sharp blow to the head. She drops to the ground, revealing that Wendy struck her on the head with the wine bottle.)
Wendy: Everything's alright now, Stan (He slowly comes out from behind the couch and sees what his girlfriend has done).
Stan (impressed): Damn, Wendy. You sure took her out!
Wendy (smirking): I've always wanted to do that.
Stan: Knock somebody out with a wine bottle?
Wendy: No, not just anyone; I've wanted to knock Julia Roberts out with one. I know she isn't the real Julia Roberts, but it's the next best thing.
Stan (nodding): I guess so (he slowly approaches Wendy, but stops for a moment. He then takes a closer look at the sight in front of him: his girlfriend is standing over a scantily-clad unconscious Julia Roberts. This sight seems to sexually excite him. Wendy quickly notices this).
Wendy: Is this turning you on, Stan?
Stan: Well, uh… I don't know, you could say that.
Wendy (lustfully): Well, I want you to feel aroused, so maybe I could do something to set the mood for you (She kneels down begins to rub Julia Roberts' bare back. She lets her hands travel all along the unconscious actress' body, as if she is tracing her all around. Stan begins to feel something down there. Wendy quickly notices). Looks like I've got the right idea (She turns Roberts onto her front and sets herself down near her breasts. Stan feels a stronger twinge between his legs.) I'm almost there… (Now Wendy leans down next to Roberts' face and opens her mouth. Then she practices French-kissing the unconscious actress. Stan is now on the verge of a raging hard-on. His hand finds its way to the top of his dress pants. He tries to control it, but he just finds himself becoming more stimulated by the little show his girlfriend is putting on for him. Just before he blows his load, Wendy relents and practically pounces onto him. She fiercely kisses him, barely giving him time to breathe.)
Stan: You are incredible, Wendy. In more ways than I can imagine. I hope you know that.
Wendy: Oh, I do know, Stan. And I want to show you that I am. Now, come on. Let's have a drink, some music, and a little rest.
Stan (gesturing to Roberts): What about her?
Wendy: Good point. We'll have to deal with her, in case she regains consciousness.
Stan: Good thing this isn't the real deal, otherwise we'd be charged with breaking & entering and battery.
Wendy: Yeah, but it'd still be worth it! Come on, let's find something to tie her up with (The two of them begin searching for the room to find materials they could use to bind Roberts' hands and feet together).
Note: I'll try my best to update more often. I was just inexplicably stuck on this part. I'll try to have the next chapter up before Saturday.