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        S I L E N T   H I L L    S H A T T E R E D   M E M O R I E S
                           G A M E   S C R I P T

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By:  Aviathas, knwlss
Email:  aviathas at gmail.com
Version:  1.01
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This FAQ was not written with the intention of walking you through the game.
It does not include any puzzle solutions or any playing strategies.  Please
do not email me if you are having problems playing through the game.  There
are very good walkthroughs already posted here at gamefaqs.com.

This FAQ, rather, was created so that Silent Hill fans could go back and read
through the story in its entirety without actually having to play through the
game itself.  Some fans like to collect ANY and ALL information that exists
concerning Silent Hill (I am such a fan) and that includes game scripts.
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This game script was written to include:
- All spoken dialogue from in-game cutscenes (including every ending).
- All variations that can be found in the spoken dialogue of in-game 

cutscenes.
(Although a player's psych profile can result in dozens of aesthetic changes 
in the game--such as the clothing that characters wear, or the locations where 
they interact--only a few of those changes affect the actual dialogue.  
Different iterations of the same character will often say the same thing.  
Only deviations in the actual dialogue are detailed in this script.)
- A few phone calls that pertain to the story

This game script does NOT include:
- Random dialogue, such as Harry's observations and thoughts.
- Random Phone Calls, Voice Messages, Text Messages, Advertisements, etc.
(If you are interested in such memos, I recommend reading the Plot/Easter 
Egg/Memo Guide posted by nur_ein_tier -- found here, at gamefaqs.com.)

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WARNING!  As with any game script, the following material contains spoilers!
It is recommended that you play through the game first before you read this.

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                           I N T R O D U C T I O N

1.1 - Home Video
(The opening scene portrays a television screen as an old home video is being 
played on a VCR.  The picture is grainy and there is a time stamp in the upper 
right hand corner.  The recording shows a red car outside of the Mason home.  
Cheryl, a young girl, runs into her father's arms.  He lifts her high into the 
air.)
Harry:   Sweetie.
(Harry points towards the camera, and they both wave.  Harry then opens the 
car door for Cheryl to get inside.  The recorded scene then changes to an 
amusement park setting.  Cheryl is pointing towards a painted fantasy backdrop 
used for taking themed photographs.)
Cheryl:   Daddy!
(Laughing, Cheryl runs behind the painting.  Her head appears in the hole 
above a princess's body.  Harry's head appears above a knight's body, fighting 
a dragon.)
Cheryl:   I love my daddy!
(The previous scene is then rewound by whomever is watching the home video, 
and we see the same scene over again.  The scene is rewound yet again and 
plays for a third time before stopping to black and going into fast forward.)


1.2 - Doctor Kaufman's Office
(The scene, no longer a home video, cuts to Doctor Kaufman's office.  Late at 
night, his office is dark and he pours himself a drink.  The phone rings.  He 
walks to the table and pushes the speakerphone to answer.)
Dr. Kaufmann:  Yes?
Assistant: The new patient is here.  They're early. 
Dr. Kaufmann:  That's fine.  We can start now.


1.3 - Harry's Car Crash
(The scene changes again to an icy road.  The same red car from the home video 
appears, but goes out of control with it's tires squealing.  It crashes 
through a chain link fence and collides with a pole.  Harry, who had been 
inside the car, unbuckles his seatbelt and opens the door.  He falls to the 
ground and his glasses fall off.  He is still unable to get up as the scene 
fades to black.)


             T H E   S T R E E T S   O F   S I L E N T   H I L L

2.1 - Dr. Kaufmann: Session #1
(In Dr. Kaufmann's office, the player takes control of a first-person view.  
The player is seated on a couch as if receiving a therapy session from the 
doctor.  Moving the controller, the player is able to look around the room 
while the doctor begins talking.)
Dr. Kaufmann:  I'm glad you came.  Just turning up shows your commitment to the 
process.  Good.  I've read your notes.  The other therapists didn't work out 
for you.  I want you to know this will be different.  We take this at your 
pace.  No notes.  No drugs.  No theories.  We get back to the start - 
understand what happened.  Take a look at this short form.  I promise it's the 
only one you'll see during your therapy.  Try to answer truthfully.  It's 
easier that way.
(A personality questionnaire is placed on the table in front of the player.  
After completing the form, the doctor reaches forwards and takes it from the 
table.  Depending on the player's answer to question #7, the doctor will ask 
one of the following two questions:)
Dr. Kaufmann:  You've been unfaithful.  Is that true?
Dr. Kaufmann:  Never cheated on a partner.  Really?
(The player can answer yes or no.)
Dr. Kaufmann:  Okay.  Let's get started then.


2.2 - After the Car Crash
(Harry wakes up on the snow next to his crashed car. He finds his glasses 
nearby and puts them on.)
Harry:   Cheryl? 
(He gets back to the car to look for his daughter.) 
Harry:   Cheryl?  Sweetie?  Oh my God. 
(Harry takes a flashlight from the car's glove compartment and looks below the 
car.) 
Harry:   Cheryl?  Cheryl?  Cheryl!  Cheryl!


2.3 - Diner 52

Variation #1
(Harry walks into Diner 52.  After looking around, he spots Cybil seated in a 
booth.  In one variation, she is inspecting her gun.  In another, she is 
smoking a cigarette.  She puts it away.  He approaches her.)
Harry:   I need your help.
Cybil:   Car stuck in the snow?  Need help de-thawing your windshield?
Harry:   It's my daughter.  She's missing.
Cybil:   She run off?
Harry:   We were in a car accident. 
(Harry slides into the booth, sitting across from Cybil.)
Harry: When I came to she was gone.
(The camera switches to first person, allowing the player to look around.)
Cybil:   Car accident?  And where did this happen?
Harry:   The highway just outside town.  I came off the verge and ended up in 
the junkyard.  My daughter's missing.
Cybil:   That road's not in my jurisdiction.
Harry:   What?
Cybil:   You want state police.
Harry:   You're kidding.  My daughter is out there.  You have to find her!
Cybil:   Lot of people need help tonight.  Look around--the whole town is a 
mess.
Harry:   You're screwing with me!
Cybil:   Can I see your license?!
(After a short pause, Harry places his wallet onto the table.)
Cybil:   Harry Mason.  Levin Street.  Says here you live on Levin Street?
Harry:   Yeah.  Yes?
Cybil:   Sure hope you weren't drinking before you had your crash.  Look, 
chances are your girl headed home, right?  It's only a few blocks away.
(A phone starts to ring.)
Cybil:  Sir?  You gonna answer your phone?


(Camera reverts back to third person.)
Harry:   Phone?  Yeah. 
(Harry lifts his phone to his ear, but soon puts it away.)
Harry:   They hung up.
Cybil:   That was probably your girl.  The storm's making the phones act up.
Radio: -All units please respond.  Unconfirmed reports of a potential looting 
on Finney Street.-
(Cybil reaches towards a radio on her belt.)
Cybil:   Okay.  I gotta go.
Harry:   What?!
Cybil:   Look, go home.  Your daughter will be there.  In the morning, call 
state police and sort out your vehicle.  This is no time for running around 
town.  Liable to get yourself locked up.  That's me asking nicely.
(She walks off.  After a short while, Harry retrieves his wallet and gets up, 
too.)

Variation #2
(Harry walks into Diner 52.  After looking around, he spots Cybil seated in a 
booth.  In one variation, she is drinking a cup of coffee.  In another, she is 
smoking a cigarette.  As he approaches her, she pushes aside her mug--or puts 
out her cigarette in a nearby ash tray--and she gives him her attention.)
Cybil:   You okay, sir?  Not a good night to be out and about.
Harry:   I'm looking for my daughter.
Cybil:   Take a seat. 
(She gestures, and Harry slips into the booth, seated across from her.)
Cybil:   Your daughter, go on.
(The camera switches to first person, allowing the player to look around.)
Harry:   We were in a car accident.  When I came to she was gone.
Cybil:   Maybe she went to get help?  She a clever girl?  Sensible?
Harry:   Yeah, I think so.  She's seven.  Her name's Cheryl.  Here's a photo.
(Harry places his wallet onto the table.)
Cybil:   Cute.  Harry Mason.  Levin Street.  Your ID says you live on Levin 
Street.  That's a few blocks from here.
Harry:   Levin Street.  Yeah.  Yeah!  That's where I live.
Cybil:   Uh-huh.  You feeling okay, Harry?  Any headache?  Nausea?  Blurred 
vision?
Harry:   Bit of all of them.  Maybe she went home?  Makes sense... 
(A phone starts to ring.)
Cybil:   Harry?  Your phone.
(Camera reverts back to third person.)
Harry:   My phone?  Right. 
(Harry lifts his phone to his ear, but soon puts it away.)
Harry:   They hung up.
Cybil:   A lot of problems with phones on account of the storm.  Maybe that 
was your little girl.
Harry:   She could be trying to call from home.
Radio:  -All units please respond.  Unconfirmed reports of a potential looting 
on Finney Street.-
(Cybil reaches towards a radio on her belt.)
Cybil:   Shit, I need to follow this up.
(Cybil stands up to leave.)
Harry:   It's okay.  I'll head home.  I'm sure she's there.
Cybil:   Tell you what.  Soon as I'm done, I'll meet you over there.  Levin 
Street.
Harry:   Thanks.
Cybil:   Take care.
(Cybil places a hand on his shoulder before walking off.  A short while later, 
Harry also gets up.)


2.3 - Good Old Days

Variation #1
(Harry enters Good Old Days and notices an old woman.  In the Sports bar 
variation, she is cleaning the bar.  In the Irish Pub variation, she puts away 
some glasses and inspects a bottle.  After noticing his arrival, the woman 
politely gives him her attention.)
Bartender:  Hallelujah.  I knew this weather couldn't keep everyone away.  
Name your poison.
(She leans forward over the bar, beckoning him to come closer.)
Harry:   I'm looking for my daughter.
(The camera switches to first person, allowing the player to look around.)
Bartender:  In this weather?  If she's out she'll be at The Balkan.  That's a 
bar over on Bloch street. 
Harry:   No.  She's a little girl.  She's seven years old.  We were in a car 
accident.  I came to and she was gone. 
Bartender:  Oh, shit.  I'd offer to call for help but the phones are all out 
'cause of the storm.  Town is kind of empty. 
Harry:   This is her. 
(Harry places his wallet onto the bar.)
Bartender:  A real daddy's girl. 
Harry:   If you see her-- 
Bartender:  This your ID? 
Harry:   Yeah? 
Bartender:  Well, it says you live at Levin Street.  That's a few blocks from 
here. 
Harry:   Levin Street.  That's where I live. 
Bartender:  That accident of yours... you take a knock to the head? 
Harry:  Yeah. 
(A phone starts to ring.)
Bartender:  Your phone? 
(Camera reverts back to third person.)
Harry: My phone?
(Harry lifts his phone to his ear, but soon puts it away.)
Harry:   It cut off. 
Bartender:  Like I said, the phones are all shot to Hell. 
Harry:   I think that was her.  She must be at the house. 
Bartender:  Wait-- Have a drink before you head out.  You seem pretty shaken 
up. 
Harry:   I need to get home.  She must be waiting for me there. 
Bartender:  Okay.  I'm going to lock up out back.  No point in staying open in 
this weather.  Best of luck. 
(She walks off.)

Variation #2
(Harry approaches a bar.  In the Sports bar variation, her attention is 
focused on the television, listening to a sport's announcer.  In the Irish Pub 
variation, she puts away some glasses and inspects a bottle, also while 
listening to the television.  She doesn't notice him come in.)
Harry:   Excuse me?  Excuse me.  I'm looking for my daughter.
(She turns to him, talking over the sound of the television.)
Bartender:  Sorry, hun.  I'm about to close up.  If you want, I can do you a 
quick shooter.  But then you're back out in the cold. 
Harry:   I'm looking for my daughter. 
(The camera switches to first person, allowing the player to look around.  
Using a remote, the woman turns off the television.)
Bartender:  Hard of hearing.  You have to speak up. 
Harry:   I'm looking for my daughter! 
Bartender:  Oh, the place you want is The Balkan.  That's where the kids 
around here go to party. 
Harry:   No.  She's seven.  She's just a girl.  We had a car accident.  I 
think she wandered off... maybe to get help. 
Bartender:  Oh, shit, hun. 
Harry:   Here's a photo. 
(Harry places his wallet onto the bar.)
Bartender:  Hmm.  Should have said you were local. 
Harry:   Local? 
Bartender:  Yeah, says here you live at Levin Street.  (Laughs.) That's a few 
blocks away. 
Harry:   Levin Street.  Yeah... that's my house. 
Bartender:  You want me to call someone for you?  I know people are busy with 
the storm but your girl... 
Harry:   Maybe. 
(A phone starts to ring.)
Bartender:  Your phone is ringing. 
(Camera reverts back to third person.)
Harry:   Phone?  Yeah... 
(Harry lifts his phone to his ear, but soon puts it away.)
Harry:   They hung up... 
Bartender:  Maybe that was your little girl?  Reception is shot to hell in the 
storm.  Most land lines are down. 
Harry:   Yeah.  That must have been her.  She's at home.  I need to go. 
Bartender:  You sure?  On foot?  I can try to get hold of someone. 
Harry:   No.  It'll be quicker if I go now.  She'll be worried. 
Bartender:  Sure? 
Harry:   Yeah. 
Bartender:  Okay.  I got stuff to lock up.  Hope your girl is alright. 
Harry:   Thanks. 
(She walks off.)


2.4 - Exiting Diner 52 or Good Old Days
(Harry goes outside and looks around with his flashlight.)
Harry:   Shit, I should know where I am.  What is wrong with me? 
(He pulls out his phone to look at his GPS.)
Harry:   Back the way I came. ...Please be there.


2.5 - Bachman Rd.
(Harry's phone starts to ring.  The Caller ID says the call is coming from 
home.  He picks it up.)
Harry:   Cheryl?
Cheryl (phone):  Daddy?  Daddy! 
Harry:   Sweetie.  You're okay?  Are you at home?  Sweetie?  Wait there.  Wait 
for me. 
Cheryl (phone):  You have to run, Daddy.  You can't fight them.  Run! 
Harry:   What?  Is somebody with you?  Cheryl?  I'm coming to get you!  
Dammit!
(He hangs up the phone.  As he looks around, the entire world begins to 
distort and become frozen in ice.)


2.6 - Monsters
(After passing through a door, Harry warily shines his flashlight around, 
looking carefully at some wood, and then a beat up dumpster.  He proceeds with 
caution.  Soon, after pointing his flashlight at a wall of ice, he sees a 
strange, deformed and screeching creature on the other side.  As he begins to 
run, he notices that there are more of them.)


2.7 - Leaving the Nightmare
(After running past the monsters and finishing the nightmare sequence, Harry 
emerges through a door to find his house.)


                            T H E   F O R E S T

3.1 - Dr. Kaufmann: Session #2
(Once again in Doctor Kaufman's office, the doctor is walking around the room 
continuing the therapy session.)
Dr. Kaufmann:  It's good that we touched on the car crash.  That would have 
been a breakthrough, before. 
(The doctor sits down, facing the player.)
Dr. Kaufmann:  But let's leave that topic for a while.  I want to talk about 
family. 

[Variants]
Dr. Kaufmann:  It's important, right?  I don't mean all that touchy feely 
crap.  You're not a very touchy feely person. 
Dr. Kaufmann:  It's important to you.  For you, family is about physical 
affection and making your feelings known. 

Dr. Kaufmann:  You're giving me that look.  I'm talking too much.  Well, let's 
have you talk, or nod, or whatever you feel comfortable doing.  Let's play 
true or false.  Is it true to say you're a private person?
(The player can answer yes or no.)
Dr. Kaufmann:  Would you say it takes a while for people to get to know you?
(The player can answer yes or no.)
Dr. Kaufmann:  Uh-huh.  People can choose their friends, but not their family.  
Would you prefer to spend time with friends over family?
(The player can answer yes or no.)
Dr. Kaufmann:  Nothing surprising there.  Now... you're going to like this.  
On the table are some pencils and a picture.  I want you to let out your inner 
child and color in the picture.  It's titled 'Happy Family'.
(The player is given a drawing of a home to color in.)
Dr. Kaufmann:  You're finished?
(The player can answer yes or no.)
Dr. Kaufmann:  What a lovely family home.  Is your home like this?


3.2 - Levin St.: Meeting the Stewards
(Harry approaches the house.  The color matches what the player chose to use 
during the previous therapy session.  Harry checks himself for keys, and looks 
though a window.  Finally, he decides to knock on the front door.  A man 
answers, and the camera goes into a first person view.)

Variation #1
Mike Stewart:  Hi there!
Harry:   What are you people doing in my house?
Mike Stewart:  I think you have the wrong address.
Harry:   No.  This is my house.
Lucy Stewart:  Who's that at the door, hun?  Oh, hi there!
Harry:   What are you people doing in my house?
Lucy Stewart:  This is our home.  We've been living here for a long time!  
Isn't that right, Mike--
Harry:   Twelve-Oh-Six Levin Street.  My name is Harry Mason.  This is my 
house!  My daughter just called me from here...
Mike Stewart:  From here?  Oh... Lucy honey, you think perhaps our little 
princess has been up to her old tricks?
Lucy Stewart:  We're sorry.  Katie's been acting up.  She likes to make prank 
calls...
Harry:   Prank call?  Why are you playing games with me?
Lucy Stewart:  Sorry for any upset Katie has caused.  We'd like to help, but 
it's getting late and...

Variation #2
Mike Stewart:  Are you okay, son?
Harry:   No.  What are you doing in my house?  Cheryl!
Mike Stewart:  Easy there.  This isn't your house.
Lucy Stewart:  Some trouble, honey?
Mike Stewart:  No, Lucy.  This man here is just a little confused.
Harry:   This is my house!
Lucy Stewart:  Well, I don't see how that can be the case.  We've been here 
nearly fourteen years.  Sure you got the right address?
Harry:   What was that?
Mike Stewart:  That was our daughter, Katie.  You're in a bad way, son.  
Getting yourself all worked up.
Lucy Stewart:  Are you okay?
Harry:   I am not okay!  I was in a car accident.  My daughter is gone.  And 
you people are in my house!  This is all wrong!
Mike Stewart:  You're starting to make a scene. 

(The camera reverts back to third person.)

Variation #1
Harry:   This doesn't make any sense.  This is all wrong.  Cheryl is inside, 
isn't she?
Mike Stewart:  The only thing that doesn't make sense is your being here.  
You're upsetting my wife.
Harry:   Why are you doing this to me?  My daughter is in there!
Mike Stewart:  No, she's not.  Please get off my property.

Variation #2
Harry:   This doesn't make sense.  Not at all.  Cheryl!
Mike Stewart:  You are upsetting my wife.
Harry:   Get the hell out of my house.
(The man closes the door.)
Harry:   It's my house.
(Harry bangs his fist on the door.)
Harry:   It's my damn house!  Cheryl!


3.3 - Levin St.: Reported Disturbance
(Harry is sitting on the porch when Cybil drives up in her police car.  She 
gets out.)

Variation #1
Cybil:   Mr. Mason.
Harry:   Shit.
Cybil:   A reported disturbance came through on dispatch.  The address rang a 
bell.
Harry:   Yes, there's been a disturbance.  There are people in my house.  I 
think they have my daughter.
Cybil:   Hell of an accusation.  I know the couple who called this in.  Mike 
Stewart is a doctor.  He doesn't have your--
Harry:   You saw my license!  This is my house.
Cybil:   Let me see that license again.  You had an accident.  You know you're 
a little punch drunk, Harry.  I can't raise the station on my radio.  Let's go 
over there together and sort this mess out.  Look, I'm sorry if I came across 
as a hard ass before.  There's a lot going on right now.  I just bumped you up 
my priority list, okay?  Come on.  Mind your head.
(Cybil seats Harry in the back of the car.)

Variation #2
Cybil:   Harry.
Harry:   There are people in my house.  I think they've got Cheryl.
Cybil:   Okay.  Calm down, Harry.  It's okay, Mike. 
(She waves to Mike who had been standing in the doorway.)
Cybil:   I've got this covered.
Harry:   You know him?  You're part of this?
Cybil:   Hold up--
Harry:   You saw my license.  This is my home!
Cybil:   Can I see that license again?  I know the Stewarts.  They don't have 
your daughter.  They're school teachers.  Let's me and you head to the police 
station. We can sort this out.
Harry:   I shouldn't have trusted you.  Damn cops...
Cybil:   Don't say anything you're going to regret later.  I'm on your side, 
Mr. Mason.  Come with me and we'll make this right.
(Cybil seats Harry in the back of the car.)

Variation #3 (Meeting Cybil for the first time)
Cybil:   Sir, you come down here for me? 
Harry:   Officer, there are people in my house.  They have my daughter.  I was 
in a car accident. 
Cybil:   That's not the story I got.  Can I see some ID?  Harry Mason.  This 
IS the right address.  You know what?  This doesn't add up.  I'm going to need 
you to come down to the station with me.  We can sort it out there. 
Harry:   No.  My daughter is in there, somewhere.  She's missing. 
Cybil:   I'm a police officer, Mr. Mason and I NEED you to come with me.  
These people don't have your daughter.  Trust me, if she's missing we will 
find her.
(Cybil seats Harry in the back of the car.)


3.4 - On the Way to the Police Station
(Harry is seated in the back of the police car.  The scene plays out in a 
first person view.)

Variation #1
Harry:  ...Officer Cybil Bennett.  Anything happens to my daughter, I'll hold 
you responsible.
Cybil:   She's not in the Stewarts' house.
Harry:   How can you be so sure?
Cybil:   I've been a cop for twenty years.  And all twenty of them in this 
town.  I know the place and I know the people.  I know the Stewarts haven't 
kidnapped your daughter.
Harry:   They're in my house.
Cybil:   Says your ID.  You're sure that's your house?  Just how well is your 
head working, Harry?
Harry:   I haven't forgotten anything.  Some things are fuzzy, but the rest, I 
know.  I know that was my house.
Cybil:   What else?  What else do you know?
Harry:   I'm Harry Mason.  I love my daughter very much.  I live in Silent 
Hill.  I write for a living, crap pretty much.
Cybil:   Conspiracy thrillers?  Murder mysteries?
Harry:   Sometimes.  Whatever they pay me for.  I work for hire.  My stuff is 
big in libraries, never sees hardcover.
Cybil:   Real life's a lot more boring than your stories.  We'll find your 
daughter, Harry.  Then life can be normal again.

Cybil:   You okay back there?
Harry:   Sure.  Holding up.
Cybil:   I'm sure your daughter is okay.  We've just got to clear this thing 
up.  We should probably get you to the hospital too, once we know she's safe.
Harry:   I'm fine.
Cybil:   The human brain is a delicate thing, Harry.  Need to get you checked 
out.
Harry:   Yeah.
Cybil:   My dad thought he was tough.  He got hit on the head by a punk 
resisting arrest.  He was never the same after that.  You've got to look after 
yourself, Harry, for your daughter's sake.
Harry:   Point taken.
Cybil:   Damn.  This snow... it's crazy.  I can't see the road.  Wait here.  
I'm just going to check where we are.

Variation #2
Cybil:   You know what's funny?  I've been a cop in this town for twenty 
years.  Before that, I used to ride around in my daddy's patrol car.  So I 
know the town, know the people.  But your face... I don't know you. 
Harry:   I keep out of trouble. 
Cybil:   Not tonight. 
Harry:   Well I guess tonight, everything is out of whack.  Why are we the 
only car on the road? 
Cybil:   No one sane out driving out tonight.  Sorry, I didn't mean to... 
Harry:   It's okay.  What is with all this snow? 
Cybil:   Who knows, we only covered basic meteorology in the academy.  Hell, 
we didn't hear about this till it was happening; barely had time to close off 
the major highways.
Harry:   It's like the whole town is being punished. 
Cybil:   It's only weather. 
Harry:   Sure.

Cybil:   You're very restless back there, Mr. Mason.  Anything you want to 
tell me? 
Harry:   Restless?  Of course I'm restless.  I'm worried about my daughter.  
She's seven and she's out there in this blizzard. 
Cybil:   Sorry.  I didn't mean to-- 
Harry:   Just hurry up and get us to the station. 
Cybil:   This weather is just unbelievable.  Damn.  Can't even see the road.  
I'm gonna see exactly where we are...  Stay put. 

(She gets out of the car, and after a long while doesn't come back.  The 
player has no choice but to exit the car and head into the woods.)


3.5 - Phone Call
(After leaving the woods, Harry discovers a high school.  His phone rings.)

Variation #1
Harry:   Officer?
Cybil:   I've been trying to get through to you.  You had your phone turned off?
Harry:   No, I just... I guess the reception was out.
Cybil:   Mr. Mason, you okay?
Harry:   Yes, I know where I am.  I'm at the High School.
Cybil:   Midwich High?  In weather like this the gym is sometimes used as an
emergency shelter.  I want you to go there...
Harry:   Emergency shelter?  Maybe Cheryl was taken there.
Cybil:   Yes go to the gym.  Wait there for me.
Harry:   I'm going.  But if she's not there, I won't wait.  I just can't.

Variation #2
Harry:   Officer?
Cybil:   Harry, I've been calling you.  Did you switch your phone off?
Harry:   No.  I just...  I was... I don't know where I was.
Cybil:   Harry, you okay?
Harry:   Yeah.  I'm okay.  I'm out of the woods.  I'm on a football field...  
I think it's the High School.
Cybil:   Midwich High School.  Listen Harry,  Midwich has a gym.  They often 
use it as an emergency shelter in severe weather.  Go to the gym and wait 
there for me.
Harry:   Emergency shelter?  Cheryl could have been taken there.
Cybil:   Yes.  Cheryl could be there.  Will you do this for me?
Harry:   I'm going.  But if Cheryl's not there, I can't wait.  I'm sorry, I 
just can't.
Cybil:   Harry...

(Harry hangs up on her.)


                   M I D W I C H   H I G H   S C H O O L

4.1 - Dr. Kaufmann: Session #3
Dr. Kaufmann:  So we get to the halcyon days of High School.  When I was 
starting out, the popular theory said it was their mom and dad that screwed a 
person up.  But if you really want to screw someone up, I say send them to 
high school. 

[Variants]
Dr. Kaufmann:  I bet you were fairly intense at school.  Probably enjoyed all 
that learning. 
Dr. Kaufmann:  I bet your school locker was a real mess.  You were one of 
those "organized chaos" type, right? 
Dr. Kaufmann:  I bet you took studying seriously.  Nice folders and neat 
workbooks. 
Dr. Kaufmann:  You probably spent more time talking than studying at school.  
Lots of "study groups", right? 

Dr. Kaufmann:  Okay, let's move on.  I'm going to throw out some words.  Nod 
when they fit how you were at school.  Shake your head if they don't.  Ready?  
Jock.
(The player can answer yes or no.)
Dr. Kaufmann:  Next?  Slut.
(The player can answer yes or no.)
Dr. Kaufmann:  Ah...  Drunk.
(The player can answer yes or no.)
Dr. Kaufmann:  Ah...  Virgin.
(The player can answer yes or no.)
Dr. Kaufmann:  Hmmm...  Bully.
(The player can answer yes or no.)
Dr. Kaufmann:  And...  Slacker.
(The player can answer yes or no.)
Dr. Kaufmann:  Okay, let's take a different tack.  On the table I've laid out 
a blank timetable and some cards with lessons on them.  Pick out the lessons 
to show me your "perfect school day."  Don't leave any empty - there are only 
four periods and I've allocated a very generous lunch.
(Psychological test #3:  The player is allowed to select and put in order four 
classes of the following choices:  Religion, Creative Writing, Geography, 
Literature, Theater, Football, Basketball, Sex Ed, Math, and Science.)
Dr. Kaufmann:  Nice.  If that was all there was to it, it would've been a 
breeze, wouldn't it?  Come on, let's talk more about the bad stuff that 
happened at school...


4.2 - High School's Gym: Meeting Michelle
(After wandering through the school, Harry arrives in the gymnasium.  Tables 
and decorations are set up for a reunion.  As Harry approaches the stage, 
Michelle steps forwards to the mic and sings "Always on My Mind."  In some 
variations, she will walk around as she sings.  In others, she is more 
subdued, and sits on a stool throughout the song.  When she is finished, Harry 
applauses.)

Variation #1
Harry:   I didn't want to stop you, but I'm... I'm looking for the shelter.
Michelle:  You're not here for the reunion? 
Harry:   No.
Michelle:   Some party.  Me, and a guy who isn't even supposed to be here.  
Catch!
(Putting her arms onto Harry's shoulders, she jumps from the stage into 
Harry's arms.)
Michelle:  Thanks.
(Harry lowers her feet to the floor.)

Variation #2
Harry:   Sorry if I interrupted you...
Michelle:  I didn't realize there was anyone else in here.
Harry:   I'm looking for an emergency shelter?  I guess--
Michelle:  You're not here for the reunion?
Harry:   No.
Michelle:  Just my luck.  Did everyone else get the message, except for me?  
...What a screw up. 
(Michelle lowers herself from the stage.)
Michelle:  That was elegant.
Harry:   Lacking in finesse.  But ten for effort.

(The camera changes to a first person view.)
Michelle:  Michelle Valdez.
Harry:   Harry Mason.
Michelle:  Nice to meet you, Harry.  So what brings you here?
Harry:   I'm looking for my daughter.  She's missing.  I convinced myself 
she'd be here...
Michelle:  She's a Midwich student?
Harry:   No, no.  She's just seven.  Her name is Cheryl.
Michelle:  Cheryl Mason?
Harry:   Yeah.
Michelle:  There was a Cheryl Mason when I was here.  She was above me at 
school.
Harry:   Must be a different girl, same name.  She's seven.
Michelle:  I'll show you. Come look-- 
(Taking Harry's hand, Michelle leads him across the room to a place where 
several photos are hanging.  She directs his attention to one in particular.  
It depicts a teenage girl.)
Michelle:  There you go.  That's an old photo.  You say she ran off? 
Harry:   No, we were in a car accident.  That can't be my daughter. 
Michelle:  How many Cheryl Masons could there be in a small town like this?  
She even looks like you. 
Harry:   There is a resemblance, but my Cheryl's just a kid... 
Michelle:  You don't sound so sure. Come on... 
(Taking his hand a second time, Michelle leads Harry out of the gym.)


4.3 - High School's Principal Office: Breaking and Entering
(Harry and Michelle arrive in front of the door to the principal's office)

Variation #1
Harry:   The principal's office? 
Michelle:  Yup.  Locked.  But...  With a little... persuasion...
Harry:   You're breaking into the principal's office?
Michelle:  I don't see any hall monitors.
(Harry and Michelle walk through the door.)
Michelle:  Evening, Mrs. Albright, you cow.
Harry:  She still around?  I remember her.
Michelle:  She was when I graduated.  I think she'll be here until someone 
drives a stake through her cold, secretarial heart. 
(Walking across the room, they arrive at a desk with a computer on it.)
Michelle:  That's the principal's PC.  All the school records are on it.  
Students used to hack it to fix their grades.  Hey, I was good at school.  
Principal Fischer was obsessed with changing his passwords.
Harry:   And we're hacking his PC to...?
Michelle:  See if you can pull up the records for Cheryl Mason.  See if she's 
your daughter.  Prove me wrong.
Harry:   If I do, we get out of here?
Michelle:  Sure.  Take your time.  I'm just gonna text my boyfriend to find 
out where the hell he is.

Variation #2
Harry:   The principal's office? 
Michelle:  Yeah.  If we're lucky the door won't be locked...  Bingo. 
Harry:   We're breaking into the principal's office? 
Michelle:  Well, the door WAS unlocked. 
Harry:   And we both feel bad about it. 
(Harry and Michelle walk through the door.)
Michelle:  Sorry, Mrs. Albright. 
Harry:   She still around?  I remember her. 
Michelle:  She was when I graduated.  She's part of the furniture, right? 
Harry:   Varnished too. 
(Walking across the room, they arrive at a desk with a computer on it.)
Michelle:  That's the principal's PC, with all the school records on it.  A 
gang of kids in my class used to hack it to change their grades. 
Harry:   And you? 
Michelle:  Hey, I didn't need to cheat!  They never got caught, but it rattled 
Principal Fischer.  He used to change his passwords every day.  Don't think it 
helped. 
Harry:   Are we going to hack his PC? 
Michelle:  Yeah...  See if you can pull up the records for Cheryl Mason.  See 
if my Cheryl and your Cheryl are the same. 
Harry:   And if they're not... we can get out of here? 
Michelle:  Sure.  Don't mind me, I'm just gonna text my boyfriend.  He was 
supposed to meet me here. 


4.4 - High School's Principal Office: A Call Home
(Shortly after Harry figures out the password and enters the principal's 
computer, it freezes.)
Harry:   Shit.
Michelle:  You break it?
Harry:   It just froze on me.  It is her.  It is her.  We moved?
Michelle:  You don't remember.  Because of the accident?
Harry:   Simmons Street.  That's not a great neighborhood.  Why would we move 
there?  I guess the cop was right.  My ID was old.  That wasn't my house.  
...What else did I forget?
Michelle:  There's a phone number.  Why don't you call it?
Harry:   I will. 
(Harry pulls out his phone.)
Harry:   There's no reception.  I'll be outside.
Michelle:  Good luck.
(Harry moves to the secretary's side of the office.)
Dahlia (phone):  Yes?
Harry:   Cheryl?
Dahlia (phone):  No. Dahlia.  You want me to find her?  Who's calling?
Harry:   It's her father, Harry Mason.  Is she okay?
Dahlia (phone):  Harry?
Harry:   Is she okay?
Dahlia (phone):  Who the hell do you think you are!?
Harry:   Sorry?  What's the--
Dahlia (phone):  Leave me alone!
(The surrounding office begins to transition into the frozen otherworld.)
Harry:   Cheryl...  What is happening to me?


4.5 - Outside Midwich High School: Harry and Michelle
(After finishing the nightmare sequence, Harry leaves the school.  After 
shining his flashlight around, Michelle comes up from where she had been 
waiting near the door.)
Michelle:  Harry?  I was about to head off, thought I ought to wait a little 
longer.
Harry:   Thanks.
Michelle:  You okay?  Any luck with the phone?
Harry:   They didn't make any sense.  I need to go there.
Michelle:  The Simmons Street address?  That's the other side of town.
Harry:   You got a car?
Michelle:  I was planning on getting a ride with John.  ..There's my boss's 
SUV.  I'm looking after it while on vacation.  It's at the club where I work - 
not far from here.  I could give you a lift.
Harry:   That would be great. Lead the way.


                   T H E   B A L K A N   N I G H T   C L U B

5.1 - Trip to the Balkan
(The conversation between the two continues as Harry, now controlled by the 
player, follows Michelle down the street.)

Variation #1
Harry:   I should give you my jacket.
Michelle:  I'm okay.  You keep it.
Harry:   It's cold.
Michelle:  You had a car accident, I can't take your coat.
Harry:   Well you want it, just ask.
Michelle:  I'll holler.
Harry:   God, I hope Cheryl isn't out in this weather.
Michelle:  I'm sure she's waiting for you at home, Harry.
Harry:   Wish I could be so sure.
Michelle:  When's this snow supposed to stop?  If I'd seen the forecast I 
wouldn't be here.  I'd be watching TV from under my comforter.  Mmmm, with a 
big bowl of champurrado. 
Harry:   A plate of churros...
Michelle:  You know churros?
Harry:   I make the best you'll ever taste.
Michelle:  I'll take your word for it.

Michelle:  We're almost there.
Harry:   I was beginning to think we were lost.
Michelle:  Thanks for the vote of confidence.  How come you don't know the 
way?
Harry:   I don't think I've ever been to this place.
Michelle:  That figures.
Harry:   How so?
Michelle:  I don't know...  You're older than you look, right?
Harry:   How old do I look?
Michelle:  To young to have a daughter at Midwich.  But you dress like my dad.
Harry:   Oh!  Kick a man when he's down, why don't ya?
Michelle:  Hey, I like men who look like my dad.
Harry:   Your boyfriend, John was it?  He looks like your dad?
Michelle:  No, but John is a jerk.
Harry:   'Cause he stood you up?
Michelle:  Not just that.  You don't want to know.  Trust me.
Harry:   Okay. 

Variation #2
Harry:   You want my jacket?  You're going to freeze. 
Michelle:  I'm used to running around in a dress.  I'm too hot-blooded to feel 
the cold. 
Harry:   I feel bad, you sure? 
Michelle:  Yeah. Keep it.  You're the car crash guy.  You thinking about your 
daughter? 
Harry:   Constantly. 
Michelle:  I'm sure she's okay. 
Harry:   I can't get my head around it.  She was in the back sleeping...  Then 
the crash.  Then she was gone. 
Michelle:  Your head is still jumbled up, Harry.  Just give it a while, okay?  
You should go see a doctor. 
Harry:   I'll make sure Cheryl is safe.  Then worry about myself.

Michelle:  It's not far now.  The Balkan is the hottest nightclub in town. 
Harry:   Never heard of it.
Michelle:  Really?  It's pretty popular.
Harry:   You work there, right?  What do you do?
Michelle:   I sing.  Sometimes I mix drinks.  It's a temporary thing while 
John and I sort things out.  He's staying in Massachusetts.  He's a lawyer.  
We need to decide if I'm going to move out there with him.
Harry:   You want to go to Massachusetts?
Michelle:  Yeah.  Well, not Massachusetts so much.  But I want to be with 
John.
Harry:   And John?
Michelle:  He wants it too.  It's just hard.  We've been together for five 
years, but we never lived together.  Now we're out in the world, living our 
lives...
Harry:   John's a lucky guy.
Michelle:  Yeah.
Harry:   He's probably just lousy at showing it.  I know lawyers.  They're not 
so touchy-feely.
Michelle:  John's not like that.  Back in school he was very passionate.
Harry:   They say absence makes the heart grow fonder.
Michelle:  You believe that?
Harry:   Absolutely. 


5.2 - At The Balkan Entrance
(After heading down a few streets, they arrive at the Balkan Night Club.)

Variation #1
Michelle:  Can I see some ID?  Over twenty ones only.
Harry:   Sorry, mine was taken by a cop.
Michelle:  ...Really?  How come?
Harry:   I'm not sure she trusts me.
Michelle:  Well... I'll let you in just this once, but first sign of 
trouble...

Variation #2
Michelle:  Good thing we're closed.
Harry:   How so? 
Michelle:  Not sure they'd let you in with that outfit.
Harry:   I'm the best dressed writer I know. 
Michelle:  That's why I'm dating a lawyer.


5.3 - Entering The Balkan
(Michelle and Harry enter the club.)

Variation #1
Michelle:  The Balkan.
Harry:   So that's where you sing?  You okay?
Michelle:  Yeah still pissed at John.  He was supposed to be here last night, 
but had some story about the weather...
Harry:   Give him a call.
Michelle:  You mind running upstairs to my room?  That's where I left the 
keys... 
(Michelle makes the call on her cell.)
Michelle:  John?  Where've you been?  I-- Well...  Okay.  I guess that makes 
sense, but you should have called.  I'm sure you will.  Yeah, I guess am being 
a little emotional.

Variation #2
Michelle:  The Balkan. 
Harry:   The last time I was in a nightclub was for... 
(Michelle's cell begins to ring.)
Michelle:  I need to answer this.  The keys are in my room upstairs.  Run up 
and grab them?
(Michelle answers her phone.)
Michelle:  John? Where have you been?  I guess I can let you off the hook, 
then.  You're going to have to make it up to me. Uh-huh.


5.4 - The Balkan: A Quick Drink
(After finding the keys, Harry comes back down stairs.  Michelle is behind the 
bar as Harry approaches.)

Variation #1
Harry:   I got the keys. 
Michelle:  A drink before we head off?
Harry:   Sure...  What are we celebrating?
(The camera switches to a first person view, allowing the player to look 
around.)
Michelle:  Ah.  Let's see--  A toast to all the lonely souls wandering the 
streets in this freezing weather.  May they find what they are looking for.  
Don't worry, Harry.  We'll be at Simmons Street soon.  You'll see your 
daughter and wife.  Everything--
Harry:   Wife?
Michelle:  Sure.  You're married, right?  I saw your ring.
(Harry's hand comes up showing a ring.)
Michelle:  Harry?
(The camera reverts to third person.)
Harry:   Suddenly I feel sick.  Going to clear my head.
(Harry walks away.)

Variation #2
Harry:   I got the keys. 
Michelle:  I just need to finish my drink.  Take a seat. 
(The camera switches to a first person view, allowing the player to look 
around.)
Michelle:  Need something to warm me up in this weather. 
Harry:   Things go okay with John? 
Michelle:  Yeah.  Yeah, he's going to come meet me here once I've dropped you 
off.  This weather, such a pain...  I should have offered you a drink. 
Harry:   No, it's fine.  I'm confused enough as it is.  I just want to get 
going, put today behind me. 
Michelle:  Hey, everything's gonna be fine.  You know.  We'll be there soon 
and then you can see your wife and daughter and-- 
Harry:   Wife?
Michelle:  You're married aren't you?  You're wearing a ring. 
(Harry's hand comes up showing a ring.)
Michelle:  You okay?
(The camera reverts to third person.)
Harry:   No, I feel a bit light headed.  Got to go clear my head.
(Harry walks away.)


5.5 - The Balkan: Meeting Dahlia
(In the restroom, Harry uses the sink to splash some water over his face.  He 
looks at his reflection in the mirror before wiping condensation off the glass 
to get a clearer view.  After leaving the restroom, Michelle is gone and 
another young woman is seated at the bar.)

Variation #1
Harry:   Michelle?
Dahlia:   Who the hell is Michelle?
(Dahlia gets up from the bar where she had been writing on the surface.  She 
puts the pen away.)
Dahlia:   Just practicing my signature.  We ready to go?

Variation #2
Harry:   Michelle?
Dahlia:   Who's Michelle?  Can we go now?  I hate sitting around.

Variation #3
Harry:   Michelle? 
Dahlia:   You're more wasted than I am. 

Harry:   Where's Michelle?
Dahlia:   Funny.  Come on, let's get going.  I'm going to drive.  You, Mr. 
Harry, are WAY over the limit. 
(Dahlia tries to pull Harry, but he gets off.)
Harry:   Stop.  This is out of control.  I came in here with a girl called 
Michelle.  She was going to drive me to Simmons Street.  Who are you?
Dahlia:   Are you on something?  I'm Dahlia.  Hottest piece of ass you'll ever 
see in this town.  You are Harry Mason, generally a fun guy to be with.  What 
are you wearing these for?  Stop being a dick and let's get going.  We'll get 
to Simmons Street and see Cheryl.
Harry:   Cheryl?
Dahlia:   Your daughter.  Oh come on, you're not THAT wasted.  That's why 
we're in this lousy club.  To get the SUV so we can drive up to Simmmons 
Street...
Harry:   That's right, but--
(Dahlia brings her finger to his lips.)
Dahlia:   Shush.  No more craziness.  You're freaking me out.
(Dahlia takes Harry's hand and leads him out of the club.)


                             T H E   B R I D G E

6.1 - On The Road: Going for Cheryl
(They both enter an SUV and drive off.  The scene enters a first person view 
as the player is allowed to look around from Harry's place in the front 
passenger seat.)

Variation #1
Dahlia:   Are we the only people on the road?  Guess that means we don't have 
to stop for any red lights.  One way?  Screw that, let's cut up on Kincaid.  
You're very quiet there, Harry.  You're not going to be sick, are you?
Harry:   I think I'm losing my mind.  How long have you known me?
Dahlia:   I don't know.  A few years?
Harry:   I don't know you. I can't remember you.  Since the car crash, nothing 
is making sense.
Dahlia:   Don't do this to me Harry.  Don't start tripping out on me.  When 
you said you crashed your car, you didn't mention this.  Damn, are you in 
pain?
Harry:   No pain.  And I can remember most things.  Just sometimes, some 
details...  I try to focus, but then they slip away.  And I think I'm seeing 
things.
Dahlia:   You really don't know who I am?  Sid and Nancy?
Harry:   Who are Sid and Nancy?
Dahlia:   My tits?  You named them.
Harry:   We're sleeping together!?
Dahlia:   This is a joke right?  A really lame joke.
Harry:   I wish it was.

Variation #2
Dahlia:   Nobody out to play?  I thought people liked the snow.  Signals are 
down.  We make a pretty sorry pair, eh?
Harry:   What?
Dahlia:   We're always so wasted.  I'm pretty and you're vacant.  You think 
we'd like each other if we ever met sober?
Harry:   I am sober.
Dahlia:   That would explain your weirding me out.  I don't think I am. 
Harry:   You're not getting it.  I don't know who you are.  Maybe it was the 
car accident, I don't know.  You're acting like we know each other and I've 
never seen you before in my life.
Dahlia:   Seriously?  You are screwed up.
Harry:   It's scary.  I feel like I remember everything.  But there's you... 
my daughter... things that don't fit.  And I think I'm seeing things.
Dahlia:   Do you like what you see?
Harry:   Sorry?
Dahlia:   If I'm a stranger to you, what kind?  You think I'm hot?
Harry:   You're young.
Dahlia:   Oh boy, Harry.  You're really messed up. 


6.2 - Stop at the Bridge
(The SUV reaches a raised bridge and comes to a stop.)
Dahlia:   Shit.  The bridge is up.
Harry:   What can we do?
Dahlia:   Run up to the control room.  See if you can get it moving. 
Harry:  Okay.
(Harry opens the door and gets out of the SUV.)
Dahlia:   Look.  Don't flip out on me.  No forgetting what you're doing and 
wandering off.
Harry:   Hey, I got it.
Dahlia:   I'll be waiting.
(Harry closes the door.)
Dahlia:   Jesus. 


6.3 - On the Bridge: Harry and Dahlia
(After figuring out how to lower the bridge, Harry gets back into the SUV.)

Variation #1
Harry:   Let's go. 
(Dahlia begins to drive.)
Dahlia:   Level with me Harry, this a joke?  You putting me on?
Harry:   No, I told you--
Dahlia:   'Cause if you've got a problem with me, but you're too chicken shit 
to come out and say it...  That's low.  That's pathetic.  Have some self 
respect.
Harry:   I'm not making this up.  I'm not.  Just drive. 
Dahlia:   Okay.  No, it's not okay.  I think you're full of shit. 
Harry:   Dahlia, listen--
Dahlia:   I'm not going to sit here and have you screw around with me.  I 
don't need the hassle. Harry?
(The SUV and Dahlia's body begin to freeze over.)
Harry:   Dahlia! 

Variation #2 
Harry:   Bridge is ready. 
(Dahlia begins to drive.)
Dahlia:   Uh-huh.
Harry:   You know me.  You know my daughter too?  Why is this not freaking you 
out?  Me not knowing you. 
Dahlia:   This isn't the first time you've acted weird, Harry. 
Harry:   What does that mean?  Be straight with me. 
Dahlia:   Stop it. 
Harry:   If you know my daughter-- 
Dahlia:   I know OF her.  Let's not go there. 
Harry:   So what are you to me? 
Dahlia:   Why do you have to be like this?  Just leave things be, Harry.  
Harry?
(The SUV and Dahlia's body begin to freeze over.)
Harry:   Dahlia! 

(The bridge begins to distort and twist as everything transitions into the 
otherworld.  As the SUV begins to slide towards the edge, Harry pulls the 
emergency break.  The vehicle stops momentarily, but begins to slide again as 
the bridge continues to move.  It slams into the side railing before 
eventually falling off entirely.  The SUV crashes into the water below, 
breaking through the frozen ice, and sinking into its depths.)


6.4 - Escaped from the Water
(After escaping from the sunken SUV, Harry swims to the surface.  He climbs 
out through the hole in the ice and walks to shore.  He leans back against a 
wall to catch his breath.)
Harry:   Oh God...  Oh God. 
(Harry soon loses consciousness.)


                     A L C H E M I L L A   H O S P I T A L

7.1 - Dr. Kaufmann: Session #4
(Dr. Kaufmann once again sits across from the player.)
Dr. Kaufmann:  Nasty, but inevitable.  Everyone is going to die, even if we 
like to pretend otherwise.  You could die tonight, in your sleep.  Why doesn't 
that terrify you?  How would you like to die?  No, wait let me guess... 

[Variants]
Dr. Kaufmann:  You'd want to die surrounded by family. 
Dr. Kaufmann:  You'd want to die surrounded by friends.
Dr. Kaufmann:  You'd like to die having sex? 
Dr. Kaufmann:  You'd drink yourself to death.
Dr. Kaufmann:  You want to die in your sleep. 

(The player can answer yes or no.)
Dr. Kaufmann:  It's academic really, as we're only truly conscious of death 
when it happens to others.  Get to my age, you'll have seen plenty of people 
die.  There one minute, then... gone.  Okay, game time.  There are seven 
pictures of people on the table.  Your job is to tell me who is dead and who 
is merely sleeping.  Divide them up - left, dead; right, sleeping. 
(Psychological test #4)

[Variants]
Dr. Kaufmann:  Done?  You thought it was a trick question?  I expected no 
less.  It's just an exercise, there's no right answer.  Actually, they were 
all dead.  Okay, let's get back to it. 
Dr. Kaufmann:  Done?  It's just an exercise, doesn't matter if you were right 
or wrong.  In reality, they were all sleeping...  Okay, let's get back to it.


7.2 - Hospital: Harry and Cybil
(Harry is still unconscious when someone arrives and picks him up.  When he 
wakes up, he is in the hospital being pushed in a wheelchair by Cybil.  The 
clothing Harry now wears is determined by choices the player has made up to 
this point.)
Harry:   Dahlia... 
Cybil:   Who's Dahlia? 
Harry:   A girl.  The car went into the river... she drowned.
(Cybil stops the chair.)
Cybil:   Another crash?  This is a different girl? 
(Harry turns around to face her.)
Harry:   You must have seen the bridge... we went right off the side. 
Cybil:   Harry, the bridge has been closed since the storm started.   You 
swam. You could have died of hypothermia. 
(Cybil resumes pushing the wheelchair.)
Harry:   My clothes. 
Cybil:   You were soaked to the skin.  I grabbed what I could find here.  We 
need to talk.
(The hallway begins to ice over in the world's transition into nightmare.)
Cybil:  When I was at the station I pulled the file on Harry Mason. 
Harry:   So?
(The wheelchair continues forward as Cybil also freezes.)
Harry:   No...!  No! 


7.3 - Hospital: Meeting Lisa
(After the nightmare shifts back to the normal world, Harry can either find an 
ambulance or a green car crashed into a wall.  In the first variation, a woman 
is sitting next to the ambulance.  In the second, the woman is outside the car 
trying to open the passenger door.)

Variation #1
Lisa:   Open!  Come on, God please open! 
Harry:   Are you okay?
(Lisa stands up and rushes forward into his arms.)
Lisa:   I wasn't even supposed to be here today.  It's my day off.  But we 
were three nurses down because of the weather.  
(Lisa begins to cry.)
Lisa:   Dammit.  I wasn't supposed to be here!  I shouldn't have been here. 
(She backs away.)
Harry:   Hey...
Lisa:   Sorry.  I'm just upset.
Harry:   Don't worry, it's nothing.  Shouldn't we take you inside? 
Lisa:   I'm ready to go home.  My apartment is a few blocks north.  I can 
clean myself up there.
Harry:   I'm heading that way.  Let me walk you... Lisa. 
Lisa:   I'm okay, really.  But you can keep me company. 
Harry:   I'm Harry. 

Variation #2
Lisa:   Open!  Come on, God please open! 
Harry:   Are you okay?
(Lisa turns around to look at Harry.  She rushes forward into his arms.)
Lisa:   You're not from the hospital. 
Harry:   No.
Lisa:   I had an accident. 
Harry:   That yours? 
Lisa:   No.  Yes.  I'm not making any sense am I? 
Harry:   It's okay.  Let's get you inside.  You need help. 
Lisa:   I want to go home.  I have medicine and gauze there.  I'm a nurse.  
It's a few blocks north.  I just need to rest. 
Harry:   I'm headed that way.  Can you walk?
Lisa:   Yeah.  I'm feeling better.  Don't worry.  Head wounds always bleed a 
lot.  Lots of blood vessels close to the surface.  Nothing serious.  I can 
clean up back at my place. 
(Harry notices her name tag.)
Harry:   Lisa?  I'm Harry. 
Lisa:   Harry Houdini.  (Laughs.)  Sorry, I'm always saying goofy things that 
come into my head. 


                       L I S A ' S   A P A R T M E N T

8.1 - On the Way to Lisa's Apartment
(They exit the hospital through a gaping hole in the wall.  The conversation 
between the two continues as Harry, now controlled by the player, follows Lisa 
down the street.)

Variation #1
Lisa:   It's not far to my apartment.  We can jaywalk in this weather.  Where 
did you say you were headed?
Harry:   Home.  My daughter went there after our accident.
Lisa:   What happened? 
Harry:   I crashed my car.  I don't know how long I was unconscious, but when 
I woke up, Cheryl was gone.
Lisa:   And she made it all this way? 
Harry:   I know it doesn't quite add up.  There are things I can't piece 
together, but she called me.  Then I spoke to someone else on the phone.  
There are times when things don't feel real.  I feel like I'm losing my grasp 
on the truth of it.  But other times, everything is... fine.  This feels real. 
Lisa:   Hey, I'm as real as they come.  Though some patients mistake me for an 
angel - that's the medication.  I'm real and I've got the bags under my eyes 
to prove it. 
Harry:   You been a nurse long? 
Lisa:   If you add up all the overtime, back-to-back twelve hour shifts, 
compared to a standard nine-to-five, I've been in the hospital for forty human 
years!  I've slept through half of it, like tonight - fell asleep at the 
wheel.  Hell of a wake up call. 

Lisa:   Not long now. 
Harry:   You holding up? 
Lisa:   I'm fine.  Just need to get home and put my feet up. 
So... your accident.  What happened there? 
Lisa:   It's all a bit hazy.  Need to get my story straight before I call my 
insurance.  They always try and twist it. 
Harry:   You were alone? 
Lisa:   Yeah.
Harry:   And driving? 
Lisa:   Yes.  Now you're trying to trick me. 
Harry:   Not me.  I crashed my car too.  I've got my own insurance forms to 
file.  So what happened? 
Lisa:   It kind of feels like I blacked out before the crash.  I just remember 
coming to. 
Harry:   I remember coming off the road, then wham.  When I came to I was 
confused, Cheryl was gone, my car was wrapped around a post. 
Lisa:   This is like being in a therapy group for car crash survivors.  Thanks 
for sharing Harry, let's go around the room... 
Harry:   They still teach bedside manner to nurses? 
Lisa:   You want bedside manner, get in a bed and act sick. 

Variation #2
Lisa:   My apartment isn't far.  We've got the wind behind us - the freezing 
wind.
Harry:   You cold? 
Lisa:   I'm too tired to feel it.  You know the average E.R. nurse gets less 
than five hours sleep a night?  I read that in a newsletter. 
Harry:   Ronald Reagan ran the country on five hours sleep a night.  I saw 
that on TV. 
Lisa:   Yeah, but he got to sit down a lot.  A nurse is on her feet all day.  
And night.  I don't need a man in my life...  I need a really good podiatrist.  
What is it you do Harry? 
Harry:   Well I'm not a podiatrist. 
Lisa:   Figures. 
Harry:   I'm a writer. 
Lisa:   Wow.  I didn't know Silent Hill had a famous writer. 
Harry:   Hardly famous. 
Lisa:   Have I heard of any of your books?  My mom reads a lot.  I bet she's 
read one. 
Harry:   Maybe.  I wrote a romance series called "Longing for the Moon".  That 
was popular with moms. 
Lisa:   Romance? 
Harry:   My agent tells me I have a great insight into the female imagination. 
Lisa:   You could put me in one of your books.  Life and death drama in the 
E.R. - one girl's search for love. 
Harry:   The nurse falls for the dashing doctor? 
Lisa:   There are no dashing doctors.  They're all alcoholic and perspire too 
much.  I always fall for guys who look like my dad then regret it the next 
day. 
Harry:   Cute.
Lisa:   If you were a real writer, you'd be taking notes.  Don't you all carry 
notebooks to write everything down? 
Harry:   Not me.  I've got a photographic memory. 

Lisa:   Not far now.
Harry:   You still feeling okay? 
Lisa:   Yeah, fine.  So, tell me about your daughter. 
Harry:   Cheryl, she's... she's young, bright, happy.  Likes collecting stuff, 
bits and pieces.  Bugs, she loves bugs. 
Lisa:   Bugs?  Like dirty, creepy bugs? 
Harry:   No, butterflies.  Pretty bugs.  She has a collection. 
Lisa:   Dead ones? 
Harry:   Yeah.
Lisa:   Still creepy. 
Harry:   Not really.  You seem to see the creepy in everything.  That a nurse 
thing, or just you? 
Lisa:   Definitely a nurse thing.  We have a unique outlook on life. 
Harry:   Whatever happened to "bedside manner"? 
Lisa:   We've still got that, for special cases. 


8.2 - Entering the Apartment
(After several turns down some alleys, the two arrive outside a door.  Lisa 
turns to open it.)
Lisa:   Here we are.
(They go inside and begin heading down the hall.)
Lisa:   My apartment is just around the corner.   Used to belong to the super.  
It's a lot bigger than the others, but I only pay standard rent.  The landlord 
has a thing for nurses.
(They pass through another door into Lisa's apartment.)
Lisa:   Grab a seat, I'm just gonna get out of these things. 
Harry:   I ought to-- 
Lisa:   You're not running off yet.  Warm up before you head back out there.  
I haven't thanked you yet.  Five minutes, come on sit.  Sit!  
(Harry takes a seat on a nearby couch, and Lisa goes into her room to change 
clothes.  The camera switches to first person, allowing the player to look 
around.)
Lisa:   Watch some TV if you want.  I won't be long.  You know, last time I 
had a guy in my apartment it was summer.  During the heat wave.  Now it's 
winter.  Freaky early, but still... time flies.


8.3 - Apartment
(Lisa comes back into the living room.)

Variation #1
Lisa:   Get up.  I thought you were a nice guy.  I saw you peeping. 
Harry:   Wait-- 
Lisa:   Uh-uh.  You should have been better behaved.
(Lisa suddenly holds her head in pain.)
Lisa:   Now I don't feel so good...  Pop into the bathroom and get me some 
pills.
(She lies down on the couch.)
Lisa:   The red ones.  In the cabinet. 
Harry:   Sure.

Variation #2
Lisa:   You know, you're a nice guy, Harry. 
Harry:   Thanks.
Lisa:   I feel safe around you. 
(Lisa suddenly holds her head in pain.)
Harry:   You okay?
Lisa:   Headache.  Be a hero, fetch me some pills from the bathroom?
(She lies down on the couch.)
Lisa:   Check the cabinet.  Get me some yellow ones. 
Harry:   Sure.

Variation #3
Lisa:   I saw you looking. 
Harry:   I was-- 
Lisa:   Aw, don't ruin it making excuses.  I take compliments where I can get 
them. 
(Lisa suddenly holds her head in pain.)
Harry:   You okay?
Lisa:   Headache.  Can you get me some pills?
(She lies down on the couch.)
Lisa:   There's some in the cabinet in the bathroom.  Bring me some of the 
blue ones. 
Harry:   Okay.

Variation #4
Lisa:   You're not like other guys, are you Harry? 
Harry:   How so?
Lisa:   I don't know... you're too nice. 
Harry:   Too nice? 
Lisa:   Yeah-- 
(Lisa suddenly holds her head in pain.)
Harry:   What is it?
Lisa:   Nothing.  Headache.  Can you get me some pills?
(She lies down on the couch.)
Lisa:   There's a bunch in the cabinet in the bathroom.  Get me some green 
ones. 
Harry:   Okay.


8.4 - Helping Lisa
(After Harry retrieves the pills, he comes back into the living room and hands 
them to her.)
Lisa:   Thanks.
(She sits up enough to swallow them.)
Harry:   Water? 
Lisa:   No, fine.  Self-medication... the one true perk of the healthcare 
profession.  It's not just coffee that keeps us going twenty-four-seven.  
Okay, I'm going to sleep now.  You let yourself out. 


                           T O L U C A   M A L L

9.1 - Dr. Kaufmann: Session #5
(The doctor is standing up, looking out the window.)
Dr. Kaufmann:  You feel guilty about everything.  When we all lived in huts 
and wore furs,
(He turns to face the player.)
Dr. Kaufmann:  we worried over the simple things - food, water, whether 
animals would come and eat us in the night.  Now we have supermarkets, bottled 
water and .38 caliber home security.  So what keeps us awake at night?  More 
often than not, guilt.  If only I had acted differently...  If only I hadn't 
said THAT...  If only I had said SOMETHING...  You beat yourself up with your 
past.  Don't blame yourself, blame the world.  Blame God.  Blame me.
(The doctor sits down facing the player.  Four small figures are aligned on 
the table between them.)
Dr. Kaufmann:  Okay, this is my favorite.  Let me introduce some friends of 
mine.  This is King Harold.  His daughter, the chaste Celestine.  A prince 
called Wilhelm.  And a bull.  ...He doesn't have a name.  Prince Wilhelm is 
passionately in love with Celestine.  But she does not love him.  One day, 
Wilhelm comes to the King and asks for Celestine's hand in marriage.  
Celestine begs the king not to marry her to Wilhelm, but the king ignores her 
pleas.  Royal protocol means he must say yes to the match.  They are married 
and Wilhelm takes Celestine back with him to his kingdom.  That night, he 
attempts to consummate the marriage, but the distraught Celestine flees.  She 
runs from the safety of the castle and across a field, ignoring the sign which 
warns of danger.  In that field is a bull, who, seeing the girl, charges her.  
She falls under his hooves and is killed instantly.  What I want you to do is 
line the players up according to how guilty they are of Celestine's death.  
Whose fault was it?  At the left, most culpable.  To the right, most innocent.  
You want to hear that again? 
(The player can answer yes or no.)
(Psychological test #5)

[Variants] 
Dr. Kaufmann:  Poor Harold.  You felt he should have ignored protocol.
Dr. Kaufmann:  Poor Celestine.  She didn't have to run, right?
Dr. Kaufmann:  Poor Wilhelm.  You think if he really loved her, he would never 
have forced the marriage.
Dr. Kaufmann:  Poor Bull.  You couldn't ignore the facts.  He was the one who 
killed her.

(The doctor stands up once again.)
Dr. Kaufmann:  I find the best cure for guilt, is to never get caught in the 
first place.  Let's continue.


9.2 - Phone Call
(When Harry reaches the mall, his phone rings.)

Variation #1
Harry:   Lisa?
Lisa:   Harry?  Oh, Harry.  I don't feel well.
Harry:   What's wrong?
Lisa:   I woke up...  I had such a terrible dream.  ...Blood everywhere.  Oh 
God Harry.
Harry:   Try to stay calm, Lisa.  I'm coming.
Lisa:   Please Hurry.  I--

Variation #2
Harry:   Lisa?
Lisa:   Oh, God Harry.  What have you--  I feel very wrong.  Harry?  You've
gotta come back.
Harry:   Keep talking Lisa.  What's wrong?
Lisa:   Oh, God!  Oh, Harry!
Harry:   Lisa?  I'm coming back.

(The call disconnects.)


9.3 - Lisa's Death
(Harry returns to Lisa's apartment.  She is still laying on the couch.)

Variation #1
Lisa:   Harry.
(A line of blood drips from her forehead.  Then more blood from her nose and 
mouth.  She sighs and her head goes limp.)
Harry:   Lisa?
(Harry rushes next to her.)
Harry:   No...  No.

Variation #2
(She is already dead with blood dripping down her face.  A bottle is open on 
the table with pills everywhere.  Harry rushes next to her.)
Harry:   Lisa?  Oh God.

(Cybil arrives, pointing her gun at Harry.)
Cybil:   Don't move.
Harry:   No, this isn't what--
Cybil:   I said don't move.  Stand up, and step away from the girl.
Harry:   This isn't what it looks like.
Cybil:   Stop talking.  What have you done?
Harry:   She was in an accident - I didn't do this.
Cybil:   Accident?  Shut the hell up.  You've been feeding me bullshit all 
night.  You bastard.
Harry:   I didn't--
Cybil:   Shut up!  I know you're not Harry Mason. 
(Cybil and the room begin to freeze into the otherworld.)


9.4 - Apartment above Green Lion: Meeting Old Dahlia
(After passing through a pawn shop, Harry stops a moment to look at a stuffed 
Tookie bird.  Proceeding further, he sees a photo of Cheryl on the wall.  
Another person notices his arrival.  As she speaks, Harry continues forward to 
investigate.)

[Variants]
Old Dahlia:  Cheryl?  Sweetie, is that you?  You'd been gone for so long, I 
started to worry.  Sweetie?  Who the hell are you?  Harry?
Old Dahlia:  Cheryl?  Sweetie, is that you?  You'd been gone for so long, I 
started to worry.  Sweetie?  Hello.  You here for my daughter?  Harry?
Old Dahlia:  Cheryl?  Where've you been?  It's been hours.  You get my pills?  
Cheryl?  Who are you?  Harry?

(Dahlia is sitting on a bed.)
Harry:   How do you know me?  Where's Cheryl? 
Old Dahlia:  Still at the lighthouse, maybe. 
Harry:   Lighthouse? 
Old Dahlia:  What are you doing here, Harry? 
Harry:   Looking for Cheryl.  Isn't this my house?  Who are you? 
Old Dahlia:  You look really good. 
Harry:   Who are you?
Old Dahlia:  We're soul mates, you and I.  
(She takes his hand, bringing attention to the ring on Harry's hand.)
Old Dahlia:  For richer, for poorer.  In sickness and in health... 
Harry:   You're my wife? 
(Suddenly, Dahlia and the room begin to freeze around him.  Harry brings a 
hand forward to cup her frozen face.)


9.4 - Dead End
(Leaving the room, Harry descends a long staircase that wasn't there before.  
When he reaches the bottom, he finds a dead end.)
Harry:   Oh, shit.
(He leaps into the darkness.)


9.5 - Nightmare: Cheryl's Room
(After passing through several frozen rooms and a few nightmare sequences, 
Harry finds a bedroom.  Harry stops a moment in front of a photo of him and 
Cheryl. He sees another photo of Dahlia.)
Harry:   Cheryl, this is your room...
(He comes forwards and sits on her bed.)
Harry:   But you're not in it.
(He picks up a framed photo of him and Cheryl that was on the stand next to 
the bed.  He lies down on the bed a moment, looking at the picture, before 
dropping it to the floor.  The glass breaks.)


                                L A K E S I D E

10.1 - Dr. Kaufmann: Session #6
(Dr. Kaufmann is standing behind his chair.)
Dr. Kaufmann:  You know I think we're getting somewhere.  We're all tied up in 
this marriage thing.  Marriage worked a lot better when we didn't live so 
long.  We have phrases like 'the honeymoon is over' to remind us how quickly 
marriages sour.
(He comes around the chair and sits.)
Dr. Kaufmann:  You think I'm being cynical?  Divorce does that to you.  Come 
on, you think marriage can really last?
(The player can answer yes or no.)
Dr. Kaufmann:  Should a couple stay together for the kids?
(The player can answer yes or no.)
Dr. Kaufmann:  Do you think it's a bad idea to marry young?
(The player can answer yes or no.)
Dr. Kaufmann:  You think sex becomes stale after marriage?
(The player can answer yes or no.)
Dr. Kaufmann:  You know what, you being such an expert on marriage, you're 
going to ace my matchmaker test.  On the table are six pictures.  All you have 
to do is sort them into three married couples.
(Psychological test #6)
Dr. Kaufmann:  All finished?  Now, tell me which of those couples are still 
together...  I'm joking.  You know I'm just trying to provoke you, right?  
Let's keep going.  We're really making progress here.


10.2 - Apartment: Waking up from the Nightmare
(Harry is still sleeping from before.  Michelle has arrived and wakes him up.)
Michelle:  Harry?  Were you dreaming? 
(She sits on the bed next to him.  Harry begins to sit up.)
Harry:   What are you doing here?  This place is... 
Michelle:  Your home, right?  I saw the photos of you in the corridor... you 
and your family. 
Harry:   Cheryl isn't here. 
(He stands up.)
Michelle:  I'm sorry. 
(She stands up, too.)
Harry:   The woman... said Cheryl was at the lighthouse. 
Michelle:  The lighthouse closed down years ago. 
Harry:   I need to go there. 
Michelle:  John and I can drive you there.  We'll take the lake road. 
Harry:   Thank you.
(They leave the room.)


10.3 - On the Way to the Lighthouse
(The scene enters a first person view as the player is allowed to look around 
from Harry's place in the back seat of a car.  John is driving, and Michelle 
is in the passenger seat next to him.)

Variation #1
Michelle:   Harry this is John.  John, Harry.
John:   Hey.  Michelle says you kept her company earlier, when I was late.  
Thanks.
Harry:   Good to meet you.

Variation #2
John:   So you're Harry?  John.  Well, don't mind me.  I'm sure you two have 
lots of catching up to do.
Michelle:   John, don't be silly.

(Momentarily in third person, the car backs up, making a three point turn.)

Variation #1
Harry:   Nice car you got, John.  I always wanted one of these.  But when 
Cheryl was born, we graduated to the family car club.  Trunk space wins out 
over engine size.
Michelle:  I'd swap the car for a family any day.  Though I'm happy enough 
with just John for now.
John:   Cut it out Michelle.
Michelle:  Huh?
John:   It's embarrassing.
Harry:   I'm not embarrassed, don't mind me.
John:   This isn't how I wanted things to go.
Michelle:  It's not Harry's fault, I mean--
John:   Nothing to do with Harry.  I mean this, us.  I wanted to make things 
clear, I wanted to do things right.
Michelle:  What are you saying?
John:   This reunion, this weekend...  I wanted to come see you, to talk 
things through.
Michelle:  Talk?  About our relationship...?
John:   Michelle, there is no relationship.
Michelle:  Please, don't do this.  Not now, John.
John:   If not now, when?  Where?  Christ Michelle, I've been trying to do 
this for months.  But you don't want to hear it!  Now we have a witness, maybe 
you'll listen.
Michelle:  You're just tired.  You're not thinking right... it's been too long 
since we've been together.
John:   No.  No, Michelle.  I was hoping to do this right, but I need to do 
it.
(He stops the car and pulls the emergency brake.)
John:   We've been running on empty for a long time.  Living on fumes.  It 
isn't a relationship, it's a courtesy.
Michelle:  If I still love you, it can't be over.
John:   It is. You don't love me, you love the John in your head.
Michelle:   Please--
John:   I can't listen to this.  I can't do this anymore. 
(He gets out of the car.  Soon after, Michelle follows.)
Michelle:  John!

Variation #2
Harry:   So you were at Midwich too, John?
John:   A few years back, yea. Prom King, Prom Queen.
Michelle:  John got to be king because his family owns half the town.  I was 
queen because I looked great in the dress.
John:   You still fit into that dress?
Michelle:  I fit this one pretty well, right Harry?
John:   What?  You bring along this guy to... to, what, taunt me?
Harry:   Hey, sorry if--
Michelle:  You think this is about you?  Harry's here because he needs help.  
I'm not the one who missed the reunion.
John:   I actually had it in my head, we might try and make this work.  God, 
you are so different now.
Michelle:  We.  We are so different.  Stop the car.
(She reaches over to grab the steering wheel.)
Michelle:   Stop the damn car. 
(After a brief struggle, he stops the car.)
John:   Jesus.  You could have killed us!
Michelle:  Sorry, Harry. 
(She gets out of the car.)
John:   Oh... dammit.  
(He honks the car's horn.)
John:   Bitch.  She wants me to go after her.
(John honks a few more times before exiting the car.)


10.4 - Annie's Bar: Harry and Michelle
(Entering the bar, Harry finds Michelle seated at a table.  In one variation, 
she is drinking a beer.  In another, she is picking at a piece of cheesecake.  
The scene begins in first person, allowing the player to look around.)

Variation #1
Harry:   Hey.
Michelle:  It's over.  John and me...  I don't think he's loved me for a long 
time.  I was in love with... an idea of this person... but that wasn't John.  
What a waste.  You know, I should have realized when he said he wanted to be a 
lawyer!

Variation #2
Harry:   Hey...
Michelle:  Sorry I left you like that.
Harry:   It's okay.  I took a shortcut.
Michelle:   It's over with John.  It felt good to finally say those things.  
We both wasted a lot of time in that relationship, clinging to how it was at 
the beginning.  We're different people now.  Not good for each other, you 
know?

(The scene reverts to third person.)
Michelle:  You're still headed for the lighthouse?
Harry:   Yeah.
Michelle:   You'll need a boat to cross the lake.  They often moor at the 
jetty behind the amusement park.  Head through the alley out back, you'll see 
it.  I used to go there with John.  ...I doubt it's as exciting as I remember 
it.  Are you sure you want to go, Harry?
Harry:   It's all I've got. 
Michelle:  Something feels wrong.
Harry:   She's there.  I know it this time.  I'll get my answers.
Michelle:   You might not like them.
(Harry heads to the back of the bar.  He looks back at Michelle one last time 
before going out.)


                 L A K E S I D E   A M U S E M E N T   P A R K

11.1 - Dr. Kaufmann: Session #7
(Dr. Kaufmann is once more standing behind his chair.)
Dr. Kaufmann:  We're getting deep in it now.  I can almost taste it.  All this 
talking and we still haven't touched on the sex thing.  ...That's what you're 
thinking.  Aren't all psychiatrists supposed to be obsessed with sex?
(He comes around his chair and sits.)
Dr. Kaufmann:  It's not us, it's you. 

[Variants]
Dr. Kaufmann: You're obsessed with not having sex. 
Dr. Kaufmann: You're obsessed with sex.  Even when we're not talking about it, 
you're thinking about it. 
Dr. Kaufmann: You probably think you're more emotional than sexual.  But 
they're the same thing. 

Dr. Kaufmann: Come on, let's have some fun.  See the pictures on the table?  I 
want you to divide them up.  The ones that you think are a sexual symbol go on 
the left, the ones that aren't, the right. 
(Psychological test #7)

[Variants]
Dr. Kaufmann: Good.  Of course, the constant partner of sex, the other side of 
the same coin is...  Death. 
Dr. Kaufmann: None of them?  Now you're screwing with me.  You're in denial 
about sex.  Sex and death. 

Dr. Kaufmann: Sex is death.  It's a leap into the void, 
(The doctor stands up again.)
Dr. Kaufmann:  the great loss of self.  The tiger in space.  A plea for 
annihilation.  To deny sex, is to deny death itself.
(At the back of the room, the doctor grabs something to drink.)
Dr. Kaufmann:  You know, people who are getting enough don't need analysis.  
You clearly are not getting enough.
(The doctor brings the drink back with him to his seat.)
Dr. Kaufmann:  Let's see this through to the end.


11.2 - On the Boat: Harry and Dahlia
(After passing through the amusement park, Harry enters a houseboat.  In one 
variation, he finds Dahlia kneeling on a bed with a bottle in her hand.  In 
another, she is sitting down while having a smoke.)

Variation #1
Dahlia:   Harry?  I thought you'd turn up.  It's party time and I'm the party 
queen.  Help yourself to refreshments.

Variation #2
Dahlia:   Harry Mason.  About time...
Harry:   You were expecting me?
Dahlia:   I'm lonely and horny... isn't that when you always turn up?

Variation #3
Dahlia:   Harry Mason!  You're late.
Harry:   For what?
Dahlia:   Your party.  I started without you, so you're playing catch up!

(She leans forward to lay on her stomach.)
Harry:   What is this place?
Dahlia:   It's a boat.  It's like a car, but goes on water.  We float this 
baby out into the middle of the lake and we can do whatever we like...  no one 
to tell us what to do.
Harry:   I need to get to the lighthouse.
Dahlia:   Well it can do that too, for a price.
Harry:   My daughter is there.  I need to be there.
Dahlia:   Harry, Harry...  Always with the weight of the world on his 
shoulders.  I remember when you were a fun-loving guy.
Harry:   We're talking about my daughter, dammit.
Dahlia:   Okay, okay...  
(She stands up and walks to the wheel.  She sets the boat moving before 
returning and laying back on the bed.)
Dahlia:   We'll be at the 'lighthouse' in about twenty minutes.  It's a slow 
boat.

Variation #1
Harry:   Do you know what is happening to me?
Dahlia:   I know a lot of things.
Harry:   You don't know the half of it.  I've seen you die.  I've seen a woman 
with the same name, twice your age.  She said she was my wife.  Every step I 
take, Cheryl gets further away... 
(Harry sits down next to Dahlia.)
Dahlia:   But now she's at the lighthouse.  Nowhere else to go.
Harry:   Who are you, Dahlia?
Dahlia:   I already told you.  I'm the lay of your life.  Your salvation and 
your curse.
(She leans forward to kiss him.)
Dahlia:   I taste sweet, don't I?

Variation #2
Harry:   Why won't you take this seriously?  Cheryl is in trouble.
Dahlia:   Cheryl is always in trouble.
Harry:   What do you know about Cheryl?
Dahlia:   Very little.  I try not to pry into your 'family' life.
Harry:   You have the same name as my wife.
Dahlia:   Stop it!  Can't we just relax?  For once.
(She makes Harry sit down on the bed and gives him a drink from her bottle.)
Dahlia:   Better, huh?

(Dahlia rolls on top of Harry and continues to kiss him.  Harry kisses her 
neck.  They continue to make out as the scene fades to black.)


                        T H E   L I G H T H O U S E

12.1 - The Frozen Lake
(Harry wakes up without a shirt on.  Dahlia and the boat have turned to ice.  
He touches her head before standing up and putting on a shirt.  It's the same 
shirt he was wearing in the opening home video.  He exits the boat to find 
that the entire lake around them has also frozen.  The light from the 
lighthouse can still be seen up ahead.)


12.2 - Thaw
(After running for a while, Harry is overcome by nightmare creatures.  
However, soon after they take him down, they back away and freeze.  Harry 
stands up moments before the ice breaks and he falls into the water.  He must 
attempt to swim the rest of the way to the shore.)


12.3 - At the Shore: Saved by Cybil
(Harry tires before he reaches the shore and ends up unconscious at the edge 
of the water.  Cybil pulls him to safety.  Harry coughs and wakes up.  As he 
rolls over, he takes Cybil's gun and points it at her.)
Harry:   You're not stopping me. 
(He gets to his feet.  Cybil keeps her hands up in the air.)
Cybil:   I'm not here to stop you.  I didn't have to fish you out of the water 
did I?
Harry:   Stop talking.  You can't talk me out of this.
Cybil:   I'm not here to stop you.  I pulled your file at the station.  I told 
you that, right?  If you're telling the truth, this doesn't make sense.  But I 
think you are telling the truth.  I believe you think you are Harry Mason.  
Hell, I believe you ARE Harry Mason.  But... Harry Mason was killed in a car 
crash eighteen years ago.
(Harry slowly lowers the gun.)
Cybil:   You want answers, I guess they're waiting in there.
(Cybil nods her head towards the lighthouse.)
Harry:   That's the lighthouse?
Cybil:   Nothing's quite what you expect, is it?
(Harry returns the gun to Cybil.)

Variation #1
Cybil:   First thing tomorrow, I'm going to hand in my badge.
(She holsters the gun.)
Cybil:   I don't think I'm cut out for police work.  Not in this town.  Good 
luck.
Harry:   Thanks.
(She walks away.)

Variation #2
Cybil:   I'm gonna stick with my gut from now on.
(She holsters the gun.)
Cybil:   Would have saved us both a lot of trouble.  Hope this works out for 
you.
(She walks away.)


12.4 - Dr. Kaufmann's Office
(The doctor is seated on the coffee table, his glass still in his hand.)
Dr. Kaufmann:  This is going nowhere.  I'm spelling it out, but you're not 
listening.  Your troubled school days, how you're conflicted about marriage...  
your denial of death, the unfounded guilt, abnormal sexuality...  Eighteen 
years of denial!  
(He stands up.)
Dr. Kaufmann:   A whole universe of fantasy in that thick skull of yours!  A 
skull teaming with agents of repression.  ...Blind children clutching photos 
in the dark.  Pale freaks, goggle-eyed from watching home movies on loop.
(He walks behind his chair.)
Dr. Kaufmann:   The term is 'complicated grief'.  But it's simple, isn't it?  
A young girl... Her parents don't get along.  She blames herself, as all 
children do.  Then Daddy dies.  What's a girl to do?  Deny that Daddy died.  
Deny who Daddy was.  What seven-year-old actually knows who their parents are 
anyway?
(He becomes more angry as he speaks, pacing back and forth.)
Dr. Kaufmann:   So she obsesses and obsesses over this fantasy dad, propping 
up her make-believe with scraps...  Scraps of a happy life that never was.  
Scraps of a father who never existed...  Wake up!
(He turns and shatters his empty glass against the wall.)
Dr. Kaufmann:   Your dad wasn't a hero,
(He comes back around his chair and sits down.)
Dr. Kaufmann:  wasn't your knight in shining armor.  He was a human being.
(Behind the doctor, the door opens.  Harry, who had reached the lighthouse and 
walked through the clinic, comes into the room.)
Dr. Kaufmann:  You never knew him, and you never will.  The dad walking around 
in your head isn't even a ghost.
(Harry comes to a stop behind the doctor.)
Dr. Kaufmann:   He never existed.  A Frankenstein's monster, a child's 
fantasy...  But you're alive.  Your mother is alive.  She's not the monster 
you make her out to be.  You need to live your life.
Harry:   Cheryl...

(For the first time, the camera in the therapist's office switches to a third 
person view.  The patient is revealed to be the older version of Cheryl of 
which Harry had only seen in photos throughout his journey.)

Variation #1
(Harry comes to kneel before her.)
Cheryl:   You've been with me for so long.
Harry:   I always will be.
(Cheryl shakes her head in denial.  Harry turns into ice.)

Variation #2
(Cheryl gets to her feet.)
Cheryl:   Why did you have to die?  It wasn't my fault.
(Harry extends a hand towards him, but she pushes it away.)
Cheryl:   Someone has to take the blame.
Harry:   Forget me.
(Harry steps away as he turns into ice.  His frozen statue then begins to fall 
to pieces.  A tear runs down Cheryl's cheek.)

Variation #3
Cheryl:   Dad.
(Harry comes to kneel before her.)
Cheryl:   You are a hero.  The man who died, that wasn't my father.  That 
isn't who I remember.  Those memories are all I have - you're all I have.
Harry:   I'm not even a ghost.
(Cheryl reaches forward to embrace him.  A tear runs down her cheek.)

(Depending on decisions made throughout the game, another brief scene may show 
of Cheryl leaving the clinic.  Outside, she is met by the Old Dahlia in the 
parking lot.  They embrace and walk away.)

(The scene switches back to home video that was shown at the very beginning of 
the game.  The recording shows a red car outside of the Mason home.  Cheryl, a 
young girl, runs into her father's arms.  He lifts her high into the air.)
Harry:   Sweetie.
(Harry points towards the camera, and they both wave.  Harry then opens the 
car door for Cheryl to get inside.  The recorded scene then changes to an 
amusement park setting.  Cheryl is pointing towards a painted fantasy backdrop 
used for taking themed photographs.)
Cheryl:   Daddy!
(Laughing, Cheryl runs behind the painting.  Her head appears in the hole 
above a princess's body.  Harry's head appears above a knight's body, fighting 
a dragon.)
Cheryl:   I love my daddy!
(The home video will then switch to an additional scene.  The ending shown 
depends on the decisions the player made throughout the game and their 
resulting profile.)


                                E N D I N G S

13.1 - Love Lost Ending
(The camera--carried by Cheryl--is again outside their home, Harry puts a 
suitcase on the ground.  It appears that he is about to leave in the red car.)
Dahlia:   You'll be careful. 
Harry:   Sure.
Dahlia:   Harry...
Harry:   We've said enough.  Let's just--
(Harry notices that they are being recorded.  He holds a hand up to the 
camera.)
Harry:   Sweetie, don't film this.
(He comes forward and kneels before the camera.)
Harry:   You know this has nothing to do with you, right?  Even though Mom and 
Dad don't love each other any more, we both love you.  ...And we always will.  
Come on...
(The camera switches off.)


13.2 - Sleaze and Sirens Ending
(The camera has been set up to show Harry seated on a bed.)
Harry:   Action!  Come on then girls, introduce yourselves.
(Michelle steps in front of the camera, ducking down to get in the picture.)
Michelle:   I'm Michelle, and I'm Midwich High's Prom Queen!
(She then sits on the bed beside Harry.  He puts an arm around her and 
gestures to someone else to the camera's right.)
Harry:   And our next star...
(Lisa ducks into the picture.)
Lisa:   I'm Lisa!  I'm a nurse.
(She sits down on the other side of Harry.)
Harry:   And I'm Harry Mason, famous author and seducer of prom queens and 
nurses!
Michelle:   Can we be in your next book?
Harry:   Sure!
Lisa:   Can you dedicate it to us?
Harry:   No.  Dedications are always to my wife and my daughter.  ...It's only 
fair.
(All three laugh and lay backward on the bed.)


13.3 - Wicked and Weak Ending
(The camera--carried by Cheryl--comes into a dark room where Dahlia is yelling 
at Harry.)
Dahlia:   You piece of shit.  When are you going to bring in some real money?
(She slaps him across the face.)
Dahlia:   You think your crap is Shakespeare?  Your piece of shit novels!?  No 
one even reads them!
(She backhands him.  Harry clutches his face in pain as he falls to the 
floor.)
Dahlia:   Be a man.  Come on, fight back.
(She yells the words down into his face.)
Dahlia:   Pathetic.  To think I used to hang off your every word.  Dickless 
waste of space.
(She backhands him again.  His glasses fall to the floor.  He puts them back 
on and notices the camera.)


13.4 - Drunk Dad Ending
(The camera--carried by Cheryl--is filming Harry walking onto the porch at 
night.  There is a bottle in his hand.)
Harry:   What the hell ya filming me for?  Am I s'posed to dance for you?
(He attempts to dance, but falls over.)
Harry:   Be a good girl for Daddy, go get him another drink will you?
(Still on the ground, he sits up.)
Harry:   Now!  Get me a damn beer.  No wonder I drink, with a family like 
this...
(He looks at the bottle in his hand.)


13.5 - UFO Ending
(If the player has met the requirements, this ending will play out in place of 
the other therapy session.  The scene becomes a series of cartoon pictures.)
Dr. Kaufmann:  This... this is it?  After all we've said, all we've 
discussed...  You honestly believe...  that your father was abducted by 
aliens?  It made more sense when you were talking about cults and demons!
(The scene switches to face Cheryl.)
Cheryl:   This whole town... it's really a giant spaceship.
(The door opens behind the doctor, but instead of Harry, James Sutherland is 
at the door.)
Dr. Kaufmann:  James?
James:   Wrong day again?
Dr. Kaufmann:  See you tomorrow, James.
(The door closes.)
Dr. Kaufmann:  One of my couples therapy patients.  ...Haven't seen his wife 
in a while.  Where were we?
(The scene now shows a dog on the couch where Cheryl used to be.)
Dog:   My mother was a bitch.
(Now, instead of the doctor, an alien is seated across from her.)
Alien:  Go on, I'm listening.


13.6 - After the Credits
(A cardboard box is shown containing all of the mementos that player 
discovered throughout the game.  Cheryl closes the box.  Then, reluctantly, 
she walks away, leaving the box on a table.)