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joakoman Newbie

joakoman

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encontre los dialogos!!! pero en ingles. Tal vez neims o alguien los pueda traducir. Ahi van:

 

Video de inicio:

 

An enormous meteor hurtles towards an unsuspecting Earth. An island continent sits amidst a tranquil sea on an overcast day. The island is lush with vegetation, insects and animal life.

 

 

At twilight, a dragonfly flits past one of the continent's many marshy rivers. A small red frog leaps from the long leaf it was sitting on as a bolt of lightening strikes in the distance. The meteor has entered the earth's atmosphere and has become a giant ball of fire. A primitive crocodile swims lazily upstream while a small rodent crawls out of its hiding place to investigate the source of a low rumbling sound, like distant thunder, that can be heard.

 

 

The fiery meteor streaks downward, breaking through the clouds and illuminating the sky. The meteor impacts with the ground and a flaming shock wave propagates from the impact site. Creatures attempt to escape or hide, but to no avail. The wave of destruction overtakes them.

 

 

The landscape is devastated, scorched and smoldering. What trees that still stand are aflame. In the distance lies a small mountain range, with no longer a trace of vegetation. Pieces of the meteor that were propelled into the air by the impact fall back to earth elsewhere.

Antarctica - Present Day1 Millions of years later. The distinctive mountain chain is the backdrop for a new drama. The island continent is not a lush tropical island, but now covered with snow. There are no indications of the previous climate of this land as snow continues to fall, and the frozen landscape is white; punctuated only by the temporary structures of a research team's campsite.

 

 

A worker, dressed for the icy conditions, stabs his shovel into the snow, after finishing clearing it from the treads of a large red bulldozer. Connected by a drive belt to a gasoline engine on the back of the bulldozer is a drilling rig. A second worker is inside the cab of the bulldozer operating the drill, while the first worker comes around from the front to oversee the drilling. The drill is noisily spewing up ice, as a third man, Doctor Willard, is attempting to speak into a radio over the noise of the engine and drill.

 

 

Doctor Willard's Scottish accent grows thicker as he shouts into the radio, "I've been yellin' myself hoarse into this radio everyday. It's just the weather dumps on us frequently here." He attempts to block out the noise of the drilling with his free hand and steps into a shelter. "An' maybe my transmission doesn't get through. I don't know," he gripes.

 

 

A voice with an American accent harps back through the radio's heavy static, "I can't understand one word of what you say, Willard."

 

 

Willard sighs with annoyed resignation. Loudly and snidely, he carefully pronounced, "It's all going swell, sir!" Just then, a loud boom can be heard coming from outside. Willard cuts off his transmission.

 

 

Outside the worker is gesticulating wildly to the drill operator and yelling, "Get the bit up! Get it out!" The drill right is producing a screech from the slipping drive belt caused by the drill bit meeting resistance. The once smoothly spinning drive belt is now pulled taut. In the cabin of the bulldozer, the other worker has started to panic and attempts to raise and then lower the bit. Willard exits his shelter crossing and waving his hands in front of himself to signal that the driver should pull the bit up.

 

 

Finally, with the drill still engaged, the bit hits rock and a loud thump is heard. The operator is completely flustered and gasps as the drill, which was now throwing up rocks along with the ice, produces a thump with great finality. Willard, stepping out of the shelter, is growing frantic and yells, "Turn it off! Off!" The motor continues to rumble and drive the belt. Finally, at the top of his voice, Willard screams, "Hey! Switch... it... off!" But his screams go unnoticed. The motor is producing black smoke and as the worker outside is watching the gradually slowing drill bit, the drive belt snaps and shoots past. Narrowly missing the worker's head. Willard, exasperated shouts, "Dah!"

 

 

The two workers have pulled the mangled drill bit up and one of them drops some sort of sensor device into the hole. The second worker examines the readout of the sensor on a hand held computer. Willard gestures to the worker. The worker looks up and shakes his head.

 

 

Just then a snowmobile races up and pulls a sharp one hundred and eight degree turn in front of the dig site. Willard looks over to the driver, and the driver tells him with a southern drawl, "Think you better come and check out site two."

 

 

Willard mounts the snowmobile behind the driver, and the worker looks back at his computer, and a red indicator lights up, indicating solid rock. The worker turns and asks Willard, "What about this?"

 

 

Willard turns back and says, "Blow through it!" The snowmobile races off.

 

 

Willard asks the driver, "Found more meteorite?"

 

 

"Hah! No, somethin' a little more younger than that," the driver replies. The snowmobile pulls up to the second site. Willard turns to look at a bank of snow. Peeking out of the ridge of snow is a statue much like the ones that can be found on Easter Island.

 

 

Willard gasps as an awful realization dawns on him, "No!" He quickly lifts his radio to his head and calls into it, "Billy, I don't want you to set that explosive. Do ye hear me?"

 

 

Back at the other site, Willard's calls are unheard, as the other radio lies in the snow several meters from the workers. Willard repeats his words, "I do... not.. want ye to set that explosive!" Still, his cries are unheard as Billy hits the detonator and an explosion pops show and rocks into the air. Willard and the driver drop for cover behind the snowmobile as debris is hurtled toward them. They sit back up and shake the snow off of their jackets as Willard curses, "Wretched pyros!"

 

 

The explosion shakes the ground and causes snow and ice to settle all around. It reveals several more of those statues, all set in a semi-circle, facing out to sea. Willard and the driver return to the first site and Willard climbs down to examine the crater created by the explosive charge. He finds two pieces of lumber nailed together in the shape of a cross. Willard finds, scrawled into the wooden cross:

 

 

Paul Caulfield

1812 - 1834

R. I. P.

HMS Beagle

 

Willard frowns and scratches his head. He mutters aloud, "This place's had a busy history."

 

 

Cut6scene 1 (desoues de la jungla)

 

Lara unlocks a gate and works her way through the mud and finds a camp site. The whole area is a swampy mess. The tent canopies are stamped RX TECH. Looming in the distance is a large ruined temple. A satellite radio is in the middle of the camp site and producing a static hiss. There is a male voice with a Scottish accent is calling through the radio.

 

 

"Tech four to five. Do you read me, Tech five? Tech..." The voice becomes impatient and snaps, "Tony, ye loon, I know you're there..." A blue spark of electricity arcs over the front of the transceiver and device cuts out with a pop.

 

 

From inside one of the tents Lara hears another voice, apparently happy that the radio has finally given up the ghost, "Whoohoo!"

 

 

Lara cautiously steps forward and beckons, "Hello-oh?"

 

 

An angry young man, apparently the Tony the voice on the radio was calling for, jumps out of one of the tents, making a whining noise. "What!?" he yells angrily, "What do you want from me now?" He suddenly stops and grabs his head between his hand as if it were about to explode.

 

 

Lara attempts to calm him, "Nothing that taxing." She asks, "Are you alright?"

 

 

Tony looks up, but appears to be looking through Lara, "If you'd all stop, I might be just fine! Just one hundred percent... just..." His voice trails off and he makes a little whining noise.

 

 

Lara is puzzled, "If you'd all stop? Who are you talking about?"

 

 

Tony swings around, "All you," he waves his arm in an arc in front of himself, "hundreds of you. Talking and chattering and breaking my brain up..."

 

 

"Mmhmm..." Lara interjects, figuring he's lost his mind, "Well, I'm not quite sure where you're coming from, but I just want to know about the Infada artifact." Lara gestures across the camp up at the temple ruins, "In the temple up there?"

 

 

Tony suddenly gains a little clarity. His voice now lower and somewhat ominous, "Voodoo magic an' all huh?" He shrugs, "Don't touch the stuff myself." He begins to collect gear and packing it away in a metal case, tossing a bundled up sleeping bag into it first.

 

 

"It's not voodoo," Lara is about to begin an archaeology lecture, but changes her mind. She decides that she's not going to get any useful information from this fellow asks, "Look, is there anyone else here with you?"

 

 

Something about that question strikes Tony as funny and he snorts, "Yeah, Randy and Rory... peeesh."

 

 

"Randy and Rory?" Lara looks around the camp and asks, "Where?" Tony ignores her and folds up the satellite radio and drops the transceiver and the radio into the metal crate. Lara continues to inquire, "What are you all doing here?"

 

 

Tony suddenly turns to her. In a spooky voice he says, "Well, they're stayin' put. In that temple." Suddenly his voice changes to an almost pleading tone, "I told 'em not to, warned 'em first..." And just as suddenly, his voice changes again, "Not doing much now I doubt, under half a ton of mudslide. Me?" He points to himself with is thumb, "I'm leavin'. Next bus out. This jungle has rooted enough rot into me. I'd offer the same advice to you," he pauses to look Lara up and down, "But you don't seem the type to take it..." Tony starts to wander away toward an ledge on the far side of camp, "...to care if I said you're gonna die in there." He starts to cackle, "Hahaha." Tony leaps off the ledge into the jungle below, "Yeah.... Die..." His voice trails off as he disappears into the jungle.

 

 

Lara is left standing alone in the camp site, and she puts her hands on her hips, to consider the situation. After a quick evaluation, she decides to check out the temple, and walks through camp toward the ruin

 

fmv 2 (despues de Kaliya)

 

Lara climbs out of the dark caves. Sunlight filters down through the dense foliage. Lara checks the time. Sajit is probably long gone, and if he wasn't now, he certainly would be by the time Lara hiked back up to where she left the Jeep. "So much for my deposit," Lara sighs.

 

 

Lara steps forward into the sunlight and blinks a few times until her eyes adjust. She can hear the puttering of a motor and scans around to find its source. A boat appears rounding a turn in the river and slows down in front of her. A figure on the boat calls out to her in a hoarse voice, "Hey!", and gestures for her to hop aboard.

 

 

Lara is suspicious, but figures the ride will be better than hiking out of the jungle, so the runs across the banks and leaps gracefully aboard the boat. The man aboard the ship is Doctor Willard5.

 

 

Willard casually, "I don't want to be misrepresented by that retarded researcher you just been with, er..." He gestures for a name.

 

 

"Lara," she replies.

 

 

Not waiting for her reply, Willard turns, walks to the shade of the canopy of the boat, and sits down at a table. "I'm Doctor Willard. I'd come to converse with Tony myself, but I saw you doing a rather more creditable job, I think. Indeed, I'm inspired. I'd like to offer ye other work." Willard gestures Lara to take a seat.

 

 

Lara follows him, walking past the pilot of the boat. "What? Shoot the breeze with some of your other boys?" Lara grins and sits down, "No thanks."

 

 

"Fortunately," Willard points out, "they were the only lab rats we let loose into the field. Naw, my request is for three other artifacts like this." He points to the carved artifact on Lara's hands.

 

 

"The Infada tribe only had the one artifact of this type." Lara looks down, examining it, "It's unique." "Anyway," Lara looks up suspiciously, "what would your interests in it be?"

 

 

"I'll show ye," Willard reaches out and opens his palm. Lara looks him over and then places the artifact in his hand. "It's not from India," Willard continues, as he reaches over to open a shiny case beside him. "Rather, an island near Antarctica." Willard reaches into the case and picks up a small pen-like device and opens up a small palmtop computer. "It is in fact meteorite rock," Willard continues, as he begins to scan the Infada stone with the device, "that has been fashioned and used by Polynesians who were once settled there many many years ago. See that?" Willard points excitedly to a spike in the three dimensional graph on the color screen of the computer. "That's unique. An unknown material."

 

 

"So how did it end up here?" Lara asks.

 

 

Willard, now standing answers while making grand gestures with his hands, "Formed from the planets, sculpted by Polynesians, distributed by goons. Our excavations and investigations have lead us to this." Willard points to a large book, which is also lying in foam padding within the steel case, "A sailer's diary from his voyage on Charles Darwin's expedition on the HMS Beagle."

 

 

Lara picks up the book and notices the cover. It has been inscribed, "S. Barr, HMS Beagle, Journal". She flips the book open to a book marked entry and begins to read, "August fourteenth, eighteen thirty four." As Lara reads the words, the authors voice echos in her mind. She pictures the scene described by Stephen Barr. "This voyage is getting too boring for me to continue with this journal..."

 

 

The voice of Stephen Barr rings now loud in her minds eye, "...me adventures at sea are an embarrassment. The only tales I'll 'ave to tell are hours of bird watchin', pickin' and pressin' flowers, followin' them blasphemous ideas of the guv'nah, Darwin." Stephen writes this as sea gulls fly over head. He looks out across an expanse of ocean to an icy island, "But this don't even concern me now. I jus' want food. Somethin' more than vegetable broth in me." Five men, Smythe, Henderson, Caulfield, Jonson, and Barr, climb aboard a small boat and row to the shores of the frozen island, "Today, we five 'ave made a pact. The only sampling we're gonna be doing is for meat... pure, solid, blood-rich meat." The men follow tracks that across the icy landscape. The prints look somewhat like animal tracks, but have features like that of a barefoot man.

 

 

They track the creature's prints into a icy cave. Inside, icicles dangle from the ceiling and rise up from the floor. They light lanterns to light their way. "The snow's run out," Smythe points out. "The tracks 'ave gone."

 

 

"Jus' keep goin'," Henderson tells them. "We're on its trail." They continue forward into the beautiful ice cavern. They cross a narrow bridge of ice. Stephen, lagging behind, looks down and sees the floor of the cavern is covered with stalagmites of ice. They cross over the icy bridge and arrive at a round cavern.

 

 

The men spread out to explore the cavern and Henderson calls out excitedly, "There's something here!". Henderson whistles in appreciation and pulls a artifact from the snow. The artifact is carved from a transparent teal stone, almost like glass, into the form of a lizard. The stone glowing faintly in the darkness.

 

 

Paul Caulfield finds one and exclaims, "Look, another one!" He calls to Henderson and asks, "Whaddya reckon they're worth then?" Stephen notices a splash of dark red on the back wall. He approaches and raises a lantern to find that it's a large wooden carved idol. The carving is just like a Polynesian idol with brightly colored paintings. He suddenly does a double take and notices more of the strange tracks heading off to the right to where Paul is standing.

 

 

"Too late," Paul gloats. "There's only four. None for you..." Paul tells Stephen smugly, as Paul picks up his artifact. Stephen runs to him, and sees a dark shadowy form appear on the rock ledge above Paul.

 

 

"Paul..." Stephen calls, with great fear in his voice.

 

 

"Wha?" Before Paul can say another word, a wolf-like creature lunges and fastens its jaws on Paul's neck. He instantly falls to the ground. The other men scream and run for the cave's exit. Stephen cocks his pistol and takes aim at the creature as it shakes Paul like a rag doll. Stephen fires one shot and hits the beast in the shoulder. The wolf creature yelps and runs away.

 

 

"C'mon Stephen!" Smythe calls. Stephen sets his lantern down, picks Paul up on his shoulders and starts to carry him toward the bridge. Paul groans weakly.

 

 

The wolf creature returns and sniffs at the pool of blood Paul left behind. It licks the blood and pursues Stephen and Paul. The beast barks out after Stephen and Henderson's urgent cries join Smythes, "Stephen, leg it! Quick!"

 

 

Smythe is still urging Stephen, "Faster! C'mon!" The beast catches up with Stephen and Paul just as they arrive at the ice bridge. The added weight of the creature and the two men causes the icy bridge to break away. The huge slab of ice that Stephen is standing on drops down to the icy cavern floor below and starts sledding down the slope. The creature falls behind him and is impaled with a yelp on one of the icy stalagmites. Stephen has no choice but to ride it out, screaming and yelling. The block of ice skids its way through the icy tunnels until it smashes into a wall of ice. The impact of the ice sled blasts through the ice wall and hurls Stephen and Paul through the ice where they land on a snow bank a few metres away. Stephen, lying supine in the deep powder, rolls his head around trying to regain his bearings. Paul's motionless body lies beside him.

 

 

The four remaining men dig a grave for Paul in the snow and ice and erect a wooden cross at the head of the shallow grave. Henderson tells the other men, "Nobody better say nothing about this to the guv'ner, else we'll be back having to hunt down that creature for his samples. Paul fell down a crevasse, okay?" All the men mutter in agreement except for Stephen, who stands silent.

 

 

Smythe turns to Stephen and asks more poignantly, "Okay Stephen?" Stephen nods in resignation.

 

 

Jonson, the quiet one dressed in all black, looks down at the grave and says, "Amen."

 

 

Snapping Lara's mind back to the present, Willard interrupts, "Stephen was to be the only survivor of the four." He stands, "When he arrived back in London, he superstitiously sold off his artifact havin' seen his pals murdered or killed with theirs..." He puts away the scanning device and closes the palmtop, and continues, "one here in India, one in the South Pacific, an' one in Nevada. The places where I'd like ye to go."

 

 

Lara slaps the journal shut, looks up and grins her sly grin, and says, "Sounds good to me."

 

Cutscene 2 (despues de Coastal Village)

Lara steps into the main end room of the tree house and finds a man in is forties dressed in army fatigues lying on a thatch bed in the corner. He's holding a cigar in one hand and a rolled up paper in the other. A constant droning of flies can be heard in the room. The man is intermittently swatting insects with the rolled up paper.

 

 

"Not interrupting am I?" Lara asks.

 

 

The soldier, who is a commander in the Australian Army, looks Lara over and answers with a distinct Australian accent, "Not bleedin' are yer? Not about to use this place as a dunny10?"

 

 

Lara answers the Australian commander, "No and no."

 

 

He lowers his guard and says, "Good. Good. Just don't want any fly-carrying visitors in here." He thumps on his bandaged left leg, which is missing below the knee.

 

 

Lara nods sympathetically, "Right, I understand. What happened?"

 

 

The soldier replies, "Woke up in the jungle with one of those little blokes snacking on my leg, didn't I?"

 

 

Lara is surprised by his answer, "A tribesman? It isn't usual for them to eat right off the bone like that."

 

 

The soldier continues, "Well, it was dark an' I never got the bugger, so I can't be sure." His voice as well as his countenance darkens, "Somethin spooky is in that jungle." The soldier stops and watches as a fly circles his head. He watches it and readies the paper as he continues, "Our air-carrier crashed up in the mountains. Every night some of my men would vanish without a trace, others fled in fear, then this happened." The commander points to his leg, "So I brought the men down to shore for safety only for us all to be captured by this greedy mob. Some sort of sacrifice to their god who lives up in the hills." The fly lands on the commander's bed, and he swats it with the paper. "Though it seems I've not been invited to the barbie."

 

 

Lara looks him over and tells him sarcastically, "Maybe you're the dessert. Ripe flesh can be a bit of a delicacy around here."

 

 

The commander isn't cheered up by her humor, "For real?"

 

 

Lara walks over to the window and looks out over the swamp. She hears the sound of drums and natives and her voice becomes urgent, "Listen, we'd better get you out of here. Do you know how the tribe cross the swamp down there? Which stones they tread on?"

 

 

The commander's voice grows weary and grave, "Yeah, but I'm stayin' put. With this wound, I'd be like a fill-up station to ever diseased bug in the bush." He hands her a map and manages a weak grin, "I'd rather be the main course at the real feast." He lies back and rolls over, "Hey, If y'see any of my men alive in there, direct them to the north shore will yer? Away from here."

 

 

Lara assures him, "Of course." The commander lies back, rolls over and falls alseep.

 

Cutscene 3 (despues de Crash site)

 

Lara enters a large stone temple and walks down the corridor into a quiet stone room illuminated by torches. Lara scans the room to find an altar flanked by two large statues. Behind the altar is a large Polynesian style painting with smaller paintings encircling it. Suddenly Lara hears the sound of a loud slap of flesh on flesh and a guttural chanting. She swings around to locate the source of the voice. The voice belongs to a dark tribesman in the corner of the prayer room. He is doing some kind of ritual dance and chanting, "Hoombada. Hoombada." The tribesman is slapping his thighs and beating his chest. When he sees Lara, he looks her over and smacking his lips he tells her8, "Is well fa you me fasting dis day. You make plenty good flesh-pot."

 

 

Lara sizes him up and decides to call his threat, "You forget. I might be quite hungry myself. Famished actually."

 

 

The tribesman grunts with contempt, "Uah!"

 

 

Lara looks back over the paintings, points to a drawing of men fleeing by canoe and asks, "Why did your ancestors flee from Antarctica so suddenly?"

 

 

The warrior remains crouched in the corner with his hands on his thighs and replies, "Koma-Koma, bad place. Plenty flesh, but fa da price of evil. Mutilation! Da sixth leader, Mauki wa born widout face. Terrible storms. Men afraid. Ran! Set curse of Mauki on da land. No one go there now."

 

 

Lara examines the central painting, which is a fiery meteorite with four artifacts below it. Lara asks the warrior, "You still worship it?"

 

 

The warrior grins and replies, "White fella later com here wit magic Koma-Koma stone. Inna day we celebrate da death of heem. Da feast of Smythe."

 

 

Lara recognizes the name, "One of Darwin's sailors. Poor fool." Lara turns to the warrior to ask, "Where is the stone now?"

 

 

The warrior is now just squatting in the corner, chanting and rocking on the balls of his feet. Lara decides that she's not getting any more answers from him, so she turns and walks away. He finally look sup and warns her, "He lucky fella dat keel you. A plenty Mary like you."

 

 

Lara is unphased and answers to the warrior, "I'll be sure to point that out to him." She turns and exits through another corridor leading out the right of the prayer room.

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joakoman Newbie

joakoman

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Cutscene...Ya perdi la cuenta (despues de thames warf)

 

When Lara lands on the roof, a mercenary will pepper the roof from in front of a bell tower. Lara dodges the bullets and returns fire. The mercenary retreats into the bell tower. Lara flips onto the sloped roof and slides down to the bell tower. The bell in the bell tower begins to ring and the mercenary is distracted. Lara takes advantage of the distraction and suddenly slides out in front of the mercenary's location and fires her pistols, hitting the mercenary in the arm. He yelps in pain9.

 

 

He drops his weapon and the two square off. Lara gestures for him to step forward with her pistol. He eyes his fallen gun as the bell begins to ring. The mercenary reaches down to reclaim his weapon and Lara plants a kick in the mercenary's gut. He grabs her leg as he teeters backwards as he tries to subdue her. Lara pistol whips the brute on the back of his head, but he remains standing. He attempts to regain control of the situation by flipping Lara onto her leg by twisting her leg. He drops her to the ground and then jumps on top of her. Lara calmly raises her pistol under his chin.

 

 

Lara asks the man, "Who're you working for?" The bell gongs.

 

 

"What?" the man asks back.

 

 

Lara isn't interested in getting into any cat and mouse games with the man and tells him, "You heard me."

 

 

"Wha?" The thug is confused, "Honest! I didn't!" He pleads as the bell continues to ring. He asks again "What did you say?"

 

 

Lara speaks more clearly and this time she wraps her arms around the man's head putting him in a choke hold to make sure he knows she means business. "I said, 'Who employs you?'"

 

 

He screams in pain but finally coughs up an answer, "Miss Sophia Leigh."

 

 

Lara flips him off of her, and asks, "Who's she? What does she do?" She leans against a wall and aims her pistols at him.

 

 

He answers, "I dunno know." Lara looks skeptical and stares at him. He continues, "Really! I don't! I just shoot people for her."

 

 

Lara is amused by his frankness, "A commendable work ethic, I guess."

 

 

He shrugs, "Yeah, I put me hours into it. As me father did and his father did before."

 

 

Lara is in disbelief and asks, "Just how old is this Miss Leigh?"

 

 

He shrugs again, 'I dunno. Late twenties. Early thirties"

 

 

Lara is convinced that he's pulling her leg and says, "Right."

 

 

"Yeah." He quickly reaches down and recovers his gun. Smugly, he raises his gun and continues, "For some people, like yourself, we get a special bonus."

 

 

"I'm flattered," Lara calmly tells the mercenary.

 

 

He starts to back away from her, and continues to tell Lara, "I mean, I could even be retired from you." He continues to step backwards with pride.

 

 

Lara is watching where he's headed and tells him, "Then you might like to mind..." She pauses as the mercenary steps too far back before finishing her sentence. "...the bell. The bell swings forward and plows into the would-be assassin. He is launched into the air screaming.

 

 

Lara watches him sail out of the bell tower and flung out onto the roof outside. She tells him, "Happy retirement." She waits for the bell to swing clear and then she slides down into the bell tower.

 

Cutscene (despues de aldwitch)

 

Lara falls down the shaft screaming and hits the floor below with a hard thud9.

 

 

She begins to rise, but a gang member walks over and grabs her by the arm. She yelps in pain as she's still trying to recover from long fall. He shoves her forward, forcing her to kneel before the leader of "the Damned".

 

 

A hooded and masked man is sitting what appears to be the back seat of half of an automobile, which poses as his throne, and is wielding some sort of trident. He looks her over and asks, "So, you must be after Miss Leigh then?"

 

 

Lara replies curtly, "Business, not pleasure."

 

 

The gang leader, sporting a Geordie10 accent, points out, "Though obviously not for revenge, mon. You hardly got the face for that."

 

 

Lara, perplexed by the statement, asks, "And you have?"

 

 

The leader hufs, "Hrumf!" He spits, "How moronic a question is that, eh?" He slams the trident on the concrete floor and continues, "I don even have a face, mon!" He slams his trident on the ground once again before continuing, "Came down heah looking for work, and what do I get, eh? Miss Leigh's cosmetic company and her lab assistant job." Bitterly, "No experience necessary. Good wage. Accomodation wid it. Aye, locked in a floation tank for days on end in some fetid syrup. And when we come out -cos lots of it was applied, like- no face, or flesh, mon! And a bootin' down the waste disposal chute heah. Presumed dead!"

 

 

Lara is trying to put the pieces together, and asks, "Some kind of failed experiment then?"

 

 

The leader is pleased that Lara is catching on, "Oh, Tah! Very much! But, aye, and for added insult, when I tried to take me own life, Ah found dat it jus didn't work."

 

 

Lara is shocked, "You mean Sophia's testing some kind of imortality power?" Spitefully under her breath she adds, "Along with her own brand of face-lift."

 

 

The leader is starting to get excited, "Oy aye, Mon! Everlasting beauty. She's obviously not fully worked it out yet. She takes the best results for herself. See, I don care what your business is wit her is. You can't be any more shiftless than she is. So I'm goin to go out o' me way ta help you. That is, after you done somethin' for us here like."

 

 

Lara is suspicious, "Very generous of you. What do you want?"

 

 

The leader voice becomes flippant, "A bottle of that mummy preservation stuff. From the natural history museum."

 

 

Lara inquires, "Embalming fluid?"

 

 

"Aye," the leader answers. He continues to explain, "For rottin' flesh, you canna whack it, mon11." He tries to add a little flair to his pitch to Lara, "The museum's pretty interesting, I'm told. You'll like it."

 

 

Lara has to wonder so she does it aloud, "So why don't you go yourself?"

 

 

The leader explains while walking away, "One of them Egyptian lassies12 there is a bit pissed off like that she didn't get imortality the way she wanted it. And seein' as we'd done better than her in that department, I didn't care to imagine what curse we could get given any worse than we got already like. You'll be fine though, pet. You die easy."

 

 

Lara answers sarcastically, "Thanks."

 

 

Cutscene(despues de Luds gate)

 

Lara crawls through a ventilation duct and into a large well-furnished office. To either side of her are two enormous fish tanks that contain beautiful tropical fish. Lara cautiously walks forward and finds the proprietor of this establishment seated comfortably behind an opulent desk. Lara walks up to the desk and comes face to face with the beautiful Sophia Leigh.

 

 

Sophia watches Lara enter her office, and as if expecting her exclaims with satisfaction, "Aaah! Miss Croft. I take it you're ready to sign on."

 

 

Lara asks, "To what?"

 

 

Sophia is glad she asked. "Well, my books. You see, with your lifestyle, you'd be the perfect campaign for my products." Sophia looks Lara up and down and continues, "Just think, you wouldn't be needing those unsightly weapons anymore."

 

 

Lara isn't the least bit interested and replies, "No, but I probably have an unsightly face, judging by your past experiments."

 

 

Sophia is surprised and asks, "My what?"

 

 

Lara has the satisfaction of knocking Sophia off balance, "Oh yes. They're all still alive. Very much so, in fact." Lara reaches down and picks up a scepter off of the desk and tells Sophia, "All I want is the artifact."

 

 

Sophia laughs at Lara's insolence, and exclaims, "Right! In your next life." Sophia grabs the scepter and runs out of her office.

 

 

Lara draws and cocks her pistols and coolly says, "We'll see."

 

 

cutscene (despues de la Antartida)

 

Lara opens her backpack and extracts a small satchel which, in turn, contains the four artifacts. She unlatches the door to the hut and steps inside. She finds Doctor Willard sitting at a table eating tomato soup and a sandwich, but it looks more like hardtack and swill.

 

 

Willard looks up and says, "Hi! Come in. Make yourself at home. I won't be a minute."

 

 

Lara is disgusted at how flippant Willard is, considering RX-Tech goons have been shooting at her all afternoon and she encountered that strange poison-spewing creature in the compound earlier. She is furious and cuts Willard off, "At home?!? I just met a man who may as well be Brundlefly5."

 

 

Willard is unfazed but is more interested in the mutant, "Fascinating, isn't it?"

 

 

Lara is beginning to see that Willard isn't all he appears to be, and says, "He was your own employee!" and sets the satchel on the table.

 

 

Willard casually replies, "He was a molecular biologist. He would have been intrigued with himself." He smiles at the irony of it all. Willard continues, motioning to the satchel, "Thanks to this material, his hock genes were multiplied. Do that, and the complexities of our bodies increase beyond our comprehension. But this is of the fringe of its possibilities we're seeing here. My partner's exposure came from material impregnated into the meteorite crater. The real capacities lie in its core. With these artifacts you're so attached to, will let me access."

 

 

Lara objects, "But you've no control over this!"

 

 

Willard slams his spoon down on the table and tells Lara, "This is not just about avidly spawning mutants. It's an entirely natural acceleration of evolution. A real live laboratory of spurred on life."

 

 

Lara is washed over in deja vu as she listens to Willard, and continues to make her objections, "Not everyone here wants to be guinea pigs. Multi-appendaged, or not!"

 

 

Willard grows tired of her tirade and replies, "Well now... that's unfortunate. It's been hit and miss here for too long. Now the timing's spurred on, I can't leave it. The Polynesians fled in their ignorance. Darwin's half-wit sailors the same. Ironically making Darwin himself miss this angle in evolution. Hmm. But now I'm here." He pats the satchel. "I have the access, the knowledge, the artifacts."

 

 

Lara is ready to put an end to Willard's plans, and so she draws her pistols to make her point, "Yes, but you bumped into me in India and sent me to find them for you, bringing me here, listening to this gibberish." She cocks her pistols and aims them at Willard, "Your perception of good timing is... bad!"

 

 

Willard is quick to disagree, "I don't know about that!" He upturns the table he was seated at, knocking Lara over. He snatches up the satchel and steps past Lara who is a bit disoriented by his sudden actions. He steps over her and looks her over, then uses the satchel to clock Lara once across the forehead.

 

 

Willard calmly strolls across the room to retrieve his coat before stepping outside. Lara is left lying on the floor of the cabin trying to clear her head. Lara manages to get to her feet and stumbles toward the door. As she steps out of the doorway, a moment of clarity dawns on her and so she peeks out and quickly pulls back. Sure enough, Willard is around the corner waiting for her with a gun. He first at her, but misses.

 

 

Lara cautiously exits the cabin and lunges around the corner. Willard has begun to make his escape, and so Lara pursues. Lara rounds the back of the cabin to find Willard trying to shuffle his way up the steep snowy incline. He produces a remote control from his coat and presses a button. An elevator rises out of the mine shaft. He dives into the elevator and lies flat on his belly to hide from Lara's gunfire. With her on lower ground, and Willard flat on his stomach, the best she can do is fire a few warning shots at him as she catches up to him.

 

 

By the time Lara reaches the mine shaft, it's too late, and the elevator, with Willard aboard, has begun to descent into the shaft. Lara doesn't hesitate and jumps onto the roof of the elevator car and rides it to the bottom.

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