IN-GAME FMV MOVIES & CUT SCENES
Several players have requested that I put the movie transcripts on separate pages from the walkthroughs to save paper. Sounds good to me. (I'll go back and do this for the other games eventually.)
If you want to view the FMV (full-motion video) movies outside the game, download Bink VideoTM. The movies are on the TR: Chronicles CD-ROM in a folder called 'movie'. These .bik files are named FMV1, FMV2, etc. The cut scenes are rendered by the game engine, so they can only be seen while playing.
I've done my best to figure out what everyone is saying, but if you notice anything I've missed or misheard, please .
On this page:
(FMV0 shows the Eidos and Core logos)
Movie Before Streets of Rome Level (FMV2)
Streets of Rome - First Cut Scene
Streets of Rome - Second Cut Scene
Trajan's Markets - Cut Scenes
Colosseum - Cut Scene Mid-level
Movie following Colosseum Level (FMV3)
Movie before Base Level (FMV4)
The Base - Cut Scene
Submarine - First Cut Scene
Submarine - Second Cut Scene
Deepsea Dive - Cut Scene
Sinking Submarine - Cut Scene Mid-level
Sinking Submarine - Cut Scene End of Level
Movie following Sinking Submarine Level (FMV5)
Movie before Gallows Tree Level (FMV6)
Gallows Tree - First Cut Scene
Gallows Tree - Second Cut Scene
Labyrinth Cut Scene
Old Mill - First Cut Scene
Old Mill - Cut Scene Mid-Level
Old Mill - Cut Scene End of Level
Movie Following Old Mill Level (FMV7)
13th Floor - First Cut Scene
13th Floor - Cut Scene Mid-Level
Escape with the Iris - First Cut Scene
Escape with the Iris - Second Cut Scene
Escape with the Iris - Cut Scene after Elevator Accident
Escape with the Iris - Cut Scene End of Level
Final Movie (FMV8)
Rain pours down on a larger-than-life-size statue of Lara. Winston, her faithful manservant, places a wreath at the base of the statue, while a man and woman (Lara's parents?) huddled together under an umbrella look on. The camera zooms in on the plaque below the statue. It reads: "Lara Croft: Once and Future Adventurer. For Her." The man and woman walk off, and Winston turns toward a limousine coming up the drive.
Inside the limo, where Winston and Father Patrick Dunstan, the Croft family priest, are seated, we see a televised newscast.
Newscaster: In world news, a private memorial service was today held for renowned archaeologist Lara Croft.
Father Patrick: 'Tis a sad day, Winston.
Winston: She will live on forever in our hearts.
Father Patrick: Surely, Winston, and for this is but a memorial service. There may yet be news from Von Croy in Egypt.
Winston: Indeed. We can only hope and pray that she may yet return to us. But I fear Von Croy, digging in the hopes of discovering her alive may only be met with black reality.
Father Patrick: Indeed. . . indeed.
MOVIE BEFORE STREETS OF ROME LEVEL (FMV2):
Winston leads Father Patrick and Charles Kane, Lara's colleague and dear friend, through the main hall of Lara's mansion. 
Winston: To the study, gentlemen, where we may pontificate over the day's disheartening events.
Charles: Indeed, my friend, even the heavens cry out.
Cut to Charles Kane and Father Patrick seated by the fire. Winston brings a tea tray. Charles Kane holds up a large stone, which glows in the firelight.
Winston: Ah, the Philosopher's Stone. One of Lara's early conquests. . . and one of her most challenging pursuits, if my memory serves me.
Father Patrick: And Rome still bears the scars of that little episode.
Charles: Ah, she was never one for diplomacy, Lara. But she certainly knew how to paint the town red.
Cut to a flashback of Rome. A zaftig soprano onstage. As the camera pulls out, we see she is reflected in Lara's opera glasses. Larson (remember him from Tomb Raider 1?) comes up behind her.
Larson: Well, gol' darn, ain't she just a picture?
Lara: Ah, the charming Mr. Larson. Has Pierre let you off the leash? Talking of which, where is our learned friend?
Larson: Aw, he's around. You got the cash?
Lara: I've got the cash, but I don't deal with the monkey.
Larson: Well now, that ain't polite for a lady. . . even if the monkey has the Mercury Stone?
He pulls out a large, glowing yellow gem. Lara picks up an attaché case.
Lara: Lucky I'm in a generous mood. [We hear a gun being cocked and the hand holding it enters the frame next to Lara's head.] Ah, crawled out from under your rock, I see.
Pierre: No need for unpleasantries, Miss Croft. I'm afraid I must once again relieve you of your burden.
Lara: Easy come, easy go.
She relinquishes the briefcase, then holds out a gloved hand. Pierre, gentleman to the last, bends to kiss it. She whacks him. Larson, still holding the stone, steps forward to deal with Lara. She decks him with a roundhouse kick and the stone goes flying. Lara leaps onto the balcony railing, catches the stone and tucks it into her garter. Then she leaps out over the orchestra, grabs the curtain and rides it down to the stage to thunderous applause. She takes a bow then dashes offstage as Pierre opens fire.
Pierre and Larson run downstairs in pursuit.
Larson: It ain't over 'til the fat lady sings.
Lara exits the building by the stage door and hops onto a flower deliveryman's scooter. Larson and Pierre commandeer a taxi and follow. They bump Lara from behind.
Larson: Buckin' bronco, baby!
At the end of a narrow alley, Lara ditches the bike and rolls under a low metal gate.
Larson: We ain't gonna make that gap, boss.
Pierre: We'll make it.
Larson: Ain't gonna. [They crash.] What did I tell you?
Pierre: Mon dieu!
Lara blows each man a kiss, turns and walks into the night.
STREETS OF ROME - FIRST CUT SCENE:
Lara places the Mercury Stone in its proper receptacle. She hears a noise and turns, drawing her guns.
Lara: Rodents, I shouldn't wonder. Big rodents.
On a nearby rooftop we see Pierre helping Larson regain his footing. Larson aims at Lara and fires, but Pierre jostles his arm so he misses.
Pierre: Idiot! Idiot! What does the cowboy hope to achieve with this mindless firing?
Larson: Ain't mindless. Or ain't we trying to kill her anymore then?
Pierre: You were kicked in the head by a horse, oui? So the brain doesn't work correctly.
Larson: How'd you know about that?
Pierre: Never mind! Never mind! We wait until she collects the other pieces. In this fashion we have the full prize at no extra effort.
Larson: You are one clever cookie, boss.
Pierre: Comparatively, yes. Come, let's get off this roof and I will buy you a milkshake.
STREETS OF ROME - SECOND CUT SCENE:
Lara emerges from the temple only to be ambushed by Pierre and Larson.
Pierre: Come, come, Lara. We are all friends here.
Larson (holding a gun to Lara's head): Begging your pardon, ma'am, but if you'd like to put them peashooters away. . . .
Pierre: Now, the second stone if you please, Miss Croft.
Lara: Come and get it.
Pierre: Hmmm.... It's a little late in the evening for these games. Larson, search her if you please.
Larson: Well, gosh darn if I don't get all the best jobs.
Lara (as Larson gropes her): You want to try the back pockets.
As he reaches behind her, she knees him hard in the privates.
Pierre: Larson! Enough! My patience is exhausted with this childish nonsense. The stone, Miss Croft.
Lara: If you put this into that gate, Pierre, you're going to get a lot more than you bargained for, trust me.
Larson: I'll put it in then.
Lara: That would be one of the stupidest moves you've made, and that's saying something I think you'll appreciate.
Larson grunts as he places the Saturn Stone in its receptacle.
Pierre: A nice try as always, Miss Croft.
Lara: Wait for it. . . . (An electric bolt zaps Larson.) Don't say I didn't warn you.
Pierre: What is it? What have we done?
Lara: In your usual flamboyant style, you have set in motion the next gate phase.
Pierre: Next gate phase?
Lara: If my memory serves me, the gate has realigned itself and if it does not receive two stones in the next few moments... pow! If I was [sic] you, I'd grab your Cro-Magnon cowboy over there and run as fast as your little legs will carry you. Au revoir, mon chèr.
TRAJAN'S MARKETS - CUT SCENES:
Lara re-enters the garden with the gargoyles. Larson is waiting.
Lara: Come out, come out wherever you are.
Larson: Heck, this ambushin' ain't what it used to be.
Lara: Not when you're involved, no.
Larson: Practice makes perfect, I'm reckonin'.
Lara: Whatever. We seem to be missing someone.
Larson: If you's talking 'bout Frenchy, he's kind of. . . indisposed.
Lara: And you thought you might just help yourself to his share of what's behind that gate? Unless of course this is just a social visit.
Larson: Well, you know I's always pleased to see a little belle like you, Lara. Be more pleased to see that last stone, though, if you'll be wantin' to hand it over. (Lara opens fire and he dives behind the building.) That ain't supposed to happen.
Then, after Lara shoots Larson:
The gargoyles extend around Larson menacingly.
Lara: Larson! Behind you!
Larson: I may be a dumb ass but I ain't fallin' for that again.
Lara: No, really... behind you.
Larson (mocking): Behind you! Behind you! (Then he screams as one of the gargoyles grabs him and flings him across the garden.)
COLOSSEUM - CUT SCENE MID-LEVEL:
Lara slides through the chute and ends up dangling from a ledge above a deep pit. Pierre appears above her.
Pierre: Um. . . an unfortunate situation, no?
Lara: I've had worse.
Pierre: Indeed. Indeed. This is a very deep pit and in this, such an historic venue, I feel sure there may be valuable artifacts lurking in its depths.
Lara: I can't tempt you to jump down and take a look?
Pierre: Well, this is my point: I feel you may be better qualified to examine its secrets. Unless youperish the thoughtexpired in the fall. Perhaps if you lighten your load a little it may lessen the impact. . . . The stone you carry?
Lara: Wondered when you'd get to that. Pull me up and the stone is yours.
Pierre: And we all live happily ever after? I think not. Give me your word that once you leave the pit you will not lay a finger on me.
Lara: You have my word.
He pulls her up. Then she backs him toward the edge.
Pierre: Er, the stone. . . . Now, now, Miss Croft, you gave me your word. Come now Lara. Lara, you promised.
Startled, Pierre loses his footing and just manages to grab the edge.
Pierre: Could you find it in your heart to help me up? I appear to be slipping.
Lara: Pierre, you know nothing would please me more, but we have an agreement.
Lara: Not to lay a finger on you. Remember, silly? Anyway, busy girl, got to go.
She walks away, leaving him dangling.
Pierre: But. . . I. . . aaaahhh!
Lara: Don't let me hold you up.
MOVIE FOLLOWING COLOSSEUM LEVEL (FMV3):
Lara holds up the Philosopher's Stone to admire it. Cut to the three old friends in the study.
Winston: And so ended the first of many. I'm sure Miss Croft would be the first to apologize for her not entirely courteous behavior regarding some of the more delicate religious artifacts. Father Patrick?
Father Patrick: No need, my friend, all for a good cause. At least we knew they were in secure hands. And fortunately the Church was above sending a bulletproof envoy to retrieve them.
Charles Kane: Ah, but she recognized her place in the great scheme. Some things, as history has illustrated, are best left to their slumber. . . . I speak in riddles. I talk of the stricken wolf ship.
He indicates a framed picture of a submarine.
Winston: Ah yes, the U-boat episode. Miss Croft would never enlighten me as to the details. For my own protection, she would often stress.
Charles: Indeed, Winston, and for this you should be grateful. [His dialogue continues as voice-over to a scene inside the German sub.] Deep in the bowels of their vessel lay one of the most powerful artifacts in all Christendom, an artifact which, when wielded at the vanguard of an army would make that army invincible.
Father Patrick: The Spear of Destiny.
The crate holding the artifact rattles in the hold of the ship.
Charles : But the boat never reached the Fatherland with its precious cargo. It disappeared from radar three weeks into its journey.
The German sailors are overcome by a mysterious force. Their sub breaks apart and sinks to the sea floor.
Charles: And so this was the resting place of the 52 seamen. . . and also something much more sinister.
MOVIE BEFORE BASE LEVEL (FMV4):
An aerial view of a naval base. Charles Kane and Lara stand on a hillside nearby.
Charles: The Zapadnaya Litsa port. Once the pride of the Russian fleet. 
Through her binoculars, Lara observes two black cars entering the base. She zooms in on the men inside one of the cars.
Charles: Ex-KGB the majority of them. Trained killers.
Lara: Dealt with Mafioso before. Unpleasant memories. Prefer to avoid them whenever possible.
Charles Kane: Yes, I would prefer this also.
Lara scans the area through her binoculars and notices a few small boats.
Lara: Hardly a major search party, is it? There's something you're not telling me.
Charles: Ah, yes.
Lara: I'm a big girl now. Hit me with the bad news.
Charles: It is bad news. The admiral's allegiance has been bought and under his command a nuclear submarine. It's housed in one of the dockyards.
Lara: Well done. Nuclear submarine. . . sounds nice. . . perfect holiday.
Charles: Lara, wait. Take this tracking device.
Lara: What's this? You're not worried about me.
Charles: Yes. Someone has to.
Lara (taking the device): Touching. . . but don't wait up.
She runs down the hill and Charles Kane rides away on a snowmobile.
THE BASE - CUT SCENE
From her hiding place on a ledge above the dock, Lara overhears Mikhailov, the Mafioso, in conversation with Yarofev, the Russian admiral.
Mikhailov: Move your men along. I do not pay such extortional prices for incompetence.
Yarofev: You forget, Mikhailov, I am still an admiral of the Russian navy and as such demand respect.
Mikhailov: While you accept my bribes for use of the submarine, you are under my employ and will follow my instructions without complaint.
Yarofev: If I deal with the like of you to keep my men in bread, it does not make me one of you.
Mikhailov: Relax, my friend. We are two sides of the same coin.
Yarofev (under his breath): Mafioso filth. (Then, louder to one of his men.) Kruschev, hurry on with that box. Our new commander demands efficiency. Enough! Enough! Board and seal hatches.
The two men climb to the top hatch.
Mikhailov: As you have promoted me to commander, is it not fitting to board before the admiral?
SUBMARINE - FIRST CUT SCENE
Admiral Yarofev and a pair of Russian sailors discover Lara in the cargo hold.
Yarofev: An unwelcome addition to our little assignment. Leonid, if you would escort this lady to the brig.
Lara: Your little assignment? You have no idea what your Mafia-financed assignment is, do you?
Yarofev: Young lady, who you are and what you know is of very little concern to me. If I was captain of my ship I might listen to you, but unfortunately the situation I find myself in doesn't allow me that privilege. So if you'd be quiet and hurry along like a good little girl.
They reach the bunkroom that is to be Lara's cell.
Yarofev: Inside please.
Lara: You're making a grave mistake. You know that?
Yarofev (to the two sailors): Under no circumstances open this door. You understand?
SUBMARINE - SECOND CUT SCENE
As she crawls through the ductwork, Lara again overhears Mikhailov and the Admiral talking.
Mikhailov (peering through the periscope): Then it is true? We are before the stricken U-boat? Now we find if its cargo is still intact.
Yarofev: And are we to be told what we search for?
Mikhailov: Enough to locate it, da. But beyond that I fear it may be too much for your limited intellect to grasp.
Yarofev: Perhaps too much for mine, trusted comrade, but perhaps not for the spy we have located on board.
Mikhailov: A spy? I trust you disposed of him.
Yarofev: Not him. . . her. Yes, we are forced to run with wolves but we do not kill indiscriminately like they.
Mikhailov: Fool! I shall dispose of her when I return. Move the sub into position quickly, comrade.
Yarofev (into microphone): Take her five degrees astern, quarter power. Then bring her to a full stop. Attention all dive crews. Report to your stations immediately.
DEEPSEA DIVE - CUT SCENE
Lara re-enters the sub and takes off the diving suit. She stops to examine the spearhead and is interrupted by Mikhailov and his goons.
Mikhailov: Ah. . . our unannounced visitor. I fear you have an item in your possession that I require.
Lara: To be used in your continuing quest for world peace, I presume.
Mikhailov: World peace. . . not entirely my purpose in pursuing this artifact.
Lara: This artifact contains untold powerpower which the likes of you will never harness. If you wish it, you may have it, but you will regret it.
Mikhailov: The world may regret it. Hand it over to me and I may spare you.
Lara: On your head be it.
Mikhailov (to the goons): Take her to the torpedo room and eject her into the ocean.
Lara: Sergei, listen to me! You don't know what you're dealing with.
The goons escort Lara away. Mikhailov, examining the spear, is suddenly lifted into the air by an electrical current. He screams and writhes in agony. There's a mighty blast, the sub shudders and the lights go out. Then we hear Lara subduing the two sailors. When the lights come on, the sailors are lying on the floor.
SINKING SUB - CUT SCENE MID-LEVEL:
Lara enters the room where the admiral is sitting.
Yarofev: I knew that old Sergei would be the end of it all. He infects my ship with his greed and now we're all doomed.
Lara: We have a chance. . . the escape pod. . . come on. I'll help you.
Yarofev: I do this only to help my men. He babbles of the Biblical spear and I feed his madness for money to feed our families. And now. . . to this. . . corpses left for the fishes.
Lara: Yarofev, I can help you but you must help me. The ship is about to impact into the ocean bed and then our time is up. We must hurry.
Yarofev: The escape pods have no internal air supply. You will find oxygen tanks in my stateroom. I hear my ship dying. The internal seals are splintering.
SINKING SUB - CUT SCENE END OF LEVEL:
After placing the canisters in the escape pod, Lara climbs down to help the admiral.
Yarofev: Nyet! No time. The hull is breached and we will drown soon. With the oxygen you escape. Now!
Lara: Not without you.
Yarofev: I am admiral of the Russian Imperial Navy. I have served my great country for many years. But the country I know withers. The bear lies down to sleep for its final time. And I wish also this fate on the ship I have grown to love.
Lara: No deal.
Yarofev: Yes, deal! For the outer airlock can only be opened from inside the ship. This is my gift to you, child. I release you to a future beyond this dying vessel.
Lara (crouching beside him): And my gift to you?
Yarofev: Tell my story. Tell how the proud men of the Russian navy fought against the enemy from inside and sacrificed their lives so their dear country might once again stand proud.
Lara: You have my word.
Yarofev: I salute you. Quickly! Into the airlock and I will release you.
Lara (climbing the ladder): Goodbye, Admiral.
She climbs into the pod and the hatch closes behind her.
MOVIE FOLLOWING SINKING SUBMARINE LEVEL (FMV5):
Lara speeds toward the surface in the escape pod, while Admiral Yarofev prepares to go down with his ship. As he lies on the control room floor, a strange silver glow creeps across the floor toward him. He stares in horror. Then the screen goes white.
Meanwhile, on a boat above, Charles Kane spots a blip on the radar screen. He grabs a rifle and goes up on deck. He trains his gun on the pod as it breaches the surface. Then, through the scope, he sees Lara is inside.
Cut to the three old friends back in the study at the Croft mansion.
Charles: Lara saw enough of the power of this artifact to recognize its rightful place was where man could never again misuse it.
Father Patrick: But not enough for it to destroy her. Some powers are beyond the wit of man.
There is a flash of lightning and the lights go out.
Winston: Oh dear, gentlemen. I do apologize. It seems someone up above has a sense of humor. If you will excuse me a moment I shall fetch candles.
Charles: It's a night spurred by Hell.
Father Patrick: And as the horsemen drover ever onward across the world, the heavens boiled in their wake. Ah, benefits of a religious education.
MOVIE BEFORE GALLOWS TREE LEVEL (FMV6):
Still cozied up before the fire in Lara's study, the three friends continue their chat.
Father Patrick: This night reminds me of the time out at Connussie.
Charles: Winston's Home?
Father Patrick: Indeed, yes. The staff had taken leave due to flooding. Lara, back when she was a slip of a girl, was staying with Winston and his wife. It was her that contacted me, as a matter of fact. Some trouble out at one of the islands. Weird lights. Manifestations. That sort of thing. . . . .
Outside a bolt of lightning strikes and the scene changes to a flashback. The setting is Winston's home in an Irish village.
Father Patrick (voiceover): Thought I might be able to help. It was on a hellish night like this when I arrived.
Now we see young Lara in a bedroom of Winston's cottage. She's getting ready to change for bed but is interrupted by a noise. The front door opens, revealing a dark figure in a hat, who turns out to be Father Dunstan.
Father Patrick: Evenin' Winston, and how would I be able to help?
The two men take seats at a table.
Father Patrick: So people have seen these apparitions out a the island?
Winston: There's talk of little else in the village, Bram. I'm doing all I can to keep this gossip from Lara. 
Lara opens her door a crack to eavesdrop on their conversation.
Father Patrick: Aye, yet would be a wise man. It would be unwise for her curiosity to draw her to that place.
Winston: And you have some idea of what it could be?
Father Patrick: To be frank with you, no. But as the devil finds work for idle hands, I've spoken with Father Finnegan, and I have a boat chartered for the crossing late on this very evening.
Winston: Good Lord, Bram! You have not chosen the evening for it.
Father Patrick: I have my faith to protect me, Winston.
Winston: Be careful, I fear that on that island it is what you cannot see that will hurt you, Bram.
Father Patrick: Time to get to the bottom of this, old friend.
As Father Dunstan rises to go, Lara climbs out her window and drops to the ground outside. Then we see the Priest steering a boat across the water. He turns to wave to Winston. As the boat crosses the ocean, we see Lara peer out from under a tarp to see what's going on. The boat docks at a rocky approaches a rocky island and after letting Father Dunstan disembark, the boat returns the way it came. The priest opens a concealed door in the rock face and enters a passageway. Lara is hiding nearby and sees all this.
GALLOWS TREE - FIRST CUT SCENE:
As Lara enters the Gallows Tree area she is startled by the ring of a church bell from the tower behind her. As she approaches the tree, there is a flash of light and a rotting corpse appears hanging from one of the branches.
Hanged Man: Come child. Come closer for I have gifts for thee.
Lara: I'll stay where I am.
Hanged Man: (Laughs.) Fear not this visage. It is but a vessel for my troubled spirit. . . . Come closer for you are safe while I am hung like so much butchered meat.
Lara: Who are you?
Hanged Man: Who? Hmmm. . . For it is more like what. Condemned to wander between the kingdoms of man and that of the elementals. Hmmm . . . But I must be swift in my request. Hissss. . . For they watch and wait to once more draw me back into the darkness.
Hanged Man: My heart, girl. They have hidden my petrified heart in this, the World Tree. Down under the watchful gaze of the dragon, Nidhogg. Hmm. . . Find this, my child, and return it to its rightful resting place. Hiss. . . and you shall be rewarded! 
Lara: And why on earth should I trust you?
Hanged Man: Not on earth, girl. In between. My soul is gone and how it fares nobody knows and nobody cares.
With a choking laugh and another flash of light, the corpse disappears.
GALLOWS TREE - SECOND CUT SCENE:
After picking up the heart Lara turns and goes through the door that just opened. She slides down and peeks into the next room. Here we see Father Patrick standing over an open pit, from which unearthly hissing and groaning can be heard.
Father Patrick: Go back to your slumberings. This is but a child, and she shall not cross your path as you shall not cross hers.
Voice from the pit: Come closer for often it is easier to be brave from a distance.
Father Patrick: I am here now, and I have a gift for you, you cantankerous worm.
He throws something into the pit.
Voice: Arrgh! Curse you, priest! If you live till doomsday you shall burn a week longer than the world! I swear!
Father Patrick: Iron. Never found a demon yet that doesn't burn at its touch.
Lara: What was in the hole?
Father Patrick: In the. . . never mind that. What on earth are you doing here? No, don't bother. We'll get on to that later. Right now we need to get you out to somewhere safe until the morning. That's assuming you'll stay in once place, young lady.
Lara: Nothing with demons, right?
Father Patrick: Well, I can't promise anything in this God-forsaken place. I'll light the way and go on ahead to clear out any unwelcome guests. Now once you're out, head to the chapel over the bridge. I'll meet you there. I'm forgetting me manners. Don't speak to strange things, and if there's anything aroundand trusting me skills in this area there shouldn't beiron, girl. Use iron to repel 'em. See you on top. Keep your wits about you.
After giving Lara this advice, the priest leaves the area.
LABYRINTH CUT SCENE
Lara examines the open coffin and cautiously steps through. She slips and stumbles down the ramp. After struggling to her feet she turns to see Father Patrick standing nearby holding a flaming torch.
Father Patrick: Good Lord, girl. It's me. I've enough on me plate without you making me jump out of me skin, Lara.
Lara: Your hair. . . . .
Father Patrick: What about me hair?
Lara: It's. . . white!
Father Patrick: Hmm. . . Aye. That'd be right. I was detained by some unpleasant fellows from down below. Gave me quite a fright. (He laughs.) That's why I wasn't at the chapel, but I can see you've kept yourself busy. Anyways, let's get you out of here, and back to safety.
He motions for Lara to go ahead of him and they exit together.
OLD MILL - FIRST CUT SCENE
Lara and Father Patrick emerge from the Labyrinth onto a rainy hillside.
Father Patrick: Right, young lady, I'm going to have a quick look around now for a safe place to put you. Now you stay put, or you'll be banging into something that'll make your hair turn white. And we wouldn't be wanting that now, would we?
Lara: Father, I found a book in the labyrinth.
Father Patrick: You've been sight-seeing in there as well? Good Lord almighty, girl! I'll be needin' to chain ye to something.
Lara: It has protective symbols. Maybe you can use them.
Father Patrick: Bless you for the thought, but I've enough protection from Him above. And for that diagram to be any good you'd have to draw it out and be sittin' in the middle of it. And you know something, I've left all me coloring pens at home tonight. Now, you'll be doing me a big favor if you were to stay put before you bang into something bigger than you.
Lara: Stay put. Right!
Yeah, right. . . . ;-)
OLD MILL - CUT SCENE MID-LEVEL
When Lara approaches, the demon knight bursts out of the barn on horseback, still carrying Father Patrick.
Demon Knight: Who is this that stands before me? The first to visit me in my prison seven hundred years past.
Father Patrick: Seven hundred years? All alone in a barn? Huh, those winter nights must have just flown by.
Demon Knight: Silence, ignorant heretic, or I behead you!
The horseman then shoves the priest off the horse. He lands on the ground in a heap.
Lara: Leave him be!
Demon Knight: For the child has spirit, but what is that? When this island is littered with the bones of holy men. My gift to them for their spirit in obstructing me from claiming my rightful inheritance.
Father Patrick: And this inheritance, I would wonder, would be some way to explain why your walking and breathing when you should be gone long past?
Demon Knight: The inheritance is the gift of eternal life. Contained within an ancient scroll. Concealed by the dullard Abbot and his cohorts. The scroll, which draws forth pale demon blood through my veins. I am no longer man. I am one for the earth and one for above the gaping abyss of Hades.
Father Patrick: So why stay on the island? Came for a holiday and fell in love with the scenery?
Demon Knight: Hold your yapping tongue for want I clip it! Boils and plagues plaster over this island and its treacherous inhabitants! For it was they, and their ox little abbot, who plotted to incarcerate me in this dungeon hall for an eternity. I, Vladimir Kaleta, who worshipped in the first Kremlin, who butchered the Swede under Nevsky on the banks of the River Neva. Incarcerated within this prison of flowing water! 
Lara: Running water. . . You're trapped here by running water!
Father Patrick: Demons cannot cross running water.
Demon Knight: Indeed. The abbot's final trick before I was transformed. (Then, to Lara:) And you shall find a way to shore up this stream or your holy man shall be opened up and gutted like live fruk.
The demon then hauls Father Patrick back onto the horse, mounts and rides back into the barn. The doors slam shut behind them.
OLD MILL - CUT SCENE END OF LEVEL
After de-activating the water wheel, Lara emerges from the small mill. The demon horseman again bursts out of the barn. He raises his arms and shouts out his triumph. As he speaks, he lifts Father Patrick from the horse.
Demon Knight: Your child has done her job well, and I taste freedom for the first time in an eon. You will now fear me? For you have served your purpose well holy man, and for this should I exercise mercy as a god might?
Father Patrick: Now that'd be nice, but I'm not holdin' me breath.
Demon Knight: Yes, I shall spare and secure for you a fate worse than death! For when you pass beyond this world, Heaven shall no longer welcome you, for you have released a demon.
Father Patrick: My faith will protect me from feckless lesser demons as yourself.
Enraged, the horseman head-butts Father Patrick and then flings him to the ground.
Demon Knight: Ah! The child. I shall snuff out her life as a candle.
Father Patrick: The book from the library. . . .
Lara backs away as the demon advances toward her.
Father Patrick: The names. . . read out the names.
Lara takes the Bestiary from her backpack, opens it and begins to read. The horseman continues to advance.
Lara: Askeroth. Aqueil. Arrancula. Belial. Bucom. Boliath. . . . Help me!
Father Patrick: Keep reading, girl, you're almost there.
Lara: Camos. . . Masteflou. . . .
The horseman raises his sword to take a swing at Lara, but Father Patrick lunges at the horseman from behind. He tries to tackle the horseman, but the demon breaks away and flings him aside. Just as the horseman is about to strike Lara down, she hits on the correct name.
The horseman is paralyzed.
Demon Knight: How is this? I move to strike and yet cannot!
Father Patrick: You've done well, girl, and before you ask, I'll tell ye. The book you've got, I myself was looking fer it, but as I couldn't find it, assumed you had it, and lucky ye did!
Lara: But how. . . ?
Father Patrick: If you name a demon, you have power over it, and you named him! It's your shout, Lara.
Demon Knight: For this you shall burn for eternity! I shall drown you in a mire of your own entrails before I squeeze. . . .
Lara: Be quiet!
Father Patrick: What ye reckon we get out of this God-forsaken place and go and get a nice cup of tea with Winston? Almost forgot, would you be wantin' to wave goodbye to our little friend?
Lara: Back to where you belong!
The demon vanishes. Father Patrick puts an arm around Lara and they leave together.
MOVIE FOLLOWING OLD MILL LEVEL (FMV7):
Lara and Father Patrick are riding in the bow of a boat headed back from the island.
Father Patrick: And you'll have learned a few valuable lesions from that, I be thinkin'.
Lara: You'd be thinking right, Father.
The scene shifts to the present day and Father Patrick, Winston and Charles Kane in the study.
Father Patrick: Her curiosity was eventually her failing.
Charles: The path she chose was the path she loved, and for this we should celebrate, not grieve. Although I fear for Von Croy. Pursuing his inner demons. Driven half to madness in his quest for her final resting place. He will not find peace in himself until this is complete.
As Charles Kane speaks the scene shifts again, and we see Werner Von Croy in the Egyptian desert, apparently still searching for Lara. Once again the scene changes and we're back at Lara's estate. The night is still stormy, and the three friends are walking through the entrance hall. They stop in front of a gilt-framed mirror.
Charles: Ah! The infamous trophy room, and you will be doing the acrobatics to enter, Winston? Yes?
Winston reaches up and takes hold of a light fixture and cranks it down to open the concealed door behind the mirror. Winston leads the way inside.
Winston: Miss Croft did enjoy her little games. . . . . And here it is, gentlemen. The artifact which lead to the animosity between Miss Croft and Von Croy. Ending ultimately in this terrible business.
Winston unveils the case containing the Iris artifact. The camera zooms in on the artifact and the scene shifts to another of Lara's previous capers. We see the Iris displayed on a computer monitor. The monitor is part of a surveillance set-up inside a van parked near a high-rise office building. Zip sits at the controls.
Zip: Okay Miss Croft, I'm presuming, by the lack of communication that you're at Industries' building, right? Containing our little prize? The Iris?
Lara (voice over headset): Affirmative.
Zip: Right! Now this is what you're good at, yeah? Time to switch roofs.
The camera pans up the building and we see Lara on the rooftop, dressed in a black cat suit with a headset. She's holding onto a hang glider.
Lara: Switch roofs? Easy to say from the ground floor. Wouldn't you agree?
Zip: C'mon now! Stiff upper lip. Top hole, and all that. Time to get hip with Zip.
Lara: (looking down at her watch) Gone.
She takes off and glides across to the roof of the next building. A sudden updraft causes a bit of a hitch at the other side and Lara nearly loses her footing, but she manages to roll safely onto the rooftop. Zip hears a loud squawk of feedback as she lands.
Zip: Yow! Jimi Hendrix is back! Lara? You there, Lara? Croft? Are you gettin' this?
Lara: Fly me.
Lara quickly recovers and begins to rappel down the face of the building.
Zip: Geez, now that was a blast! What the hell happened?
Lara: Never mind, Yankee, I'm going in.
She shoots out a vent cover and swings into the opening.
13th FLOOR - FIRST CUT SCENE
Lara: I'm in.
Zip: OK, now lets see what you can do. Follow the vent to the main corridor. You've come in at the thirteenth floor. Unlucky for some.
Lara: Unlucky for them. Any welcome party?
Zip: That's your job, girl. I ain't no X-ray vision super-hero.
Lara: I'd noticed the last bit.
Zip: Ooh, you are so sharp you're gonna cut yourself. Just remember, the less attention the better. You dig?
Lara: Thanks, but that thought had crossed my mind.
Zip: Just makin' sure you're on the ball, lady.
Lara: Enough talk. Contact me if you see anything.
Zip: Whew! That girl has got one bad attitude.
13th FLOOR - CUT SCENE MID-LEVEL
Zip alerts Lara to the presence of another guy in a VCI cyber suit as she enters the BIG ROOM WITH CATWALKS. It's a short exchange, but I have included this for those who experience a system lock-up at this point.
Zip: Uh oh! You're going to have to play some fancy moves to get past this quarterback.
Lara: You got any suggestions? Anything to distract him?
Zip: I got a suggestion right here: Go find a different way out! 'Cause you don't want to know what happens when you make the Hulk mad.
Lara: Indispensable information as always.
Zip: That face ain't got armor on it, right? Well, that's how you're gonna have to do it. You're one hard-boiled lady. Now, you'll think of somethin'.
Lara: What exactly am I hiring you for?
Zip: My extraordinary knowledge of security systems and my unsurpassed skill in crackin' them. Not to mention my ineffably addictive personality.
Lara: You're right. I won't mention it.
ESCAPE WITH THE IRIS - FIRST CUT SCENE
At the start of the level, Zip contacts Lara over the headset.
Zip: OK, you've been a bad girl, and before I tell you what your punishment is, I just want to say that there's no point in arguing cuz I ain't gonna be listnin'. Take all your metal itemsyes guns is metaland put 'em in the tray. Now!
Lara: So you're telling me to disarm myself in a building crawling with armed guards?
Zip: Now if I was listening, which I ain't, like I told ya before, I would counteract this argument by alerting the person asking me this to the fact her guns ain't good against ten foot tall walking tanks anyway! But I ain't listening, so I ain't sayin nothin'.
Lara: I'm doing it. But if you mess this up. . .
Zip: Alright, I'm listening again. And trust me, I ain't going to mess this up, okay?
Lara: Do I have a choice?
ESCAPE WITH THE IRIS - SECOND CUT SCENE
Zip (again over headset): I don't like to be the bearer of bad tidings, but the stairs are out, unless you're bullet-proof. You ain't bullet-proof, are ya?
Lara: What about the lifts?
Zip: Well, the lifts is going down, and normally, when trying to escape somewhere, ain't it clever to head in the direction of the exit? Like the roof?
Lara: Right. That would be clever. Like making me ditch my guns?
Zip: Ouch! Yeah, maybe you'd better start looking for some weapons. Hey, don't sweat it girl, the man will save you.
Lara: Hasn't happened yet.
ESCAPE WITH THE IRIS - CUT SCENE AFTER ELEVATOR ACCIDENT
Zip: Lara are you there? Lara! Lara! You broke? You ain't dead, is ya? C'mon girl, answer me!
Lara: Gonna be sore in the morning.
Zip: I knew you was too tough for a fall like that.
Lara: Uh, I'm on the ground floor, aren't I?
Zip: Bing! Ground floor. Depart here for gun-toting refrigerator men and long walk back upstairs. Sorry girl, you got it, but hell, you in one piece, ain't ya?
Lara: Never felt better.
ESCAPE WITH THE IRIS - CUT SCENE END OF LEVEL
A VCI guard approaches a door and presses an intercom button.
Guard: Permission to enter, Sir! I have important news on the situation regarding the intruder.
The doors slide open and the guard steps through. Inside the spacious office two older white executive types are stationed behind a large desk. The younger man is seated in a wheelchair. A fire is cracking in the fireplace.
Older man: And? 
Guard: It, uh, it seems that she's managed to evade my men and remove the Iris, Sir.
Von Croy: Incompetence! Where is this intruder now or have you mislaid her once more?
Guard: Last visual contact in the lobby, Sir!
Von Croy: Last visual contact? So you have lost her again. Find her! Find her now!
A large display screen descends from the ceiling and unfolds before the two men behind the desk.
Older man: All exits are blocked. There is no need for these histrionics. Do we have identification yet?
Guard: Only visual, Sir!
On the screen a video loop shows Lara running through one of the hallways.
Von Croy: No need. I know who the intruder is: Lara Croft.
Older man: Ah, your past once more comes back to haunt you, Werner, foolish boy. No matter, she will not escape. Place the building under full alert.
A steel door is riddled with bullets. Lara kicks the door open and bursts through onto the roof followed by three VCI goons. She sprints across the rooftop toward the hang glider she left there earlier. Amid a hail of bullets, she flips over the hang glider, grabbing the handles and pulling the glider with her over the edge of the roof. The goons race after her, but she makes a clean getaway to a lower rooftop nearby.
The scene shifts to the Croft Manor. Father Patrick, Winston and Charles Kane drink a toast to Lara.
Charles Kane: To absent friends.
Father Patrick: God rest her soul.
Cut to Von Croy, still in the desert in Egypt. A boy wearing a turban approaches.
Boy: Mister Von Croy! Mister Von Croy! Come quickly!
The boy leads Von Croy through clouds of blowing sand to an entrance in the ruins. The boy picks up a lantern and they proceed down the steps into the darkened interior of the temple. They approach two men digging in the rubble.
Von Croy: What is it, man? What have you found? Pass it to me. Pass it to me!
One of the men hands something to Von Croy. He holds it up to the light and we see that it is Lara's backpack.
Von Croy: We've found her!
(1) In 2001 the real-life French archaeologist Jean-Yves Empereur contacted Tomb Raider publisher Eidos Interactive, claiming that his name was used without his consent. Eidos responded that this was coincidental; nevertheless, they apologized and changed the character's name to Charles Kane for Chronicles. For more info, visit Wikiraider and The Arachaeology of Tomb Raider.
(2) Zapadnaya Litsa is a real Russian submarine base. It's located on the Kola Peninsula, near the border of Finland, above the Arctic Circle on the Barents Sea. This, Russia's largest sub base, has been in the news recentlyfirst, because of environmental concerns about safely dismantling nuclear-powered subs in the Northern Fleet, then in August 2000 when the Russian nuclear sub Kursk sank off the coast. The Kursk had been stationed at Zapadnaya Litsa.
For more info, visit these sites:
(3) According to Richard Morton, one of the level designers for TR Chronicles, Father Patrick's full name is Bram Patrick Dunstan. Special thanks to Brian C. from the Tomb Raiders Traveler's Guide for this info.
(4) The hanged man refers to Nidhogg ("tearer of corpses"), the serpent that gnaws the roots of Yggdrasil the World Tree in Norse mythology. For more info, visit Pantheon.org. (Thanks to Fëakhelek for enlightening me.)
(5) In 1240 Alexander, Prince of Novgorod, repelled a Swedish invasion in the battle of the Neva, which earned him the name "Nevsky" (meaning of Neva). Alexander Nevsky was canonized by the Russian Orthodox Church in 1547. (Wikipedia)
(6) I'm not sure who the older man in the brown suit with Von Croy is. I will try to check into it. In the mean time, if anyone has info, please let me know.
†UPDATE HISTORY: 2/22/13 - Corrected the Demon Knight's dialogue in the middle of the Old Mill level, thanks to a helpful tip from LADame. See the FYI above.
10/10/13 - Finally changed "Jean-Yves" to "Charles Kane" and cleaned up the FYI section a little.
Walkthroughs copyright © 2000- - Stellalune (). Special thanks to Susie Hamilton at Core Design for helping me get the names and details right, and to tube for correcting my Yankee English. Thanks also to Brian and Ivans from the Tomb Raiders Traveler's Guide for swapping information about various things. I have drawn liberally on their hard work in transcribing the movies from the Irish and VCI HQ levels. Any mistakes here are purely my own. Feel free to copy or print this walkthrough for personal use. By all means, share it with friends, but please include this credit line so people can send me their corrections, comments and suggestions. No part of this walkthrough may be reproduced on another site without permission.
Stella's Tomb Raider Site: tombraiders.net.