What Remains of Edith Finch Wiki
Advertisement

Edith Finch Book Icon.png

The following is a transcript of the 2017 game What Remains of Edith Finch.

Outside[]

The game opens with a person with a cast sitting on a boat with a bouquet of calla lilies and a journal with the words "Edith Finch" written on its front. They must open the book, where the messages "My family never seemed strange (...)" and "My family didn't (...) strange to the (...)ving up but I guess (...)ing" are crossed out.

Edith: A lot of this isn't going to make sense to you, and I'm sorry about that.

Edith: I'm just going to start at the beginning, with the house.

The scene transitions to the forest outside the Finch's house. As Edith walks, she continues to narrate.

Edith: I lived here until I was eleven but I wasn't allowed inside half the rooms.

Edith can look back at the warped chain link fence.

Edith: Someone had put up a chainlink fence, but it looked like I wasn't the first person to hop it.

Edith can look at a missing poster on a pole.

Edith: My brother Milton disappeared when I was 4. It was like the house just swallowed him up.

Edith can open a mailbox.

Edith: Inside the mailbox were bills from 7 years ago marked "urgent, open immediately".

Edith must approach the "No Trespassing" barrier.

Edith: I hadn't been back since my brother Lewis' funeral.

After walking through the gate, Edith will continue.

Edith: In her will my mother left me a key but didn't tell me what it unlocked. Maybe she thought I'd know. Or she thought the mystery would be enough to bring me back.

Edith can choose to either take the high road or the low road to the house.

Edith: The truth is, even after I inherited the house I never thought I'd come back to it. But now I had questions about my family that only the house knew the answers to.

On the high road, she can approach a fallen log blocking a road.

Edith: No one had driven this way in a long time. But I saw a few hoofprints.

On the low road:

Edith: The woods around the house have always been uncomfortably silent. As if they're about to say something but never do.

Edith will approach the house.

Edith: The house was exactly like I remembered it. The way I'd been dreaming about it. As a child, the house made me uncomfortable in a way I couldn't put into words. Now, as a 17-year-old, I knew exactly what those words were. I was afraid of the house.

Edith can look at the wooden dragon in the pond.

Edith: I asked Edie once about the dragon in the pond. She said it'd killed her husband. I was six. It seemed like an odd joke to me even then.

Edith can attempt to use the key on the front door.

Edith: I hoped the key might unlock the front door. It didn't.

Edith can peek through the mail hole.

Edith: Looking in, I felt like the house itself had been waiting for me.

Edith can look at a swingset overlooking the cliff through a hole in the fence by the garage.

Edith: The house felt like it had always been here. Even the swingset was older than my mother.

If Edith approaches the doggy door by the garage but starts to leave, something rumbles within the garage.

Edith: I heard something moving around in the garage.

Edith must eventually crawl through the doggie door into the garage.

First Floor[]

The Garage[]

Edith: Crawling through the doggie door used to be a lot easier when I was eleven.

Edith can try the light switch.

Edith: The power had been turned off the night we left.

Edith must exit the garage into the kitchen.

Edith: For the first time in years...

The Kitchen[]

Edith: I felt like I was home.

Edith can approach the kitchen window.

Edith: But instead of a family, there were just memories of one.

Edith can look at some salmon cans on the counter or the shelf filled with them.

Edith: (Like/Or) how after Lewis started working at the cannery we all got sick of eating salmon. Except our cat, Molly.

Edith can look at the pile of leftovers on the kitchen table.

Edith: (Or/Like) how only one restaurant would deliver to our house. So we had Chinese a lot.

The Dining Room[]

Edith: The table was still a wreck from the night we left.

Edith can spot a pamphlet for a nursing home left on the table.

Edith: My mom was the only one of us who could imagine great-grandma Edie living in a nursing home.

The Living Room[]

Edith: Nothing in the house looked abnormal, there was just too much of it. Like a smile with too many teeth. It was like a bomb had gone off, killing everyone but sparing the furniture.

Edith can look at the fireplace.

Edith: Even the fireplace had a story. Edie told me the bricks came from the original house, after it sank.

The Foyer[]

Edith can look through the peephole to the library.

Edith: Edie told me once that every Finch who ever lived is buried somewhere in the library.

Edith can look at a box filled with pink packing foam.

Edith: A lot of things got left behind in the whirlwind of that last night.

Edith can look at one of Milton's missing persons posters by the front door.

Edith: My mom wasn't much of an optimist, but she never stopped believing that my brother Milton was alive.

Edith can play the music box.

Edith: Great-grandpa Sven built a music box for Barbara. Along with the rest of the house.

Edith can attempt to unlock the basement door with her key.

Edith: Mom always told me to stay out of the basement so I wasn't too surprised when the key didn't fit.

Second Floor[]

Edith: After Milton disappeared, Mom sealed up all the bedrooms. Then Edie retaliated and drilled peepholes.

Edith can peek through Molly's peephole.

Edith: Molly always seemed like a girl I could imagine being friends with. If she hadn't died in 1947.

Edith can peek through the pink bathroom's peephole.

Edith: As a kid I just assumed every house had peepholes and sealed rooms you weren't allowed inside of.

Edith can peek through Calvin's peephole.

Edith: My grandpa Sam spent 7 years sharing a room with his dead brother, Calvin.

Edith can peek through Barbara's peephole.

Edith: Barbara was a child star for 2 years. Until America grew out of it.

Edith can look at a framed poster for "My Friend Bigfoot" on the wall.

Edith: Whenever people ask me about my family, the first thing they always want to know about is Barbara.

Edith can examine a portrait of Odin on the wall.

Edith: Edie's father Odin built the original house.

Edith can try to open the doors to the attic.

Edith: Mom must have locked the third floor stairs on the night we left.

Walter's Room[]

Edith must enter Walter's room.

Edith: I spent a lot of time playing in great uncle Walter's room.

Edith: I think my mom sometimes regretted not sealing it up.

Edith must approach the copy of "Twenty Leagues Under the Sea" lying against a sill in the wall.

Edith: Lewis told me there were secret passages but I never believed him.

Edith must use the key on the book, revealing a handle to a secret entrance.

Edith: Turns out, my mom was really good at keeping secrets.

Edith must enter through the door.

Edith: Now it was time to find out what my mom had been afraid of.

Edith can look at Milton's paintings on the wall.

Edith: From the paintings on the wall it was clear my brother Milton had been here before me.

Edith must continue down the hall, toward's Molly's bedroom.

Edith: Reading this, maybe it sounds like I had a plan. But I had no idea what was behind that door.

Molly's Room[]

Edie must exit the secret room and into Molly's old room.

Edith: Just like I had no idea where all this was gonna lead.

Edith can approach the door.

Edith: I grew up looking at Molly's room through the peephole.

Edith can open the drawer under the gerbil cage.

Edith: Molly's gerbil had a tiny bedroom with its own even tinier gerbil cage.

Edith can approach the mural of a castle behind a broken wall of bricks.

Edith: Being inside for the first time, I felt like I'd stepped behind a painting.

Edith must look at a shrine dedicated to Molly.

Edith: I got the sense Edie had spent a lot of time here. Before my mom sealed the doors.

Edith must open the book.

Molly: [narrating] December 13th, 1947

Molly: [narrating] Dear Diary,

Molly: [narrating] I'll be gone soon, but I wanted to tell somebody about what's gonna happen. It started when Mom sent me to bed without dinner.

The scene transitions to Molly waking up in the middle of the night.

Molly: [narrating] I woke up and I was starving. So I looked around for something to eat.

Molly can check her Halloween candy jar.

Molly: [narrating] My Halloween candy was all gone.

Molly can attempt to open the lock door.

Molly: Mom? Can I come out now?

Edie: Sweetheart, it's late. Go to sleep.

Molly can look at her goldfish.

Molly: [narrating] I thought about eating Christopher, but I held back.

Molly can eat her gerbil's food from its cage.

Molly: [narrating] The gerbil food was dry, but I didn't mind it.

Molly can go to the bathroom and down a bottle of toothpaste.

Molly: [narrating] I kept eating and eating.

Molly can eat the holly berries off the mistletoe on the windowsill.

Molly: [narrating] I ate a lot of things that night.

After eating two of the above three items, Molly must approach the windowsill, where a bird sits.

Molly: [narrating] Then I heard chirping outside my window. It was a barn swallow going back to her nest. I reached out for her, and suddenly...

Molly pounces out onto a tree branch outside the window, transforming into a cat.

Molly: [narrating] I was a cat!

Molly must follow the bird.

Molly: [narrating] I tried to be quiet but the bird was really scared. Mom and Dad didn't even look at me. I jumped and I almost got her. I could tell she was getting really tired. Now I was up in the big tree. I promised dad I wouldn't climb it anymore. But all I cared about was eating that momma bird.

Molly will eventually catch the bird, but fall towards the ocean and transform midway through into an owl.

Molly: [narrating] I gobbled her up... And suddenly I was an owl! First, all I heard was the wind. Then I heard little teeth nibbling in the grass.

Molly must locate a rabbit on the ground, and the word "RABBITS!" floats above it. Molly must eventually catch and eat the rabbit.

Molly: [narrating] I imagined his face looking up and seeing mine, through my talons. I swallowed him up, and I didn't chew one bit. Then I flew off to find something bigger.

Molly must locate a bigger rabbit, where the words "A momma rabbit!" float above it. She must eventually catch and eat it.

Molly: [narrating] She was almost too big to carry. I started choking, but I couldn't stop eating. And suddenly I was a shark!

Molly transforms into a shark and swallows the rabbit, then falls from the tree and rolls down a cliff. She must flop her way towards the ocean.

Molly: [narrating] I rolled off a cliff and into the ocean. Now I was hungrier than ever.

Molly must pursue a seal.

Molly: [narrating] I wanted fat, juicy seals.

Molly must catch and bite the seal's tailfin.

Molly: [narrating] I tore off her flipper and it tasted really good.

Molly must catch the seal again.

Molly: [narrating] I grabbed on tight. But I was so hungry, I jumped out of the water.

Molly transforms into a tentacle monster lying on a ship deck.

Molly: [narrating] When I opened my eyes, everything had changed. Now I was a monster. and I smelled people everywhere. I was big, but I moved real quiet.

Molly can consume a person leaning on a railing, then continue towards her next victim, who sings the sea shanty "Drunken Sailor".

Molly: [narrating] I wanted to stop but also I didn't.

Molly can consume a drunken sailor, then continue towards the captain and eat him.

Molly: [narrating] After the last passenger, I was still hungry. And across the water I smelled something new. Something I had to have. So I swam towards it. I slithered onto the sand and the good smell went into an old pipe.

Molly must slither across the floor and into her own bedroom.

Molly: [narrating] I got closer and closer. All my stomachs started growling.

After Molly reawakens in her own body, she takes her notebook and starts writing.

Molly: [narrating] And suddenly, I was me again. I held my breath for a long time but I couldn't hear anything. I think it's waiting for me to fall asleep. But it's not going to wait much longer. It needs to feed. And we both know... I will be... delicious.

In the present, Edie closes the book and draws Molly's portrait in her journal.

Edith: I'm not sure if I believed all that. But I'm sure Edie would have.

If Edith idles in Molly's room:

Edith: I can't describe it, but I felt like some part of Molly was still here.

Edith must exit through the window, where a black cat yelps and runs down a branch.

Edith: This will be obvious later, but my mom never told me any of these stories. Edie would have, but Mom didn't like bringing up the past. Though, when we adopted a stray kitten she was the one who named it "Molly".

Edie's Room[]

Edith must enter Edie's room.

Edith: I spent a lot of time in great grandma Edie's room. We got along and it was a good place to hide from my mom.

Edith: When Edie told people, Sven was killed by a dragon, she could also have said he was building a dragon-shaped slide that collapsed. She could have but, she didn't.

Edith can look at a stack of tapes lying on top of a TV, including one entitled "Edith Jr Lake Trip".

Edith: I hadn't thought of myself as "Edith Jr" for a long, long time.

Edith can look at a framed Orca's Island Gazette newspaper article entitled "'Edie' Won't Go! 72 Year Old Woman Refuses to Evacuate Because of "A Little Forest Fire"

Edith: One summer, they evacuated the Island but Edie refused to go. For a few weeks she was a celebrity.

Edith can look at a framed The Pacific Probe article entitled "Mole Man Beneath the Finch House".

Edith: Edie gave a big interview about a moleman living under the Finch house. My mom was furious.

Edith can examine an unfinished painting of Lewis.

Edith: Lewis died a week before we left but Edie already started to memorialize him.

Edith can look at a painting on the wall of herself reading a book.

Edith: Edie knit me a new pair of gloves every year, just in time to replace the old ones.

Edith can approach a shrine to Odin.

Edith: Her room was like a museum.

She can look through the slides in the View-Master on the shrine.

Edith: [narrating] For 500 hundred years the Finches have been famous through-out Norway for their fortune... and misfortune. Odin Finch buries the latest victims of the Family Curse: his wife Ingeborg and their newborn son Johann. On January 7th, 1937, he sets sail with his family -- and his house -- hoping to leave the curse behind. But 40-foot waves off the coast of Washington, send the house and Odin to the bottom of the sea. Odin's daughter Edie, with husband Sven and baby Molly, step ashore on their new home, Orcas Island. Odin Finch is the first to be buried in the new family cemetery. His daughter Edie is already dreaming of a new Finch house.

Edith puts down the View-Master and draws Sven's portrait in her journal.

Edith: Whatever's wrong with this family, goes back a long ways.

Edith must enter the bathroom attached to the bedroom.

Edith: Even in her 90's, Edie seemed a lot younger than my mother. The only trace Sam's first wife Kay left on the house was the pink bathroom. It was a pretty big trace.

Edith must examine the picture book on the shelf above the toilet, "There's A Secret In This Bathroom" by Sven and Edie Finch.

Edith: There's a Secret in this Bathroom. It's in the last place you would look. It isn't in the cupboard. It's hidden in this book.

Edith unlocks the secret door and enters into a secret photography darkroom.

Edith: Sven gave Sam an old camera he'd refurbished. He never put it down.

Calvin and Sam's Room[]

She must continue down the hall and enter into Calvin and Sam's old bedroom. She can walk up Calvin's side of the bedroom.

Edith: I knew Grandpa Sam had a twin. And that he never talked about him. I guess my grandpa didn't like history as much as my mom did.

She can look at the note hidden inside Calvin's astronaut helmet memorial.

Sam: [narrating] How I Want To Remember my Brother, by Sam Finch.

The scene transitions to Calvin swinging on a swingset facing the seaside cliff while Sam takes photos with his camera.

Sam: [narrating] The thing I remember is that when he made up his mind, that was it.

Sam: [narrating] My brother said he'd die before he ate another mushroom. And he did.

Sam: [narrating] At Barbara's funeral, we swore we'd never be afraid again. And he wasn't. I think Calvin always wanted to fly.

Edie: Sam, Calvin, dinner's ready!

Sam: Coming!

Sam runs off.

Sam: [narrating] But that day he finally made up his mind to do it. I told him going around was impossible. Maybe if I hadn't said that.

Edie: Calvin, I'm not gonna tell you again!

Sam: [narrating] Or maybe if the wind hadn't picked up...

Sam: [narrating] then maybe he'd still be here but I doubt it. I think he already made up his mind. That's what I want to remember about my brother. The day he made up his mind to fly... and he did.

In the present, Edith places the poem back and draws Calvin's portrait in her journal.

Edith: Calvin's story felt strangely familiar. When I was younger I tried to do the exact same thing. After the funeral, Edie roped off half of the room. Mom said Grandpa Sam enlisted at 18 and never set foot in the room again.

Edith must find a secret passageway by pushing a slide of fake books against each other and opening the final one, revealing a butterfly's image and allowing the shelf to be rotated open.

Edith: The passages were a pretty tight fit. They'd obviously been built for smaller hands and bellies.

Barbara's Room[]

Edith: Growing up, I always thought of Barbara as a child star. I never thought of how hard it must have been for her afterwards.

Edith must open the comic book on Barbara's memorial.

Edith: Of all the stories about Barbara's death. I'm surprised that Edie saved this one.

Edith opens the comic book and start reading.

Old Jack: [narrating] Old Jack here with another ghastly tale inspired by America's most unfortunate family. I'm calling it... THE SURPRISE ENDING OF BARBARA FINCH! As a child star, Barbara was famous for her scream.

Barbara: EEEEEEEEEEK!!

Old Jack: [narrating] Now at 16 she was all washed up. A has-been. But in a lucky break, she'd been asked to perform her signature scream at a local convention for monster movie fans. It was just the boost her career needed! Unfortunately, her scream hadn't aged well.

Barbara: AAAAAAGGH

Rick: Mmm. Getting better. I think you just need the right motivation.

Old Jack: [narrating] Her biggest fan (and current boyfriend) Rick was about to demonstrate when--

Sven: YAAAARGGGH!

Rick: Now that was a great scream.

Old Jack: [narrating] It was Barbara's father, Sven. He'd slipped into a tablesaw and had to be rushed to the emergency room. So Barbara got stuck babysitting her youngest brother, Walter. Her convention comeback was cancelled.

Barbara: RAAAAARGHH

Rick: OK, I'm hearing frustration but I'm not hearing terror. What if I tried--

Radio Man: A gang of hoodlums in Halloween masks have been terrorizing Orcas Island tonight! Police are urging residents to--

CRASH!

Barbara: That came from the basement!

Rick: You're right! Also, I loved your delivery on that. Why is your basement door locked?

Barbara: Because my dad likes making puzzles and secret passages. There's a key hidden in the music box. The secret is to keep winding... and winding... until finally the key pops out.

Rick: Thanks, babe. I'll be back in a sec.

Old Jack: [narrating] Twenty minutes later, Rick hadn't returned. So Barbara went to look for him, right on cue.

Barbara must take the music box's key and enter the basement.

Old Jack: [narrating] She reached for the music box... and as she would the key, she listened for Rick but the house was silent.

If Barbara idles:

Barbara: Rick? Are you okay? This isn't funny...

Barbara must descend the stairs and discover Rick's crutch.

Old Jack: [narrating] She found Rick's crutch and imagined the worst.

Barbara picks up Rick's crutch and wields it as a weapon, then continues through the basement.

Radio Man: ...the gang's leader is the infamous Hookman Killer, Dr. Karl Hamel, who impaled and then ate his family ten years ago tonight.

Barbara must keep going until she approaches the fridge at the end of the hall.

Old Jack: [narrating] The old fridge rattled and grew still.

Barbara must approach the fridge, where Rick pops out donning a monster mask.

Rick: Rooooaaaaar!!!

Barbara whacks Rick across the face, causing him to hold his nose.

Rick: (Groan)

Back upstairs, Barbara confronts Rick

Rick: Barb, relax. I was just trying to scare you to help you find your scream.

Barbara: Well I'm not scared, Rick. I'm furious!

Rick: Then act furious! All I'm getting from you now is that you're hurt and confused and you're--

Barbara slams the door in his face.

Old Jack: [narrating] She threw him out, but she kept a little something to remember him by.

Rick: Barb? Have you seen my other crutch?

Old Jack: [narrating] And she was still holding it when she fell asleep watching the late-late picture show. Hours later...

Walter: BARBARAAAAAA!

Barbara: Walter? What's going on up there?

Walter: AAAAAGH!

Barbara: OK, I'm coming up. But if this is a trick, you're dead, Walter.

A lone rollerblade falls down the stairs as Barbara ascends, and she enters Walter's room.

Barbara: [whispering] Walter, are you there?

Barbara must pull open the curtains to Walter's bed, only to find it empty.

Old Jack: [narrating] Walter had vanished. But his bedside radio was still on...

Radio Man: --Orcas Island Police describe the man as 6 feet tall, with a steel hook for a hand. Residents are urged to lock all doors and windows and notify the police of any suspicious activity--

As Barbara stands, the Hookman Killer walks up behind Barbara with steady creak.

Old Jack: [narrating] Barbara turned, saw the Hookman, and...

Barbara: Gasp!

Old Jack: [narrating] Was speechless. He was quite smashing!

As the Hookman tries to attack Barbara as she holds him off with Rick's crutch, she kicks him back in the stomach and locks the door shut.

Old Jack: [narrating] And whoever he was, he couldn't get enough of Barbara!

Barbara: OK, Barbara, there's gotta be another way outta here!

Barbara must climb through the open secret door and exit into Molly's room. She can walk up to the window.

Old Jack: [narrating] She thought about abandoning Walter but just couldn't do it.

She must go to the room's entrance and open it.


Old Jack: [narrating] Molly's door hadn't been opened in years. The hinges groaned.

Barbara must whack the Hookman across the head, causing him to trip on the remaining roller blade and crash into a table in the living room below.

Old Jack: [narrating] He wasn't moving, but she sensed the story might not be over yet.

Barbara must go back downstairs.

Old Jack: [narrating] The Hookman had vanished! She listened for his breathing, but all she heard was:

The doorbell rings, and Barbara gasps.

Old Jack: [narrating] Someone at the door, dying to speak to young Barbara. At the door, she heard whispering. It was coming from inside the house!

Barbara turns around to see two shadowed figures.

Barbara: Oh dear.

The scene pans out to reveal a band of people in assorted monster costumes throwing confetti as Barbara gasps.

Crowd: Surprise!

Barbara: *GASP*

Crowd Member: Bravo, Barbara!

Crowd Member: You were wonderful!

Crowd Member: We love you!

Old Jack: [narrating] The monsters had come to surprise her! For Barbara, it was a dream come true. Then she saw what kind of monsters they were and she realized what was about to happen: She was going to be famous. And with her final breath Barbara Finch gave the performance of her life:

Barbara is grabbed and pulled into the crowd of real monsters.

Barbara: EEEEEEEAAAAGHHHK!!!

Old Jack: I wasn't there myself, but I hear Barbara was magnificent! Poor girl! She had a taste for stardom... but unfortunately so did her fans!

Old Jack: [narrating] Of course the police blamed it all on poor Rick, who disappeared the same night. And little Walter? Hiding under his bed the whole time! He took it all pretty hard. But that's another story. As for Barbara, tucked inside the music box was all they ever found of her. Her ear.

Old Jack: Now that's what I call a real ear-ie tale!

Old Jack laughs as Edith closes the book, sets it back on the table, and draws Barbara's portrait in her journal. She then must go back towards the door to the basement.

Edith: Edie told me all Barbara wanted was to be remembered. As absurd as that comic was, maybe what Edie saw was a happy ending. I guess now I know why Mom didn't like me playing with the music box.

If Edith idles around:

Edith: It's funny. All those times I played with the music box and never found the basement key.

Edith must go back to the music box, retrieve the key, and go down to the basement, which is near-identical to the version in the comic book. Edith can look at the workshop table.

Edith: Mom said the basement was off-limits, unless I wanted another tetanus shot.

Basement[]

Edith must continue down the basement.

Edith: I saw Edie sneak down to the basement once, carrying packages. I thought maybe she was hiding presents.

Walter's Bunker[]

Edith must open the door to the underground bunker, where Walter's memorial lies.

Edith: It turned out she was hiding a lot more than that. I remember asking Mom once about where Walter had gone. She said after Barbara died he got as far away as he could. If there's a pattern in all these stories I think it's that none of us has gotten very far.

Edith must open a drawer and take out a letter from Walter. The scene shifts to Walter opening a can of peaches in a bunker, the calendar dated to November 14, 1968.

Walter: Goodbye, everyone.

Walter: I can't believe I've been down here for 30 years. On that first day, after the shaking started, I didn't think I'd survive a week.

Walter: But after a few days, I settled into a routine. That's what kept me sane. Having a schedule. Living for today.

Walter opens and downs the peaches, and the scene skips forward to January 4, 1976.

Walter: I always expected to be dead tomorrow. But if you wait long enough, you'll get used to anything.

Walter: Even a monster, on the other side of the door, starts to feel normal. Almost... friendly.

Walter opens and downs the peaches, and the scene skips forward to March 24, 2005.

Walter: And then one day, everything just... stopped. Whatever that thing was, it was gone. Maybe it got tired of waiting... Or maybe I just got tired of being afraid.

Walter opens and downs the peaches, and the scene skips forward to March 31, 2005.

Walter: It's been a week now, the longest in 30 years.

Walter turns towards the open cellar and the safe door.

Walter: I'm done waiting. I have to leave, while I still can.

Walter must open the door and climb down, then progress down the cave halls.

Walter: I know it's out there... somewhere. Whatever killed Barbara... And Molly... And Calvin.

Walter must take a pickaxe and begin swinging it at the wall.

Walter: Maybe this was all a mistake. But I need to stop living the same day. Even if it kills me.

Walter breaks through and comes into a tunnel lined with railroad tracks.

Walter: Whatever's out there, I want you to know

Walter: I'm ready for it.

Walter: I'm going to appreciate all of it. Especially the food. I don't mind if I only have a year left, or a month, or a single week.

Walter: I'd be happy with one new day.

Walter: I can already imagine the sun on my face.

The sound and flash of an incoming train approaches, and the screen flashes to white before arriving in the present. Edith places the notepad back and draws Walter's portrait in her journal, then must follow Walter's tunneled path.

Edith: Walter died when I was 6. I can't believe my mom never told me he was down here. I'm sure my mom was trying to protect me. Maybe she was afraid I'd end up like Walter. But if she never told me about an uncle under the house... I can only imagine what else she was hiding. I don't want to make the same mistakes she made; trying to bury something that's still alive.

Finch Cemetery[]

Edith must exit through the same path Walter did to the outdoors, where the train tracks stop partway due to land erosion.

Edith: Now, that there's only one of us left, or maybe two, I thought it was time I heard the stories for myself. And found out what happened to everyone else. But now I'm worried the stories themselves might be the problem. Maybe we believed so much in a family curse... we made it real.

Passing by a memorial to Walter by the spot he died, Edith continues down a forked path by a beach.

Edith: I don't know if I should be writing this... Maybe it'd be better if it just died with me. But I thought you should know about your family. And the history you're a part of. Though to be honest, I probably feel as lost as you do right now. I think the people in these stories believed them, for what that's worth. And when you look at the house... at that history of imagination, and stubbornness and madness, any of it seems possible. I think we've been surrounded by death for so long we've just gotten used to it.

Edith must approach the cemeteries.

Edith: What kind of family finishes building a cemetery before starting the house? It's embarrassing for me to admit this, but... The pet cemetery made me more uncomfortable than the human one. 3 of the gerbils were mine and 2 had been my fault.

Edith: Sven built the house. But it was Edie who designed the cemetery.

Edith must approach the monument at the top of the hill.

Edith: I'm sure Odin's monument had been Edie's idea. My mom was always trying to move on, but for Edie, the past never went away.

Edith can see the wreckage of the old house on the water and look at it through the telescope.

Edith: She could see it poking out of the water at low tide. Edie said she dreamed about the old house every night.

Edith must continue towards Sam, Gregory, and Gus' graves.

Edith: Edie's side was always easier for me to understand. But the older I get, the more I can see where my mom was coming from. Her dad had been pretty strict but it wasn't enough to save her brothers. She was just trying to do better.

Edith must continue towards Milton's monument and Sanjay Kumar and Lewis' graves.

Edith: She lost two of her brothers just like I did. I get why she tried so hard to protect us.

Edith can look at Milton's monument.

Edith: We never found Milton's body so Mom insisted we were putting up a monument, not a tombstone.

Edith must continue on back to the house, where she comes back onto the roof of the house and climbs up to a balcony.

Edith: There's so many things I wish I could ask my mom now. Part of me thinks this is what she wanted all along. For me to come back someday, and find everything out for myself. But looking back on it now... If she'd told me there was going to be so much climbing... I never would have come when I was 22 weeks pregnant.

Third Floor[]

Sam's Room[]

Edith must enter Sam's room.

Edith: I never met Grandpa Sam but, I think he and my mom had a lot in common. They were both pretty intense.

Edith can look at a family photo mounted on the wall.

Edith: Sam spent his life shooting photos but mom said he got nervous being in front of the camera. I guess we're all afraid of something.

Edith can look at some photographs of people in army fatigues.

Edith: Instead of hiding from death... Sam seemed to go out of his way to meet it.

Edith can go up to Sam's memorial and start going through his photos. The scene transitions to Sam and a young Dawn Finch on a hunting trip.

Sam: Dawn, I promise, you'll never forget this weekend.

Dawn: Yes sir.

Sam: These memories are gonna last a life time.

Dawn: Mm-hm. Am I gonna have to shoot anything?

Sam: It's a hunting trip, Dawn. Shooting is strongly encouraged.

Sam can train his camera on Dawn.

Dawn: What?

Dawn: It's too early, Dad.

Dawn: OK.

Sam can take a photograph of anything that isn't Dawn.

Dawn: Shouldn't we be leaving?

Sam: Just want to get a shot of you, Dawn, then we can take off.

Dawn: I'm over here, Dad.

Sam: Just need to get a shot of you, Dawn, then we can hit the road.

Sam must take a photograph of Dawn.

Sam: Perfect.

Sam removes the photo to reveal another, and the scene switches to Dawn reading her poetry book outside of the car while holding an umbrella in the rain.

Dawn: It's gonna rain the whole weekend, isn't it?

Sam can take a photograph of anything that isn't Dawn.

Dawn: Please just take the damn picture.

Sam: Hey, LANGUAGE!

Dawn: Did you want to get a picture of me, or what?

Dawn: Come on already!

Sam must train the camera on Dawn, who is reading a book by the Odin Finch Memorial Park sign.

Dawn: I will never forget this weekend, Dad.

Sam: That's the spirit!

Sam: Smile, Dawn!

Sam must take a photograph of Dawn.

Sam: OK, got it.

Sam removes the photo to reveal another, and the scene switches to Dawn holding the camera herself.

Dawn: I'm gonna take some pictures, okay?

Sam: Just be careful. That camera's older than you are.

Dawn: You're right, Dad, it's starting to clear up. Still freezing, though.

Dawn can take a photograph of a bird, which flies away.

Dawn: Aw.

Dawn must train her camera on her father, who is peeing on a tree.

Sam: Definitely should not have drunk all that coffee.

Dawn: Hold still while I take a picture of you.

Sam: I definitely won't be moving.

Dawn: Are you done yet?

Sam: Does it sound like I'm done? Nothing quite like peeing outside. Whoops -- little more gas in the tank, I guess.

Dawn must take a photo of Sam.

Sam: Hey!

Dawn: That's a keeper.

Dawn removes the photo to reveal another, and the scene switches to Dawn holding the camera as Sam reads a map by the lake.

Sam: I'm just saying, I'm not always gonna be here, Dawn. You'll need to remember this stuff. If you want to survive.

Dawn: I'll be fine, Dad.

Sam: You know who else thought he was gonna be fine?

Dawn: Some guy who died?

Sam: Dawn, I'm being serious.

Dawn: I know, Dad. You're always serious. Doesn't being out here make you want to chill out?

Sam: Well, to tell you the truth, I haven't been out here in 20 years. Last time I was with my brother, Calvin. Man, that was a great trip. Your grandpa Sven taught us how to fish. How to build a fire. We found an old logging trail. There were deer everywhere. I bet if I could remember where that trail was we could spot a buck for you no time. Gimmie a minute to check the map... Hmm... Let's see... Maybe... Or was it... It could have been...

Dawn can take a photograph of Sam.

Sam: Dawn, don't you think you could find something more interesting to photograph?

Sam: You don't need to waste any more film on me, kiddo.

Dawn must train her camera on a deer in the distance.

Dawn: Dad!

Sam: Good eyes, Dawn!

Dawn must take the photo. She removes it to reveal another, and the scene switches to Dawn aiming a gun.

Sam: Before you take the shot, let me get a picture of you.

Sam can take a photograph of anything that isn't Dawn.

Dawn: I'm over here, Dad.

Sam: One sec, Dawn. Lemme get a picture of you.

Sam must train his camera on Dawn.

Dawn: Dad, I--

Sam: Just breathe. Turn off your imagination. Focus on your target.

Sam must take the photo. He removes it to reveal another, and the scene switches to Dawn aiming a gun at the deer.

Sam: Lemme get behind you...

Dawn: Do I have to do this?

Sam: Dawn, you don't have to do anything. But if you want to survive, you'll need to be strong. Now keep yourself squared up, elbows down, like we practiced. Whenever you're ready...

Sam must take a photo of the deer, which is shot by Dawn simultaneously.

Sam: Great shot, Dawn!

Sam removes the photo to reveal another, and the scene switches to Dawn sobbing at the deer's side as Sam prepares the camera's timer before heading up to join her.

Dawn: [sobbing]

Sam: I'm proud of you, Dawn! Always remember that, OK?

If Sam doesn't reach her before the timer runs out:

Sam: Sorry, Dawn. Just got to reset the timer.

Sam: Hang on, kiddo. Just trying to get a shot of the two of us together.

Sam: Crap! CRAP!

Sam must eventually join Dawn at the top of the cliff.

Dawn: Dad, it's twitching. I think it's still...

Sam: That's totally normal, Dawn. Just focus on the camera, try not to think about--

The deer thrashes and bucks Sam off the cliff.

Dawn: DAD!

The camera captures Sam falling to his death, and the scene switches back to Edith in the present. She places the photographs back and draws Sam's portrait in her journal.

Edith: Of all these stories, that's the one I wish most that my mom had told me.

Edith must continue through a sliding wooden door.

Edith: After Sam died, my mom and Edie got really close. They'd both lost a lot.

Gregory, Dawn, and Gus' Barracks[]

Edith must enter into the shared bedroom, where she can find a letter written on the margins of a divorce contract in Gregory's nursery.

Sam: [narrating] Dear Kay,

Sam: [narrating] Do you remember the way Gregory used to laugh when he thought he was alone?

Sam: [narrating] Like something was happening but only he could see it.

The scene transitions to Gregory playing with a toy frog in the bathtub.

Sam: [narrating] I think he saw things the rest of us don't.

Kay: Bathtime's over, Gregory It's time to... Hold on, Sweetie. Hello? Sam, I told you I don't want to talk right now.

Sam: [narrating] I wonder what he saw. What his world was like. He reminded me so much of Calvin. Lost in his imagination.

Kay's first call dialogue:[note 1]

Kay: I never said that!
Kay: Do not put words in my mouth!
Kay: Sam, stop.
Kay: No!
Kay: Please, Sam.
Kay: You can't come home.
Kay: Because I don't want to see you.
Kay: You always say that.
Kay: (?)
Kay: Sam, please.
Kay: (?)
Kay: (?)
Kay: Stop it, just stop it!
Kay: I don't need apologies!
Kay: (?)
Kay: Let me finish!
Kay: No, Sam, I know.
Kay: I'm tired of talking to you.
Kay: Sam, nothing ever changes.

Sam: [narrating] Whatever it was he saw... it sure made him happy. I know how silly it sounds that I worried about a baby being too happy, but I felt him slipping away.

Kay returns and unplugs the bath drain, letting the water drain out.

Kay: Sorry about that, Gregory.

Sam: [narrating] I know you did everything you could. Maybe if I hadn't called that night...

Kay closes the bath door and takes a call, her words becoming indistinguishable.

Kay: Damn it. Hold on, I don't want Gregory to hear this.

Kay's second call dialogue:[note 1]

Kay: Sam, I don't want to talk to you.
Kay: You're being scary right now, do you know that?
Kay: What do you mean?
Kay: Now you're being ridiculous, Sam.
Kay: (?)
Kay: (?)
Kay: He's fine! He's still in the bath.
Kay: (?)
Kay: (?)
Kay: Your entire family is just... (?) I can't even (?)
Kay: There's nothing wrong with (?)
Kay: Do not come home right now.
Kay: I will see you, and I'll call the police.
Kay: Then hang up!
Kay: Sam, I have to (?) Gregory, (?) bathtub.
Kay: (?)

Sam: [narrating] I wish he could have told us. About the world he saw.

Gregory must use the frog to turn the drain back on, causing the bathtub to slowly fill back up. As the water level rises, the scene transitions to a giant version of the tub and its toys decorated with seaweed, with Gregory having frog-like hands with webbed fingers.

Sam: [narrating] Kay, there's so much I don't understand. About Gregory... about everything... But I know what happened wasn't your fault.

Sam: [narrating] And wherever Gregory is now... I'm sure he's happy.

Sam: [narrating] And he'd want you to be happy too.

Sam: [narrating] Good luck, Kay

Sam: [narrating] Love, Sam

In the present, Edith places the divorce letter back and draws Gregory's portrait in her journal.

Edith can look at and read a scroll with a poem written by her mother wrapped around it.

Edith: I can't imagine my mom ever writing poetry, and yet... she kept a lot of secrets from me.

A Poem for Gus
Who always said the wedding was a bad idea

Our father never hit us kids,
at least not very hard.

Before the day my brother said
with teenage disregard

That he'd be dead before he'd see
a wedding in our yard.

My father made him come of course,
but Gus stood far apart

Just flew his kite and bottled up
the storm inside his heart

I tried to talk him out of it,
but though he'd never met her

"We don't need a stepmom,"
were the words that I remember

When the time for photos came
dad ordered him to "Come here!"

But Gus declined and as a sign
held up his middle finger

The wind picked up and panicked geese
appeared and quickly went

But all that the humans did that day
was go inside the tent

The rain came down in buckets then
but no one seemed afraid

The nature might destroy the tent
our father had crudely made

The thunder sounded much too close
and full of angry power

But all my father said to this was
"Make the music louder!"

I wish that...
I wish that I could truly say
I thought about you on that day

Out there on the beach alone,
just you the wind the sea and foam

But I didn't. Until we found you.

In the present, Edith places the scroll back and draws Gus' portrait in her journal.

Edith: She never talked about him, but Mom told me once that if I was a boy they were going to name me "Gus".

Fourth Floor[]

Dawn's Loft[]

Edith must head up a rock climbing wall to her mother's room.

Edith: My mom moved up to the loft after her brothers died. At the time, it was as far away as she could get.

Edith can look at a Bible.

Edith: Religion was another thing my mom never talked about, but I think it helped her a lot after her dad died.

Edith can look at a photograph of a younger Dawn and Sanjay in a heart-shaped frame, dated to 8/18/1986.

Edith: She spent a summer building houses in Calcutta, where she met my dad, Sanjay.

Edith must exit through the room's sliding window and continue across the porch, passing the gardening area and the classroom.

Edith: My mom moved to India a week after graduation and got a job teaching English. Lewis was born a year later. When my dad died, I don't think my mom knew where else to go. I'm sure Edie was happy to have her back. And to see the kids in the house again. The house had to get a little bigger, but Edie was used to that. And for a while things were good. Almost normal. But it didn't last.

Milton's Tower[]

Edith must exit the classroom and can approach and enter Milton's tower.

Edith: The beginning of the end was Milton's 10th birthday, when Edie gave him a castle.

Edith can look up at a painting on the wall.

Edith: I think Edie was happy to finally have another painter in the family.

She can use the rope pulley to raise herself to the top floor of the tower, where she can examine a flipbook entitled "The Magic Paintbrush".

Edith: Milton Finch in "The Magic Paintbrush."

Edith scrolls through the book, in which Milton paints a self-portrait of himself on the easel which sneezes. He creates a flipbook of himself painting a life-sized image of a door, which he enters before bowing as it closes. In the present, Edith places the flipbook back and draws Milton's portrait in her journal.

Edith: I was 4 when Milton disappeared. Mom spent months looking for my brother. Then she sealed the doors. Whatever Milton had found in the house, Mom didn't want it getting out.

Lewis' Boat[]

Edith must turn back and approach and enter Lewis' boat room, embedded into the house.

Edith: Mom definitely blamed Edie, but I think Lewis blamed himself. After he graduated he just spent more and more time in his room. Until Mom got him a new job at the cannery.

Edith can peek through Lewis' peephole.

Edith: Everyone always told me to stay out of Lewis' room. Except Lewis.

Edith must enter through the window.

Edith: Lewis' room smelled very, very familiar. That part of him lived on.

Edith can examine a PS1-reminiscent "Wonderland Turbo" gaming console.

Edith: Lewis and I spent a lot of time playing games together but he was surprisingly bad at them. He died a lot.

Edith can examine the India flag on the wall.

Edith: He was so proud of being Indian. I think for him it was a way to be something other than just a Finch.

Edith can examine a broken letter from the Greater Seattle Institute of Psychology addressed to Dawn Finch.

Lewis' Psychiatrist: [narrating] Dear Mrs. Finch,

Lewis' Psychiatrist: [narrating] As Lewis' psychiatrist I can understand your desire for an explanation. As I see it, the trouble began in January, shortly after we convinced your son to seek treatment for substance abuse.

The scene transitions to Lewis chopping fish heads in an automated guillotine at the cannery.

Lewis' Psychiatrist: [narrating] Newly sober, I believe Lewis first noticed the monotony of his daily life. He kept working at the cannery but he withdrew part of himself. In his sessions I saw the same behavior.

A vision of a man walking in a labyrinth appears superimposed over the scene, which he navigates.

Lewis' Psychiatrist: [narrating] His mind began to... wander. I asked him to describe it. He said he started small, imagining a labyrinth. He'd feel his way about. Then something moved... bats. And toads. And things that have not names. He knew it was all in his head. But he took it very seriously. I had hoped he'd find himself. But he found something more.

Lewis' Psychiatrist: [narrating] I worried about him then. Daydreaming at the cannery. I spoke with his boss. But he said Lewis had become a model employee. Methodical, tireless, focused... Like a whole new Lewis. So I let him go on.

The vision Lewis exits the labyrinth into a canyon leading into a city.

Lewis' Psychiatrist: [narrating] I even encouraged him. It seemed very promising at first. He told me he'd made a new friend. On the edge of a city he named Lewistopia. He built the city up slowly, brick, by brick. Then he made musicians. And songs for them to play. He talked about starting a band. And he was always humming something. Everyday his imagination grew stronger. He no longer spoke at the cannery. But his chopping was as reliable as ever. Then one day it struck him... that all the cheering crowds... even the stones under his feet... were all in his imagination. So he could do whatever he wished. He held an election for mayor. And he won. They begged him to stay but his mind was already wandering.

Lewis leaves the city and embarks on a boat across a river.

Lewis' Psychiatrist: [narrating] It became a game for him. He'd conquer a city and immediately push on. New Lewisville. St. Lewis. He started to drift away from our reality. Minneapolewis. Until one day he forgot to go home from the cannery.

The vision momentarily fades to reveal Dawn pleading him to go home.

Lewis' Psychiatrist: [narrating] Even as his mother pleaded with him, part of Lewis kept sailing on. In Lewisburg, he heard rumors of a... (beautiful prince/handsome queen). The (prince/queen) was on (his/her) own quest for (radiant rainbows/sinister serpents). He followed the sound of (his/her)... (electric sitar/silver harp). His chase led him to a golden palace, east of the sun, west of the moon.

Lewis will arrive at the palace.

Lewis' Psychiatrist: [narrating] Even then his logic remained sound. He knew the world was all in his imagination. But he was so proud of having created it. In his own eyes, he'd become something greater than a king. For someone who'd never known success in the real world, I think it was overwhelming. And then it struck him that the real Lewis was not the one chopping salmon, but the one climbing the steps of a golden palace. "My imagination is as real as my body," he told me. It was hard to argue with him.

Lewis walks through a door into the locker room of the cannery. He walks towards himself, moving his arms automatically at the cannery.

Lewis' Psychiatrist: [narrating] He began to forget the world we know. I think it pained him to remember Lewis, the cannery worker. He began to despise the man with a royal contempt. I still thought I could save him. Even after he'd said he's being crowned king over all the lands of Wonder.

Lewis must climb onto a conveyter belt, which leads back into his fantasy world where a celebration takes place. The belt takes him to the end of the room, where the prince/queen holds a crown in front of a guillotine.

Lewis' Psychiatrist: [narrating] The palace was packed with his companions. Including the wise calico who insisted on advising him. The (prince/queen) waited holding his crown. There was only one thing left to do. Bend down his head.

Lewis bends down at the guillotine, looking briefly up at the prince/queen before lowering his head and briefly catching a glimpse of the cannery's caution line before the scene cuts to black.

Lewis' Psychiatrist: [narrating] And the rest I think you know.

Lewis' Psychiatrist: [narrating] Mrs. Finch, your son was a kind man who will be missed by all of us who knew him.

The letter ends with "My sincerest condolences, Dr. Emily Nuth". In the present, Edie places the letter back and draws Lewis' portrait in her journal.

Edith: My brother was really cool, I wish you could have met him.

Edith must exit through the door labeled "EXIT" back outside.

Edith: On the way back from Lewis' funeral, my mom told me to start packing. She waited until the day before we left to tell Edie. I'm not sure if she wanted to make it easier or harder.

Fifth Floor[]

Edith's Room[]

Edith must enter her and her mother's house.

Edith: I wish we'd stayed. But I understand why we left.

Edith can look at her mother's room, where boxes of photographs left in pink packaging foam remain opened.

Edith: My mom ended up leaving everything behind.

Edith must ascend the staircase and enter her own old room.

Edith: What happened that night had been coming for a long time. Maybe it should have come sooner. But it had to end one way or another. All that's left now is to tell you about that last night.

Edith must sit down on her bed, take a feather pen out of its case, and begin writing.

Edith: That whole last day, Edie just watched us pack and didn't say a word. Until supper and she raised her glass and said...

The scene transitions to Edie, Dawn, and Edith eating takeout at the dinner table.

Edie: To our final night together... And all our final nights apart.

Dawn: Grandma, you know what I said about alcohol. Some of your medications are very specific...

Edie: Edith, I left a present for you in the hallway. Why don't you go open it? The grownups have to argue now.

Dawn: I'm sorry, you're right. We're all leaving tomorrow, let's just enjoy our last...

Edie: I'm not leaving.

Dawn: Edith, you're excused.

Dawn stands up, and the scene transitions to Edith walking in the hall. She must enter the library and overhear Edie and Dawn's conversation.

Edith: [narrating] The power had been shut off that morning, but Edie had plenty of candles. When my mom sealed the door to the library, I don't think she knew about the other entrance. Or that Edie had a key to it.

Edie: That thing you're afraid of isn't going to end when you leave the house! Edith has a right to know these stories!

Dawn: My children are dead because of your stories! I think it's best if Edith and I leave tonight. We'll have the nursing home send a van for you in the morning, OK?

Edith will find a hand-bound book entitled "History of the Finches" by Edie Finch and open it.

Edie: [narrating] Dear Edith, there's so many stories I wish I could tell you, but there's only time for one. This is about what happened the night you were born.

The scene transitions to Edie watching the waterless shore, and she must walk towards it.

Edie: [narrating] That night the tide went way, way out. It was the first and the last time I ever saw our old house aground. There'd been an earthquake out in the middle of the ocean. They called it the lowest tide in a thousand years. God, it smelled awful. You know, I've seen that house every day of my life. But I never thought I'd go back to it. When the fog rolled in, I lost my way.

The area is clouded by fog.

Edie: [narrating] I got turned around. For a while, I wandered. I started seeing things.

A deer comes into view, then gallops away. She begins to see furniture scattered from the old house, then finds the house.

Edie: [narrating] Things I'd forgotten ever existed, but when I saw them they felt like old friends. That night a lot of things came back to me. Or maybe I came back to them.

Edie opens the gate to the house, and a light turns on in one of the windows.

Edie: [narrating] Things I can't explain but that I need you to try and...

The scene suddenly shifts back to the library, where Dawn grabs the book as Edith resists.

Dawn: Edith, what are you doing in here?

Edith: It's mine.

Dawn: Edith!

Edith: Mom, you're gonna rip it! Let go!

After a short struggle, the book tears, and the scene cuts to Dawn driving Edith away as Edie watches from the porch.

Edith: I kicked and screamed but Mom dragged me to the car. I never saw great-grandma Edie again. The next morning the van came to pick her up but she was already gone.

The scene switches to Edith waving her hand against the window in the car, then holding a dandelion.

Edith: After that we moved around a lot. We both tried to make the best of it. A few years went by. My mom didn't like to talk about it. But she started getting sick a lot.

The dandelion's fluff is blown away by Dawn's cough, and the scene switches to a sickly Dawn's hand wearing a hospital band being reached out to by Edith's.

Edith: The rest happened pretty quickly. She got better for a while and then she didn't.

The screen fades to black.

Edith: And then I was alone. The last Finch left alive.

The camera rotates, and a faint purple glow illuminates the screen.

Edith: Until I found out about you. I'm still not sure what to tell you about all this... If we lived forever, maybe we'd have time to understand things. But as it is, I think the best we can do is try to open our eyes. And appreciate how strange and brief all of this is.

The perspective of Edith's child being born fades into view as it advances towards the end of the tunnel.

Edith: This journal was supposed to be for you. But now I hope you'll never see it. I just want to meet you. And tell you all these stories myself. But I guess if you're reading this now... things didn't work out that way.

The child exits into the light. Edith's journal fades into view, held by her older son, Christopher, along with the bouquet of calla lilies.

Edith: This is where your story begins. I'm sorry I won't be there to see it. It's a lot to ask, but I don't want you to be sad that I'm gone.

Edith: I want you to be amazed that any of us ever had a chance to be here at all.

Edith: Good luck.

Christopher places the bouquet onto Edith's tombstone as the camera pans up to the old house, then fades to black.

References[]

  1. 1.0 1.1 Dialogue can be heard without music or sound effects in this video.

Navigation[]

Advertisement