This is an attempt to write down what I think the Silent Hill 2 movie should look like. While the Silent Hill movie was one of the best video game to movie adaptations ever made, it failed to capture the sense of lonliness, isolation, and paranoia from the game itself. I've tried very hard to stay true to the game without failing to create a script for a movie, since each medium is unique and requires its own approach.
I do not own the copyright to Silent Hill, either the games or the movie. I will never make any money off this script. It is simply a what-if idea, I am not making a movie out of this without licensing or anything.
Hope you enjoy!
1. INT. BATHROOM – UNLIT AND DIRTY
Nothing is visible but a brick wall covered in graffiti and a filthy sink, encrusted in brown grime with a faucet rusted over. A figure moves into view. It is our protagonist, James. His eyes are sunken, dark, and dead, as though he hasn't slept in days. His blonde hair is unkempt and dirty. He has the beginnings of a 5 o'clock shadow growing on his face. He is wearing a green jacket over a collared shirt. He reaches down to the sink below him and begins washing his hands. As he finishes up the action, he glances up briefly, then his eyes return to the sink and he shuts off the water.
James dries his hand on the back of his jacket and looks back up again. He squints at something just to the side of the camera. He moves in for a closer look. James stares intently at something offscreen. He blinks, then cocks his head slightly to the side. He reaches up with his right hand and moves his fingertips towards the camera. Another pair of fingers seems to come from the left of the shot and touch James' own fingers. They briefly touch before they both jerk back at the same time.
The camera now pans back and reveals that the entire shot has been occurring through a mirror, positioned just above the sink. We have not seen James' face directly – only through the mirror, though part of the back of his head should be visible now. The mirror is now revealed to be an imperfect reflection of the world. Time has caused the glass to build up at the bottom and become thin at the top, creating a subtly skewed reflection (note: mirror should not be extensively warped – this is a subtle distortion that most viewers may not get the first time they watch). The four rusty nails holding the reflective surface now come into view. Red streaks flow down from them, obscuring part of the reflective scene.
He moves his face in closer, while pulling his hand back. He brings his fingers up to his face. He passes his forefinger and ring finger over his right and left eyes, respectively. The lighting is such that his eyes completely disappear into shadow when he brings his face forward so that his fingers can touch his eyes. The camera zooms in slowly to James' near-confrontation with his reflection.
NEW SHOT The camera now shows James's face directly. He pulls his head back. He breathes in deeply.
NEW SHOT The camera is now situated right next to a filthy urinal, to James's left. The angle reveals more of the bathroom. It is unlit, save for the light streaming in from the exit behind James. The urinals are covered in some kind of brown encrustation, and look as though they haven't been cleaned in years. They line the wall to the left of the shot, leading up to the mirror. Strange graffiti, some kind of radiating lines, can be seen faintly on the wall to James' right. The camera pans up very slowly, still focused on the far wall and James. He stares at the mirror. His voice is now heard for the first time – though he's not speaking, it's just a voiceover.
James (voiceover): Mary – could you really be in this place?
James turns around and walks out the door.
2. EXT. REST STOP – MILDLY FOGGY, OVERCAST
The exterior of the bathroom is now visible. It is a simple, rectangular building, brick on bottom, concrete on top – completely bare save for the signs of wear and disrepair. The entrance is a simple doorway, which James is standing in. The camera zooms out, revealing more of the scene. The bathroom is situated in a parking lot. A short stone wall marks the end of the parking lot, on the far side of the bathroom, and beyond it the ground falls away. The sloped sides of the hill are covered in trees, many of them weeping willows. James walks back, towards the hillside. He comes to rest at the wall, leaning on it with his elbows.
The scene pans back further. It can now be seen that a single car is located in the parking lot – it is parked askew, ignoring the lines, and the front door has been left open. A lake, which is covered in fog, can be seen past the trees. The far side of the lake is also visible, though it is obscured by fog. A single edifice can be seen on the far side – other than that, it is all woods. On the far left of the shot, past the single car, is some kind of stairway leading down into the woods.
A voice begins speaking as soon as the scene starts panning back and James starts walking back towards the wall. It's Mary's voice.
Mary (voiceover): In my restless dreams, I see that town – Silent Hill. You promised you'd take me there again someday... but you never did. Well, I'm alone there now. In our "special place." Waiting for you...
James (voiceover): I got a letter. The name on the envelope said, "Mary." My wife's name... It's ridiculous, couldn't possibly be true. That's what I keep telling myself... A dead person can't write a letter. Mary died of that damn disease 3 years ago. So then, why am I looking for her? Our "special place." What could she mean? This whole town was our special place. We spent our honeymoon here, years ago.
The scene suddenly becomes very foggy and fades to white.
James (voiceover): Did she mean the park by the lake?
The white fog begins to thin again, but now reveals a different scene.
ROSEWATER PARK. CONCRETE PLATFORM AT WATER'S EDGE WITH A BENCH ON IT. GREENERY IS ADJACENT TO THE CONCRETE.
James and Mary are sitting on the bench. Mary is dressed conservatively but nicely. Her head is resting on James' lap. She has a contented smile on her face and is staring out towards the camera. James is idly playing with her hair and smiling blissfully, and is also staring out with Mary. James looks far better. There no bags under his eyes, which are full of life. He is clean shaven, well-groomed, and well-dressed. He looks healthier and happier than the James we've seen.
James (voiceover): We spent the whole day there. Just the two of us, staring out at the water.
NEW SHOT The angle of the scene now changes to behind the couple. The lake can now be seen. It's perfectly still, like a mirror. The fog is thin. Wisps of fog dance across the mirrored surface, reflected in the silver below. The sight is mesmerizing.
James (voiceover): Could Mary really be there?
The scene flies forwards as the camera seems to fly backwards and lift up and to the right, flying into an obscuring blur. Suddenly the camera stops, halting behind and to the left of James on the parking deck – far closer than it had been before the scene change.
James (aloud) : Are you really there... waiting for me?
The music fades to silence. James continues to lean on the wall for several seconds after the music has stopped – almost long enough for the pause to seem awkward. James gets up and walks left.
NEW SHOT We now see the car, parked askew. The front seat is visible, on which there is a piece of paper. James walks past the car on the sidewalk, in the back of the shot. He briefly looks over at the vehicle, cuing very quiet but noticeable throbbing sound. He continues walking past.
NEW SHOT We now see a stairway leading down the slope to the lake. There are concrete walls on either side of the stairway. A park sign points down the stairs and reads "To Silent Hill. Scenic Route." James enters from the right of the screen, walking along the sidewalk. He moves to the front of the stairway. He looks down the stairway, then looks to the left of the shot.
NEW SHOT The camera is now behind James' left shoulder, looking down the road. James is in the lower-right corner of the scene, completely peripheral – he only serves as a point of reference for the shot. The camera shows the gate that Rose smashed through in the first movie. The gates have been forced back together and chained and bolted shut, though evidence of the damage can still be seen. Concrete barricades have been set up in front of the gate. Barbed wire now lines the top of the fence. A large sign hangs over the scene, reading "WARNING! Bridge is out. Road Closed!" The scene lasts for a few seconds, giving the audience time to take it all in, as the camera slowly pans away from James.
NEW SHOT The camera goes back to its view of the stairs. James turns and walks down them. The camera remains in place, and only his fading footsteps can be heard. The scene fades to white.
3. EXT. HOTEL PARKING LOT
The white becomes fog, which clears as the camera seems to move down from overhead. The scene is foggier than the initial park, but everything can still be seen clearly. The scene is a parking lot adjacent to the lake. The bottom of the shot is where the water is, with the parking lot ending abruptly in a concrete dropoff at the water, with two wooden docks extending out into the lake. There are 3 cars parked in the lot, but it is mostly empty.
A car, the same car from the previous parking lot – though in better condition – drives in from the road at the top of the scene. It comes to a stop in a nearby space.
NEW SHOT The camera shifts close to the car, looking down and to the side at the passenger door. Someone gets out of the driver side door and comes around to the passenger side. We see that the driver is James. He is dressed in a nice suit, is very clean-shaven and clean-cut. He opens the passenger door for Mary. She is dressed in a very nice dress. She steps out laughing.
Mary: How Chivalrous of you, James!
James (smiling ruefully): Well, I guess there's an upside to the inner door latch being broken. I'll get around to having it fixed soon.
Mary (smiling): Not too soon, I hope. A girl could get used to this.
Mary looks out over the lake.
Mary (wistful): Wow... it's so serene. I'd love to set my easel up right here. This would make a beautiful landscape.
James has opened the trunk and is pulling out luggage.
James: Well, how about we get our things into the room before you start your masterpiece?
Mary (giggling): Oh, if you insist. Here, let me help you with that.
James (struggling with three bags): No, I've got it. Just get the trunk and I'll take this up.
Mary (rolls eyes, closes trunk): Boys.
NEW SHOT We are now looking across the parking lot, from the lake, up at the road. There is a bridge leading over the road, up to an ornate building – the Lakeview Hotel. The name can be seen clearly in an arched sign.
James and Mary head up the bridge to the hotel, James struggling under the luggage. The audience can hear that they are happily talking, but the specifics of the conversation are not clear and fade as they move away. They enter the hotel doors.
4. INT. HOTEL
The interior of the building is luxurious and old-fashioned, creating a sense of timeless preservation. The shot faces a reception desk, which is on the far side of the shot. A balcony can be seen above the desk, and the carpet on the ground seems old and luxurious. An old individual, dressed in a tuxedo and reading glasses, stands behind the desk. He has an air of dignity and propriety about him, seeming like a remnant of the Victorian age. Mary walks in first, opening the doors on the right and entering. She is looking around in amazement. James moves into view a moment later, laden with luggage.
NEW SHOT The camera is now looking out from the front door, now showing a view into the building, revealing the full interior. A golden-looking chandelier hangs high above an ornate carpet and well-constructed staircases and beautiful paintings hung on the walls. The receptionist clears his throat. James and Mary are pulled from their admiration and focus upon the man.
NEW SHOT The camera is now focused on the receptionist and the two new guests, similar to the first shot but more zoomed in.
Receptionist: Hello. How may I help you?
James: Um, we have a reservation. Sunderland.
Receptionist (looking down at an old tome of a reservation book) : Ah, yes. Two for the honeymoon suite. (He looks back up at the couple.) Congratulations, and welcome to Silent Hill.
James and Mary look at one another, sharing a warm smile that speaks volumes. They share a look that you see in teenagers falling in love for the first time – only far deeper and mature. Their eyes say they can barely believe they've found one another – that this is a dream come true. The smile lasts only a few moments, but should be touching.
Receptionist: If you could sign here (he hold out a pen)
James: Um... hold on, let me put this luggage down...
Mary: Oh, don't worry James. I can sign it. After all, I am a Sunderland now...
A faraway look of delighted disbelief enters Mary's eyes for a moment, before she takes the pen and signs in the book. The receptionist nods and takes the pen.
Receptionist: Thank you, ma'am. Just a moment. (he retrieves a key from the wall behind him.)
Mary: Thank you. I just have to say, this place is beautiful. Not just the hotel, but the whole view of the lake. I'll admit, I was a little skeptical when James suggested we come out here instead of, oh, I don't know, the Bahamas or something. (she turns around, smiling at him) I'll admit it, you were right about this town. It just feels so... serene.
Receptionist: Thank you, ma'am. While I'm sure that Silent Hill lacks some of the excitement of more... conventional vacation areas, we have something you'll find nowhere else. This whole area possesses an almost... supernatural peace. Many an artist or spiritually sensitive individual has found inspiration and insight in the view of the fog rolling of the lake, the gentle rustling of wind blowing through the branches of tress that are older than our nation. For instance, according to the old guest book, (he turns around and reverentially brings out an old tome of a book, gingerly opening it. The pages seem fragile and yellow. He turns to one of the first pages) one of the first guests at this locale was none other than Henry David Thoreau himself. Supposedly, he was inspired by his time here to retreat to Walden Pond. Isn't that remarkable?
James (peering intently at the book): That's incredible! I'm in a place that inspired one of the greatest writers in American history. Heck, I might even manage to compose something worthwhile while I'm here.
Mary: Oh, I'm sure you will. You've just been too busy with work to get your creative juices going. This place is going to be inspirational for both of us, I can just tell...
The scene fades to white.
5. WOODS IN FOG
The fog clears, but remains somewhat. The shot is from the direction of the lake, onto the hill. It is zoomed in close to the hill. The left of the shot is obscured in white fog. A dirt path seems to come from the fog to the left. The path is elevated, with the hill behind it rising sharply and the hill below it falling sharply. Foliage can be seen growing on the hill as it rises. The sound of wind and waves can be heard, blending into one another.
Footsteps are heard and get louder. James walks in from the left of the shot. The camera pans to follow him as he walks to the right, following the winding path. The fog is thicker now, than it was before. A few tree trunks pass between the camera and James as he continues walking, while foliage and a few tree trunks can be seen on the hill behind him. At a few points the foliage of trees obscures view of James. Finally, the camera gets a clear shot of the path as it winds away into obscuring fog and the camera stops moving. James walks away from the camera and into the fog. The camera stays in place as his footsteps fade away.
The scene fades to black.
6. INT APARTMENT
The new scene appears suddenly. The camera is situated in the back right of the room. A table with a typewriter on it is in the center of a living room area, close to the camera. A television is situated in the right side of the living room, and bit of a couch can be seen in the lower left part of the shot. In the upper right of the shot, the kitchen is visible. A counter separates it from the rest of the room, though there is a break in the counter for people to walk through. Mary is in the kitchen, cutting something up. She has an apron on. To the right of the kitchen, a hallway leads to the front door. To the left of that hallway, there is another hallway, perpendicular to the first, leading to more of the apartment. There are numerous paintings on the wall of variable quality. The camera remains fixed for the scene.
The door opens. James enters, dressed in a somewhat rattty suit, looking tired. Mary looks up and smiles when she sees him.
Mary: James!
Mary drops what she is doing to go over to James and give him a quick kiss on the cheek.
Mary: How was your day?
James (slumping over in mock exhaustion): Ugh!
James (getting back up and smiling goofily): Exhausting.
James (moving over to the table, setting a briefcase down): One of our advertisers submitted something with abominable grammar, so I was tasked with bringing it up to a 5th grade reading level.
Mary (smiling): Well, I can promise that in this apartment, everyone has at least high-school level writing abilities.
James falls into the couch, laughing with Mary. Mary comes over to the counter between the living room and the kitchen, resting on it with her elbows.
Mary: I have a confession to make. I had a peek at your masterpiece while you were at work.
James (groans, covers his face with his hand): Ugh. How bad was it?
Mary (encouraging): I liked it! I thought it was good!
James (looking up at Mary): That's sweet, honey, but it's really bad. I'm thinking of throwing it out and starting over.
Mary: No! I really liked what you've got so far! I mean, I understand that it's a rough copy, and it needs to be improved, but I think that it's got some real potential!
James (skeptical): Really?
Mary (serious): Really.
James gets up and walks over to the counter. He cups Mary's chin in his hand and gently but passionately kisses her for a moment.
James: Thank you. It really means a lot to me, Mary.
Mary smiles up at James, running her hand down the side of his face.
Mary (embarrassed): Well, um... I should get back to this, if we want to eat tonight (gestures to half-prepared meal on countertop)
James: Do you need some help?
Mary: Nah. I'm good. Sit down. Relax.
Mary returns to the cutting up things in the kitchen. James sits back down on the couch.
James: So how was your day?
Mary: Eh. Boring.
James: So no one sent you anything about your work on the site?
Mary (sighing): Well, one person said they were interested, but that doesn't mean anything...
James: What do you mean? That's great!
Mary (ruefully): Well, I mean, it almost never means we get any actual money, James.
James: That's not the point. It means of all the people who looked at your work, one was interested enough to contact you. That means that it meant something to them. You've affected their life in some way. Isn't that what's really important?
Mary: I guess you're right. I'm sorry, I'm being too cold. I'm just worrying too much about...
Mary lets her words trail off, leaving an awkward silence in the air.
James: I know, I know. Look, it will work itself out. I know we're not making much, but honestly my dad is letting us stay here almost for free, we just have to pay utilities...
Mary: And we can barely make that. I mean... I don't know James, I just worry that we're freeloading...
James (getting up, walking over to the counter): Listen, Mary. We'll make this work, somehow. It will just take a bit for either of us to pick up. I mean, I'd pay for any one of your paintings. I'm almost sad when you sell one, since it means that we can't hang it here. I'm sure you'll be making lots of money long before I sell a single book. But either way, I know one of us will be remembered for what we can create. Once that happens, we'll be able to pay my dad back and it will all be okay. I promise.
Mary (smiling up at him): Of course. I shouldn't have doubted.
Mary has a faraway stare for a moment, before turning back to her task.
James (after looking at her for a bit): Is everything okay?
Mary (avoiding looking at James): Yeah, I just-
Mary suddenly enters into a coughing fit, which is uncomfortably long and ends with a very nasty-sounding throat-clearing.
James (concerned, walking over to Mary): Mary! Are you okay?
Mary (breathing deeply, putting out a hand to reassure James): Yeah. Yeah, I just... I just inhaled wrong or something. It's okay.
James: That sounded really bad. You should see a doctor.
Mary (trying to laugh it off): It's nothing. Really.
James: No, seriously Mary. I don't like the sound of that. And you've been coughing a lot lately. You seem to be out of energy all the time. It can't hurt just to have a normal checkup.
Mary (sighing): I thought you said that insurance was already killing us.
James: And this is why I bother paying at all. Really, Mary, we'll both go down together and get a checkup, okay? We're both due one anyway. I mean, I'm sure it's just the flu or something.
Mary (smiling): Yeah, it's probably nothing.
Scene suddenly cuts to black.
7. EXT. PATH
The camera turns on suddenly, to reveal a shot of the path, this time from above and behind, facing outwards towards the lake. The lake cannot be seen, as it is obscured by fog, as is everything beyond the path. In fact, the fog is quite thick all around. James immediately walks into the scene from the right. The camera begins panning to follow him. It is to his left and slightly above him. A quiet but noticeable throbbing sound is playing. A strange rustling sound is heard briefly. James continues walking, oblivious. The camera stops panning, and James walks to the left of the shot.
NEW SHOT The camera is now behind James. He walks for a few steps before a well becomes visible in the edge of the visibility range, which is very small due to heavy fog. James continues walking forward, the camera following him.
The camera shifts as he passes the well, focusing on it. A dull red light should be coming from within the well. James does not see it and continues onward, walking past it, out of the shot.
NEW SHOT The camera is now back behind James, and it can be seen that some kind of wooden fence lines the edges of the path past the well. James walks for a bit along the otherwise nondescript path before a gate becomes visible. James walks up to it and opens it. He proceeds inside, though the camera does not follow. The scene becomes filled with fog , but doesn't quite fade to white.
8. EXT. GRAVEYARD
The fog clears slowly, though it remains present in a large amount. All that can be seen is a gravestone in the corner of the shot. A figure becomes visible, rising from an area obscured by the stone slab. It moves forward, up to the grave.
The figure is a woman. She has pitch-black hair, a pale complexion, and is wearing a grey turtleneck sweater and jeans. She peers at the grave.
NEW SHOT James is wandering through the fog from the front. Nothing can be seen but him.
NEW SHOT The woman can be seen in more detail, though her face is all that can be seen. It fills the lower left of the shot. A dark figure can be seen coming through the fog from behind. The figure cannot be seen clearly. Footsteps can be heard. The woman moves her head rapidly and gasps.
NEW SHOT The camera is just behind James' left shoulder. The obscured figure of a woman is in front of him, barely visible in the fog. She gasps and jumps up, backing away at the sight of James. James moves a step closer, and now she can clearly be seen to be the woman from the earlier shot. James is holding his hands out in a nonthreatening manner
James: Um, excuse me...
NEW SHOT From behind the woman, it can now be seen that James was the figure she saw earlier. She sighs in relief. The woman steps forward.
NEW SHOT From behind James again. The woman looks embarrassed.
Woman (pleading, holding hands out defensively): I'm sorry. I, I was just...
James (apologetic): No, it's okay. I didn't mean to scare you.
The woman lowers her hands, relaxing.
James: I'm kind of lost.
NEW SHOT The camera is close-up on the woman's face. She is staring at him intently, and confusion is on her face. It takes a bit for her to respond.
Woman: Lost?
NEW SHOT The camera is now showing them both in profile, facing one another. The woman is on the left, James on the right. The camera slowly rotates around them until they are on opposite sides of the shot by the time it is over.
James: Yeah. I'm looking for Silent Hill. A sign said this was the way there.
Woman: Um, yeah. It's hard to see with all this fog, but there's only the one road. (points) It goes straight up from this graveyard into town. You can't miss it.
James (smiles): Thanks.
James begins to walk away from her, in the indicated direction.
Woman (reaching out): But...
James (turning): Yes?
Woman (biting lip, nervous): I think you better stay away.
James: Why?
NEW SHOT The camera is now behind the woman, near a gravestone, low to the ground. The camera slowly rises and circles to the left until the end of the scene, at which point the two are seen side by side. James is seen to be interested in and confused by the things the woman is saying.
Woman: This town... there's, uh... there's something... wrong with it. (adopts a pleading stance) It's kind of hard to explain, but... (trails off)
James: Is it... dangerous?
Woman (worried): Maybe. (looks around) And it's not just the fog either... It's... (trails off)
James (raises hand reassuringly): Okay. I got it. I'll be careful.
NEW SHOT The camera is now behind James. The woman cannot be seen. James turns left and begins to walk off. The woman is revealed to be behind him. She frets for a moment, before bursting out three words.
Woman (plaintively): I'm not lying!
James (stopping, turning back to her): No, I believe you. It's just... (James moves back, blocking the woman from view)
NEW SHOT The woman is once again on the left, James on the right. James has a dead look in his eyes and is staring at nothing, while the woman is now interested and confused by his words.
James: ...I guess I really don't care if it's dangerous or not. (looks back at woman, determined look in his eyes) I'm going to town either way. (looks down at the ground)
Woman: But why?
NEW SHOT Still from behind the woman, but closer and higher up, as though directly behind her shoulder. James face is very clear now. His sunken eyes stare off with a strange, faraway look.
James: I'm looking for someone.
Woman: Who?
James (pulling out a photo of Mary from his jacket pocket): My wife, Mary. Have you seen her?
The woman shakes her head. James sighs and puts away the picture.
James (looking down and to the side, pinching the top of his nose): She's... very important to me. I'd do anything if I could be with her again.
The woman looks to the side of the shot, staring off into space, in the opposite direction as James. They are both absorbed in their own personal worlds.
Woman: I know what you mean. I'm looking for my momma...
The woman trails off for a moment, and James looks back up at her quizzically. Her eyes widen a moment later and she quickly turns back to James as she corrects herself.
Woman (embarrassed): I mean my mother.
The woman turns back to the left and stares upwards, reminiscing once again.
Woman: It's been so long since I've seen her.
NEW SHOT The camera is now behind James. Gravestones can be seen behind the woman, who is already in the process of turning around as the shot begins. She starts to walk listlessly toward the gravestones.
Woman: I thought by father and brother were here, (gestures around the graveyard) but... I can't seem to find them anywhere...
NEW SHOT The camera is now to James' left, low to the ground. The woman turns to her left, towards the camera, staring at the ground.
Woman (apologetically): I- I'm sorry. It's not your problem.
James (moves forward, reaching out reassuringly): No, I... I hope you find them.
The woman looks back at James, smiles weakly for a moment, then looks down at the ground again. James turns around and begins walking off.
Woman (almost dejected): Yeah, you too.
James turns around briefly, smiles, and then continues on. The woman, continues looking down for a bit as James' footsteps fade, then turns back to looking at graves.
NEW SHOT The camera is behind and above James as he walks through the graveyard. He soon moves past the graves, and an old wooden church begins appearing out of the fog. James wanders past it on the right. A gate can now be seen. James walks up to it and walks through. Scene fades to black.