F.E.A.R.: 2 - InceptionMature

EXT. SLUM ALLEY - EVENING
The F.E.A.R. APC pulls into a dodgy-looking but spacious alleyway. It stops and JANKOWSKI jumps out. He runs off into the night and the APC pulls away.

INT. F.E.A.R. APC
The APC’s on the move, BETTERS tapping away at a laptop.

BETTERS
We've tracked Fettel to an abandoned building just up ahead. No sign of enemy activity on the satellite, but don't take any chances. Once inside, you rendezvous with Jankowski.

NEWMAN
What about the Replica army?

BETTERS
Armacham tech reports say that Fettel’s containment should neutralise their threat.

NEWMAN
So in other words?

BETTERS
Your guess is as good as mine, but neutralise is as good as we get for now, and that’s good enough for me. Get ready.

The APC stops and BETTERS finishes typing.

BETTERS (CONT’D)
(into radio)
Jankowski, signals are active, you in position?

JANKOWSKI’s voice crackles over the other end.

JANKOWSKI (O.S.)
(on radio)
Just say the word.

BETTERS
All right, move it out.

NEWMAN nods to BETTERS and JIN, then exits the APC.

EXT. DIRTY ALLEY - EVENING
NEWMAN moves fast up to a chainlink fence, massive decrepit house beyond. He moves along the fence until he reaches a tear in the links. He dips under it and into the grounds of the old building, a nearby burning barrel illuminating a boarded-up doorway. He pulls away enough of the boards to give him room to squeeze inside.

INT. ABANDONED HOTEL (HALLWAY 1) - NIGHT
Now inside, NEWMAN tries the lights with no luck. Switching on his flashlight, rats flee in the trash-infested hallway. NEWMAN moves further into the old slum hotel, trying the door next to a sign indicating the way to the lobby. It’s locked, so he tries the next nearest one.

ABANDONED HOTEL (STORAGE ROOM 1) - CONTINUOUS
He opens it into a ramshackle former storage room. It’s a mess, but there’s another door leading out. NEWMAN tries it and it falls straight off it’s hinges.

ABANDONED HOTEL (ROOM 1) - CONTINUOUS
Stepping through the doorway, the first noticeable thing is that this part of the building has lighting. This new room has a serving hatch through which we can see the lobby of the building. NEWMAN moves to investigate.

ABANDONED HOTEL (LOBBY) - CONTINUOUS
There’s a deafening crash and smash as JANKOWSKI comes through the boarded-up front door and into the lobby. He spots NEWMAN at the hatch almost instantly and starts dusting himself down.

JANKOWSKI
(laughing)
Hey bro, what took you so long? Try to find a way around.
(surveying the lobby)
Man, this place is a dive. Hey Newman, this place remind you of home?

ABANDONED HOTEL (ROOM 1) - CONTINUOUS
NEWMAN checks around the room.

NEWMAN
Why, you jealous?

He heads to the only closed door, opening it.

ABANDONED HOTEL (STAIRWAY 1) - CONTINUOUS
Beyond the door is a short hallway with a staircase. NEWMAN heads to them and begins cautious ascent. The stairs go up a single floor and end at a set of windowed double doors. NEWMAN peers through the frosted glass and can make out a dimly-lit humanoid shape. He readies his weapon and slowly opens the door.

ABANDONED HOTEL (OFFICE ROOM 1) - CONTINUOUS
He enters the room slowly - the shape belongs to a MAN on his knees in the centre of the sparse room.

NEWMAN
Sir?

No response. NEWMAN edges closer.

NEWMAN (CONT’D)
Hey.

Still nothing. NEWMAN relaxes a little and reaches for his radio, and before his grip is on it, the MAN rises and turns so fast it seems like a jump-cut: it’s FETTEL. NEWMAN grips his weapon tighter.

NEWMAN (CONT’D)
Get down on the ground, now!

FETTEL moves closer but NEWMAN keeps the same distance away. FETTEL frowns at NEWMAN.

NEWMAN (CONT’D)
Now! Get down no- What the-?

NEWMAN is forced to the floor by an invisible force.

FETTEL moves to within a few feet of him and leans in close.
(Whenever FETTEL speaks, a hundred whispering voices speak behind him, sometimes replicating his words, sometimes not).

FETTEL
What's the first thing you remember?

NEWMAN fights his invisible restraint and pulls his gun up on FETTEL, lets off a few rounds into him, but they pass straight through as if he’s made of silk.

ALMA (O.S.)
No!

There’s a flash of bright light.

INT. ARMACHAM HOSPITAL CORRIDOR
We’re now in first person view and we’re looking at light after light rolling along in front of us - we’re lying on our back, being wheeled along a hospital corridor on a trolley. Several doctors and an aging businessman type with a hefty moustache, HARLAN WADE, surround us.

ALMA (O.S.)
Where are you taking him?

HARLAN
(calm and confident)
You will be a god among men.

ALMA (O.S.)
I hate you daddy!

The white flash comes again.

INT. ABANDONED HOTEL (OFFICE ROOM 1)
We’re back with NEWMAN, and he reels from the vision he’s just suffered. His eyesight’s impaired, but he sees the shadowy figure of ALMA in the doorway opposite him.

FETTEL (O.S.)
(whispered)
Why did you bring me here?

He quickly raises his gun and rises, but the figure runs off through the doorway. He checks around the room - was this just a hallucination? He’s starting to shake these events off when he’s startled by a burst of static from his radio.

FETTEL (O.S.) (CONT’D)
Why did you bring me back?

BETTERS (O.S.)
(on radio)
Newman, you hearing me?

Almost unnoticeable, a gentle and quiet rumbling begins.

NEWMAN
(into radio)
Loud and clear sir.

BETTERS (O.S.)
(on radio)
I’m getting some interference on your status monitor, is everything alright?

NEWMAN
(into radio)
I’m fine sir, I think I’ve sighted Fet-

BETTERS (O.S.)
(on radio)
Newman, your signal’s weak, repeat.

NEWMAN
(into radio)
Sir? Sir?

The radio goes silent. The silence lingers for a moment before there’s a small clink from further ahead. NEWMAN swings his weapon up instinctively and moves through the door ALMA exited.

ABANDONED HOTEL (HALLWAY 2) - CONTINUOUS
Now in a long, mosaic-tiled hallway. NEWMAN checks all around him and notices something’s up: the rumbling.

CU on tiles shows one of them is vibrating in place, loosening itself. It flies from the floor and hits the side of NEWMAN’s weapon.

A startled NEWMAN picks it up, examines it, then casts it aside and gets on the radio.

NEWMAN
(into radio)
Jankowski, come in.

The rumbling grows louder and more of the tiles start to vibrate. There’s nothing but static on the radio. The rumbling’s still growing.

NEWMAN (CONT’D)
(into radio)
Jankowski, don’t screw around, come in.

The tiles can’t take the strain anymore and start to come loose en masse. They’re being pulled towards the far end of the corridor and NEWMAN’s just an obstacle in their path. He hunches up and takes as much cover in an alcove as possible, the ominous rumbling growing ever louder.

NEWMAN (CONT’D)
(again)
Jankowski, do you read, over.
(beat, sighs)
Betters, this is Newman.

The static can barely be heard over the rumbling and chinking of airborne tiles now. A black mist begins to move through the corridor, massing at the far end.

NEWMAN (CONT’D)
(shouting into radio)
Betters! Betters!

It swirls and forms itself into the shape of a BADLY BLOODIED MAN at the T-junction. NEWMAN aims his weapon, unsure of whether or not to fire. BADLY BLOODIED MAN cries out before slowly walking out of sight. When he’s gone, the rumbling and flying tiles abruptly stop.

Cautiously, NEWMAN steps out into the corridor. He moves up to the T-junction and looks in the direction of the BADLY BLOODIED MAN - nothing except a continuation of the mosaic corridor, a hurriedly boarded-up doorway (minus door) at the end. NEWMAN moves towards it, checking all about him, but it’s eerily silent.

CUT TO:

EXT. ARMACHAM SECRET FACILITY - EVENING
Several military men, MERCENARIES, are patrolling the unassuming glass-fronted office building. There’s nobody to be seen inside from the outside.

INT. ARMACHAM SECRET FACILITY (LOBBY) - CONTINUOUS
We travel inside the building and can see more MERCENARIES maintaining stealthy holding positions throughout the lobby.
We reach the elevator doors and travel down the shaft a considerable distance. We come out at the bottom into a different world.

ARMACHAM SECRET FACILITY (LAB CORRIDOR 1) - CONTINUOUS
Underground, it’s a highly sophisticated research laboratory, sterile and white. We’re not far down the first corridor before we abruptly turn and pass through a closed door.

ARMACHAM SECRET FACILITY (OFFICE 1) - CONTINUOUS
Inside this small manager’s room is an average-looking man in a suit, TERENCE BRISTOL, an Armacham ID badge pinned on his shirt. His face is bleeding and a little tender: he’s sat rigidly in a chair being interrogated by MORRISON, now bloodied from his earlier unseen invasion of the lab. MORRISON casually brandishes a handgun and BRISTOL’s eyes are glued to it.

MORRISON
Give me the encryption codes and this’ll stop.

BRISTOL
I can’t do that, I can’t. I- I just can’t.

MORRISON
No, what you mean is that you won’t, Mister Bristol.
(MORRISON leans in close to BRISTOL, more serious)
You ran Perseus for Harlan Wade, so I know you have the encryption codes. You just need to make a simple decision - whether your loyalty to the elderly Wade and these codes is worth more than your life. Trust me, Mister Bristol, when I say that today we will open the vault. Ask yourself if you want to be here to see that.
(picks up a picture from the desk)
To see these again, hmm?

BRISTOL looks at his family portrait in MORRISON’s hand.

BRISTOL
No, it wasn’t me, I didn’t run Perseus, I swear. I don’t have the codes.

There’s a long pause as MORRISON resets the picture on the desk.

MORRISON
(impatient, rubs brow with his gun)
How can I be more explicit, Mister Bristol? Tell me.

BRISTOL
(exasperated)
I’ve already told you, I don’t know what you’re talking about! Please!

MORRISON straightens up, gun more focused in BRISTOL’s direction.

MORRISON
Look around you, Terence. Do you really think I don’t know what’s been going on down here all these years? I am not an amateur, and I’ve just about run out of patience with your people today. We’re going to take Synchronicity with, or without, your help. The only difference will be if your assistance is given freely or if it is taken.

BRISTOL
(smiles)
Ha... Synchronicity... There’s nothing to steal. It’s not an object, it’s an event. If that’s why you’re here, then you-

MORRISON keeps his eyes on BRISTOL and returns the smile. BRISTOL thinks things over. MORRISON begins pacing around him.

BRISTOL (CONT’D)
You- Wait- You’re- You’re going to recreate the event! You can’t!

MORRISON grins.

MORRISON
The orders in this situation do not come from you. This has gone on too long. Bristol, give me the code. I will not ask you again, so think before you answer.

BRISTOL
(defiantly, ignoring Morrison)
You can’t. You’ll need her for that. She’s someplace you’ll never find her. Pray you don’t.

MORRISON stops to face BRISTOL. There’s a shimmer in the air behind BRISTOL as a wave of electricity passes over the humanoid figure it was masking. A NIGHTCRAWLER has materialised, and he leans in behind BRISTOL and slits his throat, blood spraying across the desk, the family picture, and MORRISON. BRISTOL wriggles in his bindings and tries to choke out a scream.

MORRISON
It appears you can no longer be of assistance to us, Mister Bristol. We will decrypt the data ourselves.

MORRISON and the NIGHTCRAWLER walk out of the room, accompanied by the sounds of a dying BRISTOL.

MORRISON (CONT’D)
Is the path to the Vault clear?

NIGHTCRAWLER
Yes sir.

MORRISON
Find the Commander and meet me down there. We’re going to have a brief delay.

CUT TO:

INT. ABANDONED HOTEL (ROOM 2) - EVENING
NEWMAN’s in a room devoid of all furniture to identify it, with only one other door leading out of it. A CU shows it’s padlocked. NEWMAN takes a deep breath before shooting the padlock and kicking the door open. Before it’s even had a chance to fully swing open, it shuts as if closed by someone on the other side. There’s the faint sound of a baby crying and, suddenly more concerned, NEWMAN rushes at the door.

ABANDONED HOTEL (STORAGE ROOM 2) - CONTINUOUS
He busts the door wide open. Inside the room, a small storage room, several items finish moving from shelf to shelf, as you’d expect of a poltergeist, but other than that, there’s nothing, not even the baby’s cries. The lights flicker and NEWMAN visibly jumps.

NEWMAN
(to himself)
Shit.

There’s another door in this room, and NEWMAN moves through.

ABANDONED HOTEL (STAIRWAY 2) - CONTINUOUS
He’s now in an industrial-looking extension, probably an old fire escape route. NEWMAN heads up the iron stairs and comes out into the floor entry area, double doors blocked by something large on the other side. NEWMAN is peering through the glass when a face suddenly pops up from the other side, the face of the BADLY BLOODIED MAN. NEWMAN jumps back in fright, but a double-take shows that it’s actually a grinning JANKOWSKI.

JANKOWSKI
Scare ya?

NEWMAN looks at him sternly, obviously not seeing the funny side.

JANKOWSKI (CONT’D)
What happened to you? Hold on a sec.

JANKOWSKI’s bulk is no match for the obstacle behind the door and he opens it to let NEWMAN through.

JANKOWSKI (CONT’D)
Come on.

ABANDONED HOTEL (HALLWAY 3)
The two guys move up the stairs and into the main corridor of the floor above. They move up on the door at the end, mounting both sides of it.

NEWMAN
You ready?

JANKOWSKI nods.

JANKOWSKI
Go!

INT. ARMACHAM HOSPITAL CORRIDOR
As JANKOWSKI busts through the door, NEWMAN behind him, the world goes slow-motion. JANKOWSKI disintegrates into ash that disappears as it flakes away as NEWMAN continues to move into this white-tiled hospital corridor. NEWMAN can’t stop himself moving through JANKOWSKI’s floating debris.

FETTEL (V.O.)
You were born here, in this place.

NEWMAN turns to look at the disintegrated JANKOWSKI as the hospital walls grow darker, turning into nothingness.

FETTEL (V.O.)
I was there.

NEWMAN turns to look back the way he was headed, and the world suddenly changes in an instant.

INT. ABANDONED HOTEL (ROOM 3)
He’s standing in a small room behind JANKOWSKI, slow-motion gone.

JANKOWSKI
(into radio)
Jin, we need you up here.

In front of JANKOWSKI is a chair, and seated in it is the mutilated body of the BADLY BLOODIED MAN.

JIN (O.S.)
(on radio)
On my way.

There’s a small crackle from both men’s radios.

JANKOWSKI
(into radio)
Looks like we’re too late boss.
(peering closer at the corpse)
Just... leftovers.

BETTERS (O.S.)
(on radio)
The transmitter’s signal's coming from nearby. Fettel's gotta be around there somewhere.

JANKOWSKI
(to NEWMAN)
I'll wait here for Jin.  You take a look around.

NEWMAN
I’ll wait, you go.

JANKOWSKI
What, are you chickenshit or something?  Look, you're the FNG, so you do what I say.

NEWMAN
Seriously, you go. My radio’s acting up and besides, you think I can take Fettel on my own?

JANKOWSKI
(drying away mock tears)
Look at me, I’m weeping for ya. Dude, I got all day so take your time. I’ll keep corpsey here company.

NEWMAN flips a laughing JANKOWSKI the bird before readying his weapon and moving out of the door. Alone, JANKOWSKI shoots the corpse a ‘what now?’ look.

JANKOWSKI (CONT’D)
(to corpse)
So, you like football? I love it.

CUT TO:

The End

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