F.E.A.R.: 3 - Point Of OriginMature

EXT. ABANDONED HOTEL (ROOF) - EVENING
NEWMAN kicks open the door that leads out onto the roof of the building. There’s nothing up here but the flat gravel of the floor. A peek over the edge shows a fire escape that attaches to the abandoned house next door. There’s a spacious wooden pigeon loft on that roof, ramshackle but a good hiding place. A cursory glance around the roof reveals it to be empty save for a few startled pigeons. NEWMAN heads across the fire escape and onto the roof of the building next door. Once there, he steps into the loft, perma-cautious.

ABANDONED HOTEL (BIRDHOUSE) - EVENING
Instead of there being pigeons in the cages inside the loft, there are crows. They flap wildly when NEWMAN enters. The only light is coming in from between the boards of the loft, and the rushing wind cuts chilling sounds through the air. NEWMAN is suspicious of everything in here, but he’s wrong to be - there’s nothing except the crows. Returning to the door, NEWMAN opens it.

ABANDONED HOTEL (ROOF) - EVENING
Smack - FETTEL is hiding on the other side of it and downs NEWMAN with a 2x4 to the face.

NEWMAN’s POV: the world is moving like a slow motion strobe, but speech perception isn’t impaired. FETTEL drops the wood and moves closer to NEWMAN, two REPLICA SOLDIERS walking into shot to flank him.

FETTEL
The dead man's name was Charles Habegger. I remember him. But are the memories mine? Or hers? I can’t tell them apart.
(pauses to consider)

NEWMAN
(hazily)
Her..? Who..?

FETTEL kneels next to NEWMAN.

FETTEL
Memories. They make no difference to him. He deserved to die.
(leans in closer to NEWMAN, points emphasis)
They all deserve to die.

NEWMAN passes out as FETTEL stands up (end NEWMAN’s POV).

FADE TO BLACK.

There’s a sudden crackle from the radio that snaps us back into consciousness and startles every bird nearby. NEWMAN’s still on the roof, on the floor in the doorway to the pigeon loft.

BETTERS (O.S.)
(on radio)
Come in, over!

NEWMAN jerks awake, raising his gun instinctively. He orients himself before getting on the radio.

NEWMAN
Sir, this is Newman, over.

BETTERS (O.S.)
(on radio)
Newman? What's going on? I've lost Fettel's signal.

NEWMAN
I don’t know sir. I came up to the roof, I thought I had him, but- I don’t know.

NEWMAN rises.

BETTERS (O.S.)
(on radio)
We’ll debrief later. Rejoin the rest of the team, they’re still with the body you found.

NEWMAN
(into radio)
Roger that, sir.

NEWMAN takes a final look around before moving out. The 2x4 is mysteriously absent.

INT. ABANDONED HOTEL (ROOM 3)
JANKOWSKI and JIN are in the room with the BADLY BLOODIED MAN’s body that we know to be CHARLES HABEGGER. JIN is examining it closely whilst JANKOWSKI sits in a corner playing on a hand-held game.

JANKOWSKI
(not looking up from his game)
What do you think of the new point man?

JIN
(not looking up from the corpse)
Well, he's pretty cute.

JANKOWSKI
Oh yeah, just my type. That's not what I meant.

JIN
Just say what's on your mind, Jankowski.

JANKOWSKI
(hesitates)
I don't know.

ABANDONED HOTEL (HALLWAY 4)
Outside the room, NEWMAN is on his return approach. He can just about make out the small mumbled voices of JIN and JANKOWSKI through the wall ahead.

JANKOWSKI (O.S.)
(muffled)
That's not what I meant.

NEWMAN strains and the voices suddenly become deafening and as clear as day.

JIN (O.S.)
Just say what’s on your mind Jankowski.

JANKOWSKI (O.S.)
I don’t know.
(pause)
Something about him just feels... off.

JIN (O.S.)
The day I look to you as a judge of character will be a sad day indeed.

JANKOWSKI (O.S.)
I’m serious.

ABANDONED HOTEL (ROOM 3)
Back inside the room with JIN and JANKOWSKI. He’s still gaming and she’s still examining.

JANKOWSKI
It’s something about his eyes. Like he’s looking right through you.

JIN
Maybe it’s because you’re one dimensional, ever think of that?

NEWMAN enters the room. JIN looks up and smiles at him, but JANKOWSKI keeps his eyes on the game.

JANKOWSKI
Hey, back already? See anything?

NEWMAN is suspicious of what to say.

NEWMAN
I-
(beat, then surprised)
No.

JIN moves closer to NEWMAN and speaks quietly.

JIN
Hey, you alright?

NEWMAN
Yeah, I... I’m fine. This place just creeps me out.
(points to the corpse)
This. I don’t think I expected it.

JIN
(shrugs)
And what exactly did you expect? This is what we do. I know this isn’t what you wanna hear on your first day, but we usually deal with worse than this. Much worse. And you, you’ll be okay with it, all of it. I know it. If a numbskull like Spen can last as long as he has, what do you have to worry about?

JANKOWSKI shakes his hand-held in frustration.

JANKOWSKI
(to his game)
Argh! Fucking dead! Again!

NEWMAN smiles just as JANKOWSKI looks up at him.

JANKOWSKI (CONT’D)
(angrily, to Newman)
What?
(innocently, to Newman and Jin)
What?

JIN chuckles and goes back to the body.

INT. ARMACHAM SECRET FACILITY (CORRIDOR 2)
MORRISON is in front of a large and heavily-secured steel vault door. A few blood-spattered MERCENARIES, uncloaked NIGHTCRAWLERS and an eerie-looking tall ALBINO MERCENARY join him. The ALBINO points MORRISON’s attention to a security camera.

ALBINO MERCENARY
We’re still being watched.

MORRISON
(to assembled MERCENARIES)
Find the servers and destroy them. There should be a backup storage unit somewhere. Bring it to me.
(beat)
Kill everyone left in the building.

The MERCENARIES move out for their grim duties as MORRISON starts tapping away at the security bypass console.

ALBINO MERCENARY
Are we sure about this second facility?

NIGHTCRAWLER
Positive. We’ve got it pinpointed on the GIS.

ALBINO MERCENARY
(to NIGHTCRAWLERS)
Send in a team, immediately.

The NIGHTCRAWLERS start to move out but MORRISON interrupts them.

MORRISON
(still typing)
We shouldn’t move on Origin before we’ve secured Perseus. There’s still a little time yet.

ALBINO MERCENARY
The team’s good enough to handle themselves. They know their orders, they won’t enter Origin Base without our go.

There’s an uncomfortable pause.

ALBINO MERCENARY (CONT’D)
Is there something else, or did you bring me down here to see your hacking prowess in action?

MORRISON
(still typing)
I know that you are eager for this plan to be effected, but the Senator wants me to collect the Source.
(stops typing, keeps looking at screen)
Personally.

ALBINO MERCENARY
Yes, Mister Morrison. I remember your request.

The console emits a monotonous beep. MORRISON spins around to face off with the massive ALBINO, completely unintimidated. He points a finger in the large man’s chest.

MORRISON
(spelling it out)
Don’t - fuck - with - me.

The two men stare each other out.

MORRISON (CONT’D)
(to NIGHTCRAWLERS)
Wait for my signal before committing to the next stage. Until then, join the hired hands in their duties.

MORRISON leaves with the NIGHTCRAWLERS. As soon as they are out of view and earshot, there are two heavy ‘thump’ sounds. The air near the ALBINO begins to shimmer as a wave of electricity passes to reveals the forms of two NIGHTCRAWLERS. The ALBINO checks the console.

CU on console screen shows it trying multiple massive key numbers as it attempts to self-decrypt the unlock code.

The ALBINO leaves it untouched.

ALBINO MERCENARY
Once we’ve decrypted the codes, kill him.

The NIGHTCRAWLERS nod and activate their cloaking devices.

INT. F.E.A.R. APC
BETTERS is sat as he was when we last saw him, laptop in front of him, headset on. In one corner of the laptop screen, a small video link crackles into life. It shows another man wearing military gear, highly decorated, but also in some kind of vehicle like BETTERS. He is ALEXANDER SHEPARD, but like BETTERS, they’re using codenames.

SHEPARD
Tomcat, this is Denmother. I hope you aren’t busy because we’ve got a situation down at the harbour.

BETTERS
What kind of a situation?

SHEPARD
We located those soldiers you were looking for, but we’re under orders not to engage until you guys reconnoiter.

BETTERS
Understood.

SHEPARD
I’m sending the grid details as we speak. I’ve got two birds en route to your position. You should have a visual shortly.

BETTERS
We’ll be ready.

SHEPARD
We have a primary team ready to recon Armacham HQ, ETA seven minutes. I’ll keep you posted.

BETTERS peers out of the window for signs of a chopper. Nothing there, he checks the laptop then switches on the radio comms link.

INT. ABANDONED HOTEL (ROOM 3)
JIN, JANKOWSKI and NEWMAN are as we left them. The radios of the trio crackle into life as one.

BETTERS (O.S.)
(on radio)
You guys about done up there? Our day's just getting started. HQ’s sending a chopper in for extraction. Get out on the roof and they’ll pick you up. Jin, stay with the body.

JIN
(into radio)
Roger that.
(to guys)
You boys run along. I'll be busy here for a while.

JANKOWSKI jumps up from the floor and puts his hand-held game away.

JANKOWSKI
(grinning wildly, to NEWMAN)
Fuckin’ A. Looks like we get to play with the big boys today.
(to himself)
Man, I love this job.

ABANDONED HOTEL (HALLWAY 4)
NEWMAN and JANKOWSKI start heading towards the roof.

NEWMAN
(into radio)
Where we headed, sir?

BETTERS (O.S.)
(on radio)
With Fettel’s signal lost, HQ is diverting us to the replica army. Spy satellite’s got a fix on the position, and Jankowski, you’re gonna love this; it’s at the Auburn wastewater treatment plant near the harbour.

JANKOWSKI
The sewage works?

NEWMAN laughs as JANKOWSKI’s wild grin drops to a heavy sulk.

INT. HOSPITAL ROOM - SOME TIME AGO
On a bed in an unusually dark hospital room, a teenage ALMA is giving birth. A nurse is assisting the doctor with the delivery and a young (but still moustached) HARLAN WADE is holding the patient’s hand, comforting her.

NURSE
Breathe!

ALMA screams. HARLAN wipes her brow and squeezes her hand tighter.

DOCTOR
C’mon Harlan, make her push!

ALMA screams again.

DOCTOR (CONT’D)
That’s it! Push!

A baby’s cry cuts through the room. The doctor quickly checks the child, tidies it and hands it to HARLAN. The nurse tends to the mother before HARLAN shows her the child. Shadows of the younger ALMA begin quietly moving around the walls. The crying has not stopped throughout, but as the scene progresses, the cry warps into the sound of white noise.

FADE TO:

The End

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