F.E.A.R. (First Encounter Assault Recon)

Game Script

FAQ Created: 19-OCT-2007
FAQ modified: 28-JAN-2009
Version: 2.0
Author: Ladytanaka

Table of contents

1: Version History
2: Contact Info
3: Disclaimer and Legal Information
4: Warnings
5: Introduction
6: Character Abbreviations
7: Script Conventions
8: Game script

  01a - Interval 01 - Inception - Point of Origin

  02a - Interval 02 - Initiation - First Encounter

  03a - Interval 03 - Escalation - Infiltration
  03b - Interval 03 - Escalation - Heavy Resistance
  03c - Interval 03 - Escalation - Bad Water
  03d - Interval 03 - Escalation - Exeunt Omnes

  04a - Interval 04 - Infiltration - LZ is Hot
  04b - Interval 04 - Infiltration - Watchers

  05a - Interval 05 - Extraction - Bishop
  05b - Interval 05 - Extraction - Blindside

  06a - Interval 06 - Interception - Sayonara, Sucker
  06b - Interval 06 - Interception - Unauthorized Personnel
  06c - Interval 06 - Interception - After Image

  07a - Interval 07 - Redirection - Alice Wade
  07b - Interval 07 - Redirection - Flight

  08a - Interval 08 - Desolation - Urban Decay
  08b - Interval 08 - Desolation - Point of Entry

  09a - Interval 09 - Incursion - Lapdog
  09b - Interval 09 - Incursion - Bypass

  10a - Interval 10 - Revelation - The Vault

  11a - Interval 11 - Retaliation - Ground Zero

  12a - Interval 12 - Epilogue - Aftermath

9: Replica/ATC radio chatter
10: F.E.A.R. Director's Cut mini comic
11: FAQs
12: Credits

1: Version History

Version 0.9 (20-OCT-2007) - rough draft release

Version 2.0 (JAN-27-2009) - major revision; addition of the script for the
Director's Cut mini comicbook; addition of health and reflex booster locations;
numerous additions and corrections kindly provided by Lars

2: Contact Info

If you have any comments, suggestions, or corrections, email me at

Make sure that you include the subject "FEAR Game Script"!

3: Disclaimer and Legal Information

This game script is for informational purposes only.  This may be not be
reproduced under any circumstances except for personal, private use. It may not
be placed on any web site or otherwise distributed publicly without advance
written permission. Use of this guide on any other web site or as a part of any
public display is strictly prohibited. 

This game script guide in no way or form has any affiliation with either
Monolith Productions and Sierra Entertainment. 

Please do not ask me about posting this game script on your own site.  The
finished game script will be posted only on GameFAQs. If you see this guide on
any other website, please contact me about it. Thank you.

Copyright 2007-2009 Ladytanaka

4: Warnings

This script contains massive SPOILERS for the entire story of F.E.A.R. (First
Encounter Assault Recon).

The game and script contains scenes of intense violence and strong language. 

5: Introduction

Although this script originally focused mainly on the in-game text, many of the
things that make this game so interesting (and scary) are purely visual and/or
auditory events -- therefore, I've expanded the original game script to include
as many scene/action descriptions and event triggers as possible to give the
reader a much better feel for the story. 

This script's dialogue/text is as close to the actual game as I could manage. 
It comes verbatim from the subtitles, except when the audio clearly contradicts
the subtitles -- in that case, the audio has precedence.

Some events are time-triggered, rather than proximity-triggered, so the
dialogue's location may vary slightly for different players.

It is often difficult to determine how much of Replicas' and ATC security
guards' dialogue is actually scripted or simply AI-generated chatter.  I'm
using my best judgment here.  An extensive listing of radio chatter in the game
can be found at the end of the script.

This script was compiled using the ghost mode cheat so the enemies are
typically unaware of the player's presence.

Because so much of the dialogue takes place as phone, radio, or video
transmissions (or recordings), I've made extra effort to clarify the source of
the dialogue as best I can (see the section on Script Conventions).

4: Character Abbreviations (in approximate order of appearance)

PLAYER - the Point Man
SENATOR - Senator
ARISTIDE - Genevieve Aristide (president of Armacham)
ALMA - Alma
BETTERS - "Rowdy" Betters (F.E.A.R Team Coordinator, aka "Tomcat")
JANKOWSKI - Spen Jankowski (F.E.A.R. Operative)
JIN - Jin Sun-Kwon (F.E.A.R. Medical Specialist)
DENMOTHER - A. Shepard (SFOD-D Coordinator, aka "Den Mother")
FETTEL - Paxton Fettel
HOLIDAY - Douglas Holiday
SFOD-D TEAM2 - P. Niculescu (SFOD-D Team 2 leader)
SFOD-D OP - D. Passalaqua, T. Atwood, P. MacReady (SFOD-D operatives)
CIVILIAN - miscellaneous civilians
SFOD-D OP - miscellaneous SFOD-D operatives
R - Replica soldiers
VM - voice mail announcer
??? - miscellaneous unidentified speakers
MOODY - Bill Moody
SFOD-D PILOT - E. Cotton (SFOD-D Pilot)
MAPES - Norton Mapes (computer system engineer)
HARLAN - Harlan Wade
DISLER - Marshall Disler
ALICE - Alice Wade
BISHOP - Aldus Bishop
HIVES - Iain Hives
VECCHIO - Phil Vecchio
ATC - ATC security

7: Script Conventions

"(vo)" indicates a voice-over, where the speaker is not in PLAYER's view and/or
is not clearly identified as speaking

"(r)" indicates dialogue via radio (when speaker is NOT physically present)
"(p)" indicates dialogue via telephones or cellphones
"(m)" indicates dialogue on video monitors
"(laptop)" indicates dialogue from laptop computers

"-" indicates mission objectives, game notes, etc.
"=CP=" indicates a game checkpoint
"< >" indicates visual/auditory descriptions of events and actions
"{   }" indicates optional actions and/or easily missed events
"___" indicates unclear/garbled dialogue

"[=UNK=]" indicates static or unknown transmission over the comlink

Since many of the game events are 'unreal' in various ways, I've used certain
terms in my scene descriptions to denote events to describe the various
entities, hallucinations, etc. that occur in the game.

"cutscene" indicates FMV scenes, usually with black bars at top and bottom

"observer mode" indicates fully scripted in-game events in which the player
does not control his movements (other than sometimes being able to look around)

"vision" indicates non-interactive in-game visual/auditory events experienced
by the player

"mindscape event" indicates events involving 'unreal' or hallucinatory
interactive environments that the player can move around, shoot in, etc.

"slo-mo" indicates when player and events go into slow motion

"apparition" indicates a 'unnatural' image of a person or creature (which
frequently dissolves in a cloud of black ash, accompanied by a distinctive
eerie sound cue which serves to let the player know that something uncanny just

"shadow creature" refers to the near-invisible monsters with glowing red eyes

"nightmare" refers to the black humanoid spectres that fly in mid-air

"little ALMA" refers to Alma in her little girl, red dress form

"naked ALMA" refers to Alma in her older, naked form

8: Game Script

01a - Interval 01 - Inception - Point of Origin

A high level alert has been issued.

F.E.A.R. team is to report for emergency briefing on the situation.

You have just been transferred to the unit as point man.  This will be your
first assignment with F.E.A.R.

- Check the Mission Status screen (M) to view the current objectives and
situation report

-----start intro cutscene----
In 2002, the U.S. Army formed a secret unit dedicated to combating paranormal
threats to national security.

The unit was named 
First Encounter Assault Recon.

Sierra Entertainment Presents

A Monolith Production Game

<sound of unintelligible child-voice whispering>
<an extreme closeup of a eye>
<a blurry image of a shadowy figure backlit by flames appears reflected in the
iris of the eye>
<FETTEL kneels on the floor of his stark shadowy room/cell as crows perch on
the narrow band of windows high on the wall>
<FETTEL twitches slightly>
<whispers continue as the extreme closeup of the eye reappears and the
reflection of a steadily approaching little ALMA becomes even clearer>
<overhead view of FETTEL kneeling on the tiled floor of his room/cell>
ALMA(vo): Kill them.
<whispers continue as lights flicker on and off, as the camera follows wet bare
footprints which appear by themselves on a gray floor>
<as lights continue to flicker and the whispers continue, the form of little
ALMA can be seen approaching through the blurry glass of the door leading into
FETTEL's room>
<the crows perched outside the narrow band of windows in FETTEL's room suddenly
fly away, cawing loudly>
<back view of FETTEL as the door to his room slowly opens>
ALMA(vo): Kill them all.
<back view of FETTEL as he abruptly stiffens, throws his head back, and
<fade to black>


<as FETTEL's scream continues to echo in the background, the camera pans across
rows of dormant armed Replicas standing in front of a helicopter>
<the Replicas suddenly activate, their weapons ready>
<fade to black>

Greg Baldwin
Jock Blaney
Susanna Burney
Colby Chester
Grant Goodeve

<FETTEL stalks down a hallway, then looks to his right>
<an ATC security guard sits in a small employee lounge area with vending
machines, his back turned>
<front view of the ATC guard as he senses a shadow falling over him>
<the ATC guard turns in surprise, just in time for FETTEL to slash open his
throat with a single vicious swipe>
<fade to black>

Tim Gouran
Todd Licea
Mark Lund
Peter Lurie
Melissa Roberts

<a trio of Replicas advance quickly down a hallway>
<at a security console, a ATC guard notices the Replica movement on the
monitors and points them out to a fellow guard>
<the two ATC guards turn just in time to see the Replicas appear behind them,
ready to fire> 
<fade to black>
<sound of automatic gunfire and spent casings hitting the floor>

Meg Savlov
David Scully
Andre Sogliuzzo
Jim Ward

<camera pans by a dead ATC guard lying in a pool of blood at the security
<camera pans over several more bloody scenes of dead ATC guards>
<two Replicas stand guard over FETTEL  as he kneels over a labcoated body with
his back turned to the camera -- his movements hint that he's voraciously
tearing at the body and eating something>
<FETTEL suddenly turns and looks up over his left shoulder at the camera, his
face and mouth clearly smeared with blood>
<fade to black>

Interval 01

<black screen>
<a phone rings>
SENATOR(p): (sleepy) Yes?
ARISTIDE(p): Sorry to wake you Senator. It's about Origin.
SENATOR(p): What happened?
ARISTIDE(p): There was an uprising. Fettel has taken command of the prototypes.
SENATOR(p): My God...


ARISTIDE(p): We can still resolve this discreetly, but we have to move fast.
SENATOR(p): All right, all right. Let me... make a few calls.
-----end intro cutscene----

-----start observer mode-----
<the monitors in the F.E.A.R. briefing room show footage of FETTEL eating a
victim as BETTERS briefs JANKOWSKI, JIN, and PLAYER>
BETTERS: This whacko's name is Paxton Fettel. He's the key. If we contain him,
we contain the situation.
JANKOWSKI: Fucker's got an appetite. 
JIN: I think he has an agenda. It's not just recreational. He's getting
something out of it.
JANKOWSKI: Essential vitamins and nutrients?
JIN: What's his story?
BETTERS: Property of Armacham Technology Corporation. They're working on a
military contract to develop an army of clones that respond to a psychic
commander. Top secret, of course. Fettel is one of the commanders.
JANKOWSKI: You've gotta be freaking kidding me. This is why nobody takes us
seriously. Military clones?
BETTERS: A full battalion of them. Highly trained and heavily armed.
JANKOWSKI: A battalion! What are we supposed to do against a thousand super
BETTERS: Like I said, we put Fettel down, and it's over. Fortunately, the whole
point of the program is to give commanders firsthand knowledge of the
battlefield without putting them in danger. That means we should be able to
corner the bastard without having to wade through all those soldiers.
JIN: How do we find him?
BETTERS: Armacham implanted a transmitter in his head. It should lead us right
to him.
JANKOWSKI: That's awfully convenient.
BETTERS: Assuming it does what it's supposed to. 
BETTERS: What about you buddy? Ready to go to work?
<JANKOWSKI also looks at PLAYER, looking incredulous>
JANKOWSKI: You're putting him in the field? Are you crazy? He just transferred
in a week ago!
BETTERS: You've seen his training results. His reflexes are totally off the
charts. I think he can handle himself.
JANKOWSKI: Whatever, man. It's your call.
BETTERS: Damn right it is!
<JIN looks at PLAYER>
JIN: Don't worry, you'll be fine.
BETTERS: Let's roll.
-----end observer mode-----

-----start vision-----
<bloody FETTEL leans in close to PLAYER>
FETTEL(vo): What's the first thing you remember?
<fade to black>
ALMA(vo): Nooo...!!!  
<bright overhead hospital lights>
<fade to black>
ALMA(vo): Where are you taking him!?
<Harlan Wade looks down at PLAYER>
HARLAN: You will be a god among men.
-----start vision-----

----start observer mode-----
<riding in car with Betters>
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. 
<car stops and BETTERS starts typing on a laptop>
BETTERS: Jankowski, you in position?
JANKOWSKI(r): Just say the word.
BETTERS: All right, move it out.
<PLAYER exits car>
----end observer mode-----

F.E.A.R. mission coordinator, Rowdy Betters, has tracked enemy commander,
Paxton Fettel, to an abandoned building in Auburn district.

Hannibal-3 spy satellite in geosynchronous orbit shows no sight of Replica
soldiers in vicinity.

F.E.A.R. combat operatives will infiltrate target site from two separate entry
points and attempt to neutralize Fettel.  According to Armacham technical
advisor, once Fettel is contained, Replica soldiers will become inactive and
can be rounded up without incident.

- Investigate area for signs of Paxton Fettel

<as PLAYER approaches boarded up opening in fence>
- Break or shoot the loose boards to clear a route

<as PLAYER approaches fence, a police siren goes off in the distance>

<as PLAYER approaches the door near the burning barrel>
- Press USE to open doors or activate objects

<as PLAYER enters a trash-filled hallway, rats scuttle away>

<as PLAYER enters darkened storage room with shelves>
- Press FLASHLIGHT to activate your head lamp

<when PLAYER tries to open the storage room door, it falls off its hinges flat
onto the floor, revealing a small deceipt lobby area with a reception desk>

<when PLAYER enters the small tiled lobby area, JANKOWSKI smashes through the
glass of the boarded up double doors from the other side>
JANKOWSKI: Hey, bro, what took you so long?
JANKOWSKI: Try to find a way around.

- Rendezvous with Jankowski

{ if PLAYER search back storage room, PLAYER can find health booster #1 }

<when PLAYER picks up the health booster in back storage room>
- Health Boosters permanently increase your health by a small amount

<PLAYER climbs up the short stairs and opens the glass-windowed double doors
leading into a tiled hallway>

{ if PLAYER tries to repeatedly open both sides of the table-blocked double
doors in the opposite side of the hallway (which lead to a short flight of
stairs heading up to the left), PLAYER can trigger a first Easter Egg event }

[=UNK=] { if PLAYER triggers the first Easter Egg event }

{ if PLAYER continues to make repeated attempts to open both doors, PLAYER can
trigger another Easter Egg event }
-----start Easter Egg mindscape event-----
<the doors vanish>
<PLAYER sees little ALMA stand in the right back corner, then dissolve into

<PLAYER climbs the stairs to the left and opens the double doors at the top>
<white flash>
ALMA(vo): I hate you daddy!
<white flash>
-----end EASTER Egg mindscape event-----
<world reverts to normal>

<as PLAYER approaches stretcher blocking the hallway>
- Press R to jump

[=UNK=] <as PLAYER turns the corner in the hallway>
<rumbling noise>
<tiles suddenly fly off the walls>
<a black distortion appears in midair in front of PLAYER>
<PLAYER sees a quick flash of Charles HABEGGER's mutilated face>

<as PLAYER exits the tiled hallway and crosses the room, PLAYER sees the
apparition of a bloody HABEGGER walking by on the far side of the partially
boarded up doorway, accompanied by eerie sound cue>
{ if PLAYER quickly attempts to pursue the apparition, PLAYER can see the
HABEGGER apparition dissolve into ash }

<after HABEGGER's apparition dissolves>
FETTEL(vo): Why did you bring me here? 
FETTEL(vo): Why did you bring me back?

<as PLAYER approaches boarded up doorway>
- Press C to crouch

<as PLAYER approaches the open doorway leading into a storage room, the door
abruptly slams shut>
<sound of baby crying>

<when PLAYER re-opens the slammed door and enters the storage room, several
items suddenly move around>

<as PLAYER approaches padlocked door>
- Shoot the padlock to unlock the door

<as PLAYER enters stairwell and climbs up, the overhead light partially breaks
loose and swings wildly>

<when PLAYER approaches barricaded double doors, JANKOWSKI appears on the other
JANKOWSKI: Hold on a sec.
<JANKOWSKI shoves aside the bookcase barricade blocking the doors>

=CP= <as JANKOWSKI unblocks door>

- Find and neutralize Paxton Fettel

JANKOWSKI: You ready? 
<JANKOWSKI kicks open the door>
<white flash><the world goes slo-mo>
-----start slo-mo event-----
<whispering sounds>
<JANKOWSKI charges into the room and suddenly dissolves into ash>
FETTEL(vo): You were born here.  In this place. 
<whispering sounds continue>
FETTEL(vo): I was there.

<when PLAYER finds Chuck HABEGGER's mutilated body seated in a chair>
<white flash>
<the world returns to normal speed>
-----end slo-mo event-----
<JANKOWSKI suddenly reappears in front of HABEGGER's body>
JANKOWSKI: Jin, we need you up here.
JIN(r): On my way.
JANKOWSKI: Looks like we're too late, boss. Just leftovers.
BETTERS(r): The transmitter's signal's coming from nearby. Fettel's gotta be
around there somewhere.
JANKOWSKI: I'll wait here for Jin.  You take a look around.

- Search area

{ if PLAYER lingers near HABEGGER's body, JANKOWSKI will eventually say the
following lines }
JANKOWSKI: Get going!
JANKOWSKI: You gonna check the place out or what?
JANKOWSKI: Dude, take a look around.
JANKOWSKI: What, are you chickenshit or something?  Look, you're the FNG, so
you do what I say.
JANKOWSKI: All right, take your time.  I got all day.

<as PLAYER climbs stairs to roof, PLAYER hears an eerie sound cue and catches a
brief glimpse of FETTEL through the slightly open door at the top>

<when PLAYER opens the door, there's no sign of FETTEL>

<as PLAYER crosses a small open rooftop area, a crow flies off, cawing>

<as PLAYER enters a rooftop building and passes through a series of rooms,
PLAYER hears the sound of blowing wind>

<PLAYER exits back onto the open roof>

<when PLAYER enters a narrow rooftop area with large equipment on both sides>
<FETTEL abruptly steps from behind the equipment on the right and bludgeons
PLAYER in the head with a 2x4 beam>
<PLAYER blacks out from the impact>

-----start observer mode-----
<unintelligible whispering sounds>
<PLAYER wakes up on his back as FETTEL crouches down over PLAYER and two
Replicas stand in the background>
FETTEL: The dead man's name was Charles Habegger. I remember him. But are the
memories mine? Or hers?
FETTEL: It makes no difference.  
FETTEL: He deserved to die. They all deserve to die.
<whispering sounds continues as PLAYER blacks out again>

<PLAYER wakes up again and gets to his feet>
BETTERS(r): Come in, over! 
BETTERS(r): What's going on? I've lost Fettel's signal.
-----end observer mode-----

- Rejoin your team

DENMOTHER(r): Tomcat, this is Den Mother. I hope you aren't busy.  We've got a
situation down at the harbor.
BETTERS(r): What kind of situation?
DENMOTHER(r): We located those soldiers you were looking for. But we're under
orders not to engage until you guys reconnoiter.
BETTERS(r): Understood.
DENMOTHER(r): I've got two birds en route to your position.  You should have a
visual shortly. 
BETTERS(r): We'll be ready.

<as PLAYER backtracks through the rooftop building, two helicopters fly toward
the building>

{ if PLAYER pauses at the top of stairs, PLAYER can eavesdrop on a conversation
between JANKOWSKI and JIN }
JANKOWSKI: What do you think of the new point man?
JIN: Well, he's pretty cute.
JANKOWSKI: That's not what I meant.
JIN: Just say what's on your mind, Jankowski.
JANKOWSKI: I don't know, something about him just feels... off.
JIN: The day I look to you as a judge of character will be a sad day indeed.
JANKOWSKI: I'm serious.  It's something about his eyes.  Like he's looking
right through you.
JIN: Maybe it's because you're one dimensional.

<when PLAYER descends stairs and moves into JIN and JANKOWSKI's view>
JANKOWSKI: Hey, back already? See anything?
BETTERS(r): You guys about done up there? Our day's just getting started.
<JIN peers closely at Habegger's corpse>
JIN: You boys run along. I'll be busy here for a while. 
<fade to black>

-----start vision-----
<unintelligible whispers>
<blurry overhead hospital lights gradually come into focus>
???: Breathe!
<fade to black>
<a bald labcoated man stands with his back turned in a white-tiled room, his
shoulders hunched and his body shuddering>
???: C'mon, make her push!
<burst of white noise>
<fade to black>
<blurry overhead hospital lights gradually come into focus, accompanied by the
sound of baby crying>
FETTEL(vo): I've tried to forget.
FETTEL(vo): I've tried so hard to forget.
<fade to black>
<the bald labcoated man slowly turns around as the baby cries again>
-----end vision-----

----start observer mode-----
<as PM waits in a helicopter, HOLIDAY and JANKOWSKI stand outside as HOLIDAY
briefs his SFOD-D operatives>
HOLIDAY: These men are from F.E.A.R.  They're special attachments to our unit
for the duration of this op.  They will be on point.
HOLIDAY: Their mission is to assess the nature of the threat.  Our job is to
keep them alive. Do not engage the enemy. 
<HOLIDAY points sharply for emphasis>
HOLIDAY: Remember that we are not dealing with ordinary bad guys.
HOLIDAY: Team One will move in from the southwest. Team Two will approach from
the north. Once our recon is complete, we will rendezvous and wait for further
HOLIDAY: Okay, let's saddle up!
----end observer mode-----

<fade to black as level ends>

02a - Interval 02 - Initiation - First Encounter

Paxton Fettel has managed to elude F.E.A.R. operatives in Auburn, and his
tracking signal was subsequently lost.

Body of unidentified male was discovered at the site.

Hannibal-3 spy satellite has photographed sizable Replica force in vicinity of
South River Wasterwater Treatment Plant.

F.E.A.R. combat operatives will attach to responding Special Forces Operational
Detachment-Delta (SFOD-D) troops to reconnoiter the area for the purpose of
recommending military response.  Teams should not engage the enemy unless fired

F.E.A.R. technical officer, Jin Sun-Kwon, is remaining in Auburn to conduct
forensic investigation.

- Use AIM/ZOOM to aim a weapon for better accuracy.  Weapons with scopes will
zoom in when you aim.

-----start cutscene-----
<two military helicopters fly over water past a large ship toward the
wastewater treatment plant>
-----end cutscene-----

----start observer mode-----
<as helicopter turns and approaches the LZ>
SFOD-D TEAM2: This is our stop, people!

Interval 02

SFOD-D TEAM2: Let's go fuck shit up!
<PLAYER and SFOD-D team rappel out of helicopter onto the ground>
SFOD-D TEAM2: Den Mother, this is Little Bird.  We're on the ground.
DENMOTHER(r): Copy that.  Proceed to first objective.
----end observer mode-----

- Search area for signs of enemy soldiers

<as PLAYER approaches the gate>
SFOD-D TEAM2: Since you're on point, see if you can get this gate open. 
SFOD-D TEAM2: I'd send one of my boys, but I think we need a 'specialist' for
this one.

- Find gate controls and open gate

=CP= <after SFOD-D TEAM2 finishes speaking>

{ if PLAYER lingers around gate, SFOD-D TEAM2 will eventually say the following
lines }
SFOD-D TEAM2(r): Find that gate control yet?
SFOD-D TEAM2(r): C'mon.  We ain't got all day.

{ if PLAYER crawls under partially open warehouse door, PLAYER can find reflex
booster #1 }

<when PLAYER picks up reflex booster in warehouse>
- Reflex Boosters permanently improve your reflexes, allowing you to use slow
motion longer

<PLAYER climbs stairs and enter control room>

<PLAYER operates gate controls>
SFOD-D TEAM2:  Good job.  Head on back.
<through the control room window, PLAYER sees SFOD-D team enter through the
newly opened gate and take up a position beside a large crate>

- rejoin SFOD-D team

[=UNK=] <as PLAYER exits control room and reenters warehouse>
<sound of gunfire>
SFOD-D TEAM2(r): What the hell is that?  
SFOD-D Op (Passalaqua)(r): Over there!!!
SFOD-D TEAM2(r): Look out!!!
DENMOTHER(r): Little Bird, what's your situation, over? 
DENMOTHER(r): Little Bird, come in!
<increasing static on radio>
BETTERS(r): I'm losing your signal! 
BETTERS(r): If you can hear me, rendezvous with Jankowski! Repeat, rendezvous
with Jankowski!
<radio signal breaks up completely>

<after backtracking to the newly open gate, PLAYER finds the bloody skeletons
of the SFOD-D team lying in a big pool of blood as a dark distortion hovers
over the bodies> 

<when PLAYER touches the distortion>
-----start cutscene-----
<SFOD-D operatives run as one of them fires at something toward the right>
<scene of little ALMA, surrounded by flames, slowly advances forward>
<SFOD-D operatives stagger backwards, blood spray filling the air, as little
ALMA approaches them>
<scene of little ALMA standing amid the flames as she slowly looks up>
<a skeleton falls onto a pool of blood>
-----end cutscene-----

Status unknown.  Both teams have gone silent and F.E.A.R. team's life signs
monitors are offline.  Interference is preventing satellite reconnaissance.

Surviving operatives should attempt to rendezvous and exfiltrate mission area
until reinforcements arrive.

=CP= <after mission objective update>

- Rendezvous with Jankowski's team

[=UNK=] <as PLAYER approaches the lighted corner of the warehouse>
<a lightbulb pops and the overhead light starts flickering>

<PLAYER enters locker room of warehouse to find a wounded WORKER lying in a
pool of blood>
WORKER(male): They just started shooting... Help me....
<WORKER dies>
{ if PLAYER moves quickly to warehouse area, PLAYER can see a Replica shoot
another worker }
R: Command, all civilians have been neutralized.
R: Echo Zero, report.
R: Echo Zero, roger.  Hold position and intercept hostile forces.

<as PLAYER enters warehouse area>
- Press Q to lean left and E to lean right

<PLAYER fights Replicas in warehouse area>

<after PLAYER exits warehouse area, PLAYER hears and sees blood dripping from
overhead walkway>
<when PLAYER approaches the dripping blood, PLAYER sees a burst of blue sparks
<a dead worker falls from the overhead walkway>

<when PLAYER finds medkit in storage room>
- Press USE MEDKIT to restore some of your health.  You can carry up to 10

<PLAYER climbs to upper level, breaks board in window, and drops into the area
beyond the fence>

=CP= <as PLAYER enters warehouse>

R: All elements be advised that Echo Zero isn't responding.
R: Command, this is Echo Seven.  Should we investigate?
R: Negative.  I'll dispatch a search team.

<as PLAYER enters warehouse area>
- Press MELEE for hand-to-hand attacks. Try using melee while running, jumping,
and crouching for different maneuvers

<PLAYER fights Replicas in warehouse and container yard>

<PLAYER enters "Blacksand Imports - Pacific Rim" building>

<when PLAYER enters the large dark warehouse storage room full of shelves, a
light starts swinging and a box falls (or is knocked) off a shelf> 
[=UNK=] <as PLAYER sees a burst of blue sparks toward the far right corner of
the room>
{ if PLAYER quickly chases after the sparks, PLAYER can catch a glimpse of a
cloaked assassin running out of the area }

{ if PLAYER jumps up onto the second level of the leftmost row of shelves in
the storage room, PLAYER can find health booster #2 }

<as PLAYER exits the large warehouse storage room>
R: This is Echo Six.  We've reached the first marker.
R: Roger, Echo Six.  Secure the area.  Intruders have been confirmed.

<PLAYER fights Replicas in small storage room>

<when PLAYER picks up frag grenade>
- Press G to throw a grenade.  Note that grenades will detonate on impact with
a live target

<PLAYER fights Replicas in room with a container suspended on an overhead

<PLAYER climbs stairs up and crosses over shelving to enter office>

<when PLAYER approaches the phone with a red blinking message light>
- If you see the blinking message light on a telephone, activate the phone to
listen to stored voicemail messages

<when PLAYER activates phone>
VM: You have one new message.
???(p):  Yeah, this is Chet in accounting.  Nobody seems to know what's going
on, but we've been hearing a lot of loud noises.  Have you guys heard anything
over there?
VM: End of messages.

<when PLAYER activates crane to move container, Replicas kick open the upper
level door on the other side of the room>

<PLAYER fights Replicas>

<PLAYER crosses over the newly moved container to reach the other side>

<when PLAYER enters upper level of storage room>
R: In here!
R: Check the upper floor.
R: Yes sir.

<PLAYER fights Replicas in storage room>

<when PLAYER enters loading dock area>
- Your heightened reflexes will give you an edge against enemies.  Press SLOWMO
to enter slow motion. Press SLOWMO again to exit.

<PLAYER fights Replicas in loading dock area>

<PLAYER descends stairs into basement>

=CP= <as PLAYER enters basement>

<as PLAYER turns and moves past the "Heating and Refrigerator Maintenance"
sign, the world goes slo-mo>
-----start slo-mo event---
<flash of JANKOWSKI's bloody, eyeless face>

<as PLAYER enters hallway, PLAYER sees a bloody apparition of JANKOWSKI
shambling around the corner at the far end> 
JANKOWSKI(vo): Is someone (someone) there?
<the apparition of JANKOWSKI dissolves into ash>

<as PLAYER moves around the next corner, PLAYER sees another bloody apparition
of JANKOWSKI beyond the "Shipping and Receiving" sign>
<the apparition of JANKOWSKI shambles around the corner and dissolves into ash>

<as the world gradually returns to normal speed>
JANKOWSKI(vo): Is someone (someone) there?
-----end slo-mo event---

{ if PLAYER heads right from the point where the 2nd JANKOWSKI apparition
disappeared, PLAYER can find health booster #3 at end of passageway }

<PLAYER moves past bloody skeletons and climbs stairs to upper office area>

<when PLAYER jumps down through the office window into a short hallway with
flickering lights, the world goes slo-mo>
-----start slo-mo event---
<a fiery explosion erupts and little ALMA appears amid the flames>
<when PLAYER turns around, the hallway suddenly appears different and longer>
<PLAYER tries to outrun the explosion, but eventually gets caught by the blast>
<PLAYER gets blown through the window and blacks out>
-----end slo-mo event---

<level ends>

03a - Interval 03 - Escalation - Infiltration

Hannibal-3 spy satellite is back online.  One F.E.A.R. combat operative has
been found alive.  Remaining operative is still missing, but life signs are

Paxton Fettel's tracking signal has been detected in the area.

SFOD-D reinforcements are en route to assist in primary mission.

Remaining F.E.A.R. combat operative will attempt to locate and neutralize

F.E.A.R. technical officer and SFOD-D escort will continue to search for
missing F.E.A.R. operative.

- You can carry up to three weapons.  If you pick up a fourth, you will swap
for the weapon you are holding.

----start observer mode-----
<PLAYER wakes up as JIN kneels down beside him and a SFOD-D operative stands in
the background>
JIN: He's alive.
BETTERS(r): Should I call in a medevac?
JIN: He doesn't appear to be injured.
JIN: Although I don't know how he survived.
BETTERS(r): Worry about that later.  I'm reading Fettel's transmitter near that
position.  We've got to take that fucker out.  Fast.
<PLAYER gets to his feet>
----end observer mode-----
BETTERS(r): Jin, keep looking for Jankowski.  I'm still reading his lifesigns.
JIN: You can't send him in alone!  That's crazy.
<SFOD-D operative shakes his head>

- Find and neutralize Paxton Fettel

BETTERS(r): He can take care of himself.  Now move!
JIN: Be careful in there.
SFOD-D Op: You're lucky to be alive.

{ if PLAYER lingers near JIN, JIN will eventually say the following lines }
JIN: You better get going.
JIN: Don't you have work to do?

<as PLAYER approaches the stairs, a truck drives to the left behind the fence>

<as PLAYER moves past the first worker's body>
DENMOTHER(r): Tomcat, it looks like I'm not gonna be able to send you any
reinforcements for a while.  My helos just got diverted to Armacham
headquarters.  Something big is going on.
BETTERS(r): No shit.  My people are right in the middle of it.
DENMOTHER(r): I hear ya.  I wish I was calling the shots.
BETTERS(r): Is it the same bad guys?
DENMOTHER(r): Looks that way.  I'm a little short on details.
BETTERS(r): I guess this ain't a covert op anymore.

<as PLAYER enters yard with large tank and a rotating catwalk, two helicopters
fly overhead>

<when PLAYER activates phone in the office contains controls for rotating
VM: You've got one new message. First message:
???(p): Mike, what the hell is going on over there?  It sounded like an
explosion.  I can't get through to anyone.  Call me back!
VM: End of messages.

<when PLAYER activates catwalk controls, a warning horn goes off>

{ if PLAYER drops into lower level of tank area, PLAYER can find reflex booster
#2 near some crates }


[=UNK=] <after PLAYER descends ladder and enters small room with a wet patch on
<lights flicker>

[=UNK=] <upon entering dark tunnel>
<PLAYER can hear (and see with flashlight on) three rats scurry toward him>
<little ALMA runs across mouth of tunnel from left to right, accompanied by
eerie sound cue>
<PLAYER starts breathing heavily>

{ if PLAYER approaches health booster #4 in the bloody niche, a shadow moves
quickly across the wall in front of him, accompanied by a girlish giggle and an
eerie sound cue }
{ if PLAYER quickly turns around, PLAYER can catch a quick glimpse of little
ALMA running across the room from left to right, and apparently into the
neighboring niche }
{ if PLAYER attempts to pursue little ALMA, she's vanished }

<as PLAYER climbs ladder, a helicopter flies overhead>

<as PLAYER emerges above ground, PLAYER sees a Replica climbing the stairs
through the broken window of the "Authorized Personnel Only" door>

<as PLAYER approaches the catwalk>
R: Echo 12, we have a possible intruder reported in your vicinity.
R: We haven't seen anything.
R: Roger.  Keep your eyes open.

<PLAYER fights Replicas in twin boiler room>

<PLAYER fights Replicas in blue tank room>

{ if PLAYER descends to the bottom of the blue tank room and enter crawlspace,
PLAYER can find reflex booster #3 }

<PLAYER shoots padlock to unlock fence gate and access ladder>

<PLAYER climbs up ladder and crosses blue tank room via pipes>

<PLAYER drops through grate and shoots padlock to allow access back to blue
tank room>

R: Keep it tight. Echo 12 isn't responding.
R: Do you need backup?
R: Negative.  Stay put.

<PLAYER fights Replicas in pipe catwalk room>

<after PLAYER climbs stairs, PLAYER fights Replicas>

<PLAYER fights Replicas in pipe valve room>

=CP= <after PLAYER exits pipe valve room>

<PLAYER climbs catwalk and finds blue Alienware laptop>
- Certain laptops contain useful information.  Activate the laptop to retrieve
data stored on it

<when PLAYER activates laptop>
BETTERS(r): The data's uploading now.
BETTERS(r): Interesting.  I found a wasterwater analysis summary address to an
Armacham review committee.  According to the abstract, there's some major
contamination coming from upstream.  I can't imagine why Armacham would be
interested unless they're responsible.

<PLAYER fights Replicas in outdoor yard>

<PLAYER jumps into the water>

[=UNK=] <as PLAYER climbs out of the water>
<with flashlight on, PLAYER sees little ALMA run across the generator room from
left to right as the light swings wildly, accompanied by eerie sound cue>

<PLAYER climbs up stairs, then descends ladder>

[=UNK=] <as PLAYER enters the generator room where PLAYER previously saw little
<PLAYER sees the shadow of little ALMA slowly walking left against the far
wall, accompanied by eerie sound cue>

<as PLAYER approaches the shadow>
<white flash>
<the shadow vanishes, accompanied by a girlish giggle>

<when PLAYER jumps through open floor grate>
-----start mindscape event-----
<PLAYER drops into a hospital hallway waistdeep in blood and containing a blood
splattered exam table>
<sounds of baby crying and a girl screaming> 
<through the hazy glass of the glass-windowed double doors, PLAYER can see a
doctor in a labcoat (with his back turned)>

<as PLAYER moves toward to the double doors, PLAYER can catch a glimpse of a
teenage ALMA lying on the operating table in front of the labcoated doctor>

<just before PLAYER reaches the double doors, a skeleton rises from the blood
and grabs at PLAYER while beyond the door, teenage ALMA flings up her arm as if
to fight off the doctor>
-----end mindscape event-----

<level ends>

03b - Interval 03 - Escalation - Heavy Resistance

F.E.A.R. operative has engaged a second Replica company, throwing enemy forces
into disarray.

SFOD-D teams are preparing to assault Armacham corporate headquarters.  Enemy
strength is presently unknown.

The body found in Auburn has been positively identified as Charles Habegger, an
Armacham researcher.

Primary goal remains the elimination of Paxton Fettel.

Secondary goal is to determine enemy objective in the area.

- Press FORWARD, MELEE, plus CROUCH to perform a slide kick.
- Press FORWARD, MELEE, and JUMP to perform a bicycle kick.

<as PLAYER drops into a sewer room with knee-high water>
BETTERS(r): Jin, any word on Jankowski?
JIN(r): No, but I found some human remains. Impossible to ID without labwork.
BETTERS(r): That can't be him.  His lifesigns are a little unusual, but he's
definitely alive. He's got to be around there somewhere.
JIN(r): I'll keep looking.

<PLAYER jumps onto pipes and climbs out of sewers>

<PLAYER sees a lone Replica in a small room with two small monitors>

{ if PLAYER moves very quickly with a zoom weapon and looks at the left-side
monitor, PLAYER can see the static-blurred image of a man (MOODY) sitting
slumped in a chair }
{ the image clears and little ALMA appears for the briefest instant in the
upper right corner of monitor just before the monitor picture turns to static }

<as PLAYER approaches the water-filled room>
<white flash>
{ if PLAYER quickly looks toward the doorway to the right (with flashlight on),
PLAYER can see a bloody JANKOWSKI apparition standing in the doorway }
JANKOWSKI(vo): She's afraid of you.
{ the bloody JANKOWSKI apparition dissolves into ash }

=CP= <as PLAYER enters doorway where JANKOWSKI appeared (or crosses the
water-filled room)>

R: Stay out of sight. Draw him in.
R: Wait for my signal.

<PLAYER fights Replicas in pipe/catwalk room>

<when PLAYER activates phones in upper office of pipe/catwalk room>
VM: You have one new message.
???(p): Hey, man, I heard something crazy's happening over there.  You all
right?  Let me know.  We're still on for Friday, right?  Call me back, bro. I
hope you're all right.
VM: End of messages.

=CP= <as PLAYER crosses large square metal floor plate>

<as PLAYER enters large chemical tank area>
R: Command, what's the Sit-Rep?
R: Still holding for orders. Remain where you are.
R: Understood.

<PLAYER fights Replicas in large chemical tank courtyard>

{ if PLAYER drops down into pit with 4 green "Hazardous Chemicals" tanks,
PLAYER can find reflex booster #4 }

<PLAYER enters building>

<in the room with the broken catwalk, PLAYER jumps onto pipes, then climb

<as PLAYER enters small office area>
RADIO: According to police, an explosion that leveled a dockside warehouse this
evening was most likely the result of an industrial accident.  No injuries have
been reported, but emergency workers are still on the scene.

<PLAYER exits building and activates valve on catwalk above the 4 green tanks>

<PLAYER returns to broken catwalk and uses floating crates to reach opposite

R: Cover that entry.

<PLAYER fights Replicas>

<when PLAYER picks up proximity grenades on the bench near the blue lockers in
the raised area>
- Proximity grenades detonate when enemies get too close.  Press (5) to switch
to Proximity grenades and (4) to switch back to Frag grenades.

<as PLAYER crosses the wooden planks on the floor, a Heavy Armor and Replica
escort burst through the double doors>

<as PLAYER enters room with large vertical pipes, two Replicas run off without
R: Fall back!
BETTERS(r): Shit.  Looks like these fuckers are pulling out.  I'm seeing a
substantial mobilization off the satellite.

{ if PLAYER turns left and heads down stairs, PLAYER can locate health booster
#5 }

<PLAYER fights with Replicas in water room>

{ if PLAYER shoots the venting gas pipe, it explodes and releases a burning jet
of fire }

<PLAYER jumps into water and climbs out to operate water valve on catwalk to
raise water level>

=CP= <as PLAYER moves off catwalk>

<PLAYER jumps back into water and crosses over to ladder>

<PLAYER climbs ladder to upper level>

<as PLAYER approaches the blue door, PLAYER sees a dark distortion on the other

<when PLAYER opens door and touches the black distortion>
-----start vision-----
<FETTEL interrogates a man who is seated in a chair with his hands bound behind
his back>
FETTEL: Where is Alma?
MOODY: I don't know what you're talking about!
FETTEL: Some secrets get buried deeper than others. But I know where to dig.
MOODY: No! Wait!  You've got the wrong guy!
FETTEL: Hush now, Mr. Moody.  The time for talk is done.
<screen goes black>
MOODY: Please!  No!
-----end vision-----

<PLAYER breaks open floor grate>

[=UNK=] <as PLAYER drops down into steamy pipe duct area>
<whispering sounds>
<as PLAYER moves down the narrow duct, little ALMA suddenly appears and
scuttles quickly toward PLAYER, then vanishes in a burst of steam from the

<PLAYER drops out of vent to exit level>

03c - Interval 03 - Escalation - Bad Water

Replica forces appear to be withdrawing from South River Wastewater Treatment
Plant.  Paxton Fettel has not been secured.

SFOD-D has entered Armacham headquarters.  Initial resistance lighter than

Primary objective remains the elimination of Paxton Fettel.

- You can adjust difficulty at any time in the Game options menu.

<PLAYER enters catwalk room>

<as PLAYER turns around to descend the ladder, little ALMA appears directly in
front of him, then dissolves into ash>

<at the bottom of the same ladder, PLAYER turns left to come face to face with
FETTEL, who stalks toward him, then dissolves into ash>
FETTEL(vo): He deserved to die.
FETTEL(vo): They all deserve to die.

<PLAYER moves through steamy pipe area>

<as PLAYER enters the control room with windows>
RADIO: A devastating explosion in the harbor this evening may not have been an
accident.  KZZA News has learned that evidence of a fierce gun battle has been
found by police investigators. Several bodies have been recovered from the
scene with bullet and shrapnel wounds. So far, no one is commenting on exactly
what happened here or why.

<as PLAYER exits control room, an oil jug falls from the catwalk above>

<PLAYER crosses room with moving security camera and open floor conduit>

{ if PLAYER climbs the stairs and follows the upper catwalk }
[=UNK=] { if PLAYER re-enters (on the upper catwalk) the room with the security
camera }
{ if PLAYER looks quickly through the window of the upstairs office, PLAYER can
see little ALMA standing inside the upstairs office before dissolving into ash,
accompanied by eerie sound cue }

<inside the upstair office, PLAYER hears dripping sounds which comes from a
bloody ceiling vent in the upstairs office>

<when PLAYER activates phone in the upstairs office>
VM: You have one new message. First message from:
HIVES(p): Iain Hives
HIVES(p): Hi Bill, it's Iain Hives.  Uh, look, I just got your email.  I wish I
could give you some more background on this, but it's... it's strictly need to
know.  Hell, I don't even know what all this is for.  For now, just focus on
the specific contaminants in the task summary.  Maybe I can fill you in a
little more once we've completed the survey.
VM: End of message.

[=UNK=] <as PLAYER enters the generator room with open floor conduit>
<PLAYER sees an apparition of Bill MOODY walking left behind the generators,
accompanied by eerie sound cue>

[=UNK=] <as PLAYER enters the area behind the generators where PLAYER
previously saw the apparition of MOODY>
<ceiling light flickers near blue canisters at far end of area> 
<an apparition of Bill Moody crosses the far end of the hallway from left to
right before vanishing, accompanied by eerie sound cue>
MOODY(vo): There's something in the water.

{ if PLAYER drops into the floor conduit in generator room and enters tunnel,
PLAYER can access health booster #6 }

<as PLAYER enters darkened hallway, the hanging lights start swinging wildly,
accompanied by creepy rushing sound>

<as PLAYER approaches the doorway leading out of hallway, the blue door slams
<the hanging lights pop and go out>
{ if PLAYER quickly turns around, PLAYER can see little ALMA at the far end of
the hallway }
-----start mindscape event-----
<PLAYER stands in a tiled corridor with a completely blood-covered ceiling and
a trail of bloody footprints leading down the corridor toward a glass-paneled
door with a fire behind it>
???(vo): Breathe!
???(vo): C'mon, make her push!
<sound of baby crying> 

<when PLAYER approaches the door, PLAYER hears a shriek and catches a glimpse
of something humanoid rushing toward the glass>
<the glass in the door explodes, then the door turns into a blank tiled wall>
<eerie sound cue and sound of girlish giggles>
<when PLAYER quickly turns around, he sees a nightmare rushing through an open
door and little ALMA walking on the ceiling toward PLAYER>
<the open door slams shut>
<little ALMA (still on ceiling) continues walking toward PLAYER, then dissolves
into ash>
<as PLAYER approaches door marked "Exit">
<white flash>
-----end mindscape event-----
<the world reverts to normal as PLAYER finds himself back in the hallway>
<the blue door swings open by itself>

[=UNK=] <as PLAYER crosses the room with the green dumpster
<the blue door slams shut behind PLAYER>
<ceiling light swings wildly and some cans fall off a shelf>

[=UNK=] <as PLAYER approaches blocked door>

<PLAYER breaks grate behind green dumpster and enters vent>

<after PLAYER breaks grate, but before exiting vent, PLAYER sees MOODY slumped
in a chair, backlit by a hanging lamp>

<as PLAYER moves past blue column, PLAYER sees a brief vision of MOODY'S bloody
{ if PLAYER quickly looks toward MOODY, PLAYER can sees FETTEL walking
toward/past the seated MOODY before dissolving into ash, accompanied by eerie
sound cue }
FETTEL(vo): Where is she?

<as PLAYER approaches MOODY slumped over in the chair, MOODY suddenly flops
back, exposing his bloodied face>
MOODY: Alma.
MOODY: If Fettel finds her... 
<MOODY weakly raises his right hand>
MOODY: Origin.
<MOODY dies with a choked gurgle>
BETTERS(r): What the hell is he talking about? What's Alma and what's Origin?  
BETTERS(r): All right buddy, get moving.  Fettel's gotta be close.

=CP= <as MOODY dies>

<the hanging light pops and goes out>

R: Hit the lights!

<as the lights come back on, Replicas rush into the room from the upper level>

<after PLAYER kills the first group of Replicas, a Replica breaks down the
locked door on the lower floor and a second group of Replicas attack>

<PLAYER climb stairs to upper level>

<PLAYER enters room with venting/burning gas pipe>

<PLAYER fights Replicas in area beyond gas pipe>

<PLAYER fights Replicas in area with generators>

{ if PLAYER heads left at venting/burning gas pipe }
{ PLAYER can climb up ladders to yellow catwalk, jump onto pipe, and break
grate to enter a vent }
{ PLAYER can follow vent to overhead pipes and cross the pipes (above the room
with venting/burning gas pipe) to the vent area with the dead body to access
remote bombs and reflex booster #5 }

<when PLAYER picks up remote bombs>
- Remote Bombs stick to almost any surface, including enemies, and can be
manually detonated, making them ideal for traps.  Press (6) to switch to

<PLAYER exits on upper level of generator room>

=CP= <as PLAYER turns left at vending machines>

<PLAYER fights Replicas in walkway area overlooking the room with MOODY's body>

<PLAYER crawls through pipe duct on wall opposite a balcony area>

<PLAYER drops from ledge onto metal grate walkway to exit level>

03d - Interval 03 - Escalation - Exeunt Omnes

Paxton Fettel and Replica forces are continuing organized withdrawal from South
River Wastewater Treatment Plant.

After locating another of Fettel's victims, F.E.A.R. operative neutralized
Replica rear guard units and is continuing to pursue retreating enemy forces.

Top priority is to eliminate Paxton Fettel.

- Weapons are distinguished by characteristics such as rate of fire, damage,
effective range, accuracy, armor penetration, stability, magazine size, and
movement penalties.

- Find and neutralize Paxton Fettel

DENMOTHER(r): Tomcat, this is Den Mother.  I know you guys are hurting, but we
could really use your help with this Armacham situation.
DENMOTHER(r): I just lost contact with my recon team and the brass wants me to
send in more men, which I'm reluctant to do until I know what we're dealing
with in there.
BETTERS(r): My order are to secure this guy Fettel.  Getting rid of him will
break his telepathic link to the soldiers.  Once they no longer have an
objective, they should shut down.
DENMOTHER(r): That sure would be nice.
BETTERS(r): Tell you what.  Can you spare a chopper?  We're seeing what looks
like a full-scale withdrawal.  My gut tells me Fettel's on his way to Armacham,
so maybe we can help each other out.
DENMOTHER(r): Can do.

<as PLAYER climbs the long ladder out of the sewer, PLAYER sees a Replica
planting proximity mines in a hallway>

<PLAYER moves through room with two blue generators>

{ if PLAYER looks behind the blue generators, PLAYER can find reflex booster #6

=CP= <at the foot of the catwalk stairs>

<PLAYER breaks wall grate and enters vent to avoid enemy proximity mines>

<as PLAYER enters catwalk area over sewer>
BETTERS(r): Shit, I just lost Jankowski's signal.
JIN(r): Maybe his gear got damaged.
BETTERS(r): Maybe.
JIN(r): The fire and rescue guys are here. Once they've got the fire under
control, we can check the rubble.
BETTERS(r): Let them handle it.  I need you on standby to head inside Armacham
as soon as the site is secure.
JIN(r): Roger.

<PLAYER descends into sewers>

<as PLAYER enters the lower level of a water pump room, an assassin drops down
from the upper level into the lower level, cloaks, then runs around the corner
to the right>

R: Squad on me. Move out.

<PLAYER fights Replicas in pit room and water-filled room area>

{ if PLAYER climbs the ladder in the pit room and crosses over pipes to enter
upper level of water pump room, PLAYER can find health booster #7 in the office
on the far side of upper level }

<PLAYER climbs up ladder in back right corner of water-filled room>

<PLAYER explodes proximity mines, then activates power switch to the left to
switch off power>

<if PLAYER activates laptop inside office>
BETTERS(r): All right, it's uploading.
BETTERS(r): Remember that wastewater report I mentioned?  There's a little more
info here.  The contamination seems to originate in the Auburn area.  That
place is practically deserted nowadays.  Probably not a coincidence.

=CP= <as PLAYER enters hallway just beyond laptop>

{ if PLAYER shoots padlocked fence gate }
{ PLAYER can move through pipe conduit to access health booster #8 in locked
office }
{ PLAYER can shoot padlock to unlock office door }

<as PLAYER descends stairs>
R: Command, we've lost contact with the search team.
R: Copy.  I'm sending in reinforcements.  You need to hold that position until
the evac is complete.
R: Understood.

<PLAYER fights Replicas in storage room>

<as PLAYER enters lower level of outdoor courtyard, a helicopter drops
additional Replicas onto the upper level platform>

<after PLAYER kills first group of Replicas, a second group of Replicas enters
courtyard through the upper level doors>

<as PLAYER enters yellow catwalk room>
R: In position.
R: Wait for my signal.
R: Thought I heard something.
R: Quiet down.
R: Moving.

<as PLAYER climbs stairs to yellow catwalk, a Heavy Armor bursts through the
upper level doors>

<after PLAYER exits the yellow catwalk room>
SFOD-D PILOT(r): Tomcat, this is Dust Seven.  I heard somebody needed a ride. 
Got an HLZ for me yet?
BETTERS(r): I'm showing a decent-sized yard just ahead of my point man's
current position.  Only problem is there's an enemy gunship sitting there at
the moment.  I'll keep you advised.
SFOD-D PILOT(r): Roger.

<PLAYER descends stairs>

=CP= <as PLAYER moves past office>

{ if PLAYER quickly moves to the glass-paneled door at the end of the hallway
and looks outside, PLAYER can see FETTEL giving orders to a Replica before
boarding the waiting helicopter }

<as PLAYER breaks window in side-office and jumps down into loading area, the
enemy helicopter takes off and a truck full of Replicas and a Heavy Armor drive
into loading area>

<after PLAYER kills all Replicas in yard>
BETTERS(r): Looks like the HLZ is clear.
SFOD-D PILOT(r): Copy.  I'm on approach.
BETTERS(r): Keep your eyes open for that Black Hawk.

<PLAYER hears sounds of helicopter>
<helicopter flies in over building and starts to descend>
BETTERS(r): Good. Head over to ATC headquarters and find Fettel.

<as helicoptor hovers overhead, level ends>

04a - Interval 04 - Infiltration - LZ is Hot

F.E.A.R. combat operative is en route to Armacham headquarters with SFOD-D
escort. F.E.A.R. technical officer is on standby.

No further information from inside Armacham.

The assault team will approach Armacham headquarters by helicopter and attempt
to make a rooftop entry.

Securing Fettel remains top priority.

- Your health will regenerate when you are below a certain threshold, which
differs by difficulty level.  It regenerates more quickly when you stand still.

- F.E.A.R. point man will attempt to determine the status of the missing SFOD-D
team and ascertain the nature of the threat in order to recommend military

----start observer mode-----
<PLAYER rides in helicopter with two SFOD-D operatives as the helicopter flies
over water at night>
BETTERS(r): Den Mother, what can you tell us about your recon team?
DENMOTHER(r): We were monitoring them on the security network when we lost
contact.  Now the entire system is offline.
BETTERS(r): Any news on the bad guys?
DENMOTHER(r): We know they hit the main building shortly before 5pm.  No
estimate on enemy strength, but we should assume it's a sizable force.
BETTERS(r): Hostages?
DENMOTHER(r): Undetermined.
BETTERS(r): But no demands.
DENMOTHER(r): Not as far as I know.
<as helicopter turns right and flies over a huge office complex>
SFOD-D PILOT(r): Dust Seven, on final. 
DENMOTHER(r): Copy, Dust Seven.  Do you have a visual?
SFOD-D PILOT(r): Roger that.
SFOD-D PILOT(r): Going dark.
<as helicopter turns left>
SFOD-D OP (T. Atwood): Man, I live for this shit.
SFOD-D OP (P. MacReady): Keep your dick in your pants.
<as helicopter approaches helipad, Replicas rush out of building and begin
shooting, taking down both SFOD-D ops>
<as helicopter lands, the dead SFOD-D ops topple out onto the helipad>
SFOD-D PILOT(r): We've got two men down!
SFOD-D PILOT(r): Repeat, LZ is hot!

- Infiltrate Armacham facility

=CP= <as PLAYER jumps out of helicopter>
----end observer mode-----

<as helicopter lifts off>
BETTERS(r): Den Mother, can you get him some backup?
DENMOTHER(r): I don't have any available elements.
BETTERS(r): Son of a bitch.

<PLAYER fights Replicas in helipad area>

<as PLAYER enter building through side door under helipad>
BETTERS(r): Still no word on Jankowski.  It's like he just vanished.
BETTERS(r): The weird thing is that the bodies of the Delta team he was with is
all accounted for.


<as PLAYER crosses catwalk>
R: We've lost contact with the roof.  Can you confirm if there's been a breach?
R: Unknown.  We're checking it out.

<PLAYER descends stairs>

{ if PLAYER turns left at bottom of stairs, PLAYER can find health booster #9 }

<PLAYER fights Replicas in utility area>

<PLAYER descends more stairs>

R: Hold up.

<PLAYER fights Replicas in utility room>

=CP= <as PLAYER opens red door>

<PLAYER fights Replicas in rooftop area>

<PLAYER climbs to upper level catwalk and enters building>

<PLAYER fights Replicas in utility room>

{ if PLAYER looks behind the square machinery, PLAYER can find reflex booster
#7 }

R: Down here.

<PLAYER fights Replicas in equipment room with stairway in the back>

<as PLAYER starts to climb the stairway>
BETTERS(r): What the hell?  I'm picking up Jankowski in that general area.  How
the fuck did he get all the way here?

[=UNK=] <as PLAYER reaches top of stairway>
<as PLAYER turns the corner, through the narrow gap between a large machine and
the wall, PLAYER catches a glimpse of a bloody JANKOWSKI apparition walking
left to right before dissolving into ash>
JANKOWSKI(vo): You don't even know who you are.

=CP= <as PLAYER passes by green wall boxes>

<PLAYER fights Replicas in another open rooftop area>

<drop through roof skylight to exit level>

04b - Interval 04 - Infiltration - Watchers

F.E.A.R. operative has successfully infiltrated Armacham headquarters building.
SFOD-D escort neutralized in ambush.  Additional U.S. Special Forces assets
have been scrambled.

Efforts to establish negotiations with hostile forces have been unsuccessful.

Initial objective will be to get the company network online so that F.E.A.R.
coordinator can access the system. F.E.A.R. operative will then proceed to last
known location of SFOD-D reconnaissance team.

- Be sure to search for laptops and voicemail messages for deeper insights into
the nature of the present crisis.

<PLAYER lands in a dark lobby area>

BETTERS(r): The ATC network is offline.  I need you to find the server hub and
reset it so I can get into the system.  It should give us a better idea what's
going on in there.

- Locate and reset network hub

<a jammed security gate keeps partially opening and closing>

<as PLAYER jumps over the counter, the lamp explodes and goes out>

<as PLAYER enters a small theater, the ceiling projector starts sparking with a

<when PLAYER opens double doors, PLAYER sees a brief glimpse of MAPES behind a
glass block wall, running left  into a doorway which slams shut behind MAPES
and locks>

<PLAYER sees hallway ceiling tiles fall and blue electrical sparks as an
assassin drops to the floor and runs into an utility room, slamming the door
shut behind him>

<when PLAYER checks the utility room, PLAYER only finds an open ceiling grate>
<dust falls from ceiling, accompanied by a rumbling noise>
{ if PLAYER quickly exits the utility room and looks left, PLAYER sees a brief
glimpse of FETTEL moving behind a glass block wall }
FETTEL(vo): Stay out of my way.

<as PLAYER enters conference room with the laptop, ceiling tiles fall down>

<when PLAYER activates laptop in conference room>
BETTERS(r): The data's uploading now.
BETTERS(r): There's a reference to something called Icarus.  Says here that it
was a bioengineering program that started in 1973.  Something about health
issues related to microgravity.  Loss of muscle mass, bone density, shit like

<as PLAYER approaches a row of tall windows with partially closed vertical
shades, a dead ATC guard is thrown through the glass into the hallway>
<an assassin rolls through another glass window, cloaks, and runs into the room
on the right, then jumps into the ceiling>

<PLAYER enters the sitting area on the other side of the broken glass>

<when PLAYER activates the wall phone with the blinking message light>
VM: You have one new message.
VM: First message from: 
VM: An outside number.
???(p): Peter, it's Carla at Hudson Avionics.  Where is everybody?  I can't
reach anyone over there.  I need to talk to Brett about this draft he sent
over, but he hasn't returned my call.  It's really important that he gets back
to me as soon as possible.  Okay? Thanks.
VM: End of messages.

<PLAYER enters multilevel lobby area>

=CP= <as PLAYER moves into the multilevel lobby area and the gate closes behind

<PLAYER climbs the stairs and fights 3 assassins in the upper level office

<PLAYER enters dark office with the wall phone with blinking message light>

<when PLAYER activates wall phone in dark office>
VM: You have three new messages.
VM: First message from:
HABEGGER(p): Chuck Habegger.
HABEGGER(p): It's Chuck Habegger.  I've analyzed the readings and I'm
recommending we suspend Perseus until we can figure out what's causing the
synchronization.  The patterns are identical to what we saw last time, but
obviously the consequences would be a hell of a lot worse.
VM: Next message from: 
HABEGGER(p): Chuck Habegger.
HABEGGER(p): I got your message.  Maybe you've forgotten that when this
happened before, Fettel was only a child.  And the fallout of that fuckup was
that Origin had to be permanently shut down.  This time we're talking about a
highly trained military commander with a telepathic link to hundreds of
soldiers that don't think for themselves.  If you worried about being behind
schedule now, imagine what'll happen if we end up with a full-scale revolt.
VM: Next message from:
DISLER(p): Marshall Disler.
DISLER(p): Hi, it's Marshall.  I just got off the phone with Chuck Habegger. 
I'm really worried about his findings.  He said he talked to you about
suspending the program temporarily and I've got to agree.  If there's even the
slightest chance of a synchronicity event, we've got to take it seriously.  I'm
going to head over to the Perseus Compound and check things out myself.  Why
don't you give me a call on my cell and let's discuss this.
VM: End of messages.

<PLAYER breaks windows and jumps through>

<PLAYER catches quick glimpse of cloaked assassin standing over a corpse before
jumping up into the ceiling as a light goes out>

<PLAYER enters office cubicle area>

<as PLAYER approaches office kitchen area>
RADIO: Police have set up roadblocks all over downtown in response to the
incident.  No one is being allowed into the area except for emergency
personnel.  We've been unable to confirm the precise nature of the crisis,
although at least one official has suggested that it may involve terrorism. 
Let's go to Diego Rodriguez live on the scene.
REPORTER (Diego Rodriguez):  Thanks, Phil.  We're being told that just before
5:00pm today, gunfire was reported at the downtown headquarters of Armacham
Technology Corporation, a major defense contractor.  What followed is unclear
at this point.  U.S. Army helicopters were seen approaching the building, but
we've heard nothing since.  Police are urging citizens to remain at home and
say there is very little danger of the situation spreading outside of the
cordoned area.  Phil, back to you.
RADIO: That was Diego Rodriguez coming to us live from the police blockade
downtown.  Today's crisis at Armacham comes on the heels of a report that one
if its vice presidents was kidnapped at gunpoint this morning on his way to
work.  Police are refusing to speculate as to whether the events are connected.

<PLAYER jumps onto vending machine and climbs into ceiling>

<PLAYER crawls through ceiling, then falls through bloodstained ceiling tiles
into office area>

<PLAYER fights assassins in office area>

<when PLAYER activates laptop in small sitting area next to the locked gate
with "Server Room" sign>
BETTERS(r): All right, it's uploading.
BETTERS(r): Looks like the Icarus program got shut down in favor of something
called Perseus, which from what I can tell is funded by DOD.  I'm guessing
that's where Fettel and his soldiers came from.

<PLAYER moves past jammed and sparking security gate>

<through an opening in the wall, PLAYER sees MAPES falls from ceiling along
with a few ceiling tiles>
MAPES: Don't shoot! My name is Norton Mapes.  I'm an engineer!
BETTERS(r): Shit, it's a civilian.  
BETTERS(r): Give him a comlink.

- To give a character a comlink, simply walk close to him and press USE

MAPES: Hello?
MAPES:  Who are you people?
BETTERS(r): The good guys.  Are you all right?
MAPES: Sure.  I'm having a hell of a time.
BETTERS(r): You said that you were an engineer?  Can you help me get into the
MAPES: What am I? An I.S. lackey?  Tell you what, you disable the local
security system and I'll see what I can do about the server.
BETTERS(r): I can disable it remotely once I'm logged in.
MAPES: No, you can't.  It's on a separate network.
<MAPES opens door>

- Shut down local security system

MAPES: It's back thataway.
BETTERS(r): Why do you want us to bring down the security system anyway?
MAPES: Never mind why.  You want my help, that's the price.

MAPES: I'll just wait here.

{ if PLAYER lingers near MAPES, MAPES will eventually say the following lines }
MAPES: Ta ta.
MAPES: Run along.
MAPES: Bye bye now.
MAPES: You just gonna stand there all day?
MAPES: Want some Cheezy Pooz? Get your own.

{ if PLAYER backtracks to the area just before MAPES unlocked the door, enter
the office to the left, and climbs cabinet into ceiling, PLAYER can find reflex
booster #8 }

=CP= <as PLAYER moves past MAPES>

<PLAYER moves past sparking security gate and a sitting area>

<PLAYER enters the office area with MAPES' messy desk, which is littered with
empty Cheezy Pooz bags, soda cans, and papers>

<when PLAYER activates phone on MAPES' desk>
VM: You've got one new message.  
VM: First message from:
HIVES(p): Iain Hives.
HIVES(p): Norton, this is Iain Hives.  Look, uh, Alice Wade stopped by my
office this morning.  I feel a little awkward saying this, but I really need
you to tone down the innuendo around her.  It's not that I personally give a
rat's ass, but the last thing we need right now is a sexual harassment case
drawing unwanted attention to this task force.  It's supposed to be secret,
after all.  Thanks, Norton.
VM: End of messages.

<as PLAYER moves past MAPES' desk>
R: This is Bravo 12.  We're in position.
R: Copy, Bravo 12.  Check in at 10 minute intervals.
R: Will do.  Bravo 12 out.

<PLAYER fights Replicas in lobby area and adjacent office area>

R: Command, we've got hostiles.
R: Understood.  Reinforcements are en route.

<PLAYER enters security office>

=CP= <as PLAYER activates gate controls>

BETTERS(r): That should do it.
BETTERS(r): Mr. Mapes! Where is that idiot?
BETTERS(r): Fuck it.  We'll just have to do this the hard way.
BETTERS(r): Okay.  Find that server and reboot it.

{ if PLAYER looks at the small security monitor as BETTERS speaks, PLAYER can
see the gate to the server room open and MAPES run toward the now open doorway
{ on the monitor, MAPES stops at the doorway and waggles his butt at the
security camera, then runs off through the doorway }

- Locate and reset network hub

<PLAYER enters the newly open gate directly in front of the security office
window, turns left at the red vending machines, and backtracks to the place
where MAPES fell from the ceiling>

<PLAYER fights Replicas on the way back to the newly opened server room

<as PLAYER approaches the server room doorway, Replicas appear>
R: We've got enemy movement near the server hub in admin.
R: Roger. Sending reinforcements.

<PLAYER fights Replicas coming out of the server room doorway>

<as PLAYER approaches server room area>
JIN(r): This is Jin.  We're on the roof.  Heading inside.
BETTERS(r): Copy, proceed to rendezvous.

<after PLAYER activates switch in server room>
BETTERS(r): Okay, I'm showing that the network has been rebooted.  Good job.
BETTERS(r): It'll take a minute for the system to come back online.

- Determine status of missing SFOD-D team

<PLAYER fights Replicas entering server room area>

<PLAYER enters newly open door in server area>

=CP= <as PLAYER enters hallway with posters>
BETTERS(r): That Mapes guy was right about the security being on a separate
network.  I can monitor the camera feed, but I don't have any direct access to
the system. 

<in cubicle area, PLAYER finds a dead body with bloody footprints leading away
from it>

[=UNK=] <as PLAYER follows the bloody footprints>
{ if PLAYER quickly looks upward at the upper level glass-enclosed walkway with
the blood-smeared window, PLAYER can see little ALMA walking toward the right,
then vanish as the light in the walkway goes out, then returns dimly }

<as PLAYER enters interior construction area with drywall-covered walls>
BETTERS(r): You're headed toward the last known location of that Delta team.
BETTERS(r): Secure the site and wait for Jin.

[=UNK=] <as PLAYER turns the corner past the two sawhorses on left side of
<PLAYER catches a glimpse of FETTEL crossing PLAYER's path some distance ahead>
FETTEL(vo): You've seen her, haven't you?
FETTEL(vo): She is the Original.
BETTERS(r): I just picked up Fettel's transmitter somewhere ahead of you.  Be
FETTEL(vo): I was made from her.
FETTEL(vo): And I was born from her.
FETTEL(vo): We are separate, but we are one.

[=UNK=] <as PLAYER moves past pile of paint buckets>
<PLAYER catches a glimpse of FETTEL's shadow moving across the ceiling>
{ if PLAYER looks very quickly to the left, PLAYER can see FETTEL moving in
front of a construction light>
<the light casting FETTEL's shadow goes out and when it comes back on, FETTEL
has vanished>

<PLAYER moves through construction area to glass double doors with flames on
the other side>

<as PLAYER opens double doors leading to the flames>
-----start mindscape event-----
<PLAYER enters a flame-filled version of the small tiled lobby from the
beginning of game>
<white flash>
<nightmare attacks from directly ahead> 
{ if PLAYER looks to the right, PLAYER can see little ALMA lurking in the back
right corner of the room before dissolving into ash }
<as PLAYER moves further into the lobby toward the stairs>
<white flash>
<nightmare attacks from the left> 
<sound of baby crying>
<as PLAYER approaches the stairs>
<white flash>
<nightmare attacks from the right of the stairs>
<as PLAYER climbs the stairs>
<naked ALMA walks left to right behind the glass-windowed double doors at the
top of the stairs>
<when PLAYER climbs stairs and opens the doors, world reverts to normal> 
-----end mindscape event-----
<PLAYER is again standing in the construction area>
FETTEL(vo): She is a prisoner.
FETTEL(vo): Floating in darkness.
FETTEL(vo): Like the unborn in the womb.
FETTEL(vo): Soon I will find her. And I will set her free.
BETTERS(r): Shit! I lost him again.  Fuck!

{ if PLAYER climbs steps to the upper level room, PLAYER can find health
booster #10 }

[=UNK=] <as PLAYER approaches bloodstains on white tile floor>
<lights flicker>

<PLAYER enters the blood-splattered elevator lobby to find the gory remains of
a SFOD-D team>
<when the elevator opens, JIN and a SFOD-D operative step out>
JIN: My god.
BETTERS(r): What do you think, Jin?
{ if PLAYER stands near the elevator and looks up at the upper balcony across
the room, PLAYER can catch a glimpse of little ALMA standing on the balcony
looking down before she disappears }
<JIN crouches down to examine the blood on the floor as the SFOD-D escort moves
to open the security gate>
JIN: There was a lot of anger in this room.
<JIN's camera flashes as she takes a photo>
{ if PLAYER continues to look up at the balcony, JIN's flash casts a shadow of
little ALMA against the wall }
BETTERS(r): That's great.  Got anything USEFUL to add?
JIN: I don't see any bulletholes.  There's no brass lying around, either. These
guys didn't fire a shot.
<JIN stands up and continues to take flash photos>
<SFOD-D Op opens the security gate>
BETTERS(r): Then what killed them?
JIN: I don't know.
<JIN continues to take more flash photos>
BETTERS(r): Well, figure it out.
<JIN moves forward to get a better look at a skeleton>
BETTERS(r): All right, buddy, get moving.  Fettel's gotta be close.

- Continue the search for Paxton Fettel

<JIN continues to take flash photos of the scene>
JIN: I'm not even sure where to start.
JIN: Almost complete liquifaction.
JIN: Maybe a chemical agent?
JIN: This is going to take some time.

<as PLAYER exits through now open security gate>
SFOD-D Op: Watch your back.

<PLAYER jumps over glass railing to end level>

05a - Interval 05 - Extraction - Bishop

Remains of missing SFOD-D team have been found.  F.E.A.R. technical officer is
on scene conducting forensic analysis.

F.E.A.R. mission coordinator has detected Paxton Fettel's transmitter signal in
the area.

Armacham personnel are presently unaccounted for.

F.E.A.R. combat operative will attempt to intercept Fettel.

- There may be more than one way to tackle an obstacle. Explore thoroughly to
find alternate routes and hidden stashes of supplies.

<as PLAYER enters small reception area, a cloaked assassin drops from ceiling
behind the desk and runs off to the right>

{ if PLAYER follows assassin, PLAYER can climb filing cabinet into ceiling to
get a vantage point in the cubicle area }

<as PLAYER approaches the cubicle area (either on the floor or in the vent)>
R: Hostage is secure.  They're questioning him now.
R: Roger. Keep him alive until the commander gets there.
R: Understood.

<PLAYER fights Replicas in lower level cubicle area and upper balcony>

<when PLAYER activates phone in right-side office>
VM: You have one new message.  First message from:
HARLAN(p): Harlan Wade. 
HARLAN(p): Mike, it's Harlan Wade.  Chuck Habegger seems to think your people
are blowing smoke up his ass on this Perseus situation.  I don't know which of
you shitheels over there is calling the shots, but you'd better stop dicking
around fast, because the readings are getting worse by the minute.  It's really
a simple choice.  You can either listen to the expert advice you're being given
or you can brace yourself for the assfuck of the century.  'Cause it's coming. 
You can mark my words on that.
VM: End of messages.

<PLAYER moves through small copier room>

<PLAYER fights Replicas in cubicle area>

<when PLAYER activates phone in the first office in bloodstained hallway>
VM: You have one new message.  First message from:
DISLER(p): Marshall Disler. 
DISLER(p): Hi, it's Marshall Disler.  Looks like you were right about the
energy signature.  It's identical to the original.  I'm still trying to come up
with an explanation, but I figured you'd at least want confirmation.  I'll be
in touch when I know more.
VM: End of messages.

=CP= <as PLAYER approaches bloodstain in hallway>

<as PLAYER approaches lobby area>
R: He's after the hostage.

<PLAYER fights Replicas in conference room area>

<during and after fight with Replicas, PLAYER hears a voice calling from the
conference room closet>
BISHOP(out-of-view): Help!
BISHOP(out-of-view): Get me outta here!
BISHOP(out-of-view): Is anybody there?
BISHOP(out-of-view): Can anybody hear me?
BISHOP(out-of-view): I'm in the supply closet!

<PLAYER opens door to supply room to find a bloody-faced BISHOP tied to a chair
with bombs strapped on him>
BISHOP: Finally!  
BISHOP: Can you do something about these bombs?
BETTERS(r): All right!  Another civilian. 
BETTERS(r): Den Mother, we've located a hostage.  Sounds like he's wired up
with explosives.
DENMOTHER(r): Roger.  I'll send somebody to help out.
BETTERS(r): Give him a comlink.
<BISHOP takes comlink>
BISHOP: Hello?  You guy special forces or something?
BETTERS(r): That's right.  Just sit tight, Mr. ---
BISHOP: Bishop.  Aldus Bishop.
DENMOTHER(r): Demo team's on its way.
BETTERS(r): Okay, buddy, there's some elevators near your position.
BETTERS(r): Secure the area and escort the team back to Bishop.

- Rendezvous with demolition expert at elevators

<PLAYER enters open gate and moves through hallway with small side-nook sitting

=CP= <approaching T-intersection in hallway>

<as PLAYER approaches either doorway (gates open) to elevator lobby>
BETTERS(r): Someone's messing with the security system.  
BETTERS(r): They might be trying to box you in.

<after PLAYER enters elevator lobby, security gates close>
<4 elevators arrive in sequence, containing groups of Replicas>
<5th elevator contains Heavy Armor and escort>

<after all Replicas are dead, the 6th elevator arrives (on the 9th floor) and
HOLIDAY and SFOD-D Op emerge>
HOLIDAY: Hold your fire.
HOLIDAY: Hey, good to see you again.
<HOLIDAY examines locked security gate>
HOLIDAY: Any way to get these gates open?
BETTERS(r): Unfortunately, no.
HOLIDAY: Then I guess we're gonna have to improvise.
<HOLIDAY sets demo charge on wall>
SFOD-D Op(D Passalaqua): You're by yourself?  I'm amazed that you've stayed
alive this long.
<orange light on demo charge flashes as HOLIDAY backs away>
HOLIDAY: Stand back.
HOLIDAY: Here goes.
<demo charge blows hole through wall>
HOLIDAY: We're through.

- Escort demolitions expert

<PLAYER backtracks to conference room and BISHOP>

{ if PLAYER wanders or moves too slowly, HOLIDAY will eventually say the
following lines }
HOLIDAY: You gonna show us where that hostage is at?
HOLIDAY: Any time you're ready.
HOLIDAY: Come on. Let's get moving.

<as PLAYER moves past the small side-nook sitting area>
HOLIDAY: Man, I should've called in sick today.

<PLAYER returns to conference room and BISHOP, who has managed to scoot his
chair out of the storage room>
BISHOP: You the bomb expert?
HOLIDAY: That's right.
<HOLIDAY kneels to check out the bomb>
HOLIDAY: Don't worry, you'll be fine.
BISHOP: Just get this shit off me. Please.
HOLIDAY: Whoever rigged this is definitely a pro.
BISHOP: Is that supposed to make me feel better?
HOLIDAY: He may be a pro, but I'm a master.
<the lights flicker, then cut off entirely as the fire alarm activates, yellow
lights flash, and security gates open>
HOLIDAY: A fire alarm?
BETTERS(r): It was triggered at a security office on that floor.  You'll need
to shut it off to get the elevators back online.

- Investigate cause of fire alarm

HOLIDAY: Better go check it out.

<when PLAYER approaches SFOD-D Op, he points toward open doorway>

{ if PLAYER lingers near BISHOP, the following lines are eventually spoken }
HOLIDAY: Get the elevators back online, man.
SFOD-D Op(D Passalaqua): Hurry up so we can get the hell out of here.

=CP= <as PLAYER goes through the newly opened security gate>

<as PLAYER approaches lobby with stairs>
BETTERS(r): Mr. Bishop, do you have any idea why you were taken hostage?
BISHOP(r): They were asking about Harlan Wade.  Me and his daughter Alice are
on the same task force.
BETTERS(r): What kind of task force?
BISHOP(r): We're working on a study of the Auburn district over the past 25
years.  Nobody told us what it's for.
BETTERS(r): Where's his daughter now?
BISHOP(r): Her office is in the executive building.  On the 6th floor.

{ if PLAYER enters the right-side hallway in lower level of lobby, PLAYER can
find health booster #11 in the rearmost office }

<PLAYER climbs stairs to upper level>

<when PLAYER activates phone in 2nd office on upper level walkway (just before
small sitting area)>
VM: You have one new message. First message from:
ALICE(p): Alice Wade.
ALICE(p): Hey Aldus, it's Alice Wade.  I put some photocopies in your mail
basket.  It's a bunch of news articles I dug up about Auburn from the last 25
years.  There's a surprising amount of corroboration of the physical symptoms
that old woman told us about.  Seems a lot of people over the years reported
feeling uncomfortable or nauseated after spending any amount of time there. 
But if it was some kind of chemical or radiological contamination, why didn't
the city find anything in the soil or the groundwater?  It doesn't make a lot
of sense.  Oh well.  Talk to you soon.
VM: End of messages.

<PLAYER enters small elevator lobby with an open left-side elevator and a
closed right-side elevator (which has a large pool of blood in front of it)>

<when PLAYER activates phone in security office>
VM: You have one new message.  First message from:
DISLER(p): Marshall Disler.
DISLER(p): This is Marshall!  Something's happening over here at the Perseus
Compound.  I can hear gunshots, but the security system just went down, so I
don't know what the situation is.  Just send all available security teams to
lock this place down.  I'll call back once I have a better idea what's going
VM:  End of messages.

[=UNK=] <when PLAYER turns off fire alarm>
<yellow lights and fire alarm stops>
<when PLAYER turns around, PLAYER sees little ALMA rise up into view on the
other side of the security office window>
ALMA(vo): I know who you are.
<little ALMA continues to stare at PLAYER as long as PLAYER remains in security

[=UNK=] <as PLAYER emerges from security office>
<little ALMA advances toward PLAYER, then disappears in a white flash>
BETTERS(r): Great. The elevators are working again, but now the security gates
are all shutting.  You're going to have to find another way to the roof.
BETTERS(r): Holiday, can you guys escort Mr. Bishop?
HOLIDAY(r): We'll take good care of him.

- Rejoin Holiday and Bishop on roof

<in small elevator lobby, PLAYER sees a trail of bloody footprints leading from
the blood pool in front of the right-side elevator to the spot in front of the
security office window (where little ALMA was standing)>

<PLAYER enters open left-side elevator (floor 09) and activate elevator
(lighting 15th floor button)>

<after elevator stalls after 10th floor, PLAYER climbs out and enters
construction area>
JIN(r): Betters, I'm pretty much done here.
BETTERS(r): Any theories?
JIN(r): I'm gonna need to do some lab work.
BETTERS(r): All right. Head back to the roof and sit tight.  It may be a while
before we can get a ride out of there for you.
JIN(r): Understood.

<PLAYER jumps onto piled construction materials and climbs into ceiling to
access vent>

<as PLAYER drops out of vent into the bloodstained elevator shaft area, a body
falls down the shaft>

{ if PLAYER looks down at the bottom of the shaft, PLAYER can see a large pile
of dead bodies }

<PLAYER exits elevator shaft area>

<when PLAYER activates the laptop in the dark sitting area>
BETTERS(r): The data's uploading.
BETTERS(r): Well, this confirms the point of Perseus was to train telepathic
commanders to work with clone soldiers, although it looks like Paxton Fettel
was the only commander in the program.  The weird thing is that they refer to
him as the second prototype.

=CP= <approaching room with unfinished window openings leading outdoors>

<PLAYER climbs outdoors through window opening, then moves left along the
window ledge>

<a bird flies away, cawing>

<PLAYER reenters building through window opening>

<as PLAYER enters construction area>
R: He may try to come this way.

<PLAYER fights Replicas in construction area>

<PLAYER fights in upper level balcony area>

<PLAYER approaches (on upper level) a small lobby with incomplete Armacham logo
and scaffolding on the lower level>
<sound of helicopter flying overhead>
BETTERS(r): Fire and rescue are giving up on Jankowski.  I'm hoping he just
banged his head really hard and he's wandering around the harbor with amnesia.

<PLAYER drops down into lower level of construction area>

<PLAYER fights Replica in small construction area>

R: Anything?
R: Negative.
R: Roger that.

<PLAYER fights Replicas in large construction area with aqua-edged drywall

{ if PLAYER looks up, PLAYER can see the yellow glow of reflex booster #9 on
the back right corner of the plywood-railed upper balcony }

{ if PLAYER heads left past the aqua-edged drywall, then turns left again,
climbs floating-style staircase to upper level, enter through glass doors,
PLAYER can reach reflex booster #9 in plywood-railed upper balcony area }

<PLAYER enters hallway with green vending machines leading to unfinished
stairway and climbs upward>

<as PLAYER reaches yellow toolbox on scaffold>
HOLIDAY(r): We're on the roof.
BETTERS(r): Good. How're you holding up, Mr. Bishop?
BISHOP: Looking forward to getting the hell out of here.
BETTERS(r): I bet you are.

<PLAYER continues climbing upward on creaking plywood ramps>

<PLAYER jumps over wooden wall at top of stairwell to end level>

05b - Interval 05 - Extraction - Blindside

F.E.A.R. operative liberated a hostage, Aldus Bishop, who claimed he was
interrogated about Harlan Wade, a senior Armacham researcher.  Wade's
whereabouts are unknown.  Bishop also reported that he's a colleague of Wade's
daughter, Alice.  IT is assumed she will have been targeted by Replica forces
and may already be a prisoner.

SFOD-D operative Douglas Holiday is escorting Bishop to the roof for immediate

F.E.A.R. technical officer is continuing forensic breakdown of SFOD-D massacre

There are indications that many Armacham employees were executed.

F.E.A.R. combat operative will rendezvous with Holiday at the helicopter
landing zone (HLZ).

- Head shots inflict extra damage against most enemies.  Also, unalert enemies
are easier to kill, so try to sneak up on targets wherever possible.

<PLAYER exits onto rooftop as Replicas fire upon a helicopter flying overhead
to the right>

HOLIDAY(r): I've got a visual on the chopper.

<PLAYER fights Replicas on rooftop>

<as PLAYER approaches the stairs to lower roof level>
R: Target is on the roof.

<as PLAYER enters lower roof level, Replicas rush out of a red side door>

<PLAYER fights Replicas on lower roof level>

<PLAYER reenters building via red side door>

<PLAYER fights Replicas in utility area>

<as PLAYER enters a small balcony area>
RADIO: We have an update on the situation at Armacham headquarters. A company
spokesperson has confirmed that MANY employees were still at work when the
situation first erupted.  No word yet on the welfare of those inside.
RADIO: Since it was founded in 1964, Armacham Technology Corporation has become
a leading aerospace/defense contractor, with revenues approaching 8 billion
dollars and almost 60,000 employees worldwide.  The company specializes in
satellite technologies, ground-based communications, and advanced weapon

<sound of helicopter>

<as PLAYER jumps over railing, elevator doors to the right close>

=CP= <after PLAYER jumping over railing>

<approaching open door to helipad, PLAYER sees HOLIDAY loading a wounded BISHOP
into helicopter>
HOLIDAY(r): We're taking fire!!!
HOLIDAY(r): Get us the hell out of here!!!
<helicopter lifts off and flies off to the left>
BETTERS(r): What's happening!?
HOLIDAY(r): Bishop's down! Repeat, Bishop's down!
HOLIDAY(r): That was ATC security!
BETTERS(r): Are you sure!?
HOLIDAY(r): Oh yeah, I'm sure.
BETTERS(r): Friendly fire?
HOLIDAY(r): Didn't feel very friendly to me.  I think they were deliberately
targeting Bishop.
BETTERS(r): What the fuck is ATC doing!?

- Eliminate ATC threat

HOLIDAY(r): Guess they didn't trust him to keep his mouth shut about something.
BETTERS(r): God, I hope you're wrong.
BETTERS(r): I'll look into it.

<PLAYER fights ATC security on rooftop>

<as PLAYER enters building through upper or lower door>
ATC: Bishop has been neutralized.
ATC: Good work. Farley's men are still looking for the Wade girl, so see if you
can locate Iain Hives.
ATC: Will do.

<PLAYER fights ATC security in upper and lower utility areas>

<PLAYER climbs stairs and exits onto upper rooftop level>

<as PLAYER heads left, a door near ventilation equipment on lower level opens
and ATC security rushes in>

<PLAYER fights ATC in lower equipment area>

<PLAYER jumps over railing into lower equipment area and enters building>

<PLAYER fights with ATC on other side of gap>

<as PLAYER jumps on a vent conduit to cross the gap, it collapses under his
<as PLAYER falls>
BETTERS(r): Shit!  Your signal's breaking up....

<PLAYER falls into water>

<as PLAYER climbs out of water>
- Find a way back up into the main building

[=UNK=] <approaching padlocked gate near venting gas pipe>
{ with flashlight on, PLAYER can see little ALMA standing behind the fence gate
before dissolving into ash }

<when PLAYER shoots padlock, the explosion knocks PLAYER back into the water
and causes a catwalk to partially collapse>

{ if PLAYER approaches the burning gas pipe and looks left, PLAYER can find
reflex booster #10 in side nook }

<as PLAYER approaches fallen catwalk, the building shakes and dust falls from

<as PLAYER approaches red door at the end of catwalk, shutters suddenly open in
the wall, exposing a fan>

<after PLAYER enters door beyond wall fan and climbs up steps into utility
area, the building shakes and ceiling light swings wildly>

=CP= (as PLAYER exits utility area and approaches large pipes)

<building shakes and dust falls>

<PLAYER heads left and crawls through pipe conduit>

<as PLAYER moves through conduit, building shakes and steam escapes pipe>

<as PLAYER exits conduit, building shakes, dust falls, and ceiling lights swing

<as PLAYER approach red catwalk, an explosion at far end causes a large pipe
and debris to fall on catwalk, collapsing it, while a burning gas pipe blocks
the far door>
<steam gushes from underneath catwalk>

<PLAYER jumps down and enter crawlway under catwalk, turns left at burning gas
pipe to emerge on other side of catwalk>

<PLAYER again jumps down and enter crawlway under the catwalk>

<as PLAYER exits crawlway, a skeleton drops into the room through a ceiling

{ if PLAYER looks up at the open ceiling vent, PLAYER can see the blue glow of
a health booster #12 }

<PLAYER climbs stairs and activates red valve on yellow pipe marked "Danger -
High Pressure Gas Line" to turn off gas>

{ if PLAYER climbs ladder next to gas valve, PLAYER can enter ceiling area and
access previously seen health booster #12 }

<PLAYER returns to previously blocked area and climbs up ladder>

[=UNK=] <as PLAYER reaches the top of the ladder>
-----start slo-mo event-----
<bloody JANKOWSKI apparition peers around corner>
JANKOWSKI(vo): They left her in darkness.  They left her to die.
<JANKOWSKI apparition dissolves into ash as the building shakes particularly
hard and dust falls>
-----end slo-mo event-----

=CP= <as PLAYER moves past the corner where JANKOWSKI disappeared>

<PLAYER enters area with a freight elevator with a red monitor screen and a
long ramp>

{ if PLAYER looks through fence to right of elevator, PLAYER seens a power
switch and red glowing panel }

<PLAYER descends ramp and enters blue generator room with a water pit with
crates blocking a tunnel>

<PLAYER activates water valve on upper catwalk to raise water and allow access
to tunnel>

<PLAYER swims through newly accessible tunnel, climbs out to access previously
seen power switch>

<when PLAYER activates power switch, the red glowing panel turns green>

{ if PLAYER looks through fence left of power switch, PLAYER sees the red
monitor screen near freight elevator has turned blue }

<PLAYER climbs ladder and crosses catwalk back to blue generator room>

=CP= <as PLAYER approaches blue generator room>

<as PLAYER climbs ramp back to freight elevator, it opens to reveal Heavy Armor
and Replicas>

<after killing Replicas, PLAYER activates freight elevator (to floor 01) to
exit level>

06a - Interval 06 - Interception - Sayonara, Sucker

F.E.A.R. combat operative has resurfaced after being temporarily out of

F.E.A.R. coordinator is tracking Paxton Fettel on the far side of the research

F.E.A.R. operative will traverse research area to intercept Fettel.

- Reflex and Health Boosters permanently increase your abilities, giving you an
greater edge against opponents.  You will rarely find them lying out in the
open, so search carefully.

<as PLAYER rides up on elevator>
BETTERS(r): Son of a bitch!  I'd thought we lost you.
BETTERS(r): While you were out of contact, I got a read on Fettel's
transmitter.  He's all the way on the other side of the research area from you.
 You're going to have to hustle to intercept.

- Find and neutralize Paxton Fettel

<as elevator slows and comes to a stop>
R: They lost sight of Norton Mapes in this area.  He can't get far with the
elevators locked down.
R: The commander wants him alive and unharmed. He might know the location of
the Vault.
R: Understood.

<PLAYER fights Replicas in white cube storage room>

<as PLAYER exits office in white cube storage room>
BETTERS(r): I've been trying to get through to Genevieve Aristide.  She's the
president of Armacham.  I was able to confirm that she wasn't around when
Fettel's men hit the compound, but I can't seem to track her down. Maybe she
doesn't want to be found.

{ if PLAYER looks through first clear security door, PLAYER can see reflex
booster #11 in the office directly ahead }

<PLAYER enters sliding door and moves through lab area>

{ if PLAYER looks straight ahead through security door, PLAYER can see a
sparking ceiling camera and a security office with a blinking wall phone }

<PLAYER heads left and climbs stairs to small elevator lobby> 
MAPES: Hello? Who's there?
<MAPES stands up after crouching behind a sofa and holding a pot with a cactus
plant above his head in a clumsy attempt to hide>
<MAPES lowers cactus plant>
MAPES: Oh, it's you. Christ, I thought I was a goner.
BETTERS(r): Mr. Mapes, you're still alive.
MAPES: No thanks to you guys.
BETTERS(r): What are you doing here?
MAPES: The elevators are offline and those soldiers are everywhere.  You've got
to find a security office and override the lockdown.
BETTERS(r): You going to stay put this time?
<MAPES still holding cactus plant in one arm>
MAPES: On my honor.

- Override security lockdown

=CP= <after Mapes finishes talking>

{ if PLAYER heads right, then enters first lab on the left, then looks right,
PLAYER can see health booster #13 and someone's legs sticking out of air vent,
dangling and thrashing }
{ the body of a dead scientist either partially (or completely) slides out of
the air vent and blood drips from the vent }

<when PLAYER activates phone near health booster>
VM: You've got one new message. First message from:
VM: An outside number.
???(p): Jason, it's me! I just saw the news!  What's going on!?  Please call me
back and let me know you're okay!  I'm really freaking out.
VM: End of messages.

<PLAYER enters sliding door and enters lab area>

<as PLAYER enters sliding door, PLAYER sees Replicas moving to the left behind
the glass windows>
R: Squad, on me!

<PLAYER fights Replicas in lab area beyond white storage cubes>

{ if PLAYER looks to the right through clear security door (past exam table),
PLAYER can see a sparking door and a balcony railing }

<as PLAYER enters sliding door into pipe room (containing rocket launcher),
Replicas run up the stairs to the left>
R: Move up!

<PLAYER fights Replicas in pipe room>

<PLAYER descends stairs and enters tunnel>

<as PLAYER approaches tunnel exit, Replicas take up positions at the top of the
R: This way!

<PLAYER fights Replicas in tank lab room at top of stairs>

<when PLAYER activates the laptop on the right side of the tank lab room>
BETTERS(r): Here's some more information on Fettel  He was developed as part of
a project called Origin.  It says that the first prototype didn't work out. 
Fettel was the second and there was never a third.  They pulled the plug a few
years after he was born.

<PLAYER enters hallway with previously seen sparking door and jumps over
balcony railing to the right>

<as PLAYER jumps over railing, Replicas appear on the balcony area to the left>

<PLAYER moves past balcony area to reach the previously seen sparking ceiling
camera and security office with a blinking wall phone>

<when PLAYER activates phone in security office>
VM: You've got one new message. First message from:
ARISTIDE(p): Genevieve Aristide.
ARISTIDE(p): John, it's Genevieve.  It seems the Senator's plan failed.  His
special forces team has been unable to neutralize Fettel.  We should assume the
worst.  Instruct the security force to repel all outsiders.  We need time to
clean things up.
VM: End of messages.

=CP= <as PLAYER activate switch to open security gates>

- Find and neutralize Paxton Fettel

{ if PLAYER backtracks toward the white cube storage area, PLAYER can now
access the previously seen reflex booster #11 at the beginning of the level }

<PLAYER backtracks to elevator lobby where MAPES was hiding>
<as PLAYER reaches the lobby, MAPES stands in the closing elevator and gives
PLAYER the finger>
MAPES: Sayonara, sucker.
<elevators doors close, leaving PLAYER stranded>
BETTERS(r): At least he's predictable.

<PLAYER enters newly accessible elevator shaft area, climb up ladders to the
second highest level (uppermost level containing items), cross elevator shaft
to access vent>

<PLAYER drops down inside vent to exit level>

06b - Interval 06 - Interception - Unauthorized Personnel

Armacham engineer Norton Mapes has again resisted rescue effort by F.E.A.R.
point man.

Paxton Fettel's position has remained stationary.

Every effort must be made to reach Fettel before he relocates.

- The AT-S Proximity Grenade and M77 Remote Bomb are useful for setting traps,
but can also be employed as offensive weapons with a little practice.

<in vent area, PLAYER crawls past a "Caution" sign on the floor and an inactive
gun turret (with diagram on it)>

<PLAYER descends ladder>

<as PLAYER turns a corner, PLAYER sees MAPES hovering over the console in a
security office>
MAPES: Oh, perfect.  You again.  
MAPES: See this button?  
<MAPES gives PLAYER a taunting look as he raises his hand to the button>
MAPES: I wonder what this does.
<automated defense turret activates>
MAPES: Oopsy.
MAPES: Bye-bye now.
<MAPES runs out of security office>

<to the left of security office, PLAYER sees an open offline elevator and a
cactus plant (that MAPES was previously carrying) on the floor>

<PLAYER climbs up ladder,  backtracks to the "Caution" sign in the ceiling
area, and enters now-accessible vent grate behind the deployed (lowered) gun

=CP= <as PLAYER drops down through grating>

<as PLAYER approachs ramp>
COMPUTER: Automatic defensive measures are active in this area. Unauthorized
personnel will be shot on sight.
<gun turret deploys at the end of hallway>

<after PLAYER destroying gun turret, PLAYER shoots padlocked gate labelled
"Closed Area" to access power switch and turn off power>

<PLAYER enters sliding door into lab>

<when PLAYER activates laptop in lab>
BETTERS(r): There's a little more here about Origin.  The reason they shut it
down was a synchronicity event.  Doesn't say what that means, but I guess there
were a few casualties.

<PLAYER enters 2nd lab area and heads either left or right>

<gun turret deploys in hallway with floor grates>

<PLAYER destroys gun turret above floor grates>

<gun turret deploys in reception area>

{ if PLAYER goes down steps and enters crawlspace under floor grates, PLAYER
can exit into relatively sheltered area near reception area gun turret>

<PLAYER destroys gun turret in reception area>

{ if PLAYER looks through the windows under the reception area gun turret,
PLAYER can see MAPES standing in the room beyond }

{ if PLAYER approaches the windows, MAPE runs off through a door to the right }

<as PLAYER enters sliding door out of reception area, PLAYER catches a brief
glimpse of Mapes on the other side of a window, running off to the left, as a
phone starts to ring nearby>

{ if PLAYER heads left and activates the ringing wall phone in nearby lab,
PLAYER hears static and/or distorted music }

<gun turret deploys in hallway near green vending machine and corner reception

<PLAYER destroys gun turret near vending machine>

<as PLAYER turns the corner, through the window at the far end of the hallway,
PLAYER sees Mapes trying to squeeze into a wall vent>

<PLAYER climbs up ramp and gets a better view of MAPES's struggles>

{ if PLAYER tries to enter room where MAPES is, the door jams, and MAPES is
gone when PLAYER returns to the window }

=CP= <as PLAYER moves past the room where MAPES was strugglin>

<as PLAYER approaches the sliding door in hallway, two gun turrets deploy, one
in front and one behind PLAYER>

<PLAYER enters sliding door to lab area between the two gun turrets>

<when PLAYER activates phone in the lab area between double turret gauntlet>
VM: You have one new message.  First message from:
MOODY(p): Bill Moody.
MOODY(p): This is Bill Moody.  Sorry I didn't get back to you sooner, but we
got a little behind schedule.  I'm still out here at the South River Treatment
Plant.  Anyhow, I've got some preliminary results for you.  All the compounds
you had me test for were present, although the concentrations are significantly
higher than expected.  I should have a complete report on your desk Monday
morning.  Talk to you soon.
VM: End of messages.

<PLAYER climbs into air vent in lab area>

<PLAYER enter into fan chamber>

{ if PLAYER enters vent straight ahead, PLAYER finds the end of vent blocked by
white containers }
{ if PLAYER approaches end of blocked off vent, PLAYER sees a burst of blue
sparks and a dead scientist on the floor }

<PLAYER enters left vent in fan chamber to avoid first turret in double turret

<after destroying one or both gun turrets in double turret gauntlet, PLAYER
climbs stairs to upper level, enters sliding door, and descends stairs into

{ if PLAYER goes right at T-intersection in crawlspace, PLAYER finds a dead
scientist }
{ approaching the scientist triggers a burst of electrical sparks }

<PLAYER heads left at T-intersection in crawlspace and climbs ladder out of

=CP= <as PLAYER exits room after climbing out of crawlspace>

<PLAYER hears sound of breaking glass as Replicas rappel through the lobby
<sound of helicopter flying away>

{ if PLAYER jumps into room beside stair/ramp, PLAYER can access reflex booster
#12 }

=CP= <as PLAYER goes through open security door>	

<PLAYER hears distant gunfire>

<PLAYER enters 1st cargo elevator area with Replicas and sparking gun turret>

<PLAYER enters office and activates console to lower 2nd cargo elevator>

<2nd cargo elevator descends with a REV6>

<PLAYER fights REV6 in cargo elevator area>

<PLAYER activates 2nd cargo elevator and rises to upper level>

<PLAYER climbs ladder to catwalk in upper level of 1st cargo elevator area>

<PLAYER enters vent and drops through hole in ceiling tiles>

<outside gas-filled lab with yellow flashing lights>
COMPUTER: Warning.  Toxic substance detected. Emergency lockdown in effect.

<PLAYER climbs ladder behind fence into ceiling>

{ if PLAYER enters vents to right of ladder, PLAYER can access a Type-7
Particle Weapon }

<PLAYER climbs ladder next to "Caution" sign" and drops out of vent>

<when PLAYER activates venting>
COMPUTER: Emergency cancelled.

{ if PLAYER climbs stairs to upper level, PLAYER can find a health booster #14

<when PLAYER activates phone near health booster in upper level>
VM: You have two new messages. First message from:
MOODY(p): Bill Moody.
MOODY(p): Hey Janice, it's Bill Moody.  Iain Hives sent me down to the South
River Treatment Plant to do some wastewater analysis.  I'm concerned about my
findings since that effluent comes from residential areas.  It may be
originating in Auburn, which might actually explain a lot.  I'm gonna send you
a copy of my report so you can make sure the proper people are informed.
VM: Next message from:
HIVES(p): Iain Hives.
HIVES(p): Janice, it's Iain.  Wanted to give you a heads up that you might be
getting a call from Bill Moody.  I think the best course of action would be for
you to act like you give a shit about his concerns.  I think all he really
wants is to believe that someone in authority is taking the ball and running
with it.  I think I fucked up by blowing him off, so I'm guessing he'll run to
you.  Anyway, let me know how it works out.
VM: End of messages.

<PLAYER enters now-accessible lab>

<when PLAYER activates laptop in cleared lab>
BETTERS(r): This is interesting.  When they pulled the plug on Origin,
apparently they just locked the doors and threw away the key.  They didn't go
into a lot of detail, but I guess the place was really dangerous to be in.  I
wonder if it was some kind of chemical leak or something.

=CP= <as PLAYER exits balcony area above the lobby where Replicas earlier

<PLAYER enters security office and activates gun turret to attack Replicas in
cubicle area>

<PLAYER jumps over desk and enters cubicle area>

R: Team, spread out!

<PLAYER fights Replicas in first cubicle area with sparking gun turret>

<PLAYER fight Replicas in second cubicle area with sparking gun turret>

<PLAYER exits through open door under "Exit" sign>

<as PLAYER approaches lobby, PLAYER hears gunfire and a yell>
<the falling body of dead ATC guard falls from the upper level to the floor>
R: Resume patrol.

<PLAYER fights Replicas in lobby area>

<PLAYER climbs to upper level of lobby, then jumps over railing to exit level>

06c - Interval 06 - Interception - After Image

Paxton Fettel's signal has vanished again.  Armacham technical advisor suggests
the problem may be the result of damage the transmitter sustained during

It is now believed that Armacham engineer Norton Mapes is actively sabotaging
the F.E.A.R. mission.

Primary mission is to locate Fettel.

Secondary objective is to take Norton Mapes into custody for questioning.

- Enemies will react to seeing your flashlight beam, so only use it when

<gun turret deploys, but then sparks and falls to the floor>

<as PLAYER descends ramp, PLAYER can see reflex booster #13 in darkened room
behind window>
<computer monitor in the same room (sometimes) topples over by itself>

<as PLAYER turns left after sighting health booster and heads down hallway, a
bloody BISHOP apparition peers around the right-side corner>
BISHOP(vo): It wasn't my fault...
<apparition dissolves into ash>

{ if PLAYER enters second office on the left, PLAYER finds health booster #15>

<when PLAYER activates phone at lab at end of hallway>
VM: You've got one new message.  First message from:
ARISTIDE(p): Genevieve Aristide.
ARISTIDE(p): Iain, can you send me copies of any materials your task force has
put together on the Origin anomalies?  Harlan is supposed to be updating me
daily, but apparently he's got his hands full with the grudge he insists on
carrying.  I hope he's not dribbling too much poison in people's ears.  I take
fully responsibility for what happened to the team, but wishing won't bring
them back.  In any case, now's not the time for assigning blame.  We have to
work together as a team to get through this crisis. Thanks so much.
VM: End of messages.

<as PLAYER enters 1st darkened lab, a light near an exam table wobbles by

<PLAYER turns corner and sees FETTEL standing on the other side of a lab

<as PLAYER approaches FETTEL>
FETTEL: You again.
FETTEL: They tried to bury their sins, but instead planted the seeds of their
<FETTEL disintegrates into black ash>
FETTEL(vo): A war is coming. I've seen it in my dreams. Fires sweeping
over the earth. Bodies in the streets. Cities turned to dust. Retaliation.

<PLAYER climbs steps and enters 2nd darkened lab area>

<as PLAYER approaching a cart, objects on cart move by themselves>

{ if PLAYER heads to the back window of 2nd lab area, PLAYER can find
previously seen reflex booster #13 }

<as PLAYER moves up ramp, PLAYER hears a clank or door closing>

[=UNK=] <as PLAYER moves down a short dead-end hallway with a beige door in the
middle of the left wall>
-----start mindscape event-----
<in a familiar darkened hospital corridor, PLAYER sees the hunched form of a
man in a labcoat standing on the other side of the blood-splattered
glass-windowed double doors>
<sound of baby crying>
???(vo): I didn't know...
<as PLAYER approaches double doors>
ALMA(vo): Nooooo!!!
-----end mindscape event-----
<world reverts to normal as ALMA's scream continues to echo>
<PLAYER is standing at the other end of the dead-end hallway>
<apparition of a man in office clothes (Habegger? Moody?) appears (sometimes)
in hallway>
???(vo): I didn't understand...
???(vo): The dead... stay... dead...

<when PLAYER opens beige door into utility area, PLAYER briefly see a shadow of
a person (shaking and clutching their head) through the partially open door at
the far end>
<as PLAYER approaches the shadow, the lights go out>
<lights come back on and the shadow is gone>

ATC: Any sign of Hives?
ATC: No.  Looks like we missed the party.

<PLAYER fights ATC security in area where PLAYER previously saw FETTEL>

<PLAYER descends stairs>

<PLAYER fights ATC in lower office area>

<when PLAYER activates laptop in left-side office>
BETTERS(r): Get this.  A few weeks ago, ATC reopened the Origin facility.  They
were planning to clean it out and start the program back up.  But they lost
contact with everyone they sent in.  So they just sealed the place back up.

<PLAYER hears sound of gunfire and fighting between ATC security and Replicas>
<when PLAYER enters security office, PLAYER sees ATC and Replicas (including a
Heavy Armor) fighting in a narrow elevator lobby>

ATC: Let's get out of here!

<PLAYER fights any remaining ATC and Replica survivors>

=CP= <as PLAYER exits narrow elevator lobby>

BETTERS(r): Shit, I think Fettel is going after that Alice Wade chick Bishop
mentioned.  Looks like he's headed for the executive building.  
BETTERS(r): You've got to get to her before he does.  She might be able to help
us figure out what Fettel is after.

- Locate Alice Wade

<PLAYER descends stairway with Armacham logo>

<PLAYER fights Replicas on lower level>

<as PLAYER activates phone in first office past vending machines on hallway
overlooking small courtyard>
VM: First message from:
VM: An outside number.
???(p): Hey, it's me.  Call me, okay?  I'll try your cell phone.
VM: End of messages.

<PLAYER fights Replicas and Heavy Armor in elevator lobby>

<PLAYER exits building and jumps down into small courtyard>

<as PLAYER heads toward passageway with planters, a helicopter flies overhead>
<REV6 drops into neighboring courtyard (from the passing helicopter?) at other
end of passageway>

<PLAYER fights REV6 and Replicas in courtyard>

{ if PLAYER enters lobby, PLAYER can retrieve particle beam weapon }

<PLAYER climbs stairs to upper level of courtyard to enter building>

<as PLAYER enters cafeteria area>
R: Kill the lights.

<PLAYER fights Replicas in cafeteria area>

<PLAYER exits cafeteria area and activates power switch>

<PLAYER fights Replicas in storage room>

<as PLAYER enters hallway overlooking courtyard>
BETTERS(r): Goddamnit! I lost Fettel's signal again! This transmitter is a
piece of shit.

<PLAYER breaks window in hallway and jumps down into another small courtyard to
exit level>

07a - Interval 07 - Redirection - Alice Wade

Paxton Fettel has entered the Executive Building.  His most likely target is
Harlan Wade or his daughter Alice.

Site is believed to be heavily fortified by Replica soldiers.  

F.E.A.R. operative will attempt to locate Harlan and Alice Wade and evacuate
them from the site for debriefing.

Utmost caution is recommended when entering Executive Building.

- Adjust your tactics if you're having difficulty with a particular fight.  Try
a different weapon of soften up enemy targets with explosives.  Also, don't
forget about SlowMo.

- Locate Alice Wade's office

<PLAYER breaks window to enter building>

<when PLAYER activates laptop>
BETTERS(r): This Harlan Wade guy has been associated with Origin since the
beginning.  He's the one that put it together.

[=UNK=] <as PLAYER approach window to a security office with a large monitor
with only static visible>
<lights flicker inside security office>

{ if PLAYER enters security office and approaches the large monitor, the blurry
image clears enough to show FETTEL walking away down the hallway outside ALICE
Wade's office }
{ as FETTEL starts to dissolve into ash, the shadowy silhouette of little ALMA
rises up right in front of the camera (which is clearly located near the
ceiling) }
{ the monitor image turns to static }

<PLAYER activates elevator (floor 03), lighting the button for the 6th floor>
[=UNK=] <as the lights in the elevator start to flicker>
<as the elevator lights blink on and off, little ALMA suddenly appears in the
corner near control panel, then the lights finally go out for good>
<elevator door opens onto a darkened floor>

<PLAYER heads right and enters office area>

<when PLAYER activates phone in office area>
VM: You've got one new message.  First message from:
HARLAN(p): Harlan Wade.
HARLAN(p): Hi, it's Harlan Wade.  I've been trying to get a hold of Genevieve
all week, but the bitch never picks up her fucking phone.  Look, if you see
her, tell her we're in deeper shit than I thought.  Her brilliant idea of
reopening the vault set something in motion that I can't explain and don't know
how to stop.  I sure hope she's happy.
VM: End of messages.

<PLAYER breaks glass window next to phone and jumps into hallway to end up in
corridor in front of Alice Wade's office>

<as PLAYER approaches the office next to ALICE Wade's office, PLAYER hears the
sound of blood dripping and a phone starts to ring>
{ if PLAYER tracks the sounds, they appear to originate from the bloody ceiling
of the office to the right of ALICE's }
{ if PLAYER shoots at the bloody ceiling tiles, a body falls from the ceiling
and a burst of blue sparks can be seen in the ceiling gap as the phone stops
ringing }
{ if PLAYER immediately turns around (after the body falls) and looks through
the security gate (with flashlight on), PLAYER can see little ALMA appear on
the other side of the gate, then walk off to the left>

<inside Alice Wade's office, a picture of Alice and Harlan Wade sits on her

<when PLAYER activates phone in ALICE Wade's office>
VM: You've got two new messages.  First message from:
HARLAN(p): Harlan Wade. 
HARLAN(p): Alice, it's your father.  You've got to get out of there!  You're in
danger! Get to my office and find my laptop.  There's a text file called
Proteus.  Hurry!
VM: Next message from:
BISHOP(p): Aldus Bishop.
BISHOP(p): Hey, it's Aldus.  I read through those news clippings and I
definitely think you're onto something.  I'm going to see if I can track down
some other people who lived or worked in the area during that time.  Even a
couple of interviews would help. I'll keep you posted.
VM: End of messages.

- Locate Harlan Wade's office

<PLAYER follows hallway to employee lounge>

<when PLAYER activates laptop in employee lounge>
BETTERS(r): Listen to this.  Marshall Disler, Bill Moody, and Aldus Bishop were
all working on some kind of task force together.  The other members are Iain
Hives, Alice Wade, Norton Mapes, and Charles Habegger.  And Harlan Wade was the
one pulling the strings.  I guess that means Fettel's working his way up the
food chain.

<as PLAYER backtracks to elevator lobby, PLAYER hears a cable snap and the open
elevator car sinks suddenly>

<PLAYER hops onto elevator roof and crosses to utility area inside the elevator
<when PLAYER jumps off elevator car, PLAYER hears another cable snap and the
elevator suddenly falls down the shaft>

<PLAYER climbs the first ladder, then jumps over the railing onto narrow rear
ledge at the back of the shaft area>
<as PLAYER walking across the narrow ledge, the other elevator car suddenly
plunges down past PLAYER>

<PLAYER climbs up second ladder>

[=UNK=] <as PLAYER tries to open the jammed brown door>

<PLAYER jumps over the railing onto narrow rear ledge>

[=UNK=] <as PLAYER walks across the narrow rear ledge>
{ if PLAYER looks across the shaft (with flashlight on), PLAYER can catch a
glimpse of little ALMA standing beyond the partially opened elevator doors just
as they close>

<PLAYER exits elevator shaft>

=CP= <as PLAYER walks to the right of the small sitting area on left side of
elevator lobby>

<as PLAYER exits elevator area>
BETTERS(r): Man, I hope this chick's alive.  And nobody's been snacking on her.

<when PLAYER heads right and activate wall phone in small reception area
opposite the sitting area>
VM: You have one new message.  First message from:
VM: An outside number.
???(p): Hi, it's Sue.  It's about 2:30.  Guess you're in a meeting, as usual.
Anyway, just wanted to make sure you got my email about tomorrow night.  Sorry
for the short notice, but we won't have to stay late.  Call me back when you
get in. Bye!
VM: End of messages.

<as PLAYER approaches lobby>
R: Check in.
R: Nothing to report.
R: Roger.  Keep your eyes open.

<PLAYER fights Replicas in lower level of lobby area>

<PLAYER climbs stairs to upper level>

<PLAYER fights Replicas in upper level of lobby area>

<PLAYER enters red hall area>

<when PLAYER activates phone in the right-side office area>
VM: You've got one new message.  First message from:
ALICE(p): Alice Wade. 
ALICE(p): Hi, this is Alice Wade.  I just wanted to give you a quick status
report.  We're still collating data, but it's pretty clear that whatever
happened  to Auburn wasn't because of the usual socioeconomic factors.  The
downturn was actually a symptom of people avoiding or leaving the area for
other reasons, which we'll summarize in our presentation.  One more thing: from
what we can tell, it all started about 20 years ago.  I'll let you know when
we've got a clearer picture. Thanks!
VM: End of messages.

<PLAYER fights Replicas in office area>

<as PLAYER moves around glass block wall, an alarm rings and a security gate
closes at far end of hallway, blocking off access to red lobby area>

<PLAYER fights Replicas>

<PLAYER breaks window to access darkened office area>

<when PLAYER activates laptop in darkened office area>
BETTERS(r): So the whole point of this task force I told you about has to do
with bad shit that started happening after ATC opened up the Origin facility. 
Judging by this report, the epicenter is in the Auburn district.  That must be
where the facility is.

[=UNK=] <as PLAYER walks around the corner just past the laptop>
<lights blink off>
<in the cubicle to the left of PLAYER, little ALMA scuttles out of cubicle
directly toward PLAYER as items fall off the nearby shelf>
<little ALMA disappears in a white flash>

R: We've got enemy movement in this sector.
R: Understand, Command.  We could use some reinforcements.
R: I'll send you what I can.
R: Roger.

<PLAYER fights Replicas in front of security office>

<PLAYER activates console to open security gates>

<PLAYER activates gun turret in back of security office to clear Replicas from
red lobby area>

=CP= <after PLAYER exits security office on way back to red lobby area>

<PLAYER backtracks to newly reopened security gate to enter red lobby area>

<PLAYER fights Replicas in red lobby area>

<PLAYER fights Heavy Armor and Replicas in office area to the right of red

<PLAYER enters planter-filled lobby with elevator>

{ if PLAYER looks right of stairs, PLAYER can find reflex booster #14 in
side-office of planter-filed lobby }

<PLAYER climbs split stairs to upper level of planter-filled lobby>

<PLAYER fights Replicas in upper level area>

<as PLAYER exits the upper level of planter lobby>
R: Hostiles through the perimeter!

<PLAYER fights Replicas in gray-carpeted office area>

<PLAYER fights 1st Heavy Armor and Replicas near conference room>

{ if PLAYER enters conference room, PLAYER finds health booster #16 }

<PLAYER fights 2nd Heavy Armor (with plasma weapon) and Replicas>

<PLAYER looks inside executive office doors to see ALICE Wade kneeling on the
floor with her hands behind her head>

<when PLAYER enters executive office>
ALICE: You're not one of them.
<ALICE lowers her hands and gets to her feet>
ALICE: I'd pretty much given up on being rescued.
BETTERS(r): Thank god she's okay.
BETTERS(r): Give her a comlink.

<when PLAYER activates the desk phone>
VM: You've got two new message.  First message from:
HABEGGER(p): Chuck Habegger.
HABEGGER(p): Harlan, it's Habegger.  Look, I know how you feel, but I don't see
any alternative.  We need to purge the Vault.  Somebody's gotta go in there and
deal with it or this whole situation is going to boil over.  If you won't do it
for the rest of us, do it for Alice.
VM: Next message from:
VECCHIO(p): Phil Vecchio.
VECCHIO(p): Harlan, you were right.  The crazy bitch is determined to blow the
site to kingdom come.  God knows who she thinks is gonna pick up the pieces
when her plan backfires.  (sigh) I've had enough of this shit.  I plan to be
sipping girly drinks on a beach in Tahiti by the time the media gets wind of
all this.  Talk to you later, buddy.
VM: End of messages.

<after PLAYER gives ALICE a comlink>
ALICE: Hello?
BETTERS(r): Ms. Wade, we're going to get you out of there, but you're going to
have to move quickly.
ALICE: I need to get to my dad.
BETTERS(r): Where is he?
ALICE: Some kind of classified facility.  I've never heard of it.  There isn't
even a street address.  Just UTM coordinates.  The entrances are all hidden,
but I have pass codes.
BETTERS(r): Okay, buddy, access Wade's laptop and upload the data on that

- Recover data from Harlan Wade's laptop

{ if PLAYER delays in accessing laptop }
BETTERS(r): I need the coordinates and pass codes Wade left for Alice. It
should be on his laptop.

<when PLAYER activates laptop on side table in HARLAN's office>
BETTERS(r): All right, the data's been uploaded. 

{ if laptop was activated before giving comlink to Alice }
BETTERS(r): It looks like I've already got the data.

BETTERS(r): First things first.  Get to the roof.  A helo is on the way.
ALICE: You mean a helicopter?  Can't we drive instead? My car is downstairs in
the parking garage.
BETTERS(r): What, are you afraid of flying?
ALICE: Kind of.
BETTERS(r): Trust me, you're safer in the air.
ALICE: Yeah, right.

=CP= <after ALICE and BETTERS' conversation>

- Escort Alice Wade to the roof for evac

ALICE: Hurry, Let's go get my dad.
BETTERS(r): You're not going anywhere but a safe house till this is over.
ALICE: What!?
BETTERS(r): Don't worry, your father will be joining you as soon as we pick him
ALICE: No way.  I'm not going anywhere until I know he's okay.
BETTERS(r): Forget it.  I'm not taking any chances.

<PLAYER backtracks with ALICE through office area>

=CP= <as PLAYER enters office area leading to the balcony area above
planter-filled lobby>
ALICE: What a mess.
R: He should still be in this area.

<PLAYER fights Replicas in balcony area and in planter-filled lobby>

<PLAYER descends split stairs and enters elevator (floor 06) in planter-filled

<as ALICE enters elevator>
ALICE: You don't mess around, do you?
<ALICE pushes button for 15th floor>
<suddenly the 8th, 10th, 12th floor buttons also light up>
ALICE: Why are all the floors lighting up?
ALICE: Uh-oh.  Someone's pressing the call buttons.

<elevator stops at 8th floor>
ALICE: Get ready!
R: Flush him out!
<elevator doors open>
{ if PLAYER exits elevator to fight Replicas, ALICE hides in elevator and says
the following line(s) }
ALICE: What are you doing? Hurry!
<return to elevator and/or doors close>

<elevator stops on 10th floor>
ALICE: Here we go again.
<elevator doors open>
{ if PLAYER exits elevator to fight Replicas, ALICE hides in elevator and says
the following line(s) }
ALICE: Come back!  
ALICE: Where are you going now?
<return to elevator and/or doors close>

<elevator stops on 12th floor>
ALICE: This sucks.  
<elevator doors open>
{ if PLAYER exits elevator to fight Replicas, ALICE hides in elevator and says
the following line(s) }
ALICE: You're going to get us killed!
<return to elevator and/or doors close>

{ if PLAYER kills all Replicas on the 8th, 10th, 12th floors -- ALICE says the
following line(s) }
ALICE: You don't have to kill everybody!
<ALICE sags against elevator wall>
ALICE: Sorry I freaked out. I'm just not used to being shot at.

<white flash>
<the elevator doors open onto the darkened 13th floor as the elevator lights go
ALICE: What's going on?  What happened to the power?
<PLAYER exits elevator>
ALICE: I'll wait here.

<as PLAYER enters the security office>
<the lights go out>
<as PLAYER approaches the security console, through the window, PLAYER sees
little ALMA appears in elevator and walk toward Alice as the elevator doors
<after elevator door closes, lights come back on>

<PLAYER activates gate controls>

<PLAYER enters newly opened gate into tiled lobby with jammed security gate>

{ if PLAYER turns around, the open security gate has silently closed behind

<PLAYER enters stairwell and climb upward>

<PLAYER fights Replicas in elevator lobby (15th floor)>

<PLAYER climbs stairs to upper level of elevator lobby>

<PLAYER fights more Replicas on upper level of elevator lobby>

<PLAYER enters stairwell, climbs to top, then jumps on boxes to access vent>

<PLAYER drops down inside vent to exit level>

07b - Interval 07 - Redirection - Flight

F.E.A.R. operative was separated from Alice Wade.  Her present whereabouts are
unknown and she isn't responding to comlink transmissions.

Interference is preventing Hannibal-3 satellite reconnaissance.

Primary objective is to locate Alice Wade and secure HLZ for evac helicopter.

- If you manage to stagger an enemy during a firefight, switch to a different
target while he struggles to recover. Prioritize threats based on the danger
they pose.

<when PLAYER emerges from vent into small locked room, through a window, PLAYER
sees ALICE standing outside on rooftop>
ALICE: There you are.  How did we get separated?  
ALICE: I remember the power going out in the elevator.  Then the next thing I
knew, I was on the top floor and you were gone.
BETTERS(r): You should have a visual on the evac chopper.
<SFOD-D helicopter appears overhead, but is shot down by rockets>
<as the SFOD-D helicopter explodes in flames, ALICE flings her hands up and
ALICE: Oh my god!
BETTERS(r): Shit!!!
ALICE: This is crazy!  I am not staying here!  My dad's in danger.
BETTERS(r): Your dad will be fine.  You're the one I'm worried about.  You just
need to calm down.
<enemy helicopter flies up into view>
ALICE: Sorry!
BETTERS(r): Ms. Wade!
<ALICE bolts through an open side door>
BETTERS(r): Damn it!  What the hell is she thinking?
<as the side door slams shut, Replicas rappel out of the hovering helicopter
onto the helipad>
BETTERS(r): She's headed for the garage.  You've got to cut her off before he
gets herself killed.
<as enemy helicopter leaves, it fires rockets and blows open the locked doors
leading to the rooftop>

=CP= <exiting through newly blown open doors onto rooftop>

<PLAYER fights Replicas on rooftop and helipad>

<as PLAYER approaches double doors to building>
COMPUTER: (warbling malfunctioning recording) Welcome to Armacham Technologies
Corporation.  Visitors must be accompanied by authorized Armacham personnel.

=CP= <as PLAYER enters building>

<as PLAYER enters upper balcony level of orange-walled lobby, Replicas emerge
from elevator>
R: Move!  We need that hostage.

<PLAYER fights Replicas on upper level of orange lobby>

<as PLAYER enters lower level of orange lobby, a 2nd group of Replicas emerge
from the lower level elevator>

<PLAYER fights Replicas in lower elevator lobby>

<as PLAYER enters utility area with green wall boxes>
BETTERS(r): Miss Wade, can you hear me?
ALICE(r): Yes.
BETTERS(r): What do you think you're doing?
ALICE(r): I have to know he's okay.
BETTERS(r): Look, I'm willing to let you ride along to pick up your father, but
you're putting yourself in a lot of danger right now.
ALICE(r): Yeah, well, you said I'd be safe on a helicopter.
BETTERS(r): Those soldiers are looking for you.  If they capture you again,
they're going to interrogate you.  And believe me, their methods are very
ALICE(r): I'll take my chances.
BETTERS(r): Stubborn little bitch, isn't she?

<PLAYER descends stairs and exits utility area into small red-carpeted lobby
<as PLAYER looks up, PLAYER can see ALICE on an upper level walkway>
<flying laser drones fly by the windows outside the building>
<ALICE runs off>

<when PLAYER activates phone in back office of small red-carpeted lobby>
VM: You have three new messages.  First message from:
HARLAN(p): Harlan Wade.
HARLAN(p): Hey Phil, it's Harlan.  I'm pretty sure Genevieve is considering
some pretty drastic measures to cover her bony ass. I'll tell you straight up
that I'll be fucked if her or any of her little toadies is going anywhere near
the vault.  She already caused enough damage thinking she could just march in
there and start over from scratch.  If she comes to you for backup, remind her
that we locked that place up for a reason.
VM: Next message from:
ARISTIDE(p): Genevieve Aristide.
ARISTIDE(p): Phil, how are you?  It's Genevieve.  I haven't seen you at
Maurice's lately.  We should get together for happy hour once this mess blows
over.  Speaking of which, I have a favor to ask.  I know you and Harlan go back
a ways, so I was hoping you could try to reason with him.  He refuses to
forgive me for sending those poor people into the vault, as though I'm happy
about what happened.  I made a mistake. But I don't see why everyone else
should have to pay for that.  Anything you can say to get him to see reason
would be appreciated.
VM: Next message from:
ARISTIDE(p): Genevieve Aristide.
ARISTIDE(p): Hi, it's Genevieve. I just wanted to remind you that the Origin
facility was a liability long before this situation erupted. I was simply
trying to clean up an old mess.  I was hoping we could renovate or even
repurpose the site, but clearly the risks are unacceptable.  I see no
alternative but to destroy it completely.  If you have a better suggestion, I'd
love to hear it.  In the meantime, I have a company to save.
VM: End of messages.

{ if PLAYER enters green-tiled sitting area with sparking security panel,
PLAYER can find health booster #17 }

<when PLAYER activates laptop in wood-floored lobby area>
BETTERS(r): I've found some more information on Origin.  The prototypes were
created from a "genetic reference". I think that's just an euphemism for
somebody's DNA.  There's no indication of who the lucky son of a bitch was, but
I'm guessing Harlan Wade, since he started the program.

=CP= <as PLAYER exits wood-floored lobby>

<in a dark office opposite stairs, a copy machine runs repeatedly with its lid

<after PLAYER climbs stairs, a 1st wave of flying laser drones burst through
the windows of a long narrow gallery and sitting area>

<as PLAYER crosses the walkway above wood-floored sitting area, two laser
drones burst through windows>

<PLAYER passes through canteen area, exits through open window, and walks along
narrow outdoor window ledge>

<flying laser drone burst out of building>

<PLAYER drops down onto vents and enters lower side door>

<PLAYER climbs up ladder, exits back onto rooftop, then jumps onto vents to
reenter building and reach upper walkway of red-carpted lobby (where ALICE was
previously standing)>

<PLAYER fights flying laser drones in conference table area>

<PLAYER fights Replicas who rappel down through skylight into lobby>

<when PLAYER climbs stairs with curved landing, flying laser drones break
through windows>

<as PLAYER approaches office in back of upper level>
RADIO: Government officials have confirmed that a U.S. special forces Black
Hawk helicopter has been shot down.  The sound you hear in the background is
apparently NOT a U.S. military helicopter, but rather one belonging to the
mysterious assailants responsible for the attack on Armacham headquarters
earlier in the evening.  Only moments ago we saw what appeared to be tracer
fire, followed by several loud explosions. Information on casualties has not
yet been released.

<PLAYER enters door next to drinking fountain>

=CP= <as PLAYER enters stairwell>

<sound of door slamming>
R: Check the stairs.

<PLAYER fights Replicas who approach from downstairs>

{ if PLAYER climbs up to 8th floor, PLAYER finds items }

{ if PLAYER descends to 4th floor PLAYER finds reflex booster #15 behind stairs

<PLAYER exits on 5th floor level>

<when PLAYER activates phone in blue-carpeted executive office>
VM: You have two new messages.  First message from:
HARLAN(p): Harlan Wade.
HARLAN(p): Genevieve, Harlan Wade here.  I got your message. First off, please
don't presume to know my feelings, it's insulting. And don't lecture me about
burying the dead like some fuckwit shrink.  The bottom line is that we wouldn't
be in this situation if you didn't ignore my warnings. And now you want to dig
the hole deeper.  Sooner or later you're gonna dig right down to hell.
VM: Next message from:
VECCHIO(p): Phil Vecchio.
VECCHIO(p): I got your message, Genevieve.  I think what Harlan is trying to
say is that we should be leery of kneejerk impulses.  I understand that there
are some time pressures to consider, but we really need to be thinking
strategically.  Reopening the vault at this point strikes me as a dubious
proposition considering all that's happened. It's probably that we'd just be
adding fuel to the fire.
VM: End of messages.

<as PLAYER approaches hallway with black wall panels>
R: Squad, stay down.
<black wall panels suddenly pivot open as Replicas ambush PLAYER>

<PLAYER enters orange-ceiling elevator lobby>
R: Kill the lights.
<Replica rolls over a sofa to use as cover>

<PLAYER fights Replicas in elevator lobby and adjacent red-carpeted office

<when PLAYER activates laptop in red-carpeted office area>
BETTERS(r): Well, Fettel wasn't made from Harlan's DNA. There's an email form
Wade about the "subject" being in an induced coma. No wonder those ATC security
goons didn't want this getting out.  They aren't just worried about some
ethically questionable bioengineering experiments. I think they're covering up
some pretty nasty shit.

<PLAYER enters utility room in red-carpeted area and activates switch to
restore power to elevator>

<PLAYER returns to orange-ceiling elevator lobby and activate elevator (floor
05) to light up G4 button>

<while descending in elevator>
ALICE(r): I'm sorry for the trouble, but I just made it to my car.
BETTERS(r): Ms. Wade, if you'd just wait a minute...
ALICE(r): I can't.  I have to go.
BETTERS(r): Ms. Wade! 
BETTERS(r): Fuck it.  Get to the roof of the parking garage for pickup.  You
can still get there before her.
<elevator arrives on G4 level>

{ if PLAYER quickly runs to the right upon exiting elevator, PLAYER can look
through a metal gate to see ALICE start her car and drive out of the garage to
the right>

=CP= <as ALICE drives away>

<PLAYER climbs ramp and fight Replicas on G3 level>

<PLAYER climbs ramp and fight Replicas on G2 level>

<PLAYER climbs ramp and fight Replicas and Heavy Armor on G1 level>

<PLAYER enters stairwell on G1 and climbs up>
<when PLAYER reaches top of stairs, the door opens, revealing JIN, HOLIDAY, a
SFOD-D Op and a helicopter behind them>
HOLIDAY: This way.
JIN: It's good to see you in one piece.
BETTERS(r): You guys can make out later.  Just get that bird in the air.

<level ends>

08a - Interval 08 - Desolation - Urban Decay

Alice Wade is believed to be en route to Auburn district in search of her

F.E.A.R. point man and technical officer, accompanied by SFOD-D operative
Holiday, are proceeding to Auburn by helicopter.

Hannibal-3 satellite recon shows substantial Replica forces in vicinity of
Armacham facility.  Paxton Fettel's transmitter signal has also been detected
in the area.

F.E.A.R. point man will first attempt to secure Alice Wade.  Once she's in
protective custody, team will enter classified Armacham facility to locate
Harlan Wade.

-Wait until enemies are reloading their weapons before popping out of cover to
engage them.  Charging out into suppressive fire is not recommended.

Interval 08

----start observer mode-----
<PLAYER sits in helicopter with JAN and HOLIDAY as it flies over a city in the
BETTERS(r): The UTM coordinates from Wade's laptop are right smack in the
middle of the Rammelmeier industrial compound in Auburn.  Place has been shut
down for years.
JIN: Why there?
BETTERS(r): Well, I did a little digging.  Turns out Armacham bought the site
from the government back in the '50s. Get this.  There used to be some kind of
underground military complex in that area.  I don't think Armacham was
interested in what was on the property. They wanted what was under it.  And I'm
guessing it has something to do with Origin.
<helicopter rocks violently and fills with smoke>
SFOD-D PILOT(r): We're hit!
SFOD-D PILOT(r): Dust 2 going down!  Repeat, Dust 2 going down!
SFOD-D PILOT(r): Hold onto something!
<helicopter crashes and PLAYER blacks out>

<PLAYER wakes up on his back and sees that both HOLIDAY and JIN are alive, but
obviously injured>
HOLIDAY: He looks okay, but the Pilot's dead and Jin's banged up pretty bad.
BETTERS(r): How about you?
HOLIDAY: I'll live.  But it'll be a while before I can ice skate again.
BETTERS(r): All right.  In that case, I want you to stay with Jin and wait for
the medevac.
HOLIDAY: You sure you want to send him in alone? These guys ain't fucking
BETTERS(r): We don't have a choice. Fettel could be anywhere and Alice is out
there on her own.  By the time backup reaches you, she could be dead.
<PLAYER gets to his feet>
----end observer mode-----
HOLIDAY: We're still a couple klicks away from the Rammelmeier compound, so
you're going to have to get there on foot.
BETTERS(r): I've got a lot of enemy movement in that area, so expect trouble.
They probably want to make sure there weren't any survivors.

<sound of helicopter flying overhead>

- Eliminate enemy patrols

HOLIDAY: I hear you're a bad mother fucker.  I hope it's true.

{ if PLAYER lingers in crash site area with HOLIDAY and JIN, PLAYER hears the
following conversation }
HOLIDAY: She'll be okay.  It's you I'm worried about.
JIN: Yeah, I'm fine.  As long as I don't move.
HOLIDAY: Just let me know if you need a little mouth to mouth.
JIN: Don't make me laugh.
HOLIDAY: You think I'm joking?
JIN: I feel sorry for you if you aren't.
HOLIDAY: Now that's just cold.

{ if PLAYER continues to lingers at crash site with HOLIDAY and JIN }
HOLIDAY: Why don't you move along so I can do my thing?
JIN: Please stay.
HOLIDAY: Don't worry.  I'm just playing.  I won't mess with your girlfriend. 
Go kill some bad guys.

<as PLAYER approaches doorway leading out of crash site, HOLIDAY and JIN
continue to talk>
HOLIDAY: You Korean?
JIN: Born and raised in the States.  But yeah, my family's from Seoul.
HOLIDAY: You ever been over there?
JIN: Once a year till I was 18.  I don't have much time for vacations anymore.

<as PLAYER moves through doorway, HOLIDAY and JIN their conversation>
HOLIDAY: I love kimchee.
JIN: I like pizza.
HOLIDAY: Pizza's good too.
HOLIDAY: You still here?

=CP= <as PLAYER exits crash site>

<as PLAYER climbs stairs to 3rd floor>
BETTERS(r): I'll bet you anything the ground water contamination in Auburn is
coming from that secret Armacham facility.  That's got to be why they sent
somebody to that water treatment plant.  They're worried it'll get traced back
to them.

<PLAYER breaks boards covering doorway>

=CP= <as PLAYER approaches narrow stairs to 4th floor>

<as PLAYER reaches 4th floor>
R: Command, there's no sign of enemy activity.
R: Hold position there until the advance team locates the Vault entrance.

<PLAYER fights Replicas and Heavy Armor>

<PLAYER drops down through hole onto 3rd floor>

<PLAYER breaks down boards to access small outdoor area>
<sound of helicopters overhead>
R: Spread out! (or Fan out!)

<PLAYER fights Replicas on 3rd floor>

{ if PLAYER heads left from door from outdoor area, climbs up makeshift ramp
back to 4th floor, then enters room adjacent to upper landing of broken
staircase, PLAYER can find reflex booster #16 }

<as PLAYER moves along 3rd floor, room shakes and dust falls from ceiling as
something very heavy moves around overhead>
<when PLAYER enters room with partially boarded up door at far end, a REV6
drops through the ceiling> 

<PLAYER fights (or eludes) REV6>

=CP= <after PLAYER crawls through the partially boarded up doorway>

<PLAYER fights Replica snipers lurking in building on opposite side of
courtyard and far side of floor gap>

<PLAYER jumps over floor gap>

<as PLAYER approachs rooftop, helicopters fly overhead>

<PLAYER exits onto rooftop to face laser sniper gauntlet>

<after PLAYER kills all snipers and/or approaching door to building, additional
Replicas emerge onto rooftop>

<PLAYER fights Replicas on 3rd floor inside building>

RADIO: According to a government spokesperson, a second Black Hawk helicopter
has crashed, this one in Auburn. Earlier, a Black Hawk was apparently shot down
by a helicopter belonging to the unidentified terrorist group that seized
Armacham headquarters this evening around 4:30pm.  The cause of the second
crash has not been determined. Nor is it clear whether there were any

{ PLAYER looks in bathroom adjacent to room with radio, PLAYER can find health
booster #18 }

<after PLAYER jumps down through hole in floor>
- Locate Rammelmeier industrial compound

<when PLAYER opens brown door and enters room with shelves, through the large
hole in wall, PLAYER sees a completely passive ALICE, with FETTEL standing
slightly crouched (and mostly hidden) behind her>
[=UNK=] <as FETTEL reaches up and puts his right hand on ALICE's throat>
FETTEL: Is this who you're looking for?
<FETTEL straightens into view and leans out from behind ALICE>
FETTEL: Hm, she smells nice.
<FETTEL suddenly yanks ALICE toward the right and out of PLAYER's view>

<as PLAYER moves past the elevator with light streaming from its partially open
ALMA(vo): (whisper) Over here.

{ if PLAYER approaches the opening between the elevator doors }
[=UNK=] { when PLAYER approaches very closely to the opening }
{ just as PLAYER starts to look away, little ALMA briefly appears in the
opening, then elevator interior goes completely dark }

<when PLAYER turns the corner from the elevator and enters the room where
PLAYER previously saw ALICE and FETTEL> 
<ALICE's body lies in the blood-splattered area>
FETTEL(vo): She told me so many things.

[=UNK=] <as PLAYER approaches ALICE's body>
<white flash>
<faint shrieking noises>
<both the blood and Alice Wade's body vanish>

<as PLAYER exits the room>
-----start mindscape event-----
<PLAYER stands in a tiled corridor with a short set of stairs leading up to a
set of windowless double doors>
<a small black shadow lurks near the double doors (on the right)>
<as PLAYER climbs the stairs, the black shadow turns into little ALMA>
<white flash>
<PLAYER is flung backwards and ends up in a long tiled corridor with little
ALMA standing at the far end near some doors>
<ceiling light flickers>
<as PLAYER approaches little ALMA, he hears a faint girlish giggle as she turns
into a black shadow>
<as PLAYER approach even closer to the doors, they burst open, revealing
<white flash>
<nightmares charge out of the flames toward PLAYER>
-----end mindscape event-----
<world reverts to normal as PLAYER finds himself standing just inside the next

<PLAYER jumps down into alleyway to exit level>

08b - Interval 08 - Desolation - Point of Entry

F.E.A.R. point man successfully eliminated Replica forces attempt to secure
helicopter crash site and is now en route to abandoned Rammelmeier industrial

Alice Wade is believed to have been captured by Paxton Fettel.  Her welfare is
unknown.  She is not responding to comlink transmissions.

Priority is to secure Alice and Harlan Wade.

- What enemies say during combat can give you important clues about their
intentions or condition. A call for reinforcements, for example, means you've
wiped out most of a squad.

<sound of helicopter flying overhead>

<as PLAYER approaches burning barrel>
BETTERS(r): I'm picking up major enemy movement on the satellite.  They're all
over the area.  Watch your back.

[=UNK=] <as PLAYER approaches an alley on the right side of street>
ALMA(vo): (whisper) Over here.
{ if PLAYER looks down the alleyway, PLAYER can sees a TV on ground which turns
on, showing static>
{ if PLAYER approaches the TV, the TV image switches to little ALMA stalking
toward a familiar-looking glass-windowed double doors as a shuddering scientist
stands on the other side of the doors>
<TV goes dark>
ALMA(vo): Give him back.

[=UNK=] <as PLAYER approaches a large metal gate at the end of street>
<sound of girlish giggle>

[=UNK=] <as PLAYER starts to move away from the metal gate>
<sound of girlish giggle>
{ if PLAYER turns back toward gate (with flashlight on), PLAYER can see little
ALMA standing behind the gate before dissolving into ash>

<as PLAYER exits alley, a truck with Replicas backs between a car and a
dumpster, blockading the left end of the street>

<PLAYER fights Replicas in street>

<PLAYER turns right at the truck blocking the street and breaks boards to enter

=CP= <after PLAYER enters building>

<as PLAYER enters garage area, a truck crashes through the right-side garage
<PLAYER fights Replicas emerging from truck and Heavy Armor (with escort)
outside garage>

<PLAYER jumps onto crates and barrels to climb over fence>

=CP= <as PLAYER jumps over fence>

<as PLAYER moves down narrow alleyway>
<a truck turns into narrow alleyway>
----start slo-mo-----
<truck tries to run down PLAYER>
<PLAYER dodges through an open doorway in alley to avoid truck>
<as PLAYER drops down into a basement area, brakes squeal as the truck stops,
then backs up>

<PLAYER climb stairs and fights Replicas emerging from truck>

<as PLAYER exits building, Replicas jump over metal fence>

<PLAYER fights Replicas outside building>

<as PLAYER moves down narrow alleyway>
BETTERS(r): The Rammelmeier compound is just ahead. It looks like the largest
concentration of enemy forces are in that area.

<PLAYER drops down into very narrow alleyway to left of green dumpster>

<PLAYER climbs over scaffolding in construction area, breaks window to enter
building, then climbs stairs>

=CP= <as PLAYER exits onto roof>

<after PLAYER drops down into alleyway and starts moving, a truck appears and
tries to run down PLAYER>
<when PLAYER turns around and ducks behind the corner of the building, the
truck speeds by, crashes through a fence, falls into the construction area
below, then explodes> 

<as PLAYER approaches "Pendleton Machinery Co. Inc." warehouse>
<sound of helicopter flying overhead>

<as PLAYER enters "Pendleton" warehouse>
RADIO: The situation in Auburn seems to be intensifying.  Shortly after a U.S.
military helicopter crashed on the roof of an abandoned hotel, fierce fighting
was reported in the surrounding area.  Police have expanded their cordon to
include Auburn and have begun evacuating residents from the primarily
industrial district.

<PLAYER drops into crawlspace in green generator room>

=CP= <as PLAYER moves down brick-lined tunnel>

<as PLAYER approaches 3-level chamber>
R: The commander has entered the Vault.  All elements, secure a perimeter
around the main entrance.

<PLAYER fights Replicas in 3-level chamber>

{ if PLAYER climbs to 2nd level of 3-level chamber, PLAYER can find reflex
booster #17 }

<PLAYER drops through hole in floor on 2nd level>

=CP= <as PLAYER exits truck-blocked room and enters hall with steaming pipe>

<PLAYER fights Replicas and Heavy Armor of lower level of 2-level room>

<inside small office on lower level, a 2nd Heavy Armor shoves a shelf against
the door, blocking it shut>

<PLAYER fights Replicas on upper level of 2-level room>

{ if PLAYER enters previously blocked small office, PLAYER can pick up plasma
weapon }

<PLAYER fights Replicas in green "Caution" equipment room>

[=UNK=] <as PLAYER enters yellow-striped room>
<apparition of bloody JANKOWSKI appears in neighboring room (seen through an
interior window)>
JANKOWSKI(vo): She's close now. 
<apparition dissolves into ash>
JANKOWSKI(vo): Her presence is strong here.

=CP= <as PLAYER reaches bottom of stairs>

<PLAYER enters large vault-type door into chamber with large central elevator

<PLAYER fights Replicas in elevator room>

<PLAYER climbs red ladder to catwalk and exits through vault-type doors on
upper level to reach room where PLAYER previously saw JANKOWSKI>

<as PLAYER approaches T-intersection in yellow-striped hallway>
BETTERS(r): ATC patrols cars are approaching from the west.  I got a feeling
this situation is about to blow up big time.

=CP= <after PLAYER passes through double doors>

<in long narrow 3-level room with a deep trench, 2 assassins burst through the
windows on 1st level>

<after PLAYER kills first pair of assassins, 2nd pair of assassins burst
through upper level windows>

<PLAYER climb up stairs to 3rd level to exit narrow room>

=CP= <as PLAYER heads downstairs and approaches brown door>

<as PLAYER enters catwalk hallway overlooking outdoor loading area and looks
down through windows, PLAYER sees fighting between ATC security and REV6>
ATC: We can't stop it!
ATC: Where'd that fuckin' thing come from!?

<PLAYER descends ladder into warehouse>
<REV6 blows up the garage door to the loading area>

<PLAYER fights with 1st REV6>

<PLAYER fights 2nd REV6 at far end of loading area>

<as PLAYER enters blue "Pendleton" warehouse>
MAPES(r): What's going on up there?
ATC(r): Getting our asses kicked!
MAPES(r): Listen to me, you minimum wage commando!  Do NOT let them through
or... or you're fired!  You hear me!?

<PLAYER fights ATC security in warehouse>

<PLAYER activates small glowing white panel in back of warehouse to access
security room>

<as PLAYER enters large attic area with caged elevator shaft and stairs leading
<crow flies away, cawing>

<PLAYER climbs to upper level of attic area>

<as PLAYER opens "Authorized Personnel Only" door on upper level, the ceiling
light in the next room starts swinging wildly>
HOLIDAY(r): This is Baby Bear. Medevac just got here.
BETTERS(r): Glad to hear it.  Thanks for the help.
HOLIDAY(r): Wish I could've done more. Kick some ass.

{ if PLAYER crosses catwalk at elevator level of attic area and enters office,
PLAYER can find health booster #19 }

<as PLAYER activates button in freight elevator>
-----start mindscape event-----
<PLAYER falls down a deep shaft into a pool full of blood and containing
several floating skeletons>
<sound of loud heartbeat>
<when PLAYER swims down to the hole in the floor, PLAYER catches a brief
glimpse of naked ALMA's head and shoulders at the other side of the hole before
she starts to slide out of view>
<after PLAYER swims down into the hole, PLAYER suddenly drops into a
familiar-looking tiled hospital corridor with a short flight of steps and
windowless double doors at the far end>

<as PLAYER climbs the stairs>
<white flash>
<PLAYER suddenly zooms forward until he's standing right in front of the
windowless double doors>

<when PLAYER opens the double doors, PLAYER sees the familiar hallway with the
examination table and the glass-windowed double doors>
{ if PLAYER turns around, PLAYER sees that the corridor seems to have shrunk in
length and that the short flight of steps is now directly behind him }

[=UNK=] <as PLAYER approaches glass doors>
<sound of baby crying>
<screen goes white>
ALMA(vo): Noooo!!!
<PLAYER finds himself surrounded by a fiery black void, as several waves of
nightmares attack>
-----end mindscape event-----
<world reverts to normal>
<PLAYER ends up back in the freight elevator>

<PLAYER activates the freight elevator>
[=UNK=] <as elevator starts to descend>
{ if PLAYER turns and looks left, PLAYER can see little ALMA standing in the
previously blood-free area where PLAYER entered attic, but which is now heavily
blood-splattered }
BETTERS(r): I want you out of there as soon as you've got Wade and the girl.
Get them back to base so I can debrief them in person.  
BETTERS(r): Good luck in there.

<level ends>

09a - Interval 09 - Incursion - Lapdog

Replica Elite soldiers and Armacham security forces have already entered the
facility.  ATC's motives are unknown, but their intentions are clearly hostile.

Paxton Fettel is believed to be inside, as well.

Alice Wade has not been recovered.

Primary objectives are to secure Harlan and Alice Wade and to eliminate Paxton
Fettel.  F.E.A.R. point man should also attempt to gather intelligence on
facility and Armacham security's objectives at the site.

<elevator shakes as it continues to descend>

<elevator shakes and controls start sparking as elevator comes to a stop>

- Locate Harlan Wade

<as PLAYER exits elevator and enters storage area, a gun turret deploys>

<PLAYER destroys gun turret>

<gun turret deploys in hallway leading out of storage area>

<PLAYER destroys gun turret>

{ if PLAYER shoots padlock under storage area turret and crawls into vent,
PLAYER can find remote bombs }

<PLAYER descends yellow ladder into crawlspace under floor>

=CP= <after PLAYER climbs yellow ladder out of crawlspace and approaches
curving hallway>

<PLAYER fights ATC security on upper level of curved hallway>

<when PLAYER descend steps and looks left through glass wall on left, PLAYER
sees Mapes busily working on a computer and nervously looking over his shoulder
as something burns in a nearby trashcan>
MAPES: Do something about him!
MAPES: I'm not finished wiping these drives!  I need more time!

<PLAYER fights ATC in lab area>

<as PLAYER continues to fight with ATC and approaches the rear of lab area>
MAPES(r): Come on, it's just one guy!

<as PLAYER activates laptop in rear of lab area>
BETTERS(r): More info on Origin.  The genetic reference they used for the
program was apparently a powerful psychic. Makes sense. If you want a
telepathic commander, you need a telepath. And it was a woman. Says here she
gave live birth to the prototypes. Seems Wade wasn't convinced the psychic
characteristics were genetic. He figured there was a better chance they'd be
passed along if the fetus gestated inside the subject.  So they put her into a
coma, made her carry a genetically engineered baby to term, then induced labor.
That's pretty fucking sick.

<PLAYER climbs up red ladder, crawls over ceiling conduits until PLAYER sees a
yellow light on the right wall, moves to very end of curved pipe, and drops
down into a narrow space which leads to the room with the burning trashcan
(where MAPES was previously seen wiping the hard drives)>

<when PLAYER reaches stairs leading up to the large monitor, the image of
HARLAN Wade appears on monitor>
HARLAN (on monitor): Norton, do you really think you can get rid of the
evidence by shredding documents and wiping hard drives? Genevieve Aristide dug
her own grave and she's going to have to make herself comfortable in it.  Don't
be a fucking lapdog and jump in after her.

=CP= <as PLAYER moves past big monitor after HARLAN's video transmission>

<PLAYER climbs stairs to upper level>

<PLAYER fights ATC security on upper level>

<gun turret deploys in large room with exam tables>

{ if PLAYER destroys the gun turret, PLAYER can access reflex booster #18 }

{ if PLAYER crawls through nearby vent, PLAYER can avoid the gun turret in exam
room and eventually drops down into hallway on the other side of exam room }

<when PLAYER exits the exam room (or drops from ceiling vent)>
ATC: It's gonna blow!
<gas pipe explodes and releases a burning jet of gas which blocks hallway>

<gun turret deploys in red lab area>

<PLAYER destroys gun turret>

<PLAYER fights ATC security in 2-level area with curved stairs leading upward>

<during fight, on lower level of curved stair room, MAPES stares nervously at
PLAYER from behind a glass window>
MAPES: He...he's coming!  
MAPES: What good are you jackoffs?
MAPES: Forget this.  The vault is open. Let's finish what we came for.
<MAPES turns and runs down the hallway, then disappears around the corner>

<PLAYER fights ATC in upper level lab area>

<PLAYER descends stairs into red-walled area>

<PLAYER fights ATC in lower level>

{ if PLAYER looks left at hall barricade, PLAYER can see an ATC guard close a
security gate and run off }

{ if PLAYER looks through the glass window opposite the armor (behind the hall
barricade), PLAYER can see an ATC guard emerge from a tunnel and run off }

<when PLAYER heads left at newly locked gate and turns the corner, PLAYER sees
an ATC guard running away down the hallway>
ATC: Secure that exit!
<behind the fleeing ATC guard(s), another security gate drops, blocking off the

<as PLAYER activates laptop in lab area with ladder leading down into a tunnel>
BETTERS(r): I figured out what a synchronicity event is.  There was an incident
when they lost control of Fettel. He just suddenly started freaking out.  He
was only about 10 years old at the time, but I guess he killed a few people. In
the investigation, they discovered that there had been a telepathic link
between Fettel and Alma even though she was in a coma. They concluded that she
was influencing him.  That must have been why they pulled the plug on Origin.

=CP= <as PLAYER approaches ladder down to tunnel>

<when PLAYER drops into tunnel, PLAYER sees 2 ATC guards planting proximity

<PLAYER fights ATC in tunnel>

<PLAYER fights ATC in 1st pit room (with large horizontal pipe)>

<PLAYER shoots open padlocked gate on other side of pipe>

<PLAYER removes proximity mines in 2nd pit room with venting gas pipe (which
ignites gas)>

<PLAYER fights ATC security in 3rd pit room (with large horizontal pipe)>

{ if PLAYER uses valve on yellow pipe to turn off gas, then shoots open padlock
to unlock gate, PLAYER can return 2nd pit room (with gas pipe) and access a
small tunnel which leads to health booster #20 (on catwalk) and a Easter Egg (a
secret room) }

{ if PLAYER enters Easter Egg room }
RADIO: Five car pile up on Maratropa Route 5 when a completely chromed
motorcycle entered traffic, apparently blinding several motorists.  This is
Radio Free Kronus, broadcasting everywhere, all the time, and to everyone.  Be
good.  Be safe.  Be happy.  This is Radio Free Kronus.
<upbeat Japanese pop song plays>

<PLAYER heads left at yellow pipe (with valve) and climbs ladder out of tunnel
to reach area blocked off by security gates>

<PLAYER enters crawlspace hidden behind backlit vertical pipes>

<PLAYER drop down into vent-filled hole to exit level>

09b - Interval 09 - Incursion - Bypass

F.E.A.R. point man has reached vicinity of Vault entrance.

ATC security forces are offering resistance.  Norton Mapes is destroying
evidence of Armacham's activities in the facility.

Harlan Wade is inside the facility, but his current whereabouts are unknown. 
Alice Wade has not been located.

Primary goal is still to secure Harlan and Alice Wade and to eliminate Paxton
Fettel.  Effort should also be made to recover incriminating evidence of ATC

<as PLAYER exits vent> 
<through the large windows, PLAYER sees MAPES and HARLAN Wade talking in front
of the entrance to the Vault, while the large monitor in the room shows a
different view of the same confrontation>
MAPES: Look, I'm just doing my job!
HARLAN: And I'm doing what has to be done.
<HARLAN lifts his gun and shoots MAPES>
<as MAPES sags to the floor, HARLAN enters the Vault which closes behind him>

<PLAYER descend stairs and exits onto platform leading to the Vault>

<as PLAYER approaches the badly wounded Mapes>
MAPES: That fuckhead.
MAPES: He locked you out.  The only way in is to divert power to the door.

SITUATION: Harlan Wade has entered the Vault and sealed it by diverting power
away from the doors.

Norton Mapes is seriously wounded after being shot by Wade.

F.E.A.R. operative must redirect power to the Vault doors in order to pursue

- Divert power to Vault door

<PLAYER descends red ladders on either side and enter doors under the main
hallway to reach catwalk near giant pipe>

<PLAYER fights Replicas on far side of catwalk>

<PLAYER moves past red-striped door with Vault indicator panel>

<PLAYER activates the first pair of power couplings (yellow 1 and yellow 2)>

<PLAYER backtracks to red-striped door (now open with 2 yellow lights on)>

=CP= <after PLAYER enters newly opened red-striped doors>

<PLAYER climbs ladder and crosses catwalk>

<PLAYER fights Replicas in red stair area>

<PLAYER climbs stairs to area with large horizontal pipes>

<when PLAYER activates laptop sitting on crate near horizontal pipes>
BETTERS(r): Things are starting to make sense.  The name of the woman they used
for Origin is Alma.  That's who Fettel is looking for.
BETTERS(r): He's going home.

<PLAYER climbs past horizontal pipes to access vent>

{ if PLAYER heads right after exiting vent, PLAYER can climb ladder to access
reflex booster #19 }

<after PLAYER exits vent, PLAYER climbs up steps and crosses catwalk above the
main hallway>

<PLAYER fights Replicas in large room with huge Y-shaped machine>

<PLAYER enters passageway under Y-shaped machine to access 3rd power coupling
(blue 3)>

<PLAYER climbs down steps to controls 4th power coupling (blue 4) which are
blocked by a crate>
<PLAYER descends ladder to lower level and climb steps up to access crane
controls for the crate>

<when PLAYER activates laptop on white cube next to the ladder leading to the
crane controls>
BETTERS(r): Oh Jesus.  She's was just a kid.  Says here Alma was 8 years old
when Origin started up.  They used a little girl.  No wonder they're so fucking
anxious to keep the lid on this mess.  Somebody's going to burn for this.
BETTERS(r): No wonder Aristide hasn't returned my calls.  She's probably on a
plane to Jamaica.

<PLAYER activates controls, moving crate away from power coupling>

<PLAYER backtracks to controls to 4th power coupling and activates controls>

<PLAYER returns to room with Y-shaped machine and climbs stairs to upper level
with newly opened doors with Vault indicator panel (with two yellow and two
blue lights on)>

=CP= <as PLAYER approaches newly opened doors>

<PLAYER fights flying laser drones in catwalk area>

<PLAYER moves through hallway overlooking massive horizontal generator and
climbs up stairs to reach rotating drum room>

<PLAYER breaks grate behind white cubes to access vent into rotating drum room
and uses gap in drum belt to drop into lower room and access generator room>

<when PLAYER activates 5th power coupling (red 5)>
<the massive horizontal generator opens up, exposing a core of crackling blue

{ if PLAYER heads left at bottom of stairs, PLAYER finds health booster #21 }

<PLAYER heads right into a small passagway leading to a ladder>

{ if PLAYER activates phone in the small side area at the bottom of the ladder
VM: You've got two new messages. First message from:
ARISTIDE(p): Genevieve Aristide.
ARISTIDE(p): Harlan, it's Genevieve.  Listen, I understand your feelings. I
really do. But this is no time for sentimentality. If Origin is uncovered,
every single one of us will burn for it.  It's time we buried the dead, don't
you think?
VM: Next message from:
ARISTIDE(p): Genevieve Aristide.
ARISTIDE(p): Harlan, it's me again. If you want an apology, then I apologize. I
was wrong.  You were right. In any case, I want to be sympathetic, but the
situation IS urgent. I'm sending Mapes to take care of things since you seem
reluctant to do what needs to be done.  I hope you can find it in yourself to
assist him.
VM: End of messages.

<PLAYER climbs ladder and stairs to upper catwalk level>

<when PLAYER activates 6th power coupling (red 6)>
<rods in the generator change position, then the generator closes up while
power continues to hum loudly>

- Enter the Vault

=CP= <as PLAYER enters newly open doors with Vault indicator panel (with all 6
lights on)>

<PLAYER fights Replicas in small lab area>

<as PLAYER approachs lift>
BETTERS(r): Alma's still in there.  She has to be.
BETTERS(r): You've got to find her before ATC decides to get rid of the

<PLAYER rides lift down and descends stairs>

<as PLAYER opens door back into main hallway leading to the Vault>
<sound of pounding heartbeat>
<PLAYER sees FETTEL stalking behind a staggering zombie-like ALICE Wade>
<as FETTEL and ALICE both disintegrate into ash, flying laser drones appear in
the catwalk area in front of the Vault>

<PLAYER destroys laser drones>

<when PLAYER approaches the wounded MAPES>
MAPES: You have to destroy this facility.  Before he lets her out.
MAPES: There are four pylons.  Damage the reactor cells and you'll trigger a
chain reaction.  Blow the whole place to hell.  Where it belongs.
MAPES: If he lets Alma out...
MAPES: You have to stop him.

<PLAYER activates switch to open door to Vault>

- Locate Harlan Wade

<after PLAYER activate elevator platform and it starts to descend>
BETTERS(r): I'm losing your signal.  We may be out of contact from this point
BETTERS(r): Be careful of this Wade guy.  God only knows what he's capable of.

<as elevator continues to descend, level ends>

10a - Interval 10 - Revelation - The Vault

F.E.A.R. operative has entered the Vault.

Norton Mapes is urging the destruction of the facility due to an unspecified
hazard. His motives are presumed to be selfish, but caution is recommended.

Objective remains to secure Harlan and Alice Wade and eliminate Paxton Fettel.

<as the elevator platform comes to a stop, PLAYER see a massive sphere of
watery liquid suspended in the middle of a huge chamber and surrounded by a
large metal ring -- inside the watery sphere is a smaller dark metallic sphere
with a yellow glowing spot>
COMPUTER: Release sequence initiated.
<the metal ring around the sphere rotates slightly, moving out of the way of
the clamp suspended overhead, then stops with a loud clank as blue electricity
dances over the sphere>
<the metallic inner sphere inside the liquid rotates so that the yellow glowing
spot aligns with the overhead clamp>

{ if PLAYER looks up and to the right, PLAYER can see HARLAN Wade standing in
an upper level control room looking at the sphere }

<as PLAYER turns a corner, PLAYER sees three Replicas on the other side of some
glass windows, running off toward the right>

[=UNK=] <as PLAYER approaches a bloodstain on the floor>
<white flash>
-----start slo-mo-----
<PLAYER sees FETTEL crouching over Alice Wade's bloody corpse, feeding off her
ALMA(vo): Kill them all.
<little ALMA emerges from the right-side wall beside FETTEL>
-----end slo-mo-----
<white flash>
-----start mindscape event-----
<PLAYER finds himself in a blurry black void surrounded by flames>
<FETTEL suddenly appears>
FETTEL: You still don't know, do you?  What you are.  Why you're here.
<as FETTEL disappears in a white flash, a wave of nightmares attacks PLAYER>
<FETTEL reappears>
FETTEL: What's the first thing you remember? What's your given name? Where were
you born? You have no history.
<FETTEL again disappears in a white flash and another wave of nightmares
<FETTEL reappears>
FETTEL: You and I were born from the same mother.
<FETTEL again disappears in a white flash and another wave of nightmares
<FETTEL reappears>
FETTEL: You must have sensed it.  She cannot see in your mind, but perhaps you
can see into hers. A life of waking from one nightmare, only to find herself
deep in another.
<PLAYER suddenly appears inside of FETTEL's cell>
<PLAYER confronts a kneeling FETTEL as flames burn outside all the windows and
the door>
FETTEL: I will set her free.

{ if PLAYER circles around FETTEL, FETTEL will track PLAYER's movements }

<when PLAYER eventually shoots FETTEL>
-----end mindscape event-----
<the world reverts to normal as blood spray fills the air and FETTEL's body
sags to the floor beside ALICE Wade's corpse>

<when PLAYER moves past the bodies of FETTEL and ALICE Wade, PLAYER encounters
3 dormant Replicas>

<when PLAYER activates laptop in room beyond the dormant Replicas>
<HARLAN Wade appears on the laptop monitor, pacing back and forth in front of a
large window as the screen occasionally blurs with static>
HARLAN(laptop): She was a very disturbed child. Terrible, debilitating
nightmares.  Hallucinations.  Hysteria.  She never had a chance at a normal
HARLAN(laptop): It was Disler who realized that she was telepathic.
HARLAN(laptop): He speculated that she was extremely sensitive to the negative
emotions of people around her.
<HARLAN Wade sits down and drops his head into his hands>
HARLAN(laptop): We removed her from that chamber only twice.  She was fifteen
when the first prototype was born.  
<HARLAN stands up again as the monitor briefly blurs with static>
HARLAN(laptop): She was supposed to be comatose.  But she started screaming
when we induced labor and didn't stop until the liquid filled her lungs.
<HARLAN stands with his back to the camera, placing his right hand against the
HARLAN(laptop): There are plausible scientific explanations for everything that
followed, but I think was really just a question of hatred.
<HARLAN lets his right hand drop to his side> 
HARLAN(laptop): It is the way of men to make monsters.
<HARLAN walks off-camera as the monitor image changes to static and stays that
HARLAN(laptop): And it is the nature of monsters to destroy their makers.

<as PLAYER activates the elevator platform to the control room, a large crane
clamp begins to lower over the liquid sphere>
COMPUTER: System analysis commencing
<the clamp enters the liquid and begins to pull out a large cylindrical
canister from the inner sphere>
<white mist starts pouring out of the top of the liquid outer sphere>
<as the elevator platform reaches the upper level control room and the
mist-covered canister emerges fully from the liquid>
HARLAN: They want to destroy her. But I think she's suffered enough.
<as the clamp moves the canister over to the control room>
HARLAN: We put her in there two days before her eighth birthday.
<as HARLAN Wade operates a console inside the locked control room>
COMPUTER: Error.  No life signs detected.
HARLAN: She died six days after we pulled the plug.
COMPUTER: Release sequence complete.
[=UNK=] <as computer reports on release sequence>
HARLAN: This is how it ends.
<HARLAN Wade looks up as a gush of mist and a flash of light floods the control
room (presumably as the canister opens)>
<HARLAN staggers backs away as a dark distortion forms around him>
HARLAN: Alma....  
HARLAN: (scream)
<HARLAN begins to dissolves into a skeleton as naked ALMA steps out of the
<as HARLAN's skeleton sags to the floor, blood splatter obscures the window in
the control room door>
<white flash>
-----start vision-----
<blurry scene of familiar-looking hospital corridor and glass-windowed double
doors, except the PLAYER's point-of-view is very low to the floor>
<as scene gradually comes into focus>
ALMA(vo): Kill them.
<as lights flicker, naked ALMA slowly walks toward PLAYER, then suddenly
switches to little ALMA, then back to naked ALMA, even as she continues to
ALMA(vo): Kill them all.
<naked ALMA suddenly scuttles with frightening speed across the floor toward
<shrieking sound>
-----end vision-----
<world reverts to normal as the bloody door to control room opens>
<loudly pounding heartbeat>

<a trail of bloody footprints leads from the blood around HARLAN's skeleton
toward (but stops short of) the door on the far side of the control room>

=CP= <after PLAYER exits the control room>

[=UNK=] <as PLAYER enters examination room>
-----start slo-mo-----
<PLAYER sees naked ALMA slowly walking around a corner>
-----end slo-mo-----

<a black distortion hovers in midair next to a glass-fronted cabinet>
<when PLAYER touches the distortion> 
-----start mindscape event-----
<PLAYER finds himself in a fiery black void, surrounded by attacking
-----end mindscape event-----
<as the world reverts to normal, the glass in the nearby cabinet shatters>
-----start slo-mo-----
<black portals suddenly open in midair and nightmares emerge to attack PLAYER>
-----start slo-mo-----

{ if PLAYER looks behind barrels in the corner of the dark left-side corridor
after the first nightmare encounter, PLAYER can find reflex booster #20 }

<as PLAYER moves around glass windows and enters room with computer banks>
<white flash>
<2 black portals open up, releasing nightmares>

<as PLAYER climbs steps and enters room with white crates>
<white flash>
<2 black portals appear, releasing faster nightmares>

<as PLAYER enters blue-lit reactor area>
- Expose and destroy reactor cells to sabotage energy pylons

<PLAYER activates elevator platform>

=CP= <as PLAYER exits elevator platform>

<when PLAYER activate controls on platform to expose reactor cells>
<four large gray columns move upward, then four orange reactor cells drop down
into view>

<after PLAYER shoots all 4 cells, everything goes dark and quiet as power goes
<red warning lights flash as blue energy appear and explodes, rocking the area>

<as PLAYER approaches the newly opened door directly behind control platform,
another burst of blue energy appears to the left>

<as PLAYER enters catwalk area with red warning lights, another burst of blue
energy rocks the area>

<as PLAYER approaches the Y-split in the catwalk area
-----start slo-mo-----
<burst of blue energy rocks the area>
<2 black portals release increasingly faster nightmares>
-----end slo-mo-----

<as PLAYER enters room with red warning lights, another burst of blue energy
rocks the area>

[=UNK=] <as PLAYER moves onto red-lit catwalk>
-----start slo-mo-----
<PLAYER sees naked ALMA walk behind a corner at the far end of catwalk>
-----end slo-mo-----

<as PLAYER approaches end of red-lit catwalk, another burst of blue energy
rocks the area>

<as PLAYER circles around pit to reach elevator platform, another burst of blue
energy appears in the pit and rocks the area>

<PLAYER activates elevator platform near flashing red light>

<as PLAYER rides up on the platform, another burst of blue energy appears
behind him>

<when the platform stops, the Vault door opens onto a walkway>

<as PLAYER crosses the walkway, black portals appear and release nightmares>

<as PLAYER the end of the walkway, elevator doors open>

{ if PLAYER turns around in the elevator and looks back, PLAYER can sees a big
rippling distortion, then more black portals open just as the elevator doors

<as PLAYER rides the elevator up, level ends>

11a - Interval 11 - Retaliation - Ground Zero

The facility's main reactor has gone critical.  A chain reaction is imminent.

F.E.A.R. operative should attempt to get as far from the facility as possible.

<as elevator platform rises into a chamber with a vault-type door> 
BETTERS(r): He's alive!  I just picked up his signal.
BETTERS(r): If you can hear me, get to high ground.  A chopper is standing by.

<as PLAYER approaches vault-type door, a burst of blue energy appears over the
elevator platform and rocks the area>

<as PLAYER exits through vault-type door, another burst of blue energy appears
behind him and rocks the area>

<explosions and loud crackles repeatedly shake the area>

<as PLAYER climbs the metal stairs, a gas pipe bursts into flame, knocking a
grate loose and blocking the right-side door>

<as PLAYER moves down a hallway, a large pipe bursts, releasing a burning jet
of gas which block the hallway>

<at a T-intersection, boxes go flying as another gas pipe bursts down the
right-side hallway and burning gas erupts>
<black portals appear near the flaming gas and nightmares emerge>

<as PLAYER passes by the red toolbox in the room full of wooden crates, a
helicopter flies by the windows>

<as PLAYER moves further into the crate room, nightmares appear throughout the
room and attack>

{ if PLAYER heads to the back left corner of the crate room and turns around,
PLAYER can see health booster #22 in the back right corner }

<as PLAYER approaches the armor and medkit in storage room with shelves, more
nightmares attack from behind (from the crate room)>

<as PLAYER approaches the door leading out of the room with 3 large tanks>
<white flash>
-----start slo-mo-----
<lights go out and nightmares burst through the doors>
-----end slo-mo-----

<as PLAYER crosses the middle of a warehouse room, more nightmares attack from
under the right and left shelves>

<as PLAYER approaches the back of the warehouse room, more nightmares attack
from both right and left>

<after PLAYER climbs broken stairs to upper level walkway, boxes go flying as
very fast nightmares burst out of the 1st side hallway>

<as PLAYER continues along upper level walkway, boards and boxes go flying off
a shelf>

=CP= <as PLAYER approaches the generator room>

<as PLAYER enters the generator, a moderate explosion shakes the room>

<as PLAYER walks past generator, the valves explode, releasing steam>

<when PLAYER jumps down off catwalk into large open room, multiple waves of
nightmares attack>

<as soon as PLAYER destroys the last wave of nightmares, the floorboards
covering the right side of the room fly into the air>

=CP= <as PLAYER drops through newly exposed openings in the floor into lower

<as PLAYER crosses under the left-side floorboards, the boards collapse into
the lower level>
<nightmares attack from the left>

<as PLAYER heads down tunnel, nightmares attack>

[=UNK=] <as PLAYER moves down a very long dark tunnel>
<white flash>
-----start mindscape event-----
<PLAYER finds himself standing in front of glass-windowed double doors leading
into a familiar tiled lobby with stairs, now full of flames>
FETTEL(vo): I've tried to forget.
FETTEL(vo): I've tried so hard to forget.

<as PLAYER opens double doors and enters room, the glass in the doors shatter
as naked ALMA appears to PLAYER's left and stalks toward PLAYER>
<when PLAYER dodges and/or shoots naked ALMA, she disappears in a white flash>
{ if PLAYER fails to dodge naked ALMA's grab, he dies }

<when PLAYER climbs the stairs and approaches another set of glass-windowed
double doors> 
<white flash>
<the door glass shatters as naked ALMA appears in front of PLAYER and advances>
<when PLAYER dodges and/or shoots naked ALMA, she disappears in a white flash>

<PLAYER climbs another short flight of steps>
<as PLAYER heads down the long tiled corridor toward a set of windowless double
<white flash>
<PLAYER zooms forward until he's standing directly in front of the windowless
double doors>
FETTEL(vo): You were born here. In this place.
FETTEL(vo): I was there.

{ if PLAYER turns around, the long tiled corridor has diappeared and the stairs
are immediately behind PLAYER }

<PLAYER opens windowless double doors to reveal the familiar hospital corridor
with bloody exam table and the familiar glass-windowed double doors>

[=UNK=] <as PLAYER moves down hospital corridor toward the glass-windowed
double doors>
<as PLAYER continues to moves forward, PLAYER sees a wildly shaking doctor
through the glass>
<sound of baby crying>
<as PLAYER moves past the bloody exam table>
<white flash>
<naked ALMA suddenly appears on the other side of the doors and stalks toward
the shaking doctor> 
<shrieking sound>
<blood splatter completely covers the glass windows>

<if PLAYER immediately turns, PLAYER sees naked ALMA at the far end of the
corridor, walking toward him>
<white flash>
<naked ALMA reappears closer to PLAYER>
<white flash>
<naked ALMA reappears much closer to PLAYER>

{ if PLAYER fails to shoot naked ALMA enough times before she reaches and grabs
him, he dies }

<when PLAYER shoots naked ALMA enough times, she vanishes>
ALMA(vo): (whisper) My baby....
ALMA(vo): (whisper) Give him back to me.
-----end mindscape event-----
<white flash>
-----start vision-----
<scene of HARLAN Wade looking down at PLAYER>
ALMA(out-of-view): Give me back my baby!!!
<sound of baby crying>
HARLAN: You will be a god among men.
<HARLAN Wade looks up>
HARLAN: Take her back to the vault.
<scene of teenage ALMA in hospital robe sitting up, reaching toward PLAYER>
ALMA: Nooooo!!!
<camera pans down to a folder on a table which reads:>

Top Secret
Alma Wade

<fade to black>
ALMA(vo): (whisper) My baby...
-----end vision-----
<world reverts to normal>
ALMA(vo): (whisper) I know who you are.

<PLAYER enters and activates elevator>

<PLAYER exits elevator and jumps down through broken window into the street>

<as PLAYER moves past the yellow posts in the road, electricity arcs through
the air and a series of explosions rip holes in the street>
<a brilliant light fills the air>
<a pressure wave zooms down the street toward PLAYER and slams him against the
<as a massive wall of dust and debris comes rushing toward PLAYER, everything
shakes and PLAYER is inexorably pressed against the wooden fence>
<loudly pounding heartbeat>

<as PLAYER blacks out, the level ends>

12a - Interval 12 - Epilogue - Aftermath

Massive explosion detected by Hannibal-3 spy satellite in the vicinity of
classified Armacham facility moments before signal was lost.  Efforts to
reestablish link unsuccessful.

Status of F.E.A.R. operative unknown.

-----start observer mode-----
<as PLAYER stares up (past obvious debris) at the cloudy blue sky, a blurry
view of a descending helicopter gradually comes into focus>
JIN(r): There he is!
<PLAYER blacks out again>

<PLAYER wakes up in helicopter to see HOLIDAY (on a seat to the left) and JIN
(sitting on the floor to the right) as a yellow light intermittently flashes
through the cabin>
<through the open helicopter doorway, PLAYER has a clear view of a huge
mushroom-shaped cloud slowly rising into the air above the city>
HOLIDAY: I don't know how you lived through that.
HOLIDAY: We still don't know the extent of the damage.
JIN: We haven't been able to get through to anyone since the explosion.
JIN: What about Alma?  What happened to her?
<a loud bang, then the helicopter shakes and the interior lights go out>
<both HOLIDAY and JIN turn to look at PLAYER>
JIN: What was that sound?
<HOLIDAY turns back to look at the open door just as naked ALMA rises up from
the bottom edge of the helicopter doorway and begins to pull herself into the
<fade to black>

[ Credits ] 

<after approximately 5:30 minutes of credits>


<black screen>
<phone rings>
ARISTIDE(p): Senator, it's Genevieve Aristide.  I just wanted to assure you
that the Origin situation has been resolved.
SENATOR(p): But so much for discretion.
ARISTIDE(p): It was unavoidable.  There is some good news, however.  The first
prototype was a complete success.


9: Replica / ATC radio chatter

Many radio chatter phrases can be prefixed with different pronouns, depending
on the exact phrase and/or situation -- ("I" or "We"), ("I'll" or "We'll"),
("I'm" or "We're"), ("I've" or "We've").

For example: "Got a man down!" can also be "I've got a man down!" or "We've got
a man down!"
For example: "Moving in!" can also be "I'm moving in!" or "We're moving in!"

Many command chatter phrases can be prefixed by ("Team" or "Squad"). 
For example: "Check it out!" can also be "Team, check it out!" or "Squad, check
it out!"

ATC security forces and Nightcrawlers use many of the same radio chatter
phrases as the Replica forces, but there appears to be a few ATC-specific

ATC chatter tends to be more excitable and less disciplined than Replica

Replica / ATC radio chatter
Anyone see him?
Break him out!
Can you see him?
Can't hit him.
Can't see him.
Can't stop him.
Check it.
Check it out!
Check in.
Close in.
Copy that.
Cover fire!
Covering fire!
Cover me!
Did I get him?
Die, motherfucker!
Down here!
Draw him in.
Everybody take cover.
Fan out.
Fire in the hole!
Flank him.
Flush him out!
Get down!
Get out of here!
Get to cover!
Go go go!
Got a man down!
Got a sniper!
Got a visual.
Got contact.
Got three men down!
Got two men down!
Grenade out!
He wiped out the whole squad.
He took out the heavy!
He took out the heavy armor.
He's over there.
He's too fast!
He's trying to flank.
Head to cover! 
Hold up.
Hustle it up.
I'm going!
I'm okay.
It was over there.
Keep your mouth shut.
Look out (grenade)!
Lost a man!
Lost him.
Man down!
Move up.
Moving in.
Need backup... NOW!
Need backup!
Need help!
Need reinforcements
No fucking way!
No response.
Not getting a response.
Nothing to report.
Oh shit!
On me!
Our heavy armor is down!
Over there!
Quiet down.
Search this area.
Shut the fuck up.
Spread out.
Stay on your toes.
Stay out of sight.
Suppressive fire!
Take cover.
Take him down!
Take him out!
Taking fire!
Target sighted!
Target spotted!
That's an affirmative.
There he is!
Threat sighted!
This way.
Wait for my signal.
Watch out (grenade)!
What's your status?
Where did that come from?
Where is he?
Where should I go?
Which way?
Yes sir.
You're exposed!

ATC-specific radio chatter

Are you okay?
Get down
Get us some backup
Go see what it was
He's here.
He's over here.
Let's get him.
Stay on your toes.
This way
You still there?

10: F.E.A.R. Director's Cut Mini Comic

The Director's Cut release included a 12-page minicomic by Dark Horse Comics,
which provides some background to the events shown in the F.E.A.R. game intro.

FETTEL: Paxton Fettel
ATC1: Armacham security guard
ATC2: Armacham security guard
TECH: Armacham technician

page 1 - panel 1
ATC Headquarters
<FETTEL kneels on the floor of his cell>
???: (unintelligible whispers)
FETTEL: Who are you?  Why are you in my head?  What do you want?

page 1 - panel 2
<closeup of FETTEL's face>
???: (unintelligible whispers)
FETTEL: You are me.  We are one.

page 1 - panel 3
<closeup of FETTEL's eye, showing a reflection of ALMA, backlit by flames>
???: (unintelligible whispers)
FETTEL: Show me your pain.

page 1 - panel 4
<FETTEL looks upward>
???: (unintelligible whispers)
FETTEL: Make me understand.

page 2 - panel 1
<in security office, two ATC guards and a TECH watch the monitors>
ATC1: So, that's Paxton Fettel?  He doesn't look so dangerous...
ATC2: You are one ignorant dude.  You haven't been on the job long have you?

page 2 - panel 2
<ATC1 looks annoyed as TECH makes a pacifying gesture>
ATC1: No, I haven't.  You got a problem with that?
TECH: Take it easy... Fettel may not look it, but he isn't someone to be taken

page 2 - panel 3
<TECH looks at monitor showing dormant Replicas>
TECH: These soldiers are "Replicas" -- mindless clones.
TECH: Fettel is their mind.  He's a psychic commander who can direct their
actions with his thoughts.

page 2 - panel 4
<behind the TECH, monitors show footprints on the floor and FETTEL kneeling in
his cell>
TECH: We've beefed up security because the lab techs are worried about Fettel
going through another "synchronization event."
TECH: That only happened once before -- his brainwaves changed, like someone
else had entered his mind.  Fettel flipped out.  There were casualties.
TECH: So you can understand our concern.

page 3 - panel 1
<ATC1 points at monitor showing a blurry image of a figure leaving footprints>
ATC1: Wait a sec... What's that?

page 3 - panel 2
<monitor shows a blurry image of a dark-haired girl in a red dress as the
screen goes "ZZZSCHT">

page 3 - panel 3
<the TECH gives the two ATC guards a puzzled look>
TECH: What the hell was that?
ATC2: Probably just some interference from a broadcast signal.

page 3 - panel 4
<ATC2 starts to leave>
ATC2: Still you should go check it out.
ATC1: Me?! Where are you goin'?!

page 3 - panel 5
<ATC2 grins at ATC1>
ATC2: It's five minutes past my break time.
ATC2: You can handle it, hotshot.

page 4 - panel 1
<FETTEL knees in his cell>
???: (unintelligible whispers)
FETTEL: Both of us... We've both been used.

page 4 - panel 2
<closeup of FETTEL's angry face>
???: (unintelligible whispers)
FETTEL: They know where you are.  They'll try to stop me from finding you...

page 4 - panel 3
<scene of dormant Replicas standing in front of helicopter>
FETTEL(vo): ...but they'll have to tell me...

page 4 - panel 4
<Replicas activate and ready their weapons with a "KA-CHAK">
FETTEL(vo): ...I'll see to that.

page 5 - panel 1
<FETTEL kneels in his cell facing the door>
???: (unintelligible whispers)
FETTEL: They used us both.

page 5 - panel 2
<blurry image of ALMA appears through the glass panel of door>
???: (unintelligible whispers)
FETTEL: They caused you great pain.

page 5 - panel 3
<blurry image of ALMA grows larger>
???: (unintelligible whispers)
FETTEL: Show me.  Show me and they will pay.

page 5 - panel 4
<ALMA stands in the open doorway, dark hair swirling and her mouth open wide in
a silent scream>

page 6
<FETTEL screams as his mind is invaded by ALMA's memories -- a doctor in
surgical mask, a terrified ALMA huddled against a wall and clutching her knees
as someone approaches with a syringe, a screaming ALMA covered with electrodes
and strapped to an exam table, ALMA screaming as a syringe needle pierces her

page 7 - panel 1
<ATC1 checks a hallway>
ATC1: Huh...

page 7 - panel 2
<TECH watches ATC1 on monitor>
ATC1 (on monitor): There's nothing here... weird.
TECH: Frank was right... It must have been interference.

page 7 - panel 3
<ATC crouches and examines the floor>
ATC1: Yeah, I guess so.  There's nothing here on the floor either.

page 7 - panel 4
<ATC1 looks at the security camera and talks through his radio>
TECH (vo): Had to be interference.  I'll cycle the security cameras off and
restart the system.  That should solve the problem.
ATC: Roger that.

page 7 - panel 5
<FETTEL walks out of his room> 

page 8 - panel 1
<ATC1 glances to his left>
ATC1: Huh...

page 8 - panel 2
<ATC gasps and drops his weapon as dark strands of hair dangle from the ceiling
and brush his shoulder>
ATC1: PTHU! Gah?

page 8 - panel 3
<ATC recoils at the sight of ALMA standing on the ceiling right next to him>

page 8 - panel 4
<AT1 tries to run away from ALMA as he starts to disintegrate>

page 8 - panel 5
<a bare skull hits the floor with a "FSSSSSS..."

page 9 - panel 1
<FETTEL walks through hallway>

page 9 - panel 2
<FETTEL looks to his right>

page 9 - panel 3
<FETTEL walks up behind ATC2 in vending area>

page 9 - panel 4
<ATC2 glances sideways as he senses FETTEL's presence behind him>
ATC2: Huh?

page 9 - panel 5
<FETTEL slashes ATC2's throat with a knife>

page 9 - panel 6
<FETTEL stands over ATC2's dead body>

page 10 - panel 1
<monitor scene of Replicas firing>

page 10 - panel 2
<monitor scene of ATC security being shot>

page 10 - panel 3
<as TECH gestures to the monitors, he clutches a red phone>
TECH: The Replica soldiers, they're attacking!
TECH: He's not in his cell! I don't know how he got out!

page 10 - panel 4
<TECH continues to talk on the phone, unaware of the hand reaching for him>
TECH: No, I don't know where he is!

page 11 - panel 1
<TECH is spun around in his chair to face FETTEL and Replicas>
FETTEL: I'm right here.

page 11 - panel 2
<with one hand, FETTEL flings the TECH against a wall with a "BAM">

page 11 - panel 3
<TECH clutches his shoulder as FETTEL approaches>
FETTEL: Now tell me where you're keeping Alma.
TECH: Alma?  Who's Alma?  I don't know any Alma!

page 11 - panel 4
<FETTEL looms over the scared TECH>
FETTEL: You tongue can lie...

page 11 - panel 5
<FETTEL smiles as he holds up a knife>
FETTEL: ... but your flesh will tell me everything.

page 12 - panel 1
<flanked by Replicas, FETTEL tears at the TECH's body with a "HGKT!">

page 12 - panel 2
<back turned, FETTEL gnaws on one of the TECH's limbs>

page 12 - panel 3
<FETTEL suddenly looks around, his mouth bloodstained>

page 12 - panel 4
<FETTEL walks away, wiping at his mouth and accompanied by Replicas>
FETTEL: He deserved to die.

page 12 - panel 5
<FETTEL stands, flanked by Replicas>
FETTEL: They all deserve to die.


11: FAQs

nothing yet

12: Credits

Monolith Productions for developing this game.

Sierra Entertainment for publishing this game.

Dark Horse Comics for the minicomic for the Director's Cut version.

GAMEFAQS for hosting this FAQ.

Lars, for his many contributions to this script (i.e., pointing out various
errors and numerous things I missed during my own playthroughs).