RESIDENT EVIL ORIGINAL SCREENPLAY BY GEORGE A. ROMERO BASED ON THE GAME BY CAPCOM SCREEN STORY BY GEORGE A. ROMERO & PETER GRUNWALD © CONSTANTIN FILM ROMERO-GRUNWALD PRODUCTIONS FIRST DRAFT OCTOBER 7, 1998RESIDENT EVIL PRESENTATION CREDITS appear...then FADE. . Out of BLACK. ..SHOCK CUT TO: INT LAB A" LEVEL ‘TIMELESS A MAN'S FACE, filling the screen. MARCUS (filter). Stay away from here! We're watching A VIDEO MONITOR. A pre-recorded tape shows a view of what is obviously a pristine RESEARCH LABORATORY. DR. JOHN MARCUS, in a lab coat, faces THE CAMERA, disheveled and looking like a madman. . MARCUS (cont. filter) This lab must remain sealed! =~ INT CONFERENCE ROOM TIMELESS Overhead lamps cast pools of LIGHT down onto A CONFERENCE TABLE, onto THE HANDS of PEOPLE assembled to observe the video. We see NO FACES. But expensive WATCHES, sleeves with high-ranking STRIPES, indicate wealth, power, and a military presence. THE VIDEO: On the wall behind MARCUS, we see SHADOWS darting frantically. We hear VOICES rising in panic. MARCUS (cont. Filter) For God's sake, don’t come in! ‘The CAMERA is SWATTED by A HAND that lurches suddenly into the foreground. We only it for a few video frames, but we might subliminally notice LESIONS on the flesh. The IMAGE “SWIRLS Wildly. The next clear picture we see...is of the game laboratory...topsy-turvy. THE CAMERA is lying on its side on the floor. VOICE IN THE ROOM (o.s.) Look, Here. A LASER POINTER casts a RED DOT on a corner of the video screen, indicating A HUNCHED FIGURE,.leaning over A HUMAN BODY, apparently... feeding! With a GRUNT, the figure turna and LUNGES, it's face covered with BLOOD, at the CAMERA. The image SWIRLS again, and the SCREEN GOES BLACK. With a MUSIC STING, a single TITLE appears, full across the blackness... RESIDENT EVIL -5) EXT FOREST LAND PRE-DAWN A DARK SKY...and in the foreground, profiled against a FULL MOON, A DARK FACE...watching the heavens with piercing black eyes, alert, though not predatory. This is CHRIS REDPIELD, young, handsome. More than simply an outdoor type, he seems perfectly in place, almost part of the environment. A band of purple tints the horizon, outlining the tops of magnificent uncorrupted hills that extend for miles. Sitting ona ridge, squinting into that band of light, Chris sees... -.-AN EAGLE coasting on a channel of wind that cuts through the hilltops. As the bird moves swiftly closer, it becomes recognizable. Chris smiles and jots a note on a pad. The regal bird lands on a high rock where...unexpectedly... a freshwater trout lies flapping, three-thousand feet above the highest water. cHRIS Take it, Goliath. It's yours. “Goliath” snaps up the fish and flies away with it. CHRIS (cont.) . See ya next year, guy. Chris reaches into a water-filled bucket, pulls out another trout, climbs efficiently, unerringly, across a precarious cliffside, and deposits the fresh fish on the same high rock. ANOTHER EAGLE, smaller, a female, appears in the sky. shor ace obtatas 8 = ee assy. msec ARES: (Conte): remaree ee SSR REE a Chris scrambles back to his place and jots another note. “Cleopatra” spots the fish, pumps her wings, and swoops down. She's about to snap up the prize, but at the last minute, she recoils and climbs again, hovering. CHRIS (cont.) Come on. Come on down, The eagle circles, its sharp eyes scanning. It makes another dive, but stops short again. CHRIS (cont.) What's the matter, beautiful? ‘The bird seems frightened. Of what? It makes one more dive. Gets very close to the fish...but suddenly SHRIEKS and peels away from the rock. Chris sees its eyes, looking crazed. as it soars right past him, its wings brushing his hair.3 CLOSE ON: CHRIS, concerned, as_he watches the eagle disappear over the hills. = : 7 a) Over his shoulder, we can see the high rock that holds the fish. It's out of focus in the background, but the moonlight catches SOMETHING MOVING there. Something that lets out a sharp INHUMAN SOUND. Chris whirls around. There's nothing on the rock. Nothing at all. The fish has been taken. INT JILL'S APARTMENT DAWN CHRIS walks into a characterless apartment. He quietly sheds his clothes. Even in silhouette, we can see that his body is in perfect shape, not pumped, but lean and tight. Moving lithely, with the natural grace of a cat, he eases himself into a bed where... -+,a beautiful young girl, JILL VALENTINE, seems to be fast asleep. As Chris nestles in beside her, we see that her eyes, facing away, are open. Chris gently drapes an arm around her and lets his body relax. currs (A whisper) Glad-you're still = here, lady. i= JILL It's my apartment. CHRIS (Surprised) You're awake. . seeieeatpssomict SILL I've been awake. Since you left. CHRIS Sorry. His apology goes no further. He's still troubled by what happened in the hills. CHRIS (cont.) There was...something wrong. JILL What, with my dinner? I never had a mother. I'11 learn. Chris smiles politely. He offers... CHRIS I'11 do the cooking.ca .++but he can't switch focus. Co CHRIS (cont.) on the mountain, . .chere...must have been something. . prowling around up there. SILL There are prob'ly all kinds of things prowling around up there. In the middle of the night. Chris apologizes again, this time moze sincerely. CHRIS I'm sozry. Really. You...have to be there at dawn. They ride the wind over the ridge oILL -- Dawn? You left at one A.M. CHRIS Thad to go fishing. It's the fish that bring them down, so I can get a close look at them. (Enthused) I've tracked a dozen of them, Jill. Cc Twelve of those big bruisers. I can actually recognize them. I've even given them names, over the years. oILL You've been doing this for years? semana: CHRIS Only in the early Autumn. When they're migrating. SILL I'll set the alarm for nexc October. Jill rolls over and faces him. JILL (cont.) I wish I could get excited. Really. That's the truth. As excited as you, over such...simple things. cHRIS Beauty...isn't simple. If it was... I'd be beautiful. o . TLL You are. :CHRIS - No, no, no. I'm simple. You, on the other hand... (nuzzling closer) ...have -” all that...stuff...hiding underneath somewhere. That's what fascinates me. oILL Fascination. Not love? Jill is being playful. Chris, taking her question to heart, becomes introspective. cHRIS I...honestly don't know. I guess I've been...living alone tee long. You're the first, the only woman I've ever thought of as...a real partner. Now Jill becomes introspective. oILL I've always been...afraid of living alone. I've always had...people... talking at me...knowing they could wind me up and i'd do... (shrug)... whatever they wanted. Chris looks into her eyes. She kisses him gently. fom JILL (cont.) We all have...something hidden... underneath. Beauty may not be simple. But it's not all that complicated, either. Most of the time, you find, St eight" in*the"middle Of “ali "the confusion. AEDT eet CHRIS I'm part Mohawk. Indians are never confused. At least, they never let it show. They kiss again, this time more passionately. Rolling over, they begin to make love. EXT FARM DAWN The purple horizon is turning orange, but it's still quite dark when a crusty old farm-hand, RAKE, opens the creaking door of a stable and, with a flashlight, leads THREE HORSES out into the morning breeze Two dogs, A LAB and A SPANIEL;.réMp at his heels as Rake opens a log gate.Two of the untethered horses trot obediently into a large corral. The third, a beautiful stallion, resists, snorting, tossing its head in high spirit. RAKE Get in there, Lucky. Quit horsin’ around. Get in. “LUCKY” moves into the corral, strutting proudly. RAKE (cont.) Swear. If I didn't know you was just an animal, I'd say you was all full of yourself. GET IN THERE! Rake waves his flashlight, not meanly, there is clearly a great deal of affection here. Rake shuts the gate behind the stallion, who begins to gallop around happily inside the fence. All seems Jovely, until ...the dogs suddenly go on point. Their ears perk. They sniff the air...and begin to WHINE. RAKE (cont.) What's wrong with you two? KER-RARKK! A startling SOUND. Rake turns to find Lucky and the other horses, their eyes flaring, trying to KICK their way out of the fencing. They seem terrified. CUT To: A WIDE SHOT: of RAKE, and the frightened ANIMALS, from ‘two-hundred. yards “away:":"THE CAMERA -MOVES “IN;::slowly:at ‘0 first, then gaining speed...extraordina~y SPEED. We are seeing THROUGH THE EYES OF...whatever it is that's running, charging, SLATHERING HUNGRILY... ...Yeaching the corral, DARTING through the fence, past the KICKING HORSES, and LEAPING at Rake, who whirls around...and CRIES OUT in pain as his flashlight BLINDS us with WHITENESS. EXT AIR BASE DAWN The WHITENESS becomes the GLARE of HALOGEN LIGHTS. We are overwhelmed by the SOUND cf AIRCRAFT ENGINES. We see MEN, armed SOLDIERS, scrambling into combat HELICOPTERS. A RADIO MAN runs right toward THE CAMERA, holding out an open receiver. RADIO MAN Top brass, sir!ANOTHER MAN, in the foreground, takes the radio-phone. We can't see his face. Only his forearm, which bears A TATTOO a of a grinning SKULL. MAN WITH TATTOO Alpha Leader. VOICE ON PHONE (0.8, filter) How long before you get in there? MAN WITH TATTOO Fifteen minutes. INT AN OFFICE DAWN A SUIT talks on a red telephone. Once again, we no face. An ostentatious diamond RING kicks light as the man snips off the end off a Monte Cristo. MAN WITH RING You're good, soldier. But not that good. It's five hundred miles away. In the backwoods of Pennsylvania. MAN WITH TATTOO (0.8, filter) We have troopers en site. a first- im strike force. Under cover. The flame from a wooden match lights the Monte Cristo. MAN WITH RING Jery, xesourceful.,,.. You. have.my, “permission activate t EXT AIR BASE DAWN MAN WITH TATTOO I've already done that. You have my permission...to say that you gave me permission. THE TATTOOED MAN runs off to join the other SOLDIERS. INT JILL'S APARTMENT MORNING CHRIS sleeps. JILL is awake, deep in thought, when... -+-BRRRRT! [t's not a ring, it's a vibration. Jill reaches down and extracts something small and black, the size of a box of Tic-Tacs, from one of her shoes. She gets out of bed, checking to see that Chris is still asleep, and moves into ..INT JILL'S APARTMENT BATHROOM — MORNING a bathroom, Closing the door behind her, she puts the small box to her ear, extracts a wire from it, with a tiny microphone on its tip, and... JILL ‘ (softly) Valentine. We can't hear the voice that speaks to her. JILL (cont.) If this is just another a drill, I'll strangle you. (She listens) Shit. Give me the activation code. JILL pulls a small ENVELOPE frum a tolletry bag. she breaks open a wax seal...and takes out a thick paper on which is printed. . .29-RC-6735. SILL (cont.) (Gaping, not believing) Th-that's amatch. (Beat) I'm on my way. Jill clicks off. she dumps something else from the envelope into her hand... BLUE PLASTIC CARD, the size of a Visa, blank except for a mag-stripe. There's a small hole in one corner, through which a chain is strung. Jill slings the chain over head, wearing the blue card like a pendant. STLL'S APARTMENT MORNING PPR RPS tA CHRIS is still asleep. JILL comes out of the bathroom and looks down at him longingly. Should she wake him? Tell him what's happening? She wants to, but duty prevents it. she pulls herself away. INT JILL'S APARTMENT CLOSET MORNING ‘TCHIK TCHIK TCHIK...JILL pushes aside hangers which hold her clothes. She types numbers into a hidden KEYPAD. A SECRET PANEL OPENS, revealing a CLOSET WITHIN THE CLOSET, packed with COMBAT UNIFORMS and WEAPONS. ANT JILL'S APARTMENT MORNING The sound.. .TCHUNG...of the front door closing snaps CHRIS awake. His first thought is for his lover. He reaches out and finds that...she's not in bed. He jumps up, rushes to a window, locks down, from the second story, and sees...BXT JILL'S APARTMENT MORNING = -+-JULL, heavily ARMED, in UNIFORM, wearing a beret that has an insignia...S.7.A.R.S. She rushes down the front path and jumps into A HUMMER with THREE OTHER TROOPERS on board. The vehicle pulls instantly away. ..leaving Chris, looking through the window, puzzled, angry, and very much wounded. INT/EXT HUMMER MORNING RUSSO drives. WILLIAMS and DISIMONE sit in the back, all tough Special-Forces types. JILL, in the front passenger seat, though the only female, ranks the highest. DISIMONE Another practice run, right? RUSSO We been practicin' six months! For what? SILL For this. This is the real deal. ~ WILLIAMS Honest to God? SILL Based on my experience, Williams, God,isn't always honest. DISIMONE Where we goin'? JILL In there. Jill points into THE ARKLEY FOREST which lies ahead. Miles of old growth-trees shrouded in a ghostly morning mist. DISSOLVE TO: EXT THE FOREST MORNING DEEP IN THE HEART OF THE MIST...THE HUMMER bounces over non-roads and stops fifty yards from... ..+A PAIR OF IRON GATS, each wrought with the letter “A”. Beyond, the shifting fog offers. momentary glimpses of... A MANSION. Huge. Like Xanadu. THE TROOPERS, amazed, climb out and approach the gates.10 RUSSO If you had the jing to build a place like this, would you build it in the middle of fuckin' nowhere? WILLIAMS Paris DISIMONE Manhattan. Upper west. oTLL (Wistfully) Some people prefer a quiet life. (Back to business) Our orders are to secure the area. DISIMONE From what? This area's been ‘secure’ since the French and Indian War! A deep, animal SNARL comes from the woods. The troopers raise their weapons as they peer into the underbrush. The fog keeps sunlight from penetrating. The forest is a maze of dark shadows. Leaves flutter. Limbs SNAP. Then... .++sDARK SHAPES can be seen moving, circling. A half-dozen of them. Maybe more. Jill whips out a transmitter and quickly types an access code. ILL (Into radio) This is Valentine, Bravo Team. We, er...we might be in trouble, here. sapssppia cei . see KRITCH! Something LEAPS out of the brush. Automatic WEAPONS SPIT reflexively. KRITCH KRITCH KRITCH...more lunging SHAPES appear. The troopers scatter, firing, as they are attacked from all sides. Jill dives for the shrubbery, shouting into her transmitter. JILL (cont.) WE ARE IN TROUBLE! cur TO: INT HUEY MORNING JILL'S VOICE stutters over a headset which is pre A MAN'S BAR. sed against JILL (o.s. filter) Under attack...by...assailants... unidentifi... JESUS!Tt Static. Hissing air. The SHOT WIDENS as the man lowers his headset. First we see the TATTOO on his arm...a grinning SKULL which we recognize. Then, gradually, we see his face Lean and mean, wearing dark sunglasses, this is ALBERT WESKER, a hard-assed career officer. WESKER Can you get a trace? The pilot, LAGUARDIA, responds. LAGUARDIA Lost the beacon. It just cut out. Like it was...swallowed by something. Oddly, Wesker smiles. WESKER I do believe, gentlemen...that we're gonna be earning some combat pay. There are three other MEN on board. The closest to Wesker ig BARRY BURTON, a muscular black man, as big as a grizzly, with the heart of a Teddy. BARRY Damn, if you don't love a fight. WESKER Hey, if I didn't...you'd be a dead man. (To the pilot) Call in a nine- nine. I want Raccoon City e-vacked. Wesker and the m FLY AWAY from the lens, THE CAMERA pasi “edt “through one oF “the“helicopter's P wtndoua wa"aa chopper es away. When the SHOT WIDENS, we see OTHER HUEYS black, unmarked, keeping formation. Three...six...ten of them. EXT FOREST MORNING GUNS BLAZE. THE TROOPERS are under assault by thrashing, inhuman SHAPES...GROWLING, SNAPPING. JILL rolls into a natural trench. DISIMONE is behind her, WILLIAMS is crawling just ahead, his legs pumping. Jill scoots past him and sees that... +. those legs aren't moving on their own. They've been RIPPED AWAY FROM WILLIAMS' TORSO and are being dragged into the underbrush by some...BEAST..,concealed in the thick brush, so we never get a clear look at it OTHER BEASTS attack DiSimone. Then Russo. We see only details. Jill fires her pistol, point blank...to no avail. RED-RINMED EYES, SNARLING JAWS, DROOLING TEETH descend on her as we CUT TO:12 EXT JILL'S APARTMENT BUILDING MORNING CHRIS steps out of Jill's building. Suddenly, incongruously, Camo-painted HUEYS swoop down out of the sky. EXT RACCOON CITY MAIN STREET MORNING ‘THE CHOPPERS land where they can. COMMANDOS leap out and begin to cordon off the town. Bullhorns blare. BULLHORN There's been an accident in the hills nearby. A military aircraft, carrying live weapons, has crashed... EXT RACCOON CITY SIDE STREET MORNING CHRIS runs down a side-street into AN ALLEY, where he's trapped by COMMANDOS, both in front and behind. SOLDIER Let's go, hayseed. (Aiming his M-16) You gonna be a good boy? Chris swallows his fury. Gritting his teeth, he goes along with the soldiers, prodded, by rifle barrels, out onto... EXT RACCOON CITY MAIN STREET MORNING ...Main Street, where there is CHAOS...an Orwellian sight, ae CITIZENS find themselves herded into helicopters..and..... ‘TRUCKS from the local National Guard Post. A sweating man, still in his pajamas, rushes up to the SOLDIERS that are escorting CHRIS. MAN Look here, I'm the Sheriff of this... SOLDIER Step aside. SHERIFF But, I'm the Sheriff! An ex-Army man, like you. BULLHORN (0.8.) There is no immediate danger, but as a precaution, we are evacuating the area. You will be provided shelter until the weapons have been removed from the crash site13 SHERIFF That's a worn-out scenario. If a plane crashed nearby, don't you think somebody would have heard it go down? Tell us the truth, guys. What's this really about? SOLDIER I said, STEP ASIDE! The soldier lifts his rifle. He's about to CLUB the sheriff when Chris lunges, grabbing his arm. WHOOMPH! Chris kicks the soldier in the balls. The man buckles. Chris bolts. One of the other commandos PIRES at him, a loud BURST which misses Chris but SHATTERS a shop window, setting off wild PANIC on the street. Chris ducks into a building... EXT RACCOON CITY BACK STREET MORNING and out a rear door. He runs through a warren of back alleyways, arriving at... .+,A JEEP SAHARA which is parked behind Jill's apartment building. He jumps in without opening the door, jams # key into the ignition, and ROARS off. INT HUEY MORNING Still airborne, in one of the black helicopters that have yet to reach the te, WESKER barks orders into a radio. Seri it Teves. WESKERY Charlie, David, Edward, proceed to Raccoon City. Assist the e-vack. I'm going on target with Alpha Team. All forces stand ready to support. EXT FARM MORNING CHRIS rumbles his jeep onto a picturesque FARM, secluded deep in the forest. We don't recognize it immediately. It was dark when we last saw the place. Jumping out, Chris sees three large SHAPES lying in the grass of acorral. Rushing over, Chris realizes -..they're HORSES. One of them is LUCKY, his prize stallion...DEAD, in a pool of BLOOD, with its belly torn open and a huge chunk out of its neck. CHRIS Aw, no... (Devastated) ...L-Lucky. J)+) 14 Chris hears a weak, MOANING SOUND. He turns and sees... RAKE, lying near a water pump. Chris rushes to the man's side and finds him brutally SLASHED, barely clinging to life. RAKE (Coughing blood) They...they come outa the trees, Reddy. Don't...don't know what they was. Figure. .-maybe some kinda...wolves, or somethin’... Examining the man's wounds, Chris realizes they're fatal. RAKE I...I never seen “em comin'. CHRIS Don't try to talk, Rake. RAKE (cont .) I...ain't...never left this farm.. untended...since yer daddy first took it over. cHRIS) I know. You...kept the place runnin’... better than me. RAKE I just...never seen “em comin’, Reddy. Never even...had a chance to...turn a gun on “em. a THUNDER in the sky. Chris looks up. Wesker's fleet of black HUEYS appears on the horizon... They split—up, sean Laaeene oer couse Raccoon Chey Che Sma ee grinding ahead over the forest, slowing down, dropping in altitude. CHRIS Where are they going? There's nothing in there...except... RAKE Y'oughta...remember it...real good. Ido. From...when you was a kid. CHRIS The...the old Arkley place? RAKE I remember them days. I surely do. Remember them...them old days. Chris looks back down at the old man, who is drifting, starting to lose it.* BLAM)? “A clean shot. to“the ‘horse's rai drope*the’ 15 CHRIS. (cont .) 2 I'm not gonna bullshit you, Rake. r You're...in a bad time. If there's =“ any way to save you, I'll find it, I swear. You just...hang in there, old guy. I'll be right back. Chris jumps to his feet and runs into... INT FARMHOUSE MORNING -..the great-room of the FARMHOUSE. Rustic. Cozy. CHRIS snatches up a telephone. There's no dial-tone. The line is dead. Chris rushes to a gun cabinet and pulls out an old WINCHESTER rifle. He scoops ammo from a drawer into a shoulder bag and runs back outside... EXT FARM MORNING -..where his eyes catch MOVEMENT in the corral. LUCKY, entrails spilling...is trying to stand. cHRIS Oh, God, Rake. Oh, Jesus, the poor thing's still alive. " Chris shoulders his ammo bag, reaches inside, and quickly loads the Winchester. Stepping forward, he aims carefully. CHRIS (cont.) Sorry, old hoss. ama It takes Chris a long moment to recover...then, he looks into the trees. The helicopters are no longer in sight, but their THUNDER remains. They haven't landed yet. Chris turns and rushes back to Rake's side, only to find. ...he has died. Chris’ jaws tighten, but he has no time to mourn. He Closes Rake's eyes. Digs through the grass. Pulls up a handful of dirt. Stuffs it into the old man's hand, and closes his stiffening fingers over it. CHRIS (cont.) ‘The earth keeps us. Conquering his emotions, Chris runs to his jeep and jumps in. He shifts into four-wheel-drive and, ignoring the road, heads straight over the field for the trees. ~ As the jeep disappears, THE CAMERA” CRANES DOWN, ZOOMING IN ON...16 sone of the farm dogs. The SPANIEL. Not the entire animal, but one of its three SEPARATE PARTS...it's front end...CRUSHED head, BLOODY neck, and a single BROKEN paw... .+-which is trying to CRAWL Fifty yards away, RAKE'S HAND relaxes. The earth spills out through his fingers as the dead man's eyes...POP OPEN. EXT ARKLEY FOREST MORNING ‘THE FIRST OF THE BLACK HUEYS drops, hazardously, into a small clearing with barely enough space. Unable to land on the scrub-brush, it hovers ten feet off the ground. Its rotors CLIP TREE LEAVES as WESKER, PARRY, and THO OTHER S.T.A.R.S. COMMANDOS jump out, heavily armed. The chopper lifts off, ~:placed by HUEY NUMBER TWO. NOT FAR AWAY, CHRIS navigates through undergrowth until he can see THE HELICOPTERS through the trees. The THUNDER from their rotors masks the grinding of Chris' jeep. He pulls within a hundred yards and, leaving his vehicle in the bush, moves closer, cautiously, on foot. THE THIRD HUEY air-drops TWO MEN and TWO WOMEN in S.T.A.R.S. uniforms, There are TWELVE COMMANDOS in all...ALPHA TEAM. Wesker locks up at the Huey's PILOT, using his radio to speak to the man. WESKER You'll have to rotate or you'll run oat of fuel, but I want one chopper to remain in the air af all times... We ‘might need ‘Help in a hurry. "~~~ A Roger that’, squawks back as the Huey banks away. Barry locks worried. His instincts are asking... We might need...‘help’*. Against what? We only see this in his eyes, he says nothing as... .+.Wesker leads the team through the woods, unaware of... ...CHRIS, following behind, crouching around trees and bushes, not a trained commando, but comfortable with the land, a natural warrior using ancestral instincts. THE CAMERA TRACKS COMBAT BOOTS as they CRUNCH through the low-lying MIST. ..stopping abruptly when they encounter... ...WEAPONS, AMMO BELTS, bits of SHREDDED UNIFORMS. ..and HUMAN BODY’ PARTS...strewn all through the surrounding brush, remnants of what was obviously a feeding-frenzy.17 VICKERS ~ Holy...Goh...gaah... BRAD VICKERS vomits. Unarmed, he's Alpha Team's computer- “ techie. Not a combat soldier, he's a bit of a coward. Another non-combatant, REBECCA CHAMBERS, is the team's medical officer. She digs an ammonia capsule from her pack and holds it under Vickers’ nose. RICHARD AIKEN and KENNETH SULLIVAN are buddies, regular G.I. Joes, right out of every war movie. Aiken stares at the carnage, calmly chewing a wad of gum. ALKEN, You ever eat road-kill, Sullivan? SULLIVAN Aiken...a guy with a brain your size would be better off dead. RODRIGUEZ (0.8.) Want me to shoot ya, Aiken? ROSIE RODRIGUEZ, a tough, bhody-built babe steps in. RODRIGUEZ (cont.) I'm ready ta shoot somebody in AIKEN I'll pass. Shoot sullivan. FOREST SPEYER, a wiry Willem Defoe type, finds a bloody BERET and brings it’ to Wesker. i:5,.tag in. WESKER (Reading the tag) “Valentine'. (Beat) Radio Washington. Bravo Team found on site. No survivors. In the bushes, Chris overhears, not wanting to believe. He sees Wesker angrily pitch Jill's beret into the brush. WESKER We're goin’ in. Watch your backs. Wesker advances his troops. When the coast is clear, Chris rushes in, picks up the beret, and sees the name tag for himself. “Valentine”. After what happened at the farm...now this...feeling sucker- punched, defeated, Chris hangs his head. One of the HUEYS dips in low. s18 Chris looks up. The sight of the war machine lifts him from defeat...to rage. His eyes are soft, for the last time, as he tucks Jill's beret into his pack. When he looks up again, those eyes have become newly predatory. He ducks out of sight as the helicopter swings lower. Downdraft from the rotors makes the bushes rustle, catching Chris' attention. He realizes that...it's not just the wind. The shrubs are being disturbed by... . ++. SOMETHING DARK which is moving through them. It pokes its head out. A WOLF! Rake was right. Chris readies his Winchester as the animal stalks forward. It's not a wolf. It's A DOG, Mottled, its flesh gray, covered with rotting lesions...and it has three bleeding BULLET HOLES in its belly, chest, neck. GROWRRR! It LEAPS at Chris...who fires...BLAM! Up ahead, Wesker and his commandos freeze. WESKER Who fired? WHO FIRED? Before anyone can answer, the team is ATTACKED by MORE DOGS which BURST out of the surrounding woods. ..DOBERMANS and SHEPHERDS...but_something is seriously wrong with all of them. Their EYES are DEAD, their FLESH decaying. Automatics piss streams of lead. Hot rounds TEAR through the animals, many of the slugs accidentally blowing out brains. barrage.drowns out .the individual REPORTS from « he wields with ease. A crack-shot, each one of his bullets hits its target...one of the dogs’ heads. ‘The commandos are backed up against...the IRON GATES we saw earlier. The Arkley Mansion stands beyond. RODRIGUEZ Let's get inside. WESKER (cont.) NO! (Shouting) I WANT “EM ALL DEAD! YOU HEAR ME? STAND FAST... UNTIL THEY'RE ALL DEAD! The dogs don't stand a chance. Alpha Team's firepower is overwhelming. But there is a human casualty. JOSEPH PROST trips and falls. One of the dogs POUNCES on him, chewing out his HEART...through his BACK. Wesker steps in, RIDDLING the-dead man, and the dog, with forty rounds from his M-16.19 In the next instant, ANOTHER DOG LEAPS at Wesker from behind. He hears its snarl...too late. He dives into the grass... too late. The dog is about to land on him when... .-it's BLASTED out of mid air by...Barry. BARRY Even-Steven, boss. You saved my ass in the desert. I saved yours in Pennsylvania. Wesker stand, straightening his ever-present sunglasses. WESKER I don't believe in being... ‘Even- Steven’ with anybody. A man saves my ass...I pay him back. Before this day is over, I'll pay you back, Barry. dust...stick with me, okay? Wesker checks his equipment belt. Something is missing. He looks to where he rolled in the gra: Using a FLASH- LIGHT, he finds... a small electronic unit the size of a cell-phone. But it's not a cell-phone. Whatever it is...Wesker clips it onto his belt. FROM THE BRUSH, Chris sees all this. The guns have gone silent. The attack seems to be over. Chris moves stealthily to the body of the animal that he shot. It's wearing a COLLAR which reads... amy seers cote tee SBIRE. 26 soesiore Alongside the I.D., there's a corporate-looking logo...the symbol of an UMBRELLA. GRRROWHHLL! ANOTHER DOG is advancing on Chris. He aims his Winchester. CLICK! The magazine is empty. No time to reload. The dog is on him. Chris SCRAMBLES away. The dog BOUNDS after him. Chris drops to the ground. Did he trip? No. He pushes a TREE ROOT, which is FALSE. It swings open and he dives in, pulling the ‘root” shut over him. The dog arrives an instant later. It lets out an angry YOWL...and is BLOWN AWAY...by RODRIGUEZ, who neither saw Chris, nor where he went The forest goes dead quiet. Too quiet. There's not even a the chirping of morning birds. Wesker is SLAPPED startlingly QR on the back....by Barry20 BARRY Look here, man. I'd follow you into any kind of enemy fire. But these things ain't firin' at us. They want us for breakfast! When are you gonna tell us what the hell is goin’ on here? WESKER When you need to know. dust do your job, soldier, That's what I'm doin'. My job. Wesker pulls a chain from under his shirt. It holds a card, the size of a Visa, like the one Jill found in her secret envelope, only Wesker's isn't blue, it's green. Stepping away from Barry, he slides the card through a slot in the iron gate-frame. 'BU222Z. The GATES SWING OPEN with a rusty SQUEAL, INT TUNNEL MORNING CHRIS crawls through a long, dark shaft with earthen walls, a man-made tunnel. EXT ARKLEY FOREST MANSION MORNING AT THE MANSION'S FRONT DOOR, a hand-carved monolith of solid oak, WESKER finds another hidden SLOT and swipes his card. The giant door CREAKS OPEN. INT MANSION CENTRAL HALL MORNING INSIDE, the place looks like a HAUNTED HOUSE, a glorious ruin, once spectacular, now mysterious and threatening. The chandeliers and furniture are covered with sheets that ripple on breezes from a thousand faults in the old walls. Indistinct NOISES echo within the ceiling, the floor, as ALPHA TEAM enters. AIKEN Old. They probably don't have cable. SULLIVAN They probably don't have radio. RODRIGUEZ Who's they? Who's place is this? WESKER shuts the front door. The BOOMING SOUND makes us wonder if we will ever see it opened again2 WESKER es Guy named Arkley. Bootlegger. Built Som this old fortress during prohibition. He figured nobody'd ever find him out here in the back woods. Nobody did. Till he died. Feds have had it ever since. Place has been here for eighty years...derelict...a safe-house. BARRY A safe-house...for who? For what? WESKER There's a...a secret installation. Below. A network of laboratories. REBECCA, What kind of... laboratories? WESKER (Shrugging) They didn't issue us gas-masks, so I figure...it's okay to breathe. RODRIGUEZ Why send in a strike-force? SULLIVAN a) Yeah. What are we supposed to do? Polish the silver? WESKER (cont .) There's a man downstairs. A top- priority man. It's our joh to. icemereeurbeing him ouE:” Hopefully, “there are others alive, as well. We'll rescue them, too...if we can...but Dr. John Marcus...he comes out alive at any and all cost. INT MANSION CORRIDOR MORNING ‘Though it's still morning, the windows are sealed over. No sunshine can enter. From this point on...there will be no indication of time...except as shown on clocks. A sense of dread takes hold of us as ...dark SHADOWS LURCH. ..FEET SCRAPE sluggishly...not in combat. boots, but in Nikes, loafers, Dr. Martens...past an accordion GATE of corroded bronze. A motor HUMS. Behind the gate, an old-fashioned service ELEVATOR rises...but stops =~ just below floor level. EYES peer out, waiting for the . shuffling feet to pass. Then the car rises the rest of ~ the way, revealing its occupant...- ...JILL VALENTINE! She's alive! She deactivates the ~ elevator by pulling her blue ACCESS CARD out of an incon- ¢ gruously modern receptacle. Checking to be sure that the Goast is clear, she slides the accordion gate aside and steps out into’ the corridor. With a ghostly MOAN, something LUNGES at her out of the shadows. It's A MAN in a lab coat. His skin is ROTTING, his teeth SNAPPING, like the dogs'. He tries to BITE Jill, not merely to do injury. He seems HUNGRY! Jill leaps aside, lifting her pistol and PIRING...once, twice, three times. The man is shot in the stomach, heart, neck...but he keeps coming! Finally, Jill shoots him in the head...and he falls. g411 quickly reloads, on instinct. But as she does it, she stares at the corpse, frowning, weighing life-long belief against the hideous facts of the moment. INT MANSION CENTRAL HALL © MORNING WESKER and his troopers hear the GUNSHOTS. There are THREE DOORS nearby. Wesker selects one that seems to lead to the source of the gunshots. Using his card, he unlocks it. o WESKER Three men stay here. Chambers... REBECCA I'm not a man. MESKER,sosaeros coveoenomts “Rodriguez. 7. RODRIGUEZ I'm better than a man. Wesker grins, but hardly skips a beat. WESKER Alright. you come with us. Aiken, Sullivan, stick here with Chambers. ‘The troop moves out. Aiken and Sullivan remain in the central hall with Rebecca. AIKEN Why us? SULLIVAN I dunno why me. You? I guess the €.0. figures you're as worthless as a dame, Aiken. y33 Sullivan catches Rebecca's eye. - SULLIVAN (cont.) oy Er...sorry, ma'am, I,..I didn't... I meant Aiken... Not you. REBECCA Relax. I get it. INT MANSION LIBRARY TIMELESS WESKER leads his TROOP into an enormous, cobwebbed library lined with book shelves, but no books. ‘There are doorways on all four walls. Wesker pulls out something that looks like a Game-Boy. He types on a keypad. A MAP of the mansion appears. Wesker scrolls with the arrow-keys. Barry looks on very impressed with the high-tech unit. BARRY That thing...tells you where to go? Wesker doesn't answer. He pockets the “Game Boy”. WESKER One man stays here. Ridley. You're it. Shoot to kill. Just make sure it's not one of us. The rest of you... this way. Wesker leads his squad through one of the doorways. RIDLEY, a young rookie, remains. “INT” “ UNDERGROUND CAVERN “” “TIMELESS pee CHRIS reaches the end of the earthen tunnel. There are signs that children once played here...TOY SOLDIERS. GRAFFITI. Chris finds his nickname. ..Christopher Reddy... etched in hardened mud. After a moment of reflection, he moves on, into... INT ENTRY CHAMBER TIMELESS ...a small, sheet-rock chamber. CHRIS rushes to a DOOR that looks like it's been there since the beginning of time. As soon as he touches the knob...AN ALARM SOUNDS! INT MANSION KITCHEN TIMELESS RIDLEY, standing guard, hears THE ALARM. He hears Chris ~ JIGGLING the knob. But he sees NO DOOR. The walls around him seem to be solid slabs .4 INT ENTRY CHAMBER TIMELESS CHRIS can't get the doorknob to turn. Behind him, a dusty ORIZNTAL CARPET BULGES upward. One corner flops aside. INT MANSION KITCHEN TIMELESS RIDLEY is spooked by the sound. Frightened, trembling, he un-slings his rifle. RIDLEY Who...who's there? INT ENTRY CHAMBER TIMELESS CHRIS doesn't hear the trooper. Behind him, A DECOMPOSED HAND pokes out of a drainage ditch beneath the carpet. It gropes. Finds purchase on the floor. Chris is unaware of the danger. He HURLS himself against the door. He can't break through. The thing that climbs out of the ditch was once a man, once a SCIENTIST. It's wearing a lab coat and a pair of thick EYEGLASSES. But it's long dead. It's...A ZOMBIE. As it pulls itself up, its eyeglasses strike the side of the ditch. They fall, CLATTERING, the rims scraping the zombie's cheek, which peels away like onion skin. Chris hears the noise. Turns and sees seigeest one tysoaeen Sethe “dead man, Fedching out“ hingrily. “chris is’ trapped: He aims his Winchester. CLICK! He forgot. It's empty. The zombie pulls itself fully up onto the floor. chris digs in his shoulder bag. Pulls out a handful of bullets and with them, accidentally, Jill's BERET. Rising emotion stops him for a moment. The dead man crawls toward him. Chris might not have time to load. As he tries to jam a bullet into his rifle, the zombie SWATS at him. Catches the beret. Looks at Sniffs it. The bullet pops out of Chris’ nervous fingers. He tries to load another. INT MANSION KITCHEN TIMELESS RIDLEY spots A BLUE ACCESS SLOT in the wall. He levels his automatic and CHEWS the thing up with a short burst. A PANEL SWINGS OPEN! CHRIS dives out...with the ZOMBIE inches behind him. Ridley FIRES off another BURST OF ROUNDS.