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Resident Evil - by George A. Romero

	
			     	    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
	
	---
	This text orginiated from www.New-Blood.com, please check them 
	out for Resident Evil coverage.
	---
	
	Pg-1
	
	
				     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 see 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
	same 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 turns.
	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
	
	
	Pg-2
	
	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 REDFIELD,
	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
	on a 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.
	
				CHRIS (cont.)
			Cleopatra.
	
	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.
	
	
	Pg-3
	
	CLOSE ON: CHRIS, concerned, as he watches the eagle disappear
	over the hills.
	
	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.
	
				CHRIS
			(A whisper) Glad you're still 
			here, lady
	
				JILL
			It's my apartment.
	
				CHRIS
			(Surprised) You're awake.
	
				JILL
			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'll learn.
	
	Chris smiles politely. He offers...
	
				CHRIS
			I'll do the cooking.
	
	
	Pg-4
	
	...but he can't switch focus.
	
				CHRIS (cont.)
			On the mountain...there...must
			have been something... prowling
			around up there.
	
				JILL
			There are probably all kinds of
			things prowling around up there.
			In the middle of the night.
	
	Chris apologizes again, this time more sincerely.
	
				CHRIS
			I'm sorry. Really. You...have to
			be there at dawn. They ride the
			wind over the ridge.
	
				JILL
			Dawn? You left at one A.M.
	
				CHRIS
			I had 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.
			Twelve of those big bruisers. I can
			actually recognize them. I've even
			given them names, over the years.
	
				JILL
			You've been doing this for years?
	
				CHRIS
			Only in the early Autumn. When
			they're' migrating.
	
				JILL
			I'II set the alarm for next. 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.
	
				JILL
			You are.
	
	Pg-5
	
				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.
	
				JILL
			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 too long.
			You're the first, the only woman I've
			ever thought of as... a real partner.
	
	Now Jill becomes introspective.
	
				JILL
			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.
	
				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
			It... right in the middle of all the...
			confusion.
	
				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, romp at his heels as Rake
	opens a log gate.
	
	Pg-6
	-
	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 lovely, 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-RAAKK! 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
	first, then gaining speed... extraordinary SPEED. We are
	seeing THROUGH THE EYES OF... whatever it is that's running,
	charging, SLATHERING HUNGRILY...
	
	...reaching 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 of 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!
	
	
	Pg-7
	
	ANOTHER MAN, in the foreground, takes the radio-phone. We
	can't see his face. Only his forearm, which bears A TATTOO
	of a grinning SKULL.
	
				MAN WITH TATTOO
			Alpha Leader.
	
				VOICE ON PHONE (o.s. 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 see 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 (o.s. filter)
			We have troopers on site. A first-
			strike force. Under cover.
	
	The flame from a wooden match lights the Monte Cristo.
	
				MAN WITH RING
			Very resourceful.  You have my
			permission activate them.
	
	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! It'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...
	
	
	Pg-8
	
	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 from a toiletry bag. She breaks
	open a wax seal...and takes out a thick paper on which is
	printed... 29-RC-6735.
	
				JILL (cont.)
			(Gaping, not believing) Th-that's
			a match. (Beat) I'm on my way.
	
	Jill clicks off. She dumps something else from the envelope
	into her hand... A 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.
	
	INT   JILL'S APARTMENT   MORNING
	
	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.
	
	INT   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, looks down, from the second story, and sees...
	
	
	Pg-9
	
	EXT   JILL'S APARTMENT   MORNING
	
	...JILL, heavily ARMED, in UNIFORM, wearing a beret that has
	an insignia... S.T.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?
	
				JILL
			For this. This is the real deal.
	
				WILLIAMS
			Honest to God?
	
				JILL
			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 GATES, each wrought with the letter "A".
	Beyond, the shifting fog offers momentary glimpses of...
	A MANSION.  Huge.  Like Xandau.  THE TROOPERS, amazed,
	climb out and approach the gates.
	
	Pg-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.
	
				JILL
			(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...
	
	DARK SHAPES can be seen moving, circling.  A half-dozen
	of them.  Maybe more.  Jill whips out a transmitter and
	quickly types an access code.
	
				JILL
			(Into radio) This is Valentine,
			Bravo Team. We, er... we might be
			in trouble, here.
	
	KRITCH! Something LEAPS out of the brush. Automatic
	WEAPONS SPIT reflexively.
	
	KRITCH KRITCH KRITCH...more lunging SHAES 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!
	
	CUT TO :
	
	INT   HUEY   MORNING
	
	JILL'S VOICE stutters over a headset which is pressed against
	A MAN'S EAR.
	
				JILL (o.s. filter)
			Under attack... by.. .assailants...
			Unidentifi...
	
	Pg-11
	
	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
	is 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 men fly from the lens.  THE CAMERA passes
	Out through one of the helicopter's windows as the chopper soars
	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-RIMMED EYES, SNARLING JAWS, DROOLING TEETH descend on
	her as we CUT TO:
	
	
	Pg-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,
	as CITIZENS find themselves horded 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 (o.s.)
			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.
	
	Pg-13
	
				SHERRIFF
			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 FIRES 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 the key
	into the ignition, and ROARS off.
	
	INT   HUEY   MORNING
	
	Still airborne, in one of the black helicopters that have yet
	to reach the site, WESKER barks orders into a radio.
	
				WESKER
			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 a corral. 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.
	
	
	Pg-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
			outta 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.
	
	There's a THUNDER in the sky. Chris looks up. Wesker's
	Fleet of black HUEYS appears on the horizon.  They split up,
	Seven banking off toward Raccoon City, the remaining three
	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.
			I do.  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.
	
	Pg-15
	
				CHRIS (cont.)
			I'm not gonna bullshit you, Rake.
			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
	reloads the Winchester. Stepping forward, he aims carefully.
	
				CHRIS (cont.)
			Sorry, old hoss.
	
	
	BLAM!  A clean shot to the horse's brain drops the animal.
	
	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...
	
	Pg-16
	
	...one 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, BARRY, and TWO 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 looks up at the Huey's PILOT, using his radio to speak
	to the man.
	
				WESKER
			You'll have to rotate or you'll run
			out of fuel, but I want one chopper
			to remain in the air at all times.
			We might need help in a hurry.
	
	A "Roger that", squaks back as the Huey banks away.
	
	Barry looks 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 SHRDDED UNIFORMS... and
	HUMAN BODY PARTS... strewn all through the surrounding brush,
	remnants of what was obviously a feeding-frenzy.
	
	
	Pg-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.
	
				AIKEN
			You ever eat road-kill, Sullivan?
	
				SULLIVAN
			Aiken... a guy with a brain your
			size would be better off dead.
	
				RODRIGUEZ (o.s.)
			Want me to shoot ya, Aiken?
	
	ROSIE RODRIGUEZ, a tough, body-built babe steps in.
	
				RODRIGUEZ (cont.)
			I'm ready ta shoot somebody.
	
				ALKEN
			I'll pass. Shoot Sullivan.
	
	FOREST SPEYER, a wiry Willem Defoe type, finds a bloody BERET
	and brings it to Wesker.  There's an I.D. tag on the brim...
	
				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.
	
	
	Pg-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.
	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 ARE ALL DEAD !
	
	The dogs don't stand a chance. Alpha Team's firepower is
	overwhelming. But there is a human casualty. JOSEPH FROST
	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.
	
	Pg-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 I
			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.  Just... stick with me, okay?
	
	Wesker checks his equipment belt. Something is missing.
	He looks to where he rolled in the grass. 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...
	
				  SPIKE #26
	
	Alongside the I.D., there's a corporate-looking logo... the
	symbol of an UMBRELLA.
	
	GRRROWWWLL! 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
	howl... 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
	the chirping of morning birds Wesker is SLAPPED startlingly
	on the back... by Barry.
	
	Pg-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.  Just 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 slide the card through a slot
	in the iron gate-frame.  BUZZZZ.  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.
	
	
	Pg-21
	
				WESKER
			Guy named Arkley.  Bootlegger.  Built
			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
			Yeah. What are we supposed to do?
			Polish the silver?
	
				WESKER (cont.)
			There's a man downstairs. A top-
			priority man.  It's our job to...
			bring him out.  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...
	
	Pg-22
	
	...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
	coast 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 FIRING... 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.
	
	Jill 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.
	
				WESKER
			Three men stay here. Chambers...
	
				REBECCA
			I'm not a man.
	
				WESKER
			Rodriguez...
	
				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
			C.O. figures you're as worthless
			as a dame, Aiken.
	
	Pg-23
	
	Sullivan catches Rebecca's eye.
	
				SULLIVAN (cont.)
			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
	
	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.
	
	
	Pg-24
	
	INT   ENTRY CHAMBER   TIMELESS
	
	CHRIS can't get the doorknob to turn. Behind him, a dusty
	ORIENTAL 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...
	
	...the dead man, reaching out hungrily.  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 it.
	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.
	
	
	Pg-25
	
	Stray bullets PIERCE the zombie's head. It drops back into
	the chamber...with Ridley never knowing why.
	
	Ridley and Chris look at each other, asking rapid-fire
	questions, none of them answered.
	
				RIDLEY
			Who are you?
	
				CHRIS
			Who are YOU? What the hell is 
			S.T.A.R.S.?
	
				RIDLEY
			How'd you get in here?
	
				CHRIS
			Who sealed the door?
	
				RIDLEY
			Who knew there a door?
	
	WHAM! ANOTHER ZOMBIE appears suddenly behind Ridley, BITING
	out the muscle between his shoulder and neck. The trooper
	stands, stunned, for a moment...
	
				RIDLEY
			Who... who... ?
	
	...then he drops..
	
	The zombie, in a uniform, once a security guard, gazes dully
	at Chris.  A wet sound comes from inside its gullet as it
	calmly chews on Ridley's flesh.  Swallowing, it reaches out.
	Chris grabs its arms, FLINGS it into the chamber. Then
	FIRES his Winchester, once, putting a HOLE in the thing's
	head. Chris slams the door.
	
	
	INT   MANSION   DINING ROOM   TIMELESS
	
	In a Hearst-sized dining room with draped furniture, WESKER
	and the OTHER TROOPERS have heard the new gunfire.
	
				SPEYER
			Where'd that come from?
	
				BARRY
			Back...where we just were.
	
				SPEYER
			Shit, man, we're chasin' our tails!
	
	
	
	Pg-26
	
	INT   MANSION   KITCHEN   TIMELESS
	
	CHRIS hears the CLATTERING of the troopers heading his way.
	What he doesn't hear is... a slight CRACKLING... in the walls.
	
	INT   MANSION   CORRIDOR   TIMELESS
	
	WESKER and his TEAM burst into the corridor with the old-
	fashioned ELEVATOR.  FLASHLIGHTS find... the body of the
	ZOMBIE that was shot by Jill, bullet HOLES allover its body.
	
				SPEYER
			Damn. Surnbitch took a lotta lead.
	
				BARRY
			That's not what killed him. Blood's
			still running. Wounds are fresh.
			But look at his skin. This guy's
			been dead for a couple of days.
	
				RODRIGUEZ
			He was dead... before he was shot?
	
	INT   MANSION   KITCHEN   TIMELESS
	
	CHRIS checks Ridley.  No pulse.  His own rustling movements
	prevent him from hearing... that soft CRACKLING SOUND.
	
	The kitchen is lined with fifty-year-old IVY-PATTERNED
	WALLPAPER.  The printed VINES seem to be MOVING!  Chris
	doesn't notice until the vines begin to WIGGLE furiously...
	and RIP THROUGH the paper.  They're REAL.  Sprouts from
	some sort of exotic plant, that have climbed up the walls...
	with INTELLIGENCE!  They seem aware of Chris' presence.
	
				REBECCA (O.S.)
			Ridley?
	
	REBECCA has appeared in an open doorway. Chris looks at her,
	with the tips of the vines beginning to brush his shoulders.
	
				REBECCA (cont.)
			Who... who are...
	
				CHRIS
			I... I'm one of the good guys, okay
			I'm just trying to...
	
				REBECCA
			(Calling) SULLIVAN! AIKEN!
	
				CHRIS
			Shit.
	
	
	Pg-27
	
	Chris, familiar with the room, opens a SMALL DOOR in the
	wall, barely man-sized, and almost invisible because it's
	covered in matching wallpaper. Chris dives in.
	
	AIKEN and SULLIVAN pop up behind Rebecca, having barely
	caught a glimpse of Chris.
	
				AIKEN
			Who was that?
	
				SULLIVAN
			Forget him. What are they?
	
	Sullivan points at the vines... which are swirling, groping,
	as if alive, making their way toward Ridley's body.
	
	INT  MANSION   CHUTE   TIMELESS
	
	In a LAUNDRY CHUTE, propping himself against the sides,
	CHRIS descends...down...down... as he did as a child...
	and comes out onto...
	
	INT   CRAWL SPACE   TIMELESS
	
	...a DROP-CEILING, newly installed. Iron frames support
	AIR-FILTRATION SYSTEMS and other heavy MACHINERY. Sheet-
	metal walls have replaced the old soffit and fascia. LIGHT,
	from somewhere below, knifes through gridded iron vents.
	
				CHRIS
			Somebody did some major remodeling.
	
	INT   MANSION   KITCHEN   TIMELESS
	
	The VINES continue to advance.
	
				REBECCA
			We gotta get him out!
	
	THE TROOPERS rush to retrieve RIDLEY'S BODY. The VINES hover
	around them, occasionally DARTING, then pulling back, as if
	they were timid animals, hungry, but afraid of anew food-
	dish. When AIKEN brandishing his M-16, the VINES RECOIL and
	RETRACT fully... THWIP THWIP THWIP... behind the wallpaper and
	down... somewhere into the bowels of the house.
	
				AIKEN
			What? Smart fuckin' plants?
	
				SULLIVAN
			No big deal. Most-plants are
			smarter than you, Aiken.
	
	
	Pg-28
	
	INT   MANSION   CORRIDOR   TIMELESS
	
	THE OTHERS are still puzzling over the DOWNED ZOMBIE.
	
				SPEYER
			Why would anyone shoot a dead man?
	
				RODRIGUEZ
			Lemme guess. Maybe 'cause he was...
			walkin' around?
	
	Barry steps closer to the corpse, notes its collapsed skull.
	
				BARRY
			Head-shot. We were sprayin' those
			dogs outside... but think about it.
			Were any of 'em brought down without
			a head-shot.
	
	Wesker has been exploring the corridor. Stopping in front
	of the elevator, he shines his light into the car. We expect
	someone... or some-thing... to be lurking inside.
	
	An attack comes from the opposite direction. A FIGURE BURSTS-
	out of the shadows behind Weasker. Another Zombie?  No.  It's
	JILL! In a rage, she holds her pistol to Wesker's head.
	
				JILL
			I lost three me.  You killed them,
			Wesker. You did... and I did. Because
			I didn't know what to expect... because
			you... didn't tell me!
	
				WESKER
			(Calmly) Tell you what?
	
				JILL
			Anything! I wasn't told anything!
	
				WESKER
			Put down the gun.
	
	Instead, Jill CLICKS the hammer back.
	
				WESKER (cont.)
			Put down the gun.
	
				JILL
			Not until...
	
				WESKER
			RELEASE! THAT'S AN ORDER, SOLDIER!
	
	Jill blinks. Slowly, reluctantly, she lowers her gun.
	
	Pg-29
	
	Wesker turns... and recognizes her.
	
				WESKER (cont.)
			How... did you get in here?
	
				JILL
			(Sarcastic) How ya doin' , Valentine?
			Good to see ya. Glad you're still
			alive. Same here, colonel, I'm...
	
				WESKER
			How did you get in here?
	
				JILL
			(Exploding) The same way those fuckin'
			dogs got out! Through their pens!
			(Relaxing some) I... locked them off.
	
				WESKER
			Good thinking.
	
	A VOICE interrupts, from the end of the corridor.
	
				VOICE (o.s.)
			MAN DOWN!
	
	The voice is SULLIVAN'S. The troopers run to join him.
	Last to leave the corridor are Wesker and Jill. Wesker
	gestures gallantly.
	
				WESKER
			Ladies first.
	
				JILL
			Fuck you.
	
	INT   MANSION   KITCHEN   TIMELESS
	
	The TROOPERS trickle into the kitchen to find... REBECCA,
	kneeling over RIDLEY'S CORPSE, examining the ragged bite
	on its neck.
	
				RODRIGUEZ
			Maybe... they're in the house.
			More of them dogs.
	
				REBECCA
			Diameter's too small. It... almost
			looks as if... it was done by a...
	
				JILL
			(Arriving) A human?
	
	Rebecca looks up. The two women make sisterly eye-contact.
	
	
	Pg-30
				REBECCA
			Yes, but... what kind of... human...
			would do something like this?
	
				AIKEN
			Not a vegetarian, that's for sure.
	
				SULLIVAN
			Aiken, you'd be better off...
	
				REBECCA
			There was a guy. Not part of the
			team. And there was... some kind
			of... plant... that seemed... alive.
	
				RODRIGUEZ
			Gimme a fuckin' break.
	
				AIKEN
			No shit. It disappeared... right
			into the wall.
	
	Rodriguez cringes when she finds a ragged hole in the wall-
	paper near where she's standing.
	
				WESKER
			I guess it's... time to spill it.
	
	WESKER pulls off his dark glasses for the first time.
	
				WESKER (cont.)
			I don't know... much more than I
			already told you.  I'll tell you
			the rest now.  The labs hare are...
			were...working on special apps for
			bio-eng1neered materials.
	
				RODRIGUEZ
			Speak English, hombre.
	
				WESKER
			Marcus has been experimenting with
			an artificial... man-made... virus.
			Coded...the 'T'-virus.  Financing
			came from a private corporation, you
			may have heard the name... Umbrella.
	
				JILL
			They're... multi-national. Huge.
	
				WESKER
			So huge that they have... connections...
			in high places.  That's why we're here.
	
	
	Pg-31
	
				BARRY
			This virus... it jumped, right?
	
				SPEYER
			Shit! We're all dead! We got the
			bug, and we're all dead!
	
				WESKER
			It's not airborne. It was spread...
			in the water supply. Lab animals
			and... the researchers themselves...
			passed it on... by...
	
				JILL
			By... biting.
	
	Wesker hangs his head. It's an affirmation.
	
				BARRY
			You catch this virus and... what?
	
				WESKER
			You die. But... not for long. The
			chemical...revives the brain, and...
	
				RODRIGUEZ
			You stand back up... and chew on
			the first guy you see.
	
				SPEYER
			Christ, this is like... Night of the
			Living Dead!
	
				BARRY
			Why, in the name of Jesus, would
			anybody wanna mess with shit...
			that does that shit?
	
				WESKER
			Victory, friend. Civilization has
			come a long way, but we still have...
			war.  Imagine... a soldier who can't
			die.  That... was the concept.
	
				JILL
			But the virus... jumped.
	
				WESKER
			Hopefully... if we got all the dogs...
			we've contained it.
	
				JILL
			Hopefully?  Jesus... why didn't you
			tell us?
	
	
	Pg-32
	
				WESKER
			By telling you NOW, I've put your
			lives in jeopardy. Nobody has this
			information. Except a few high-and-
			mightys. Me. And now, you.
	
	The troopers fall silent as all this sinks in.
	
				WESKER (cont.)
			We have to get Marcus out of here.
			He developed this thing. He's the
			only one who... understands it.
	
				REBECCA
			I don't know, this all sounds pretty
			shaky to me...
	
	With a lightning move, Wesker draws his pistol and...BLAM!
	FIRES... at Rebecca. She flinches. The bullet flies past
	her and SHATTERS the skull of RIDLEY, the dead trooper who,
	having stood up, was about to attack Rebecca from behind.
	Ridley drops... dead again.
	
				RODRIGUEZ
			Guess that proves it. A head-shot
			knocks 'em down.
	
	Rebecca turns and looks at the blood-splattered body.
	
				REBECCA
			Th-that man.. .was dead. (Freaking)
			I... I'm a doctor! I should know!
			That man was dead!
	
	Vickers reaches in Rebecca's bag, pulls out an ammonia
	capsule, cracks it, and holds it under her nose.
	
				VICKERS
			I hope you have a lot of these.
	
	
	INT   CRAWL-SPACE   TIMELESS
	
	CHRIS crawls across the drop-ceiling, into the up-rising
	light from one of the vents. He looks down through the
	grid work and sees...
	
	...the same LABORATORY that was behind Marcus in the opening
	video. No longer pristine, it's wrecked, torn apart. Files
	are scattered everywhere along with smashed fragments of
	furniture and computer hardware.
	
	CAGES that line the walls are filled with LAB ANIMALS making
	NERVOUS CHATTER. Chris watches a MONKEY sip water from a
	dish. Like the other animals, its skin is rotting.
	
	
	Pg-33
	
	Chris is about to move on, when his eye catches...
	
	...MOVEMENT... outside the cages.  There's A MAN, in a
	lab coat, sitting at a desk, writing on a note pad.
	
				CHRIS
			(Calling) Hey.
	
	CLOSE ON: the man's HAND... flaking, decomposing.  The pen
	it holds is making only random, erratic marks.
	
				CHRIS (cont.)
			HEY!
	
	The man turns his head, slowly, to look up toward the voice.
	There's NOTHING left of his FACE. RAW TISSUE seeps odd-
	colored fluids. A single eyeball is nested tenuously in
	the ooze. Something like a mouth, recognizable only because
	of its position, opens... and GROANS.
	
	Chris, pumping his Winchester, hears... KRANG! A NOISE from
	below. He looks down again, just as...
	
	...the lab door BURSTS open. WESKER and ALPHA TEAM stream
	into the lab. The thing with. the destroyed face turns toward
	the invaders, stands, and shuffles toward them.
	
	Without hesitation, Wesker, on point, FIRES a quick burst
	into the thing's brain. It drops like a sack. The lab
	animals SHRIEK.
	
	The team files in, not noticing... ANOTHER ZOMBIE... crawling
	across the floor...heading directly for SPEYER. Chris shouts
	
				CHRIS (cont. )
			HEADS UP!
	
	He punches out the grate with the barrels of his rifle
	and... BLAM!...punches a sure-fire HOLE in the zombie's head.
	
	BRAD VICKERS, his nerves badly frayed, thinks the team is
	being attacked. He SPRAYS the ceiling with his automatic.
	
	Chris ducks and rolls, narrowly escaping the initial barrage,
	but bullets keep coming, punching a dotted line up through
	the ceiling panels.
	
	Chris scrambles, as fast as he can, his feet barely escaping
	the punch holes.
	
	He finds himself on top of an enormous checkerboard of vents
	and Plexiglas panels. Bullets weaken the framework. It
	sags... then CRACKS, dropping away. Chris is plunged into...
	
	
	
	Pg-34
	
	INT   LAB   LEVEL "A" TIMELESS
	
	...WATER! CHRIS kicks, paddles with his rifle, righting
	himself, getting his bearings. He's in a huge AQUARIUM
	that's built into one of the laboratory's walls... and he's
	not alone. There are SIX SHARKS in the tank. ZOMBIE SHARKS,
	their flesh rotting, leaking pus.
	
	The largest of them SNAPS at Chris, but its jaws catch only
	a clump of his swirling hair. Chris kicks with his feet,
	remaining upright, and FIRES his wet Winchester.
	
	The bullet wimps-out, restrained by the water. It penetrates
	the shark, but barely. We can see the casing lodged in the
	animal's flesh.
	
	Chris gets an idea. He kicks forward. Plants the barrel
	of his Winchester directly against the aquarium glass...
	only to find himself aiming directly at...
	
	...JILL, who is aiming back at him with her M-16. They're
	both stunned. They stare at each other for a moment, like
	gunfighters, until...
	
	...another shark circles in for an attack. Chris swings the
	Winchester away from Jill and FIRES underwater. The aquarium
	glass CRACKS... but holds.
	
				JILL (cont.)
			Hang on! We're gonna get wet!
	
	Jill FIRES. More CRACKS, but the glass is resistant.
	Chris out. Water SURGES into the lab, knocking Wesker and
	some of his squad down.
	
	They stand up again, only to find themselves knee-high in a
	dark pool...with SHARK FINS slicing the surface. Everybody
	opens fire. The dead fish keep coming.
	
				AIKEN
			Where the fuck is a shark's brain?
	
				SULLIVAN
			In it's head! I swear, Aiken, you
			would be better off dead.
	
	In a bizarre frenzy, the sharks KICK their tails, making
	startlingly quick turns, darting every which way, SNAPPING
	at the scent of warm flesh. The troopers, hampered by the
	water, SPLASH around wildly, many of them nearly getting
	bitten. The air above thickens with a fog of graphite from
	ten spitting automatics.
	
	
	Pg-35
	
	The water gets darker as it becomes clouded with BLOOD. But
	thankfully, the level is dropping. The water is seeping out
	through GRATES in the floor. The sharks become more visible,
	moving slower as their bellies scrape the floor.
	
	The troopers pick them off, one by one. The immediate threat
	passes...but as the water drains away, the troopers become
	aware of... a KLAXON-LIKE SOUND. ANOTHER ALARM. The entry
	door glides shut with a BOOOMMM!
	
				WESKER
			Nice. Very NICE, Valentine! You
			set off a containment breach!
	
				JILL
			It must have been the water. God,
			the water! (She turns to Chris}
			Did you swallow any?
	
				SPEYER
			I did.
	
				SULLIVAN
			A bunch of us did, man.
	
				WESKER
			Separate systems. Salt water.
			No germs. But.. .it breached!
	
	Wesker, looking crazed, his sunglasses gone, is typing on
	his "Game-Boy"... getting no response.
	
				WESKER (cont.)
			We can go in deeper.  But we can't
			get out.  Not with my card-key.
	
				RODRIGUEZ
			So...we live here now.
	
	Rosie finds Sullivan looking at her curiously.
	
				RODRIGUEZ (cont.}
			Landlords. Shit hills. Kicked my
			family out of six apartments. I
			got use to sayin'...'So...we live
			here now'.
	
				WESKER
			There are override exits... but I
			can't find them without THIS!
	
	Wesker FLINGS his "Game-Boy" angrily against a wall. It
	shatters into bits.
	
	
	Pg-36
	
				CHRIS
			That was a smart move.
	
	Wesker bristles. He's about to confront Chris, but he spots
	his sunglasses where they were deposited on a floor grate by
	the water. He walks over and picks them up, wiping the
	lenses on his shirt. Without looking at Chris, he asks...
	
				WESKER
			And... you are?
	
				CHRIS
			Nobody.  Just a...a local guy...
	
	Chris spots a dry lab-coat hanging on a wall hook. He takes
	it down and uses it to dry his rifle.
	
				CHRIS (cont.)
			...who gets pissed-off when he finds...
			his farm animals... and his father's
			oldest friend... dead. And the only
			woman he ever cared about turns out
			to be a goddam METAL HEAD!
	
	Wesker, while seeming to understand, still doesn't look up.
	
				WESKER
			Valentine...who is this asshole?
	
				JILL
			His name is Chris Redfield. He was...
			part of my cover, sir.
	
				CHRIS
			Cover?
	
	A snappy argument develops, a lover's quarrel, with higher-
	than-normal stakes.
	
				JILL
			This is not the time to mouth off,
			Chris! You're in deep shit here!
	
				CHRIS
			Why didn't you let me in on this?
	
				JILL
			Why did you have to come after me?
			How did you get in here, anyway?
	
				CHRIS
			I used to play here, when this was
			a fucking laundry room!  And what
			makes you think I came after YOU?
	
	
	Pg-37
	
				BARRY
			(Interrupting) Whoa! Look here.
	
	Barry is stooped over the faceless zombie that Wesker shot.
	He rips an I.D. badge from the corpse's coat.  He tosses it
	to Wesker, who reads the I.D... "DR. J. MARCUS"
	
				BARRY (cont.)
			Is this the pile of shit we're
			supposed to bring out of here?
	
				WESKER
			It...it once was.
	
				VICKERS (o.s.)
			I got something here.
	
	BRAD has been quietly working at one of the lab's computers.
	Barry rushes over and looks at the monitor screen.
	
				BARRY
			A map. Same as on your gizmo. Exits
			marked...blue and green.
	
	Wesker steps in for a look.
	
				WESKER
			The greens are the overrides. (To
			Brad) Can you print this out?
	
				VICKERS
			I can try.
	
	Chris calmly retrieves his wet shoulder bag from the floor.
	He wrings out the cloth and, using the lab coat, wipes the
	bullets dry.
	
				VICKERS (cont.)
			(Off the screen) We're on level 'A'.
	
				WESKER
			We have to get down to level 'D'.
	
				BARRY
			Hold on. Marcus is dead. If this
			mission was about bringin' him out,
			we're outta here, right?
	
				WESKER
			I wish we were, but no. We have
			a potential outbreak here. We might
			be the only ones who can stop it.
	
	Pg-38
	
				SPEYER
			Stop it? How?
	
				WESKER
			There's... an antidote.
	
	Everyone's ears perk.
	
				WESKER (cont.)
			We can't bring Marcus out, but we
			can bring out the serum. Maybe
			somebody...can analyze it... and
			figure how to beat the virus.
	
	Jill looks at Chris. Catches him weighing options.
	
				JILL
			(Privately) Not simple.
	
				CHRIS
			(Privately) Not complicated, either.
			We only have to decide... what's right...
			and what's wrong.
	
				JILL
			(Privately) I forgot. You're never
			confused. So...what's right, Mohawk?
			And what's wrong?
	
				VICKERS
			Shit. (At the computer) There are
			no green exits on this level. Why...
			why would that be?
	
				CHRIS
			They don't want anybody up here
			to go snoopin' ...upstairs or down.
	
	Wesker looks at Chris with that odd, confident smile.
	
				WESKER
			Pretty good guess. You must have
			been in the military, son.
	
				CHRIS
			Native American. Exempted.
	
				VICKERS
			(Typing, starting to panic) Fuck!
			There... there's no way out!
	
				CHRIS
			Yes there is.
	
	Chris points at the broken grid above the shattered aquarium.
	
	
	Pg-39
	
	Wesker looks up. Then looks back at Chris.
	
				WESKER
			Not a bad idea. (Turning to
			Vickers) See if you can call
			up... service charts, schematics.
	
	Brad's fingers fly. He scrolls through menus.
	
				VICKERS
			Got it. Ceiling grids, ladders.
			The whole infrastructure.
	
				WESKER
			Print it. Print all of it.
	
	The young man types a command. Wesker rushes over to the
	H. P. and grabs the first chart that rolls out.
	
	Rebecca steps over to Brad. She points at his leg.  Seated
	at the computer, his trousers hiked, BLOOD can be seen on his
	sock, just above his boot.
	
				REBECCA
			What's that from?
	
				VICKERS
			(Nervous) I...snagged it. On the
			desk. When we were scrambling.
	
				REBECCA
			Lemme look at it.
				VICKERS
			(Adamant) No. It's just a scratch!
	
	Chris watches Wesker as he studies the printed charts.
	
				CHRIS
			There's a... part of an old laundry
			chute. It might not show on there.
			It runs up to the kitchen.
	
				WESKER
			I'm not going up. I'm going down.
	
	Wesker, grim-faced, looks at his team.
	
				WESKER (cont.)
			I'd like to let you guys off the
			hook. But I can't. I need back
			up. You're comin' with me. Any
			objections?
	
	The troopers exchange glances. Jill is first to speak.
	
	Pg-40
	
				JILL
			No objections. We'll back you up.
	
				CHRIS
			(Disappointed) You said... people
			wind you up and you do whatever
			they want you to do.
	
				WESKER
			Stay out of this, son. You're the
			only one who doesn't have a choice
			in this. There's no place to lock
			you up. I can't let you go, you're
			a security risk. I could shoot you.
			Legally. But your lady-friend would
			probably get all over my ass. So...
			I'm afraid you're comin' with us...
			whether you like it or not. (To Jill,
			pointedly) He's your responsibility,
			Valentine. See that he doesn't make
			trouble.
	
	Jill looks at Chris.
	
				CHRIS
			You up to the challenge?
	
				JILL
			Try me.
	
				CHRIS
			(Snappy) I already have.
	
	INT   CRAWL-SPACE   TIMELESS
	
	One by one, the members of ALPHA TEAM wiggle up into the
	crawl space above the ceiling. CHRIS climbs up behind JILL.
	OTHER TROOPERS are already away, following WESKER, who guides
	them with the help of his chart. Jill starts after them.
	Chris grabs her arm.
	
				CHRIS
			Jill, I... I'm sorry. I'm just...
			angry. When I... thought you were
			gone, I... Then... when I saw you.
			Alive. I realized that...
	
				JILL
			That you were still... fascinated.
	
				CHRIS
			Stop. Stop!
	
	He pulls her into an embrace. She goes willingly.
	
	
	
	Pg-41
				CHRIS (cont.)
			Come with me. We can get out of here.
	
				JILL
			(Tempted) I...I want to. I want...
			nothing more. But... I can't. When
			I'm in this uniform, I'm more than...
			just me. Try to understand...there's
			no "I" in Team, Chris.
	
				CHRIS
			There's no "I" in DEAD, either.
	
	Chris pulls away from the embrace and looks at her.
	
				CHRIS (cont.)
			I should order you to come with me.
			You'd never refuse an order.
	
				JILL
			You go. You're not part of this.
			
			
				CHRIS
			I'm part of it as. long as you are.
	
				BARRY (o.s.)
				This is very uncomfortable.
	
	Barry, having overheard, is halfway up through the grate.
	
				CHRIS
			For me, too, brother.
	
				BARRY
			I mean this... (indicating the
			iron that's pressing his belly.)
			It's very uncomfortable.
	
	Chris and Jill help Barry up into the crawl space.
	start off after the troop. THE CAMERA TRACKS them.
	
				BARRY (cont.)
			This is gettin' old, Man, I swear.
			I been in this Army eighteen years.
	
				CHRIS
			Eighteen years?
	
				BARRY
			Yep. Two away from the big re-ti.
	
				JILL
			Desk job, right? Nobody lasts that
			long if they've seen action.
	
	
	
	Pg-42
	
				BARRY
			I've seen action in Granada.  And
			Desert Storm.  Would have lost it
			all there... if my buddy didn't bring
			in a team, against orders, to pull
			my ass out.  Buddy named... Wesker.
	
				CHRIS
			You've been with this asshole since... ?
	
				BARRY
			Since before that.  We were... kids
			together.  Macon, Georgia.  He's...
			only an asshole some of the time...
	
	UP AHEAD : WESKER reaches a service ladder. He waves his
	troop on. They start to climb down.
	
				VICKERS
			Who knows what we'll find down there?
	
				AIKEN
			Think positive.  The farther down we
			go, the worse it's gonna get.  So...
			until we hit bottom, we're in good
			shape... relatively speaking.
	
	GRRRAAAAWWWLr.! Distant... but distinct... it sounds like
	the MGM lion.
	
				SPEYER
			What the fuck?
	
	Again .GRRRRRAAAAAWWWWLLLL !
	
				VICKERS
			Whatever it is.. .it can't get us.
			We're in the ceiling!
	
				AIKEN
			Maybe it's like... really tall.
	
				SULLIVAN
			Aiken...
	
	INT   CRAWL SPACE   LAB   LEVEL "B"   TIMELESS
	
	The lead TROOPERS reach another section of the ceiling.
	Clustering around a vent, they look down into...
	
	...the "B"-level lab, more streamlined, more high-tech than
	the one upstairs. There are large COMPUTERS, linked by
	metal-shielded conduits to jacks in the walls.
	
	
	
	
	Pg-43
	
				WESKER
			Main-frame. Might have some data
			we could use. (A quick decision)
			Fox, Marini, Vickers.  Down.
	
	WESKER kicks out the vent. He jumps first, through the
	opening, down into the lab. CHRIS watches from behind.
	
				CHRIS
			The man has balls, I'll say that.
	
	Wesker grabs a desk and pushes it under the vent.  MARINI
	climbs down, followed by FOX.  BRAD is last.
	
				WESKER
			Hustle it, Vickers.  You're the guy
			we need.  To cut into the network.
	
	INT   LAB   LEVEL "B"   TIMELESS
	
	WESKER looks around. There are THREE Doorways...open wide
	with only darkness beyond. Wesker runs around closing them.
	
				WESKER
			Watch these entrances, guys.
	
	FOX and MARINI take up posts. Brad lowers himself gingerly.
	He drops the last two feet onto the desk, landing on his
	bloody leg.
	
				VICKERS
			AAAAH ! Shit.
	
	He topples, falling to the floor, but pops up instantly.
	
				VICKERS (cont. )
			I'm alright. I'm alright.
	
	He limps over and attacks the computer keys.
	
	GRRRRRAAAAAWWWWWLLLL! Another distant snarl.
	
				WESKER
			Hold tight. It doesn't sound like
			it's on this level.
	
				VICKERS
			(At the computer) Shit. I'm locked
			out. Any clues for a password?
	
				WESKER
			Try... Umbrella.
	
	Brad types rapidly, nervously. Flubs. Types again.
	
	
	Pg-44
	
				VICKERS
			Nothing. Wait. I'm into... No.
			No data. Just some kind of video
			feed. Time-coded. Yesterday.
			It's a play-back. (Watching the
			screen) Holy shit!
	
	We HEAR it before we see it. The sound of absolute PANIC.
	People SHOUTING! SCREAMING! THUDS and CRASHES! GLASS
	BREAKING! Then A WOMAN'S VOICE .
	
				WOMAN'S VOICE (o.s.)
			Please...please.. .if anyone is
			receiving this...
	
	Brad limps around the desk and spins the monitor for the
	others to see. The WOMAN is an ORIENTAL. She's standing
	in the foreground, as Marcus was in the opening video.
	Behind her is a lab we haven't seen yet... with white-
	coated FIGURES... RUNNING... FIRING GUNS.
	
				WOMAN (cont.)
			the situation is completely.
			out of control. We...
	W
	HAM ! The woman is pushed out of the way by A MAN who is
	trying to protect her from...
	
	...SOMETHING that BLURS past the lens, like a pendulum,
	from ABOVE.
	
	In the next instant... SPLAT... the lens is COATED WITH BLOOD!
	As it oozes down, we see a partial image of the same MAN.
	His HEAD is OUT OF FRAME at the top of the screen.
	
	The thing above must have a hold on it... because the man is
	DANGLING, his arms witching. His back has three GOUGES in
	it, long and so deep that they might have been made by
	piece of heavy machinery. We only see this for an instant...
	before the man is LIFTED, straight UP, with amazing SPEED.
	
	Wesker clicks off the monitor. The other men instinctively
	look up above their heads.
	
				FOX
			Maybe the ceiling's not such a
			safe place, after all.
	
	CRASH! The door behind Fox BURSTS open. Before he has
	time to react A ZOMBIE is on him, BITING his cheek, neck,
	shoulder. The two figures fall to the floor, grappling.
	Wesker can't get a clean shot.
	
				WESKER
			Scram! SCRAM!
	
	
	Pg-45
	
	Marini is first to reach the desk, but he helps the limping
	Brad up ahead of him. TWO MORE ZOMBIES lurch in through the
	open doorway. Wesker shoots them, but he sees MORE... can't
	tell how many...shambling toward the open doorway from the
	darkness beyond.
	
	Wesker focuses on Fox, who is still being MAULED, BITTEN.
	Fox SCREAMS. Wesker still has no safe shot.
	
	Brad is YANKED up into ceiling by SULLIVAN and AIKEN. CHRIS
	leans out of the opening, reaching for Marini.
	
	Wesker KICKS the mauling zombie in the head. It takes three
	hard BOOTS to attract the thing's attention. When it finally
	looks up at him, Wesker BLOWS out its skull.
	
	Fox is lying on his stomach, writhing, BLEEDING profusely
	from a half-dozen bites. Wesker stoops down, trying to roll
	him over, lift him up. Fox resists. He's gone insane.
	
	Chris pulls Marini up to safety. BARRY leans down through
	the opening.
	
				BARRY
			Haul ass, boss!
	
	The zombies are heading for Wesker. There are three of them.
	Barry shoots at the one in front. Misses. His second shot
	hits the thing's brain.
	
	Wesker again tries to hoist Fox who, this time rolls over on
	his own. He has drawn his pistol. Before Wesker can stop
	him, he eats the barrel and BLOWS out the back of his head.
	
	One zombie is dangerously close. Barry fires two more
	rounds. No head shot, but the zombie staggers and, though
	not dead, FALLS...directly toward Wesker. The colonel rolls
	on his back, kicking himself away, managing to get clear.
	He uses his own pistol to BLAST the zombie.
	
	He scrambles to his feet, darts toward the desk, and jumps
	up. The third zombie grabs his legs. From above, Barry
	risks a dangerous shot. BLAM! Wesker hears the bullet
	WHIZZZ past his head like a mosquito.
	
	The zombie is hit in the skull. It drops. There are MORE
	of them coming out of the darkness. Barry takes hold of
	Wesker and, with a single strong arm, pulls him up into...
	
	INT   CRAWL SPACE   LAB   LEVEL "B"   TIMELESS
	
	...the crawl space, where WESKER breathes heavily for a
	moment... then looks up at his old friend.
	
	
	
	
	Pg-46
	
				WESKER
			That's...two I owe ya.
	
				BARRY
			One. We were all... 'Even-Steven' .
	
				WESKER
			Two. Remember? 'Even-Steven' ...
			is not in my vocabulary.
	
	A horrible MOANING SOUND comes from below, in the lab.
	THREE MORE ZOMBIES can be seen clustering around the desk,
	dumbly trying to climb up, sensing the "food" above.
	
				WESKER (cont.)
			Let's move.
	
	Wesker takes off. SPEYER, RODRIGUEZ, AIKEN and SULLIVAN are
	quick to follow. The others lag behind when CHRIS says...
	
				CHRIS
			Those things could get up here.
			We can't let that happen. This
			is our way out...
	
	Chris swings his legs through the grate and JUMPS down...
	
	INT   LAB   LEVEL "B"   TIMELESS
	
	...ONTO THE DESK. He BOOTS one of the ZOMBIES away and
	tries to LEAP over the others. One of them catches his foot
	in mid air. CHRIS isn't hurt, but he TOPPLES to the floor,
	sprawling, losing his Winchester.
	
	The zombies have him cornered. He crawls toward his rifle.
	Reaches it. Pumps a shell into the firing chamber. Aims
	at the closest of the walking dead...
	
	...which was once a young man, a simple laborer, wearing
	overalls, with a name tag...
	
				CHRIS
			(Reading) Caruso.
	
	Chris looks empathetically into the thing's dead eyes.
	
				CHRIS (cont.)
			Can you hear me?
	
	The zombie lumbers forward hungrily.
	
				CHRIS (cont.)
			Caruso! Can you hear me?
	
	Pg-47
	
	Chris has come late to the realization that these things
	were once human. Now he comes late to the realization...
	that they are human no longer.
	
	The zombie grabs the barrel of the Winchester, pushing it
	aside. Chris can't bring it back to bear on the monster's
	head. He BLASTS a round through the thing's belly. It has
	no effect. The zombie reaches for Chris' throat. Starts to
	lean in to bite him.
	
	BLAM! The thing's skull explodes. JILL has jumped down
	onto the desk. She FIRES another accurate pistol round.
	The SECOND ZOMBIE falls.
	
	Jill leaps to the floor and starts to push the desk. Chris
	gets to his feet, rushing in to help her. Together, they
	shove the desk out from under the open ceiling grate.
	
				CHRIS
			Thank you.
	
				JILL
			Any time. How do we get back UP?
	
				CHRIS
			Shit, if you didn't have a plan, you
			shouldn't have jumped down here.
	
				JILL
			We have a real problem here, Chris.
	
	Jill nods toward the open doorway. There are more stuttering
	FIGURES approaching out of the dark.
	
				CHRIS
			How big is this place? How many
			people were down here? How...
	
				JILL
			HOW DO WE GET UP?
	
	With a startling SOUND, A DARK SHAPE swing down from above
	and GRABS Jill! Is it the thing we saw on the video?
	
	No. It's BARRY! His mighty arms lift Jill. She's caught
	by Aiken and Sullivan and pulled up to safety. Barry grabs
	Chris and lifts him as well.
	
	
	INT   CRAWL SPACE   LAB   LEVEL "B"   TIMELESS
	
	CHRIS grabs the edge of the grate and pulls himself up.
	He reaches back down through the opening. Below, BARRY
	squats... and makes a mighty leap-with his muscular legs.
	Chris grabs his arms... and is nearly pulled back down.
	
	
	
	Pg-48
	
				CHRIS
			(Straining) Big. Heavy.
	
	Jill grabs on, then Sullivan. But one of the ZOMBIES has
	reached Barry. It GRABS his kicking legs. It's TEETH SNAP!
	And CATCH! The commandos lift Barry clear, but the zombie
	ends up with a CHUNK of something in its mouth.
	
				JILL
			It got you!
	
	Barry checks his leg. His trousers are torn, but...
	
				BARRY
			No skin broken. I'm alright.
	
				CHRIS
			We owe you a pair of pants.
	
	They crawl away. The zombies below reach up, their fingers
	clutching, at the ceiling, but with the desk gone, there's
	no way they can get up.
	
	DISSOLVE TO:
	
	INT   STORAGE AREA   TIMELESS
	
	THE COMMANDOS climb down a steel access ladder into a storage
	room stacked with CRATES and CARTONS. There's only one door.
	The place seems secure.
	
	
				WESKER
			Stand down. Five minutes.
	
	WESKER sits on a crate and pulls out his printed charts.
	Gradually the whole troop makes it down into the room.
	They relax. A few light cigarettes. But not SPEYER.
	
				SPEYER
			I'm through, Wesker.
	
				MARINI
			Me too, man. This ain't nothin'
			I signed on for.
	
				WESKER
			(Calm) You want to wait here, fine.
	
				MARINI
			Wait here? No. We're gettin' out!
				
				WESKER
			You can't. (He flashes his access
			card.) Not without this.
	
	
	Pg-49
	
				SPEYER
			Fuck you! And your fancy doors and
			your green key! The choppers have
			rockets. They can blow out a wall
			if they have to. I'm callin' 'em in.
	
	Speyer pulls out his radio and starts to punch a code.
	
				WESKER
			You wanna see a wall blow, I'll
			blow all of 'em for ya.
	
	Wesker reaches down to the electronic unit that he lost and
	retrieved in the woods. He pulls a long wire out of it, with
	a small sensor on the end.
	
				WESKER (cont.)
			I'll put a crater in this forest that
			takes out Racoon City and everything
			else for twenty miles... with this.
	
	He jams the little sensor into his ear and pushes a button
	on the belt unit. Small red LIGHTS blink.
	
				WESKER (cont.)
			It's a radio detonator...to set off
			explosives that are...buried under
			neath us somewhere. The ultimate
			containment measure. Incinerate the
			place. (Smiling again) It has a...
			dead-man mechanism... .(he taps the
			ear-piece) ...that reads my pulse.
			My heart stops, and... boom.
	
				CHRIS
			You...lunatic! That damn thing can
			slip out of your ear by accident!
	
				WESKER
			That's right. It's your job...all
			of your jobs...to see that it doesn't.
			And to see that my heart... doesn't
			skip any beats.
	
	Wesker looks over the tops of his sunglasses... at Speyer
	
				WESKER (cont.)
			Give me the radio, soldier.
	
	Speyer hesitates. Wesker explodes, for the first time.
	
				WESKER (cont.)
			GIMME THE FUCKIN' RADIO, OR WE
			ALL GO UP!
	
	---
	This text orginiated from www.New-Blood.com, please check 
	us out for Resident Evil coverage.
	---
	
	Pg-50
	
	Shocked silence. Sullivan is the first to speak.
	
				SULLIVAN
			Sumbitch might do it, Speyer.
	
				WESKER
			I'II be obliged to do it! If I don't
			get that antidote, I'll have to burn
			this place out! (Beat) Valentine.
			The radio.
	
	Jill steps over to Speyer and takes the radio from him.
	
				CHRIS
			(To Jill) What are you, this guy's
			flunky? He just threatened to blow
			us all up, for Christ's sake!
	
				JILL
			That's what I'm trying to prevent!
	
	EXT   ARKLEY FOREST   IN THE AIR   DAY
	
	WHAP WHAP WHAP... one HUEY is in the air..., THE CAMERA MOVES IN
	on a window. LAGUARDIA is flying, his RADIO MAN beside him.
	
				LAGUARDIA
			How many digits did you receive?
	
				RADIO MAN
			Six. The beginning of an air-
			support code, but... it just went
			dead on me.
	
				LAGUARDIA
			Call S.T.A.R.S. in Washington.
			I want...
	
				RADIO MAN
			Hold it...
	
	The radio man presses his headset to his ear. LaGuardia
	looks on apprehensively.
	
				RADIO MAN (cont.)
			It's Wesker. (Into mike) Yes, sir.
			We got the signal sir. (He clicks
			off) He says it was... a mistake.
	
				LAGUARDIA
			Call Washington anyway. I want
			the authority to take action if
			necessary.
	
	
	
	Pg-51
	
	
	INT   OFFICE   TIMELESS
	
	BRRRING! The hand with the ostentatious RING snatches a red
	telephone receiver from of a desk drawer.
	
				MAN WITH RING (o.s.)
			Holden.
	
	He listens. Once again, we don't see his face. Just his
	free hand, with another Monte Cristo burning.
	
				HOLDEN (Man with ring, cont.)
			Denied. This is Wesker's show.
			If he was in real trouble, we'd
			have lost half of Pennsylvania
			by now.
	
	As the hand flicks ash, we see a sheet of paper on the desk
	with a letterhead that bears... an UMBRELLA LOGO.
	
				HOLDEN (cont.)
			No authorization.
	
	
	EXT   ARKLEY FOREST   IN THE AIR   DAY
	
	In the HUEY, the RADIO MAN clicks off an incoming call.
	
				RADIO MAN
			No independent action.
	
				LAGUARDIA
			Damn. I feel so fuckin'... helpless!
	
	The huey over flies THE MANSION which, from the air, looks as
	stable as the Rock of Gibraltar.
	
	
	INT   STORAGE AREA   TIMELESS
	
	WESKER has come down off his rampage. He looks exhausted.
	He also looks staunchly heroic as he speaks to his TROOP.
	
				WESKER
			You guys were hand-picked. A Special
			Unit. Most of you have been sitting
			on your asses, drawing pay checks for
			more than two years. Well... it's time
			to repay those... Government loans.
	
				SPEYER
			Bull shit. I'm not...
	
	Wesker lifts his automatic. Speyer flinches. The action
	wasn't meant as a threat. Wesker is just checking his ammo.
	
	
	
	Pg-52
	
				WESKER
			Pitch your empties. Put all your
			loaded clips on that crate there.
			I want a count. Then I want the
			rounds divvied up... evenly.
	
	The troopers deposit their loaded clips, reloading the ones
	that are half-used.
	
				WESKER (cont.)
			Alright. We're on.. .(checking the
			maps) ...level "C"...
	
				AIKEN
			Lingerie. Notions.
	
				WESKER
			GOD DAMMIT, NO MORE JOKES! We have
			men dead upstairs! This hell-hole
			is full of people who died... because
			of this stinkin' ...BUG!
	
	Jill has been counting the ammo clips.
	
				JILL
			Forty two.
	
				SPEYER
			That's all we have?
	
				WESKER
			We weren't expecting a war, Speyer.
			(To Jill) I'll take three. Three
			to your boyfriend...
	
				CHRIS
			Don't need 'em. Got my own loads.
	
	Wesker's eyes dart angrily toward Chris. But he notices
	Jill watching him...and he calms himself.
	
				WESKER
			Good. Then... we all get four clips.
	
				SPEYER
			They must have... weapons down here,
			somewhere. A powder magazine.
	
				WESKER
			No more side trips. It was a mistake
			to go into that lab upstairs. My
			mistake. And I'm not makin' another
			one. From now on it's straight ahead.
			In and out.
	
	Pg-53
	
	Wesker stands and opens the door.  Outside is a SERVICE
	CORRIDOR with unfinished walls. Spaces between raw metal
	beams are stuffed with insulation. Wesker checks the jamb
	outside. It's got a lock mechanism. Blue.
	
				WESKER (cont.)
			Not an override. My key won't work
			here on the way out. Prop the door.
	
	The troopers drag a heavy crate over to hold the door open.
	Wesker moves out. The commandos trickle after him. Chris
	holds Jill behind for a moment.
	
				CHRIS
			Jill...this guy is a Loony-Toon.
	
				JILL
			He's just... trying to get the job
			done. Doing what he has to do.
	
				CHRIS
			Yeah, well...I hope you'll say
			the same about me... when I do...
			what I have to do.
	
	Chris turns and walks off. Jill follows him out into...
	
	
	INT   SERVICE CORRIDOR   TIMELESS
	
	...the corridor. They catch up with the TROOP which is
	clustered at a blind alley which has two doors.
	
				WESKER
			(Checking his map) It's not clear...
			which way to go.
	
				RODRIGUEZ
			Want me to flip a coin?
	
	WESKER is annoyed by the remark. Decisively, he selects one
	of the doors and uses his green key card. With a BZZZZ, the
	lock releases. The troop enters...
	
	INT   SYSTEMS CENTER   TIMELESS
	
	...a vast ROOM, fifty-by-fifty yards. It's filled with
	HEATERS, AIR CONDITIONERS, WATER PUMPS. MAIN FRAMES for
	the internal computer network line one wall, FUSE BOXES
	and SWITCHER PANELS another. This is the systems center
	for the entire facility.
	
	There's an attendant's desk just inside the door. AIKEN
	and SULLIVAN drag it over to prop the door open. It makes
	
	
	
	Pg-54
	
	a frightening SOUND as it scrapes the floor, echoing,
	bouncing around in the large space. It prompts a response...
	another of those animal-like SNARLS from somewhere in the
	distance.
	
				SULLIVAN
			What's that sound like to you?
	
				AlKEN
			A meat-eater.
	
	There are thick columns, floor to ceiling, every ten feet.
	The spaces between them are very dark. It's hard to see.
	WESKER and some of the OTHERS click on their FLASHLIGHTS .
	Beams cut through dust.
	
	There are ELECTRONIC HUMS.. CLICKS and CHATTERS emit from
	the switchers, PINGS from the heaters, all combining to fray
	everyone's nerves. Light beams dance nervously as the
	commandos start out across the dark and frightening space.
	
				CHRIS
			(Softly to Jill) This is the heart
			of the whole place. They've got to
			have it... protected somehow.
	
	Two things happen, almost at once. First.. .CHRIS notices
	ELECTRIC EYES... on all of the columns.
	
				CHRIS (cont.)
			DUCK! HIT THE DECK!
	
	Second. A ZOMBIE lurches around a corner and BITES a chunk
	out of MARINI'S face. JILL whirls around to shoot at the
	zombie, but Chris grabs her and FLATTENS her on the floor.
	
	Marini, staggering, screaming in pain, triggers the first
	electric eye. LASER BEAMS shoot in all directions, forming
	a tight NET. Chris and Jill are barely beneath them.
	Many of the other troopers are hit by the beams... which do
	no immediate harm... but wherever they make contact, small
	CYLINDERS above the electric eyes begin to HISS.
	
				CHRIS (cont.)
			FOR CHRISSAKE, GET DOWN!
	
	The commandos duck under the laser beams... just in time.
	Jets of STEAM spout from the cylinders. It's not just hot
	steam. It's ACIDIC, deadly.
	
	Marini is hit by it. His clothes IGNITE. His flesh BOILS.
	It's a horrible sight, but for the moment, the jets stop.
	
	
	
	Pg-55
	
	Marini is dead on his feet. When he falls, he trips another
	of the laser beams. The steam jets SPOUT again. The troop
	is beneath them, though many are burned by liquid drops that
	spit from the nozzles.
	Amazingly, the zombie has avoided contact. But as it begins
	to stumble after commandos, we realize it's going to activate
	the sensors again.
	
				SULLIVAN
			There's no way outta this mousetrap!
	
				RODRIGUEZ
			So we live here now?
	
				SPEYER
			We gotta run for it.
	
	The zombie hits one of the laser beams. The steam HISSES
	out again. The zombie is MELTED.
	
				AIKEN
			Bad idea, Speyer.
	
				CHRIS
			Down. Through these.
	
	Chris has noticed a series of hinged panels in the floor.
	
				VICKERS
			Where do they go?
	
				SULLIVAN
			Does it matter?
	
	Sullivan whips out a Swiss Army knife and goes to work on
	the screws that hold down one of the panels. Other troopers
	do the same.
	
	Another ZOMBIE lurches out of the darkness. And ANOTHER.
	
	Human hands work furiously, loosening screws. Panels come
	up, Troopers begin to duck through the openings.
	
	A second zombie hits a red beam. STEAM again. Chris and
	Jill are spattered. Burned. But Jill bravely keeps working
	with her own issued knife. She gets a panel open. As she
	drops through, a third zombie triggers a burst of steam.
	Chris ducks and covers.
	
	When the jets stop, Chris begins to climb into the opening,
	but one of his legs is GRABBED from behind by...
	
	...one of the dead things which has already been MELTED!
	
	
	
	
	Pg-56
	
	Its flesh is bubbling. Bone is beginning to show. But
	the acid hasn't reached its brain yet. The creature is
	still alive.
	
	Chris CRIES out. Acid from the zombie's hands is burning
	his leg. The thing's lips have been eaten away, making its
	teeth look frighteningly skeletal as it leans forward for a
	bite of flesh. Chris jams the stock of his Winchester into
	the zombie's mouth. He's able to hold the thing's head back,
	but he's stuck. He can't let go.
	
	Jill pops up out of the floor. She presses the barrel of her
	own weapon into the zombie's forehead.
	
				JILL
			On three...
	
				CHRIS
			One... two...
	
	Chris pulls his rifle away. At the same instant, Jill FIRES.
	The zombie is PROPELLED through the air. One of its flailing
	arms triggers another laser beam. Chris throws himself in on
	top of Jill as STEAM HISSES over them.
	
	Twenty yards away, Wesker crawls under the cloud of acid.
	Just as he climbs down through one of the openings, he feels
	pressure...on his ear.
	
	A groping zombie has accidentally hooked its fingers onto the
	wire that runs from the detonator to Wesker's ear-piece.
	For a breathless moment, it seems like the sensor will be
	popped loose. Holding the pulse-reader in place, Wesker
	twists his body, lifts his hand gun, and PUMPS THREE into
	the dead thing's brain.
	
	The zombie flops over, but its fingers cling, entangled, in
	the wire. Wesker plants his pistol barrel on the knuckles
	of the thing's dead hand. THREE MORE SHOTS cut through bone,
	removing the fingers from the hand. The wire is freed.
	Wesker dives into the opening in the floor.
	
	
	INT   AIR DUCT   TIMELESS
	
	The COMMANDOS find themselves in an AIR DUCT. No room to
	stand. Hardly room to sit.
	
	Chris looks at his rifle stock. It's corroded from the acid
	in the zombie's mouth. Jill notices.
	
				JILL
			God...and it doesn't even stop them...
	
	
	
	Pg-57
	
				CHRIS
			It's not meant to stop them. It's
			meant to stop...something else.
	
	That distant SNARLING SOUND comes again, making Jill shiver.
	The troop is strung out along the metal shaft. REBECCA
	crawls among them, treating the worst burns. WESKER checks
	his maps. SPEYER confronts him again.
	
				SPEYER
			We damn near got turned into Rice
			Krispies by that gizmo of yours.
			If you don't want me to nail that
			fuckin' thing into your ear, you
			deactivate it. Right now.
	
				WESKER
			I can't. They.. .fixed it... so you
			can't chicken out. The system can
			only be turned off at the main panel.
	
				BARRY
			Where the hell is that?
	
				WESKER
			Where the explosives are. Down...
			farther than we need to go. We only
			have to make it down one more level.
			If... when... we make it back up to
			the choppers... we can fly out of
			the detonator's signal range.
	
	Chris calls out from the far end of the shaft
	 
				CHRIS
			I'm not willing to rely on that.
			I live here, this is my town!
	
				WESKER
			The town's been evacuated. Just...
			just in case.
	
				CHRIS
			That explains the lie. About the
			plane crash. An airplane down...
			with weapons on board... would nicely
			explain a big explosion, wouldn't it?
			You figured all along you might have
			to blow this place!
	
				WESKER
			I don't want to do it. I... I hope
			I don't have to.
	
	
	Pg-58
	
	Chris looks down the dim air-shaft, unable to see Wesker's
	eyes, hidden by distance.. .and by his dark glasses.
	
				WESKER (cont.)
			That's the best I can do for you,
			kid. Good faith. Now... let's
			knock on it.
	
	Wesker moves out. The troop follows.
	
				CHRIS
			I...I can't let this happen. I've
			got to find that bomb.
	
				JILL
			I'll help. Once Wesker gets what
			he wants, my obligation is over.
	
	Chris looks at her with appreciative eyes .
	
				CHRIS
			No. I want you out. With the
			rest of them. Wesker won't push
			the button until you're clear.
	
				JILL
			He doesn't want to push the button.
	
				CHRIS
			He has to. Don't you see? He can't
			leave these labs here. And, Jesus...
			walking corpses! He's gotta get rid
			of the evidence.
	
	INT   AIR SHAFT   TIMELESS
	
	The light is dim at its best. Long stretches of the shaft
	are pitch black, and there's a constant stream of air that
	MOANS eerily. This whole mission has been like a descent
	into Hell, darker and more frightening with each level down.
	
	There are turn-offs, "T"s and "Y"s. At one point, when JILL
	looks back, she finds ROSIE behind her. Chris is gone. Did
	he leave to deal with the bomb?
	
	No, but he's about to. He's at the rear of the pack, pressed
	against the side-wall, waving others past.
	
				JILL
			Chris, no!
	
				CHRIS
			I've got to try and stop this.
	
	
	
	Pg-59
	
	Jill starts back toward Chris, but freezes.. .everyone freezes
	when... the duct-work starts to PING.
	
				RODRIGUEZ
			Shit. One thing after another.
	
	BOOM! The air shaft is ROCKED, as if punched by a giant
	fist. Then...the whole structure begins to SHIMMY. What
	is it, an earthquake?
	
				WESKER
			Sit tight. Ride it out.
	
	GRONK! A sheet-metal panel BUCKLES! Others do the same.
	All along the shaft, panels begin to FOLD INWARD. Something
	outside is CRUSHING the duct as if it were a giant tube of
	toothpaste. And the troopers are being SQUEEZED inside.
	
	RIVETS POP! The panels begin to SEPARATE...and large,
	pulsing bits of FLESH appear! Not animal flesh. But the
	flesh of A PLANT! The things that press in through the
	openings are larger versions of the vines we saw in the
	kitchen. Those were its fingertips. These are its ARMS.
	Strong arms that are RIPPING the ductwork apart.
	
	Chris, Rebecca, Aiken and Sullivan end up in one part of the
	shaft. The rest in another... including Jill, who calls out.
	
				JILL
			CHRIS!
	
	The section that holds Chris' group FALLS AWAY... with a
	monstrous, CRUNCHING sound.
	
	INT   ARBORETUM   TIMELESS
	
	CHRIS' GROUP spills out of the dangling metal, with cables
	from the torn ceiling...TZZZZZT...SPARKING around them.
	The troopers drop out of Hell, into...PARADISE.
	
	An enormous HOT HOUSE, a lush, indoor JUNGLE of PLANTS,
	IVIES, GRASSES. It's like a RAIN FOREST, complete with
	a thick, damp MIST that makes it difficult to see. We might
	be on another planet. None of the foliage seems indigenous
	to Earth. There are LEAVES the size of bed sheets, FLOWERS ,
	the size of armchairs. And at the center of it all, is the
	mother of the deadly vines...
	
	...PLANT 42, a monstrous schefflera, twenty times normal
	size. Most of its limbs reach upward, where they have opened
	CRACKS in the ceiling and walls, to stretch on into the
	facility above. There are also dozens of shorter, beefier
	"arms", each of which act independently, like tentacles on
	an octopus... and each has a large, drooling POD at its tip.
	
	
	Pg-60
	
	INT   RUNWAY   TIMELESS
	
	BURSTS OF GUNFIRE from three M-16s shatter our ears... and
	a ceiling VENT. WESKER and THE OTHERS jump down into...
	
	...a very unusual CORRIDOR. It seems to stretch forever, in
	both directions. It has no doors, no visible means of exit
	or entry. The walls are made-up of multi-colored polymer
	TILES, whose irregular shapes fit together like a JIGSAW
	PUZZLE. The floor is HEAVY STEEL, though faceted. It seem
	designed to shift. The whole corridor looks like it might be
	able to bend, to change position, like an airport jet way.
	
	There are disconcerting signs of damage...claw-like GOUGES on
	the tiles, clean cut HOLES punched through the metal ceiling,
	larger in diameter than any that might have been caused by
	bullets.
	
	And there are smears of BLOOD everywhere, as if some terrible
	battle... or battles...took place here.
	
				WESKER
			This way. (He starts off.)
	
				JILL
			No. That way.  Chris and the others...
	
				WESKER
			If they're dead, they're dead. If
			they're alive, they'll still be alive
			in twenty minutes. When we get back.
	
				JILL
			Maybe not. And how do we know it's
			only going to be twenty minutes?
			How do we know we'll be able to come
			back this way?
	
				WESKER
			We don't. But we'll do our damndest
			to try. This is it, guys. The home
			stretch. Let's go.
	
	Wesker trots off. Vickers and Rodriguez follow. Speyer and
	Barry hang back... with Jill, who remains torn.
	
				WESKER (cont.)
			(Looking back) Valentine. You're
			on the clock! Fall in!
	
	Jill wrestles with her emotions but, in the end, dutifully,
	she "falls in".
	
	As the troopers move off, we hear odd SCRATCHING SOUNDS...
	with the high-pitched SQUEAL of metal-on-metal.
	
	
	Pg-61
	
	
	INT   ARBORETUM  TIMELESS
	
	The beefy "ARMS" of PLANT 42 undulate overhead as CHRIS and
	his COMPANIONS look for an exit.
	
				REBECCA
			Th-this thing was no accident.
			It was cultivated!
	
				CHRIS
			And it didn't rip out the ceiling
			for the fun of it. Stay alert.
	
	The plant seems to behave intelligently, with caution. The
	pods on its "arms" dart, almost as if sniffing... then pull
	back...like the vines in the kitchen, like timid animals.
	
	Chris spots A DOORWAY.
	
				CHRIS (cont.)
			Here.
	
	As the others follow him, one of the pods swoops down in
	front of REBECCA, and doesn't withdraw. It hovers there.
	Its follicle's open like jaws, which display serrated daggers
	of cartilage that look like teeth. Inside, a pulsing calyx
	emits a pistil that twitches and swells.
	
				AIKEN
			My mother made me eat vegetables.
			I know 'em all. This ain't one
			of 'em.
	
				SULLIVAN
			Aiken...
	
	
	ANOTHER POD swoops down on Sullivan's back. Its BEAK clamps
	onto the flesh between his shoulder blades. It's PISTIL
	shoots out like a hypodermic needle, stabs him and, within
	the blink of an eye, SUCKS out every ounce of the man's
	blood. His skin turns the color of PARCHMENT, FLAKING OFF
	HIM like powder, as he dies.
	
				AIKEN
			Sullivan! JESUS, SULLIVAN!
	
	Aiken rushes to his buddy's side.
	
				CHRIS
			Get out of the away!
	
	Chris launches himself off a stone retaining wall around one
	of the gardens. Leaping up, he grabs one of the SPARKING
	CONDUITS and pulls it down.
	
	
	Pg-62
	
				CHRIS (cont.)
			Get OUTA THERE, AIKEN!
	
	Chris ends up having to shoulder Aiken out of the way.
	Tendrils from the plant very nearly get both of them, but
	Chris manages to JAM the semi-rigid conduit into a pool of
	sprinkler-fed WATER around the plant's roots.
	
	A BRIGHT CURRENT stutters through every vine. The plant
	SHRIEKS, hideously, as electricity causes fluids to SQUIRT
	from boils that develop on its flesh, down along its "arms",
	and into its blood-sucking pods...which FLOP, lifeless, to
	the floor, with the same sort of liquid SMACKS that human
	skulls might make.
	
				AIKEN
			They.. .they killed Sullivan. The
			bastards... whoever did this shit...
			they KILLED SULLIVAN!
	
	Enraged, Aiken draws a long-bladed KNIFE and wildly attacks
	the remains of Plant 42, slashing at the thing's dead limbs,
	not stopping until he cuts into...
	
	...something that looks like a vine...but BLEEDS RED!
	Aiken traces the thing with his eyes, up to where it's
	coiled in high tree branches. It's the oversized body...
	...of A COPPERHEAD, with a belly SIX FEET in diameter.
	As Aiken gasps, spellbound, he's STUCK from behind.
	
	The snake is so long, its body is draped on one side of the
	greenhouse, but its head is on the other. With the power
	of a dozer-shovel..JAWS like the open hood of a Cadillac...
	TEETH the size of windows...CLAMP onto Aiken's mid-section,
	instantly CRUSHING his ribs.
	
	Chris finds a skein of ROPE. He throws the long end over a
	ceiling beam, then instantly makes a LASSO out of the piece
	in _is hand and tosses the loop at the snake's head .
	
	Aiken's body, in the serpent's jaws, makes the rope miss.
	Chris throws again. In the seconds between tosses, the snake
	has SLURPED Aiken into its mouth. The rope encircles the
	beast's head. Chris pulls. The noose slips down over the
	snake's maxillaries and tightens around its neck. Chris uses
	all his strength. With the ceiling beam as a pulley, the
	snake's head is SLAMMED against the rafters.
	
				CHRIS
			(To Rebecca) Hold this.
	
	Rebecca is, understandably, not quick to respond.
	
	
	
	Pg-63
	
				CHRIS (cont.)
			GET IN HERE, SOLDIER!
	
	In this crisis, Chris finds himself sounding a lot like
	Wesker. It sobers him. It sobers Rebecca, as well. She
	rushes in and takes hold of the rope.
	
	Moving fast, Chris rushes to where Aiken's knife dropped
	on the floor. He grabs it, turns back, and sees...
	
	...something MOVING inside the snake's beaded torso. It's
	Aiken... still alive.
	
	Chris charges, PLUNGES the knife into the beast, hacking
	through layers of fat until he reaches a bloody CAVITY.
	
	Aiken is curled within, like Jonah in the Whale. His chest
	has been crushed to half its normal size. Acids from the
	monster's intestine have begun to eat through flesh on his hands,
	his face, but he's still conscious, able to wheeze-out words.
	
				AIKEN
			K-kill me. S-Sullvan said...I'd
			be.. .better off dead. That...ain't
			never been truer than now. Kill me!
	
	The snake uses all its strength to lower its head from the
	ceiling. Rebecca hangs bravely onto the rope, but she's
	LIFTED, bodily, off the floor.
	
	The rope SNAPS, cut by the steel beam. Rebecca falls. The
	trailing edge of the noose catches on twisted debris. It
	delays the snake for two seconds.
	
	Those fragile seconds give Chris just enough time to reach
	into the open belly of the monster...and pull the PINS on
	TWO GRENADES that dangle from Aiken's vest.
	
	The giant copperhead SNAPS at Chris from behind, missing him
	by inches. He dives, like a wide-receiver reaching for a
	pass. What he catches is...
	
	...Rebecca's arm. His momentum carries her down to the
	floor. They roll behind another STONE WALL that contains
	tons of earth, which protects them from...
	
	...BOO-BOOOOOM!... the explosions of the grenades... which blow
	Aiken... and yards of the snake's mid-section...into eternity.
	
	
	INT   CONFERENCE ROOM   TIMELESS
	
	The same nervous HANDS that we saw in the opening fidget on
	the polished surface of the conference table. A distorted
	VOICE scratches over a speaker-phone.
	
	
	
	Pg-64
				VOICE ON THE PHONE (o.s. filter)
			We're close. I think I'll be able
			to get the package. It's been...
			very interesting.
	
				VOICE IN THE ROOM
			Anything you can't handle?
	
				VOICE ON THE PHONE (o.s. filter)
			(Chuckling) There's nothing I
			can't handle.
	
	A hand with an ostentatious RING flicks cigar ash.
	
				HOLDEN
			Keep us appraised.
	
	Holden's hand clicks off the speaker-phone.
	
				HOLDEN (cont.)
			(To the others in the room) I'm
			reassured, gentlemen...that every-
			thing is...under control.
	
	INT   RUNWAY   TIMELESS
	
	WESKER, alone in the strange, faceted corridor, packs away
	his radio. He hears... FOOTSTEPS. JILL appears.
	
				WESKER
			Where are the others?
	
				JILL
			Right behind me. Were you...
			talking to someone?
	
				WESKER
			To Washington. To my... superiors.
			They're your superiors too, Valentine.
			Don't forget that.
	
	Jill wonders. Should she challenge Wesker? She has no time
	to think. More FOOTSTEPS come CLACKING at her back. It's
	RODRIGUEZ and SPEYER. A moment later, BARRY and VICKERS
	appear from the opposite direction.
	
				BARRY
			Nothin'. man. No doors. Nothin'.
			We hit a dead end.
	
				SPEYER
			Us too. Cement wall.
	
				VICKERS
			We're never gonna get to that lab.
	
	
	Pg-65
	
	TCHUNG TCHUNG TCHUNG... a sound like a rivet gun resounds
	in the corridor, repetitive, but random, not rhythmic.
	
	
	INT   ELECTRIC TUNNEL   TIMELESS
	
	CHRIS and REBECCA are crawling through a two-foot high
	feeder-passage for electric cables, their bellies scraping
	the floor, their backs the ceiling. They hear the sound...
	
	...TCHUNG TCHUNG TCHUNG! Then suddenly...it stops.
	
				REBECCA
			(Crying quietly) I... can't take
			this any more.
	
				CHRIS
			We take what comes. That's the
			secret of our genius.
	
	He looks back. Rebecca sniffles.
	
	
				CHRIS (cont.)
			How old are you?
	
				REBECCA
			Not very old at all. Not nearly
			old enough to...to...
	
				CHRIS
			None of us is old enough for that.
	
	Rebecca nods, forcing a smile meant to be appreciative.
	
				REBECCA
			Jill... told me... you were nice .
	
				CHRIS
			She did? She never told me.
	
	That sound returns... TCHUNG TCHUNG TCHUNG...getting louder.
	
	
	INT   RUNWAY   TIMELESS
	
	Down in the corridor, the other TROOPERS see...
	...faintly in the dusty reaches of the dark... AGILE SHAPES
	advancing... not along the floor, but along the CEILING!
	They look like apes, swinging from... What could they be
	swinging from? The ceiling is solid metal.
	
	CLOSE ON: A MONSTROUS HAND, both hairy, and scaly. It's
	fingers have ten-inch claws.. .more like horns... which PUNCH
	upward, penetrating the ceiling metal, and clamping on.
	
	
	
	Pg-66
	
	THE SHOT WIDENS to reveal A BEAST, unlike any we've seen,
	dangling from the ceiling. It is ape-like... and lizard-
	like. With ferocious eyes that glare from beneath an insect-
	like carapace. This thing is an amalgam of all the nasty
	creatures that have pursued us in our nightmares. It's
	called... A HUNTER.
	
	There are SIX OF THEM... as far as we can see, there might be
	more coming from behind. Their three-toed feet also have
	claws that can pierce the ceiling, enabling them to move
	forward... hand over foot, foot over hand.
	
	One of them lets out a GRRROWLLLL! The same sound we've
	been hearing through the walls. Now it echos in the
	corridor, up close and personal. The troopers open fire,
	even before the creatures get in range.
	
	
	INT   ELECTRIC TUNNEL   TIMELESS
	
	CHRIS and REBECCA hear the gunfire.
	
				CHRIS
			Hurry.
	
	Chris crawls on. Rebecca is stopped when... TCHUNNNNGGG !
	One of the HUNTERS' CLAWS PUNCHES up through the floor ,
	almost stabbing her. Rebecca SCREAMS. In the tight space,
	Chris is barely able to reach back and take her hand.
	
	TCHUNNNNGG! TGG! More CLAWS penetrate the metal.
	The couple plunge ahead of them, the way Chris plunged
	ahead of the bullets on Level "A".
	
	INT   RUNWAY   TIMELESS
	
	WESKER, JILL and the OTHERS spit lead at the advancing
	creatures. Bullets THUNK into their bodies. Blood flows,
	but the creatures seem to feel no pain. Even when they're
	hit squarely in their skulls.
	
				BARRY
			Head shots. Ain't doin' nothin'!
	
				WESKER
			That was the idea.
	
				BARRY
			What idea?
	
				WESKER
			To win. The idea was... to win.
	
	
	Pg-67
	
	Jill aims at one of the hunters, pressing the trigger of
	her M-16, and not letting go until her clip runs out.
	The creature's head is turned RAGGED by the barrage...
	revealing an iron SUPERSTRUCTURE beneath the skin.
	
				VOICE (o.s.)
			Now that... is a metal-head.
	
	Jill looks up. CHRIS jumps out of the open grate in the
	ceiling. REBECCA jumps down after him.
	
				CHRIS (cont.)
			What d'ya think? Should I wait
			for orders, or just wing it?
	
				JILL
			Wing it!
	
				CHRIS
			You know...that just might be
			the ticket. Wing the fuckers.
	
	Chris takes a careful SHOT with-his Winchester. He hits one
	of the Hunters squarely on its WRIST...which SNAPS. The
	creature drops to the floor.
	
				CHRIS (cont.)
			Forget the head shots. They're
			useless. Shoot for the joints.
			The JOINTS!
	
	Rebecca opens FIRE with Aiken's M-16, giving the others time
	to reload. Barry is the first to resume firing...at the
	closest of the Hunters... at its wrists, which are SNAPPED
	by the bullets. The creature drops to the floor.
	
	The troopers fire at KNEES, ANKLES, ELBOWS, which seem to
	be the weakest spots. More of the hunters drop from the
	ceiling...but they continue to advance, crawling, pushing
	themselves forward with whatever limbs remain intact.
	
				SPEYER
			Run! We slowed 'em down. Run!
	
				BARRY
			Where? As far as we'll get, either
			way, is a cement wall.
	
	There are two hunters left on the ceiling. One of them makes
	a mighty, impossible LUNGE... and hits Speyer like a battering
	ram, slashing his CHEST OPEN with its claws.
	
	Two of the hunters on the floor rush forward, not attacking,
	but wanting to feed on Speyer's remains.
	
	
	Pg-68
	
	Brad, trembling, completely crazed, drops his weapon and
	backs away. He sees...one of those jigsaw tiles, a RED
	one, GLOW from within. He thinks he's hallucinating until...
	
	...the floor JERKS, in a tight spasm. Its steel facets
	begin to separate, sliding away from each other. The
	troopers narrowly escape as.. .
	
	...the floor behind them GRINDS, in and out, left and right,
	as if it were CHEWING. Speyer's body, and those of the
	hunters on the floor, are EATEN by the powerful steel blades.
	But one hunter remains above it all. TCHUNG TCHUNG TCHUNG,
	it continues to advance along the ceiling.
	
	An invisible, JIGSAWED DOOR glides open twenty yards down
	the hall. The troopers run for it, and are met by a
	beautiful Asian scientist... the woman we saw on the video
	playback... ADA WONG.
	
				ADA
			You lost a man. If I had only
			been faster. I was unfamiliar
			with the mechanism.
	
	TCHUNG TCHUNG... the Hunter approaches .
	
				ADA (cont.)
			God. One of them... is still ..
			Quickly. Inside. Quickly!
	
	The troopers rush into...
	
	
	INT   CUBICLE   TIMELESS
	
	...a security cubicle. CHRIS is the last to enter, barely
	making it before the door begins to slide shut.
	KA-TCHUNK! CLAWS penetrate the opening.
	
				ADA
			Don't worry, it's mindless. It
			doesn't realize that it's strong
			enough to push the door open.
	
				BARRY (cont.)
			Sometimes the dumb get lucky.
	
				RODRIGUEZ
			Hasn't happened to me, yet.
	
	The Hunter GROWLS. Its snout darkens the space between door
	and wall. Mucous from its nostrils spits through.
	
	
	
	Pg-69
	After a terrifying moment, the claw recedes. The dark
	snout disappears. The snorting fades away. Followed by
	a distant...TCHUNG TCHUNG TCHUNG...as the hunter departs.
	Everyone relaxes, visibly.
	
	The troopers turn and, for the first time, notice two haggard
	SCIENTISTS standing across the room.
	
				ADA
			My... colleagues. Benjamin. Toshiro.
			As far as we know, we are the...only
			ones.. .left alive. We worked on "C"
			level. One of the biologists saved us.
			Brought us down here. He knew that...
			he didn't have long to live. He...
			started the mechanism... out there,
			in the corridor.. .and he let it...
			take him.
	
	Ada stares at a complicated control panel.
	
				ADA (cont.)
			I only saw it used that one time.
			Or perhaps...I could have been
			faster. The man...you lost...
	
				RODRIGUEZ
			You did fine, lady. We're obliged.
	
				ADA
			As are we. (Sighing) We believed...
			we would die here. Believed...the
			bomb would destroy us.
	 
				 JILL
			You knew.. .about the bomb?
	
				ADA
			The end for a place like this, when
			it fails... must be a bomb, yes?
	
	Jill looks at Chris. His point has been proven.
	
				ADA (cont.)
			But now... that you are here... the
			bomb will not come.
	
				CHRIS
			It... already came. ma'am. We
			brought it. The colonel, here...
			he's wearing it.
	
	Ada looks at the detonator on Wesker's belt, at the sequence
	of blinking lights.
	
	
	70
	
				ADA
			(To Wesker) Is it true? Are you
			here to... rescue? Or destroy?
	
				WESKER
			Both. (With that odd smile of his)
			If I have to pick only one... I'll
			pick destroy.
	
				ADA
			You're not S.T.A.R.S. You're Umbrella.
	
				WESKER
			Once again. Both. (Still smiling)
			Two salaries. Three if you count
			combat pay.
	
	Ada looks at him with disgust.
	
				ADA
			The man I loved, John Marcus...
			developed the organism that caused
			all this. He... he did it for
			humanitarian purposes. It was
			taken away from him...for in-human
			purposes...by men like you!
	
				WESKER
			No, ma'am. Men like me... are just
			errand boys. Sent in to do the
			wet-work. All of the glory. None
			of the benefits.
	
				ADA
			After what you've seen down here,
			do you think any of it could be
			turned into... benefit?
	
				WESKER
			Yes. I think it could be turned
			into five or ten million dollars.
			How do we get into "D" lab?
	
				ADA
			Death lab. (She slumps) John
			was killed...never even knowing it
			existed. They kept him... isolated,
			upstairs, while a separate team was
			down here...corrupting his research.
			Using it to build B.O.W.s.
	
				CHRIS
			B.O.W.s?
	
	
	Pg-71
	
				ADA
			Bio-organic weapons.
	
				REBECCA
			The sharks. The plant.
	
				ADA
			Early experiments.
	
				CHRIS
			The snake.
	
				ADA
			A failure. Its behavior remained
			reptilian. All they could ever get
			it to do was... grow in size.
	
				RODRIGUEZ
			Those dogs. They were weapons.
	
				ADA
			No. They... simply became infected.
			As did... everyone else. Janitors.
			The cook. Electricians. Guards.
			People who believed they were serving
			their flag. Scientists. Great minds...
			turned into mindless.. .ghouls!
	
				CHRIS
			Before the outbreak, the experiments
			went further, didn't they? Those...
			ceiling-crawlers out there.. .
	
				ADA
			The product of human DNA spliced
			with the DNA of vicious carnivores...
			animals, even insects. Plated with
			armor, beneath newly cultivated skin.
			Then... injected with poison, so their
			biological components would die.
	
				JILL
			Die.
	
				ADA
			The "T"-virus reactivates them in a
			matter of minutes, but... in battle,
			lost minutes are... inconvenient. So,
			the B.O.W.s had to die... and be allowed
			to revive before they could be used to...
			full advantage. They were murdered...
			by their own people... so they could
			never be murdered again... by the enemy.
	
	
	Pg-72
	
	
				CHRIS
			Were any more of these...weapons...
			developed?
	
	Ada is about to answer, but Wesker interrupts.
	
				WESKER
			HOW DO WE GET INTO "D" LAB?
	
				ADA
			You don't.
	
	Ada glances at an innocuous wall panel. Wesker notices a
	key-slot. Green.
	
				ADA (cont.)
			It can't be opened. Thank God.
			None of us is cleared for that
			level of security.
	
				WESKER
			How fortunate... that I am.
	
	Wesker steps over to the wall and inserts his green card into
	the slot. The panel slides open. Beyond it is a steel door
	with another green slot. Wesker uses his card again. A lock
	CLICKS. Wesker pushes the door open.
	
				WESKER (cont.)
			Barry. Come with me. The rest of
			you.. .make sure this door doesn't
			close. Remember...
	
	Wesker taps his ear-piece. Everyone gets his meaning. He
	and Barry disappear through the opening. The steel door
	begins to close. Rodriguez lunges, and catches it.
	
				ADA
			Have...you been leaving doors open?
	
				JILL
			Yes.
	
				ADA
			This place is going to be overrun by...
	
				REBECCA
			Brad's in really bad shape.
	
	Brad is leaning against a wall, sweating, shivering. Rebecca
	looks at his wounded leg.
	
				REBECCA (cont.)
			That's not just a scrape. You
			were bitten, weren't you?
	
	
	
	Pg-73
	
				VICKERS
			One...of the sharks. Its teeth.
			I Just...brushed up against its
			teeth...after it was dead.
	
				ADA
			(Alert) Shoot him. Somebody,
			shoot him!
	
				JILL
			No! We're so close. The antidote.
	
	
	INT   STAIRWELL   TIMELESS
	
	WESKER and BARRY trot down a flight of metal stairs.
	
				BARRY
			What's got into you man? This...
			this isn't like you.
	
				WESKER
			Oh, yes, this is exactly like me.
	
	Until now, Wesker has been steadfast. He suddenly seems
	nervous, anxious. Some of it is fear. Most of it is
	anticipation of the goal which is suddenly within reach.
	
				WESKER (cont.)
			This is...what I've been all my life.
			A guy... suckin' up to the honchos.
			Wipin' the shit off their asses...
			all the while lookin' for a break.
			A way to get some of my own! Well
			this it, friend. I'm myself,
			alright. And I know exactly what
			I'm doing. I told you...before this
			day was over... I'd pay you back.
	
	INT   CUBICLE   TIMELESS
	
	CHRIS and JILL step past RODRIGUEZ. They take off down the
	stairs.
	
	As they leave, ADA opens a desk drawer and pulls out a .45.
	
				RODRIGUEZ
			(Looking at the gun) You know
			how to use that thing, chica?
	
				ADA
			Of course I do. I'm a scientist.
	
	Pg-74
	
	Ada CLICKS back the bolt, whips up the .45, and aims it at
	BRAD'S head. REBECCA dives in front of the man.
	
				REBECCA
			No! You can't! Not while there's
			still a chance to save him!
	
	
	INT   SAFETY CHAMBER   "D" LAB   TIMELESS
	
	WESKER and BARRY arrive at a set of PLEXIGLASS DOORS. They
	can't see through them, they're FOGGED. Wesker finds a key
	slot, inserts his access card, and...
	
	...WHOOSH... the doors open. A CLOUD OF HYPER-COLD MIST
	rushes out, instantly coating the men in FROST. Wesker
	doesn't feel the cold. He doesn't feel anything, except
	a surge of triumph. He steps through the opening into...
	
	
	INT "D" LAB TIMELESS
	
	...a laboratory that looks like-the cockpit of a Concorde...
	only a hundred times larger.. Nothing is, recognizable, except
	desks that hold futuristic-Ibokin computers. A befuddling
	array of BUTTONS, SWITCHES, stuttering LIGHTS, covers every
	inch of wall space.
	
	And at the center of it all stands a tall, cylindrical TANK,
	a stasis tube, filled with ICE. It's mounted on a six-foot
	tall platform, like an altar, with cables and flexible tubes
	running out of it. Wesker squints, and through the freeze,
	sees the thing that stands sedated within the cylinder...
	
	...THE TYRANT. It's nine feet tall. Like the hunters, it
	has more or less human form, though it's musculature is more
	defined than Superman's. One of its arms is scaled to size,
	but the other is much longer. Its hand dangles at knee-
	level. Monstrous steel CLAWS depend from its fingers,
	nearly touching the floor.
	
				WESKER
			(In awe) It's called... the Tyrant.
			Nobody knows it exists. Except us...
			and Holden.
	
				BARRY
			Holden?
	
				WESKER
			Umbrella's man in D.C. We need him.
			He signs the checks. (Excited) We've
			got it, Barry! Our fortune!
	
	
	Pg-75
	
				BARRY
			You're not gonna try to get this
			big mother outta here ?
	
				WESKER
			Don't have to. All we need is the
			data. Then.. .these things can be
			cranked out on an assembly line!
	
	Laying down his automatic, WESKER hits computer keys until
	a DISK pops out of a master-feed.
	
				WESKER (cont.)
			YES! This is it!
	
				BARRY
			What about the antidote?
	
				WESKER
			Antidote? (Laughing) There is no
			antidote. That was just happy horse
			shit, to keep the team going.
	
	Neither man notices... that the removal of the master disk has
	caused certain systems to fail... indicated by red lights, and
	by the fact that... the walls of the Tyrant's cylinder are
	beginning to run liquid sweat. The ice... is MELTING.
	
				BARRY
			You're gonna give this to Umbrella?
	
				WESKER
			No. I'm gonna sell it to them. Then
			I'm gonna open a Swiss bank account...
			right next to yours.
	
				JILL (o.s.)
			God...damn!
	
	JILL has appeared in the doorway with CHRIS. They both
	at the monster with awe...and terror.
	
				JILL (cont.)
			That thing... can't be real!
	
				WESKER
			It's real, alright. And it's worth...
			more than gold. More than uranium!
	
				RODRIGUEZ
			Do we get a piece of that action?
	
	ROSIE has arrived. So have REBECCA, ADA, and the two
	surviving SCIENTISTS.
	
	Pg-76
	
				WESKER
			All of you do. Anyone who comes out
			of this alive... gets a taste.
	
				RODRIGUEZ (o.s.)
			I'm in. I been eatin' shit all my
			life. I'm happy to eat some more...
			as long as it's got some gravy on it.
	
	Rosie steps into the lab, her weapon ready.
	
				WESKER
			Anybody else see it my way?
	
	One of the scientists, TOSHIRO, rushes to join.
	
				ADA
			(To Toshiro) You disgrace yourself!
	
				TOSHIRO
			I...I want to live.
	
				WESKER
			Smart. Anyone else? Valentine?
	
	Jill looks at Chris. Then she steps through the doorway and
	takes a defensive post beside her c.o.
	
				CHRIS
			And I was gonna try to disarm the
			bomb. This place should be destroyed!
			It needs to be destroyed!
	
	Chris lifts his rifle. Wesker is faster with his pistol,
	aiming it at Chris' belly.
	
				WESKER
			Gotcha, son. It's only because
			of Valentine, here, that I didn't
			squeeze the trigger.
	
	Chris and Jill exchange dagger eyes.
	
				CHRIS
			If she's on your side... she doesn't
			mean shit to me. And I don't mean
			shit to her.
	
				JILL
			Chris, please. There's only... one
			way to go, here .
	
				WESKER
			That's right. My way!
	
	
	Pg-77
	
	
				JILL
			Yes, sir. Your way!
	
	Jill presses in close to Wesker, as if completely allied.
	
				JILL (cont.)
			I...can't yell you, Chris...how much
			I wanted...things to have turned out
			differently. (Beat) Goodbye.
	
	Swiftly, unexpectedly, Jill snatches the detonator wire and
	pulls the sensor out of Wesker's ear.
	
	Everyone shuts their eyes, expecting to be blown sky-high.
	
	Nothing happens.
	
	Jill pulls the detonator off Wesker's belt. She stares
	small LED screen which reads... 14:42:16... 15... 14...
	
				JILL (cont.)
			Shit. I got all my courage up...
			and we still have fifteen minutes!
	
	Jill tosses the detonator to Chris. Wesker turns on her,
	lifting his M-16...
	
				BARRY
			You shoot. I shoot, boss.
	
	Wesker turns to find Barry's weapon aiming at his belly.
	
				BARRY (cont.)
			Shit.. here I am still callin'
			you 'boss'.
	
	Wesker is holding the data-disk. Suddenly, he feels it
	snatched away...by Ada, who has rushed into the room.
	
	He aims his weapon at her back as she darts away. Before
	he can fire, he's KICKED in the head... by Jill. Buckling,
	dazed, he looks up at her.
	
				JILL
			We believed in you. I believed
			in you. Boy, was I a sucker.
	
	She kicks him again, just for the hell of it. He flops on
	the floor, his eye-socket swollen. He's dropped his gun.
	
	He gropes for it. Barry steps in and boots it away.
	
	A KLAXON SOUNDS! Emergency!
	
	The ice in the Tyrant's tank has melted down to a critical
	level. The monster... is beginning to MOVE.
	
	
	Pg-78
	
	Reaching the doorway, Ada hears a mechanism TRIP in the jamb.
	The Plexiglas doors begin to slide shut. Ada strains to
	hold them back.
	
				ADA
			Get out! Now! Or you never will!
	
				RODRIGUEZ
			So... we'll live here! (Glancing at
			the Tyrant) No. The landlord looks
			like a sonuvabitch.
	
	Rosie rushes in to help Ada hold the doors. So does
	BENJAMIN, the second of the surviving scientists, who is...
	...MAULED from behind by a ZOMBIE. It's not just any zombie.
	It's BRAD VICKERS, back from death, who BITES out the artery
	in Benjamin's neck.
	
				ADA
			I TOLD YOU... TO SHOOT HIM!
	
	Ada lifts her .45 and blows Vickers way. She looks down
	at Benjamin, writhing on the floor, aims at his head... and
	FIRES again.
	
	Rodriguez is the only one holding the doors. Jill rushes
	to help her.
	
				JILL
			Everybody! OUT!
	
				CHRIS
			(Off the LED) Thirteen minutes.
	
	Inside the lab, Barry turns to Toshiro, the other scientist.
	
				BARRY
			Go.
	
	Toshiro hesitates... a second too long. KRAAASSSH! The
	stasis tube BURSTS open. WATER and bits of ICE fly out...
	along with an enormous, bionic HAND. Big-enough to grab
	Toshiro's head as if it were a cantaloupe. Powerful enough
	to CRUSH that head as if it were... well, a cantaloupe.
	
	Wesker, still searching for his pistol, sees all this.
	
	The Tyrant is not completely free. Much of the cylinder
	wall has cracked away, but sections of it cling to a now
	misshapen mass of ice that still holds the monster bound.
	Though it won1t for much longer.
	
	Wesker starts toward the door. Barry grabs the back of his
	shirt and pitches him across the lab.
	
	
	Pg-79
	
				BARRY (cont.)
			You and me... we ain't goin' nowhere.
			Not just now, boss.
	
	Barry turns to the others clustered at the doorway.
	
				BARRY (cont.)
			This thing gets loose, it's gonna
			be pissed. Somebody's gotta hold it
			back. Give you guys a fair chance.
	
				JILL
			LOOK OUT!
	
	Wesker has found his pistol. He FIRES at Barry who, ducking,
	is only GRAZED. Wesker aims at the group in the doorway.
	Barry pops out from behind a desk and shoots back at him.
	
	Ada and Rebecca duck away from the doors, pulling Rodriguez
	and a reluctant Jill after them. The doors begin to slide
	closed. Chris valiantly tries to prevent them from shutting.
	
	Wesker CRAWLS lke a dog. He manages to fling an arm
	out through the opening. Steel bumpers press on the meat
	of his forearm. Wesker looks up. Through the Plexiglas,
	his eyes meet Chris'.
	
				WESKER
			Get me outta here, Redfield. Or so
			help me God, you're a dead man.
	
	With his free hand, Wesker aims his pistol at Chris. The gun
	barrel is an intimidating sight, even though it's on the other
	side of the plexi. Chris glances at the others.
	
				CHRIS
			Get going.
	
				JILL
			Not without...
	
				CHRIS
			MOVE!
	
	Ada, Rebecca and Rodriguez wrestle Jill away bodily, and
	start up the metal stairway.
	
				WESKER
			COME BACK! RODRIGUEZ! VALENTINE!
			THAT'S AN ORDER !
	
				CHRIS
			Orders don't mean shit any more,
			Wesker. Especially when they come
			from sell-out bastards like you.
	
	
	
	Pg-80
	
	Chris lets go. The doors squeeze tighter. Wesker SCREAMS.
	
	Through the plexi, Chris catches a glimpse of Barry, who
	stands and gives him a military salute. Chris salutes back.
	
	BLAM BLAM BLAM... Wesker FIRES three rounds. Dusty blemishes
	appear on the bulletproof glass. The slugs ricochet back
	into the lab.
	
	One of them CHIPS away at the ICE which is less and less
	able to contain the Tyrant.
	
	Chris makes a break for the stairs. Wesker twists his body
	in an attempt to push his pistol through the opening, but his
	fist, around the stock, is too thick. Nonetheless, Wesker
	FIRES .BLAM BLAM BLAM... bullets SCREAM off the banister
	rails, but none of them contact Chris' legs which disappear
	up the stairs.
	
	The ice in the stasis tube is turning to slush. The Tyrant
	is about to break loose. Wesker looks pleadingly at Barry.
	
				WESKER
			B-buddy. You gotta get us out.
	
				BARRY
			Not sure I know how, boss. Do you?
			Is there some other...'need-to-know'
			secret for shutting down the Big
			Bopper, here?
	
				WESKER
			No. It.. it can't be shut down.
	 
				BARRY
			The ultimate warrior. The ultimate
			soldier. We'll see. How it does
			against a couple of hard-ass career
			guys, like you and me.
	
	WESKER swings his free arm and aims his pistol at BARRY.
	CLICK! The gun is empty.
	
	
	INT   CUBICLE   TIMELESS
	
	The ESCAPEES arrive in the security cubicle.
	
				ADA
			The corridor outside... can be moved.
	
	Ada rushes over to the instrument panel. Her hands go to
	work on an array of buttons and switches.
	
	
	
	
	Pg-81
	
	
	INT   RUNWAY   TIMELESS
	
	The multi-faceted CORRIDOR TWISTS into a new configuration
	with the RUMBLE of an "eight" on the Richter.
	
	
	INT   CUBICLE   TIMELESS
	
				ADA
			You won't come out in the same place.
			But you'll find a freight loader that
			can be accessed with...
	
				JILL
			...a blue key. I hope.
	
				ADA
			No. Pot blue or green. Red.
	
	Ada pulls a RED KEY from under her lab coat, snaps the chain
	on her neck, and holds it out to Chris.
	
				ADA (cont.)
			I took it from an Umbrella agent
			assigned to us here. He died...
			like all the rest.
	
				CHRIS
			Red... overrides green.
	
				ADA
			Yes.
	
				CHRIS
			So... you could have unlocked "D" lab.
	
				ADA
			I was hoping it would never be un-
			locked again. Go. I will see that
			this.. .(she holds up the data disk) ...
			is destroyed.
	
	Chris grabs Ada's arm and holds it tight while he wrenches
	the disk away from her.
	
	He folds it over onto itself, drops it to the floor, and
	pumps three Winchester rounds into it.
	
				CHRIS
			It's destroyed. It's worthless
			But you're not.
	
				ADA
			I helped develop it!
	
	
	
	Pg-82
	
				CHRIS
			Unwittingly. They lied to you.
			They lied to Marcus. They made
			you believe you were doing a good
			thing when it wasn't good at all.
			It was evil!
	
	Ada looks deeply into Chris' eyes.
	
				CHRIS (cont.)
			The kind of evil that... resides
			in all of us. Makes us... greedy,
			uncaring. The kind of evil that
			will... wipe us out, in the end.
			Unless we stand up against it.
	
				ADA
			Stand up? Against powers that have...
			ruled the world since before we were
			born? We will only be...eliminated.
			Or locked away someplace else. I'd
			rather die here. Knowing that the
			virus has died with me .
	
	Jill takes a step toward Ada.
	
				JILL
			What if it's already spread? You're
			the only one...who knew anything
			about it.
	
				ADA
			(The thought penetrating) But, I...
			know so little.
	 
				 CHRIS
			More than anyone else. You have...
			a responsibility.
	
				JILL
			To a higher command. The highest.
	
	She and Chris touch eyes again, this time with understanding.
	
	
	INT   "D" LAB   TIMELESS
	
	THE TYRANT flexes its monumental muscles. The ice around
	it CRACKS... but clings. The giant HEART dangling outside
	its chest PUMPS rapidly...sending fluids through exposed
	synthetic veins that run to the creature's brain.
	
				BARRY
			That's one helluva big pump.
	
	
	
	Pg-83
	
				WESKER
			An implant.
	
				BARRY
			From what? A fuckin' elephant?
	
				WESKER
			Rhinoceros.
	
				BARRY
			Shit. I figured you knew more than
			you were telling.
	
	Barry FIRES at the encased organ. His bullets bounce off the
	shielding with no effect.
	
				BARRY (cont.)
			How do we kill this thing?
	
				WESKER
			I told you, we don't. W-we can't.
			It's unstoppable!
	
	More ICE pops off the monster's pectorals.
	
	
	INT   RUNWAY   TIMELESS
	
	CLOSE ON: ADA'S face.
	
				ADA
			I don't know if I can face this.
	
	She and the ESCAPEES are no longer in the Cubicle. They're
	in the runway.
	
				CHRIS
			Just get us upstairs. I'll take
			care of it from there.
	
				ADA
			Alright. (With a sigh) Come.
	
	They break out, at the run, klacking along the faceted steel
	floor of the movable... and still moving.. .corridor.
	
	KRUNNNGGG! They're nearly knocked off their feet when the
	system suddenly STOPS DEAD.
	
	Ada slams her fist into one of those JIGSAW TILES on the
	wall. Another RED one, which glows from within.
	
	A PANEL grinds open, revealing...
	
	
	
	Pg-84
	
	INT   FREIGHT CORRIDOR   TIMELESS
	
	...a more natural-looking corridor. Half-way along, there
	are STEEL PRONGS that protrude from a wall. The group starts
	toward them...but stops when a soul-shriveling SOUND fills
	the passageway...the hungry MOANING of things that are dead.
	
				ADA
			Doors... were left open.
	
	INT   "D" LAB   TIMELESS
	
	The TYRANT BREAKS free of the last bit of restricting ice.
	WESKER FREAKS. Whimpering, he gropes with his hand that's
	outside the Plexiglas doors. He grabs something. A BOOT.
	Brad Vickers' boot. Wesker tugs on it.
	
	BARRY opens fire on the Tyrant, full bore, with his M-16.
	The stream of bullets does nothing except make the monster
	notice the big man.
	
	
	INT   FREIGHT CORRIDOR   TIMELESS
	
	THE ESCAPEES run down the corridor. SHAPES appear at the
	far end. ZOMBIES! Twenty. Thirty. Forty. More. The
	walking remains of humans who were infected in the labs,
	crawling over each other, hungry for living flesh.
	
	The humans reach the FREIGHT LOADER. Prongs, like those on
	a fork lift, extend from a heavy chain-drive that runs up
	and down through openings in the floor and ceiling.
	ADA swipes her red key through a slot and pushes a button.
	The chain-drive Grinds upward, hoisting the prongs.
	
				ADA
			Step on.
	
	Ada pushes REBECCA onto the next set of prongs that come up
	out of the floor. The footing is precarious. Rebecca has
	to hold on to the chain as she is hoisted.
	
	The lift moves slowly, eight feet separating each set of
	prongs.
	
	The ghouls continue to press in.
	
				JILL
			I don't know if it's gonna happen.
	
				RODRIGUEZ
			Come on. I been waitin' all day
			for somthin. like this.
	
	
	Pg-85
	
	Rosie opens FIRE. Chris and Jill follow suit as Ada steps
	onto the next set of prongs.
	
	Blood FLIES. Skulls SHATTER. Front ranks drop. Zombies
	from behind push their fallen comrades ahead of them. The
	corridor is like a syringe filled with corrupted bodies,
	pushing inexorably forward.
	
	Rosie, teeth gritted, keeps firing while Chris forces Jill
	onto the next set of prongs. As she rises, she hands her
	M-16 to Chris. He slings it on his arm while levering his
	old Winchester, making each of his shots count, until the
	next set of prongs rises out of the floor.
	
				CHRIS
			(To Rosie) You're up.
	
				RODRIGUEZ
			I'm havin' too much fun. You got
			a lady. I just got me. Anyway...
			I ain't gonna die in this rat hole.
			I'll make it. Get outta here.
	
	Chris hands Jill's rifle to Rosie, who fires with both hands
	as Chris jumps onto the lift.
	
	Zombies are MOWED DOWN. But more come. The syringe keeps
	pressing.
	
	The next prongs rise. Rosie steps on, still blasting..
	The first zombies reach her. Shooting down, she blows them
	away. But more come, grabbing her legs, grabbing the chains,
	ROCKING the prongs. Rosie nearly falls. She drops one of
	the rifles in order to hold on. She carefully picks off the
	most threatening zombies. Miraculously, she rises out of
	their reach, and into...
	
	
	INT   FREIGHT SHAFT   TIMELESS
	
	...a very tight, very dark SPACE with sheet metal walls that
	have been bruised by loads of freight. The rumble of the
	chain-drive ECHOES frighteningly.
	
	ABOVE ROSIE, THE OTHERS rise slowly... very slowly... feeling
	apprehensive, vulnerable. REBECCA, at the top, looks up and
	sees LIGHT spilling through an opening through which she is
	about to pass.
	
				ADA
			(Calling up to her) Level "C".
			Have your weapons ready.
	
				RODRIGUEZ
			(From below) Whoop-de-doo.
	
	
	Pg-86
	
	Rebecca's eyes rise above the floor of Level "C". All seems
	quiet... but who knows what might be lurking.
	
	
	INT "D" LAB TIMELESS
	
	THE TYRANT, still a bit sluggish, steps down from the
	platform that supported its tank. BARRY jams in a fresh
	clip and keeps firing at the thing. The Tyrant, impervious,
	stalks after the big trooper.
	
	Wesker is still on the floor, his arm through the doors,
	tugging on Vickers' boot.
	
	The flesh on Wesker's forearm is PEELED by the bumpers as
	he uses all his strength to drag Vickers' body closer...
	until the boot winds up in the opening, preventing the doors
	from closing.
	Wesker manages to pull his bloody arm free. He rushes to
	a computer console and types a request for the "T"-virus.
	
				BARRY
			Get under a desk, man. I'm gonna
			feed this thing a pineapple.
	
	Barry pulls a GRENADE from his belt.
	
				WESKER
			NO! It might damage the system!
			I've got to get this data!
	
	Wesker's M-16 has been lying, where he left it, on the
	console. He picks it up.
	
				BARRY
			Forget it. Bullets don't work!
	
	Barry is about to pull the pin on the grenade when Wesker
	triggers off A BURST...into BARRY'S GUT!
	
				WESKER
			They seem to work just fine.
	
	Barry is BLASTED across the lab.
	
	The Tyrant makes its first quick move... making us appreciate
	how fast and powerful it really is. It swipes at Barry's
	body as it flies through the air, catching it in it's steel
	claw. We hears BONES SNAP as Barry goes limp.
	
				WESKER (cont.)
			That's it. Take a little lunch
			break, Mr. "T". I just need a few
			more seconds.
	
	Pg-87
	
	The Tyrant lifts Barry's body, as if it were as light as a
	feather, up to its snout. Recognizing that the man is dead,
	the monster FLINGS him aside like so much garbage... and
	begins to lumber toward Wesker.
	
				WESKER (cont.)
			(To the computer) Come on, come on.. .
	
	A monitor reads: 90% COMPLETE...95%...98%. Wesker rests
	a finger on the button to eject a floppy.
	
	The Tyrant is getting closer by the second. Wesker FIRES
	a burst at it which only slows it for a heartbeat.
	
	100%.. .TRANSFER COMPLETED. Wesker ejects the floppy, jams
	it into his flack-jacket, and, FIRING another burst, runs
	for the door. The Tyrant has to move around desks and
	computer consoles to catch him.
	
	Wesker shoves his M-16 through the space that's being held
	open by Vickers' boot. He begins to pry the opening wider.
	A WARNING BUZZER goes off. The Tyrant dimly registers
	the sound. Its eyes dilate, like camera shutters, with
	a CLI-CLICK. It strides forward at top peed, PITCHING
	DESKS easily aside, SMASHING through a CONSOLE as if it
	were made of balsa.
	
	Wesker has pried the doors wide. The Tyrant is coming at
	him FAST. It's going to be very close.
	
	Wesker MAKES IT. He gets outside. The doors begin to glide
	shut. He LAUGHS!
	
				WESKER (cont.)
			EAT SHIT, YOU...
	
	THLANNG! The Tyrant's long, bionic CLAWS SHOOT, with the
	speed of switch-blades, through the opening, just before the
	doors meet. FOUR of the claws SKEWER WESKER, passing clean
	through him.
	
	He doesn't die instantly. He's still alive and SCREAMING
	when the Tyrant uses the same hand, with Wesker impaled on
	it, to PUSH the doors open wide again. The action causes
	WESKER'S HEAD to be SLICED OFF by one of the steel bumpers.
	The Tyrant steps out of the lab. As the doors glide shut,
	the monster holds the remainder of Wesker's body inside
	their path.
	
	The bumpers are stopped by the Tyrant's iron hand... which
	it extracts, letting the doors scrape the dead meat from
	its claws.
	
	Pg-88
	
	
	INT   FREIGHT SHAFT   TIMELESS
	
	REBECCA is approaching another OPENING.
	
				ADA
			Level "B".
	
	
	INT   FREIGHT CORRIDOR   LEVEL "B"   TIMELESS
	
	THE CORRIDOR on Level "B" is long and narrow, with only
	occasional pools of LIGHT from bare, overhanging bulbs.
	REBECCA rises, like a spirit, out of the floor. She lifts
	her weapon. Her eyes dart, looking for dangers. There are
	none. The corridor, while very spooky, is quiet.
	
				REBECCA
			Don't see anything.
	
				ADA
			Good.
	
	
	INT   FREIGHT SHAFT   TIMELESS
	
	REBECCA rises through the ceiling.
	
				ADA
			We're almost there. You'll have
			to jump off. The belt won't stop.
	
	As the ECHO of Ada's voice rings off, Rebecca looks up and...
	...SCREEEE... SOMETHING dives down on her out of the darkness.
	She ducks, almost losing her balance. She clings to the
	chain as OTHER THINGS...black, relatively small.. .WHIP past
	her head.
	
				REBECCA
			Bats! There are bats in here!
	
				ADA
			No. They're crows! Infected!
			Don't let them bite you!
	
	Rebecca dodges with new urgency as the black birds dive past
	her. Looking up, she sees more coming. She aims her M-16
	and fires up the shaft. TWO BIRDS are HIT. They plummet.
	One hits ADA. She swats it aside. It drops all the way
	down to ROSIE, who JUMPS, gasping, when it hits her.
	
				RODRIGUEZ
			Rats. FLYING RATS!
	
	
	Pg-89
	
	Beneath her, Rosie sees the crows hovering in the light from
	Level "B"... They circle, then start to fly up again.
	Rosie opens fire, filling the shaft with ribbons of lead.
	Another BIRD dives from above and... SKIT... takes a chunk
	out of Rosie's cheek.
	
				RODRIGUEZ (cont.)
			AAAH ! YOU FUCKER !
	
				CHRIS
			(From above) You alright?
	
				RODRIGUEZ
			Yeah. I'm cool. I'm... cool.
	
	Rosie keeps FIRING. The deafening SOUND of her M-16 keeps
	her from hearing a...
	
	...KRATTCH...in the sheet-metal wall. A second later...
	
	...RRRRRIPPP! The metal is torn open like tissue-paper.
	
	SOMETHING dark lunges from the opening. It's the surviving
	HUNTER! One of its steel claws GRABS the chain-drive. The
	mechanism stops dead.
	
	QUICK CUTS: of THE ESCAPEES slipping, nearly falling, as they
	hang on to the chain.
	
				REBECCA
			I thought it wasn't supposed to stop.
	
				ADA
			Climb out. OUT!
	
	Rebecca has nearly reached Level "A"... She's able to hoist
	herself up, and roll to safety.
	
	Ada tries to climb. The chain is GREASY. Her hands slip.
	BELOW, the Hunter lets go of the mechanism. The chain JERKS.
	The escapees nearly lose their balance again.
	
	Rosie, at the bottom, is being lifted toward the Hunter's
	free hand. She JUMPS down. Barely catching the next set
	of prongs beneath her.
	
	AT THE TOP, Ada reaches Level "A". Rebecca catches her and
	pulls her up onto Level "A..
	
	Jill is next, rising slowly. Rebecca and Ada reach down and
	grab her arms just as... TCHUNG... the mechanism stops again.
	The Hunter has grabbed the chain again. Its free hand
	swings, clutching at Rosie, who crouches, avoiding capture.
	
	
	
	Pg-90
	
	Jill is pulled to safety. She turns and reaches down for
	Chris, who starts to climb the chain, his hands slipping on
	the grease.
	
				CHRIS
			ROSIE!?
	
				RODRIGUEZ
			I'M ALRIGHT!
	
	She's not alright. She's trapped. She can't get up past
	the Hunter. She FIRES at the thing. Bullets BOUNCE off its
	protective steel under-hide.
	
	Chris climbs three feet. Slides back two. The others reach
	down from above. Their hands come within inches, but can't
	quite catch hold of him.
	
				RODRIGUEZ (cont.)
			Here! Here, you... lizard. You
			fuckin' cockroach, HERE!
	
	Straining to reach Rosie, the hunter lets go of the chain
	for a second, then latches on again. That second lifts
	Chris to within reach of Jill and the others. They grab
	his arms. Lift him up.
	
	That second has also brought Rosie within reach of the
	Hunter. Its claws COMB her hair as she tries to duck lower
	while keeping her balance on the prongs.
	
	THWAKK! SOMETHING crashes through the wall. A MONSTROUS
	CLAW that IMPALES the Hunter. It's the claw of THE TYRANT!
	
	The chain mechanism begins to rise again. Rosie, cringing,
	is lifted past the monster just as it leans its head and
	shoulders into the shaft to examine what it has caught.
	
	Disappointed, the Tyrant SCRAPES the Hunter off its claw.
	It drops away down the shaft.
	
	The Tyrant turns its CLICKING, dilating eyes up at Rosie,
	and...TCHUNNNGG...purposely STOPS the rising chain.
	
				RODRIGUEZ (cont.)
			(Calling up) BAD NEWS, GUYS. THIS
			THING'S NOT SO STUPID!
	
				CHRIS
			(From above) Climb, Rosie!
	
				ROSIE
			No. I'm finished. I live here now.
	
				CHRIS
			ROSIE, NOOOOO!
	
	
	Pg-91
	
	Rosie DIVES off the prongs...directly at the Tyrant. With
	another lightning move, the monster catches her in its bionic
	claw, crushing her ribs. With BLOOD spurting from her mouth,
	she utters her last words...
	
				ROSIE
			EAT ME, YOU PILE OF SHIT!
	
	
	INT   LEVEL "A"   TIMELESS
	
	ADA is the most pragmatic.
	
				ADA
			Come.
	
				CHRIS
			ROSIE ...
	
				ADA
			COME! You convinced me that there
			were...larger matters. We're at the
			top. You said you'd get us out.
	
	Ada's words snap Chris back into the urgency of their
	situation. He struggles to his feet.
	
				CHRIS
			Th-this way.
	
	They are in the MANSION, which Chris knows well. He leads
	his small troop into...
	
	INT   POWDER ROOM   TIMELESS
	
	...a small powder room, decorated garishly in an East Indian
	motif. A ceramic TIGER'S HEAD sits atop a vanity. CHRIS
	grabs it...and TWISTS it on a pivot. A PANEL spins. The
	COMMODE disappears into the wall, opening a SECRET PASSAGE.
	
				REBECCA
			Hell of a shit-house.
	
				JILL
			The guy was a bootlegger... with
			a sense of humor.
	
	Chris leads the other into...
	
	
	INT   CLOCK ROOM   TIMELESS
	
	...a small, blank CHAMBER. The only thing it holds is a
	GRANDFATHER CLOCK .
	
	
	
	Pg-92
	
				CHRIS
			I hope they haven't disabled this.
	
	CHRIS opens the door that covers the clock face. He quickly
	spins the hands until they hit... HIGH NOON.
	
	GRONNNK! A WALL begins to GRIND open, straining against
	rust, dirt, from years of idleness. Cobwebs are pulled
	apart and...DAYLIGHT APPEARS!
	
				CHRIS (cont.)
			Alright. We made it.
	
	Chris urges the OTHERS out through the opening. At the same
	time he checks the detonator. The LED is down to SIX MINUTES
	and counting.
	
	INT   HUEY   DAY
	
	At the controls of his helicopter, LAGUARDIA spots something.
	
	
	EXT   MANSION   HUEY'S POV   DAY
	
	REBECCA, then ADA, then JILL climbing onto the lawn.
	
	
	INT   HUEY   DAY
	
				LAGUARDIA
			I'm goin' in.
	
				RADIO MAN
			You don't have authority.
	
				LAGUARDIA
			Fuck authority.
	
	
	EXT   MANSION   YARD   DAY
	
	...CHRIS climbs out of the secret exit. THE OTHERS, having
	spotted the incoming chopper, are waving at it. There's a
	sense of relief, of salvation. Only Chris notices...
	
	...a bit of PLASTER falling away from one of the mansion's
	stone walls.
	
				CHRIS
			Watch it. WATCH IIIIT!
	
	KER-AAAASSSSHHH! THE TYRANT BURSTS through the wall. With
	superhuman speed, it ATTACKS the escapees, who run, dodge,
	barely escaping the WHISHING SWIPE of its iron claw.
	
	
	
	Pg-93
	
	INT   HUEY   DAY
	
				RADIO
			What in God's name is that thing!
	
				LAGUARDIA
			Somethin' we weren't supposed to
			see. Drop the ladder. And drop
			the Stinger.
	
	EXT   MANSION   YARD   DAY
	
	THE HUEY swoops down as low as safety will allow. A faceted
	aluminum LADDER unfurls.
	
				CHRIS
			GET UP!
	
	CHRIS pushes JILL toward the ladder. She pulls on Ada's arm
	and sends her up first. ADA begins to climb. Then REBECCA.
	
	The Tyrant closes in, SWIPING at Chris, who just manages to
	avoid the SLICE of its mighty claw.
	
	The RADIO MAN leans out of the door above, holding something.
	
				RADIO MAN
			Catch this!
	
	Chris doesn't hear. Jill does.
	
				JILL
			Toss it to me!
	
	The radio man drops the Stinger...a rocket with a shoulder-
	launcher.. .down into Jill's hands.
	
	Chris hits the dirt. The Tyrant tries to crush him by
	stepping on him. Chris rolls away.
	
	The ladder is too wobbly. Jill can't be sure of launching
	an accurate shot.
	
				JILL (cont.)
			CHRIS!
	
	Chris looks up. Sees Jill holding the rocket launcher. He
	RUNS past the Tyrant, okey-doking, left, right, then dodging
	left again. The monster SWIPES at him with its elongated
	claw. Chris' flack-jacket is caught. Protective fibers fly.
	But Chris escapes without injury.
	
	
	
	
	Pg-94
	
	Jill pitches the weapon. Chris catches it. The Tyrant is
	on him, about to STOMP him with a bionic FOOT when...
	
	...Chris aims at the monster's rhinoceros heart and FIRES!
	
	The rocket CONNECTS, on target. The casing around the animal
	heart EXPLODES... and the Tyrant drops like a giant Redwood...
	
	...on top of Chris's legs.
	
	As Chris tries to free himself, he checks the detonator.
	THREE MINUTES. TWO-FIFTY-NINE. EIGHT. SEVEN. SIX.
	
	LaGuardia drops his chopper a bit lower. The bottom of the
	ladder hits the ground, coming within Chris' reach. He grabs
	on. The helicopter rises again. Chris is pulled out from
	under the Tyrant's steel body and is LIFTED into the air.
	He climbs frantically.
	
	Above him, Jill is still on the ladder as well. Ada and
	Rebecca pull her up. Chris DANGLES as the Huey banks away
	over the forest. The tops of TREES whip his legs, but he
	hangs on, climbing up... up... until the others catch his
	hands and hoist him into the chopper. Chris checks the LED.
	ONE MINUTE, FORTY-FIVE SECONDS.
	
				JILL
			(Reading over Chris' shoulder) We
			have to get out of range.
	
				CHRIS
			No. (To the pilot) Circle around.
			
				LAGUARDIA
			Are there more survivors?
	
				CHRIS
			No. Just...circle, okay? I want
			to...take a last look.
	
	The Huey banks into a circle. Chris looks down at...
	
	
	EXT   AERIAL POV   DAY
	
	...the MANSION. And just over the hills...HIS FARM.
	
	
	INT   HUEY   DAY
	
				JILL
			It's... your home.
	
	CHRIS looks at her, with a resigned smile.
	
	
	
	
	Pg-95
				CHRIS
			I hoped... it would be our home.
	
				JILL
			I guess... we're gonna be moving.
	
	Chris checks the LED. THIRTY-EIGHT SECONDS.
	
				CHRIS
			(To the pilot) Full throttle.
			Out of here, man!
	
	LaGuardia pushes his stick. The Huey LUNGES forward at
	top speed. REBECCA, ADA and JILL are pressed back by
	inertia. Chris holds himself erect. Through the window,
	in the receding sky, he spots...
	
	...AN EAGLE, riding the wind.
	
	CUT TO:
	
	EXT   THE ARKLEY FOREST   THE MANSION   DAY
	
	PLOOOOMMMMM! The GROUND ERUPTS from an enormous under-
	ground explosion. The MANSION is reduced to particulate
	as the shock-wave spreads outward.
	
	
	EXT   FARM   DAY
	
	Chris' farm hand, RAKE, is shambling out of the house, a
	ZOMBIE... when the EXPLOSIVE FORCE HITS, tearing him APART.
	
	
	EXT   RACCOON CITY   DAY
	
	The TOWN is EMPTY...except for NINE LONELY FIGURES, lumbering
	down Main Street. They, too...are ZOMBIES. The hot wave
	HITS. Two are VAPORIZED. FIRE engulfs two more. The BRAINS
	of two others are DESTROYED by flying debris.. .
	
	...which catches the remaining three, as well. Arms are
	torn off. Iron shafts from shattered plumbing, shards of
	window glass, slats from picket fences... PUNCH through
	necks, chests, bellies...
	
	...but the dead things, their skulls undamaged,
	through billows of dust... drooling hungrily.
	
	THE SCREEN GOES BLACK.
	
	
	---
	This text orginiated from www.New-Blood.com, please check them 
	out for Resident Evil coverage.
	---
	
	


Resident Evil



Writers :   George A. Romero
Genres :   Action  Horror  Sci-Fi  Thriller


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