INDEX (A)
Major Characters (1968)
Sir Edward Ashford (50s-60s)
Lord Oswell E. Spencer (37)
Dr. James Marcus (50)
Brandon Bailey (40-49)
Minor Characters (1968)
Ivorian villagers (extras)
Ivorian mercenaries (extras)
Major Characters (1998)
Chris Redfield (25)
Jill Valentine (24)
Barry Burton (38)
Rebecca Chambers (18)
Albert Wesker (32)
Minor Characters (1998)
Claire Redfield (19)
Leon .S. Kennedy (21)
Joseph Frost (20s)
Enrico Marini (20s)
Richard Aiken (20s)
Kenneth Sullivan (20s)
Forest Speyer (20s)
Alpha Team Pilot 1: Brad Vickers (20s)
Alpha Team Pilot 2: "Chopper" Flynn (40)*1
Bravo Team Pilot: Kevin Dooley (30s)
Edward Dewey (30s)
Girl
Mother
Father
Leon's Partner
Police and Civilian Extras
Possible Additions [Minor Characters (1998)]
Moira Burton (7) [Seen in picture]
Polly Burton [(3-7) similar to Moira, possibly a bit younger; let's take 5 ] [seen in picture]
Kathy Burton [mid-late 30s (?). Seen in picture]
Lisa Trevor (45). Pale, thin, weak. Torture victim of 31 years. Feral child. Yearns for her mother. Possibly violently insane. Body in extreme disrepair due to decades of biological experimentation.
TEAM BREAKUP (1998)
Alpha Team Bravo Team
Barry Burton 1. Richard Aiken
Joseph Frost 2. Rebecca Chambers
Chris Redfield 3. Edward Dewey
Jill Valentine 4. Enrico Marini
Albert Wesker 5. Forest Speyer
Brad Vickers 6. Kenneth .J. Sullivan
"Chopper" Flynn 7. Kevin Dooley
1From Battlefield: Bad Company 1 and 2. Just a fun Easter egg. Non-canon.
Organizations/Authorities
Major
Umbrella
Raccoon City Police Department
S.T.A.R.S (Special Tactics And Rescue Squad)
Notes
Space will be provided at the end of this document for appreciation, criticism, additions and subtractions (or other things).
All actors and actresses are encouraged to improvise. If the script is lacking, and you can improve upon it, please, feel free to do so. This script is a collection of guidelines. Think of it as an open source project.
Great efforts must be taken in this film as to where editing is concerned, so as to mitigate inconsistencies in this film as much as possible.
For Example:
Bodies that were there in one shot disappear in the next.
In shots taken during daylight, some shadows will appear longer or shorter, showing an unbelievable passage of time between shots.
Or at times the crew and/or the camera will visible on reflective surfaces (such as: door knobs, windows, water, etc…).
We're making an action-horror movie. But that doesn't mean that we have shaky-cam, non-centred shots and madcap editing. We must have appropriately long takes, however long it takes. Steady cam, centred shots, responsible and professional editing.
If you want, we can leave editing mistakes for the lulz.
Disclaimer
This is a work of Sci-Fi, any resemblance to anyone living, dead, (or undead), is purely coincidental. Resident Evil© is a copyright of Capcom®. All rights reserved. 1993-2018. "Chopper" Flynn© is a character from DICE and EA's FPS games: Battlefield: Bad Company and Battlefield: Bad Company 2. DICE EA 1992-2018. This independent production has no affiliation with Capcom or DICE EA.
INDEX B
Credits
Head of art: UA*
Head of cinematography: UA
Scriptwriter(s): Keshav Sapru/open source/UA
Director: UA
Assistant scriptwriter(s): UA
Assistant director(s): UA
Assistant producer(s): UA
Stuntmen/women (if actors/actresses cannot do their own stunts): UA
Stunt Coordinators: UA
Cast: UA
Extras: UA
CGI specialists/SFX specialists/composers/costume makers/designers: UA
Casting director: UA
*Under Advisement
Budget allocation
Official budget: x
Buffer budget: x/2x
Total budget: 2x/3x
Possible extra budget source: Kickstarter/Indiegogo.
Needed: Greenlight from Capcom.
Distribution
Worldwide. All major video distribution platforms. YouTube, Vimeo, Dailymotion, etc.
Movie length: Short film (10-20 mins), or intermediate (45 mins), or full length (45+), pending on final draft.
Possible special effects engines:
Source 2.0 (SDK)
Unity 5 (SDK or paid subscription)
Bullet (Physics engine, open source, free)
Blender (free 3D production suite, uses Bullet)
Unreal Engine 4 (SDK)
CryEngine 4th Generation (paid subscription)
Or whichever one suits the SFX team.
Possible Editing software:
Corel VideoStudio X7
CyberLink PowerDirector 16
Or whichever one suits the editor.
Purchase, torrent or your one. It's up to you, editor.
*SDK stands for Source Development Kit (they're by definition, free)
SCRIPT
The movie opens with the Resident Evil 6 Opening Theme. I leave it to the SFX designers to design the opening (0-10 seconds). 11-12 seconds, the title "Resident Evil" drops. Someone with a deep and menacing voice says the words, "Resident Evil" after the deep bass piano note at 13 seconds. The title stays up for another 12 seconds after which the "Press Start" icon appears underneath the title, it gets "pressed" and it fades to black.
The scene opens in an Ivorian village where Pineapples are grown. We can see a dirt road coming out of a forest into an open field. There's grass on the sides of the road. As we watch, a white jeep and a dark green military truck come roaring out of the forest. They're headed to the village. Just where the village begins, the jeep and the truck stop. Four men step out of the jeep and the soldiers/mercenaries disembark from the truck. The village is completely empty. There's an eerie silence.
Dr. James Marcus: Hopefully, we can find the flower here.
Brandon Bailey: Only a matter of time doctor.
Sir Edward Ashford (turns to the mercenaries and commands them in French): You over there! Clear that field ahead of us!
Lead Soldier (French): Yes, Sir! Move out you lot. Clear the fields! No trouble, do you understand?!
Ivorian Soldiers (In French, Together): Sir, yes sir!
The soldiers move out as ordered. They move through the village. There are signs of habitation everywhere. But there's no one to be found. It's as if everyone left in a hurry. The four men follow behind the soldiers, through the village. The eeriness isn't lost on anyone. As they near the end of the village, there's a small hill walk up. And as they descend, the camera pans out to show a vast field full of red flowers which look like Pineapple flowers. The four men, especially, Dr. Marcus stand agape at the sight. Finding more than they ever dreamed. We can see the entire village in a trance, some rocking back and forth, some humming to themselves, some staring off into the infinite, some curled up, and so on. Men, women and children, all together. They are divided into groups, where each group is entranced in a different position. Some sort of bizarre religious ritual. The soldiers fan out amongst the flowers. And somehow, the villagers at once notice the soldiers and then rush at them with an unnatural speed and with an unnatural scream. Pointing, flailing, gnashing their teeth, etc. The soldiers are taken aback for a moment, never expecting such a welcome. They fire shots in the air, but it does nothing to faze the villagers, they're still running, crazed, at them, like a swarm. The soldiers open up with their AKs. Firing directly into the villagers. Bullets fly everywhere, people die, are wounded, men, women and children cut to pieces. After a number of them are killed, the trance breaks somehow and the villagers scatter, scurrying away from the fury of the fire. The soldiers continue firing intermittently as they herd the villagers into the forest, doing their job. Our group are ecstatic at this sight, they head towards the nearest flowers. Dr. Marcus sits down to examine the flowers. The screams and the gunfire slowly soften, become intermittent and then quieten.
Lord Oswell .E. Spencer (ecstatic): Those barbarians never cared about what was coming at them until we'd thinned the swarm. The virus worked much better than we modelled.
Dr. Marcus (studying a flower, uninterested): Yes, quite. Brandon, what do you think?
(Marcus hands the flower over to Bailey)
(Brandon pours a biological reagent with a base of human hemoglobin and glucose, upon contact, the flower turns purple)
Brandon (pleased): A positive reaction, doctor. It's the "stairway-to-heaven" flower.
Ashford (with relief): Finally! I'd about had it with the bloody Pineapples! Can't wait to get out of this fruity nation!
Dr. Marcus: Bag it and tag it, Brandon.
Brandon: Yes, Doctor!
(The four men call the troops back with the radio. The four men walk up the hill with the flowers In hand, through the abandoned village and then back to the vehicles. They are shortly followed by the shaken and bloody soldiers. Even though the villagers were unarmed, their ferocity is evident. As the Jeep and Truck pull away, we see the Red and Black insignia of the Umbrella Corporation, on the right-handside door of the jeep)
(We cut to nighttime now. At the centre of the screen is a Black Hawk helicopter. Passing swiftly underneath, is the Arklay hardwood forest. Pine trees, Oak trees, Maple trees and so on. We can see the dim outline of the mountains. They are the Arklay Mountains. Inside the helicopter are the members of Bravo Team)
(As the camera moves inside the helicopter. We see, Chris Redfield sitting opposite to Jill Valentine. Sitting adjacent to Redfield, we see Barry Burton. Sitting opposite to Barry is Albert Wesker. Albert is lost in his wristpad, typing away furiously. Barry is lost in thought, with his family's picture in his right hand. He could be staring off into infinity, or looking at his photograph, I leave it to the actor. The photograph contains the picture of his family. Both Moira and Polly are making funny faces in the picture as Kathy is seen playing with the kids. A happy moment. Redfield and Valentine share a smile, a tender moment between the two. Chris then turns to his left and starts playing Andrea Bocelli's "I can't help falling in love with you", on the boom box. Don't worry, this is a parody of predator, but shussshhh, that's just between you and me. Ah, where was I? Yes. Chris starts playing the music and Jill and Chris lock eyes and their smile turns into laughter, Barry chuckles as he puts his photo back into his breast pocket. Wesker doesn't notice, continues typing. Down in the forest, standing on a cliff is the Nemesis Class Tyrant. The helicopter passes overhead with a roar, as it mouths, "STARS". It picks up its heat-seeking launcher, locks on and fires away. The missile hurtles towards the chopper, as the pilots, Flynn and Brad notice the missile warning, change the deployment light from green to red, and deploy flares and ECMs (Electronic Countermeasures). The helicopter lurches violently from side to side, as the pilot attempts to dodge the missile. The music keeps playing, this adds a surreal and darkly comical atmosphere to the scene. Bravo Team holds on for dear life. Miraculously, the missile locks onto a flare and explodes in mid-air. But not far enough. The explosion rocks the chopper and nearly downs it. Fires break out, and are quickly put out by fire extinguishers. Everyone's shaken. There's damage to the hull, the rudder and the shockwave turned the chopper's windshield into spider webs. They now have to fly by virtual horizon).
Flynn (struggling with the controls and the pedals): Brad! Start the aux hydro pumps. I've lost pedal control, you'll have to take over. Autopilot's dead. Slowing speed, otherwise we'll be done before we even started. The virtual horizon's a bitch.
(Note: Flynn is dressed, casually, not in combat fatigues like everyone else, he just has a military-green aviator's jacket)
(The helicopter slows to a stop and hovers, the light's now green)
Brad (In an urgent voice, makes a clockwise spinning motion with his left hand pointing vertically, while looking back at them): Go! Go! Go!
(The entire team rappels in less than 60 seconds to the ground)
(In the chaos, Wesker runs off into the woods, only Chris is quick enough to notice his disappearance)
Chris (turns violently in the direction that Wesker disappeared): Wesker! Where the hell has Wesker gone to?
Joseph (looking at Chris): Forget him, Chris! We have to look for the Alpha helicopter.
Chris (gesturing forward with the index and middle finger of his right hand, like a gun sign, but with the thumb down): All right! Move out! Sweep the area, it shouldn't be too hard to find a downed helicopter.
(Joseph, Chris, Barry and Jill spread out, searching in the overgrowth. They're on a path leading off into the distance. It's very dark, and only the torches on their guns illuminate the path up ahead. Shortly, they come across the blade of the downed chopper. Joseph, Barry and Jill set up a perimeter around the helicopter, as Chris searches the helicopter, there's nothing in there. But as he crawls out the other exit of the helicopter, which is on its side, he hears a crunching sound, and notices that it's the body of Enrico Marini, he had stepped on its decomposing hand. Only his arm and now broken hand are visible in the torchlight. Chris crawls back and comes out the other end to his team mates)
Chris (addressing them): Nothing. Everybody's Dead.
[At this moment they hear a bark. But it doesn't sound like the bark of any dog they know, it's also very raspy, grating, like as if the throat isn't completely there. It seems to have come from everywhere. Now, the team, while not particularly afraid of dogs, has some inclination about what these could be. They have some idea of what Umbrella has been working on. They don't know that they're building Biologically Organized Weapons (or BOWs for short, the military loves its' acronyms) for the US military, but they know that gene splicing can lead to favourable mutations, to put it lightly. After all Umbrella owns Raccoon City. Part of the State government's plan to bring "jobs and businesses" to the state. Apparently, putting the lives of millions in a visibly unscrupulous multi-national biotechnology firm's hands didn't raise any red flags. Now as everybody is on high alert, they are scanning the area around them, the helicopter, they aren't worried about, because it's on its side, so something will have to crawl out of the GROUND to attack them from the behind, but they're keeping a watch on that as well. The four of them have now formed a circular perimeter, a short distance from the helicopter, their torches blazing, cutting through the night, about a metre (~3 feet) or so in front of them. They are all scanning in three dimensions, up-down, left-right, side-to-side, slowly, methodically. They are listening very, very carefully, for nary a snap, or rustle, they are super-attentive, even a cockroach scuttling past would be heard. They reach out with their ears into the dark, through the brushes, trees, into the forest, out 16 metres (~50 feet) waiting then they hear, the feet, so many, all rustling. Then they hear that unnatural growling, barking and snapping. They sound hungry. It's all around them, every direction, they are scanning more aggressively now. Joseph, who's near the helicopter, fires a flare into the air, Jill fires a flare into the brushes, to start a fire to scare off any beasts, Chris, adjacent to her, fires a flare in front of him, Barry who's facing the helicopter, is pointing his automatic shotgun up, to tear anything apart which comes from above the chopper. Now we cut to the view of the dogs. We can see from their FPV (POV) that they are moving rapidly through the brushes, they'll reach them within seconds. This particular dog, is paying no heed to his/her well-being, it's running madly. A branch gouges one eye out, and the dog runs forward as if there was nothing, the only indication that anything happened was the violent jerk to the right, and half the screen going black, as the dog powers through the underbrush. Only the left view is now available. And this is a hazy, grayscale view, as if it's an eye not fully formed, but perfect for the dark. It's probably guided more by smell anyways. The dog jumps out of the underbrush, and for a split second, we see the armored, black silhouette of Joseph, he's prepared, he fires immediately into the dog, the head is blown apart, as other dogs burst through the growth, in the dark, they can't see, but these dogs are half-rotted, their smell is overwhelming. Barry's shotgun, tears a dog to shreds mid-air, as it's still flailing body strikes Jill, on her back. She's startled, but her training keeps her focused, even though she feels the strange sensation of a clearly torn apart Thing still trying to grasp at her with its legs. She shouts, "Run!" As they start to run down the path. Chris hasn't faced any dogs yet. He moves forward, he takes point, then Jill moves out, then Barry, and as Joseph is moving out, a dog tackles him, he struggles, he pulls out his knife, and stabs the dog in the neck, the sounds stop, but the dog doesn't, this is a very surreal sight, a partially silent struggle. Barry takes aim with his shotgun, and shots the dog off Joseph, as a dog attacks him, he punches the dog so hard, that it goes flying off into the distance, he shots the dog, and one shotgun pellet destroys its brain, and it stops moving. In this interval Jill moves to help Joseph up, as Chris provides overwatch (i.e. cover). Another dog bursts out the bush and bites Joseph on his right arm, and starts tearing at it, another dog bursts out and bites him on his groin, this isn't shown in graphic detail, just hinted at, Joseph starts screaming, and kicking, knocks the groin dog off, and screams, "Run!" Jill freezes for a moment, unsure of what to do, and Barry grabs and pulls her away towards Chris, and they all start running. Just before they're out of earshot, they hear a pin being pulled, and they start running faster, furiously, as they can hear more dogs running after them, and attacking Joseph. There's a huge explosion, as a very powerful grenade goes off (Semtex, High-Explosive). They're almost knocked to the ground from the shockwave, but they regain their balance and keep running down the path in the direction that Chris is running (forward). They're running for their lives as they hear the dogs closing in. parts of dogs, half-mangled, drag themselves towards them, while the ones not dismembered by the blast keep running after them in some capacity. Three-legged horrors, blinded horrors, one or two, four legged, partly dismembered horrors. All this is implied, it's dark, different howls, different sounds, give this away, a few stray flashes from a torchlight, and so on. Anything not incapacitated by the blast is still running after them with great fury and a super-primal drive.
They have a huge head start, but these horrors are running very fast. They are nearing the mansion (the Ashford mansion, "reappropriated" by Umbrella). They can see it. They are rushing towards it, not daring to look back. Chris is bracing himself, gritting his teeth as his breath gets heavier and heavier. As they approach the massive wooden doors of the mansion, he arches forward his left shoulder and braces for impact. He charges forward, all three of them, now in a single line, all bracing for impact. It's beautiful in fact. Years of working together as a team, their bodies and minds are in sync. Chris guesstimates where the lock of the door might be, and fires a few rounds from his pistol, as he's protecting his head, he hears the BANG! Allows himself a smile, he's emboldened and together they hit the door with such force that it flies open and they all fall face first on the floor. Their eyes are stabbed by the flash of a neon light. No, literally, the entire mansion is lit up. From outside, they were unable to see this, because, A) They were running for their lives and B) Because the windows were darked out. They are blinded by the light. But, Barry is a veteran, he gets up after only a handful of seconds, blinks the strain away, and takes aim with his shotgun. Unlike the common misconception, shotguns have respectable range, if they are designed to do so. He fires, the only surviving dog running towards them, it's decayed features fully visible, its stench overwhelming, its partly rotten tongue hanging out, it's the half-blinded dog, its destroyed right eye hanging by its socket. We have a close up of Barry as he looks very intently at the dog, and as the shotgun fires, we take a second person view of Barry, the gun and the dog, followed by a big boom, as the dog gets gibbed. It explodes into fragments of bone and flesh, a high explosive fragmentation round. There isn't much blood. What little that there is, is coagulated and black in colour. Jill helps Chris up to his feet, and he walks to the doors, and picks up the gun at the threshold. He stops for a moment, as he looks out into the inky blackness of the night, where the trees are moving, without a breeze, he can tell this with the rustling he hears, and the lack of a breeze on his exposed skin on his wrist. He hears the ragged howls of the hellhounds, as he feels a hand on his shoulder, its Barry's. He looks at him, and he looks at him, Barry pats his shoulder, and they both close the doors, drowning out the nightmarish night and its hellish sounds. They look ahead and they see a huge chandelier lighting up the entire massive room in bright, white, sickly sterile light. There's a massive staircase in the middle, leading up to the top, there's a figure in the middle of the staircase near a body. Rocking back and forth on her butt, she's curled up in a sitting position.]
At this moment, the lights go out. We will take the sounds from the 'The Evil Within, The Assignment DLC" game. When the player presses the start button, there are 2 sounds. At the first second there's a single electronic "bzzt" sound, followed closely by a slightly deeper "bzzt" sound at the second second, and then at the third second, there's a very deep and menacing bass sound which signals the chandelier going out, followed by a barely noticeable 'blowing' sound, as if somebody is blowing out the lights. So, at the first sound, the light directly above their heads goes out, and then at the second sound, the light just a bit ahead goes out, and then the main light goes out at the third sound. And that 'blowing' sound which attracts their attention, as a soft breeze blows through the mansion. Capisce? Good. Everything goes dark, as they hear a shrill scream up ahead, which as you can presume is coming from the figure. As they run up the stairs to the figure. Chris lights a glow stick, as pointing an assault torch at the figure would just destabilize her further. They run up, and they approach the figure cautiously, just in case it's another one of Umbrella's BOWs. They surround her slowly, their weapons holstered. As they come very close to her, they hear her repeating the same sentence over and over again as she's rocking back and forth, now on her haunches, "Losing our minds, losing our minds, losing our minds, losing our minds, losing our minds" in quick succession, ad nauseam. For reference, see the cutscene from the game, 'The Evil Within" where Sebastian Castellanos, the protagonist comes across Leslie Withers for the first time. Chris reaches out and puts his right hand on her left shoulder. Rebecca turns to him and her eyes are red from crying. She has tears streaming down from her face. She's sitting next to a body's legs. It's been mangled. She holds out a patch and gives it to Chris. On it, it says, "Richard Aiken". Jill asks, "What's your name sweetie?" Rebecca responds by pointing to her left breast pocket. It reads, "Rebecca Chambers".
Jill (looking at Barry): Barry? Can you check her for bites or wounds, and see if she has any broken bones of the sort?
Barry: Sure Jill.
Barry gently moves to Rebecca and faces her from the front, with caring eyes and careful hands, he examines her body respectfully.
Barry: Rebecca? That's a really beautiful name. Here. Look at this (Barry says pulling out and unfolding a photograph from his wallet). This is my family. That beautiful woman in the middle? That's my wife, Kathy (Pointing to a laughing woman). This here, struggling in her armsthat's my, one of my bundles of joy. That's my naughty Polly, as I call her. She hates that name. That there? With the silly grin and wizened old eyes? That's Moira, my elder daughter. I call her Merlin, she hates that even more.
(Rebecca looks at the photo, looks up to Barry and says)
Rebecca (smiling weakly): That's a really pretty family you have, Barry.
(Before Barry can say anything, Rebecca hugs Barry really tightly and starts sobbing into his shoulder, as if he's not real, and holding onto him for dear life will prevent him from vanishing)
Barry (hugging her back and whispering softly): We're not going anywhere. We're right here with you.
(Rebecca doesn't say anything, she just nods vigourously in his shoulder)
Chris: We should check in with the chopper and exfil her out. Whatever's happening here, we're not prepared for it. We exfil her, come back, get Wesker and get out. Okay?
Jill: Okay
Rebecca (looking up now): Leave, don't stay here, please, you don't know what's here. You don't, you don't, you don't! Leave! Leave now! Please! I'm begging you!
(Rebecca starts to hyperventilate, and starts to enter anaphylactic shock. Barry quickly injects her with an anti-inflammatory, adrenaline and a sedative)
Barry: There's no way to find Wesker, without first getting her out of here safely.
Jill: Agreed.
Chris: Agreed.
(As Barry is stabilizing her, Chris calls in)
Chris: Alpha to Overwatch. Come in Overwatch.
Overwatch (Flynn and Vickers in the choppers): Go for Overwatch.
Chris: We have the last surviving member of Bravo team here, we need an evac. How's she doing?
Overwatch (Flynn): Better. We've fixed the rudder, patched the hydraulic piping and the holes in the hull shouldn't matter, they missed the engines. We also replaced the windshield. It's not a hundred percent, but it's enough for the mission.
Chris: That's all I needed to hear. Prep for evac. Alpha out.
Overwatch (Flynn): Roger, Overwatch out.
Chris (looking at his troupe): Well that's it, we better head out, evac will be here any minute.
Barry: Roger, she's stable. Cover me while I carry her.
(Barry carries her in his arms down the stairs. As Chris and Jill cover his front and back, respectively. They reach the doors, and open them tentatively. The dogs are nowhere to be found. If it weren't for the footsteps and the few shell casings dimly visible in the light of the glowstick in Chris's hand, it'd be like nothing happened. Eerie. They hear the roar of the helicopter, as it lands, as Barry lays her in gently. Barry isn't worried since Brad is a medic as well, and so it seems that Rebecca is as well, judging from her attire and equipment. The helicopter takes off and they head back, closing the doors.)
Barry (Punching his right hand into his left palm): Now let's find that son of a bitch, so that I can pummel some sense into him.
[They move up the stairs tentatively. They sweep right, they sweep left, but nary a fart. Jill finds a doorway on her right. She moves towards the door. And as she moves to open it. We get a FPV view of the door, with everything around it black, as it opens, and we move into a third person cctv view of a dark hallway with the silhouette of Jill visible in the hallway as lightning strikes through a window at the other end of the hallway. We move back to an Over The Shoulder view of Jill. She moves slowly through the hall, with Chris and Barry close behind. She comes across a door to her right, right at the end of the hall (she's moving left, the initial view of her entering the hall was a ceiling view from the right handside pointing downwards). As she nears the door, she hears some moaning and groaning noises coming from the inside. She holds up her right hand and stops them. She says, "sssshhh" very softly while putting a finger to her lips. "Wait at the doorstep. Don't want to startle this guy" Saying this, she turns around, and nearly hits the door with her head, as Barry quickly pulls her gently back by her back strap, to prevent noise. "Thanks" she whispers. And Barry gently nods, as his grim and serious face is weirdly illuminated in the flashing light of the encroaching thunderstorm. The thunder now very audible to say the very least.
Jill gently opens the door, fully expecting a creepy noise, but none comes, as its deathly silent. The room is lit by a warm light from an ornate fireplace at the end of the room. It casts a glow on the whole room, contrasted by the white flashes of lightening and the now booming thunder. If there was ever an ominous foreshadowing this would be it.
She sees a figure, possibly a man by the looks of it, crouched over another man lying on the floor. His head is bobbing up and down, as if he's crying. Jill speaks, but her voice is raspy and dry, like a parched desert.
Jill (Speaking softly, as she slowly approaches the crouched man): Sir?
(Her voice gets drowned by the thunder)
Jill (moving closing, now a POV from her wrist as her hand reaches out to the man, a few feet from her): Sir?
(Now the man takes notice, as his head slowly moves to the left handside. He looks up at her and Jill freezes dead cold. If she wasn't a hardened soldier, she would've pissed her pants by now and would've starting crying for her mommy. There's a rotting face. Grey, soiled, bloody, faeces, sores, flesh in his mouth. And the stench! Oh the stench! He'd not been crying, he'd been feasting on the intestines of the dead man. Uuuucccckkkkk! Jill feels sick in her stomach. Barry and Chris notice and raise their pistols, but don't fire so as not to hit Jill. The man gets up and starts stepping towards Jill, Jill moves back. Raising her own pistol, she says, "Sir, not one more step, I'll shoot! I'm warning you! Stay back! Sir!" Barry doesn't wait, he shoots the man in the knee, he stumbles to the floor. There's a pregnant pause. Then he starts to get up, shambling forward, using his right leg. He lurches forward, as Jill shoots him straight through the heart, but to no avail. He grapples her with his raised arms and attempts to bite her, she resists and falls onto Barry and Chris, as they all fall backwards into the hall. The scramble out from beneath her, as the assailant puts his entire weight onto her. Jill bravely resists, but it's much too much, and before Barry can shoot him in the temple. He takes a big bite out of the side of her neck. "Huuuuucccckkk!" A sickly, gargling sound comes from her mouth, as she gurgles blood out her mouth and blood spurts out of her neck. Barry shoots the monster through his head and attends to Jill. Chris takes out 10 gauzes and presses them firmly, but just enough to stem the flow of blood and not to cause further damage. Barry takes out Morphine, injects her, takes out adrenaline and injects it straight into her heart. He performs a field tracheotomy, so that she can breathe. She grasps Barry's arm very tightly, she's in extreme pain. Far beyond what the human body was designed for. Barry quickly takes out a syringe with a blue fluid in it and injects her in the heart, it's the Antivirus. But it's too late, Jill goes into cardiac arrest. During this time Chris has sanitized two needles with his lighter and attached them to the two ends of a plastic tube, as he transfers blood to Jill, he's a universal donor. Barry hurries with CPR. And directs Chris to use the manual air pumper, which he does so. Barry injects her with the requisite fluids intravenously, and starts to resuscitate her. Having failed at this, and her pulse steadily dropping, Barry breaks out his field defibrillator, he places the adhesives at the appropriate sides of her chest to depolarize and repolarize her heart. The charge runs through her chest. He does it again, twice, third time, her pulse continues to drop, as Chris furiously keeps pumping air, while frowning intensely at her. 10 minutes later, Barry stops. And with great persuasion, stops Chris.)
Barry (Looking at his watch, speaking into his tape recorder): Time of death. 20:05 hrs. Cause, severe shock caused by a bite to the neck, followed by exsanguination and cardiac arrest. Administered adrenaline, the antivirus, morphine and other necessary fluids. Chris contributed blood. CPR and defibrillation didn't resuscitate Jill.
[Barry and Chris clear up his medical equipment, and throw away his non-reusable supplies. Barry remarks, "Don't suppose that there's a dustbin in this dump, is there?" He doesn't expect a reply. Barry and Chris after having cleaned up, slump down on the wall. Inside Jill's mind, she's lying on some grass in the middle of a small stream. She's lying on her side, on her side-stomach, so to speak. She's surrounded by water, not much, but it seems like she's on a patch of dry land, an island, the size of her body, dilapidated buildings are all around her. Grassy knolls, a bubbling brook in a nook nearby. A dark expanse behind her in the grassy knoll behind her. She's lying on her right arm, with her left arm trying to cover her eyes from the light. A black dog lightly bounces out of the expanse and hops over to her, a spring in its step(S). As it resolves to the viewers' eyes it turns out to be a zombie dog. It quietly lies down on her left leg. It's lower jaw resting where her upper leg meets her lower leg. The side of the knee. It closes its eyes and lies down there as Edward Artemiev's "Stalker" theme "meditation" starts to play. Then! Suddenly! Jill wakes up with a HUGE gasping breath, she sucks in so hard, that her lungs might explode from the strain. Chris and Barry Jump in surprise. They jump so hard, that they are lifted a foot clean off of the ground.)
Chris (as he jumps to Jill): Oh God! Jill! Sweetie! Are you okay! I almost thought that I lost you!
Barry (jumps to gently pull Chris away from Jill): Chris, just give her a little time, she might be in shock or go into one. She's just come back from the dead after 10 minutes (almost not believing the words that come out of his mouth as he says them)… Huh. (Looking at Jill): You were almost a Jill sandwich!
Jill lets out an anime laugh (giggle) (It's the one from Phantom Sage and DeTrace's song, PANIC, 1:38-39).
Jill (as she grabs Chris and pulls him in for a passionate kiss): Actually Barry, as strange as it may seem, I feel like I've never felt before! I feel like a million years. Strong and resilient. Muah!
(Looking back at Barry, while her head rests on Chris' right shoulder): Ha! Real funny Barry. (Half-sarcastically, Half-amused, All smiling, perhaps a dashing of laughter?).
Barry (looking at her quizzically): I suppose the T-virus gave you highly regenerative capacity like an axolotl.
Jill (still holding on to Chris): Those are the cute lizards with the sexy fins who can regrow ay lost limbs, right?
Barry: In short, yes? Loosing syllables are we? Let's test for brain damage.
(Barry looks into Jill's eyes, and shines a light, her pupils' don't contract, but then after 30 seconds or so, they start to do so, whatever brain damage there was, the T-Virus healed it. Jill makes a face at Barry while sticking her tongue out.)
Barry: Well, whatever damage there was, it seems that that the T-Virus repaired it.
Jill (breaks away from Chris and slumps against the wall): Well, that's good, isn't it?
(Jill reaches into her pocket, pulls out a roll of tracing paper, tobacco, hash, filter and a lighter. She then proceeds to place the filter in the paper, with the tobacco, the hash and roll them up into a joint. She lights it and starts smoking it)
Jill (looking at them): What? It's not for you, so stop staring. I just had my neck bitten out, so no, you won't get any.
(She continues to smoke, as Chris and Barry just relax, taking a moment, to process everything)
Barry (remarking ruefully): Not that I need anything, promised the missus that I would quit.
Jill (between puffs): That's good.
(Chris alternates between looking at her, then Barry and then lost in his own thoughts. Barry leaps to Jill's throat and rips off the bandage, to reveal that underneath, the wound has nearly healed. There is a lot of gnarly scar tissue all over, especially where the bite took place, but it's mostly closed up now. Barry adds a fresh dressing)
Jill (angry and in pain): What the fuck was that for?
Barry: Had to do it while you were still cranky, and high, so that you'd forget the pain, had to see how fast the T-virus healed you. This regenerative capacity is far, far higher than anything that I've noticed in the world, Natural or otherwise.
Jill: That's interesting. Well, it also explains why people are turning into zombies. Not everyone's genetics are designed for rapid regeneration and mutation. Unlike moi (she says flamboyantly).
(Above Jill's head, a horizontal streak of blood, very, very dim, probably the spray from her violent injury, becomes a darker hue. A nod to the health regenerating from herbs. They all get up and head out the door, but they're surprised that they are not in the staircase area of the mansion anymore, instead the location has changed to a hallway. On the left, is a door, from which some scratchy music is coming, it's Clair De Lune, by Debussy. Chris opens the door and as he enters, he notices an old gramophone playing the song. Next to the Gramophone is a typewriter, also old. He sits down on to the chair, and starts typing out something, as the music fills the room. Jill and Barry sit down on the floor. They close their eyes as they rest. Perhaps they sleep off to go off to some faraway places, eh? Whatever the director, editor, art director decide for the general scenery and the editing, happens now to set the scene. The camera moves from the left to the right, as it leaves them, it passes through the wall, and enters the hallway, dimly lit, creepy, with lightening flashing through the large window panes. Show what you wish, appropriate according to your feelings. It's beautiful, melancholic, thank you.)
(Chris gets up, takes out the reel of paper and places it on a stack of paper near the typewriter, with a lot of time stamps. Just before he leaves, he notices a metallic emblem of a dog, which seems half complete, and it may fit somewhere, out of interest and instinct, he picks it up and stores it in his right breast pocket. He then moves away from the table and walks towards Jill and Barry and wakes them up. As they head out the door, the music keeps playing, but softer now, as if their actions somehow changed reality. Welcome to reality. They look ahead as the lightening continues to flash. Illuminating the room with light and their ears with sound. Let there be a musical rhyme. As they pass the first Window, the lightning flash breaks out and illuminates their faces with an eerie glow, as the camera cuts to each of the faces, as time seems to s-l-l-l-l-l-o-o-o-o-o-o-w-w-w-w-w-w-d-d-d-d-o-o-o-o-o-o-o-o-o-w-w-w-w-w-w-w-w-w-w-w-n-n-n-n-n-n-n-n-n. The team can take this opportunity to fill the surroundings with the music of Toccata and Fugue in D minor, preferable from the 4 mins+ mark. In slow motion, and backwards, to make it extra creepy and jarring, as the music slowly starts to rise in volume, intensity and speed, but only for a little bit, as I'm about to start a new scene. They walk, they keep walking, and when they reach the next window. The music pauses, and time returns to normal, and then Toccata and Fugue starts normally. We'll use the music from the timestamp 0-2:45.
0-20s: As the music starts, there's a sense of ominous undertones. As if something sinister is going to happen. In these 20s, they inch forward, expecting the worst. The situation taking a toll on their minds. Losing their minds, so to speak (). They're actually aware of this music, as before they start running, they look around, and suspect that someone, probably Wesker, is toying with them, with this music. They don't see the speakers as it's too dark, inbetween the flashes, but they break into a run, so between these two stages of being stationary and then mobile, there's not much of a gap, so it's pretty much a quick, cursory look.
20-35s: As the music rises, they rise with it, and the unnerving surroundings and the past happenings crack their nerves, as they run. The hallway, seemingly endless.
35s-53s: The sound of the music, now matchings their running. As if it anticipates the sound of their foots running, and hitting the floor. Staccato matches staccato.
53s-1:03: As the music reaches its peak, a dog jumps out from behind them. And then the music continues to match their running. Heh heh, as if mocking them for their running. Heh heh.
1:03-1:09: The music matches their running and then from 1:05-1:07, the other dog jumps out from behind them, as they keep running. 1:08-09, At that note, they continue to run, but it also hints at the might of their plight. Running with their tales between their legs.
1:08-1:29: Again, the music matches their running, as they keep running. The dogs come closer, they're very close. One of the dogs comes up near Jill, as she's running, and she hears the dog growl, but what she actually hears is "Panic" which is what the dog says. We'll take this sound effect again from PANIC by DeTrace. At the 2:58 mark of that song. And then she responds with a "It Does Not Compute" Taken from Media Zealot's parody of this song called "The kryptonian Dubstep Engine" at the 1:52-1:54 mark. But actually I think that it's from the 1964-65 movie, Lost In Space. Anyways, it doesn't really matter. Anyways, she looks forward again and keeps running, as Barry blasts the Dog from the back, taking out its legs and making it fly for a moment in the air, the illusion of it floating there just in mid-air, and then it crashes into the wall a few moments later, with a sickening/satisfying CRUNCH! Its legs blown apart by the force of the shotgun blast, at the best, maybe it has stumps left. And they keep on running down the corridor. Fatigue begins to show on their faces.
1:30-1:33: They are running still, at 1:33, another zombie dog jumps out at them, but it just misses them. And they keep running.
1:37: Another dog jumps out at them. This keeps increasing the tension of the moment. I know it sounds very boring on paper, but that's how it is sometimes. This is also a play on how in Japanese horror (games), corridors are endless.
1:38-1:41: Further running. Sorry, note, with every zombie dog that jumps out at them, they course correct. Wesker is toying with them at this point, he doesn't want them to die at this moment. Zombie dog jumps out at 1:38.
1:44: Another zombie dog. Course correction, further running, music mocks/mimics their running. You get the picture. If you can make this sequence more interesting, please do.
1:44-1:48: Ditto. A zombie dog at 1:48.
1:49: A zombie appears in front of them.
1:50: They stop, surprised. A passage to their left opens. The wall just lifts up into the ceiling, a secret path. If it wasn't obvious, it is now, Wesker is tracking their every move.
1:51: Music mimics their course correction, plus their scurrying.
1:56: The note indicates, a blocked passage, as they have to course correct to the right. Keep right, no left turn. Ha ha, political joke. Anyways, moving on, it's like Benny Hill (Yakety Sax), but the punishment is DEEEAAATH.
1:57-2:11: Further running, the dogs are so close that Barry who's at the rear, has no choice but to empty a whole clip of his auto shotgun into the coming horde. I count 7 zombie dogs. The emptying of the clip, mind you, is of high-explosive fragmentation rounds. One clip has 10 rounds, the dog nearest to Barry explodes in the goriest way possible, 3 rounds gib it. Since it's blind fire, and Barry is just spraying the entire hall behind him with rapid explosive fire, one round, hits the wall on his left, and the splash damage, destroys the front half of the zombie dog near the left wall, the next round, destroys the front of the second dog in the middle, the sixth round destroys the dog nearest to the right wall (from Barry's perspective, all this takes place in the Third Person View or TPV), the seventh, eighth and ninth rounds, incapacitated the three dogs at mid range, Barry's a real good shot. 4 dogs down, 3 to go. The tenth and final round, also incapacitates the dog at long range. And now two dogs are approaching them at long range, one on the left, and one on the right. The tenth round's fragments "injure" the other two dogs and slow them down. An auto shotgun in a closed space with explosive rounds is devastating, as is evident by this masterful display of excellent marksmanship and craftsmanship. Barry, even while blind-firing, took down five dogs in one full burst of his AS. Brilliant.
2:12-2:20: A wall comes down on them as they are about to step through, luckily they escape and unscathed. But they stopped. And the dogs use this opportunity to come into close range. Bummer. But they continue to run, now left. This labyrinthine hall has exhausted them, which was Wesker's idea in the first place. Although Jill is far less tired, as she has awesome power of the T-Virus at her disposal.
2:22-2:26: They see the exit infront of them now. Jill sprints, Chris jogs and Barry looks back aims, and finishes off the last dog with his desert eagle. He moves to reload his shotgun as:
2:27-2:46: They notice a wall coming up from the floor, Jill bounds across and waves them over. Barry reloads both his guns, Chris goes through and Barry follows. They sit against a wall, probably and preferably to their right, as the wall behind them, finishes its closing maneuvre by 2:46.
Barry (spots a camera, on the ceiling, near the opposite wall and gives it two middle fingers as he says): Hey, you motherfucker! Thought that we would die, huh? Well, fuck you, you douchebag, cocksucking maggot whore, wait till we reach you. I'll make you pay. I'll ram my foot so far up your ass that you'll need a plumber to get it out! You fucking whore-mongering bastard. You bloody ou! Ya' blood git! I'll Bury my shotgun uptil the hilt down yer throat ya faggit! Fuck you!
Barry starts jumping like a madman as he stomps the ground in fury and keeps his fingers pointed at the camera.
Jill (as she calms Barry down): Cool it Conan, we can bury plenty of hilts once we find him. Just look over there.
Jill points just ahead of the left wall, to a corridor, at the end of which is a wide open entryway. Time for a big boss fight. Anyways, Chris and Barry look where she's pointing. Chris gets up. They all have their weapons raised and their shoulders scrunched up tightly, keeping their weapons as close as possible. The regular military offensive posture when approaching a hostile target.
As they're walking, Barry notices a large window to their left, which looks into an operating theatre. Which he can tell, by shining his assault torch into the window. There's a skeleton on an operating table. The only one. It's really creepy. On the door, engraved, it reads,
A.S.R.B. whatever that means.
Barry takes point, while Chris and Jill cover him, as he picks the lock. Barry fails to lockpick and instead attaches a grooved nozzle to his shotgun and jams it between the handle and the door frame. As he's about to shoot, he remembers that he's on auto, slaps his head in self-aware criticism, selects single shot and fires. The lock gets destroyed and he pushes open the door with his right hand.
Inside, he shines the torch at the skeleton, and from his basic anatomy class, he figures out that it's a woman's skeleton.
Barry: That was a woman.
(Jill nods, as Chris just stares blankly. Clearly fatigued by the happenings of the past hour and a half.)
Jill: Hm.
Barry: There's a letter in her hand.
(Barry picks up the letter and asks Chris to read the letter. Chris willingly obliges, anything to get his mind off of the past)
Chris (speaking in a stoic voice): To my lovely daughter, Lisa. Sweetie, it's mommy. I know that you're afraid, the men here promised me that they'll give you this letter. I don't know what's happening dear. But I want you to be brave, they said that I will be able to see you tomorrow, after they carry out the last tests. Don't be afraid, baby, mommy will come to you soon.
Love now and always,
Mommy
(At the end, Chris' voice starts to break, and he stops. Turns to Jill and cries into her shoulder. His psyche is breaking. Jill embraces him and whispers softly, sweet nothings. Barry caresses his back)
Chris (between sobs): You were always the stronger amongst us.
Jill (softly): At least you're not scared of spiders, sweetie.
Chris smiles between sobs, and chuckles.
Jill (cupping his face gently): There, that's the Chris I know. I promise you, no matter what, we'll get out of this.
Chris: I know that we'll never forget.
(Barry gently takes the letter out of Chris' hand, folds it and puts it into his left breast pocket. They walk out, and they hear a soft, "mommy?" Everyone's heart stops. Next to the operating room, there's a cell. They can't see clearly, but as their torches are pointed down, they can make out the silhouette of a person. A very frail person. Then they hear sobbing. Soft, then it increases in intensity and into wailing, interspersed with keening.)
Jill: Oh My God. That's Lisa. Turn off the torches. Chris, turn the glowstick on. Barry, open the door.
(On seeing them, Lisa mysteriously stops crying and turns quite, who knows what she was expecting?)
(Chris turns the glowstick on and Barry opens the jail door open. And the horrific stench assaults their noses so hard that they all immediately vomit. And if it weren't for their military training, they would've probably soiled their pants, with piss and shit. The stench is of rotting shit, piss, flesh, pus and God knows what else. Crusty from decades of rot. They shove alcohol into their noses. To blot out the smells. Jill rushes to Lisa. She's naked and chained to the wall, at her feet and hands. She immediately shoots the chains off. The sound deafens everyone, but Lisa seems to be unfazed, surprisingly, any other feral child would probably have had a far more vicious reaction. Jill moves forward with lightning speed and catches Lisa before she falls to the ground. Barry takes out a warm blanket from his med kit and quickly wraps it around Lisa. Jill in her rage powerfully tears off the handcuffs from Lisa's wrists and ankles. Her super-strength pays off and she feels the deep scars and some blood on Lisa's wrists and ankles. Jill passes Lisa to Barry gently, as Barry holsters his weapon. Barry takes out the letter from his breast pocket and places it in Lisa's hand. Lisa seems to rouse a little bit from her stupor and smells the letter, as a tear comes down her eye and she mouths mommy. They rush out, closing the door behind them. Lisa is too weak for a sedative and so, they decide that they must take her to the helicopter and make sure that she's cared for. Barry and Chris head off to rendezvous with the Chopper and Jill decides that she will stay back to confront Wesker. Jill gives her weapon to Chris and instead keeps a double-barreled shotgun for CQC. Jill heads left, while B&C head towards the entrance of the mansion. Chris takes point. The camera follows B&C as they head back. The corridor leading straight to the entrance now after all this rearranging business which went on. They reach the entrance, they notice, strangely, that the oak doors of the entrance are locked again. Chris remembers that he has the dog emblem in his pocket. He takes out of his pocket and fits it into the incomplete dog emblem in the centre of the door, where the lock is. It makes a click sound, as it fits perfectly. He turns it left, turns it right and then turns it right. A very simple puzzle, which somehow comes instinctually to him. The door opens with a very satisfying and deep CLICK as the doors slowly open inwards. They head out into the night. As Chris keeps a look out for the dogs. Lisa has comfortable fallen asleep in Barry's hands. Like a baby.)
Chris: Overwatch, this is alpha, come in, over.
Overwatch: This is Overwatch. Reading you loud and clear. SitRep.
Chris: Request evac. We have another survivor to rescue. Not from Bravo, she's a civ.
Overwatch: Roger, Overwatch incoming.
Chris: Roger, awaiting. Over and Out.
(Chris looks over to Barry and Lisa)
Barry (Looks to Lisa, who's in his arms): Just a little longer, okay?
(The scene cuts and we move over to Jill. Jill moves towards the doorway, and instead realizes that hidden in the darkness, there's a very long, winding staircase, leading down to a basement. She has her pistol drawn, and her assault torch lighting up the dark, as much as possible. She goes down the winding staircase. As she enters Umbrella's underground library, I.e., Wesker's Laboratory, its pitch black. Before reaching the end of the staircase, she switches her torch off. She can't see anything, nor can she see anything. Even with her enhanced sight, smell and hearing, due to the T-Virus running through her veins, she can't sense anything. Not a cockroach, not a fly, mosquito, rat, mouse, cricket, nothing.
She walks, slowly, very slowly.
Her gun raised, she tries to scan the room, while reaching out with her enhanced senses for anything even remotely hostile. Nothing. Then she notices tinnitus. A ringing in her ears, with no apparent source. It gets louder and louder, louder and louder, till the high-pitched ringing is deafening. Till there's a sharp pain in her head. Still, it doesn't stop. She falls to the ground, holding her head and screaming, at the top of her lungs. Even then, nothing penetrates the intense ringing. It takes her to the edge of sanity, where she can stare down at the precipice of madness. A void, ready to engulf her. Suddenly, she feels a force, reach around her arms and gently pull her up, and make her stand. She can't resist, because of the pain. Then, through the pain, she feels the warm and electric sting of a needle, and she freezes completely and the ringing stops.
Albert Wesker derives a sexual thrill by trapping his prey. An unparalleled sexual desire.
He runs his index finger up and down her spine. She feels his finger on her spine and is petrified. She's afraid, but can't do anything.
Only her eyes can move, and all she can do is glance back. It's still dark, but she is able to make out a faint movement behind her. The silhouette of a man.
We can depict the characters in the dark as well. For the idea of this form of representation, please refer to the dark level in Hellblade: Senua's Sacrifice. For the convenience of the audience, of course, she still can't see. But Wesker can, his senses are more sensitive, and more attuned.
He speaks. It's an icy, unfeeling voice, tinged with sexual arousal.
It's like the buzzing of a fly. Inhuman. Yet somehow the words roll off of his tongue in a language that humans can understand.
"Jill. What a pleasure it is to have you all to myself. I'm going to do you a favour. We're going to fight, but for that, I needed to scare you. You're frozen, this is a high dosage of Strychnine. The T-Virus will remove its effects in a few minutes. In a few minutes, you will start recovering your senses. But, before that, I'm going to break your goddamn spine. Punch through your stomach (Wesker makes a fist and touches her lower back, a taste of what is to come), of course. This will hopefully not kill, but instead, the T-Virus will sense and overwhelming danger to which it can't counter, and will immensely enhance your response times, that, or it will kill you dead".
With that, Wesker punches his hand through her stomach. His open hand. Just to show off how much strength he has, and to cause as much damage as possible. Her front explodes into tiny shards which blast outwards. If the pain from the dog bite was a one, this would be a 100. This is far, far beyond what any normal human could withstand. A normal human would be dead in milliseconds. So, the effect is not unlike that of a shotgun blast, with the barrel pressed against your body. Devastating. We don't really see it, as much as we hear it. His hand hits with such force, that even the armour is incapable of stopping it. He revels in the gore for a moment, turning his arm in what remains of her lower torso, and then pulls his hand out. Wesker licks her face. He tastes something warm and salty trickling down her cheeks, it's tears. And he says (like pinhead, but a bit more human and soothing, still menacing though, and that's saying something), "Oh, no tears please, it's such a waste of good suffering!"
Wesker wipes her tears away, and moves behind her again. And then places his hands on her shoulders.
The T-Virus, sensing an indomitable force, goes into hyperdrive. Evolution and repair goes at trillions of times the normal rate. It is of course, excruciating. No wonder most people turn into zombies or go violently insane.
She starts breathing very fast, her fat, oxygen, salt and sugar levels drop precipitously. Her heart rate crosses 250 bpm and her blood pressure threatens to destroy her circulatory system.
After her body heals. The effect of the strychnine wears off, and she feels very weak. Albert, now surgically injects her with a ultra-dense serum which provides her with all the energy and nutrients, plus adrenaline which she would need.
She takes a deep breath as her energy returns manifold. She can feel her muscles tightening, her belly fattening, as her energy levels move to reserves.
The transformation is sudden and shocking.
"Now, you are ready", He says.
He claps his hands in a thunderous manner. A sonic boom reverberates through the lab. As super-bright-white lights come on, and even though she is blinded and deafened, she moves back, as if she's gliding in the air (slow-motion?), anticipating an attack. It's surreal, graceful and beautiful. Her eyes are open now as she glares at Wesker.
She is thus able to dodge his opening attack.
While I will not break this song down into its nitty-gritties too much. I will give the basic gist (outline) of the battle. The director, editor and stunt choreographer can take it from there.
Every blow is a sonic boom or a thunderclap. The lights go out with the sonic booms. It's dark again. There isn't much energy in a sonic boom, but it deafens Jill every single time (which we can simulate with a high-pitched ringing and pain. Eventually, due to the presence of the T-Virus, Jill goes deaf no longer) and causes all the glass in the room to shatter. Albeit, the shockwaves generated from the impacts of their attacks and blows meeting, destroys anything which isn't reinforced. For these 4-5 minutes that they are fighting, it's a very close up, furious, visceral and brutal fight. The song which they're fighting to is "Die, Volter!" From the Killing Floor 2 soundtrack. Perfect for a boss battle like this.
1:33-1:45: There's a lull, I leave it to the rest of the crew to decide what it is that they wish to do in this lull.
1:53-1:56+: The rapid fire (3) staccato beats which sound like automatic gunfire. Jill is firing at Wesker with her auto assault pistol. He dodges the bullets at near point blank range. And disarms her, as they're locked in a deadly embrace. Jill breaks away, and they continue to fight. Using whatever they can find. Guns, germs and steel. Rip and Tear, Motherfucker!
2:34-2:47: There's a lull in the music. There's also a lull in their fighting. Both are tired and badly hurt from their respective vicious beatings which they've inflicted on each other, neither wants to give. This is inspite of their hyperactive healing.
They look at each other, Jill smiles a sort of menacing but appreciative smile, because she has a worthy opponent. Wesker returns the smile but for unknown reasons, I leave it to the actor.
2:54-3:02: Jill had moved to attack Wesker, but he had disappeared with blinding speed. At 2:54, when the harsh violin note plays, Jill notices out of the corner of her eye (right eye? Her eyes are now accustomed to the dark, the T-Virus compensated), when she's still on her left knee, that Wesker is coming in with a harsh and swift blow, it hits her. And when the mellower violin note plays at 3:01-02, she shrugs off the blow to her face with a shrug (this is played for comic effect).
3:30-3:56: The fight starts to wind down as they are both exhausted beyond belief (i.e tired).
Of course throughout all these sequences, the actors shouldn't forget to make noises in response to blows or running, etc. etc. I mean, after all it isn't two plastic bots scraping against each other, it's two humans beaten the living shit out of each other. Make more hateful love than even metal robots, you bloody ouhs, what the ouh are you doing? Blindness! Sound! Action!
3:56-4:08: A brief lull, please fill in the blank(s) as deemed appropriate.
4:09-4:12: The brief rising violin theme. Wesker leaves quickly. Jill is now loses consciousness as the injected neurotoxin takes effect. Argh that simy bastard, he slipped in this nuclear roofie when he was injecting the strychnine, it must've been primed for time! Arrghh! The bastard! El Bastardo!
DOOM (2016 OST)
-Message from Dr. Samuel Hayden/Title Drop
0-38: 6-8s, 13-14s, 19-21s, 26-27s.
The heartbeat sound signifies that Jill is still alive as the camera creeps ever so slowly towards to her. Interspersed by big jumps in the gaps between the heartbeats, almost as if the camera is afraid to approach her heart is aware (i.e. beating. Muah ha ha ha!).
28-30s: At the "dhun" (i.e. bass drop or BD) sound, Jill's eyes open as the camera is close to her face, not too close. About a half-foot (0.15m) or a foot away (0.3m).
33-38s: Jill gets up, is dazed, disoriented and looks around. We can perhaps take inspiration from the MMFR scene where Max gets up after the sandstorm and experiences a hot flash (flush?). Inspiration of course, create something to match the music at this point, with the camera and the editing, of course. Oh well, or do what you please. These are of course, suggestions.
We stop the music after this timestamp.
Everything is silent. A silent as when she first entered the lab. And the lights are still off, because the lights broke during the dark.
Red emergency lights start flashing. This disorients her further. She feels fear, a tightness in her chest. She holds her chest and takes off the mangled armour she's been wearing all this while. She unbuttons the first two, three buttons of her shirt (black, part of her combat fatigues), so that she can breathe. She takes deep breaths.
-At DOOM's Gate, Extended Version by ArcheoN
0-3, 6-9s: The theme starts to play. The deep bass sounds represent (inception fog horn), the siren alarm, as the red emergency lights strobe. Jill is not deafened anymore, but the alarms do cause her great discomfort, as she puts her fingers in her ears. While the alarms play, two giant stasis pods open. One in front of Jill, and one at back, her back. As two massive, naked tyrants (with smooth crotches, no genitals, like AOTitan) step down. They are grey humanoid males. Sort of like AOT, but much smaller (but still huge compared to iddly-piddly, teeny-weeny, tiny-winy, ok, I'll stop now, humans, sorry, can't help myself). Even so, they're huge, extremely muscular, and they look as if they could survive hits from 20mm rounds, easily [I.e, twice the size of personnel destroying rounds (50-cal), or WW2 anti-materiel or anti-tank rounds]. They are hairless (so ugly). For reference, please look at the tyrant in the Resident Evil animated film, "Resident Evil Damnation (2012)".
They are 10 feet tall and 8 feet broad. They are ginormous.
0:11-0:23: Their de-stasis continues as they stretch their neck muscles and shrug off the stiffness and open and close their fingers. Crack their knuckles, and do jumping jacks (or star jumps), the ground shakes, as Jill rocks back and forth on her haunches, as she tries to regain her balance, while slightly puzzled and bemused by something so menacing acting out something so harmless and childlike, it's funny, because they do it with completely straight faces (you could make them gay, but I leave that to you). Jill gets up quickly and looks ready to run. The camera pulls away into the distance to see them from afar.
At 24s, as the first pair of staccato BBs (Bass Beats), the camera cuts in ("dhun-dhun"). Each beat in quick succession. The first "dhun", the camera moves halfway to Jill, then at the second beat, we move into Jill's first-person view.
At 25s, the second pair of staccato BBs, the camera cuts to her view of the exit, to her left (the first "dhun"). At the second "dhun", it cuts to the wide-view. The tyrants are slowly moving towards her (this is slo-mo). She's not very far from the exit, but neither are the tyrants.
At 30s, the third pair of staccato BBs, with two "dhuns", she notices each of the tyrants (one per beat). She's already running.
At 31s, the fourth pair of SBBs, we switch to the FPV of the Tyrant on the right of Jill, with the first beat. With the second beat we zoom in on Jill from the right tyrant's POV. Continue whatever action already underway.
At 36s, the fifth pair of SBBs, we switch to the FPV of the Tyrant on the left of Jill (trained at Jill), with the first beat, with the second beat, the view of the Exit.
At 37s, the seventh set of SBBs, we cut to the right tyrant's FPV (POV), with the first beat, that of Jill, and then with the second beat, the POV of the exit.
At 39s, the eighth set of staccato beats, we cut to Jill's face, her desperate expression (with the first beat), then her POV of the exit (with the second beat).
At 40s, the ninth set of staccato beats, we've achieved a climax. We cut to the wide view with the first beat, and with the second beat, we cut to the medium view, centred on Jill. We can see her run, and the determined looks of the Tyrant's trained on her with laser focus (even if they come off as determined, this is barely noticeable, a, due to the low light and b, because they're basically machines, they don't have much expression at all, really).
41s-1:02m: We're out of slo-mo, Jill runs for her life. The Tyrants run for her, she barely makes it. The Tyrants' grabs barely miss her by a hair's breadth. Phew! A close call. Didn't want to kill off one of the leads so soon.
1:02-1:05m: As Jill reaches the exit, those 3s of quick beats (4 pairs), zoom into her shocked face in bursts (crash zoom?). Her mouth's open, her eyes wide, as the Tyrants loom ominously behind her.
1:07-1:18m: She's back at the corridor which leads to the mansion exit, the place changed shape again, and she didn't have to climb up the stairs [as is common in games (especially horror games) and in Jap/K Horror]. There's also a whole bunch of zombies in front of her. From regular zombies, to dog zombies, Lickers (please refer to the resident evil wiki) and creepily, eerily and impossibly enough, zombies crawling, jumping, slithering and basically fucking out of the ground. It's as if they watched the American Martin Mystery Cartoon (the boogeyman episode). Boy, this should really fuck with the viewers' minds. Not to mention, they also teleport into existence like COD zombies. Ha ha ha, ha ha ha, HA HA HA!
We then, keeping with the Video game theme, we see time slow down, and the surroundings (except for Jill) blur out, as the weapon hot-switch menu from DOOM (2016) comes up and "Jill" scrolls to the super-shotgun (sawed off double barreled shotgun), selects it, and let the mayhem begin! We go back to the normal view. And we see Jill from a right-handside, medium distance, with the supershotty in her hand (ready to blast any freaks away). She's right handed, right index finger on the trigger. Left hand on the barrel.
She's ready to fight.
At 1:19m, 1:20m, 1:25m, 1:26m, 1:31m, 1:32m, 1:34m and 1:35m: the eight pairs of staccato beats. For this entire sequence, Jill fires her shotgun. The first beat of every pair, shows the shotgun blast (fire), from a 2-D sidescroller view, then the second beat, shows the result, gibbed zombies at point blank range with the fire of the blast of the shotgun with hot shrapnel, shrouding their bodies. This way, she dispatches 6-12 zombies nearest to her. Some of them are close to her, some far, some grouped, some spread out, I leave the final shotgun massacre count to you. She fires 8 times. 8 beats = 8 shots. At the 2 five second intervals, I leave upto the director as to what to do. She's running forward as she's doing this. The Tyrants are close behind, always one arm's length away from her. She's too quick, they're too bulky.
1:37-1:57m: Jill, after running out of ammo. Goes all DoomGuy (or DoomGal) (or commando) on their ass. She glory kills everyone of them. Hand through face, face through hand, snapped neck, punched through the heart (dhukkh, dhukkh, SPLOTCH! As she crushes the heart in her hand, or jams it down the zombie's throat), torn apart, dismembered (literally and figuratively, including their members, if they have one), eviscerated, gibbed by her jumping through their bodies like Bo Rai Cho's brutality in MKX, etc.
While doing this she's looks furiously determined, but also has a maniacal grin. Ear to ear.
She's moving down the corridor to the mansion doors which lead to the outside (they are open).
1:57-2m: She reaches the mansion doors, at the four sets of staccato beats, the camera zooms in on her (in bursts, crash zoom), as she bursts out, looks at the sky and smiles. Cheer up love, the cavalry's here. It's also dawn now, turns out, she was knocked out for quite sometime. Even the T-Virus takes time to undo the effects of a neurotoxin. The sky has that slight bluish twinge to it.
2:00-2:02m: She runs a little further, inbetween the row of trees, in front of the mansion. A small open space, and the helicopter with Flynn and Vickers at the helm is there.
2:02-2:13m: Jill waves at them with her left hand to her right. And then shows them a two, to signify meeting her two clicks (2 kms) east. They'll make it there quick. As the Tyrants follow her. She also gestures to them to go full throttle (a fist up) and danger close fire (her right finger stabbing her open horizontal left palm with great force and immediacy). She's running there while doing this. She gets a thumb's up from both Flynn and Vickers.
At 2:14m: The first pair staccato beats, we crash zoom into Brad Vickers pointing from his heart to the Tyrants with his right hand. Like the People Eater did towards the end of MMFR, when he pointed at Mad Max.
At 2:15: The second set of staccato beats, we crash zoom to Flynn giving the Tyrants the middle finger.
2:15-2:20: Interval, please fill as necessary.
2:20m, 2:21m, 2:26m, 2:27m, 2:29m, 2:30m, 2:31m and 2:33-2:52m: The Black Hawk Gunship fires its rockets at the Tyrants [A BH gunship has 2 rocket pods for a total of 72 rockets, 2 Gatling cannons (super-rapid, super-heavy machine guns, 20mm rounds with 6,000 rpm rate of fire, 6 barrels each. Ours has 3, one at the nose, in front of the cockpit) and 8 hellfire missiles]. The first beat of every set, shows the rockets firing, the second beat shows the explosions. In these 7 pairs of beats, the gunship empties its entire load onto the Tyrants. (From 2:33-2:52m) It's also firing its Gatling cannons (in short and quick bursts, as they have very heavy recoil, and could end up making the helicopter fly backwards eventually). The helicopter bucks, strains and moves backward to some extent as a result of the heavy firing. The tyrants do stumble, fall and recoil heavily from the battering they received. There are many small and medium wounds on them, but they're very tough. Having softened them, the high calibre ammo makes them dodge and weave as they chase after Jill, but their regenerative capacities, allow them to pursue her. The internal damage must be intense, and one of them got blinded. Healing takes time, all of this action prevents them from catching her. They are very tough. As the music starts to reach its crescendo, the helicopter reaches the rendezvous point, and drops its height sufficiently, that she with her intense super-strength can jump straight in, just before the Tyrants get her. A 1-2 metres away (a few feet, midget to average human length).
2:52-2:55: With the last 4 sets of super-staccato beats, the helicopter crash-zooms away.
Then, behind them, the mansion blows up in a huge thermobaric explosion (not thermonuclear). The helicopter is quite faraway now, so the explosion rocks the helicopter and causes a small fire to break out, which Chris immediately extinguishes, as he's nearest to it.
Flynn (Laughing mockingly with some frustrated mirth): Gotta hand it to ya zombie, ya got no quit in ya! Ha ha!
Vickers: Thanks, Chris.
Chris nods. Lisa is on the floor of the helicopter with Rebecca sitting next to her. She's cleaning her body gently with wet wipes, with a blanket covering her. There's various intravenous fluids going into her, blood, glucose, saline, etc. And bandages covering her where needed.
Barry (Speaking into his tape recorder): Remaining survivors all accounted for. Jill and Chris rescued. Lisa stabilized, Rebecca is helping to take care of our patient. We're enroute to Raccoon City to get proper medical assistance. Unclear as to what the future of STARS and the Umbrella Corporation will be, perhaps, this will make the government wake up and take action, finally.
Chris and Jill just silently watch him, and each other, sharing a look of affectionate concern and exhaustion. As they all silently sit and take in the moment, the camera moves out of the helicopter through the door and then it pans away to show the whole helicopter, the dawn (as the sky starts to lighten up, must be around 6:30, it's summer, so dawn comes fast), and the faint glow of an explosion in the background. Far off in the distance, Raccoon City is visible.
The scenery shifts swiftly from the helicopter, points downwards to the jungle and moves us through it [with much rustling and cracking, and the various sounds of the Jungle, as if we ourselves are moving through the forest (i.e the camera/audience) at great speeds] to that of a city (passing over a river with a bridge), and then swiftly (accompanied by all the familiar sounds of a city) from there through the city to inside the compound of a reasonably well-sized suburban home. Behind large steel gates, a girl is playing hop-scotch. The camera tracks her back, zooming in more and more slowly. Till she faces forward again, to complete her next round. Moving her fingers in front of her, like the girl from the music video of Skrillex's song, First of the Year (Equinox).
-Skrillex – First of the Year (Equinox) (original mix)
0-36s: As the music starts playing. The little girl starts her hop scotch back. Still playing with her fingers, lost in her world. Her mother is watching her from the kitchen, as she's arranging her groceries. As she ends her jump back, near her gate, right in front of her (side-view), she looks up (a quizzical look).
36-39s: As we cut to her mother rushing out with a knife in her hands.
40-52s: Seeing this, her father runs down the corridor (hall) towards the door which exits their house. We see a sports match playing on the TV, as we hear crowds cheering, in-sync with the music around the 44-52s timestamp. This is, of course, for thematic effect. He runs out, and as he's coming to see his daughter on the floor dying, the camera closes on his face in jerky manner (like as if someone is turning time back and forward very quickly for short intervals of time, or you could think of the temporal equivalent of when DJs create that distortion effect with their turntables, by turning their gramophone like discs backward and forward, or like how similar to how it happens in the music video of the song), it alternates between him slowing down as he comes to a halt, and the sight of his badly injured daughter and the sight of his partner cradling their daughter on the floor, as a man off in the distance is lying on the road with a knife in his head, a bite having been taken out from the left-handside of her neck. This quick alternating matches the frenetic pace of the song as it reaches its peak, this is happening in slo-mo, and as the beat rises from 0:53 to 1:04 (we Dolly Zoom to his face). This is to express shocked surprise (Jaws, anyone?).
1:05-1:07: In sync with the song, the camera cuts to the mother suddenly, as she looks up at him from his POV and shouts with her eyes closed, "CALL 911 NOW!"
Hopefully, this doesn't fall into the trope trap of showing men as useless.
1:08-2:00: The scene quickly cuts to an extreme close up of the strobing lights of a cop car (patrol car), the camera tracks its frenetic movement, while it's focused on the lights. It's speeding through the streets of Raccoon City. Cutting past heavy traffic jams all over the city (hinting at something rather sinister and ominous). The cop car mounts the curb(s) (it doesn't run over anybody, duh, theese izz natt GTA, Komrade). Just as we approach the two minute mark, everything goes into slo-mo again, as the car turns into a mass of panicked and running people (who're running away from them).
2:00-2:12: At 2:00, in sync with the song, where the sound of the crowd cheering is heard, the car in this duration slowly moves through the crowd, gently, so as to not hurt anyone, as people rush by (in slo-mo). The police officer driving the car, and his partner, quietly take in the strange sight. The left breast pocket of the driver reads, 'Leon .S. Kennedy'. The car approaches a police barricade, and at 2:12, as the line "Radio-Start" begins, they get out. Time returns to normal, but I'm not sure.
2:13-2:24m: So, with the line, "Radio-Start" they get out, and look at the crowd. They see things which terrify them, as Leon begins to call in for backup. He raises his weapon, as does his partner (a black man), and they get ready to protect the crowd and fight whatever menace they can (perhaps there are fire engines, ambulances and other patrol vehicles around. I like to think so. That where they stop, there's a police barricade on the road. And one or two SWAT trucks too. But strangely enough no other cops are around, or any other member from emergency services. Busy or otherwise). With this, the music quickly rises, as the camera quickly pulls away from them, through the streets, blocks, upto a satellite view of the city, then the world, as…
2:25-2:26: The screen fills up with people (on their phones, or otherwise) shouting, "Call 911 now!"
HA HA HA HA! THE ZOMBIE APOCALYPSE HAS BEGUN!
2:27-4:21: The credits roll. I'll leave it unto you, whether you wish to have a generic credit roll, or something stylistic and artistic, matching the frenetic pace of the music? A skull perhaps, white, but not too realistic, distorted, matching the surreal sensibilities of this whole setup. In the background in the front, or wherever.
If the credits don't finish, we can play the Battlefield 3 theme song.
Post – Credits Scene
After the credits roll. The post-credits scene takes place. It opens up with the whole cast of Resident Evil standing in a 'V' formation, facing us. Hopefully, the BF3 theme might still be playing (although at a much lower volume).
They're all looking badass, with all of their own looks.
If you want to make it like COD with all the emojis at the end of MP matches, by my guest (NOT).
Anyways, Jill is standing in the centre of this formation, and the camera focuses in on her, as she's standing either on her left side facing us, or full frontal. She says looking proud and intimidating (i.e. badass), and she says (weapon in hand?), "Resident Evil has changed" And then the camera crash zooms to her left eye (extreme close up, eye fills frame), and she continues (in a softer and calmer tone), "Are you ready?"
For inspiration, you can watch the ending of the trailer of the video game, "Borderlands 2"
-CUT TO BLACK-
-END TRANSMISSION-