RESIDENT
EVIL
MEGADEATH
What the name suggests.
This script will be a different beast. It will contain scenes from the beginning, middle and the end of the movie. But the director and the rest of the crew will have to fill in the blanks, by using their creativity. As I have no clue as to how I will finish this.
CAST
Chris Redfield Jonah Scott Annette Birkin
Claire Redfield Others (additions)*1 William Birkin
Jill Valentine Leon .S. Kennedy
Barry Burton Lawrence Barnes*2
Rebecca Chambers Doctor Mendoza
Sherry Birkin Commander
Flynn Brad Vickers
Lisa Trevor Extras (Docs, nurses, etc.)
Depending upon how the gaps in the script are filled in.
Lawrence Barnes is a fun Easter Egg from the Crysis series of games (by CryTek). Are they in the same Universe? After all Prophet's (Lawrence Barnes) first mission does take place in 2020 (Crysis Warhead). Could this be his backstory? Is the T-Virus the precursor to the nanobots seen in Crysis. And could this, his first encounter with it what proved to be his selection into the Nanosuit program? His genetic compatibility with nanobots created by contact and gained immunity to the T-Virus? Who knows? Let the fan wars, flame wars begin! Let fan theories abound! Booyah!
I'm so sorry, but I just can't say the word DOOOOM, without making it sound epic and ominous. Blame DOOOOM and Bethesda. DOOOOOM. *Metal Riff Follows*.
Sabot rounds are Steel Rounds Shaped like a Torus (doughnut) with a sharp cone at the front end, with a magnesium core which burns at 3,300+ degrees Celsius (6,000 degrees Fahrenheit) during and after the explosion (think of it as high-heat napalm with fragmentation, instead it's designed to punch through MBT armour and not organic matter).
SCRIPT
The title screen drops as how it does in the 2019 remake of Resident Evil 2. Every word with a respective bass beat (I think, see trailer for reference).
The movie opens with the S. .S helicopter flying over the bridge which leads to Raccoon City.
Inside the helicopter.
*Crackling radio*
"Overwatch! Come in Overwatch! This is Big Bravo Omega Sierra Sierra! Do you read, over?!"
Flynn: "Big Bravo, we read you loud and clear! Over!"
"Oh thank God! We finally got in touch with you. Be advised, zombies are overrunning the city. Stay away from the hospital and other emergency services. If you need security or medical help, reroute to the STARS regional hospital at the outskirts of the City"
Flynn: Roger! Rerouting. Alright folks, looks like the city is unwelcome. Hold on to your butts!
The helicopter banks hard to starboard, to head to the south-eastern part of the city.
The camera cuts to a car on the bridge to Raccoon. Inside are two women. Claire and Ada.
Claire: Hello, Leon? It's Claire, I've got Ada Wong next to me, she was the one that I told you about who wanted to spill the beans about -.
Leon: Claire, I'm going to have to cut you short there, I have an emergency call which I'm responding to.
Leon puts the phone down. Claire hears the disconnect tone.
Claire: Okay, looks like your story will have to wait.
Claire looks to her left and comments on the jam.
Claire: Strange, I never expected such a rush to leave the city, it's not even holiday season, or am I missing something?
Ada just stares off into the distance with her forehead pressed against the window, she looks apprehensive.
The scene cuts to the helicopter flying towards the (STARS) hospital. As they fly above the city, Flynn notices the smoke, jams and crowds of people running.
Flynn (sarcasm): What's going on? There's pandemonium on the streets. Did the Mets win, or is there a mass shooter on the prowl (he remarks darkly)?
Brad (looks at Flynn with a thin smile): Funny.
The hospital comes into view at the south-eastern edge of the city. The pilots can see the large number of people milling about, hurrying to do their duty. They also notice the presence of the US National Guard and the US military.
Flynn (looks back at the rest): Something big is going down, boys and girls. They called in the big guns.
Chris and Jill walk to Flynn and peak out of the windshield to look at his view. Aside from the large number of people running about, they notice the presence of APCs, Humvees, Blackhawks, Hueys and other materiel. Reminiscent of the scene from Godzilla (1998).
Jill: Are you all thinking what I'm thinking?
Flynn: Yep. Zombie apocalypse. Get ready to fuck your brains out guys and gals, it's the last chance you'll get. You done? Good.
Is this far too much sarcasm? Or far too much sardonicism? Oh well.
The helicopter lands on the makeshift helipad.
Chris, Jill jump out, as Barry and Rebecca gently pull Lisa out on a stretcher and take her.
Flynn (looks in their general direction): Well captain, we'll look after the ship for your return. (Looks at Brad): Ship's mate, get your ass out, we got some work to do.
Brad smirks and gets out (his ass, of course, what else? Yes, we're being literal for the sake of humour, but only on this paper, not real real life, of course, right?).
Barry and Rebecca head for the med station in the red-cross tent. Chris and Jill head for the command tent.
In the med tent, as Barry and Rebecca set down Lisa on the floor, as there are no free beds. Many of the patients lying in the beds are in various stages of bandage. Quite a few of them are crying out in pain, as nurses and doctors attend to them. Barry hears a gunshot not faraway and so rushes away to check the source of the sound. Luckily, Lisa doesn't need field surgery, so Rebecca doesn't need Barry around. Nevertheless, she still needs intensive care. She cleaned her up sufficiently in the helicopter, now it is time to care for her better.
As Barry rushes to the sound of the gunshot, he comes across a partition in the tent, marked 'morgue'. He enters, and sees a young doctor holding up a pistol (M1911) slowly taking aim at the dead bodies and shooting them in the head. Clearly she's a noncombatant in every sense of the word, as she's shaking and her grip on the gun is unsteady.
Barry (comes upto her and gently takes the pistol out of her hand as he comforts her with the other): Let me do it.
Barry takes the gun and asks her to leave the tent. He checks the ammo and places the magazine back with a click. He continues the job of shooting the bodies in the head. The doctor as she's walking towards the patients in the med tent, cringes with every shot she hears.
Chris and Jill have now reached the command tent, and as they enter, the commander (in my imagination a black actor), is barking orders all around. Verbally, through the radio, physical gestures, the whole nine yards.
They come across a soldier running past them, and they stop him.
Chris: Hey, (*checks name*) Chris, d'you know what's going on here?
Chris (not Redfield): Zombie Apocalypse, Government mismanagement, Umbrella assholes, city evacuation, Army stretched. Busy.
And he walks past them.
Commander: You over there! Yes you! Gormless! Get over here!
Jill: Commander, what's the situation?
Commander: The situation's FUBAR! That's what it is. I have 20,000 men, but it doesn't mean shit when half of a 1,000,000 strong city is ready to rip our fucking faces off, and the media is ready to scope up our asses for every kill. As he says this he chucks down the file he was holding. Luckily, the government has a contingency plan for a zombie apocalypse, but it isn't worth spit on a spotted dick. It's basically, contain, evacuate, pull out and hammerdown.
Chris: Tactical nuke?
Commander: If that's what you can call a 1 megaton nuke, son.
Jill And Chris: Fuuucckk.
Commander: That's what I made very clear to the president. I need you here, in this city, help as you can, and then pull the fuck out with the last few evacs. We send the rest to the cold war fallout shelters. Some men inevitably die, that's life in the Army, son. We're expendable, but American citizens are not. Within reason. We evacuate whoever we can. We only have 24 hours, and by tomorrow this time, Raccoon City and the surrounding 78 square kilometres will be glass. Now get out! Enough chit-chat, we have a city to save!
Chris and Jill get the fuck out, just in case the next file was aimed for their heads.
As they walk out, they notice two cars rolling in. One's a cop car, and the other's civilian. It takes Chris a moment, but he recognizes his sister, and some other random ('Asian', in American parlance) woman sitting next to her.
Chris calls out to his sister, and she notices him and waves towards him. Then she shows him a finger, symbolizing, 'wait'. Then she walks towards the cop car and starts to help what appears to be a badly injured girl bleeding profusely (who's in her parent's arms). The Asian woman in the car steps out and also walks towards the cop car to see if she can help. Two officers step out of the vehicle and gently take the girl from their hands. They carry her over to the tent marked with the red-cross insignia.
Claire comes over to Chris and gives him a tight hug. And without saying a word she runs over to the med tent. Jill just looks at Chris, and Chris just looks back at her, and they give each other a shrug. Ada just looks about at a loss, and finds a chair to sit down in.
Inside the med tent, as Rebecca is done stabilizing Lisa, and Barry is done shooting the dead bodies. As they look up they see the cops walk in, and they see a dead girl in their hands. From faraway, the good doctors can deduce that that girl is dead. But of course, being good doctors, they can't discount on the small chance of saving her.
The cops place her down gently on the bed, as Barry and Rebecca rush to help save her. To save on details, they do their best doctoring, and try to help her as much as they can. But it was too late. Her little body couldn't survive the strain of the massive blood loss she faced.
Barry: We can't just shoot a little girl in the face, when her parents are around.
Rebecca: And what about when she turns?
Barry: We'll cross that bridge when we reach it.
Rebecca: And what of when she becomes a threat to everybody else here?
Barry: Restraints?
Rebecca (turning to the doctor in charge): Doctor?
Doctor: Mendoza.
Rebecca: Mendoza. Are there any restraints in here?
While they are talking, Claire who is already present here. Turns towards the cops and asks.
Claire: You're cops, you must have handcuffs?
Lawrence Barnes (Leon's partner, turns to Claire): Yes. Right here.
He hands his handcuffs to Claire.
Claire: Thank you Lawrence.
Lawrence: Doctor, we'll stand outside. Call us if you need us, we don't wish to crowd.
Mendoza: Yes. And that goes for you to (she looks to Claire, as she takes the handcuffs from her).
Leon (Steps forward, offering his handcuffs as well): Here, take mine as well.
Mendoza: Thank you.
Mendoza (turns towards Rebecca): Here, now we do have restraints (smiles).
Barry: You're taking shooting people in the face really well.
Mendoza: Well, as a doctor, I do have to do uncomfortable things. And they weren't people, they were bodies. Makes it easier. Although, I'd have to hate to speak to the families.
Barry: If they're still alive.
Mendoza: If they're still alive.
Mendoza: I'm distancing myself right now. But once this is over, I don't how I'll feel, I'll be a wreck, that's for sure.
Leon and his partner walk out of the tent. Mendoza hands over Leon's handcuffs to Rebecca and Barry. Barry and Rebecca then move to help Doctor Mendoza with whichever patient she needs help with after placing the restraints on Sherry.
Claire walks out towards Chris and Jill, as William Birkin (the girl's father) walks past her hurriedly towards the tent.
Claire goes back to where Chris and Jill are talking and finally talks to them.
Claire (hugs Jill, rocking her from side to side): Hi, Jill! Ohhhhhh! It's so good to see you!
Jill (hugs her back): Awww! It's good to see you too!
Chris: What brings you to Raccoon, Red?
Claire: Well, Chrissy baby (she says with a smile), if you must know. You see that girl over there? (She points to Ada).
And now! Just because I can, surrealism! The camera stops at Chris' head (side view) after Claire says the previous line of dialogue. The format changes to that of 1930's Disney Animation (or Cuphead for you modern NEERDDSS!). We see an animated diagrammatic view of Chris's head, Skull, skin, muscles, eyes, sockets, teeth, but instead of a brain, inside his head, as we zoom in, two eyeballs dance out of a Western bar and then roll out of his 'head' with a hat and a walking stick. They dance to Ragtime Gal! "Hello my honey, hello my baby, hello my ragtime gal, baby my heart's on fire, if you refuse me, honey you lose me, so baby tele, telephone on that dial!" This of course implies that he rolled his eyes so hard at that comment, that they ragtimed out! Heh heh!
Claire: That girl's got some serious beef with Umbrella. Now don't get me wrong, as a journalist, I've seen some serious shit, polluted water, cancer from polluted water, hideous diseases inflicted due to gross mismanagement, nuclear waste, nuclear fallout, political upheaval, attack ships off the shoulder of Orion, etc. The whole deal, but engineering kidnapped citizens to experiment on them and make them into Bioweapons, is something which even the Nazis wouldn't have done. And until I came here, I thought that I'd never believe it.
Chris: No, I'm sure, if the Nazis could, then they would've. I'm sure even we would've. It would've caused a shitstorm –
Claire: Okay, let me stop you there. I need to get her to speak to Leon.
Chris: Okay.
Claire grabs a hold of Ada and takes her to Leon.
Claire: Leon, this is Ada. Ada this is Leon.
Lawrence just looks at the two of them.
Leon: Hi, Claire, hi Ada. Claire, it's been a long time.
Claire: Yep. Sorry I couldn't make it earlier. But she wants to talk to someone in charge about Umbrella. Umbrella's behind this.
Leon: Umbrella, the pharmaceutical company?
Claire: Yes, them.
Leon: Well, go to the command tent and speak to the Commander in charge, although, I warn you, he's very busy.
Claire: Yeah well, he'll make time for her, I'm sure of that.
Inside the med tent.
William Birkin walks upto Rebecca and Barry.
William: How's she?
Rebecca and Barry look at each other for a moment, but that's enough.
William: She's dead isn't she?
Rebecca and Barry nod.
William (moves towards Sherry and says softly): Let me see her.
Barry and Rebecca continue with their work of helping the doctor.
William: Why is she in chains?
Barry: So that when she turns, she doesn't hurt anyone.
William: My daughter can't.
Rebecca: I understand your love for your daughter-
William: Rebecca, is that your name?
Rebecca: Yes.
William: Rebecca, my daughter is an invalid, because I was an invalid. I injected myself with a dose of the T-Virus, to cure myself. It was a gamble, but I won. I was immune. So's my wife. I gave my daughter an injection to cure her invalidity. It worked. She was able to lead a life of any young child her age. Which is what Annette and I wanted. The T-virus isn't a weapon, it's a cure. It's a bioengineered virus which can cure most diseases, as it was designed as an experimental organic nanobot, which would be far less complicated than designing one from scratch. The Umbrella Corporation designed this as the ultimate cure. A gift, you could say. A gift, you could say with profit motive, but a gift nonetheless. What went wrong was when we accepted a US government proposal to weaponize it for the sake of more profit. Although, I can't blame them either. If someone gave you the ultimate weapon, wouldn't you accept it?
Rebecca keeps quiet, so as to not aggravate him in his time of grief.
William: Please uncuff her, I vouch for your safety, as a bioengineer.
And as a father (he continues softly)
Rebecca picks up the keys from the table counter and uncuffs Sherry's body.
William looks up at her and mouths a 'thank you'. Rebecca just nods.
He then gently lifts her body and carry's her out to the outside.
Outside, as the flaps fall back into place, Lawrence and Leon just look at them in silence.
William heads towards his wife, with their child in his arms. Annette is sitting with Jill and Chris who're trying to provide her comfort through company. As William approaches, Chris shifts to the side, as he sits next to his wife. He places Sherry in her arms. And they watch her bloodied, but peaceful face. Jill and Chris also look, respectfully. William and Annette don't object.
Annette: She looks so serene, so beautiful.
William: mhmm.
William: I'm glad that she could be happy before she passed away.
Annette: mhmm.
They look at each other and laugh. There's tears in their eyes. Of both sorrow and joy.
Annette: Lets get out of this city. We'll do her last rites at your mother's farm.
William: Okay.
Chris: Annette, there's helicopters here which are evacing citizens out of here. If you want, I can put you, William and Sherry on the next chopper out of here.
Annette (Nods): Yes, that would be very nice, thank you, Chris.
Annette and William show their appreciation for their help by giving them a hug. As they pick up Sherry, and Chris leads them to a helicopter on the nearest helipad.
Claire and Ada walk out, with Claire rubbing the back of her head.
Claire: Ow! He threw a file at us!
Ada: At you, you mean.
Jill: Hey! You can talk!
Ada (gives a wry smirk/smile): Humph.
The scene changes to Chris leading Annette and William to a US military helicopter. And helps them get onto it. He steps back, as the helicopter prepares to take off and waves at them, and they wave back, and Chris walks away as they lift off. They look at him, and then look away after some time.
Chris walks back to where the others are. They discuss their next plan of action.
This is where my ideas for the start of the movie end. Please take over from here.
Mid-movie/End-movie ideas.
Nemesis Battle Scene (mid-movie scene?)
Song: Storm Is Coming, Junkie XL. Mad Max Fury Road OST.
Get ready for 6 minutes and 16 seconds of Badassery.
Booyah, bitches!
0-19: The scene opens with a conked out Humvee (or HMMWV), stranded in the middle of an empty highway. Chris is at another car, looking for spare parts for the HMV. Inside the car, there's Barry, Jill, Claire, Rebecca and an injured US marine (female), a Gunnery Sergeant First Class, Jonah Scott (you can tell her rank by the insignia on her shoulder patch).
20-25: Uhhhh-Ohhhh (in slooww-motiioon), we're fucked. As the Nemesis slowly comes into view (From Junkie XL's All Guitar Flaming Guy, take the growling sound effect from 0:14-0:25 and play it as the Nemesis bares its teeth). Rising up from the ground (you know, walking up a slope, geez, I'm not that religious).
25-28: The violin starts to play. This means, shit's about get crazy. Chris' head snaps up as he hears the hollering and screaming from the hummer. As he sees the Nemesis.
28-1:20: 30-48s, Chris runs towards the HMV at full speed, as the Nemesis gets closer and closer. 48-1:04, Chris rushes faster and faster, as the Nemesis' weapons come into view, a stinger missile and a minigun.
Note: The minigun only sounds so diminutive (small, weak, undersized, unassuming, in this case unthreatening), as it is a derivative of the much bigger and far more devastating monster, the Vulcan Gatling Cannon found on Fighter Jets. Designed to incapacitate and damage MBTs (which have 10s of tons of multi-layered, sloped, reactive, ablative, complex and supremely hardened armour on all sides) and utterly destroy light to moderately armoured vehicles. The minigun fires 7.62 mm NATO rounds at 3-6,000rpm from its 6 barrels. The Vulcan fires 20mm rounds (4x the .50 cal anti-personnel sniper round, and 6x the standard NATO ammo) at 300-3,000rpm, from 4 barrels. And the stinger missile platform is designed to shoot down attack helicopters and fighter jets. Attach these weapons to a mutated zombie with high resilience and self-healing capacities, also designed to kill and you're Fucked, with a capital F.
1:04-1:17: Chris reaches the car and tries to start it, many a time (reminiscent of the standoff with the bullet farmer in MMFR). There's now a dead silence in the car, as everyone is waiting with bated breath. The car starts as the Nemesis comes into range.
1:17-1:20: Movement?
1:21-1:33: The Nemesis brings its weapons to bear and it says its catchphrase when it looks at them, "STARS" (The Nemesis says the name of its target before it kills them). During the lull in the music (if there's none, you create one, either by lowering the volume of the music, or editing out the music for that duration.
1:34-2:05: 1:34-1:47, the car races away. 1:48, at the pause, the Nemesis fires with its Minigun at the HMV, luckily it's an uparmoured version, and it is able to withstand the incredible beating which it receives, but just barely, one other direct hit from a sustained burst from that thing and they will be Smoked Swiss Cheese (mmmm, just the way the Nemesis likes it). The HMV careens to the right and starts to swerve as it moves out of range of the minigun, to avoid catching even that stray burst. This of course happens from 1:49-2:05.
2:05: And Stop. Stinger time.
2:06-2:22: The Nemesis aims (across the flyover), locks onto the HMV and at the sound of the tone, it fires. The missile streaks across at blinding speed. Chris who's forewarned by Rebecca, when she saw it aiming the rocket launcher at them, knows that there's nowhere to run from it, except overboard (all hands, brace for impact!). And shouts "BRACE!" as he runs the car off the overpass. At that very same moment, Rebecca and Barry quickly squeeze Jonah between their bodies, to protect her from the impact. She grits her teeth in pain, as they're definitely applying pressure on her wound.
2:16-2:18, the car flies (remember Inception, or even National Security?).
2:18-2:22, (at the sound which sounds like an incessant car horn blowing away)the car crashes down on the road (or has crashed down on the road) below.
Luckily, everyone survives, relatively unscathed. As they fell into a massive garbage dump, in a massive garbage truck, and somebody quips, "Thank God for pollution. Thank goodness Captain Planet didn't take pollution down to zero".
Everyone suffers from a terrible concussion, and Jill breaks her right ankle, but other than that, everyone is safe and unharmed.
Side Note: For those wondering where Leon and Lawrence are, they've gone out to the City as an attaché to the military, to look for and rescue as many survivors as possible. This is also where Carlos Oliviera and the rest of the STARS team would come into play. The block in my mind, involves how they all got separated, how they became an attaché to the military, the entrance and introduction of Carlos Oliviera and the rest of the STARS team, and their following adventures. And of course how our present gang came across Jonah, and how she got injured. Also, let's not forget the Nemesis and how he hounds our protagonists across the movie. Both groups of protagonists, but especially the one Chris and Jill are in, as they witnessed the experiments of Umbrella, in that Godforsaken mansion. That is where the blanks need to be filled in for the story to be complete. And of course, who all die, die, die!
2:23-2:52: 2:24-2:36, they get out of the car slowly and some painfully (especially Jill and Jonah). Luckily Jonah is unharmed. I.e. her wounds did not reopen. 2:37-2:52, they keep running, as the 'tic-tac' sound in the song matches the pitter-patter of their frenetic footsteps. Jill has a broken ankle and Chris is helping her to run, Jonah is being hurriedly but carefully carried by Barry in his arms, as Rebecca runs beside him, glancing from time to time at their patient's stapled shut, long and deep wound, above where her uterus would be [reminiscent of that squicky scene from 'Prometheus', where the protagonist has the proto-xenomorph foetus cut out of her uterus]. At 2:52-2:53, Jill, having grit her teeth, quickly resets her ankle bone with a sonorous and loud CRACK (which echoes across the nearby block (and well within the hearing range of the overpass), as she screams in pain (she's not Deadpool, so there's no wisecracks here, now quick! Read on, before DP punches me in the crotch for this blasphemy!), and this draws the attention of the Nemesis. But, now, she's able to run.
2:52-3:00: They're all running now ('cept Jonah, of course), full speed towards the military camp.
3:00-3:10: They see the Nemesis off in the distance, and quickly look away, and keep running. But, they hear an Earth-Shattering *BOOM!*, which clearly alerts them to the fact that that the Nemesis has landed. Shit just got real, real fast.
3:11-3:38: The Nemesis, now having exhausted his ammo, throws down the Stinger and the minigun, and starts to run towards them. Each step an Earthquake. Each contact of its foot with the ground, a sickening sound death-crunch and DOOOOM*3. At full sprint, the 8 foot tall behemothenic Death Machine gains at them at an alarming pace.
3:38-4:31: As the Tuba starts to play that heavenly sound of salvation, guess what? Deus Ex Machina. The bright lights of two M1A1 Abrams brightly illuminates their faces. Actually it binds them (their eyes were stabbed by the flash of a Xenon light, anyone?) (This is reminiscent of that scene from the movie 'Starship Troopers 3: Marauders', where Rico comes to the rescue in his Battlesuit). Something about white light being associated with salvation? I wouldn't know (not to forget the 2 helicopter gunships which also appeared).
Now, the movie becomes something reminiscent (I know that I shouldn't repeat words Ad Nauseam, but, alas, I am doomed to repeat this word, as it is so awesome and infinitely pertinent, apologies, I am a bad writer, and my life has no meaning, boo hoo hoo!) of a silent film. The tanks are so loud, that when one of the infantrymen accompanying them barks out an order to the tanks through his milcomm radio, subtitles pop up, which say, "2-2! Covering fire! Target 12 O'Clock!" The two Abrams open fire at the Nemesis (for reference of how these particular tanks should sound, please refer to the game Armoured Warfare, especially, their audio upgrade trailer, where you will distinctly hear what 120mm cannons sound like. How punchy, powerful, sonorous and loud their ear-splitting fire-roars are! Ha ha ha ha!) with their 120mm cannons, firing APFSDS (Armour Piercing Fin-Stabilized Discarding Sabot*4) rounds at the Nemesis. The Apache gunships follow up with their own attack with their 20mm cannons, 70mm rockets and hellfire missiles (kinda reminds of the battle scene on the grassy knoll in the 2005 rendition of the 'War of the Worlds', eh?) at the target. They are aware through the advice of CENTCOM that the Tyrants can take a helluva' lot of punishment before they go down for good. The whole group is ushered back, behind the tanks, and into a waiting Bradley IFV (Infantry Fighting Vehicle) (or a waiting Stryker APC, depending on what's more feasible CGI-wise). The group takes shelter, as the Nemesis is ripped to shreds by the overwhelming fire. But then after the heavy pummeling, as it starts to regenerate…
4:31-4:41: In the lull of the fighting, as the smoke clears (preferably in slow-motion, please don't overdo the lens flares), and the infantryman immediately eyes the Nemesis regenerating from the armoured vehicle, he gets on his radio and hollers, "Big Bird, this 2-1 actual, bogey is still active, requesting 1-0h-5 rounds, be advised, danger close, bring the rain!"
"Roger 2-1 actual, this is Big Bird, prepare for lightening and thunder, over and out!"
4:42-5:32: A C-130J Superhercules comes into view [reminiscent of the Skorpinok battle scene in Transformers (2007)] and banks to the left and readies its battery of 105mm (6 rpm) (a motherfucking Howitzer), 50mm (12 rpm) and 20mm (300rpm) rounds, and opens thunderous fire! Raise Hell!
This punishing blow, overwhelms the Nemesis' healing system and renders it an organic soup. Heh heh, ha ha ha!
"2-1 actual, this is Big Bird, we're returning to base for refueling. Stay Frosty. Over and Out!"
"Roger that Big Bird! Over And Out!"
5:23-5:45: What little that remains of the Nemesis coalesces in some strange lovecraftian (any indescribable, nay unimaginable horror) form and it scuttles away (remember The Thing?) postwith and…
5:46-5:59 and 6:00-6:10: Please put what you like here.
Out of ideas for these last two.
Danke Schon.
You'll know when it comes, with warning and without any warning, the Atomic Bomb.
Now, we must be ready for a new danger, and this is very, very important.
On an Atomic Melody. The Atomic Bomb.
Duck & Cover.
Now it starts.
END SCENE
Music: Papers Please Theme. Lucas Pope.
0-0:45: An F-16 Fighting Falcon (the workhorse of the USAF, then and now) approaches Raccoon City from a great distance. Columns of thick, black smoke are rising from Raccoon City off in the horizon. The pilot goes through all the motions of arming a tactical (nuclear missile bomb). The authorizations, fail safes, etc. The pilot gets a confirmation from command, "Hammerdown protocol authorized" (in subtitles, of course, don't disturb the music now, boys & girls). The initial, slow, pondering start of the music matches the utter bureaucratic and banal nature of firing a nuclear warhead, let's NOT spell this out for audience, 'kay? This is just for you to take note, eh? At the '0:45' mark, the pilot launches the missile (1MT). The jet then banks to the right, and then it banks to the left (or 9 O'Clock) and it fires off its flares. As the missile speeds off in the distance as…
0:46-1:19: The music changes tone, and the camera now tracks the missile. On the missile, it's stenciled, 'Sorry'. The camera keeps tracking the missile for this duration of the song, as it closes in on the City, fast.
1:20-1:35: The music speeds up. Now is where shit gets real. The missile has reached the boundaries of the City. It has entered the City. It's heading towards the centre of the City, where it will airburst its massive load. It gets closer and closer, as time seems to slow near the '1:35' mark. It crosses over a group of zombies as they're inching closer to a mother and her (the mother's holding an M1 Garand aimed at the nearest zombie's centre of mass, i.e. chest/solar plexus/diaphragm) daughter. They all look up at the direction of the loud, echoing roar of the missile overhead. A humanizing moment. The camera now enters the missile, the nuclear reaction has begun. The Final Countdown. And as the clock strikes '1:35'.
1:35-1:42: KA-BOOM! Massive devastation, as Raccoon City is completely levelled.
The camera zooms out to reveal the devastation inflicted upon Raccoon City, after the music ends. It also shows the many, many US military Black Hawk and Chinook choppers (who're crowding the sky) who've managed to safely evacuate. It's unclear what the hope for the ones who hid in Fallout shelters. 1MT nukes are devastating. The chances of almost all of them surviving 2 weeks are abysmal. But wait a sec, this is weird, the camera seems to be attached to the rear (or at the back of the back) of a helicopter. The camera, our camera zooms out further to reveal a screen, with Wesker standing by it. We see him laugh megalomaniacally at the scene of devastation, and then chuckle, as he turns pensive. As the camera pulls back, we see a long table in what seems to be a conference room, with empty chairs.
The scene fades to black as
The credits roll to 'The Tetris Theme (Dubstep Remix) by Music8Bits. With Hopak (Jumpstyle or Cossack dance as its more commonly known) dancers dancing in Soviet soldier outfits, or just do the easier thing, and seek inspiration or take the footage from the YouTube video, "Soviet Russian Soldier Jumpstyle/Cossack Dance is not a crime!" by lostfanvanjellies22 and interweave it with the credit roll. 'Cept it's now Black and White, with film grain, and it seems like it has suffered from neglect, heat damage and exposure. Nothing too severe, as it still has to be watchable and aesthetically appealing, but it gets the point across of the death, decay and degradation present at the bottom of the neverending pit that is…
RESIDENT EVIL
HA HA HA HA!