RESIDENT EVIL 5
(Tentative Sub - title: REBIRTH)
DRAFT STARTED 09/22/2010
FINISHED 10/16/2010
OVER BLACK:
We HEAR a background music/theme, similar to the ones from the opening cut scene of the RE5 videogame.
FADE IN:
With the BG music/theme still playing, the scene opens with the trademark OPENING- EYE shot. But this time it is not Alice's eye. It's CHRIS REDFIELD'S. Reflections can be seen, not the ones he's seeing at the moment but flashes of memories.
DREAM-LIKE SCENE: A GLIMPSE of his life before the outbreak, a photo of him with his parents & his sister CLAIRE, all smiling in front of the camera.
MAN (V.O)
(Sounding positive but exhausted)
My birthday's coming up. I think.
Or maybe it was a week ago or something.
Who gives a damn about those things nowadays?
A scene with him driving and with a woman who resembles JILL VALENTINE, his former S.T.A.R.S partner, on the passenger seat patrolling the streets of Racoon City. She hands him a small box with a ribbon on it. Looks like a present.
MAN (V.O cont)
(After a short pause, his voice now sounded depressed)
'Cause TIME doesn't exist in this world anymore;
it faded a long time ago.
Then FINALLY the terrifying scenes of his escape from the un-dead, eating away the population.
MAN (V.O cont)
A never-ending nightmare took its place.
CAMERA slowly moves away, revealing the face of CHRIS REDFIELD. Then the whole scene is revealed.
EXT. ARCADIA - DECK - DAY
CHRIS REDFIELD is standing on the deck of the ARCADIA with ALICE, CLAIRE, K-MART & the survivors that they rescued. He was in a state of BRIEF reminiscing and wishful thinking. Seeing his sister, CLAIRE, made him realize that MAYBE it was his birthday. And after battling and surviving WESKER; for a moment they thought they're safe. (The LAST scene from RE: AFTERLIFE) Instead, they see a swarm of HELICOPTERS heading towards them.
CHRIS
What IS that?
ALICE
Trouble.
RE's ORIGINAL MAIN THEME is played. Camera PANS OUT showing the whole of the ship, ARCADIA. A HELICOPTER glides by the frame (a close-up shot, showing the UMBRELLA logo on its side), moving towards the ship. Then FADE to BLACK. The logo shot serves as the TITLE entry. THEME ends in a ROCK tempo.
UMBRELLA logo FADES IN, then the RESIDENT EVIL: REBIRTH.
FADE OUT.
FADE IN:
EXT. HELICOPTER – SAME DAY
A woman, her back towards the camera, wearing a backless, cream coloured satin dress, her hair in an elegant bun; walks toward the pilot.
WOMAN
(with a hint of SPANISH accent)
Take us back! We need to pick someone up.
The pilot nods and the HELICOPTER changes direction. Only this particular HELICOPTER moves away; the rest continue for ARCADIA.
EXT. BUILDING – ROOFTOP – SAME DAY
On frame, a close-up shot of a radio/com device and the mouth of an unrevealed person, barking orders to the person on the other end.
MAN
(His voice filled with anger)
The REST of you carry on with your mission..
(beat)
Don't leave any SURVIVORS.
Camera PANS OUT. It's WESKER. He was standing on a rooftop of a building. His parachute lay beneath his feet. There's blood on his forehead running down through his right eye, but no open wounds. It already healed.
EXT. HELICOPTER – SAME DAY
The WOMAN in a backless dress was standing behind the cockpit, her back towards the camera, is approached by a BLONDE in a ponytail, wearing a skin tight combat suit.
BLONDE WOMAN
(In an impassive tone)
Why did we turn around? My orders are to-
WOMAN IN A DRESS
(She turns around to face her. Interrupting the BLONDE)
Relax. Albert NEEDS me.
Besides, you'll get your chance.
We see that the WOMAN in a dress is-
EXCELLA GIONNE (from RE5 game). Beautiful and with an aristocratic upbringing; CEO of TRICELL – AFRICA. She walks away from the cockpit but stops next to the BLONDE.
EXCELLA
(Placing a hand on the BLONDE's shoulder)
That is, IF they ever SURVIVE.
She laughs mockingly, before moving towards the camera and disappears from the frame. Leaving the BLONDE frozen from where she was standing. The HELICOPTER continues en route their new destination.
EXT. ARCADIA – DECK - SAME DAY
Some of the HELICOPTERS are circling around the ship, keeping a safe distance. The others are HEADED towards it. We see some of the survivors are starting to panic. Going in different directions, looking for a place to hide.
ALICE
We NEED to get them out of here.
CLAIRE
The *(transport) that he escaped with.
*(TRANSPORT) – refers to an assault bomber.
CHRIS
(Looking up at the approaching swarm while reloading his gun)
We need more ammo. This is my last clip.
K-MART
LOOK!
K-MART is pointing at one of the HELICOPTER at the other side of the ship. Aiming its missiles below the deck where the (transports) were. Then FIRES two; huge explosions on the lower decks destroying the (transports) and everything inside it. Some of the survivors hid below deck. SO they're probably all dead. ARCADIA shook violently; but stayed afloat.
EXT. ARCADIA – DECK - SAME DAY
Flames are now coming out from below the decks. Some of the survivors lay unconscious on the deck. Others were seriously hurt. CHRIS helped ALICE on her feet; she looks pretty shaken but not hurt. CLAIRE was down on one knee, arms wrapped around K-MART shielding her from the explosion. Both of them seemed ok.
CHRIS
(on ALICE)
ARE you alright?
ALICE
(a little OUT of breath)
I'm FINE.
CHRIS
Claire?
CLAIRE
(Helping K-MART up)
Yeah. We're okay.
CHRIS
(to CLAIRE)
Take her down to the *boat.
*the boat that the three of them used to get to the ARCADIA.
(beat)
NOW.
CLAIRE
(surprised)
WE can't just leave them.
(LOOKS at the survivors)
CHRIS
(His voice calm but firm)
Don't HAVE a choice. We'll ALL die if we stay here. There's nothing we can do for THEM.
CLAIRE wanted to object but—
ALICE
He's RIGHT. You guys should go.
CLAIRE
Wait? WHAT are you-
K-MART
(to ALICE, interrupting CLAIRE)
Come with US!
ALICE
There's NO other way.
CLAIRE
(stepping in front of ALICE)
Seriously, you're NOT planning to take
THEM all by yourself.
ALICE
I PLAN TO.
Trust me. I've DONE this before.
(turns to CHRIS)
GIVE me a GRENADE.
CHRIS hesitates and stares into ALICE's determined eyes. He took the last (two) HAND GRENADES that he has and handed it to her. CLAIRE glares at her brother.
CLAIRE
It's not gonna work AND you know that.
CHRIS
I know.
CLAIRE
And you still AGREE? I owe her my life. We CAN'T just -
CHRIS
(cutting in)
It's our only chance. I'm NOT going to lose you.
(beat)
You're all I have left.
CLAIRE's taken aback by what CHRIS has said. She doesn't remember him yet. But she suddenly remembers one memory of him. *(It was at the tomb of their parents, she and CHRIS were standing over it. He was holding up an umbrella. It was raining heavily)
*IF you choose to show the BRIEF flashback.
A couple of the HELICOPTERS are starting to descend on the deck of the ARCADIA. K-MART runs up to ALICE and holds her hand with both hands.
K-MART
Please. Don't do this again.
You have to go with us!
ALICE
(trying to HOLD back her tears)
I can't. I have to end this.
(to CHRIS and CLAIRE)
Take her now!
I'll try to buy you some time. GO!
CLAIRE accepting defeat, moves toward K-MART and pulls her away from ALICE. K-MART, who is in tears now, didn't resist. ALICE and CLAIRE looked at each other for a moment. A SILENT GOODBYE. Then they turned to leave, heading towards the stairs down to the (boat).
CHRIS looks at ALICE for the last time. ALICE smiles at him.
ALICE
Take good care of them.
CHRIS nods then turns to follow CLAIRE and K-MART. Some of the HELICOPTERS are already unloading its cargo hovering a few feet on the deck. An army of black masked soldiers are jumping onto the deck a few meters away from ALICE. Automatically running into their usual defensive formations; a knee on the ground, sub-machine guns pointed at ALICE. Surrounding her in a semi-circle. She turns to face them; we can see that she's REALLY pissed off.
ALICE
I'M GETTING TIRED OF THIS SHIT.
(Holding the grenades in each hand, *close-up shot - she pulled the pins out with her thumbs. Like flicking a Zippo Lighter. While maintaining a firm grip on them)
FRAME on a SOLDIER; shoulders an RPG - 7 and aims at ALICE.
ALICE on frame, she seemed terrified but it lasted only a second.
FRAME on SIDE VIEW. Rocket is LAUNCHED; with slow-mo effect.
ALICE, back with her don't-give-a-damn-if-I-die attitude, runs toward the rocket; at normal speed.
FRAME on SIDE VIEW. SLOW MO - ALICE and the ROCKET meet at the middle of the shot. They're about to collide.
CAMERA behind ALICE; SLOW MO - She shifts her weight on her left leg and dodges the rocket. Normal speed - It shoots past her and explodes on the deck's edge.
EXT. ARCADIA – BESIDE THE SHIP – SAME DAY
We see CLAIRE and K-MART already settled on the (boat) waiting for CHRIS.
CLAIRE'S POV. CHRIS descending the steel stairs to the (boat), an explosion above him made the stairs unstable.
FRAME on CHRIS trying to balance his footing; but the stairs collapses underneath him.
FRAME on the two women on the (boat).
CLAIRE
CHRIS!
BEHIND the SHOULDER shot (like in the RE5 game) of CHRIS diving into the water.
FRAME on the collapsing stairs.
CHRIS' POV. Resurfacing from the water, he sees the falling steel debris; tries to swim away. We see a shot of the debris hitting CHRIS at the back of his head.
FRAME on CLAIRE and K-MART horrified. Waves rock their (boat).
UNDERWATER SHOT of CHRIS, unconscious, sinking, blood around him.
FRAME on CLAIRE jumps in the water, swims towards his brother.
BACK on the ACTION on the DECK. ALICE, after dodging the rocket, rolls forward gracefully then throws one grenade on the soldiers. We see the RPG-7 being reloaded. BOOOM! Body parts flying all over.
ALICE then runs toward the hovering HELICOPTER near the edge of the deck; where the RPG soldier was standing. She jumps onto the lowered ramp of the HELICOPTER. Three soldiers, welcomed her with bullets; which, cinematically, misses her.
ALICE then, still holding a pin - less grenade on one hand, grabs the soldier's arm, pulls him and sends a knee to his gut. Making him fall to his knees, she then takes his weapon with her free hand, and shoots the other two, HEADSHOTS; with impeccable accuracy, of course. They drop dead. Unfortunately, before she can shoot the pilot, it clicks empty. She throws the useless weapon and snatches one of the soldiers knife, same time as the pilot was about to pull his pistol. ALICE sticks the knife on the back of his neck.
FRAME still on ALICE. Breathing heavily, she sees a long gash on her right arm. Apparently, one bullet scraped her.
ALICE
(Laughs softly)
Lucky.
*Lucky. Because she's has no superpowers anymore. So if she gets hit, she's dead.
The whole PLACE shudders. She suddenly realized that the HELICOPTER is spiralling down. ALICE runs down the ramp and jumps out, before the HELICOPTER misses the edge of the deck and plummets to the water. She lands hard on the deck and almost losing her grip on the grenade. The remaining ALIVE soldiers, on her right, are now firing shots at her. She ducks behind the plane that BENNET (from RE: AFTERLIFE) used.
ALICE
(to herself, looking at the grenade on her hand)
Sighs. Let's see how lucky I am today.
(with a SMILE on her face)
EXT. ARCADIA – BESIDE THE SHIP – SAME DAY
FRAME on CLAIRE in the water, pulling the unconscious CHRIS towards the (boat). K-MART is reaching out to them.
K-MART
CLAIRE! Come on!
CLAIRE
Ugh!
(Struggling to keep both of them above water)
CLAIRE finally reaches the (boat), with one hand GRABS the edge while the other holds CHRIS.
CLAIRE
(to K-MART)
Hold him.
Frame on K-MART grabs CHRIS' collar while CLAIRE pulls herself out of the water. Then they both heave him up onto the (boat).
CLAIRE almost collapsing in exhaustion hurries to check on her brother, who lay unconscious on the (boat). K-MART, who was sitting near CHRIS' head, sees her hand full of blood. CLAIRE found a deep cut on the back of his head near the left ear.
K-MART
He's BLEEDING.
CLAIRE instinctively checks for a pulse, on his neck. She places her ear near his nose and mouth to see if he's still breathing. CLAIRE looks around for something to place on his wound to stop the bleeding. She took the gray uniform/jacket that CHRIS was wearing; and places it underneath his head.
CLAIRE
Keep pressure on it.
(Letting K-MART hold the cloth)
I'll get us out of here.
(She stood up and went to start the engine)
PAN OUT. We SEE the (boat) slowly moving away from the ARCADIA, still burning from its hull.
EXT. BUILDING – ROOFTOP – SAME DAY
SUNSET. Top view of WESKER, looking up at the SKY. A strong gush of wind is headed his way.
WESKER'S POV. A HELICOPTER descends on the building.
INT. HELICOPTER – SAME DAY
FRAME on EXCELLA waiting near the lowered ramp.
WESKER then super speeds his way up the ramp. In a SPLIT second, he's walking past EXCELLA.
WESKER
(to EXCELLA)
GET me the *kit.
*WESKER entrusted EXCELLA his special vaccine, PG67A/W, which she injects him with daily to keep his viral superhuman powers in check and is kept in an attaché case beside her at all times.
EXCELLA walks to a medium – sized brief case (like the ones from the RE5 game) placed on top of a seat. Opens it then produces a high tech – looking syringe. With a RED label, PG67A/W written on it.
WESKER now seated, looks sick, some purple/black veins showing on his face. EXCELLA moves beside him, injects the syringe on his arm and then walks back to her seat. WESKER pulls out a radio/com device and pushes a button.
WESKER
(to the radio)
WHAT'S YOUR STATUS?
MAN (O.S from radio)
Sir, we have the target ALICE engaged.
The REDFIELDS escaped.
WESKER
WHAT?
MAN (O.S from radio)
We have a team on them, sir.
WESKER
(Controlling his anger)
JUST GET IT DONE.
MAN (from radio)
Yes sir.
Then WESKER comes up with an IDEA.
WESKER
(to the radio)
On second thought, CHANGE of plans.
Bring ALICE to me.
(beat)
ALIVE.
MAN (from radio)
Copy that.
Bring the TARGET, ALICE, alive.
Over.
EXT. ARCADIA – DECK – NIGHT
FRAME on ALICE. Preparing herself behind the PLANE; she's about to ATTACK an army of no less than thirty with a grenade and the LAST clip on her pistol. GREAT.
FRAME on the COMMANDING Officer/Soldier. He presses a com device on his neck.
C.O (to com device)
New directive.
Change to NON-LETHAL weaponry.
CAMERA back on ALICE, her eyes closed, leaning against the PLANE. It seems like she's counting, mentally.
FRAME on SOLDIERS changing their MP5s to a weapon that looks like a grenade launcher/ Jail Breaker (Weapons from the RE5 game). But instead of its usual rounds, it fires a non-lethal round. They move to their positions waiting for ALICE.
CLOSE-UP on ALICE, she suddenly opens her eyes and leaves her hiding place. ALICE runs towards the army on her right. She didn't notice that no one was firing at her. But she tosses them the grenade anyway. BOOOM! Bodies flying all over the place again; half the soldiers number, DEAD. Now, the soldiers on her right start to fire the non-lethal rounds at ALICE. The round is actually a large, black WEB/NET that envelops the target. BUT again, they will miss. ALICE evades every single shot.
FRAME on the COMMANDING SOLDIER; he raises his weapon and fires at ALICE.
FRAME on ALICE; she gets caught on the WEB/NET. We see that it also acted as a Taser.
ALICE
ARGHH!
She collapses on the ground, writhing in pain; a wave of electricity coursing through her body.
FRAME on SOLDIER who fired the last shot. He moves toward ALICE, still holding his weapon.
C.O SOLDIER
(to a soldier)
Take her in.
(He then presses the com device on his neck)
Sir, TARGET captured. Destination?
(Listens to the person on the other end)
Copy that.
INT. HELICOPTER – SAME NIGHT
FRAME on WESKER; standing near the cockpit, his hands behind his back. The BLONDE woman walks up behind him.
WESKER
FIND THEM.
(beat)
I want them eliminated..
..BEFORE my NEW WORLD begins.
(He smiles, savouring his imminent victory.)
The BLONDE woman turns around, revealing her face. JILL VALENTINE, her face void of any emotion. She was about to walk away when;
WESKER (w/o moving)
And JILL..
JILL stops.
WESKER (cont)
..DON'T FAIL ME.
FRAME focused on JILL; listens then walks out of frame.
EXT. LOS ANGELES - DOCKS – NIGHT
CLAIRE'S boat slowly reaches the docks. It's dark, not one person can be seen. Dead or UN-DEAD. Several boats still floating around, no signs of life either.
FRAME on CLAIRE; looks around cautiously. K-MART, still putting pressure on CHRIS' wounds. He's still unconscious.
CLAIRE
I think we're safe.
(Unsure, still looking around)
K-MART
Wh-What are we gonna do?
CLAIRE kills the engine.
CLAIRE
You stay here. I'll go check on those boats,
see if I can find anything that can stop the bleeding.
K-MART
What? NO don't leave us here.
CLAIRE
I'll be back before you know it. Here.
(She hands her a gun)
In case you need it.
K-MART reluctantly takes it.
CLAIRE
I won't be far. Okay?
K-MART nods; CLAIRE turns to leave.
K-MART
Be CAREFUL CLAIRE.
CLAIRE looks back on her; and gives her a weak smile, then leaps onto the dock.
INT. UNKNOWN POV – LOOKING THROUGH A WINDOW – SAME NIGHT
We see CLAIRE from afar, walking cautiously on the docks; heading towards a yacht.
UNKNOWN POV, looks away.
FRAME on CLAIRE; she's on the deck of the yacht, with a gun on her hand. She squints a little in the darkness, only the moon serves as the light. CLAIRE takes a peek inside, she stops when she hears a noise; sounds like someone is running.
FRAME on a dark silhouette of a bald, tall man standing near the yacht where CLAIRE is.
FRAME on K-MART looking at the direction of CLAIRE. She caught a glimpse of the silhouette and froze in fear.
FRAME on CLAIRE against a wall; listening for any sound.
K-MART (O.S)
CLAIRE!
CLAIRE hears her and automatically jumps out of her hiding place. She bumps into a tall figure; she drops her gun. The figure was a tall, bald man, holding her by the arms. CLAIRE tried to fight him off and saw her gun two feet away on the ground.
TALL MAN
Hey, hey. It's me.
(He tries to restrain CLAIRE)
TALL MAN (cont)
CLAIRE it's me, LUTHER!
FRAME on CLAIRE, who did not hear him, elbowed him in the face.
FRAME on LUTHER holding his face with both hands.
LUTHER
DAMN CLAIRE! I think you broke my nose!
FRAME on CLAIRE, about to pick up her gun, recognized his voice. She turned to look at him.
CLAIRE
LUTHER?
(Her hand on top of her gun)
LUTHER
OW!
(In pain, still holding his face)
I TOLD you it's me!
CLAIRE
I'm SORRY. I thought you were –
(Picking up her gun)
LUTHER
It's fine.
(One hand holding his nose, feeling if there's blood)
What the HELL are you doing in here?
CLAIRE
I was –
(BANG!BANG!BANG!)
But before she can answer him, they heard gunshots.
K-MART (O.S)
CLAIRE!
CLAIRE
(to LUTHER)
It's K-MART. Come on!
FRAME on K-MART shooting at three (standard) zombies, missing badly. Not the (Majini) ones. They're ambling towards the (boat). K-MART empties the whole clip; she panics.
FRAME on CLAIRE and LUTHER running. CLAIRE takes aim at the zombies. BANG! BANG! Two of them drop dead. HEADSHOTS.
FRAME on the last zombie who reaches the edge of the dock and jumps down at the (boat), lunging at K-MART.
We see K-MART terrified, attempting to pull the unconscious CHRIS away from the approaching un-dead. The zombie grabs K-MART, struggling to get away. Then BANG!
BEHIND THE SHOULDER shot of K-MART pushing away the zombie who stops attacking her then falls dead. The SHOOTER was CHRIS. Standing unsteadily on his feet; probably still feeling lightheaded.
CHRIS
You okay?
(Lowers the gun)
FRAME on K-MART, standing up, shaking.
K-MART
Yeah.
BACK on CHRIS, touching his head; he's feeling a little weak. CLAIRE and LUTHER made it to the (boat). They run to CHRIS' side.
CLAIRE
(to CHRIS)
Hey.
(Concern in her voice)
CHRIS
I'm fine.
(Not wanting her to worry)
LUTHER
(to CLAIRE)
We gotta go. I got him.
(He helps CHRIS, arm over his shoulders)
Check the girl.
CLAIRE checks on K-MART; K-MART embraces her, tightly, a little shaken.
CLAIRE
Everything's fine now.
(K-MART lets go)
K-MART smiles weakly. CLAIRE studies her for a moment.
LUTHER (O.S)
I found a (boat) we can use, it's on the other side.
There's a first aid kit and some guns.
CLAIRE turns to face him. He's already helping CHRIS up the docks.
CLAIRE
(to K-MART)
Let's go.
EXT. HELIPAD – SAME NIGHT
TOP VIEW. Two HELICOPTERS are on the pad; A BLONDE woman transfers from one HELICOPTER to the other.
FRAME on JILL walking towards the HELICOPTER. She means BUSINESS; boards the HELICOPTER then lifts off the ground.
INT. HELICOPTER – SAME NIGHT
JILL sits behind the pilot.
JILL
(to the pilot)
Have you LOCATED the TARGETS?
PILOT
Negative.
JILL
Head back to the east docks. They can't have gone far.
PILOT
Copy that.
FRAME on the HELICOPTER changing direction.
EXT. LOS ANGELES - DOCKS – SAME NIGHT
We see CLAIRE and the others moving towards the (boat) LUTHER's talking about.
FRAME on CLAIRE looking at the LOGO on the (boat)'s side. It's a TRICELL logo.
FRAME on LUTHER helping CHRIS up the (boat).
CLAIRE (O.S)
Where'd you find this?
LUTHER
Back at the prison's sewage system. At the end of the tunnel.
(He puts CHRIS on a bench)
I was about to follow you on the ARCADIA.
There were helicopters coming towards you.
Then I saw the explosion. What was that all about?
CLAIRE
That sums it all up.
LUTHER
I guess they're not here to rescue ANYONE.
CLAIRE
No.
(Moves beside CHRIS)
Where's the first aid kit?
LUTHER
(to K-MART)
Hey kid, come with me.
LUTHER disappears out of the FRAME. K-MART follows.
FRAME on LUTHER taking the first aid kit out of the cabinet and hands it to K-MART.
LUTHER
Here, take this to CLAIRE. I'll start the engine.
K-MART
Okay.
K-MART goes back outside; leaving LUTHER operating some levers/buttons.
FRAME on CLAIRE tending to his brother's wound. She looks at his eyes.
CLAIRE
DO you know who I am?
CHRIS
(He pretends to think for a second, then)
Do YOU remember who I am?
(Then smiles mischievously)
CLAIRE shakes her head with a smile on her face.
CLAIRE
You know me, obviously.
CHRIS
You don't remember me yet. Don't you?
CLAIRE
You're my BROTHER.
(Her voice sincere and with certainty)
CHRIS
'Cause I told you that.
(He smiles)
CLAIRE
No. Because I feel that you ARE.
K-MART enters the frame. She gives the first aid kit to CLAIRE then goes back inside. CLAIRE looks at K-MART until she disappeared.
FRAME on K-MART standing beside LUTHER. She's quiet and in deep thoughts. He noticed it.
LUTHER
Hey.
(K-MART looks at him)
There are some clothes back in the cabin.
They'll spot you easily in the dark with you wearing that.
(Nodding to K-MART's all- white attire)
K-MART looks down at her attire then smiles weakly at him.
K-MART
Guess you're right.
INT. HELICOPTER – SAME NIGHT
A dot blinks on the RADAR. The CO - PILOT looks at it; JILL still seated.
CO – PILOT
(to JILL)
We're detecting a movement off the coast.
JILL
What's the signal's ID?
CO – PILOT
It's TRICELL.
JILL
Take us THERE.
PILOT
Roger that.
EXT. TRICELL BOAT – SAME NIGHT
CHRIS and CLAIRE still on deck; bloody gauzes scattered beside the first aid kit.
CLAIRE
The bleeding stopped.
(Looks at the wound)
CHRIS
Someone needs help.
(He points at a boat floating not far from them)
CLAIRE looks where he's pointing at.
FRAME on a silhouette of a boat (like a speedboat) with a small light, like a flashlight, signalling back and forth. An audible yelling can be heard.
CLAIRE moves closer to the edge of the boat to get a closer look. CHRIS stood up as well.
CLAIRE
Survivors.
CLAIRE runs inside to tell LUTHER. CHRIS looks at the other boat, trying to see it clearly.
FRAME on the smaller boat, slowly revealing itself in the dark. THREE human figures are waving frantically at the TRICELL boat.
MAN
(yelling)
Hey! Over HERE!
WOMAN
HEY!
FRAME on the TRICELL boat slowing down beside the other boat.
FRAME on CHRIS, CLAIRE & K-MART looking down at the people on the other boat.
FRAME back on the three survivors. ALL seem relieved.
INT. HELICOPTER – HOVERING OVER A BOAT – SAME NIGHT
The PILOT looks at a thermal imaging device. A top view of a (boat), no signs of life.
PILOT
The signal's still active.
FRAME on the (boat); we see that it's TRICELL, but a different one.
FRAME on JILL still seated but she's now wearing a cloak (from RE5) minus the mask. Her face blank but her eyes shows a little *fear.
*Just like in the game, JILL is still aware despite the fact that she's being controlled by WESKER. She fears that if they find CHRIS and CLAIRE, she'll kill them. And UNLIKE CLAIRE, she did not suffer memory loss.
PILOT (O.S)
No signs of movement.
JILL
We're close, keep searching.
PILOT (O.S)
Roger.
EXT. UMBRELLA FACILITY – HANGER/RUNWAY – SAME NIGHT
FRAME on WESKER walking towards an UMBRELLA CORPORATE JET, a big UMBRELLA LOGO on its tail; followed by EXCELLA, carrying the PG67A/W case. The C.O soldier waiting at the foot of the jet's ladder.
WESKER
(to the soldier)
Report.
C.O Soldier
The package's on its way to the *ISLAND.
*The ISLAND refers to the Sheena Island, a top secret island located off the European coast; owned by the Umbrella Corporation. The Island contained a research facility that housed a community of researchers that work on the mass production of the Tyrant series, more specifically the T-103. It includes a small city and suburban research facilities.
WESKER
Good.
(beat)
Keep an EYE on VALENTINE.
C.O SOLDIER
Yes sir.
WESKER ascends the ladder up to the JET.
INT. UMBRELLA CORPORATE JET – SAME NIGHT
FRAME on WESKER sitting in front of a computer or a high tech tablet (like an iPAD) on top of his table; with a hologram of a face of an UNKNOWN MAN coming from it.
MAN on HOLOGRAM
Chairman WESKER.
WESKER
GOLDMAN.
FRAME on the HOLOGRAM FACE; it's VINCENT GOLDMAN, an UMRELLA EXECUTIVE, stationed at SHEENA ISLAND.
GOLDMAN
Do WE need to prepare a welcoming committee for you, CHAIRMAN?
*(SMILING sarcastically)
*ALTHOUGH they share a common goal. GOLDMAN despises WESKER because they both want to rule the WORLD.
FRAME on WESKER giving him the same treatment.
WESKER
Has the PACKAGE arrived?
GOLDMAN (O.s)
Not YET.
By the WAY, what is so IMPORTANT with this PACKAGE of yours?
WESKER
It's PERSONAL.
GOLDMAN
Everything's PERSONAL with you, WESKER.
WESKER ignoring the snide remarks.
WESKER
HER..DNA is of high value to me.
FRAME on GOLDMAN HOLOGRAM.
GOLDMAN
HER DNA?
(beat)
Are YOU talking about PROJECT ALICE?
FRAME back to WESKER, a grin on his face.
WESKER
The ONE and ONLY.
GOLDMAN (O.S)
Your timing's perfect. We can test the *P30-G on her.
*P30-G is a combination of the fictional chemical compound P30 and the G-VIRUS. The original P30 is a performance enhancer on human subjects. It greatly increases the physical abilities to superhuman level; affecting the strength and speed of the test subject and it allows full control over them. Injected VIA the remote controlled P30 injector (the ones used on JILL and CLAIRE). Now, P30-G allows greater control over the subject, increased effects on strength and speed than the P30, and also gives the ability to heal faster (regenerate like WESKER) because of the G-VIRUS. Think of WESKER, but 10x more. P30-G uses a different injector. It's 3x bigger than the ones on JILL's chest and it is placed on the subject's back. The TENTACLES wraps around the torso with two of its tentacles injects on the back of the neck, two near the ribs and the last two on the chest/heart.
WESKER intrigued.
FRAME on GOLDMAN and WESKER, side view.
WESKER
P30-G?
GOLDMAN
Yes. A successful combination of the P30 and the G-VIRUS.
WESKER
This I HAVE to SEE.
(Impressed)
Then changes FRAME to FRAME between WESKER and GOLDMAN, close-up.
GOLDMAN (cont)
We corrected the problems with the 'CONTROL' part.
No more lapses, no more resistance.
The subject's much faster and stronger.
AND with the ability to REGENERATE.
WESKER
That's going to get my PLAN on hold.
GOLDMAN
Which is?
WESKER
To consume her DNA..
..so I can have more control over the T-VIRUS.
GOLDMAN seeing that this PLAN will give him more problems in the future. Because he has plans to eliminate WESKER. Making him stronger is not a good idea.
GOLDMAN
I suggest you choose 'this' PLAN.
(beat)
Consuming her DNA might have it setbacks.
WESKER
Like what?
GOLDMAN
Complications like losing your limbs for some overgrown tentacles.
You wouldn't want that, would you?
WESKER contemplates on it.
GOLDMAN (cont)
Besides, you have the PG67A/W to control the T-VIRUS.
An improved personal bodyguard is a better idea.
GOLDMAN thinks he has a better chance of eliminating WESKER by using ALICE once injected with the P30-G when the time comes.
FRAME on WESKER.
WESKER
VALENTINE is an efficient asset.
GOLDMAN (O.S)
With flaws.
(beat)
The PACKAGE has arrived.
WESKER
You'll do nothing until I GET THERE.
GOLDMAN
As you wish.
WESKER pushes a button and the hologram dissolves.
INT. UMBRELLA FACILITY – SHEENA ISLAND – SAME NIGHT
SUPERIMPOSE: UMBRELLA FACILITY, AN ISLAND LOCATED OFF THE EUROPEAN COAST.
GOLDMAN, standing in front of a large computer screen after his conversation with WESKER. A man in lab coat behind him is holding a high tech tablet analysing some data.
GOLDMAN
(to the man in lab coat)
Make SURE you put an override code to the P30-G injectors.
MAN IN LAB COAT
Yes sir.
GOLDMAN
And DON'T mention this little detail to the CHAIRMAN.
The MAN in a lab coat didn't answer immediately. GOLDMAN looks at him.
GOLDMAN
Do I MAKE MYSELF CLEAR, Dr. BIRKIN?
DR. BIRKIN
YES SIR.
EXT. TRICELL BOAT – SAME NIGHT
We see the last of the three survivors being helped by CHRIS and CLAIRE. The other two, settled on the deck. K-MART looks on. LUTHER is not with them, he went back to the inside.
FRAME on the three survivors, two men, one on his mid 30s and the other on his 20s, and a woman on her early 30s.
MAN (20s)
We thought you're gonna ignore us -
WOMAN
(to CLAIRE interrupting)
Thank you..
(She extends her hand to her)
FRAME on CLAIRE shakes her hand.
WOMAN (O.S)
Ignore STEVIE. He's a whiny little monster.
FRAME on the WOMAN.
WOMAN (cont)
My name's ANGELA. ANGELA MILLER.
ANGELA MILLER, from RE: DEGENERATION, beautiful face, her dark blonde hair in a ponytail. She's wearing a navy blue jacket with the letters SRT on it.
FRAME on CLAIRE.
CLAIRE
(to ANGELA)
No problem. I'm CLAIRE.
MAN (20s) (O.S)
I'm NOT whiny.
CLAIRE
Right.
(Hint of sarcasm)
BACK on the WOMAN who rolls her eyes, then looks at CLAIRE with an I-told-you-so look.
THEN she introduces the two men.
ANGELA
This is STEVE..
She points to the younger man on her left.
FRAME on STEVE, who has his arms crossed.
STEVE
And I'm NOT a little MONSTER.
MAN (30s) (O.S)
Just a MONSTER.
(His voice irritated)
STEVE stares at the MAN, annoyed.
FRAME on ANGELA, who can't help but smile at the comment.
ANGELA
And that's DAVID.
FRAME on DAVID. (from RE: OUTBREAK) DAVID KING, a man of few words; he seems tough and very mysterious. He's wearing a plumber's overall with a tool belt (his costume from the game). He says nothing.
FRAME on CLAIRE and CHRIS, we see CHRIS moving towards the bench and takes a seat.
CLAIRE
(still standing)
This is my brother, CHRIS. And that's K-MART.
(Pointing to her; not in frame)
(beat)
What happened to your boat?
ANGELA (O.S)
Out of GAS.
STEVE (O.S)
Do you have some food in here? I'm starving.
CLAIRE
(Smiles)
Umm, I don't know. Go check inside.
FRAME on K-MART, she seems uncomfortable.
K-MART
(to CLAIRE)
I'll go with him.
(Looks at STEVE)
Come on.
(STEVE follows her)
We see DAVID starts walking around the boat.
FRAME back to CLAIRE.
CLAIRE
Sure.
ANGELA (O.S)
She OKAY?
(Noticing something)
(CLAIRE looks at ANGELA)
FRAME on CLAIRE and ANGELA.
CLAIRE
Yeah. She's just probably still shaken up
ANGELA
What happened to her?
CLAIRE
It's a LONG story.
(Evading)
ANGELA
(Sensing that CLAIRE doesn't want to elaborate)
I'll go check up on them.
(Then leaves)
CLAIRE nods; then her mind starts to wander.
CHRIS (O.S)
She's UPSET with me.
CLAIRE
(turning to look at CHRIS)
WHAT-Why?
FRAME on CHRIS, stands up then moves towards CLAIRE.
CHRIS
'Cause she feels like she's losing you.
(beat)
To her, you're the big sister that she probably lost or never even had.
*K-MART is jealous of CHRIS and CLAIRE's bond, even though CLAIRE doesn't fully remember him yet. She lost her loved ones during the outbreak; CLAIRE found her and saved her, they bonded over the course of RE: EXTINCTION. Now, she feels alone again.
CLAIRE
HOW can you tell?
CHRIS
Just talk to her.
(Smiles at her then leaves)
FRAME on CLAIRE left staring at nothing, in deep thoughts.
FADE OUT.
FADE IN.
INT. UMBRELLA FACILITY – LAB - UNKNOWN TIME
We see GOLDMAN explaining something to WESKER, showing him a computer screen. Their conversation inaudible. A man, a soldier, approaches them. He tells them something VERY important.
FRAME on ALICE, wearing a different outfit, (her official new costume) walking in a hallway of what looks like a LAB. She's covered in blood, holding a stun rod. Several (Majini-like) soldiers appear out of nowhere. A kickass battle scene ensues.
FRAME on WESKER and GOLDMAN looking over the shoulder of a man with headset, sitting in front of a screen showing images of ALICE, killing everyone in her path.
* Audiences ASSUME that she's trying to escape the facility. BUT in FACT, she's in a training/testing facility. The P30-G is already controlling her; she has the injector on her back unseen from her costume.
GOLDMAN
STATUS.
MAN w/ headset
She's on Level 5 sir.
WESKER
Send in *MR. X.
*MR.X refers to a Tyrant (T-103 in normal form) from Sheena Island (Darkside Chronicles). First mentioned by CLAIRE in S.D. Perry's Resident Evil series, City of the Dead, which was a novelization of the game Resident Evil 2. He wears a long trench coat.
MAN w/ headset
Yes sir.
FRAME on a huge capsule, doors slowly opening with smoke from pressure being released. We see a movement from inside, but the content of the capsule is not revealed.
INT. TRICELL BOAT – BELOW DECK – UNKNOWN TIME
We see CHRIS seated in front of a table filled with assorted food packaging and some bottles of water. He takes a drink of something from a small thermos. ANGELA enters, she sees CHRIS, hesitates to come in. HE sees her in the doorway.
CHRIS
What can I help you with?
ANGELA
(Who was thinking of leaving without being noticed)
I – umm, STEVE said that there's some bottled water in here?
(She enters)
CHRIS
There's some in the fridge/cooler.
FRAME follows ANGELA walking past where CHRIS is sitting. She takes a bottle and opens it then takes a swig; she then turns to face CHRIS.
ANGELA
You LOOK familiar.
CHRIS
Do I?
ANGELA
I've seen YOU before.
CHRIS
You're SRT?
ANGELA looks down on the letters on her jacket.
ANGELA
Yes. Wait-
(She remembered something)
You're that guy who saved a survivor, a-a little girl, you brought her to our post.
CHRIS shows no recollection.
ANGELA (cont)
I was with the SRT medical unit. I remember it now.
You got scratched by an infected when you saved her.
I gave you both ZOMBREX but -
CHRIS
(interrupting)
*ZOMBREX?
*ZOMBREX is a fictional cure to stop someone from turning into a zombie. Taken from another CAPCOM's videogame, DEAD RISING. Not of MAJOR significance though.
ANGELA
(slightly annoyed)
Yeah, I know it's an odd name for a cure—
Anyway, don't you remember?
CHRIS was about to say something when they were interrupted by CLAIRE, catching her breath, standing by the doorway.
CLAIRE
We have a PROBLEM.
INT. TRICELL BOAT – BRIDGE – NIGHT
LUTHER was looking at the radar when CLAIRE, along with CHRIS, ANGELA and DAVID entered the bridge. CHRIS immediately takes a look at the radar.
CHRIS
It's THEM.
(Realizing what it was)
ANGELA
Them?
CHRIS
(to LUTHER)
You said there were guns on this boat?
LUTHER
There's an armoury below deck.
CHRIS disappears, heading below the deck.
CLAIRE
(to ANGELA)
People trying to kill US.
ANGELA look worried.
FRAME on DAVID.
DAVID
Great. Now we're part of 'US'.
K-MART and STEVE enters.
STEVE
What's going on?
CLAIRE
(to K-MART)
Stay here with LUTHER.
(to STEVE)
You too.
K-MART gave her a nod. STEVE starts to complain.
STEVE
(to CLAIRE)
I can HELP.
CLAIRE
(to ANGELA and DAVID)
Let's go down to the armoury.
STEVE
Hey!
CLAIRE
(turns to STEVE)
You want to help? STAY here with K-MART.
CLAIRE then turns to leave followed by ANGELA and DAVID; leaving LUTHER, K-MART and STEVE on the bridge.
FRAME on CHRIS inside the armoury preparing, loading an M3 shotgun. CLAIRE followed by ANGELA and DAVID enters the armoury.
CLAIRE
Wow. Who owns this boat?
(Seeing the armoury full of different weapons and ammos)
DAVID walks around the room and stops at a large weapon crate on the ground.
DAVID
Forget about those, let's use this.
(Kicking the crate)
All three turns to look at DAVID, who was now opening the crate. He shoulders a long weapon. An RPG-7. CLAIRE smiles then grabs a gun of her choice, an H&K VP70. CHRIS hands ANGELA a SIG P226 Handgun.
CHRIS
(to ANGELA)
Here. Take this.
ANGELA takes the gun. CHRIS then takes his bag of weapons then his M3 shotgun, and heads toward the door. DAVID follows with his RPG, then CLAIRE and ANGELA.
EXT. UNKNOWN LOCATION – NIGHT
We see a HELICOPTER flying towards a (boat) navigating the dark waters.
INT. HELICOPTER – SAME NIGHT
JILL, reloading her VZ61 Škorpion, was standing behind the cockpit. The PILOT looking at the radar and at the thermal imaging.
PILOT
Another TRICELL. Visible movements.
JILL
It's them. Move in.
EXT. TRICELL BOAT – DECK – NIGHT
We see CHRIS readying his weapon; with DAVID, ANGELA and CLAIRE on deck.
CHRIS
(to DAVID)
How's your AIM?
(DAVID turns to look at him, questioningly)
You got ONE shot, TRY to take them down.
DAVID
It's just ONE chopper, we can manage.
CLAIRE
(to CHRIS)
We got plenty of ammos.
CHRIS
They're going to have back – up for sure. We NEED to save ammo.
And IF we get the LUCKY shot, we can head straight for land; FIND somewhere we can hide.
INT. TRICELL BOAT – BRIDGE – NIGHT
We see LUTHER, K-MART and STEVE. K-MART already changed to a denim and a long sleeved shirt; standing beside LUTHER and STEVE, who is looking keenly at the radar. A blinking dot is visibly moving towards them; still from a safe distance.
LUTHER
(to STEVE)
KEEP an eye on the dot.
(Then notices a RED light on the control panel)
Oh no, no, NO! This is not happening.
K-MART
What's wrong?
FRAME on the CONTROL PANEL, we see there's an engine failure.
FRAME on LUTHER, switching/pushing some buttons.
LUTHER
DAMN!
EXT. TRICELL BOAT – DECK – NIGHT
FRAME on the boat slowing down. CHRIS, CLAIRE, ANGELA and DAVID notices.
ANGELA
Why are we STOPPING?
(Concerned)
CHRIS
(to CLAIRE)
GO check on LUTHER.
CLAIRE nods and leaves.
DAVID
Now we really NEED that LUCKY shot.
ANGELA
This is NOT good.
INT. TRICELL BOAT – BRIDGE – SAME NIGHT
CLAIRE enters and sees LUTHER slamming his hands on the CONTROLS in frustration.
LUTHER
FUCK!
CLAIRE
What happened?
LUTHER
Something's WRONG with the ENGINE.
CLAIRE
Can you fix it?
LUTHER
Did I mention I WAS an athlete?
(With a weak smile)
I don't know much about engines.
STEVE (O.S)
Wha- Where did it go?
(He said aloud, like he's talking to himself)
LUTHER
(to STEVE)
What is it?
CLAIRE and LUTHER moves closer to STEVE. LUTHER looks at the radar.
STEVE
It DISAPPEARED! A moment ago it was just here. Now it's GONE!
CLAIRE
(Also looking at the radar)
Maybe they didn't see us.
LUTHER
STILL, we need to get out of here.
INT. UMBRELLA FACILITY – LAB - UNKNOWN TIME
FRAME on ALICE's face more blood on her, she's breathing heavily.
FRAME on ALICE standing over something HUGE, body of the tyrant, MR. X. DEAD. She looks at the surveillance camera above her.
ALICE
Is that all you've GOT?
FRAME on WESKER and GOLDMAN, watching ALICE on the monitor. They seem impressed.
INT. TRICELL BOAT – BRIDGE – NIGHT
FRAME on LUTHER and CLAIRE trying to figure out what's wrong with the control panel. K-MART standing near a window, staring outside at something.
K-MART
What is that?
(Her eyes widens)
STEVE moves closer for a look. Then BOOM! A huge explosion outside shook the whole place. STEVE pulls K-MART down the floor; a shower of bullets shatters the window. CLAIRE falls down on her knees. LUTHER ducks for cover.
EXT. TRICELL BOAT – DECK – SAME NIGHT
FRAME on the BOAT, a small part of it burning. CHRIS is trying to get up on his feet while ANGELA lay unconscious beside him. DAVID's on his back, he seems conscious but slow to get up.
DAVID
(Holding his head)
Where did it come from?
CHRIS
It's coming back!
(Looking up at something)
DAVID looks around for his RPG; it was a couple of feet away from him. He tries to get up but he grimaces in pain. Instead, CHRIS runs for the RPG.
FRAME on a HELICOPTER hovering back towards the (boat).
FRAME on CHRIS slides down and quickly grabs the RPG. He shoulders the RPG and takes aim at the oncoming HELICOPTER. He fires.
HELICOPTER's POV. A rocket coming towards it.
FRAME on a silhouette of a diving body is seen on the corner of FRAME along with a HUGE EXPLOSION. The HELICOPTER, what's left of it, falls down the dark water; the explosion briefly illuminates the skies.
FRAME on CHRIS looking at the falling HELICOPTER in flames.
INT. TRICELL BOAT – BRIDGE – SAME NIGHT
CLAIRE helps K-MART up on her feet. STEVE was still on his back, we can't see if he's dead or just unconscious.
CLAIRE
Are you HURT?
K-MART
N-no.
(her voice shaking)
FRAME on LUTHER kneeling beside STEVE. Softly tapping STEVE's face.
LUTHER
Hey kid. Wake up!
STEVE opens his eyes.
STEVE
Oww. My shoulder-
(Wincing in pain)
LUTHER checks STEVE's shoulder, blood coming from a bullet wound.
LUTHER
You're gonna be okay. Just put some pressure on it.
CLAIRE (O.S)
We need to get off this boat. You guys hurry.
LUTHER
(to STEVE)
Come on. I'll help you up.
(He takes STEVE's uninjured arm)
BEHIND-THE-SHOULDER shot, we can't see who it is; swimming towards the TRICELL BOAT from afar. There's smoke coming from the deck of the boat.
EXT. TRICELL BOAT – DECK – SAME NIGHT
We see ANGELA, conscious but pretty shaken up, helping DAVID walk; His leg appears to be injured. CHRIS gathers his weapons bag. CLAIRE, K-MART, LUTHER and STEVE appear.
CHRIS
(to CLAIRE)
You guys alright?
CLAIRE
Yeah but STEVE got hit on the shoulder.
CHRIS looks at the others a couple of feet away from them. LUTHER was now putting out the fire with an extinguisher. K-MART seated beside STEVE; ANGELA looking after DAVID.
FRAME on a cloaked figure hanging on a deck's ledge/rail, a few feet away from CHRIS and CLAIRE. The CLOAKED FIGURE pulls itself up then immediately launching up into the air; and upside down above CHRIS and CLAIRE.
TOP VIEW shot of the CLOAKED FIGURE, gracefully (in slow-mo) pulls a gun from a thigh holster under its cloak while upside down in a midway front flip.
CHRIS' POV. (In Slow-mo) He sees the DARK FIGURE above them, who's about to pull the trigger; (In normal Speed) CHRIS drops the bag in his hand and pushes CLAIRE out of the way.
CLOAKED FIGURE's POV. (Top view) CHRIS pushing CLAIRE out of the way.
FRAME on CHRIS, bullets pouring down in front of him, takes his gun and tries to aim at the CLOAKED FIGURE.
FRAME on the CLOAKED FIGURE lands on its feet beside CHRIS. Fires at him, CHRIS rolls on his right to dodge it. The weapon clicks empty; the CLOAKED FIGURE throws away the VZ61 Škorpion.
(The following scenes are taken from the RE5 game; where CHRIS and SHEVA meet JILL being controlled by WESKER. MINUS WESKER, EXCELLA and JILL's MASK. Plus a DIFFERENT LOCATION and SHEVA replaced by CLAIRE.) CUT SCENE: TWO ON TWO
CHRIS fires a couple of rounds, the CLOAKED FIGURE evades left to right, BUT not as fast as WESKER, gets clipped on the left shoulder. The CLOAKED FIGURE looks down on its shoulder from under the hood; then ignores the wound. CLAIRE then shoots the CLOAKED FIGURE, who tries to avoid the bullets by doing back flips. CHRIS reloads his gun. CLAIRE clicks empty.
The CLOAKED FIGURE lands then THROWS its CLOAK towards CHRIS and CLAIRE. Runs toward CHRIS (the scene from RE5 where JILL was revealed by WESKER; in SLOW-MO) kicks him hard in the CHEST, before he had the chance to aim his gun; making CHRIS fall back. Before he lands on the ground we SEE the now UN-cloaked FIGURE (still in slow-mo) stomps him on the chest with both feet to perform a back flip on air. (In normal speed) CHRIS drops hard on the deck.
FRAME on the others frozen in shock.
CLAIRE, with a reloaded gun, sees that the now UN – CLOAKED FIGURE was a woman with a BLONDE hair in a PONYTAIL. She pulls the trigger, but the BLONDE WOMAN is fast, CLAIRE misses; the BLONDE WOMAN kicks her gun then performs a 'cart wheel' on CLAIRE's bent knee (this is the scene where JILL throws SHEVA on the ground using her legs. A little hard to explain the scene. Just watch the RE5 cut scenes).
FRAME on CHRIS, in pain, standing up. He sees CLAIRE gets thrown to the ground. He aims his gun on the BLONDE WOMAN's BACK.
CHRIS'POV. The BLONDE WOMAN turns to face him. He sees a RED glowing thing on her chest; slowly lowers his gun.
SIDE VIEW of CHRIS facing the BLONDE WOMAN, CLAIRE, several feet away, lay on the ground.
CLOSE - UP on CHRIS, his face in shock.
CLOSE – UP on JILL, her face void of emotions.
FRAME back on SIDE VIEW of CHRIS and JILL. CHRIS takes a little step forward.
CHRIS
JILL?
FRAME on CLOSE – UP. Switching between CHRIS and JILL. JILL has NO DIALOGUE.
CHRIS
JILL! It's ME.
(JILL doesn't recognize him)
CHRIS (cont)
It's me CHRIS!
(JILL's expression changes, like she's starting to resist the P-30)
Don't you remember me?
INT. UMBRELLA FACILITY – SHEENA ISLAND – SAME NIGHT
We see WESKER still watching a monitor. A soft beep, he reaches inside his pocket and produces a device, he looks at it, the small LCD glows RED.
WESKER
Remarkable. Still resisting at such an advance stage.
(Impressed. Talking to himself)
I think it's time to INCREASE the DOSE.
(He presses the LCD)
EXT. TRICELL BOAT – DECK – DAWN
FRAME on JILL, who seems to recognize the man in front of her.
JILL
CHR- CHRIS?
(The RED device on her chest GLOWS)
(She clutches the device, groans in pain)
Ughh!
FRAME on SIDE VIEW of CHRIS.
CHRIS
JILL! What's happening?
(He tries to reach out to her)
CAMERA behind JILL still in pain; CHRIS holds JILL by her shoulders.
FRAME on JILL CLOSE – UP. Her face in anger this time; due to the effect of the P30.
FRAME on JILL and CHRIS.
JILL kicks him on the chest, CHRIS staggers backwards. He sees JILL's angry expression.
FRAME on CLAIRE running to CHRIS' side.
CLAIRE
CHRIS! It's the device on her chest! It's controlling her.
CHRIS
(After looking at the device on JILL's chest)
We have to get it off her.
FRAME on JILL, we can see someone coming from behind her. It's LUTHER holding a gun.
FRAME on CHRIS, he sees LUTHER.
CHRIS
No!
FRAME on LUTHER and JILL. LUTHER starts firing, JILL evades while moving towards LUTHER. He desperately tries to shoot her, he runs out of ammo.
FRAME on CHRIS and CLAIRE.
CHRIS
I'll GRAB her, try to get that thing off her.
CLAIRE
Wait—
But CHRIS was already running towards JILL.
FRAME on JILL her hand on LUTHER's neck. JILL senses someone behind her; she drops LUTHER almost unconscious.
FRAME on CHRIS, about to grab JILL from behind. But JILL's just too fast, she turns around and catches CHRIS by his arms; then tosses him on the ground. (The fight on the RE5 cut scene. Near the elevator where WESKER escaped. JILL's knee on CHRIS' neck while twisting his arm.) CUT SCENE: OLD FRIENDS, NEW ENEMIES
CHRIS
Come on JILL, get yourself together, WAKE UP!
(He struggles to break away)
JILL puts more pressure on CHRIS' neck under her knee and twists his arm again.
CHRIS (cont)
Arghhh! JILL VALENTINE!
FRAME on CLAIRE moving behind JILL and grabs her from behind putting JILL on a choke hold. JILL releases CHRIS and struggles against CLAIRE.
CLAIRE
(to CHRIS)
NOW!
FRAME on CHRIS slow to get back up; he's catching his breath.
Back on CLAIRE holding JILL.
CLAIRE
CHRIS!
EXT. OUTSIDE THE UMBRELLA FACILITY - SHEENA ISLAND – NIGHT
We see ALICE walking on a deserted street; a street reminiscent of that to Racoon City after the outbreak. She looks around cautiously, looking for any signs of threat. BANG! BANG! She hears gunshots not far from her.
FRAME on a MAN, looks young probably in his 20s. He's holding a gun shooting at some (standard) zombies.
PAN OUT. We see the MAN surrounded by a number of un-dead. A woman, in her 30s, on his side fighting off some of the un-dead.
WOMAN
We're gonna die out here!
MAN
Ah SHIT! I'm out!
(He tosses the gun)
FRAME on the UN-DEAD its head exploding, then the other UN-DEAD drops dead.
FRAME on the MAN and WOMAN looking up at someone.
FRAME on ALICE standing on top of a car holding a gun on each hand. She SMILES at them.
EXT. TRICELL BOAT – DECK – DAWN
The dark skies slowly turn to a shade of vermillion. We see CLAIRE still hanging on to JILL. A continuation of the scene before ALICE's.
CLAIRE
CHRIS!
Instead of CHRIS, it was LUTHER who ran to help CLAIRE. She sees LUTHER.
CLAIRE
(Trying to hold on to JILL)
TAKE that thing off her!
LUTHER
HOW?
CLAIRE
JUST pull it off!
LUTHER holds the device and tugs it. JILL attempts to escape from CLAIRE.
LUTHER
It won't come OFF!
CLOSE – UP on the device on JILL's chest, it digs deeper into her skin.
JILL (O.S)
Ughhh!
FRAME back on CLAIRE and LUTHER.
CLAIRE
I can't hold her much longer!
LUTHER
I'm TRYING! This thing won't—
JILL kicks LUTHER with both feet (Just like how she does it in the RE5 game, when CHRIS tries to pull the device off her chest, with help from SHEVA.) LUTHER stumbles on the ground; then JILL throws CLAIRE off her back. CHRIS is back on his feet, he sees JILL reaching for her knife strapped on her leg.
CLAIRE tries to crawl away but JILL grabs her by her hair. She pulls her closer then raises her knife. CHRIS tackles her from behind, JILL releases CLAIRE. JILL, still holding the knife, rolls over and pins CHRIS on the ground.
FRAME on LUTHER with a taser gun, he aims at JILL's back.
FRAME on JILL and CHRIS. CHRIS holding off JILL, trying to stab him with the knife. He shoves her to the side; JILL lunges at CHRIS. But before she can reach him, she stops and her body paralyze before falling on the ground.
CHRIS quickly ran towards JILL, he took the chance and pulled the device off her chest. Somehow the taser affected the device and shuts it off momentarily, and it came off easily. CHRIS cradled an unconscious JILL, he touched her face.
CHRIS
JILL? Wake up!
CLAIRE limping towards her brother. LUTHER picks up the device tossed on the floor.
LUTHER
(holding up the device)
What the HELL is this?
CLAIRE
(to CHRIS)
How do YOU know her?
CHRIS
(without looking at her)
She was my PARTNER.
INT. A BAR - SHEENA ISLAND – NIGHT
We see ALICE seated, reloading her gun; a MAN and a WOMAN seated across the table. Behind them an inverted sign outside the bar. It says J's BAR.
WOMAN
(to ALICE)
I'm ELENA.
ALICE
My name is ALICE
ALICE (cont)
You?
(to the MAN)
MAN
Call me MAC.
ELENA
(to ALICE)
Can you help us get off this ISLAND?
ALICE
(looks confused)
ISLAND?
MAC
'This' ISLAND.
ELENA
(to ALICE)
Don't you KNOW where you are?
ALICE
I don't remember how I got here.
MAC
That's pretty messed up.
ELENA
But you can help us, right?
(looking at ALICE's weapons)
ALICE
I can't take you with me.
MAC
Then WHY did you help us back there?
ALICE didn't answer. She looks lost and scared.
INT. UMBRELLA FACILITY – AN OFFICE – UNKNOWN TIME
WESKER pacing back and forth then stops, he looks through the office's huge glass windows; a soldier enters the office.
SOLDIER
Sir, CHRIS and CLAIRE REDFIELD escaped.
WESKER, his eyes burning RED.
SOLDIER
And we lost VALENTINE.
WESKER
WHAT?
A phone rings. WESKER reaches inside his pocket; he listens to the caller.
WESKER
My patience is thinning, GOLDMAN.
We're wasting time PLAYING your little game.
(his voice cold and unnerving)
I've had ENOUGH of this. It's time to begin *PROJECT HYPNOS.
*PROJECT HYPNOS refers to ALICE, being controlled by WESKER using the P30-G, hunting down survivors to be taken in as subjects for experimentations and possible threats to UMBRELLA CORP. specifically, CHRIS and CLAIRE REDFIELD.
INT. UMBRELLA FACILTY – ANOTHER OFFICE – UNKNOWN TIME
GOLDMAN lounging in a handsome leather seat, he placed his phone on the desk. A man in BLACK soldier attire standing near the door.
GOLDMAN
(to the MAN)
Tell DR. BIRKIN, it's time.
MAN
Yes sir.
(leaves)
INT. A BAR - SHEENA ISLAND – NIGHT
We see ALICE rummaging around the BAR looking for something. ELENA still seated while MAC is cautiously looking at a window.
ELENA
(to ALICE)
IF you're not gonna help us, then WHY are you still here?
ALICE turns to look at her.
ALICE
I don't know.
FRAME on MAC moving closer to ELENA.
MAC
(whispering)
Let's just leave her. She's NOT gonna help us anyway.
ELENA
(in a normal volume)
Why are you whispering?
MAC
(still whispering)
Something's wrong with her, I can feel it.
ELENA
Like WHAT?
FRAME on ALICE, she touches her chest, clearly in pain; she almost loses her balance, leans on a table for support. A faint RED glow in her back can be seen through her clothes/costume.
FRAME on ELENA and MAC, still talking not noticing ALICE.
MAC
Where did she get all those guns? I mean- and did you see that sword on her back?
ELENA
I don't know – I'm just glad that she had them when she saved us.
MAC
Stay here if you want.
(he turns to leave)
ELENA
What? Wait –
ALICE appears behind them. There's something different about her, her eyes vacant.
ALICE
I'll help you. I know a SAFE place.
(her voice lower than usual)
MAC stops, his hands on the door; ELENA, looks at ALICE, surprised and relieved at the same time.
EXT. UNKNOWN LOCATION – OCEAN – DAY
FRAME on a yacht sailing. SUPERIMPOSED: 2 DAYS LATER.
CLAIRE, leaning over a handrail, we can't see but she's on a new boat, probably a yacht. The wind blowing her hair; she seems happy. She's wearing a different top, without her RED vest, a gray tank top with a brown leather gun holster; still wearing jeans. (CLAIRE's costume from the DARKSIDE CHRONICLES) There are some bruises on her arms and shoulder.
FRAME on CLAIRE, her back towards the camera, still leaning on the handrail; a man slowly limping towards her.
CLOSE – UP on CLAIRE, the man behind her, blurred/unrecognizable. Looks like a zombie until it speaks.
MAN
Hey.
CLAIRE turns and sees DAVID. (David's wearing a white t-shirt and jeans. NOT his plumber's costume) She smiles at him.
CLAIRE
How's your leg?
DAVID
Painful. You?
CLAIRE
It's just a bruise. It's nothing.
(Looks at DAVID's LEG. A little smug then smiles)
DAVID laughs. They both laugh.
INT. YACHT'S CABIN – DAY
The sun shines through a small window. CHRIS, on a couch, snoozing, with his arms crossed; his head tilting to one side. CHRIS is still wearing his gray pants and combat boots, a black t-shirt for his top. Plus his gloves and gun holsters.
PAN OUT. We see that he's beside a bed with someone sleeping.
FRAME on the person sleeping on the bed. It's JILL, she's still wearing her combat suit. There are marks on her chest where the DEVICE/INJECTOR used to be. Her eyes slowly open; she pushes herself up and sees CHRIS still asleep. She stares at him for a moment.
FRAME on CHRIS, his head slowly sliding to the side, he hits his head on the corner of a cabinet. That wakes him up; he sees JILL staring at him.
CHRIS
Hey.
(Sits up straight)
FRAME on JILL, smiling at CHRIS.
JILL
Hey.
(Her voice throaty)
FRAME on BOTH. CHRIS moves closer to the edge of the bed.
CHRIS
How're you feeling?
JILL
I feel so tired.
(beat)
I'm SO sorry.
CHRIS
For what?
JILL
I can see you but I can't stop myself. I could've killed you.
CHRIS
(he shakes his head)
It's NOT your fault.
JILL sat on the edge of the bed.
JILL
We have to STOP WESKER. He's planning something.
I heard them talking about a new virus.
CHRIS
That's our plan. To find WESKER, but we need more help.
JILL
I know who can HELP.
EXT. YACHT – DECK – DAY
CLAIRE is talking to K-MART, they're sitting on a bench.
CLAIRE
I know you're mad at me.
K-MART
I'm not mad at you. It's just—
(she hesitates)
It's nothing.
CLAIRE
It's about CHRIS.
K-MART
(a little embarrassed)
I-I envy you both. You still have each other.
(eyes shining with tears)
CLAIRE
And YOU still have me. Remember that.
K-MART
I know—it's just that, I miss my parents. My sister.
CLAIRE
And you have CHRIS.
(Sincere)
OUR big brother.
CLAIRE hugs K-MART, who starts to cry.
FRAME on ANGELA and STEVE who was watching from afar. STEVE sniffs trying not to cry.
ANGELA
(looking a STEVE)
ARE you crying?
STEVE
No.
(he discreetly wipes his tears)
ANGELA gently pats him on his back.
STEVE
I miss my mom and dad.
ANGELA
I know how you feel.
FRAME on CHRIS and JILL walking on in CLAIRE and K-MART's moment.
CHRIS
Ahem.
(clears his throat)
He walks over to K-MART, extends a hand.
CHRIS
(to K-MART)
We okay now?
K-MART
(smiling)
I guess so.
(She shakes his hand)
CHRIS grins then gives K-MART a hug.
FRAME on JILL, she approaches CLAIRE. JILL is now wearing a different attire. (JILL's BSAA costume from RE5, minus the logo, headset and the cap.)
JILL
I'm JILL VALENTINE.
(she extends a hand)
CLAIRE
(she shakes hands with her)
CLAIRE. CLAIRE REDFIELD.
JILL
You're brother used to talk about you all the time.
(she smiles)
CLAIRE
He did huh?
(she too smiles)
JILL
(seriously)
I just want to apologize. For what happened—
CLAIRE
It's okay.
(She shows JILL the marks on her chest)
I know you can't control what you were doing.
JILL gives CLAIRE a nod then smiles.
FRAME on CHRIS and K-MART. CLAIRE ushers K-MART to meet JILL.
CLAIRE
(to JILL)
This is K-MART.
K-MART
(to JILL)
Hi.
(she extends a hand)
JILL shakes hands with her then smiles.
JILL
K-MART?
K-MART
It's where CLAIRE found me.
JILL
Well, nice to meet you K-MART.
K-MART
Same here.
K-MART (cont)
(to CLAIRE)
I'll go check up on STEVE.
CLAIRE
Yeah sure.
K-MART
(to CHRIS and JILL)
See you guys later.
(She leaves)
FRAME on CLAIRE; she turns serious.
CLAIRE
(to CHRIS)
Where do we START?
CHRIS
We go on with our plan to FIND WESKER and to STOP HIM.
(He turns to look at JILL)
You said you know someone who can help us.
JILL
Tell the CAPTAIN where heading to BRAZIL.
INT. TRICELL BOAT – BRIDGE – SAME DAY
Everyone is in the room; an unusual calmness emanates from the group. DAVID, standing near the doorway; CLAIRE is seated with ANGELA, K-MART and STEVE. LUTHER is leaning against the control panel, his arms crossed. CHRIS is standing behind CLAIRE; JILL stands in the middle of the room. The scene opens with,
FRAME on LUTHER; the 'CAPTAIN', looks calm but confused.
LUTHER
BRAZIL?
FRAME on CLAIRE.
CLAIRE
What's in BRAZIL?
FRAME on JILL.
JILL
A headquarters.
(beat)
BSAA South America Branch.
FRAME on CHRIS. He's very interested to know where JILL was for the past 7 years. CHRIS left S.T.A.R.S a year before the OUTBREAK. He didn't explain or say anything to his partner, JILL.
CHRIS
BSAA?
FRAME on JILL.
JILL
Bioterrorism Security Assessment Alliance.
It's an organization formed by the U.S. Government along with the United Nations Security Council and the Global Pharmaceutical Consortium to fight Biohazard threats around the world.
DAVID (O.S)
Biohazard threats?
JILL
BIO ORGANIC WEAPONS, viral weaponry that had been developed by the Umbrella Corporation being sold on the black market to the HIGHEST BIDDER.
(beat)
TERRORISTS.
FRAME on different characters; listening intently. JILL continues her story.
JILL (O.S)
Two years after the outbreak, we were running from the FBI.
FRAME on CLAIRE.
CLAIRE
'We'?
CLOSE-UP on JILL; in deep thoughts. (Flashback: a scene with JILL with CARLOS OLIVERA and L J travelling in an SUV from RE: APOCALYPSE; ALICE is no longer with them.)
JILL
Me and two other survivors.
(beat)
I surrendered to help them escape.
They thought we had something to do with the RACOON CITY INCIDENT.
FRAME on LUTHER seemed bothered with this information.
LUTHER
And DID YOU?
FRAME on JILL, appears irritated/insulted; but she answered calmly.
JILL
No. It was a SET UP.
(beat)
And the BSAA knows the truth. They helped me escape. Then THEY recruited me.
THEN someone spoke, it was ANGELA.
ANGELA (O.S)
Then WHO DID THIS? WHO'S RESPONSIBLE for all of this?
FRAME on ANGELA; trying to hold back tears.
PAN OUT. We see ANGELA, CLAIRE and K-MART.
CLAIRE
UMBRELLA. They're the ones who did this.
OVER-THE-SHOULDER shot of CHRIS with JILL on FRAME.
CHRIS & JILL
It's WESKER.
(The others look at both of them)
PAN OUT. The whole group in an awkward silence. We see STEVE with a grin on his face. (Because they can sense some tension/chemistry/attraction between CHRIS and JILL)
ANGELA
How'd you two –
JILL
(She interrupts ANGELA)
UMBRELLA's just a pawn. He used them to gain POWER.
CLAIRE
How'd you end up working for HIM?
FRAME on JILL; she seem uncomfortable recalling the events.
JILL
I was sent to AFRICA, to investigate a man named RICARDO IRVING, suspected of selling viral weaponry to terrorists.
(beat)
But before I can reach my contact, I was ambushed.
They took me to a LAB and then they—
(She hesitates)
CHRIS (O.S)
They placed that DEVICE on you.
FRAME on CHRIS; a hint of guilt flashed on his face. He feels guilty for leaving JILL without a word.
FRAME on JILL; she was about to say something to CHRIS. She changed her mind and looked at CLAIRE instead.
JILL
The BSAA.
They'll be more than happy to help us take down WESKER.
CLAIRE (O.S)
Alright.
FRAME on CLAIRE; she stands.
CLAIRE (cont)
Let's get this SON OF A BITCH.
INT. UMBRELLA FACILITY – LAB – TIME UNKNOWN
We see DR. BIRKIN writing something on his clipboard, he was standing near a cryogenic glass tubes (like the ones K-MART was found in). He walks past another tube; a human is encased inside it. We see the FACE of ELENA, with a device on her chest. DR. BIRKIN stops to check the other tube; MAC is inside it.
PAN OUT. We see that he's in a large room with rows and rows of glass tubes. He walks at the end of the room towards a control panel.
CLOSE – UP on him punching in some codes on the LCD.
FRAME on a CRYOGENIC GLASS TUBE; it slowly descends and disappears on the floor.
PAN OUT. The once GLASS TUBE filled room is now an empty space. We see DR. BIRKIN talking to someone. It's WESKER.
FRAME on WESKER. He seems satisfied.
WESKER
(to DR. BIRKIN)
I'm surprised there are survivors still out there.
DR. BIRKIN (O.S)
We can get back everything that we've lost in the ARCADIA.
In no time.
WESKER
I want regular REPORTS doctor.
DR. BIRKIN (O.S)
Yes sir.
PAN OUT. We see DR. BIRKIN leaving WESKER; someone enters the room.
CLOSE – UP on WESKER; behind him a blurred figure. His mood changed, he's fuming.
WESKER
As for you, I want you to ELIMINATE CHRIS and CLAIRE REDFIELD, once and for all.
(beat)
I will not tolerate any more DELAYS.
FRAME on the person behind WESKER. It's ALICE. WESKER turns to face her; he has a smile on his face.
WESKER
How does it FEEL now that you're in my control?
(beat)
You're LUCKY. I should've consumed you by now.
BUT I need you ALIVE.
ALICE's face emotionless, but her eyes say differently. ANGER and DISGUST reflects on them; but she says nothing. WESKER smiles victoriously.
WESKER
Now, I believe you have something important to do?
PAN OUT. ALICE leaves WESKER in the room.
FADE OUT.
FADE IN.
EXT. BRAZIL – BEACH
The sun is about to set in the horizon. Strong waves flows to the shores of the beach.
FRAME on a set of (normal looking) feet, slowly sinking in the sands while the water splashes through it.
FRAME on two sets of feet running in the sands, like they're playing sports or something.
CAMERA glides from the waves in the water, then the sandy shore, then to a woman's legs. It seems she's lying on a beach towel, in a bikini, relaxing. CAMERA continues to reveal a sexy abs that comes with the legs. Then a HORRIFIC SCENE unfolds. An UN-DEAD is feasting on the woman's neck and face.
PAN OUT. We see that the beach is filled with UN-DEAD tourists.
EXT. BRAZIL – A DOCK
A yacht slowly approaches the dock. It stops a few feet away, a safe distance. CLAIRE and JILL are on the deck. CHRIS peers through his DRAGUNOV's sniper's scope; scanning the docks.
SNIPER'S SCOPE POV. We see that it's crawling with the UN-DEAD, hundreds of them.
FRAME on CHRIS still looking through the scope.
CHRIS
Getting through THAT is going to be a little bit tricky.
JILL (O.S)
There's a stadium, just past that building.
FRAME on JILL pointing at a building from afar.
JILL
We need to get to the access tunnel then to the elevator that will take us underground.
LUTHER (O.S)
I HATE tunnels.
FRAME on LUTHER; entering the scene. He hates tunnels because he almost died in one. (RE: AFTERLIFE)
CLAIRE (O.S)
How are WE gonna get there?
FRAME on CLAIRE talking to JILL.
JILL
We'll go around, see if WE can find a clear path.
CHRIS (O.S)
By 'WE' she meant, me, her and LUTHER.
CLAIRE
No. WE, as in ALL of us will go.
FRAME on CHRIS; he shoulders the DRAGUNOV.
CHRIS
It's too dangerous. You'll be safer HERE. And we're not even sure if there's anyone still ALIVE down there.
FRAME on JILL staring at CHRIS and CLAIRE.
CLAIRE (O.S)
(to CHRIS)
There has to be another way.
FRAME on CHRIS and CLAIRE; about to start arguing.
JILL (O.S)
I'll go. ALONE.
CHRIS and CLAIRE
No!
FRAME on JILL a little surprised by their reaction.
FRAME on DAVID and ANGELA about to join them.
LUTHER (O.S)
Guys! All four of us can go.
FRAME on LUTHER.
LUTHER
DAVID and ANGELA can stay here with STEVE and K-MART.
ANGELA (O.S)
Where are you going?
FRAME on CHRIS. VERY Unhappy.
CHRIS
(to CLAIRE)
Fine.
(to DAVID and ANGELA)
Stay HERE.
Do you have a problem with that?
FRAME on DAVID; calmly answers.
DAVID
No.
JILL and CLAIRE look at each other.
JILL
CLAIRE -
CLAIRE
(interrupts JILL)
I'm NOT gonna change my mind.
FRAME on CHRIS and LUTHER; he takes a shotgun from CHRIS.
CHRIS
You sure about this?
LUTHER
Yeah. I'd rather be eaten alive than baby sit STEVE.
(that made CHRIS smile)
CHRIS
Here. Put this on.
(He hands him a radio/comm. with headset)
CHRIS unwillingly takes another two and gives it to CLAIRE and JILL.
FRAME on CHRIS; fixing the headset on his ear. (Now he looks more like CHRIS from RE5). He looks at JILL, then to CLAIRE.
CHRIS
Here we go.
INT. BRAZIL – A BUILDING/LAB – UNKNOWN TIME
A man is frantically combing through a lab; he's searching for something. The MAN is-
RICARDO IRVING - A TRICELL Researcher and Black Market seller of B. working for WESKER and EXCELLA.
He gives up searching; he moves to a computer and types something. His eyes lit up while looking at the computer monitor. He found what he's looking for.
INT. ACCESS TUNNEL – UNKNOWN TIME
It's a DARK tunnel only a couple of flickering lights in the middle can be seen. JILL shines a flashlight through the tunnel while holding up a handgun. Followed by CLAIRE, her gun pointed on the floor; LUTHER's ready with his shotgun and CHRIS holding a SIG P226 handgun.
They HEAR a faint growling sound, it echoes through the tunnel. CHRIS did a quick 180 turn to see if anyone or anything is behind them.
CLAIRE and LUTHER stops. They survey the tunnel. Nothing.
The GROWLING SOUND stronger now. It's coming from the shaft above them.
FRAME on JILL, she sees the ELEVATOR up ahead.
JILL
Keep moving.
(she sprints towards the door)
The OTHERS follow. CHRIS stops underneath the flickering lights; he turns around sensing something behind him. No one noticed.
JILL reaches the ELEVATOR; she presses her hand on a scanner.
CLOSE-UP on JILL, we can see a blurred CLAIRE and LUTHER coming towards her.
FRAME BLACK.
CAMERA from inside the ELEVATOR, the door opens. JILL shines the flashlight and her gun ready. The lights are dim; nothing is inside it.
FRAME on JILL looking back at the OTHERS. CLAIRE reached her first then LUTHER.
JILL
Get in!
FRAME on CHRIS; slowly walking backwards to the ELEVATOR. He hears someone calling from behind him.
JILL (O.S)
CHRIS!
FRAME on CLAIRE and LUTHER already inside the ELEVATOR. CLAIRE looks for her brother; JILL standing outside.
CLAIRE
(to JILL)
Where's CHRIS?
JILL (O.S)
Wait here.
FRAME on JILL walking away from the ELEVATOR. She stops several feet away.
JILL
CHRIS?
FRAME on the ELEVATOR; LUTHER holds the door open. CLAIRE steps out. SUDDENLY she hears a noise from above her, then the GROWLING SOUND. CLAIRE looks up the shaft above her.
CLAIRE's POV. Something huge dropped a few feet in front of her. It's where the GROWLING is coming from.
CLOSE-UP on CLAIRE; her eyes widen in fear.
CAMERA behind CLAIRE; slowly backing up. The thing in front of her is not visible.
FRAME on CLAIRE pointing her gun then shoots at the THING.
FRAME on JILL; she looks back at where CLAIRE and LUTHER were.
CLOSE-UP on CHRIS; he hears the gunshots.
FRAME on CHRIS running to the ELEVATOR. He caught up with JILL shooting at a 'THING'.
TOP VIEW of the ACCESS TUNNEL. We see CHRIS and JILL on one end; CLAIRE on the other, near the ELEVATOR. In BETWEEN them, FIVE LICKERS. JILL and CLAIRE still shooting at the LICKERS.
FRAME on TWO LICKERS eyeing CHRIS and JILL. The other THREE LICKERS stalking CLAIRE.
FRAME on CLAIRE; her gun clicks empty. LUTHER appears behind her, he tried to pull her back in the ELEVATOR. She sees CHRIS and JILL.
CLAIRE
CHRIS!
CHRIS (O.S)
Take the ELEVATOR!
FRAME on CHRIS; he grabs JILL by her arms.
CHRIS
(to JILL)
We have to find another way!
FRAME on LUTHER and CLAIRE running to the ELEVATOR. They get inside; CLAIRE tried to stop the doors from closing.
CLAIRE
(to LUTHER)
We can't leave them!
LUTHER
Don't have time!
He pulls CLAIRE away from the door.
FRAME on CHRIS and JILL. They're running back to the entrance of the ACCESS TUNNEL. CHRIS sees a trap door on the shaft above them.
CHRIS
(to JILL)
Wait. I got an idea.
INT. ELEVATOR – BSAA HEADQUARTERS – UNKNOWN TIME
LUTHER leans on the wall as he tries to catch his breath. CLAIRE slams her hands against the door.
LUTHER
They'll be alright.
CLAIRE didn't respond.
LUTHER (cont)
They'll find another way.
INT. ACCESS TUNNEL – NEAR THE SHAFT – UNKNOWN TIME
We see CHRIS, alone, he's placing a mine on the floor. He looks up at the SHAFT's TRAP DOOR; JILL's waiting for him.
JILL (O.S)
HURRY!
FRAME on JILL extending her hand.
FRAME on CHRIS he runs to the wall, uses it as leverage, and grabs JILL's hand. She catches him and pulls him up. CHRIS grabs the edge of the trap door.
FRAME on THREE LICKERS coming towards CHRIS. He's already half-way up the shaft.
FRAME on CHRIS and JILL. He's finally up the shaft; closes the trap door.
FRAME on LICKER ONE; jumps up the closed trap door.
BACK on CHRIS and JILL scrambling to move in the tight space.
CHRIS
Go!
JILL crawls her way to the end of the shaft.
FRAME on the MINE; LICKER TWO steps on it. BOOM! EXPLODING LICKER MEAT. Same fate for LICKER THREE.
FRAME on CHRIS and JILL. The shaft vibrates from the impact. They reached a safe distance before the explosion.
SIDE VIEW of the last two remaining LICKERS; they're on the shaft at the other end near where the ELEVATOR is.
JILL shines a light across the dark shaft, seeing the LICKERS creeping towards them.
JILL
SHIT.
CHRIS
What?
CHRIS peeks over JILL shoulder. He sees the LICKERS; JILL takes a GRENADE.
CHRIS
Wait—
JILL
Too LATE to go back.
JILL pulls the PIN and tosses/rolls the GRENADE as far as she can. It ends up underneath the LICKERS. BOOM! AGAIN. The explosion caused the end of the SHAFT to collapse.
FRAME on CHRIS and JILL sliding down the SHAFT; JILL landed hard on the ground, followed by CHRIS. They ended up in front of the ELEVATOR. They're both unconscious; DUST and fallen concrete and metals around them.
INT. ELEVATOR – UNKNOWN TIME
CLAIRE and LUTHER looking up at the ceiling. They heard the faint explosion coming from above.
LUTHER
What was that?
CLAIRE
Sounds like an explosion.
The ELEVATOR suddenly stops. They reached the last level; CLAIRE and LUTHER braces themselves. GUNS READY. The door opens.
INT. ACCESS TUNNEL – NEAR ELEVATOR – UNKNOWN TIME
CHRIS, slowly gets up, and then moves beside JILL. She's bleeding from her scalp/forehead. He helps her up on her feet.
CHRIS
You're hurt.
JILL
Don't worry about me. WE need to find CLAIRE and LUTHER.
CHRIS studies JILL's face for a moment then nods. They walk to the ELEVATOR.
EXT. TRICELL BOAT – DECK – NIGHT
DAVID is standing guard, looking at the dock. ANGELA walks up to him.
ANGELA
Do you think they found HELP?
BUT before DAVID can answer her; they hear noises. Sounds like HELICOPTERS.
DAVID's POV. One HELICOPTER passes by overhead; they felt a strong gush of wind.
PAN OUT. The other HELICOPTER hovers over the TRICELL BOAT; a LIGHT blinds them.
TOP VIEW. DAVID and ANGELA shields their eyes; K-MART and STEVE runs to their side.
INT. HELICOPTER – OVER THE TRICELL BOAT – NIGHT
We see PILOT looking down on the boat; his passengers, three men wearing a military uniform. There's an insignia on their arms, the letters BSAA.
PILOT
What did I tell you CAPTAIN?
(a smirk on his face)
FRAME on the CAPTAIN. DAN DeCHANT, captain of the ALPHA TEAM, BSAA NORTH AMERICA.
CAPTAIN DeCHANT
(smiling)
Survivors. Great job, KIRK.
FRAME on the PILOT. KIRK MATHISON, helicopter pilot, ALPHA TEAM, BSAA NORTH AMERICA. Proud of his accomplishment.
CAPTAIN DeCHANT (O.S)
Take us closer.
KIRK
Aye, aye CAPTAIN.
EXT. TRICELL BOAT – DECK – NIGHT
Two men in uniform rappels down from the HELICOPTER. The FOUR people on the deck, seemed frozen in fear/surprise. DAVID recovering, pulls out his gun.
FRAME on ONE SOLDIER. He shows DAVID his hands.
SOLDIER
Whoa whoa!
FRAME on the other SOLDIER. It's CAPTAIN DeCHANT.
CAPTAIN DeCHANT
(to DAVID)
We are here to HELP you. I'm CAPTAIN DAN DeCHANT. BSAA ALPHA TEAM.
FRAME on DAVID; he lowers his gun but still cautious.
DAVID
BSAA? You came from that HEADQUARTERS?
(he nods to the direction of the stadium)
FRAME on CAPTAIN DeCHANT; a little surprised.
CAPTAIN DeCHANT
How did you know about that HQ?
DAVID (O.S)
It doesn't matter.
FRAME on the people on DECK.
DAVID
We came here for HELP. Four of our group went in.
CAPTAIN DeCHANT
That HQ is abandoned, we responded to a distress call 42 hours ago. We were too late, everyone's dead.
ANGELA
Oh GOD.
K-MART
We need to help THEM!
CAPTAIN DeCHANT
We'll take care of that.
(to his radio/comm. device)
JOHNSON, come in.
JOHNSON (from radio)
Sir.
CAPTAIN DeCHANT
Four survivors on our current location. Transport them to base.
JOHNSON (from radio)
Copy that sir, on our way.
CAPTAIN DeCHANT
(to ANGELA and K-MART)
You'll be fine. They're on their way.
INT. ELEVATOR – BSAA HQ – UNKNOWN TIME
CHRIS and JILL reached the entrance of the BSAA HQ; no signs of CLAIRE and LUTHER. The LOBBY, dimly lit and deserted. They BOTH look around.
CHRIS
(to his radio)
CLAIRE do you copy?
(he hears static)
LUTHER come in.
(no answer)
FRAME on JILL, she sees something on the floor; picks it up. A faint voice coming from it; it's CHRIS, calling CLAIRE. It's CLAIRE's HEADSET.
JILL
CHRIS, over here.
FRAME on CHRIS; he walks towards JILL. She shows him the HEADSET.
CHRIS
CLAIRE.
(concern in his voice)
JILL
We'll find them.
INT. BSAA HEADQUARTERS – PARK LEVEL – UNKNOWN TIME
Scene, looks like a basement parking; with some vehicles still parked.
CLAIRE silently walking; her gun on her hand, the other holds a flashlight.
CLAIRE
(whispering)
LUTHER?
UNKNOWN POV. Moving towards CLAIRE.
CLAIRE
LUTHER!
MAN (O.S)
Who's LUTHER?
(in a creepy, mad-scientist voice)
CLAIRE quickly turns toward the voice. Her light on his face, it's RICARDO IRVING.
CLAIRE
Who ARE you?
IRVING
(Laughs maniacally)
You shouldn't be asking stupid questions like that.
IRVING (cont)
(Sarcastic)
You should be running for your life, before SHE finds you.
(Laughs again)
FRAME on CLAIRE; confused.
WOMAN (O.S)
Why are you still here?
FRAME on IRVING; he smiles upon hearing the voice.
IRVING
I'm just making conversation with a new acquaintance.
FRAME on CLAIRE; she recognizes the voice.
MAN (O.S)
CLAIRE!
FRAME on the MAN. It's LUTHER.
IRVING (O.S)
Well, well. Is this the man you're looking for?
FRAME on IRVING.
WOMAN (O.S)
Quit playing around. LEAVE NOW!
FRAME on the WOMAN; still barely visible. CLAIRE's FLASHLIGHT reveals her face. It's ALICE.
FRAME on CLAIRE and LUTHER; in shock.
LUTHER
ALICE?
CLAIRE
You're ALIVE.
(happy to see ALICE)
FRAME on ALICE; she didn't respond or showed any emotion.
CLAIRE (O.S)
ALICE? What's going on?
IRVING (O.S)
(Laughs)
I'll leave you three to catch up with things.
FRAME on IRVING; already leaving.
LUTHER (O.S)
STAY where you are!
IRVING stops.
FRAME on LUTHER; pointing a gun at IRVING.
LUTHER
What DID you do to her?
FRAME on IRVING; without looking at LUTHER.
IRVING
I'll let HER do the explaining.
HE leaves.
FRAME on ALICE; she runs toward CLAIRE and disarms her before she can even fire a shot. CLAIRE drops her flashlight; she tries to DEFEND herself. ALICE spin kicks CLAIRE in the gut; CLAIRE falls on her back. ALICE unsheathes her sword.
FRAME on LUTHER; he shoots ALICE a couple of times.
FRAME on ALICE; she turned to face LUTHER. Bullet wounds on her shoulders are visible. No effects on her. ALICE about to slice CLAIRE in half.
FRAME on LUTHER; he tackles ALICE. They fall on the ground, wrestling each other. She loses her sword; kicks LUTHER away from her. He lands hard on the side of a car.
FRAME on ALICE; she struts towards him, with a 'you-can't-kill-me' look on her face. She reaches LUTHER and grabs him by his neck.
FRAME on CLAIRE; unable to stand up, clutching her gut in pain.
CLOSE-UP on LUTHER; he gasps for air.
LUTHER
Ah-ALICE!
FRAME on ALICE; she grabs her sub-machine gun on her back, and then unloads the whole clip on LUTHER'S chest. She drops the bloody and lifeless body of LUTHER.
A pair of footsteps echoes in the room.
FRAME on CHRIS and JILL; entering the scene. CHRIS sees CLAIRE on the floor trying to get away from ALICE.
CHRIS
CLAIRE!
CHRIS runs to CLAIRE's side; JILL recognizes ALICE.
JILL
ALICE?
She took a few steps towards ALICE.
FRAME on CHRIS and CLAIRE; he helps her up.
CLOSE-UP on JILL; she seems happy to see ALICE but confused.
JILL
Don't you remember me?
CLOSE-UP on ALICE; a tiny red dot blinks on a small device on her ear (like a hearing aid but black)
INT. A BUILDING – ABOVE BSAA HQ – NIGHT
We see IRVING hiding from someone; he's holding a device, like a cell phone, talking to someone.
IRVING
GET me OUT of here!
FRAME on a SOLDIER; he's moving quietly, searching for someone. It's CAPTAIN DeCHANT with at least 4 soldiers with him.
CAPTAIN DeCHANT
Search the perimeter. Apprehending IRVING is a PRIORITY.
SOLDIERS
Yes, sir.
INT. BSAA HEADQUARTERS – PARK LEVEL – UNKNOWN TIME
ALICE listens to her earpiece; she turns to leave, ignoring JILL.
JILL
ALICE, wait!
JILL follows ALICE.
FRAME on CHRIS with CLAIRE's arm around his neck. They follow JILL.
INT.A BUILDING – ABOVE BSAA HQ – NIGHT
A soldier drops dead after a gunshot. ALICE walks in the HALLWAY.
FRAME on CAPTAIN DeCHANT; he turns around after hearing the gunshot. He comes face to face with ALICE. SHE shoots a bullet between his eyes.
FRAME on IRVING; a little edgy, crouched under a desk. He hears someone enters the room. He tightens his grip on his gun.
WOMAN (O.S)
Let's go!
IRVING peeks from under the desk; relieved to see ALICE. He comes out of his hiding place.
INT.A BUILDING – ABOVE BSAA HQ – HALLWAY - NIGHT
JILL sees ALICE and IRVING leaving the room. They're heading to the HELIPAD on the roof.
JILL
ALICE stop!
They stop. IRVING smiles at JILL. (JILL knows who IRVING is because she investigated him back in the day)
IRVING
You here to arrest me?
ALICE (O.S)
Go. WESKER'S waiting for you.
JILL pointing a gun at IRVING; hesitates.
JILL
(to ALICE)
WESKER's here? I can't let you help him escape.
FRAME on ALICE; she takes her gun.
ALICE
(to IRVING)
I'll take care of this.
IRVING leaves. ALICE aims at JILL, does NOT shoot.
JILL (O.S)
What have they DONE to you?
FRAME on JILL; she lowers her gun.
FRAME on ALICE; her hands are unsteady. It looks like she's resisting the P30-G. Her face, worried.
ALICE
J-JILL.
ALICE fires a shot at JILL. But it grazes the wall beside/behind her. SHE intentionally missed her.
FRAME on JILL; frozen in shock.
JILL'S POV. ALICE leaves, follows IRVING.
EXT. ROOFTOP – HELIPAD – NIGHT
A HELICOPTER is waiting; IRVING resists the strong gush of air, on his way.
FRAME on ALICE; behind IRVING.
PAN OUT. IRVING boards the HELICOPTER, ALICE steps onto the ramp.
FRAME on JILL bursting out from the door, she moves closer to the HELICOPTER; followed by CHRIS and CLAIRE.
PAN OUT. The HELICOPTER has lifted off the HELIPAD. The ramp still lowered while it hovers a few feet of the ground.
FRAME on JILL now standing close to the HELICOPTER. She aims her gun at ALICE who is standing on the ramp.
FRAME on ALICE. Someone appears behind her. It's WESKER; a hint of surprise in his face.
WESKER
VALENTINE. It seems that we DID lose you.
FRAME on JILL; anger on her face. She points her gun at WESKER.
CLOSE-UP on WESKER; smiling.
WESKER (cont)
You DO know that your EFFORTS are merely pointless.
(beat)
You CAN'T stop me! Don't you realize that maybe it's time for you to change sides, BEFORE it's too late.
FRAME on JILL.
JILL
I've been on your SIDE. I didn't LIKE it. And I NEVER will.
CHRIS and CLAIRE appear on JILL's side. CHRIS points a gun at WESKER. He was about to shoot but..
FRAME on WESKER; who pulled someone from behind and used them as a SHIELD. It was K-MART and STEVE. Two SOLDIERS wearing helmets were holding DAVID and ANGELA.
WESKER
Tsk, tsk, tsk. I wouldn't DO that if I were you.
K-MART
CLAIRE!
FRAME on CLAIRE; worried about K-MART.
CLAIRE
No!
JILL (O.S)
Let her go!
CLAIRE
(Pleading to ALICE)
Please ALICE, help us! WAKE UP!
FRAME on ALICE, standing like a statue.
WESKER (O.S)
Nice try. We managed to CORRECT that little FLAW. Now, I have full CONTROL over her without any..
CLOSE-UP on WESKER. He looks at ALICE.
WESKER
..relapse.
(looks at CLAIRE and CHRIS)
I've changed my mind about killing you two, AND you as well.
(he nods at JILL)
FRAME on JILL, CHRIS and CLAIRE; unable to do anything.
WESKER (O.S)
As my PLAN comes full circle. I WANT YOU ALL to witness the emergence of my NEW world. With ME..
FRAME on WESKER.
WESKER
..as GOD.
FRAME on JILL; he's furious.
JILL
This is NOT over WESKER!
FRAME on WESKER; smirking.
WESKER
You're RIGHT. It's NOT.
(beat)
And just to MAKE myself clear. I'll kill your FRIENDS if you DO anything stupid before we get to leave.
FRAME on CLAIRE.
CLAIRE
You'll REGRET this.
BACK on WESKER; a triumphant smile on his face.
WESKER
I doubt it.
He then pulls a gun and shoots STEVE. STEVE falls from the HELICOPTER onto the ground.
K-MART
No!
(cries hysterically)
WESKER
WE CLEAR?
(to CHRIS, JILL and CLAIRE)
FRAME on CHRIS, then JILL, then CLAIRE who was now in tears.
PAN OUT. WE see the HELICOPTER leaving the HELIPAD. The SUN about to rise in the horizon. Cue in MAIN THEME/BACKGROUND MUSIC.
FADE TO BLACK.
(Hold BLACK for at least 5 seconds)
FADE IN.
We SEE a pair of legs walking across the FRAME; a PAIR of BROWN, LEATHER, KNEE HIGH BOOTS. A dusty road, not concrete, just a terrain.
FRAME on SIDE VIEW. CHRIS is driving a jeep with JILL on the passenger side. CLAIRE seated at the back. They stop in front of rows of wooden houses like a shanty.
PAN OUT. The slums of (somewhere) in AFRICA. A woman approaches their jeep.
FRAME on SIDE VIEW; JILL and CHRIS still seated.
JILL
(to the woman)
Are you the informant?
WOMAN (O.S)
(with an AFRICAN accent)
No. But I can take you to him. You lookin' for someone?
FRAME on CLAIRE; seated behind JILL.
CLAIRE
Yes. Our friends.
WOMAN (O.S)
I'll help you in any way I can.
FRAME on CHRIS.
CHRIS
Thank you. I'm CHRIS REDFIELD. That's my sister CLAIRE..
(points at the back)
..and this is JILL VALENTINE.
FRAME on the WOMAN. WE SEE it's SHEVA ALOMAR (from RE5).
WOMAN
My name is SHEVA ALOMAR.
(beat)
Welcome to AFRICA.
CUE IN BACKGROUND music; ROCK tempo.
FADE TO BLACK.
END CREDITS.
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