Resident Evil, the Radio Drama

03. TRAITOR

written by Catboiler

based on

Resident Evil (1996) Capcom

Resident Evil, the Umbrella Conspiracy, by S.D. Perry


Recording available on Soundcloud

Just go to soundcloud and search for: "Resident Evil the Radio Drama"


Int. Previously on resident evil

MUSIC, Opening Theme

Fade to:

Int. Small BEDROOM

SFX, Door opens and closes, cautious footsteps, searching around the room 4 seconds, footsteps stop.

CHRIS

Hello? What do we have here? A diary.

DIARY

May 9. Played poker tonight with Scott and Alias from Security, and Steve from Research. Steve was the big winner, but I think he was cheating. Scumbag.

May 10. One of the higher-ups assigned me to take care of a new experiment. It looks like a skinned gorilla. Feeding instructions are to give it live animals. When I threw in a pig, the creature seemed to be playing with it, tearing off the pig's leg and pulling out the guts before actually eating it.

SFX, Turn page

DIARY (CONT'D)

May 11. At around 5am, Scott woke me up. He was wearing protective garment that looked like a space suit. He handed me another one and told me to put it on. Said there'd been an accident in the basement lab. I just knew something like this would happen down there. They never rest.

May 12. I've been wearing the damn space suit since yesterday. My skin's getting grimy and feels itchy all over. The goddamn dogs have been looking at me funny, so I decided not to feed them today. Screw 'em.

May 13. Went to the infirmary because my back is all swollen and feels itchy. They put a big bandage on it and told me I didn't need to wear the suit any more. All I want to do is sleep.

CHRIS

Accident? My god...

SFX, Turn page

DIARY

May 14. Found another blister on my foot this morning. I ended up dragging my foot all the way to the dogs' pen. They were quiet all day, which is weird. Then I realised some of them had escaped. If anybody finds out, I'll have my head handed to me on a plate.

May 15. My first day off in a long time and I felt awful. Decided to go visit Nancy anyway, but when I tried to leave the estate, I was stopped by the guards. They said the company's ordered that no-one leaves the grounds. I can't even make a phone call - all the phones have been ripped out. What sort of crap is this?

May 16. Rumour's going around that a researcher who tried to escape last night was shot. My entire body feels hot and itchy and I'm sweating all the time now. I scratched the swelling on my arm and a piece of rotten flesh just dropped off. Wasn't until I realised the smell was making me hungry that I got violently sick.

CHRIS

to himself Secret research at a secret estate? An accident in a hidden lab? An escaped virus or infection of some kind that turns people into those ghouls? And some of them got out! The cannibal killers! pause Maybe Rebecca knows something about this virus.

SFX, Door opens

FADE TO BLACK.


Int. Art gallery

SFX, Mournful crow caw

JILL

What the... ok, just a crow. What are they doing in an art gallery?

SFX, Slow footsteps on carpet under dialogue

JILL (CONT'D)

to herself Not much in here except the crows and a few old oil paintings; a baby, an old man. Not exactly inspired artwork. Quite creepy, in fact. Oh well, may as... Wait a sec. If that's the light switch, what are these other switches for? Maybe there's more to this than I thought. From cradle to grave. Wonder what that means?

SFX, Flicks a switch, an electrical snap and the crows explode into motion, cawing and beating their wings. Gets closer to Jill.

JILL (CONT'D)

screams

SFX, Footsteps running out, door slams shut, crows suddenly muffled but still audible. After a while they die down.

JILL (CONT'D)

breathing heavily What the hell? Attack-trained crows? pause, to herself But how did they...

SFX, Flashback to the switch, electrical snap and crows, slowed down and reverse reverb

JILL (CONT'D)

The perch! Oh, that's clever! Someone's gone to a lot of trouble in there to hide something, I'm sure. But how... I suppose I could stand in the doorway, take them out one at a time. No, would take too much ammo. Only fools accept the obvious and go no further. Come on Jill, use your brain. From cradle to grave, switches, a young boy, a baby, and old... of course! From cradle to grave. Clever!

SFX Door opens slowly

FADE TO BLACK.


Int. Mansion storage room

SFX, Banging on door (muffled)

CHRIS

from behind door Rebecca? Let me in, it'ss Chris!

SFX, Rebecca pulls the trunk away from the door, opens the door

CHRIS (CONT'D)

Thanks.

SFX, Door closes

REBECCA

Chris! You're ok!

CHRIS

Yeah, thanks. Look, I found a diary in the sword key room. It looks like there was some research going on here. I don't know what kind, but...

REBECCA

Virology. You were right about there being something useful in here.

SFX, Chris takes papers from Rebecca

CHRIS

What is this stuff? DH5a, MCR?

REBECCA

You're looking at a strain chart. That one's a host for generating genomic libraries containing methylated cytosine, or adamine residues, depending...

CHRIS

Whoa! Let's pretend I have no idea what you just said and try again, shall we? What did you find?

REBECCA

Uh, sorry. giggles Basically, there's a lot of, uh, stuff in here on viral infection.

CHRIS

Now that I understand. A virus. That makes sense. On May 11th there was some kind of a spill or outbreak, whatever, in a lab on this estate. Within eight or nine days, whoever wrote the diary had turned into one of those creatures out there.

REBECCA

Really? Does it say when the first symptoms appeared?

CHRIS

Uh, within twenty-four hours or so, I think, he or she was complaining of itchy skin. Swelling and blisters within forty-eight hours.

REBECCA

That's ... wow!

CHRIS

My thoughts exactly. Is there any way to tell if we could be infected?

REBECCA

Not without more information, sorry.

CHRIS

Damn. So we could turn into zombies, too?

REBECCA

An airborne virus with that kind of speed an toxocity... if it was still viable, all of Raccoon could be infected by now. I can't be sure, all this stuff is ten years old or more, and there's nothing really specific in here, but I doubt it's still contagious.

CHRIS

Good to know. We have to find the others. If one of them should stumble across the lab without knowing what's there...

REBECCA

I'll come with you.

CHRIS

Ok. Stay close, though. The door we want is to the right at the end of the hall. I'll probably have to shoot the lock and I'm pretty sure there's a zombie or two wandering around, so I'll need you to watch my back..

REBECCA

Yes, sir!

CHRIS

Ready? Let's go.

SFX, Door opens.

FaDE TO BLACK.

Int. Kitchen


SFX, slight metallic reverb to voices

BARRY

off Chris, you in here?

SFX, cautious footsteps, searching

BARRY (CONT'D)

Chris?

SFX, Distant elevator doors close

BARRY (CONT'D)

What's that?

SFX, Low him of service elevator for a few seconds then the doors slide open

BARRY (CONT'D)

Captain Wesker!

WESKER

Barry! Just the man I was looking for.

BARRY

God, you gave me a scare! I heard the elevator start up and I thought I was gonna have a heart attack. Captain, where did you go? When we got back to the entrance hall, you'd gone.

WESKER

Sorry about that. I had some business to take care of. Look Barry, I need your help. Have you heard of White Umbrella?

BARRY

No.

WESKER

Well, it's a sector of Umbrella Incorporated, a very important division. They specialise in... biological research, I guess you could say. The Spencer estate houses their research facility, and recently, an accident occurred in the lab. This division has a few ties to the STARS organisation and not long ago, I was asked to... assist in their handling of this situation. It's a very delicate situation, mind you, very hush-hush. The boys at White don't want a whisper of their involvement getting out.

BARRY

Captain...

WESKER

Now, what I'm supposed to do is get to the laboratories on the grounds here and put an end to some rather incriminating evidence - proof positive that White Umbrella is responsible for the accident that's caused so much trouble here at Raccoon as of late. The problem is, I don't have the key to get to the labs - keys, actually. And that's where you come in. I need you to help me find those keys.

BARRY

long pause Are you insane? You think I'm going to help you destroy evidence? You crazy son of a ...

WESKER

Ah, Barry, you don't understand. You see, you don't really have a choice in the matter. See, a few of my friends at White are currently standing, uh, guard outside your house, watching your wife and daughters, making sure they're safe. We wouldn't want anything to happen to them, now would we?

BARRY

What?

WESKER

See, if you don't help me, I can't guarantee their safety, if you catch my drift.

SFX, Gun safety off

WESKER (CONT'D)

long pause Before you pull that trigger, Barry, I should probably mention that if I don't report back to my friends fairly soon, and fairly regularly, their orders are, well, I'm sure you can guess.

BARRY

You're bluffing.

WESKER

I'm not, but go ahead. Try me. You can apologise to their headstones later.

long pause

BARRY

sigh You win. What do you need me to do?

WESKER

Good boy, Barry. Now, there are four copper plates hidden somewhere around this house. Each one is about the size of a teacup and has a picture engraved on one side - sun, moon, stars and wind. There's a back door on the other side of the mansion where the four of them belong.

SFX, jangle of a keyring

WESKER (CONT'D)

This key should open all of the doors in the other wing, or at least the important ones, first and second floor. Find those pieces for me and your wife and children will be fine.

BARRY

Chris and Jill...

WESKER

... will undoubtedly want to help you search. If you see either of them, tell them that the back door you've discovered could be the way out. I'm sure they'll be more than happy to work with their trusted friend, good ol' Barry. In fact, you should unlock every door you can in order to promote a more thorough search. pause Of course, you tell them you've seen me, that could complicate matters. If I run into trouble, say, get shot in the back... well let's not think about that, shall we? Let's just keep this to ourselves.

BARRY

Where will you be?

WESKER

Oh, I'll be around, don't worry. I'll contact you when the time is right.

BARRY

You'll tell them that I'm helping you, right? You won't forget to report in?

WESKER

Trust me, Barry. Do what I tell you and there's nothing to worry about.

SFX, Elevator door opens and shut, hum of elevator as it descends, fade out

BARRY

quietly Wesker. pause Once this is over, once the girls are safe, you'll pay for this. With interest.

FADE TO BLACK.


Int. Shotgun room

JILL

Now this is what I'm talking about. And a Remington as well. Nice.

SFX, Click as the shotgun is lifted off its mounting hooks.

JiLL (CONT'D)

What was that? Uh, seems ok.

SFX, Loads shotgun, door opens and closes

SFX Footsteps on stone across short square room, 2 seconds

SFX, Rattle of locked door

JILL (CONT'D)

Funny. It was open when I came in. Who's...

SFX, Low rumble from above, ceiling grinding down, fade under dialogue

JILL (CONT'D)

The ceiling!

SFX, Hurried footsteps back across the room, but the other door is locked as well

JILL (CONT'D)

Oh no! Bad thing! Bad thing!

SFX, Short pause, then a shotgun blast

JILL (CONT'D)

Reinforced door!

SFX, Shotgun blast

JILL (CONT'D)

Oh god, please don't let me die in here! Help! Help!

pause

BARRY

from other side of door Jill? Is that you?

JILL

Barry? Help! Break the door down, now!

BARRY

from other side of door Stand back, Jill!

SFX, Thump of Barry charging the door, a pause of 2 seconds, then another thump

JILL

Come on, come on!

SFX, A third thump. This time, a crunch and splintering of wood as the door breaks open

JILL (CONT'D)

Barry!

BARRY

Come on!

SFX, The door splinters as the ceiling crashes through it, then a second later, a resonating boom as the ceiling impacts the floor

long pause

JILL

breathing heavily

BARRY

Jill, are you alright?

FADE TO BLACK.


Int. Mansion entrance hall

SFX, Muffled, distant boom of the ceiling impacting from the previous scene

REBECCA

What was that?

CHRiS

No idea.

REBECCA

There's nobody here.

CHRIS

And no forwarding message. I guess that moves us on to plan B.

REBECCA

What's plan B?

Chris

sigh Hell if I know. But we can start by checking out that other room with the sword key. Maybe we can dig up some more information while we wait for the team to reassemble, a map or something would be useful.

REBECCA

Ok.

FADE TO BLACK.

Int. Music room

SFX, Door opens and closes, footsteps (x2) on carpet then stop

REBECCA

Ooh, look at that, a baby grand. It's beautiful. I used to play the piano, you know.

Chris

Really?

REBECCA

I wasn't very good, though. My mum forced me through four years of lessons before she let me quit.

CHRIS

Play something for me?

REBECCA

giggles Oh no, I couldn't. I haven't played in years.

CHRIS

pause, coughs awkwardly Look, how would you feel about staying here while I take a look around the house?

REBECCA

You're abandoning me?

CHRIS

No, not at all. It's just...

REBECCA

I know, I'd only get in your way.

CHRIS

Rebecca, don't be like that. I...

REBECCA

It's true, Chris. I don't have a gun and I'd only slow you down.

CHRIS

I just need to know you're safe, that's all.

REBECCA

Chris...

CHRIS

I'll be back as soon as I can. Lock the door behind me and don't go wandering off, ok?

SFX, Door opens and closes

REBECCA

to herself Stupid, stupid! If I had a gun... Oh well, may as well sit down. pause What's this? Moonlight Sonata? Hey, I know this one. pause Oh, but it's been years...

SFX Rebecca plays Moonlight Sonata on the piano, the opening 12 seconds or so. The notes are mostly correct but she plays hesitantly, no consistency in the tempo, dynamics or note lengths. She is very unsure. After 12 seconds, she stops, interrupted by a low rumble of a secret panel opening in the wall

REBECCA (CONT'D)

What?

FADE TO BLACK.


Int. Mansion corridor

BARRY

fade in ... and when I heard the shots I came running. Lucky for you. Another couple of seconds, you would've been a Jill sandwich.

JILL

Thanks, Barry. I hope I can return the favour if you ever get in a tight spot. Really. You saved my life.

BARRY

Yeah, yeah. Just glad I could help. But be more careful. This place is dangerous.

JILL

Yeah. pause So you do think they're still alive?

BARRY

Yeah. Besides the shell casings, there was a whole trail of those ghouls in the other wing, all with clean headshots; gotta be Chris - though I had to splatter a couple more of 'em upstairs, so I figure he holed up somewhere along the way. So, what's with the star crest?

JILL

I found it in a room with paintings and crows. This place seems to be full of traps. In fact, maybe we should look for Wesker and Chris together, no telling what they might've stumbled into, or what else could happen to either of us.

BARRY

I don't know. I mean, you're right, we should watch our step, but there are a lot of rooms and our first priority ought to be securing an escape. If we split up, we can try to find the rest of the crests and look for Chris at the same time.

JILL

And Captain Wesker.

BARRY

pause Yeah. A-and Captain Wesker. Besides, we know what we're up against now. As long as we use a little common sense, we'll be fine.

JILL

Barry, are you ok? You seem - tired.

BARRY

No, I'm fine. Just worried about Chris, you know?

JILL

You sure you're ok?

BARRY

Yeah. Why?

JILL

No reason. You seem - preoccupied. Is something on your mind?

BARRY

No, nothing. I thought I'd go back over to the east wing, see if I can pick up Chris's trail. Why don't you head upstairs and start looking for the other crests? That way we can cover all of the rooms, work our way back to the main hall.

SFX, Footsteps away

BARRY (CONT'D)

off You'll be fine. Good luck.

SFX, Footsteps walk away, fade out

JILL

to herself Get a hold of yourself, Jill! You're being paranoid! That's Barry Burton there, the man who just saved your life! What could he possibly be hiding? scoffs Next thing, you'll be suspecting Captain Wesker of planning the whole thing. pause Maybe you should just stop thinking about it and do your job. We have to get out of here, let people know what's going on, or die trying.

FADE TO BLACK.