INT. MANSION - MAIN HALL - NIGHT

The room is giganic and impressive. The ceiling is one big skylight, with a crystal chandelier hanging in the center. A big set of windows is on the south side of second floor wall. A sweeping, richely carpeted grand staircase leads upstairs. There are some gothic style chairs elegantly lined up against the wall and some expensive vases are shown off on little tables. Some candles, almost burnt out, are providing extra light. There is a little set of stairs leading behin the staircase. Although the place looks lived in, a thin layer of dust covers the china and the furniture.

Jill, Barry and Wesker are standing int he middle of the room, trying to catch their breath.

JILL

Is everyone all right?

WESKER

I think so. What the hell

just happened?

JILL

Brad! I swear to god, I'll

kill him!

BARRY

What is this place?

WESKER

Not your ordinary trailer,

that's for sure.

Jill looks around her surroundingd and shock of recognition hits her.

JILL

Oh, my god... Joseph... No,

wait... Captain Wesker,

where's Chris?

WESKER

Jill, I'm sorry...

JILL

No!

Jill rushes to the front foor and is about to open, but Wesker grabs her shoulder.

WESKER

Jill, you don't want to open

this door.

JILL

But Chris is---

WESKER

And there is nothing we can

do.

The three stare at each other for a moment, as a crash of lightning breaks the deadly silence.

BARRY

Just our fucking luck. Now

it's gonna rain.

JILL

Wait a second, how did this

mansion get out here.

WESKER

Well, the only mansion anywhere

near here is the Spencer Estate,

so...

JILL

No, it's impossible!

BARRY

Why?

JILL

Hello! The Spencer place was

abandoned over thirty years

ago. This place should be a

hell hole!

BARRY

Well, there is some dust here

and there.

JILL

Barry, please tell me you're

joking. No, this can not

possibly be the Spencer Estate.

WESKER

(sighs)

Look down at our feet.

Jill looks down and sees that the carpeting by the front door sports a fancy, aristocratic ensigne.

JILL

The Spencer family crest...

This is just getting freakier

and freakier.

Suddenly, a loud gunshot erupts from behin a set of double doors on the west well.

BARRY

What was that?

JILL

It could be Chris.

WESKER

Or one of the Bravos. Jill,

will you investigate?

BARRY

I'll go too. Chris and I

go back a long way.

WESKER

I'll secure this exit. We may

need to get out of this mansion

in a hurry after all.

Jill and Barry head for the double doors. Barry aims his gun, as Jill gets to the side and slowly opens the door.

CUT TO:

INT. MANSION - DINING ROOM - NIGHT

The door begins to open slowly, but then flies open as Barry kicks it in with his foot and storms in, his gun ready, followed by Jill. The door closes back behind them.

They eye the room. It is a rather familiar looking dining room, now empty. The food on the tables is dried up and most of the china is smashed to pieces.

BARRY

A dining room.

JILL

Gee, thank for the update.

The begin making their way towards the fireplace.

JILL(CONT.)

Jesus... It looks like this

place has been hit by a

hurricane.

Barry sees something by the fire place and kneels down.

BARRY

Holy shit... Jill, look.

Jill comes up to Barry.

CUT TO:

EXT. WOODS - NIGHT - SAME TIME

The rain is quietly drizzling on the ground. The howling of the Dobermans can be heard int the distance.

Chris is leaning against a tree, catching his breath and reloading his magnum. The growls grow nearer.

CHRIS

Don't these things ever

catch a breather?

Chris bolts forward and finds himself staring at the massive wall of the mansion. He runs to the side and sees a wooden fence. Chris looks at it for a moment, unsurely.

The shape of the hounds begin to materialize in the darkness.

CHRIS(CONT.)

Here goes nothing.

Chris grabs the fence's metal decoration and begins climbing up the brittle fence.

CUT TO:

EXT. YARD - NIGHT

Chris lands in another part of the woods, but the area is completelt fenced. He gets up and cleans the dirt off his clothes.

Chris slowly walks around the corner and hears an anguished moan, a cross between a beast and a woman. He aims his gun into the darkness and beyond the many trees, A DARK HUNCHBACKED SHAPE stumbles slowly, yet intelligently. He then sees a dilapidated cabin about twenty feet away. Chris carefully creeps towards the hut.

CUT TO:

INT. MANSION - DINING ROOM - NIGHT - SAME TIME

Jill puts the gun in her holster, then kneels down next to Barry and dips her fingers in a puddle of red, which is sprawled in front of the fireplace.

JILL

(examining he finger)

Blood.

She stands up.

JILL

What the hell happened here?

BARRY

I'll check the fireplace.

Jill, that door over there...

JILL

I'm on it.

Jill approaches a small door on the right of the fireplace. She examines the knob. It, along with the lock, is hanging by one nail.

JILL(CONT.)

Someone must have been here

before us...

Suddenly, the door swings open. Jill gasps and backs away, Barry stands up and looks into the doorway.

A MAN emerges into the dining room. His clothes are torn and are caked with dried up blood and puss. His eyes are blank and the face is poked with sores, there is fresh blood on his mouth and chin. The Man drooles hungerly. Barry quickly aims his gun on him.

BARRY

Don't move!

The Man, oblivious to Barry, stretches out his arms, and growling like an animal, lunges for Jill.

BARRY(CONT.)

Just one more step and I'll

fire!

The Man claws wildly at Jill, she screams and tries to get her gun out of the holster.

BARRY(CONT.)

Jill, duck!

Jill ducks down, as Barry fires his massive revolver, taking out a chunk of the ghoul's shoulder. The creature does not seem to notice.

BARRY(CONT.)

What the fuck?]

JILL

Barry!

Barry shoots a few times into the creatures chest, the final shot explodes into the ghoul's head. Dark, chunky blood, accompanied by gray matter, splatters on the wall and the creature collapses on the ground.

Barry outs down his weapon and helps Jill up.

BARRY

Are you okay?

JILL

What the hell was that?

BARRY

...A man...

JILL

Did you see what he looked

like? The morgue... It's

exactly what happened in the

morgue!

More footsteps are heard from the darkness beyond the open doorway. Jill and Barry quickly aim their guns.

MALE VOICE

(o.s.)

Who's there?

BARRY

And who's there?

Kenneth Sullivan, caked in dirt and holding his bleeding arm, emerges. Barry and Jill sigh and relieve put their weapons in the holsters. Then, they quickly ten to their wounded ally.

BARRY

Sullivan?

BARRY

Kenneth? Are you okay? What

happened?

SULLIVAN

That thing... It bit me on

the arm, I shot in the knee,

but...

JILL

How deep is your wound?

SULLIVAN

Not that deep.

JILL

Let me take a look.

Jill takes his arm and sees a small bite right above Sullivan's wrist. It is bleeding at a tremendous rate.

JILL(CONT.)

Damn it! That fucker bit

you where veins are. Here,

let me help.

Jill opens up her side pack and takes out a first aid spray. She sprays on Sullivan's wound, he winces in pain.

JILL(CONT.)

Oh, get over it.

She puts the spray back in her side pack, then takes out a small roll of bandages and wraps it around Sullivan's arm.

SULLIVAN

Thanks.

JILL

(zipping up her side pack)

Don't mention it.

BARRY

Come on, we have to meet

Wesker.

SULLIVAN

Wait, how did you guys

get here?

JILL

You see...

As she begins talking, They head towards the double doors.

CUT TO:

INT. MANSION - MAIN HALL - NIGHT

Jill, Barry, and Sullivan find that Wesker is gone.

BARRY

Wesker!

JILL

(almost apolegetically)

He said that he would stay

to secure our exit...

SULLIVAN

I'm used to people disappearing

in this mansion by now.

Barry and Jill run to the small set of stairs and looks behind the staricase. A set of gates adjacent to the staricase (with two indentations) separates the alcove from the pitch black beyond.

BARRY

He's not in the alcoves.

JILL

No, this is impossible! How

could just flake out on us?

SULLIVAN

Okay, let's not lose our heads.

Maybe he was forced to flee.

Can't say I blame him.

JILL

What exactly happened to

you guys out there?

SULLIVAN

When we crash landed, we decided

to split up and resume the

investigation, or at least get

help. Then, those things---

BARRY

The dogs?

SULLIVAN

No, not just the dogs. There

are people... Changed people,

understand?

Jill and Barry nod.

SULLIVAN

They attacked us and... I

saw them maul Dewey...

JILL

What about the others?

SULLIVAN

I caught up with Rebecca,

Richard and Forest by

morning outside the mansion.

We thought it was safe here,

but... Stupid, ain't it? We

got separated, this mansion

is gigantic! Then that thing

attacked me and that is when

you guys got here. I have no

idea where Enrico and Kevin

Dooly are.

JILL

Ken, I'm sorry. We found

Kevin. he...

SULLIVAN

I understand. So, what should

we do now?

BARRY

We have to find the others

and try to get out of this

place. And there is only

one way to do that.

JILL

No, Barry. We can't possibly---

BARRY

Jill, keep an open head. There

is now way we can find the

other and an exit in time

before...

JILL

Before we are all turned into

cole slaw, right?

SULLIVAN

He does have a point. Some

of us must look for the

others and another one must

find an exit.

JILL

All right. But Kenneth,

I'm sticking with you.

SULLIVAN

What? Why? Jill, I'm not

five.

JILL

That maybe so, but you are

wounded and this place maybe

the source of everything. I

am not about to leave a wounded

comrade in a place where these

creatures roam and who knows

what else!

BARRY

Okay, okay. You two will

search for survivors, while

I'll look for a safe way

out.

SULLIVAN

Good. You check the west

wing again, Jill and I

will check the east wing,

there is still some places

there I haven't checked yet.

JILL

All right, then. Barry,

Be careful.

BARRY

Careful? I don't need to

be careful.

Barry shows off his impressive magnum.

JILL

Get over yourself.

SULLIVAN

If anything happens, we'll

go back to the main hall

and wait up for for the other

one.

The three salute each other, half jokingly. Then, Barry heads back for th dining room doors, while Jill and Sullivan approacheS a set of doors across the hall.