INT. MANSION - MAIN HALL - NIGHT
Jill, Barry, and Sullivan enter the hall. Wesker is nowhere in sight.
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.
CUT TO:
EXT. MANSION - DINING ROOM - NIGHT
One of the double doors open and Barry enters, only to find himself staring down at the barrel of gun. Barry is frozen in shock, he recognizes the person.
CUT TO:
INT. CABIN - MAIN ROOM - NIGHT
dried up pumpkins and other rotting vegetables are stuffed in sacks and are strewn around the one existent room. Fresh fire is burning brightly in dirty, crumbling fireplace. A few fresh candles are providing additional light. There is a bed and some more plain wood furniture, all rotting and broken.
Chris looks around himself, confused. He sees a set of steps leading to an alcove and climbes up them.
CUT TO:
INT. CABIN - ALCOVE - NIGHT
There is another bed, but this time it was improvised from sacks and wood. The sheets are old, wrinkled, and are encrusted with ancient blood, puss and vomit. A small table with a type writer is across from the bed. Chris eyes the bed with a digust and curiousity. He then approaches the type writer and finds a piece of paper wedged inside.
He pulls out the paper and sees crude text typed on it: "19 daddy atached first momm atached second iNside reD and slimy whiTte and haRd not true moM where dunno dad found mum again whne atached momMy she move no more she screaming why? Jst want to b with her 4 mom where? I mis yuo"
Chris, obviously disturbed by the message flips over the paper, revealing a photogrpaph, a bleaky color image from the middle of the sixties. Shown on the image is a family sitting happily on a terrace. It consists of ONE MAN, ONE WOMAN and ONE YOUNG GIRL, in her late teens. The man's face is very familiar.
CHRIS
George Trevor?
Suddenly, front door is heard slamming shut. Chris hides the photo in his pocket and takes out his gun. Just as he cautiously begins to exit the alcove, a pair of hands, clapped in wooden stocks, slam him on the head. Chris grunts, trips and falls of the steps.
CUT TO:
INT. CABIN - MAIN ROOM - NIGHT
Chris gets up fromt he floor, holding his head and looks at what has just hit him. It is a bizzare parody of a WOMAN. She is hunchbacked, dressed into something that used to be a silk designer night gown, now just tattered rags. Hanging off the the dress, like tails off a mink stole, are darkened scalps and peeled off faces, forever frozen in screaming grimaces. One, that of an older woman, seemed to have extremely cared for and hangs off in the center. The Woman's face is horribly disfigured and the teeth are disproportional. Except for a few hairs her, she is bald and there is ahuge eye growing out of her side, like tumor. She is covered in ebola-like sores.
The things raises her imprisoned hands again, but Chris ducks just in tim and shoots her. She screams loudly, but is otherwise unharmed. Chris shoots her again. No reaction. Just then, Chris sees the extra shoots in it. The eye bursts, the Woman groans and collapses on the floor.
CHRIS
What the fuck was that?
Suddenly, with a sickening squishing noise, a group of tentacles shoot out of the thing's spine and begins nursing the eye.
CHRIS(CONT.)
Holy shit.
The Woman begins showing signs of life, as Chris bolts for the exit.
CUT TO:
EXT. WOODS - NIGHT
Chris shuts the door behind him and runs down a small path through the trees. The woman's anguished, almost pathetic, moan emits out of the cottage.
Chris, losing his breath, reaches a small, iron gate. He pushes them, they open easily. Chris rushes inside.
CUT TO:
EXT. GRAVE YARD - NIGHT
It is rather miniature, with about twenty graves. Like the previus area, the cemetery is fenced off, this time by a fancy, tall iron fence.
Chris stands at one end, and sees A WOMAN slowly limping towards another gate further down.
CHRIS
Ma'am? Ma'am are you wounded?
The woman pays no attention.
CHRIS(CONT.)
Miss, it is all right. I'm
with S.T.A.R.S., Special
Tactics And Rescue Service.
I'm here to help you.
The Woman begins to slowly turn around. Chris begins to aproach her enthusiastically.
CHRIS(CONT.)
Do you know where we are?
Listen, there is this
cottage back there and---
Chris stops dead in his tracks, wide eyed and petrified.
Half of the Woman's face is gone. There is barely any muscle tissue left and the glistening skull is seen. Her shirt is ripped open adn the chest is poked with human bite marks. She opens her drooling mouth and and growling lunges at Chris, grabbing him by his vest. Chris drops his gun in surprise and begins to helplessly force the mad ghoul off himself. He manages to push her off and she falls on the ground. Chris immediately picks up his gun from the ground and aims it at the creature.
CHRIS(CONT.)
Don't move!
The woman begins to slowly rise. Chris shoots her in the arm. The woman shows no reaction.
CHRIS(CONT.)
Is everyone immune to guns
out here?
More growling erupts from behin the fence. Still aiming his gun at the woman, which is slowly getting off the ground, Chris turns his head and fins five more hideous ghouls ont he other side of the fence,t rying to reach from him. One of them is Joseph.
CHRIS(CONT.)
No... Joseph not you too...
The female ghoul, now up, goes after Chris again. He screams and shoots her in the head. Gray matter and blood seeps out of the head and the creature fals back into the dirt. Chris then aims his gun at the other things. They begin to claw violently at the fence, rattling it. Chris shoots the four in the head calmly and efficiently, but he can't do the same for his teammates. Joseph's corpse does not recognize Chris and is growling like an impatient animal and claws at Chris. The latter closes his eyes and fires. The bullet lands in Joseph's neck. Chris fires again. The bullet lands in Joseph's eye and he collapses down by the fence. Chris kneels down next to him.
CHRIS(CONT.)
Joe, I'm sorry. It's every
man for himself.
Reaching his hands through the fence, Chris unzips Joseph's side pack and transfers some clips into his. Chris then sees a walkie-talkie strapped onto Joseph's belt.
CHRIS(CONT.)
What the hell...
Chris takes Joseph's walkie-talkie, presses the transmit button and begins speaking into the radio.
CHRIS(CONT.)
Chris to Brad. Do you copy?
I'm stuck in some sort of
cemetry, can't locate the
others. Over.
Chris releases the switch. No reply. Only static. Chris tries it again.
CHRIS(CONT.)
Brad? Brad, respond before
I'll jam my knife in your
ball sack!
He waits. No answer. Just white noise.
CHRIS(CONT.)
Goddman it! He's too far
away...
Another crash of thunder, followed by lightning. The rain becomes more rapid. Chris runs for the other gates.
CUT TO:
INT. WOODS - NIGHT
Chris exits the gates and finds himself at the foot of steep hill. There is a marble statue of a hound on each side of the gates. A set of wooden steps lead up the hill, to a metal door, around which is a wall of stone. Chris runs to the door.
Jill, Barry, and Sullivan enter the hall. Wesker is nowhere in sight.
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.
CUT TO:
EXT. MANSION - DINING ROOM - NIGHT
One of the double doors open and Barry enters, only to find himself staring down at the barrel of gun. Barry is frozen in shock, he recognizes the person.
CUT TO:
INT. CABIN - MAIN ROOM - NIGHT
dried up pumpkins and other rotting vegetables are stuffed in sacks and are strewn around the one existent room. Fresh fire is burning brightly in dirty, crumbling fireplace. A few fresh candles are providing additional light. There is a bed and some more plain wood furniture, all rotting and broken.
Chris looks around himself, confused. He sees a set of steps leading to an alcove and climbes up them.
CUT TO:
INT. CABIN - ALCOVE - NIGHT
There is another bed, but this time it was improvised from sacks and wood. The sheets are old, wrinkled, and are encrusted with ancient blood, puss and vomit. A small table with a type writer is across from the bed. Chris eyes the bed with a digust and curiousity. He then approaches the type writer and finds a piece of paper wedged inside.
He pulls out the paper and sees crude text typed on it: "19 daddy atached first momm atached second iNside reD and slimy whiTte and haRd not true moM where dunno dad found mum again whne atached momMy she move no more she screaming why? Jst want to b with her 4 mom where? I mis yuo"
Chris, obviously disturbed by the message flips over the paper, revealing a photogrpaph, a bleaky color image from the middle of the sixties. Shown on the image is a family sitting happily on a terrace. It consists of ONE MAN, ONE WOMAN and ONE YOUNG GIRL, in her late teens. The man's face is very familiar.
CHRIS
George Trevor?
Suddenly, front door is heard slamming shut. Chris hides the photo in his pocket and takes out his gun. Just as he cautiously begins to exit the alcove, a pair of hands, clapped in wooden stocks, slam him on the head. Chris grunts, trips and falls of the steps.
CUT TO:
INT. CABIN - MAIN ROOM - NIGHT
Chris gets up fromt he floor, holding his head and looks at what has just hit him. It is a bizzare parody of a WOMAN. She is hunchbacked, dressed into something that used to be a silk designer night gown, now just tattered rags. Hanging off the the dress, like tails off a mink stole, are darkened scalps and peeled off faces, forever frozen in screaming grimaces. One, that of an older woman, seemed to have extremely cared for and hangs off in the center. The Woman's face is horribly disfigured and the teeth are disproportional. Except for a few hairs her, she is bald and there is ahuge eye growing out of her side, like tumor. She is covered in ebola-like sores.
The things raises her imprisoned hands again, but Chris ducks just in tim and shoots her. She screams loudly, but is otherwise unharmed. Chris shoots her again. No reaction. Just then, Chris sees the extra shoots in it. The eye bursts, the Woman groans and collapses on the floor.
CHRIS
What the fuck was that?
Suddenly, with a sickening squishing noise, a group of tentacles shoot out of the thing's spine and begins nursing the eye.
CHRIS(CONT.)
Holy shit.
The Woman begins showing signs of life, as Chris bolts for the exit.
CUT TO:
EXT. WOODS - NIGHT
Chris shuts the door behind him and runs down a small path through the trees. The woman's anguished, almost pathetic, moan emits out of the cottage.
Chris, losing his breath, reaches a small, iron gate. He pushes them, they open easily. Chris rushes inside.
CUT TO:
EXT. GRAVE YARD - NIGHT
It is rather miniature, with about twenty graves. Like the previus area, the cemetery is fenced off, this time by a fancy, tall iron fence.
Chris stands at one end, and sees A WOMAN slowly limping towards another gate further down.
CHRIS
Ma'am? Ma'am are you wounded?
The woman pays no attention.
CHRIS(CONT.)
Miss, it is all right. I'm
with S.T.A.R.S., Special
Tactics And Rescue Service.
I'm here to help you.
The Woman begins to slowly turn around. Chris begins to aproach her enthusiastically.
CHRIS(CONT.)
Do you know where we are?
Listen, there is this
cottage back there and---
Chris stops dead in his tracks, wide eyed and petrified.
Half of the Woman's face is gone. There is barely any muscle tissue left and the glistening skull is seen. Her shirt is ripped open adn the chest is poked with human bite marks. She opens her drooling mouth and and growling lunges at Chris, grabbing him by his vest. Chris drops his gun in surprise and begins to helplessly force the mad ghoul off himself. He manages to push her off and she falls on the ground. Chris immediately picks up his gun from the ground and aims it at the creature.
CHRIS(CONT.)
Don't move!
The woman begins to slowly rise. Chris shoots her in the arm. The woman shows no reaction.
CHRIS(CONT.)
Is everyone immune to guns
out here?
More growling erupts from behin the fence. Still aiming his gun at the woman, which is slowly getting off the ground, Chris turns his head and fins five more hideous ghouls ont he other side of the fence,t rying to reach from him. One of them is Joseph.
CHRIS(CONT.)
No... Joseph not you too...
The female ghoul, now up, goes after Chris again. He screams and shoots her in the head. Gray matter and blood seeps out of the head and the creature fals back into the dirt. Chris then aims his gun at the other things. They begin to claw violently at the fence, rattling it. Chris shoots the four in the head calmly and efficiently, but he can't do the same for his teammates. Joseph's corpse does not recognize Chris and is growling like an impatient animal and claws at Chris. The latter closes his eyes and fires. The bullet lands in Joseph's neck. Chris fires again. The bullet lands in Joseph's eye and he collapses down by the fence. Chris kneels down next to him.
CHRIS(CONT.)
Joe, I'm sorry. It's every
man for himself.
Reaching his hands through the fence, Chris unzips Joseph's side pack and transfers some clips into his. Chris then sees a walkie-talkie strapped onto Joseph's belt.
CHRIS(CONT.)
What the hell...
Chris takes Joseph's walkie-talkie, presses the transmit button and begins speaking into the radio.
CHRIS(CONT.)
Chris to Brad. Do you copy?
I'm stuck in some sort of
cemetry, can't locate the
others. Over.
Chris releases the switch. No reply. Only static. Chris tries it again.
CHRIS(CONT.)
Brad? Brad, respond before
I'll jam my knife in your
ball sack!
He waits. No answer. Just white noise.
CHRIS(CONT.)
Goddman it! He's too far
away...
Another crash of thunder, followed by lightning. The rain becomes more rapid. Chris runs for the other gates.
CUT TO:
INT. WOODS - NIGHT
Chris exits the gates and finds himself at the foot of steep hill. There is a marble statue of a hound on each side of the gates. A set of wooden steps lead up the hill, to a metal door, around which is a wall of stone. Chris runs to the door.
