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.