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the script
Resident Evil
By Paul W. S. Anderson
2000
IF THE SUSPENSE DOESN?T KILL YOU
SOMETHING ELSE WILL
CLOSE ON GLASS VIALS
being lifted from a large medical refrigerator. Gloved hands slip
them into a foam lined carry case. The vials are delicate. Filled
with a cool blue liquid.
The hands move quickly. Urgently.
INT. OFFICE
Sleek, super hi?tech. The blinds are closed. Can?t tell if it?s
day or night.
Typists type. Assistants assist.
Busy worker bees.
INT. LAB
Same building. Same busy bees.
Lab technicians and scientists in clean white suits.
Working hard, advancing science, making life better.
INT. ELEVATOR
Worker bees and science bees chat and flirt.
Life is good.
INT. SECURITY ROOM
Dozens of metal cages line the walls. Guard dogs.
A sleek black DOBERMAN sniffs the air.
Begins to bark.
CLOSE ON GLASS VIALS
as the last one is lifted from the refrigerator. But in their haste,
the gloved hands let the vial slip.
The delicate glass tube tumbles end over end. And crashes to the
floor.
CLOSE ON THE FLOOR
covered in shards of glass and blue liquid.
2
INT. OFFICE
A pretty secretary in her cubicle. LISA. A cute paperweight on her
desk:
?LOVE IS .... NEVER HAVING TO SAY YOU?RE SORRY?
She cradles the phone, whispering, not wanting to be overheard.
In front of her sits a carry case for glass vials. Similar in design
to the one we have already seen, but this one is empty. LISA toys
with it nervously.
LISA
I went to the pick up, but there was nothing there .... no serum,
no nothing.
(looks around nervously)
I?m worried.
(hesitates)
Easy for you to say, I?m the one in here!
A fire alarm sounds.
LISA almost jumps out of her skin. All around the worker bees look
up from their computer screens. In an orderly fashion, they take
their jackets from the backs of their seats and head for the door.
Been through this drill a hundred times before.
LISA (cont?d)
(relieved)
I?ve got to go. It?s nothing .... fire drill. Meet me tonight ....
the usual place.
INT. LAB
The men and women of science look up from their experiments. Annoyed
at the disturbance. A scientist with GREEN eyes lowers her face
mask.
GREEN
(sighs)
Another day, another drill.
A lab technician with BLUE eyes hands GREEN her coat.
BLUE
Come on.
He looks down at GREEN'S work. A half dissected white rabbit.
3
INT. ELEVATOR
The elevator stops. A young man seems confused. He wears a GREY
suit which looks brand new.
GREY
What is that?
A kindly woman in a BLACK skirt and jacket smiles.
BLACK
Fire alarm new boy. We?re going to have to take the stairs.
INT. OFFICE
A crowd that has formed by the doors. LISA is amongst them. A man
in a crisp WHITE shirt pushes his way to the front. He?s handsome.
Looks like he works out.
WHITE
What?s the matter?
A woman with long GOLD hair smiles coyly at him. Playing helpless.
We smell office flirtation in the air.
GOLD
The doors won?t open.
INT. SECURITY ROOM
The guard dogs are in frenzy. Barking and snarling. Throwing themselves
against the cage doors. Sensing that something is wrong. A uninformed
guard attempts to calm them. His badge identifies him as CLARENCE.
CLARENCE
Easy there .... easy there boys!
INT. LAB
The overhead sprinklers go off, showering the science bees with
freezing cold water.
BLUE
Damn It! What happened to the halon system?
GREEN
Quick get something over the experiments!
4
CONTINUED:
She sees her hand written notes by the white rabbit. Already the
ink has run. They?re ruined.
GREEN (cont?d)
Great.
A lab technician with chocolate BROWN eyes stands by the big glass
doors that lead out.
BROWN
The doors won?t open.
GREEN
Forget the doors. Get those slides in a safe place.
INT. ELEVATOR
The elevator is still stopped.
GREY
(worried)
Shouldn?t the doors open or something?
BLACK
It?s supposed take us to the nearest floor.
Then the lights go out.
GREY
(very worried)
Is that supposed to happen?
INT. OFFICE
The worker bees are starting to panic. LISA is amongst them.
LISA
What about the doors at the back?
WHITE
Locked as well.
Without warning the Halon system goes off. Pillars of high-pressure
gas flood into the room, sucking the oxygen out of the air, making
it impossible for a fire to breathe. A fire. Or people.
The worker bees begin to choke.
5
INT. ELEVATOR
The emergency lights have activated. Their surreal red glow makes
everything seem ten times worse.
GREY
(rising panic)
What?s going on? Has this happened before? We have to get out of
here!
BLACK
Quiet.
GREY
What?
BLACK
Quiet!
They hear a distant roaring sound. Rapidly approaching, like an
express train.
GREY
What is that?
INT. ELEVATOR SHAFT
The stalled car is in the foreground. Beyond it, we see that the
shaft is wide enough for another two elevators. Out here, the roaring
sound is even louder.
The roaring reaches a crescendo and the source of the noise races
past in a blur. It?s another elevator. In free?fall.
Inside it, people are screaming.
INT. ELEVATOR
CLOSE on Black as she realizes what the sound is.
BLACK
Oh my god!
Then the elevator drops. Like a stone.
INT. LAB
Water is still pouring from the sprinkler system. GREEN waves hopelessly
at a close circuit camera mounted in the ceiling. We see her image
reflected in the lens.
6
CONTINUED:
GREEN
There?s no fire here! No fire!
BLUE
You know this water isn?t going anywhere.
GREEN looks down at the floor. The water level is rising.
BLUE (cont?d)
This is a sealed room.
Suddenly things become more urgent.
GREEN
We have to get these doors open.
INT. ELEVATOR
The car is in free?fall. People are screaming. A man has wet himself.
INT. ELEVATOR SHAFT
The emergency brakes kick in. One on each corner of the car. Sparks
fly. Metal screams.
INT. ELEVATOR
The car shudders to a halt. People sprawled on the floor. Crying.
INT. LAB
The water is rising.
GREEN and Blue struggle with the door. Without warning a chair bounces
violently off the labs glass window, just missing GREEN. The glass
isn?t scratched.
GREEN (cont?d)
Jesus! What the hell are you doing?
BROWN advances on the glass with a fire axe.
BROWN
Stand clear!
BLUE
Stop!
BROWN halts. Holding the fire axe aggressively. Ready for a fight.
7
CONTINUED:
BLUE (cont?d)
Use the other side.
He indicates the other side of the axe head. A single steel point.
Sharp as an ice pick.
BLUE (cont?d)
Better chance of getting through it.
BROWN hefts the axe and strikes the window with as much force as
he can.
INT. CORRIDOR OUTSIDE THE LAB
The axe penetrates the glass. Just. A pea sized piece of glass pops
out and bounces across the floor.
INT. OFFICE
The Halon system switches itself off. The worker bees lie sprawled
across the floor. Sprawled across their desks, Sprawled across one
another. Not one moves.
THE HIVE is dead.
CLOSE ON LISA
amongst the bodies, still and lifeless.
INT. HALL WAY
Three shiny steel doors stand at the centre of the hallway. Bodies
are everywhere. Killed as they waited for an elevator.
The eerie silence is broken by a scratching sound. One of the elevator
doors pops open an inch. Hands force their way out.
INT. ELEVATOR
The car has stopped between floors. BLACK has to lie on the carpeting
to peer out of the gap in the elevator doors.
BLACK
My God!
8
CONTINUED:
GREY
Let me see.
He too sees the bodies in the hallway.
GREY (cont?d)
We have to get out of here. We have to get out of this building.
A man with RED tie tries to force the doors open wider.
RED
Here .... give me a hand.
GREY
That?s as far as they?ll go.
RED
They?re caught on something.
BLACK
That?s wide enough.
She takes her jacket off.
BLACK (cont?d)
I think I can squeeze through.
She gets down on her knees in front of the doors. The gap is barely
18 inches. It?s going to be tight.
BLACK (cont?d)
I?ll get help.
INT. HALLWAY
BLACK squeezes her head through the doors, She?s a slim woman, but
the gap between the elevator floor and the top of the doorway is
also very narrow. Even if she gets out, she?s going to have to drop
six feet to the floor.
BLACK
I?m stuck .... you?re going to have to push.
She inches through a little more.
BLACK (cont?d)
That?s it. A bit more.
INT. ELEVATOR
CRACK! A sharp metallic sound echoes around the car.
9
CONTINUED:
GREY
What is that?
INT. ELEVATOR SHAFT
The roof of the elevator. Only three of the four emergency brakes
are now holding on. CRACK! Another brake unhooks. All by itself.
INT. ELEVATOR
RED
Oh Christ! It?s the brakes.
GREY begins to push frantically at BLACK. Still trapped half in
and half out of the elevator.
GREY
Get out! We?ve got to get out.
BLACK
I can?t .... I?m stuck!
CRACK! The third brake goes.
RED
Push her out of the way .... we have to get out.
BLACK
I can?t move!
CRACK! The last brake unhooks. The car begins to drop again.
INT. HALLWAY
BLACK'S P.O.V. We see the floor of the hallway race up at her head.
The concrete lip is going to decapitate her. She screams. And at
the moment of impact we ....
SMASH CUT TO:
CLOSE UP EYES
Blue eyes snap open. Woken from a bad dream. WIDEN to reveal a woman?s
face to go with the eyes. It?s not perfection, but it?s close. We?ll
call her ALICE.
10
INT. BEDROOM DAY.
ALICE sits up. Looks around. Four poster bed, oak paneled walls,
painting of George Washington. Through the window she sees the ornate
grounds of a manor house. There?s even a maze. This could be the
19th maybe even 18th Century.
ALICE steps out of bed. She?s twenty one. Naked. I take it back,
she is perfection.
Something tumbles from the bedclothes and lands on the floor. ALICE
picks it up. A handwritten note:
?TODAY ALL YOUR DREAMS COME TRUE?
ALICE shakes her head. She moves through the room like someone who
doesn?t know where she is. She stops in front of a full length mirror.
Stares at her own naked body. Touches it. Like it was all strange
to her. Like she doesn?t know who she is.
ALICE stands before an ancient wooden dresser with three drawers.
She opens them one at a time.
The first contains crisp starched linens.
The second, neatly ironed women?s underwear. Very white, very conservative.
The third, a pair of Uzis with laser sighting, under-slung with
miniature grenade launchers.
ALICE stares at the weaponry. The look on her face says it all.
Who am I?
INT. MANSION ? ENTRANCE HALLWAY DAY.
ALICE descends a sweeping staircase. She?s found some clothes. A
tight pair of ski pants and a T?shirt. They fit like they?re hers,
but she can?t remember ever having worn them.
The hallway is luxurious and tasteful. Tapestries and paintings
of old relatives that ALICE doesn?t recognize adorn the walls. But
this isn?t a quaint old house. There?s something in the air.
Something intangible. Something evil.
11
INT. MANSION - DINING ROOM DAY.
The table is set for dinner, but there are no guests. No sign of
life.
Creepy.
INT. MANSION ? STUDY DAY.
A dark oak lined study. The only sound is the ticking of a grandfather
clock. ALICE takes a framed photograph train the desk. It?s of her
and a handsome man. They are standing in front of rose bushes in
the garden. He has his arm around her. He wears a wedding ring.
ALICE looks at her own hand. She too wears a sample gold band. This
man is her husband?
A sudden shadow falls across the desk. ALICE jumps, startled. Something
is moving out in the garden.
ALICE
Hello!
ALICE seems surprised by the sound of her own voice. So that?s what
she sounds like.
EXT. MANSION ? GARDENS - DUSK
ALICE emerges from the study. In front of her is a huge marble statue.
A series of bizarre gothic characters dancing round a maypole. A
walrus wearing a waistcoat, a rabbit carrying a pocket watch, a
bald beaded knight in armor. Both beautiful and also strangely unsettling.
In the distance, she sees movement at the entrance to the ornate
hedge maze.
ALICE
Hello!
But there?s no reply. In the distance the sky is starting to darken.
EXT. MAZE - DUSK
ALICE is following someone or something deeper and deeper into the
maze. Dusk is turning rapidly to night, and the shadows within the
maze are beginning to deepen. With every corner ALICE turns, the
tension mounts.
12
EXT. MAZE ? CENTER - DUSK
ALICE is about to turn back when she suddenly stumbles upon the
middle of the maze. At the very center point is a chair. And in
the chair, a man sitting with his back to her.
ALICE
Hello.
The man doesn?t reply.
ALICE (cont?d)
I?m not sure if I belong here.
ALICE cautiously approaches him.
ALICE (cont?d)
I woke up .... and I can?t remember.
The man still doesn?t speak. Doesn?t even move. She reaches out
to touch his shoulder.
MACE (cont?d)
Are you alright?
He is cold to her touch. Very cold.
ALICE (cont?d)
I ....
THE CAMERA tracks around to reveal that she has her hand on the
shoulder of a statue. ALICE sighs. With relief. With embarrassment.
The statue is of an old man with a top bat in his lap. The hat has
a price tag ? ?In This style 12/6?.
MATT (V.0.)
Freeze! Don?t move.
The sudden voice SCARES THE SHIT OUT OF US.
MATT (cont?d)
Now put your hands on the chair. Do it!
ALICE does it. This guy sounds tough.
MATT (cont?d)
What are you doing here?
MATT frisks her. We still haven?t seen his face.
ALICE
I think I live here.
13
CONTINUED:
MATT (O.S.)
You think.
ALICE
I just woke up .... I don?t remember anything.
MATT (O.S.)
You?re clean. Turn around.
ALICE finally sees him. Smart blue uniform, fresh faced. Not what
she was expecting.
ALICE
You?re a little young for a policeman aren't you?
MATT
I get a lot of that.
He holsters his gun.
MATT (cont?d)
Who else is in the house?
ALICE
No one .... but I didn?t look everywhere.
MATT starts to head back to the mansion.
MATT
Come on .... I got a call to check the place out.
Below MATT'S police badge is the name of a town - RACCOON CITY.
ALICE
Where is that?
MATT
What?
ALICE
The town.
MATT
You?re kidding right?
ALICE shakes her head.
MATT (cont?d)
It?s just over that hill.
14
CONTINUED:(2)
ALICE is still none the wiser.
MATT (cont?d)
You really don?t know anything do you?
EXT. MANSION ? GARDENS - NIGHT
The two walk back to the house.
ALICE
What were you doing in the maze?
MATT
Thought I saw someone.
MATT looks up at the mansion. We get the feeling he wants to change
the subject.
MATT (cont?d)
How can you live here? Place looks haunted.
ALICE
Wait.
MATT
What?
ALICE turns to face the dark sky. A sudden breeze blows through
her hair.
ALICE
Do you hear that?
The breeze intensifies and for a moment the night sky is blocked
out. Above them, a dark void, twin rotors chopping silently through
the night air. A Darkwing helicopter on stealth mode. It disappears
over the roof of the mansion, losing altitude, coming in for a landing.
ALICE (cont?d)
You call for back up?
MATT
No.
INT. MANSION - ENTRANCE HALLWAY NIGHT.
MATT and ALICE race through the house. Through the windows they
can see the Darkwing squatting on the lawn. They are halfway to
the entrance when the doors are almost blown off their hinges.
15
CONTINUED:
A dozen COMMANDOS stream in. A tight, disciplined group, dressed
in black and armed to the teeth. If you find guns and body armor
sexy, you just came.
They don?t ask ALICE and MATT to get to the floor. They just knock
them down. Within seconds MATT has been relieved of his badge and
gun.
One of the COMMANDOS, TWELVE, slides an ancient oak panel to one
side, revealing a computer jack point. He flips up the screen on
his sleek wrist computer and jacks in.
The leader of the Away Team stands above ALICE. Granite jaw, gravel
voice, Alpha Dog Number ONE.
ONE
Report.
ALICE
(confused)
What?
ONE
I want your report soldier.
ALICE
I don?t know what you?re talking about.
TWELVE
Sir.
TWELVE looks up from his computer. Floating an inch above it is
a detailed holographic schematic of the mansion. As the schematic
slowly revolves, a flashing text streamer reads:
LOOKING GLASS HOUSE - STATUS - DEFENSIVE
TWELVE (cont?d)
The house?s primary defenses have been activated. She?s probably
still suffering the side effects.
ONE
Very well.
He snatches MATT'S badge and tosses it to TWELVE.
ONE (cont?d)
What about the cop?
TWELVE enters MATT'S badge number into his computer. The holographic
Schematic of Looking Glass House is replaced by the names and badge
numbers of all the local police.
16
CONTINUED:(2)
TWELVE
(shakes his head)
I?m not getting verification.
ONE
(to Matt)
Who are you?
MATT
I?m a cop .... a local cop.
TWELVE
No sir.
ONE takes out his sidearm. Points it straight at MATT.
MATT
I just transferred! I?m a rookie .... first day. They probably
don?t even have me on file yet.
ONE turns to his subordinate.
ONE
Well?
TWELVE
(shrugs)
The locals are inefficient. It?s possible
ONE lowers his gun. MATT remembers to breathe.
ONE
Print him.
Two COMMANDOS grab MATT. They extend his right hand and hold it
rigid. TWELVE uses a tiny laser scanner to take MATT'S fingerprints.
MATT
You can?t do this... this is an invasion of my civil liberties!
TWELVE
Blow me.
MATT struggles, but to no avail.
J.D.
(to Alice)
Nice ass!
17
CONTINUED:(3)
One of the COMMANDOS is staring at her ass.
ALICE
(shocked)
What!
Another Commando, a woman, intervenes.
RAIN
Go easy on Sleeping Beauty. She?s lost her memory.
J.D.
(bragging)
No woman forgets me.
RAIN
Sure...once they?ve seen how tiny you are, how could they?
J.D.
Fuck you.
RAIN
Already did. I think I slept through it.
ALICE
(bewildered)
Who are you people?
J.D. slaps his chest.
J.D.
J.D. Nelson at your service, and this fine figure of a woman is
Rain.
RAIN
Parents were hippies .... my revenge was to enlist.
ALICE
(disbelief)
You people are the military?
RAIN
(laughs)
Not quite.
ALICE
Then who are you?
18
CONTINUED:(4)
J.D.
You loose your eyesight as well as your memory gorgeous?
He points to the badge on his flak jacket. It reads: SANITATION.
RAIN
We clean up the mess that others leave behind.
TWELVE (O.S.)
I got him!
TWELVE'S computer spits out details on MATT. The list is long.
TWELVE (cont?d)
(surprised)
Jesus, this guy?s got red flags everywhere. Quantico, Vicap, he?s
on all the data banks. Matthew Frost, a.k.a. Matthew Pryce, Matthew
Wayne, Matt Zabrowaki.
ONE
(to Matt)
Who the fuck are you cowboy?
MATT doesn?t reply.
TWELVE
This guy?s a real activist, Wanted for multiple counts of Eco terrorism.
He?s sabotaged seal culls, oil refineries, whale hunts, animal testing
labs, chemical weapons plants, nuclear facilities .... the list
goes on.
ONE
You got something to do with what?s going on here?
MATT
I don?t know what you?re talking about.
ONE
Sure you don?t.
He nods to J.D. and Rain.
ONE (cont?d)
Cuff him.
19
CONTINUED:(5)
They force MATT to his knees and secure his hands behind his back.
J.D.
Should I secure him here?
ONE
No .... he may not be alone, We take him with us.
ONE turns to face the team.
ONE (cont?d)
Prep for entry to the Hive.
EXT. DARKWING - NIGHT
Its cargo unloaded, the helicopter rises back up into the night
sky.
INT. DARICWING ? COCKPIT NIGHT.
The PILOT is bathed in the cool green wash of the H.U.D. The team
leader?s voice comes through with digital clarity.
ONE (O.S.)
This is Alpha. Team preparing for entry to the Hive. We?ll be out
of contact till we secure a hard wire.
PILOT
Roger sir.
INT. MANSION ? ENTRANCE HALLWAY NIGHT.
TWELVE flips open a tile on the intricate floor mosaic. Reveals
another jack point.
ONE
(to Alice)
Sit on the floor.
She sits down beside MATT. His hands are tightly manacled. Bruises
already starting to show.
MATT
Nice friends you have.
TWELVE watches the scrolling holographic numbers that hover above
his computer.
20
CONTINUED:
TWELVE
Entry to the Hive in three...two... one.
FROM ABOVE we see the pattern on the floor. A giant Art Deco spiral
that suddenly begins to move. Arms of the spiral starting to unlock
as a huge chunk of the floor begins to sink beneath the ground.
ALICE watches amazed as the floor they are sitting on slips gracefully
beneath the earth. Ancient wood paneled walls being replaced with
polished high tech steel plates.
ALICE
What the hell is going on here?
MATT
(cynical)
Mostly it?s bad...all of it?s illegal.
J.D.
Shut it!
MATT does as he?s told. ALICE gets to her feet and approaches the
team leader.
ALICE
(unsure)
Sir?
ONE
What is it soldier?
ALICE
How deep are we going?
ONE
Right to the bottom.
ALICE
And when we get there?
ONE
We?re going to see the Queen. And then kill her.
INT. DARKWTNG - COCKPIT NIGHT.
The Pilot sets a clock on the H.U.D. to 03 hours 00 minutes. The
numbers begin to count down. He picks up his mic, but waits till
the H.U.D. reads SECURE before sending a message.
21
CONTINUED:
PILOT
Darkwing to White Queen .... Alpha Team has entered the Hive. All
communications down. Awaiting hard wire response.
WHITE QUEEN (O.S.)
Roger Darkwing. The clock is running.
INT. CAVERN NIGHT.
The platform carrying ALICE and the Sanitation Team comes to rest
in a vast underground cavern. This is a natural creation, but the
hand of man is everywhere. As well as the hydraulics for the platform,
there are also several temporary structures used for storage.
A set of runway lights are laid out on the stone floor. They lead
to a pair of thick steel doors set in the cavern walls. The doors
bear the logo of the UMBRELLA CORPORATION.
ONE glances at the digital counter on his left wrist. It reads 02:58:24.
we see that the rest of the team carry identical timepieces. The
seconds are ticking away.
ONE
Move out!
Lying halfway between the platform and the doors is the body of
a man called SPENCE. ALICE immediately recognizes him from the photograph
in the study. The man with his arm around her. The man that wears
her ring.
ALICE
Oh my God ....it?s my husband.
J.D.
(laughs)
He?s not your husband.
ONE
Life signs?
MEDIC
Affirmative. He must have caught a dose of gas topside .... passed
out by the time he made it down here.
ONE
Bring him round.
The MEDIC snaps a plastic vial under SPENCE'S nose. He comes round
instantly.
22
CONTINUED:
SPENCE
What?
MEDIC
Lie still, Watch this light. Follow it.
The Medic runs through a standard set of tests. SPENCE follows them
without fail.
MEDIC (cont?d)
Now how many fingers am I holding up?
SPENCE
Three.
MEDIC
Raise your left hand. Good. Now tell me your name.
SPENCE
I...I can?t remember.
MEDIC
He?s fine. Memory loss, just like the other.
By now ALICE is looking as confused as SPENCE.
ALICE
But if he?s not my husband ....then who is he?
She hold up her wedding ring.
ALICE (cont?d)
And what about this?
INT. CAVERN - LATER
The Away Team have set up a piece of heavy industrial cutting gear.
They are burning a hole in the locking mechanism of the large steel
doors. MATT stands at a distance, under guard by one of the COMMANDOS.
Clearly no one here trusts him. ALICE and SPENCE also stand slightly
apart from the others. ONE is with them.
ONE
The building above us, Looking Glass House, is the primary entrance
to the Hive. You and your husband are soldiers. Placed there to
protect that entrance.
23
CONTINUED:
ALICE
We?re not married?
ONE
A cover story to allay suspicion. Secrecy is paramount. No one
was to know of the Hive?s existence.
ALICE
But I saw a photograph
ONE
Look.
He opens a drawer in one of the storage units. Inside are a dozen
framed photographs. A dozen different happy couples standing in
exactly the same pose, in front of exactly the same set of rose
bushes.
ONE (cont?d)
You rotate shifts at the house.
ALICE is reeling. Having trouble taking all this in.
SPENCE
You okay?
ALICE
Yeah...I?ll be fine.
SPENCE
Why can?t we remember anything?
ONE
The Hive has its own defense mechanisms are all computer controlled.
You and your partner were intended as the first line of defense
in the mansion. If you were killed or incapacitated, then the computer
could deploy its own defenses. A nerve agent released through hidden
vents in the house. Primary effect of the gas is complete unconsciousness,
lasting anything up to four hours. Secondary effects are varied,
but can include acute memory loss.
SPENCE
For how long?
ONE
Subjective. An hour, a day, a week.
24
CONTINUED:(2)
ALICE
(shrugs)
Great.
SPENCE
So we were attacked?
ONE
No...I?m afraid things are a little more complicated than that.
The cutting equipment suddenly stops.
RAIN
Sir, We?ve breached the Hive.
INT. THE HIVE ? CORRIDOR NIGHT.
The heavy steel doors slide aside to reveal a familiar looking corridor.
The HIVE is the office building we had seen at the start of the
movie. The blinds were closed, because there are no windows here.
The whole structure is underground.
The Medic uses a hand held device to sample the air.
MEDIC
Halon content in the air is high. That must be how she killed then.
ONE
Do we need masks?
MEDIC
No, it?s breathable now.
TWELVE jacks into a computer point by the doors.
ONE
Status.
TWELVE
Red Queen is down to basic logic functions.
ONE
Which means?
TWELVE
She could just about manage a game of Pong. She?s no threat.
25
INT. THE HIVE - ELEVATOR SHAFT
The COMMANDOS force open the doors to the shaft. Far below they
can see the crumpled remnants of the cars.
ONE
Looks like we?re taking the stairs.
INT. THE HIVE - STAIRS
As the team descend the stairs, ALICE falls in beside ONE.
ALICE
Who is the Red Queen?
ONE
The super computer which controls the Hive. State of the art A.I.
created by the same corporation which built this place.
ALICE
You mean this isn?t a military base?
ONE
Private enterprise. Umbrella Corp. could buy and sell the military.
(wry smile)
They pay better too.
ALICE
And you?re here to kill the Queen?
ONE
Put a bolt right through the bitch?s logic box.
INT. THE HIVE - CORIRIDOR OUTSIDE THE LAD
The same science lab we had seen at the start of the movie.
The team approach the glass wall which separates the lab from the
corridor. There are seven narrow jets of water which shoot out from
the window. Seven pea sized holes punched in the glass by BROWN'S
fire axe.
The lab itself has totally filled with water. Floor to ceiling.
The water is murky. Visibility zero. SPENCE peers into the gloom.
There?s something in there...can?t quite make it out.
SUDDENLY something BUMPS against the glass. In BIG CLOSE UP we see
BROWN'S hideously distorted face.
26
CONTINUED:
SPENCE jumps back in fright. He loses his dignity, the audience
lose their popcorn.
GREEN, BLUE and BROWN have all drowned. GREEN'S face also floats
close to the glass, her features bloated, but her eyes as beautiful
as ever. Her mouth is frozen in a dying scream.
MACE
What happened?
ONE
Four hours ago, Red Queen went homicidal. Sealed the Hive and tried
to kill everyone within it.
TWELVE
When we realized what was happening, White Queen was brought on
line to try and control her sister.
ALICE
White Queen?
ONE
An identical computer based at 1~ORAD. The two of them fought it
out. An electronic Battle Royale. After 2.7 seconds it was over.
Red Queen was disabled, and we were dispatched to finish her off.
ALICE
Why did she do it?
TWELVE
We don?t know.
J.D.
(aggressive)
But I?m sure our bogus cop has a few answers...
He shoves MATT.
J.D. (cont?d)
...don?t you?
MATT
I don?t have anything to do with this.
RAIN
Then what were you doing topside? A spot of gardening?
27
CONTINUED:(2)
J.D.
Maybe we should do a little pruning ourselves ...
J.D. produces a knife. Holds it by MATT'S crotch.
J.D. (cont?d)
get some answers.
ONE
Leave him .... we?ve got professionals for that kind of thing.
MATT
I?m sure you do.
J.D. leans in close to MATT. The wolfish smile has a sadistic edge
to it.
J.D.
(whispers)
Just to let you know. If you?re responsible for this. I?m going
to make sure you pay .... personally.
The team begins to move off.
MATT
(to Alice)
I don?t kill people .... you have to believe me.
ALICE looks at him like he were dirt on her shoe.
ALICE
Sure .... I believe you.
She walks off. J.D. shoves MATT ahead of him.
J.D.
Move it.
TWELVE takes one last look into the flooded lab. Into GREEN'S dead
staring eyes.
TWELVE
Poor bastards.
As he hurries after the rest of the team, we hold on GREEN'S dead
face. After a moment SHE TURNS HER EYES to follow TWELVE.
28
INT. THE HIVE - CORRIDOR NIGHT.
RAIN stands by a set of heavy blast doors which are blocking their
progress. She?s working on the locking mechanism.
ONE
How?s it coming?
RAIN
Most of these doors are magnetically sealed. We?re not going to
get them open till we sever the power.
ONE
Can we cut through?
RAIN
It?ll take time.
ONE checks his timepiece. 02:15:32
ONE
Find an alternate route.
CLOSE ON The WEDDING RING
as ALICE slips it from her finger. Inside the band of gold is an
inscription:
?PROPERTY OF UMBRELLA CORP.?
MATT (O.S.)
Sorry to hear about the marriage.
ALICE looks up to see MATT.
ALICE
Leave me alone.
MATT
I?m really not the man you think I am.
ALICE
Why do you care what I think?
MATT
Because I don?t have many friends down here. And I have the feeling
I may need one.
ALICE
And why is that?
29
CONTINUED:
MATT
Listen. Do you hear it?
ALICE listens carefully. It?s barely audible, but it?s there. A
low groaning sound. It seems almost human. Almost.
ALICE
What is that?
MATT
I don?t know. But I?ve been hearing it since we entered this place.
He looks up at the grille that covers one of the air ducts.
MATT (cont?d)
It?s coming from the vents.
AIR VENT - CONTINUOUS
We see ALICE and MATT from inside the darkened air shaft. Is there
something inside? Something watching them?
ALICE
(unsure)
Air conditioning?
MATT shakes his head.
MATT
I just hope your friends know what they're doing.
INT. SPECIMEN ROOM
TWELVE punches in an access code ? 667 ? and a heavy steel door
slides away to reveal a vast room filled with specimen tanks. The
tanks are made of circular plexi and reach from floor to ceiling.
There are literally hundreds of them, and with no clear way through
the room, they form a grotesque kind of maze.
Each tank is filled with a viscous liquid and some new exciting
monstrosity. Animals spliced together. Skeletons that look barely
human. Some that clearly aren?t.
Bioengineering run amok.
RAIN
Now this is some surreal shit right here.
30
CONTINUED:
MATT
Pretty isn?t it?
(to Alice)
Gene splicing, cloning, chemical testing all of it illegal. Banned
by international law. That?s why Umbrella hides it away down here.
J.D.
(angry)
Who the tuck asked your opinion?
For a moment, it looks like J.D. may explode. He really doesn?t
like MATT.
ONE defuses the situation.
ONE
J.D you and Rain secure this exit.
ONE (cont?d)
The rest of you, with me.
CLOSE ON ALICE
as she wanders through the room. She sees human bodies stripped
of their skin, just the bare musculature on show. Mesmerized by
the freak show, she doesn?t realize that she is being slowly separated
from the others. This room does indeed function like a maze, and
ALICE is becoming lost.
She stops in front of one tank. It contains a strange four legged
CREATURE with no eyes and a grotesque long tongue. Perhaps this
was human once, but that was a long time ago.
The liquid the dead Creature is kept in is being constantly circulated,
and the movement makes the three foot long tongue sway. It shines
past the Plexiglas, as though it were licking it. Up close, the
pink fleshy tongue is covered in a thousand tiny barbs.
This is the stuff of nightmares. Really fucked up nightmares. The
kind serial killers have.
ALICE looks away from the tank and realizes that the rest of the
team have disappeared. She is alone in this grotesque maze. Where
literally anything could be hiding. She suddenly senses movement.
Something refracted through the curved glass of a specimen tank,
Something horrifying.
31
CONTINUED:
ALICE turns and Bam! Comes face to face with ONE. ALICE tries to
stifle a scream, but doesn?t quite succeed.
ONE
Don?t wander off.
ALICE
(embarrassed)
Sorry.
She glances back at the monstrous Creature in the tank.
ALICE (cont?d)
When I get my memory back, am I going to know what kind of stuff
went on down here?
ONE
No.
ALICE
And I don?t suppose you want to tell me?
ONE
You suppose right soldier.
INT. CONTROL ROOM
A glass walled control booth looks out onto a long stainless steel
corridor. The metal is so highly polished it hurts to look at.
SPENCE
What?s taking so long?
TWELVE is operating three plasma screen laptops simultaneously,
running multiple bypasses on the control room computers.
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