| Resident Evil (Continue)
TWELVE
Red Queen?s just beyond that door.
TWELVE indicates a thick vault door at the end of the steel corridor.
TWELVE (cont?d)
And she?s well protected.
Above the door sits an infra red camera with a Weapons Cluster built
around it.
32
CONTINUED:
TWELVE (cont?d)
High explosive, armor piercing, C.S. gas, this baby has it all.
Every five seconds the camera pans the corridor, the Weapons Cluster
following the sweep, prepared to annihilate anything that crosses
its path.
SPENCE
I thought she was going to have trouble with Pong?
ONE
We don?t believe in taking risks.
It?s clear that ONE doesn?t want him bothering his men any more,
so SPENCE drifts over to ALICE instead.
SPENCE
So ....
He looks ALICE over and twirls the wedding ring suggestively around
his finger.
SPENCE (cont?d)
Man and wife.
ALICE
Our cover.
SPENCE
Living in that house together. Late at night. You think we ...
you know?
ALICE
(very certain)
I don?t think so.
In the steel corridor, the Weapons Cluster powers dawn.
TWELVE
We?re in!
INT. STEEL CORRIDOR
ONE leads the Away Team towards the vault door. They advance cautiously,
still wary of any potential traps.
INT. CONTROL ROOM
TWELVE is still at his station by the three laptops. He and ALICE
watch through the glass wall as the Away Team advances.
33
CONTINUED:
She?s clearly impressed by ONE'S leadership. Maybe a little taken
with him as well.
ALICE
He?s a cool customer.
TWELVE
Kept us all alive a long time.
INT. STEEL CORRIDOR
ONE stands before the vault door. This thing look like it could
withstand an atomic bomb, ONE places a tiny electronic box over
the vault?s locking mechanism.
INT. CONTROL ROOM
ONE (O.S.)
Transmitter in position.
TWELVE fires up his three computers.
TWELVE
Roger...running the bypass.
ALICE, MATT and SPENCE watch as thousands of letters and numbers
scroll across the three plasma screens. On the first computer, the
possibilities quickly reduce, and then settle on a simple code:
RQ KR 4 WQ QB 4 WQ QB 5 - UNLOCK
After a moment the second screen reads:
WQ KB 8 WQ QB 8 RK K 2 - UNLOCK
Then the third and final screen:
WK KB 5 RQ K WQ QR 6 - UNLOCK
TWELVE sits back, satisfied.
TWELVE (cont?d)
Checkmate.
INT. STEEL CORRIDOR
The vault door reverberates as its giant locking mechanisms come
undone. Thirty inches of steel plate swing aside to reveal a high
domed chamber bathed in red light. The lair of the Red Queen.
34
CONTINUED:
ONE
Forward in teams.
INT. CONTROL ROOM
ALICE, MATT and SPENCE watch in fascination as ONE unhooks what
looks like a miniature rocket launcher from his belt.
ALICE
What is that?
TWELVE
That?s what?s going to put the Queen to sleep. The shells are tipped
with depleted uranium.
SPENCE
They?re radioactive?
TWELVE
No .... it?s what?s left of uranium once nuclear fission is over.
MATT
Ten times heavier than lead.
TWELVE
What the hell kind of environmentalist are you?
MATT
(shrugs)
I read ?Guns and Ammo?.
INT. STEEL CORRIDOR
The first team of COMMANDOS are just about to enter the Queen?s
chamber when without warning, a thick blast door suddenly SLAMS
down.
It separates the Away Team from the control room, cutting off their
escape route.
ONE
Twelve?
INT. CONTROL ROOM
TWELVE scrambles for an answer, his fingers flying between the three
keyboards.
35
CONTINUED:
TWELVE
Some kind of dormant defense mechanism, we must have tripped it
when we opened the door.
ONE (O.S.)
Well put it back to sleep.
TWELVE
Working on it.
INT. STEEL CORRIDOR
ONE keeps a tight rein on his troops. Allowing no one to panic.
ONE
Hold your positions! Everyone stay calm!
COMMANDO
What?s that?
From within the Queen?s chamber comes a sudden movement. A horizontal
beam of red light. Traveling down the corridor at high speed.
ONE
Down! Down!
ONE drags the Commando beside him to the ground as the wire thin
beam of light passes overhead.
COMMANDO
My fingers ....
The Commando stares at his right hand. All four fingers are missing.
COMMANDO (cont?d)
.... what happened to my fingers?
They are lying on the highly polished floor. Along with the remains
of his gun, also neatly sliced in half. The Commando begins to go
into shock.
ONE
Medic!
The Medic is standing close by. Unmoving.
ONE (cont?d)
Medic!
36
CONTINUED:
Blood begins to pour from a razor thin line around the Medic?s neck.
Then his head peels off and tumbles to the floor.
The headless body remains standing for a moment. Then it falls to
its knees and pitches forward.
COMMANDO 2
(terrified)
What the fuck was that?
ONE
Laser beam. Stay out of its way .... it?ll cut straight through
you.
INT. CONTROL ROOM
ALICE and MATT are trying to force the heavy steel blast door open.
ALICE
We?ve got to get them out of there!
SPENCE
(to Twelve)
Help then.
TWELVE
I?m trying!
INT. STEEL CORRIDOR
ONE ties a bloody tourniquet around the remains of the Commando?s
hand.
ONE
Stay conscious...you?re going into shock ... you have to stay awake!
COMMANDO 2
It?s coming back!
The thin line of laser light streaks back towards them. This time
it is just above ankle level, like a trip wire. Commando 2 tries
to jump over it, but the laser adjusts, suddenly raising in height.
Commando 2 is caught off guard and sliced neatly in two. He stays
conscious for a couple of seconds. Just long enough to see the horror
of his own body falling apart.
Only ONE has survived.
37
CONTINUED:
He has leaped into the air and stayed there, his feet braced against
either wall of the corridor. The laser beam has passed right underneath
him, only just missing. A knife that hangs from his belt is cut
clean in two. The metal blade clatters to the steel floor below.
INT. CONTROL ROOM
ALICE and SPENCE struggle with the blast door. They are starting
to inch it open.
But the laser wire is coming back for ONE.
ONE (O.S.)
Shut it down! Shut it down!
TWELVE
Almost there.
Streams of letters and numbers chase across his computer screens
as TWELVE closes in on the override code.
INT. STEEL CORIRIDOR
ONE readies himself as the laser wire races towards bun. It is at
waist level, but could alter at any moment.
ONE stands his ground. Ready to pit his lightning reflexes against
those of the computer. His concentration is absolute.
At the last second, the single thin laser wire switches to a grid.
Fifty interlocking laser lines fanning a deadly net from which there
is no escape.
ONE
Shit!
The laser grid dices him into three inch cubes.
INT. CONTROL ROOM
The others watch in horror as ONE'S body literally falls apart.
Everyone in the corridor is dead.
The team have been wiped out in under thirty seconds.
TWELVE'S laptop beeps. Breaking the silence. It has cracked the
override code.
In the steel corridor laser flickers and dies.
38
CONTINUED:
Too little. Too late.
TWELVE
Alright ....
He gets uncertainly to his feet.
TWELVE (cont?d)
Let?s do it.
SPENCE
(incredulous)
What?
TWELVE
We have to complete the mission.
SPENCE glances into the steel corridor.
SPENCE
I?m not going in there.
TWELVE
Her defenses are down.
SPENCE
Deja vu anyone? You?re on your own.
TWELVE takes a deep breath.
TWELVE
Alright.
INT. STEEL CORRIDOR
TWELVE stands at the threshold of the corridor. His eyes flick from
one detail to another. The end of the corridor dead body .... the
vault door .... dead body .... ONE'S missile launcher...death ....
the security camera silently watching .... death .... death ....
more death...
TWELVE
(losing it)
Alright .... get a grip .... calm down.
ALICE (O.S.)
Hey.
The sudden voice makes TWELVE jump out of his skin. He turns to
see ALICE at his shoulder.
ALICE (cont?d)
Want some company?
39
CLOSE UP EYES
Dead and staring. One of the COMMANDOS. We can still see the surprise
frozen on his face. ALICE and TWELVE edge their way past the body.
Side by side, jacked up on adrenaline. Ready for anything.
ALICE
By the way...you got a name?
He indicates the patch on his shoulder.
TWELVE
Twelve.
ALICE
That?s a number, not a name.
TWELVE
Isiab Tagawa Mercurio.
MACE
Catchy.
TWELVE
That?s why Twelve stuck.
ALICE
I?d introduce myself but...
She shrugs. Doesn?t even know her own name.
INT. THE QUEEN?S CHAMBER
Flooded with red light, this is the very heart of THE HIVE. The
room pulses with a life of its own.
TWELVE now carries the missile launcher. The trigger is slick with
blood.
He approaches a computer console at the centre of the room. Circular
in design, and just over four feet high, it resembles a giant chess
piece.
GIRL (V.0.)
Get out!
A beautiful sixteen year old GIRL walks from the shadows. She?s
furious, her hands clenched in anger.
GIRL (cont?d)
Get out! You can?t be in here!
40
CONTINUED:
TWELVE walks straight up to the Girl and then steps CLEAN THROUGH
HER!
TWELVE
Holographic representation of the Red Queen.
GIRL-RED QUEEN
You have to get out!
TWELVE begins to set up the missile launcher, oblivious to the angry
youth at his side.
TWELVE
Head programmer?s daughter.
RED QUEEN
I wouldn?t advise this.
TWELVE
(to Alice)
Don?t listen to anything she says.
RED QUEEN
Disabling me will result in loss of primary power.
TWELVE
She?s only trying to deceive us...
RED QUEEN
You?ll never be able to reach the surface.
TWELVE
.... confuse us ....
RED QUEEN
Everything I have done has been for your own good.
TWELVE
.... she?ll say anything to stop us shutting her down.
TWELVE readies the rocket launcher. He stands before a glowing red
lens at the top of the console. The Red Queen?s ?eye?
RED QUEEN
The console is armored. You won?t penetrate it.
41
CONTINUED:(2)
He points
TWELVE
Uranium tipped shells.
ALICE
Ten times heavier than lead.
The rocket launcher straight at the Queen?s eye.
RED QUEEN
(desperate)
I implore you.
TWELVE
Implore away.
RED QUEEN
Please ....
Red Queen?s pleading voice sounds almost human. A vulnerable young
girl.
RED QUEEN (cont?d)
.... please!
TWELVE'S finger tightens. Fourteen pounds of pressure on a fifteen
pound trigger. He?s going to do it.
All the humanity suddenly vanishes from Red Queen?s voice.
RED QUEEN (cont?d)
(cold)
You?re all going to die down here.
TWELVE fires.
The missile penetrates the console.
The image of the Queen and then the lights in the chamber flicker
and die.
For a second, inky darkness. Then the emergency lighting kicks in.
This new menacing half light is accompanied by a heavy metallic
pounding noise. Distant to start with, but gradually drawing closer.
Like a giant?s footsteps slowly approaching.
ALICE
What is that?
42
CONTINUED:(3)
TWELVE
Most of the doors down here are magnetic locking. When we cut the
main power, we popped them all wide open. Getting out should be
a lot easier than coming in.
INT. THE HIVE ? VARIOUS
A MONTAGE OF SHOTS show heavy steel doors opening all across the
complex.
Even the door to the flooded science lab slides open, allowing a
torrent of water to race into the corridor.
The bodies of GREEN, BLUE and BROWN are swept along in the tide.
INT. CONTROL ROOM
TWELVE
Here it is. Her logic chip.
TWELVE holds a small BOX in his hand. The size of a single CD case,
its surface is covered in a pattern of black and white squares,
like a miniature chess board.
TWELVE (cont?d)
The essence of the Red Queen condensed on a single microprocessor.
SPENCE
Is it safe?
TWELVE
Don?t worry. She can?t do anything from in there. It?s like putting
the genie back in the bottle.
SPENCE
You mean she?s not dead?
TWELVE
Are you kidding? Do you know how much she cost? They?ll try to
put her right, or at least figure out what went wrong.
MATT
So it?s okay for a computer to kill people. You just send her to
the shrink. If she were a person, she?d fry.
TWELVE
People don?t cost as much as she does.
43
CONTINUED:
MATT
That?s a real nice attitude you have.
TWELVE ignores him.
TWELVE
With the main power down, there?ll be no ventilation.
(packs up his equipment)
The air?s going to start getting stale pretty soon.
INT. SPECIMEN ROOM
The labyrinth of horror. Looks even worse by the dim glow of the
emergency lights.
TWELVE
Everybody stay close.
ALICE shoots him a look. That?s one major piece of unneeded advice.
TWELVE takes the lead as they head through the giant room. But the
deeper they go, the greater the sense of unease. The specimens seem
to be watching them. Leering at them.
A SUDDEN FLASH OF MOVEMENT. A glimpse of something hideous, seen
through the curved glass of the specimen jars. Was it just a trick,
a distortion of the glass, or is there something else in here with
them?
Unease becomes dread.
SPENCE slows. Almost stops. Without thinking, he?s holding his breath.
Just like the audience. We all sense it. Something terrible is about
to happen.
SUDDENLY a clawed HAND on his neck. Digging in, biting into the
flesh.
SPENCE SCREAMS and turns to face the horror.
SPENCE (cont?d)
What the fuck are you doing?
It?s J.D. He and RAIN are where ONE left them. Guarding the retreat.
J.D.
Quiet.
They all listen.
44
CONTINUED:
The shuffle of feet? And a low moaning noise. Almost human. Almost.
SPENCE
What is that?
ALICE and MATT share a look. This is the sane noise they had heard
through the air vents. Only now it?s closer. Now it?s in the room
with them.
RAIN
There.
She sees movement behind one of the specimen tanks.
RAIN (cont?d)
Over there.
J.D.
No .... there!
J.D. sees another one. Whatever they are, they?re all around.
SPENCE
What the fuck is down here?
J.D.
I?m not waiting to find out. Now move!
J.D. pushes them towards the exit.
RAIN
we?re almost there .... keep going!
The exit is just ahead. Something big moves behind one of the tanks.
S.D. lets loose a burst from his M16. The tank shatters sending
broken plexi and fluid everywhere. They still haven?t seen their
pursuers.
J.D.
Run!
They do. ALICE sprinting ahead, straight into A figure in a lab
coat. A WOMAN. Her tongue is swollen and bloated. Her death was
painful and slow. You can see it in what?s left of her face.
THE UNDEAD HAVE ARRIVED.
45
CONTINUED:(2)
ALICE screams as the UNDEAD WOMAN hinges at her. The Woman?s actions
are slow and jerky, but ALICE is caught by surprise and knocked
to the ground. She struggles to get up, but the weight of the Undead
Woman keeps her pinned to the floor.
ALICE looks into the Woman?s dead eyes, which stare straight back
at her. There?s no life left here, but there is something else.
A terrible, terrible hunger.
RAIN kicks the Woman off. She rolls over and begins to get up. Broken
ribs mean nothing. Pain means nothing.
RAIN empties a round into her chest. Then another, then another.
Still the Woman advances. Bullets mean nothing.
The M16 dry clicks. Empty.
TWELVE moves to help when two more UNDEAD loom behind him. One grabs
his arms, the other his hair. He struggles to break free, but can?t.
TWELVE
Help me!
But J.D. can?t hear over the sound of his own gunfire. He?s blasting
away at the rising tide of undead.
ALICE sits with her back against one of the tanks. In a state of
shock. Traumatized.
WE SEE but she doesn?t ? a figure moving behind the tank, circling
towards her. Its monstrous face distorted even more by the coned
Plexiglas.
RAIN struggles with the Undead Woman. Trying to hold her off. To
keep the teeth from her throat.
MATT
(to Spence)
Help them!
MATT is helpless, his hands still cuffed. SPENCE surveys the scene.
Sees ALICE in shock. TWELVE and RAIN pinned by the Undead. J.D.
nowhere to be seen.
Then he bolts for the exit.
One of the Undead bites down hard on TWELVE'S shoulder. He screams
in pain.
RAIN struggles with the Undead Woman. She has RAIN by the hair.
46
CONTINUED:(3)
RAIN
Bitch!
RAIN grabs her by the head and twists. The UNDEAD'S neck snaps with
a hollow crack and she falls to the ground. Unmoving.
The figure behind ALICE comes into view. She?s still unaware of
the danger. It?s BROWN, the scientist from the start of the movie.
The fire axe still dangles uselessly from his right hand. His face
is bloated and swollen from the water. Death by drowning always
looks bad. Especially when the bodies start to walk around.
He reaches for ALICE. His fingers are inches from her skin.
Two more Undead have surrounded TWELVE. The four of them have wrestled
him to the ground and are biting in a frenzy at his arms and chest.
One of them wrestles a .45 auto from TWELVE'S belt, but doesn?t
know what to do with it.
MATT (O.S.)
I?ll take that.
Still in cuffs, MATT snatches the gun from the UNDEAD'S hand. The
Undead creature looks up in surprise as MATT blows the back of its
head off. Surprisingly, there?s very little blood. Inside, the creatures
are dry, withered husks.
A scream brings cur attention back to ALICE. The Undead BROWN has
a hand on her throat. He drops the fire axe and secures his other
hand around her wind pipe.
MATT carefully takes aim. BROWN'S head in his sights- And squeezes.
Click. Empty.
ALICE is slammed against the plexi tank. The last of her breath
leaving her body. She?s passing out. She feels BROWN'S saliva on
her face. Rank and fetid.
But still she doesn?t move. The trauma has triggered some kind of
recall in Mice?s mind.
BIG CLOSE UP ON ALICE?S EYES
Suddenly THE CAMERA accelerates forward, racing past the cool blue
of her iris and plunging deep within the dark well of her pupil.
47
CONTINUED:(4)
As THE CAMERA spirals through the darkness, we sense sudden flashes
of color and sound. MEMORIES.
ALICE?S FLASHBACK:
Blurred imagery, distorted voices. The logic of a dream.
THE CAMERA lost in a dark, evil forest. The kind you see in fairy
tales. But as we pull back, the forest is revealed to be a giant
oil painting.
In front of it stands a table. And on the table a foam lined carry
case and a pair of gloves. We recognize them front the start of
the movie.
UNSEEN VOICE
I can help you get the virus. Access codes, security plans, the
works.
END ALICE?S FLASHBACK
SMASH CUT TO:
THE PRESENT
ALICE forced against the plexi tank. BROWN'S hands around her neck,
Choking. Dying.
BAM! BROWN'S head is suddenly pinned against the Plexiglas by the
fire axe. The axe has gone clear through his skull, in one ear and
out the other. His hands drop away from ALICE'S throat, but BROWN'S
body remains standing. His head pinned to the specimen tank.
ALICE
(choked)
Thank you.
SPENCE stands there. Her saviour.
ALICE (cont?d)
You came back.
SPENCE
I didn?t know the door code.
RAIN
Hate to break up the husband/wife thing, but let?s get the fuck
out of here. There?s more of them on the way.
48
CONTINUED:
They race for the exit. TWELVE seems badly injured. ALICE and SPENCE
have to help him. Behind them, a dozen Undead are slowly following.
Up ahead they hear gunfire and moments later see J.D. by the exit,
holding a whole band of undead at bay.
J.D.
(flip)
What took you?
RAIN
Aim for the head. That seems to work.
TWELVE arrives at the door. Tries to type the entry code in. The
sound of gunfire is deafening.
J.D.
What?s taking so long?
TWELVE
I?m trying.
His hands are shaking so hard, he can?t hit the keys.
RAIN
Out of the way tech boy.
RAIN pushes him aside.
RAIN (cont?d)
What?s the code?
TWELVE
(shaken)
Six, six, seven.
RAIN punches in the code.
RAIN
See how easy that was?
The door slides smoothly open to reveal...A DOZEN UNDEAD! Their
hands reaching for RAIN. Grabbing her, dragging her into the dark
void beyond.
RAIN
(screans)
No!
J.D.
Out of my way!
49
CONTINUED:(2)
J.D. runs forward, two guns in his hands, both blazing. RAIN has
almost disappeared under a mass of rotting undead limbs.
RAIN
(desperate)
Oh my God! Help me!
Other hands reach for her and try to drag her away from the undead.
It?s ALICE and TWELVE. Playing tug of war with the undead, and RAIN
is the rope.
But it?s hopeless and RAIN is dragged deeper into the ravening horde.
J.D.
Rain! No!
J.D. plunges into the doorway after her. His hand grabs hers, and
for a moment she holds on.
RAIN
(pleading)
J.D. .... don?t let go! Please! Don?t let go!
Then one of the undead gets a hold of J.D.?S hand and takes a nice
big bite. You know the fleshy bit between your thumb and forefinger?
Well J.D. doesn?t have that any more.
J.D. (cont?d)
(intense pain)
Aaaaah!
He lets go and RAIN disappears from sight. All that can be beard
are her screams.
J.D. (cont?d)
NO!
J.D. would fling himself into the horde of undead, but the others
hold him back.
ALICE
It?s no good.
J.D.
(furious)
Let go of me!
The screaming stops.
MATT
We?ve got to go back!
50
CONTINUED:(3)
J.D.
(almost in tears)
Rain!
But she?s gone. And the undead want fresh meat.
ALICE
We have to get out of this room.
The undead pour into the room. Too many to hold back. And now they
move faster. Excited by the sight of blood. Still J.D. won?t move.
ALICE (cont?d)
J.D. .... please.
She looks him in the eye. Icy calm, despite the ravening horde that
threatens to overwhelm them.
ALICE (cont?d)
We have to go.
J.D. finally snaps out of it. Realizing that RAIN is never coming
back. Stunned, he nods and they move off.
The survivors race through the room, weaving between the slower
moving undead. When something gets in their way, J.D. levels it
with a burst from his M16. His anger rising.
J.D.
Motherfuckers! Dirty motherfuckers!
Mound them, Plexiglas tanks shatter and explode as stray bullets
crash into them.
And in all the chaos, the group begins to get separated.
Like mice in a maze.
CLOSE ON A HEAVY DOOR
as SPENCE slams it behind them.
They are back where they started. WIDER TO REVEAL -
INT. CONTROL ROOM
SPENCE looks around. Only now does he realize that some of their
group is missing.
51
CONTINUED:
SPENCE
Where are the others? Where the tuck are the others?
ALICE and MATT are gone.
J.D.
Don?t look at me.
TWELVE
Damn!
TWELVE un-straps his Kevlar vest and lets it fall to the ground.
His entire body is covered with bite shaped marks. The bruises are
already turning an ugly yellow color.
TWELVE (cont?d)
I feel like lunch.
J.D. slumps to the ground, his back to the wall. Nice solid wall.
No chance of anything creeping up on him. RAIN'S death has snapped
something within J.D. blood drips from his savaged hand.
On the other side of the door we bear dozens of fists pounding.
SPENCE
Well I?m not going to end up a Goddamn Happy Meal for one of those
tucks!
J.D.
Whatever they are, you can stop them with a shot to the head.
SPENCE
(angry)
Whatever they are? It?s pretty goddamn obvisous what they are.
Lab coats, badges. Those people used to work here.
TWELVE
All the people working here are dead.
SPENCE
Well that isn?t stopping them from walking around!
J.D.
Where did they come from? Why didn?t we see them on the way in?
52
CONTINUED:(2)
TWELVE
When we cut the power, we unlocked all the doors. We let Pandora
out of the box.
SPENCE
Those things could be all over the place. We?re never going to
make it to the surface.
TWELVE
So she was right.
SPENCE
What?
TWELVE
The Queen...she was right.
The moment is broken by the sound of a gun being racked. J.D. is
checking his assault rifle.
J.D.
Twenty seven rounds.
(to Twelve)
You?
TWELVE
Six in the clip...one in the breech.
SPENCE
We are so fucked.
Not too eloquent, but it seems pretty accurate.
CUT TO:
CLOSE ON ALICE
for the first time, all alone in the dark. And it?s terrifying.
WIDEN to reveal ?-
INT. SECURITY ROOM
We recognize the room from the start of the movie. The one with
all the caged guard dogs. Only now the cages are empty. Many have
holes in them, chewed straight through the mesh. What would make
a dog do that?
ALICE cautiously makes her way down the half lit corridor. Then
suddenly she stops. Senses that she isn?t alone. In the audience,
people are watching from behind their fingers.
53
CONTINUED:
Then she hears it. A sharp clicking sound. Nails on a cement floor.
In the shadows, a dark shape moving.
A low demonic growl.
ALICE
Easy there I Good doggie.
The Doberman advances into a shaft of light. But this is like no
dog we?ve ever seen before. Its eyes are glazed. Its flesh decaying.
Undead doggie.
ALICE (cont?d)
Oh hell.
The Doberman charges and ALICE does the only sensible thing. She
runs.
The Dog leaps at her, all teeth and claws. ALICE dodges and dives
into one of the cages f or protection. She slams the mesh door in
the hellhound?s face.
ALICE wedges door shut. She?s trapped in the cage, and the door
won?t hold for long. But it doesn?t matter anyway, because out of
the shadows steps a second Doberman.
ALREADY IN THE CAGE WITH HER!
The second Undead Dog jumps at ALICE, knocking her to the ground.
She?s no match for its savagery. It?s a struggle just to keep its
jaws from her throat.
As if that weren?t enough, the first Dog is slowly forcing the cage
door open. It will be through in moments.
They want blood, her blood.
The Dog on top of ALICE forces its jaws around her face.
BIG CLOSE UP ON ALICE?S EYES
Suddenly THE CAMERA accelerates forward, racing past the cool blue
of her iris and plunging deep within the dark well of her pupil.
As THE CAMERA spirals through the darkness, we sense sudden flashes
of color and sound. MEMORIES.
THROUGH HER EYES WE SEE: schematics of the dog: biological cross
sections: details of the dog?s skeleton: a weak point identified
on the Doberman?s neck.
54
CONTINUED:(2)
Her hands are already there. Guided by instinct.
SNAP!
The Undead Dog stops moving. She?s killed it with her bare hands.
CRASH! The cage door bursts open. The other Dog charges. Ferocious,
unstoppable. In one slick acrobatic move, ALICE leaps into the air
and boosts herself through a hole in the cage roof.
The Dog jumps after her, but ALICE is just out of reach.
She rolls over the cage roof, drops to the ground and slams the
cage door shut. Right in the Hellhound?s face. ALICE slams the door
bolt home. The Dog is trapped, helpless in the cage.
ALICE smiles and turns away, SMACK INTO ANOTHER OF THE UNDEAD!
It?s the security guard who used to tend the dogs. CLARENCE. We
recognize him from the start of the movie. ALICE recognizes him
from his name tag.
ALICE (cont?d)
Easy there Clarence.
The undead guard lunges for her, but ALICE is lightning fast, as
though someone else had taken possession of her body. She weaves
through his arm, lifts the sidearm from his bolster and drills a
bullet through his forehead.
As the Undead Clarence collapses, MORE MEMORIES FLOOD INTO ALICE.
In ULTRA FAST SUCCESSION we see a dozen schematics of the handgun.
In two seconds flat, she has ejected the magazine, checked the number
of bullets, slammed the mag home and chambered another round.
All before Clarence?s body has hit the ground.
ALICE is stunned by all this sudden killer instinct. Stares at herself,
gun in hand.
ALICE (cont?d)
Damn! I?m a tough bitch.
INT. CONTROL ROOM
TWELVE stares at the door. It?s beginning to buckle under the weight
of the undead. He suddenly turns back to the others:
55
CONTINUED:
TWELVE
It?s a long shot .... but there might be someone who could help
us.
J.D.
Who?
TWELVE takes the Box from his pocket.
SPENCE
You?re kidding right?
TWELVE
If anyone could find a way out of here it would be her.
SPENCE
No. Absolutely not.
He looks to J.D.
SPENCE (cont?d)
Right?
No reply.
SPENCE (cont?d)
In case I?ve been the only one paying attention, that homicidal
bitch tried to kill us all.
TWELVE
That homicidal bitch may be the only one who can tell us what the
hell?s going on down here.
(shrugs)
I know it?s not ideal.
SPENCE
You said that right.
J.D.
If you switched her back on...you could control her?
SPENCE
I don?t believe this.
TWELVE
If she says or does anything we don?t like ....
He indicates the switch at the base of the Box.
56
CONTINUED:(2)
TWELVE (cont?d)
it?s the flip of a switch.
CLOSE ON A GUILLOTINE BLADE
the kind used for shying through thick stacks of paper. It comes
down on a battered pair of handcuffs for the hundredth time. Finally
a link breaks.
WIDEN TO REVEAL ?
INT. OFFICE
MATT, now free from the cuffs, starts to make his way through the
familiar office space. This is where we had last seen LISA. But
now the place is trashed. Smeared with dirt and blood.
He reaches LISA'S cubicle and sits down at her desk. We recognize
the ?LOVE IS .... ?NEVER HAVING TO SAY YOU?RE SORRY? paperweight.
After a moment he begins to methodically check the desk drawers.
UNSEEN P.O.V.
moving through the office space. Slow, jerky steps. Glimpsing MATT
in the distance.
CLOSE ON MATT
as he turns, sensing something. There?s someone in here with hint.
MATT cranes his head around the side of the cubicle. Nothing there.
He goes back to the desk and redoubles his efforts. He finds the
foam lined carry case. Snaps it open. Empty.
UNSEEN P.O.V.
closing in on MATT. He has his back to us. Trying to force open
a locked drawer in LISA'S desk.
CLOSE ON MATT
as the locked drawer pops open. He rifles through the papers inside.
All useless. Then he stops. He?s found a framed picture. MATT and
LISA arm in arm, smiling at the camera.
MATT gives the photograph a long look.
CRASH!
57
CONTINUED:
a sudden noise makes MATT turn. An office chair has been knocked
over by the staggering monstrosity in front of him. It?s LISA. Back
from the dead.
MATT still holds the photo in his hand. The two of them arm in arm.
LISA alive and beautiful. But the reality stands above him. LISA
the undead. Her face distorted into a grotesque mask. The agony
of suffocation.
MATT
Oh baby
LISA stares at him. Makes no attempt to attack.
CLOSE ON HER EYES
we see MATT reflected in her pupils. The undead LISA groans. Is
there a hint of recognition?
Slowly she raises her hand to his cheek. Touches him lightly. Tenderly.
Then sinks her nails into his flesh.
MATT
(in agony)
Aaaaah!
LISA lunges forward pushing MATT back over the desk. Her teeth snap
at his throat. MATT fights back, but LISA is surprisingly strong.
He slugs her across the face, breaking her teeth and his knuckles,
but she doesn?t flinch. Doesn?t hesitate for a moment. She wants
blood.
Slowly, inevitably, she forces her mouth around MATT'S windpipe.
Her broken teeth-ready to tear out a jagged chunk of raw flesh.
When suddenly she stiffens. And then falls to the ground.
To reveal ALICE standing behind her. The heavy ?LOVE IS ....? paperweight
in her hand.
MATT struggles to his feet.
ALICE looks down at LISA. This is the second time we?ve seen her
die. Lying beside the body is the broken picture frame. MATT and
LISA. Hand in hand. Smiling.
ALICE
Who was she?
58
CONTINUED:
MATT
(choked)
My sister.
ALICE
I?m sorry.
MATT
I could have talked to her .... Reasoned with her.
ALICE
Not with these things.
MATT
They?re not ?things?, they?re people! They have mothers, bothers
.... brothers.
ALICE
(cold)
No. You can?t think of them that way anymore.
MATT
You know something?
MATT stares at her. The new icy composure. Who is this woman?
MATT (cont?d)
When you remember who you are...I have the feeling we're not going
to get on.
CUT TO:
CLOSE UP OF THE BOX
as TWELVE plugs it into the holographic projector on his computer.
The chess squares illuminate and a life size 3D image of the teenage
Queen flickers into life beside them.
The genie is out of the bottle.
RED QUEEN
Ah, there you are.
(gloating)
I did warn you.
Red Queen is about to continue when J.D. cuts her off.
59
CONTINUED:
J.D.
Lets get something straight I From what I understand, you?re state
of the art Artificial Intelligence, which means you consider yourself
a living, thinking being, correct?
RED QUEEN
Yes .... that is correct.
J.D.
And this box is the last remnants of your sorry ass. So let me
make one thing clear. You try to fuck with us in any way and I will
personally grind your super gigabyte punk ass into dust. Finito!
Comprende?
RED QUEEN
I speak fifty?seven languages.
J.D.
Good. So now you can answer some questions. Number one .... what
the Luck were you people doing down here?
RED QUEEN
The usual thing. Gene splicing, toxicology, bioengineering. All
in service of mankind?s one great goal finding new and exciting
ways to wipe itself out.
SPENCE
Aren?t we the witty little microchip?
RED QUEEN
Merely here to serve.
The argument is interrupted by the undead. Banging hard against
the door to the Specimen Room.
TWELVE
What are those things out there?
RED QUEEN
Things?
SPENCE
Drooling, staggering...bad complexions, worse attitude.
60
CONTINUED:(2)
RED QUEEN
I presume you are referring to the retro animated weapons systems.
J.D.
The what?
RED QUEEN
In human mythology, I believe they are traditionally referred to
as the undead.
TWELVE
Explain.
RED QUEEN
Even in death, the human body still remains active. Hair and fingernails
continue to grow, new cells are produced, and the brain itself holds
a small electrical charge that takes months to dissipate. Much of
the research in the Hive was devoted to those electronic signals
left in the brain .... fragments of memory that decay over time.
A virus, T?3 was developed. This T-virus provides a massive jolt
to those trace electronic impulses.
(pauses a beat)
Put quite simply, it reanimates the body.
J.D.
You?re bringing the dead back to life?
RED QUEEN
Not fully. The subjects have the simplest of motor functions. Perhaps
a little memory .... virtually no intelligence. Driven by the basest
of impulses .... the most basic of needs.
TWELVE
Which is?
RED QUEEN
The need to feed.
SPENCE
(fearing the worst)
And what do these things feed on?
61
CONTINUED:(3)
RED QUEEN
They feed on what mankind has always wanted to prey upon, what
you have always sought to destroy. Yourselves.
SPENCE
They eat people?
TWELVE
That?s inhuman.
RRD QUEEN
On the contrary. I find it perfectly in keeping with human behavior.
Stripped of culture, intelligence, reason .... they are your true
primal selves. The evil that dwells within all of you.
The computer smiles.
RED QUEEN (cont?d)
It?s quite poetic really.
SPENCE sits down on the cold floor.
SPENCE
Oh my God.
RED QUEEN
I was trying to keep them isolated, but I'm afraid you've changed
all that.
TWELVE
Why develop such a thing?
RED QUEEN
To use as a weapon of course. Imagine it an enemy nation infected
with T?3. The idea of having your own mother and father rise up
out of the grave against you. To be attacked by your own flesh and
blood. The psychological impact alone would be devastating.
J.D.
If they?re a weapon, you must be able to control them.
RED QUEEN
When the enemy surrenders, the infected area would be sprayed with
an anti-toxin, T-4.
62
CONTINUED:(4)
TWELVE
And that would kill them?
RED QUEEN
It would prevent further transmission. The remaining undead would
have to be dispatched individually. Severing the top of the spinal
column or massive trauma to the brain are the most effective methods.
SPENCE
We are so fucked.
J.D.
You said that already.
SPENCE
Well now I really mean it.
INT. OFFICE
ALICE and MATT pick their way cautiously through the devastation.
ALICE
What were you looking for back there?
MATT
Evidence.
ALICE
Of what? You saw the kind of horrors they had in that specimen
room. Well that?s just the tip of the iceberg.
ALICE
How could they do all of this without someone knowing?
MATT
Like who?
ALICE
The government.
MATT
(laughs)
Of course the government knows.
(MORE)
63
CONTINUED:
MATT (cont?d)
Just like they know about the genetically modified meat in your
burgers, the D.N.A. enhanced corn in your taco shells. They know
about all this shit. They just don?t get involved. They leave it
to companies like Umbrella. Buy the end product if it works out,
deny all responsibility if it doesn?t. We wanted concrete evidence
for the press. We were going to smuggle out a sample of their new
viral weapon.
ALICE
And?
MATT
(looks around)
We didn?t cause this if that?s what you mean?
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