Resident Evil (2002)

by Paul W. S. Anderson
More info about this movie on imdb.com


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 aare 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.

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!