Resident Evil Remake Script
for Resident Evil Gamecube Version.
Transcripted by Dave Schmidt
Release 1.0
*PURPOSE OF THIS FAQ*
------------------------------------
This FAQ has been written in order to provide a complete reference
of what has been said by the characters in the Resident Evil world.
In finding continuity errors and the like, what the characters say is
extremely important. But because the first Resident Evil has so many
different alternate paths, many people never see many of the scenes
within this game. Also, some people may not own the game, and want
to be filled in on what happened within the first game. This FAQ and a
File FAQ would fill them in on the Storyline of RE1 somewhat near 100%.
It also tries to help reveal what events lead to which scenes later on, a
topic which some FAQs still aren't totally clear on. This guide tries to be
as clear as possible, telling what is needed to see each scene (unless it is
a scene that is always seen; I speak more of the alternate path scenes.).
Since the game is a Remake, we also need to know what goes on, since
in effect, with the Remake, Resident Evil’s history has been rewritten.
So welcome, into the realm of survival horror... Resident Evil. By the
way, if you find any other cinemas that you feel should be included in
this FAQ, feel free to email me at
[email protected] and tell me
about it. Or just talk about Resident Evil theories. Now on the the FAQ...
*TERMINOLOGY USED IN THIS FAQ*
-----------------------------------------------------
Text enclosed in *( )* denotes action going on.
Text enclosed in [ ] denotes this text is actually displayed on the screen.
Any text behind one of the characters' names (such as Wesker: ....)
denotes that character speaking.
*FAQ HISTORY*
------------------------
November 3, 2002 - FAQ almost totally finished. First release.
*TABLE OF CONTENTS*
------------------------------------
Resident Evil (Remake)
--------------------------------
I. Jill Valentine
A. The Mansion
1. Opening Cinema
2. Inside the Mansion
3. The Dining Room
4. Mysterious Puddle
5a. Zombie Scene
a. Zombie Attack 1
5b. Zombie Attack 2 (Semi-Secret)
6. Search for Wesker
(O). Art Closet Zombie
(O). Bathtub Zombie
(O). Ceiling Trap
(O). Kitchen Zombie
(O). Itchy Itchy Scott Comes
7a. Barry in Terrace
7ba. Barry in Main Hall 1f
7bab. Barry in Main Hall 1f (No Room)
7bb. Barry in Main Hall 2f
7bbb. Barry in Main Hall 2f (No Room)
(O). Forest Is Dead… Well, Kind Of
8. Researcher's Will Event
9. Meet Richard
10a. Richard… lives?
10b. Richard is Dead
11. Moonlight Sonata
12. Meet Yawn the Giant Snake
12a (P). Richard to the rescue
13a. "Get me Serum"
13b. Jill Faints
14. A New Friend in an Old Box
B. The Residence (Guard House)
1(P). Barry Radio
2. Scary Noises
3. A Hideous Encounter
4(P). Radio Transmission #1
5. Draining the Pool Scene
6. Muffled Conversation
7. Encounter With Barry
8. Neptune Arrives
9. Neptune’s Wrath
10. Fried Fish
11a. VJolt on Root
11b. Plant 42
12. Reunite with Wesker
13(P). Radio Transmission #2
C. Return to the Mansion
1(P). Look! A Radio!
2. Hunter Arrives
3. Yawn’s Revenge
4(P). Radio Transmission #1
D. The Underground Tunnels
1. Meet Enrico
2. Spider’s Nest
3. What Good Timing!
4. Traitor?!?
E. The Altar
1. Trust Barry?
2a. Yes
2b. No
3(P). The Reunion
F. The Umbrella Lab
1. Draining the Fountain Scene
2. Slideshow
3. Kenneth’s Film
4(P). Meet with Chris
5(P). Rejoin with Barry
6a. Wesker Conversation 1
6b. Wesker Conversation 2
7. Tyrant Showcase
8a. Wesker's Death
8b. No! Not Barry!
9(P). Warning Announcement
10a(P). Save Chris 1
10b(P). Save Chris 2
11(P). Chris’ Rush
12a. Barry's Rush
12b. Barry and Chris's Rush
13. Radio Transmission #3
14a. Chris's Encouragement
14b. Barry's Encouragement
14c. Survivors' Encouragement
15a(P). Return of Tyrant (Barry and Chris)
15b(P). Return of Tyrant (Barry)
15c(P). Helicopter Pickup (Chris)
15d(P). Helicopter Pickup (Alone)
16(P). Brad's Gift
17(P). Death of A Tyrant
ENDINGS
18a. Ending A-Jill
18b. Ending B-Chris & Jill
18c. Ending C-Barry & Jill
18d. Ending D-Chris, Barry, & Jill
18e. Ending E-Chris & Jill
18f. Ending F-Jill
19. Credits
20a. Jill Epilogue Picture
20b. Jill Epilogue Picture (Military)
20c. Jill Epilogue Picture (RE3)
21. Rewards
22(P). Mikami’s Message
23(P). Unused Costume Designs
II. Chris Redfield
A. The Mansion
1. Opening Cinema
2. Inside the Mansion
3. Zombie Scene
4. Searching for Wesker
(O). Art Closet Zombie
(O). Bathtub Zombie
(O). Kitchen Zombie
(O). Itchy Itchy Scott Comes
5. Meet Rebecca
(O). Forest is Dead… Well, Kind Of
6a. Give Richard Aid
6b. Abandon Richard
7a. Maestro Rebecca #1
7b. Maestro Rebecca #2
8a. Answer Yes
8b. Answer No
9. Moonlight Sonata
10. Meet Yawn the Giant Snake
11a. Rebecca's help
11b. Get Serum
12. A New Friend in an Old Box
B. The Residence (Guard House)
1(P). Wesker’s Warning
2. Scary Noises
3. A Hideous Encounter
4(P). Radio Transmission #1
5. Draining the Pool Scene
6a. Richard… here?
6b. Neptune’s Arrival
7. Neptune’s Wrath
8. Fried Fish
9a. Chris vs. Plant 42
9b. Rebecca Helps Out Again
10a. Post-Plant 42 Discussion #1
10b. Post-Plant 42 Discussion #2
11. Reunite with Wesker
12. Radio Transmission #2
C. Return to the Mansion
1. Hunter Arrives
2. Save Rebecca!
3. 2f Hunter Confrontation
a. Save Her
b. Run Away
4. Yawn's Return
D. The Underground Tunnels
1. Meet Enrico
2. Spider’s Nest
E. The Altar
1. Fighting the Mess-Up
2. The Reunion
E. The Umbrella Lab
1. Draining the Fountain Scene
2. Slideshow
3. Kenneth’s Film
4(P). Meet with Jill
5(P). Rejoin Rebecca
5a. Wesker Conversation 1
5b. Wesker Conversation 2
6. Tyrant Showcase
7. Wesker's Death
8(P). Rebecca Lives!
9(P). Triggering System Discussion
10(P). Detonation Radio
11a(P). Rescue Jill #1
11b(P). Rescue Jill #2
12(P). Jill’s Rush
13. Radio Transmission #3
14a. Jill's Encouragement
14b. Rebecca's Encouragement
14c. Survivors' Encouragement
15a(P). Return of Tyrant (Rebecca and Jill)
15b(P). Return of Tyrant (Rebecca)
15c(P). Helicopter Rescue (Jill)
15d(P). Helicopter Rescue (Alone)
16(P). Brad's Gift
17(P). Death of a… Hey, Wait a Minute!
18(P). Death of a Tyrant
ENDINGS
19a. Ending A-Chris
19b. Ending B-Chris & Jill
19c. Ending C-Chris & Rebecca
19d. Ending D-Chris, Jill & Rebecca
19e. Ending E- Chris & Jill
19f. Ending F- Chris
20. Credits
21a. Chris Epilogue Picture
21b. Chris Epilogue Picture (Mexican)
21c. Chris Epilogue Picture (RE:CV)
22. Rewards
23(P). Mikami’s Message
24(P). Unused Costume Designs
*RESIDENT EVIL SCRIPT*
------------------------------------
I. Jill Valentine
-----------------
A. The Mansion
--------------
Scene 1. Opening Cinema
*(We see text being typed on a computer screen...)*
[Jul. 1998]
[Raccoon Forest]
*(Background switches to a helicopter’s-eye-view of a dense forest. The
night is foggy and cloudy. We eventually see the face of the pilot, Brad
Vickers, who is wearing his flight helmet.)*
Chris: Alpha Team is flying around the forest zone, situated in northwest
Raccoon City, where we are searching for the helicopter of our compatriots,
Bravo Team, who disappeared during the middle of their mission.
[Background Talk:
Brad: Chris, you haven't found it yet?
Chris: No, not yet Brad.]
*(Changes to a very close-up picture of a television screen—it fades out to
show a woman on the news. A black and white photo of a family is shown in the
upper-right hand corner, along with the tagline KILLED, Ten Families in red.
The logo “RBC” is imposed on the bottom-right hand corner. As the report goes
on, the picture is zoomed in on.)*
Chris: Bizarre murder cases have recently occurred in Raccoon City. There are
outlandish reports of families being attacked by a group of about 10 people.
[Background Talk:
Reporter: And now for a special news update: the bizarre murders in our city
continue to escalate. Words have just come in that a group of friends camping
in the forest have been killed.]
*(Screen changes to sepia-colored snapshots; the first is of a few small steps
leading to a wooden door of a house. A trash can lies to the right of the door,
and blood is spattered all over the steps. The second is of a body lying on
the floor of a room. The room contains a desk, some drawers, a shelf, and a
bed (which has a few flecks of blood on it). The victim appears to have been
in his pajamas. We don’t see the victim’s face. The third snapshot is of his
face: the right side of it is severely chewed. His eyes appear to be rolled
back into his head, and there is also some blood dripping down from the top
of his head.)*
Chris: Victims were apparently eaten.
*(Scene switches back to the helicopter flying around the forest zone.)*
Chris: The Bravo Team was sent in to investigate, but we lost contact.
*(The helicopter’s searchlight plays over the forest; we see a ruined
helicopter among the trees.)*
Jill: Look, Chris!
*(Changes to the headset cam of Alpha member Joseph Frost. It displays
[Joseph.F] in the upper-left corner, [*REC] in the upper-right corner, and
[07/24/98] in the bottom-left corner. The helicopter is wrecked; Joseph
breaks open the door, and we see that the side-window is broken. There’s
also a hole in the main windshield.)*
Chris: Bravo Team’s helicopter was a derelict.
*(Joseph looks around the front of the copter... in the front, we see a leg
with a hint of blood under the instrument panel...)*
Chris: Save for the remaining body of Kevin...
*(Joseph looks right, and sees Kevin’s body. He lets out a scream, as he sees
that the pilot’s head is rolled back, one eye seemingly gouged out, with the
other ghastly white. Joseph quickly exits the ill-fated copter...)*
*(We then see Wesker walking around the woods, holding his pistol at ready
over his other arm, which is holding a flashlight. Barry, behind him, and
Chris, across from him, do the same.)*
Chris: We continued our search for the other members... and it turned into...
a nightmare...
*(The viewpoint switches to a nameless something in the woods... it appears to
be rotating around the members of the Alpha Team, watching them... We then
switch back to Joseph’s headcam view. He is breathing heavily. We then see
Jill in front of him, walking towards the camera. Joseph turns around and
investigates something by the tree behind him… He walks cautiously towards it
and hears a growl. He panics and looks around, his shotgun at ready.
After a few silent moments, he decides he’s in the clear and lets out a sigh
of relief. We then see from the viewpoint of something charging at the hapless
STARS member, and we see the look of terror on his face as—something—bares its
fangs and jumps atop him. A shotgun blast is heard, and all the STARS members
turn and look in its direction. From Joseph’s headcam, we see that they are
some type of disgusting-looking dogs. He tries to shoot them with his shotgun,
but he only gets off two more rounds before his headset comes off and we see
his legs off camera and his screams as he is devoured alive by the mutant dogs.
A splotch of blood makes its way onto the camera... All this time, Jill has
been shooting at the dogs as well. Her pistol is empty, but she keeps on
pulling the trigger as she stares at the spectacle before her. Four of the
dogs are eating Joseph while he still screams. As the screaming stops, one of
the dogs, still chewing Joseph’s flesh in its mouth, turns around and notices
Jill. She staggers back slowly and falls while the dog jumps at her. Luckily,
Chris guns it down, leaving a surprised Jill with a spot of blood on her
face.)*
Chris: Come on!
*(He takes hold of Jill and runs just as the other dogs notice what’s going
on. As the pair runs, they look up and notice the helicopter flying away.)*
Chris: Hey! Brad! Where the hell’s he going?
*(The dogs seem to be catching up now, and Chris turns to brace himself for
the impact of a dog jumping at him. Everything slows down, and a gunshot rings
through the air, bringing down the creature.)*
Wesker: Chris this way!
*(Chris and Jill run past Wesker, as the Alpha Leader fires three rounds at
the dogs. He moves off-screen, and Barry is seen firing his mighty Colt Python
at the dogs. He fires off three shots; the second one hits a dog, instantly
killing it. They all run towards the house, and Chris, Wesker, and Barry each
fire one more shot at the dogs.)*
Barry: Dammit!
Chris: Make for that mansion!
*(We see a running view of the huge, eerily-lit mansion ahead of them, and
then the pursuing dogs behind as the screen fades to black...)*
[Enter the survival horror.]
*(We see the doors on the mansion open, revealing an ornate mail hall. Jill
speaks.)*
Jill: There are only 3 S.T.A.R.S. members left now: Captain Wesker, Barry,
and myself. We don’t know where Chris is.
*(End scene.)*
Scene 2. Inside The Mansion
*(Wesker, Barry, and Jill stand in a huge ornate-looking main hall. Jill is
bent over, gasping for air.)*
Barry: What is this place?
Wesker: Not quite your ordinary house, that’s for sure.
*(Jill turns to face Wesker.)*
Jill: Hey Wesker, where’s Chris?
*(Jill runs toward the door.)*
Wesker: Jill, no. You don’t want to go back out there.
Jill: But we’ve got to find--
*(A gunshot is heard. All turn to look in its direction.)*
Barry: What was that?
Wesker: ...Chris?
Jill: No!
Wesker: Jill, go and investigate.
Barry: I'm going with her. Chris and I go back a long way...
Wesker: Alright. You two go. I’ll secure this area.
*(The two run towards the door on the west side of the hall.)*
Wesker: Stay sharp!
*(Jill stands by the side of the door as Barry waits in front of it, magnum
drawn; when Jill opens it, Barry runs in.)*
*(Barry and Jill exit.)*
Scene 3. The Dining Room
*(As Barry and Jill enter, guns drawn, they size up the area.
They find this is nothing but a lavish-looking Dining Room.)*
Barry: A dining room...
*(Barry proceeds to walk to the other end of the room.)*
Scene 4. Mysterious Puddle
*(Barry kneels down near the emblem fireplace.)*
Barry: I think you’d better take a look at this…
*(Jill walks over from either the left or right side.)*
Jill: What is it?
Barry: *(licks the substance)* Blood. *(Jill runs to his side and puts her
hand on his shoulder.)* Jill, see if you can find any other clues. I'll be
examining this. Let’s just hope that it isn’t Chris’s... *(Barry looks around
concernedly.)*
[Extra Click: Talk to Barry again. He’ll say...]
Jill: Barry...
*(Barry looks around some more, and fiddles around with the substance on his
fingers.)*
Scene 5a. Zombie Scene
*(We see a man wearing a green jacket who has a bald, white, diseased-looking
head. He is crouched over another man, who is struggling. He is apparently
eating him! We see his mouth drip blood atop the face of the struggling man,
who is none other than Kenneth Sullivan from the Bravo Team. His eyes are
rolled back, and his mouth is open. The man then turns around, revealing a
misty white eye, cracked skin, and exposed teeth.)*
Scene 5a-a. Zombie Attack 1
*(Jill runs out into the dining room. She runs over to Barry.)*
Jill: Barry?
*(The door opens. Barry turns to look at the zombie emerging from it.)*
Barry: What is it?
Jill: Look out! It's a monster! (begins to back away from the approaching
zombie)
Barry: Let me take care of it!
*(Barry fires his Colt Python 3 times into the zombie's body. It falls to the
floor with a thump. Barry looks down at it.)*
Barry: What the hell is this thing?
Jill: I found Kenneth, killed by this thing... (pause) Let's
report this to Wesker.
*(Barry then follows Jill. As they reach the Dining Hall doors, the two hear
a groan behind them; then a slamming door. Nothing can be seen, however.
They leave the room.)*
Scene 5b: Zombie Attack 2 (Semi-Secret)
*(Jill exits the dining room once without investigating. She returns to the
main hall to find Wesker.)*
Wesker: That gunfire... I’m counting on you to investigate, Jill.
Jill: Sure thing, Wesker.
*(She returns to the dining room. She attempts to leave
again. The camera view switches to Barry. He stands up from his crouch.)*
Barry: Got cold feet already? That's not like you... (returns to crouching)
*(Jill investigates the old grandfather clock, then goes to talk to Barry.
Scene 4 is then played out. Once she turns to exit, and runs back to the main
hall, the door-handle to the Tea Room jiggles. )*
Jill: Who is it?
*(A zombie lurches out and shambles toward Jill. Barry notices and points his
Colt Python toward it.)*
Barry: You, freeze! (pauses as the zombie gets closer to Jill) Get away from
him, Jill! He's insane!
*(Barry fires three shots into the zombie, and it falls down.
He walks over near Jill and the corpse.)*
Barry: What the hell?
Jill: We’d better report this to Wesker.
*(Barry gets up and they exit. As they reach the Dining Hall door, they hear a
groan from behind; then a door slamming. Nothing is seen. They leave.)*
Scene 6: Search for Wesker
*(Barry and Jill enter the Main Hall.)*
Barry: Wesker! (pause) Jill, help me look for him. And let’s not leave this
hall.
Jill: Good idea.
*(Jill proceeds to search behind the staircase/up the stairs as Barry walks
around. She turns back to speak with Barry.)*
Jill: Barry.
Barry: Any luck, Jill?
Jill: (shaking her head) No. Nothing. What’s going on around here? I can't
figure it out.
Barry: Same here.
Jill: Chris, and now Wesker!
Barry: There’s not much we can do... We can search for him seperately.
I'll investigate the dining room again.
Jill: Okay then. I'll try the door on the other side.
Barry: This mansion is gigantic. We could easily get lost. Let’s
start from the first floor.
Jill: Okay.
Barry: Oh! I almost forgot. It’s a lockpick. You’d make better use of it.
*(Barry places the lockpick in her hand.)*
Jill: Thanks. I may need it.
Barry: Listen, if something happens, let's meet up in this hall. Got it?
Jill: Okay.
*(He exits.)*
(O). Art Closet Zombie
*(As Jill tries to exit the Art Closet, she slowly walks backwards. Apparently,
a zombie has shuffled in. As she backs away from the creature, she trips and
falls. We see a view of the zombie, who moans and opens/closes his rotting
mouth. Now she’s got to fend it off... luckily, she just found a dagger...)*
(O). Bathtub Zombie
*(Jill reaches in and unclogs the bathtub. As she waits for it to drain, she
peers in at the muddy water. As she does, a hand raises from the mess. Jill
stumbles back as the zombie slowly gets up from the bathtub, and falls onto
the ground. As it tries to grab at her leg, Jill tries to avoid it for a few
seconds before stomping on its head with her boot. We see a shot of the
zombie’s ruined head for a few seconds, and then Jill starts to look as if
she’s going to be sick. She quickly runs over to the toilet and vomits
off-camera.)*
(O). Ceiling Trap
*(After taking the shotgun, Jill returns to the small anteroom. Strangely,
she hears a *click* come from the doors. She then notices dust falling
from the ceiling... as she looks up, she finds the ceiling is descending
on her! After checking both doors, which are locked, she stops.)*
Jill: Oh god... What did I do now?
*(Jill runs up to the door and pounds on it.)*
Jill: Wesker! Barry! Help!
*(Barry is on the other side of the door.)*
Barry: Jill? You in there?
Jill (voice muffled): Barry? Get me out of here! The door’s jammed!
Barry: Stand back!
*(Barry aims his revolver at the door’s lock. He fires a shot, and opens the
door. Jill is lying on the ground; the ceiling trap is almost completely
descended.)*
Barry: Grab my hand!
*(He quickly pulls her out into the hallway.)*
Jill: *phew* Barry!
Barry: That was a close one. A second late, you would’ve fit nicely into a
sandwich!
Jill: Really. Thanks. (Jill helps Barry get up.) But, Barry, didn't you say
you were going back to the dining room to find other clues? I’m glad and all,
but why are you here?
Barry: I just had something I wanted to… check. Anyway, we should get back to
searching for Wesker and Chris.
*(Barry begins to walk off)*
Jill: Thanks, Barry. (he turns around) I owe you one.
Barry: Don’t mention it.
*(He leaves.)*
(O). Kitchen Zombie
*(As Jill tries to exit the kitchen, we quickly switch our point of view.
Someone... is walking down the stairs leading to the basement. We hear the
person making zombie squelching noises as he walks... With our viewpoint back
on Jill, we see her walk backwards as a zombie comes shambling towards her.
She trips and falls, and we see the zombie’s empty eyes and wanting jaw
opening and closing... Now she has to find a way past him...)*
(O). Itchy Itchy Scott Comes
*(As Jill finishes reading the Keeper’s Diary on the desk, she turns to leave.
However, at that time the closet doors swing open, revealing a zombie lying
in wait. It quickly awakens and shifts its attention to our heroine...)*
Scene 7a. Barry in Terrace (Note: This is a harder cinema to get. First, you
must not have had Barry help you get the shotgun. Second, you must avoid going
into the Art Room after getting the Sword Key. Once you get the Armor Key,
you can unlock the East Terrace, and voila!)
*(2f East Terrace. As Jill walks along it, a startled Barry pulls his gun on
her. He retracts it as he sees who it is. Jill looks shocked.)*
Barry: (nervous chuckle) Jill! Don't scare me.
Jill: Speak for yourself, Barry. What are you doing here?
Barry: Yeah, well... You should take a look at this. (Jill slowly walks past
him) I warn you though, it’s not pretty.
*(Jill approaches the corpse cautiously.)*
Barry: It's Forest.
*(Jill takes a closer look. We see that Forest Speyer has been killed in a
quite painful-looking fashion. His right eye is missing, and the area around
his lips seems to have been eaten away.)*
Jill: (turns away) What could’ve done this to him?
Barry: God only knows... but I’m going to find out what did this to him. Jill,
could you investigate other areas?
Jill: Yeah, sure. *(She turns to leave. As she does so, Barry reaches down and
picks up Forest’s Grenade Launcher.)*
Barry: Jill... This is no longer useful to Forest. We don’t know what’s going
to happen... Take it with you.
*(Barry hands Jill the Bazooka. He then turns around and walks back over to
Forest, kneeling down...)*
Barry: I still can’t believe it...
[Extra click: Talk to Barry again. He’ll say:]
Jill: Barry...
Barry: I still can’t believe it...
[Extra click again: Try to talk to Barry again. It’ll say...]
[Let’s just let Barry]
[investigate Forest...]
Scene 7ba. Barry In Main Hall 1f (Note: Must have checked inside the Art Room
in the East Wing in order to get this (and not see Cinema 7a). You can’t
trigger it during Richard’s Quest, though.)
*(Main Hall. First floor.)*
Jill: Barry!
*(Barry turns around.)*
Barry: Oh, Jill! Got any good news?
Jill: Other than I’m still alive in this madhouse? No.
Barry: Can’t say it’s much safer here, either. We’d better secure our escape
route first. There’s gotta be a back door somewhere.
Jill: Alright then, let's split up again. *(Jill turns around.)*
Barry: Hey, hold on a sec! Look what I’ve found.
Jill: What?
Barry: A can of fizz! It’s sure to yellow and mellow those things. It’s yours.
Hopefully you won’t have to use it. *(Barry gives Jill the Acid Rounds.)*
Jill: What about you?
Barry: Oh, don’t worry. (raises his Colt Python) I like the buddy system we
have here... *(Barry stares at his weapon...)*
Jill: I... see. Thanks. I’ll take it.
Barry: See you later.
Jill: Ciao.
*(Barry turns, and walks back into the dining room.)*
Scene 7bab. Barry in Main Hall 1f (No Room) (Note: Must have checked inside
the Art Room in the East Wing in order to get this (and not see Cinema 7a).
You can’t trigger it during Richard’s Quest, though.)
*(Main Hall. First floor.)*
Jill: Barry!
*(Barry turns around.)*
Barry: Oh, Jill! Got any good news?
Jill: Other than I’m still alive in this madhouse? No.
Barry: Can’t say it’s much safer here, either. We’d better secure our escape
route first. There’s gotta be a back door somewhere.
Jill: Alright then, let's split up again.
Barry: See you later.
Jill: Ciao.
*(Barry turns, and walks back into the dining room.)*
Scene 7bb. Barry in Main Hall 2f (Note: Must have checked inside the Art Room
in the East Wing in order to get this (and not see Cinema 7a). You can’t
trigger it during Richard’s Quest, though.)
*(Main Hall; 2nd Floor)*
Jill: Barry!
*(Barry turns around, aims his gun, and drops it upon seeing Jill.)*
Barry: Oh, Jill! Got any good news?
Jill: Other than I’m still alive in this madhouse? No.
Barry: Can’t say it’s much safer here, either. We’d better secure our escape
route first. There’s gotta be a back door somewhere.
Jill: Alright then, let's split up again. *(Jill turns around.)*
Barry: Hey, hold on a sec! Look what I’ve found.
Jill: What?
Barry: A can of fizz! It’s sure to yellow and mellow those things. It’s yours.
Hopefully you won’t have to use it. *(Barry gives Jill the Acid Rounds.)*
Jill: What about you?
Barry: Oh, don’t worry. (raises his Colt Python) I like the buddy system we
have here... *(Barry stares at his weapon...)*
Jill: I... see. Thanks. I’ll take it.
Barry: See you later.
Jill: Ciao.
*(Barry turns and runs back into the dining room's second floor.)*
Scene 7bbb. Barry in Main Hall 1f (No Room) (Note: Must have checked inside
the Art Room in the East Wing in order to get this (and not see Cinema 7a).
You can’t trigger it during Richard’s Quest, though.)
*(Main Hall. Second floor.)*
Jill: Barry!
*(Barry turns around, aims his gun, and drops it upon seeing that it’s Jill.)*
Barry: Oh, Jill! Got any good news?
Jill: Other than I’m still alive in this madhouse? No.
Barry: Can’t say it’s much safer here, either. We’d better secure our escape
route first. There’s gotta be a back door somewhere.
Jill: Alright then, let's split up again.
Barry: See you later.
Jill: Ciao.
*(Barry turns, and walks back into the dining room’s second floor.)*
(O). Forest is Dead... Well, Kind Of (Note: To trigger this cinema, you’ve
just got to attempt to take the Herbs at the far end of the East Terrace.)
*(As Jill tries to take the herbs, she hears a noise behind her... She turns
around, startled, and we hear the noise of a zombie... it’s Forest! He’s quite
fast, and tries to attack Jill!)*
Scene 8. Researcher's Will Event (Note: This scene will only happen if you go
to the room containing the Will after you've seen Barry in the Main Hall, and
before you go see Richard.)
*(Researcher's Room. Jill enters to find Barry standing by a desk, reading a
file. Jill walks up behind him, not saying a word. Barry then notices, lets
out an “ahh!” and drops the file.)*
Barry: Jill!
Jill: Barry, I didn’t mean to get you that excited. *(reaches down and picks
up the file)*
Barry: Right. Anyway, you should read this. *(Jill looks over the file.)*
Researcher’s Will
<PAGE>
A letter is slipped inside.
The top part of the letter is torn off.
The rest of the letter is legible.
<PAGE>
Alma, I have tried to survive only to
see you again. But my efforts only
delayed the inevitable. I am infected,
and there is no cure for what will
follow—-except to end my life before I
lose the only thing that separates me
from them.
<PAGE>
My love for you.
<PAGE>
In an hour I’ll have entered my eternal
sleep where there is peace. Please
understand. Please know that I’m sorry.
Martin Crackhorn
<END>
Barry: What do you make of it?
Jill: Well, I guess we were right about this mansion being quite unnatural...
Barry: You have a way with understatements...
Jill: Where’s the part that’s torn off? *(shows the file to Barry)*
Barry: Well, my only guess is that it was the most important part, and
somebody didn’t want anyone to see it.
*(Barry pats Jill on the back.)*
Barry: Let’s continue our investigation.
*(Barry leaves the room as Jill sets down the file, still suspicious about
the missing page...)*
Scene 9: Meet Richard
*(Marble Hallway; 2f. Jill walks into the room only to see a man stumble in
pain towards the wall, and sit down. It's Richard Aiken from the Bravo Team!)*
Jill: Richard! What happened? (kneels down by Richard's side) You’re wounded!
Richard: This... whole place... is a killing zone... There are...
monsters...
Jill: What did this to you?
*(We see a close-up of Richard holding his red and bloody arm. You can really
see the huge, jagged snakebite.)*
Richard: A big snake... and it had to be... poisonous...
Jill: Poisonous? Richard, hold on!
Richard: Bring me Serum... I saw some, but didn’t bring any...
Jill: I’ll go and get it, okay? You’re gonna make it.
Richard: Thanks.
*(Richard lies down. Jill then runs out of the room.)*
[Extra Click: Talk to Richard again. He will say...]
Richard: Jill, be careful... (Jill moves away.)
Scene 10a. Richard... Lives? (Note: You must return to Richard in under 15
minutes to see this cinema.)
*(Marble Hallway; 2f. Jill returns with the Serum. She kneels down by Richard
once again.)*
Jill: Here, Richard. I’m gonna give you a shot. Hang in there.
*(She administers the Serum to Richard. As she does, Richard takes his radio
out from his vest...)*
Richard: Jill, h-here’s my radio... take it... I’m...
*(He convulses in pain a bit, and then gets up and looks at Jill.)*
Richard: Does it ever... not hurt?
*(Richard lies down. Jill gets up, and then talks to him again. He slowly
sits up.)*
Richard: I’m okay... The others...
[Extra Click: Talk to Richard again. It’ll say...]
[Richard is resting peacefully.]
[You should probably just]
[leave him alone for now.]
Scene 10b. Richard is Dead (Note: To get this cinema, you must NOT return to
Richard with the Serum for 15-20 minutes.)
*(Marble Room, 2f. Jill kneels down by Richard and shakes her head.
Sad music plays. She doesn't get the radio.)*
[Extra Click: Check his corpse again. It’ll say...]
[Richard is already dead.]
[What a tragic fate for such a]
[close friend!]
Scene 11: Moonlight Sonata
*(Jill uses the Music Notes on the piano. She plays a beautiful rendition
of “Moonlight Sonata”. Suddenly, a secret trap door opens.)*
Scene 12: Meet Yawn the Giant Snake
*(2f Attic. After approaching the middle of the room, a huge snake slides out
of a hole in the room's rear. It hisses at Jill, and tries to bite her.)*
Scene 12a(P). Richard to the Rescue (Note: You must have seen Scene 10a in
order to see this cinema.)
*(After the snake stares at her a bit, the Attic door behind Jill opens, and
Richard enters the room. He cocks his shotgun.)*
Richard: Payback time!
*(Either you and him shoot the snake until it falls down dead, or you try and
escape the room.)*
*(The snake falls over, seemingly dead. Jill walks over to Richard.)*
Jill: Thanks.
*(We see a snake’s eye-view, as it slithers quickly towards Jill. Richard
fires a shotgun blast at it.)*
Richard: Jill!!
*(He dives towards her to push her out of the way, just as the snake arrives.
Jill is saved, but Richard gets eaten whole by the snake while still alive
and screaming.)*
Jill: Richard!!
*(At this point, you can either take the Death Mask and run, or shoot the
snake until it retreats. If it does retreat, it slides over to the rear
corner of the Attic, and propels itself up into a crevice somewhere on the
upper wall.)*
Scene 13a: "Get me Serum" (Note: You must be poisoned by the snake and have
seen either cinema 7ba(b) or cinema 7bb(b).)
*(Jill exits from the 2f Attic. After walking a few steps, she begins to hold
her head.)*
Jill: (weakly) Am I poisoned? I need Serum...
*(Scene ends.)*
Scene 13b: Jill Faints (Note: You must be poisoned by the snake and have
seen cinema 7a.)
*(Jill exits from the 2f Attic. After walking a few steps, she begins to
stagger. She leans up against the wall.)*
Jill: ...poisoned... Serum...
*(Jill collapses on the floor. A few seconds later, a door opens, and a man
wearing red boots and carrying a Colt Python is seen. She reawakens in the 1f
West Save Room and slowly gets up.)*
Jill: (sleepily) Barry...? (awake) Barry?
*(Jill looks around confusedly.)*
*(Scene ends.)*
Scene 14. A New Friend in an Old Box
*(Jill puts the four Death Masks in place in the Machine Room. The coffin,
which was previously hung by chains, falls to the ground. As Jill approaches
it, she notices there’s a body inside. His skin is bright red... Suddenly,
iron bars crash down over the exit, and the zombie from inside the coffin
revives! He is bearded, and seems to exhale some sort of cloudy, foul fume.
He throws aside one of his blazing-red arms (with claws on his fingers.
as well as handcuffs), and appears to wipe his face... The fight begins.)*
B. The Residence (Guard House)
------------------------------
Scene 1(P). Barry Radio (Note: You need Richard’s Radio to see this cinema.)
*(Jill’s radio beeps. She takes it out.)*
Barry: Somebody respond! ... over!
Jill: Barry?
Barry: ...monster... chains... gun... ineffective... instant ...stay...
away... forest outside mansion... stay... ...ay...
*(The transmission ends.)*
Scene 2. Scary Noises
*(As Jill enters the Cemetery on the path, she hears the sounds of chains
dragging... then a woman moaning... what could it be?)*
Scene 3. A Hideous Encounter
*(After getting the Crank, Jill tries to exit the cabin. As she walks there,
someone opens the door. A glimpse through a window shows a vaguely humanoid
figure, but only for a split second. As Jill reaches the stairs, a pair of
hands shackled in stocks smashes down over her head, knocking her out. Jill
reawakens a few moments later, and gets to her feet. As she does, we see the
chained legs and shackled hands of someone... We then see them from the
back... they are wearing a very tattered dress (you can see her ribs through
a rip), as well as the disgusting sight of a person’s face attached to their
back. Jill turns around and faces the creature... it is hunched, and wears
the skins of its many victims over its red, decayed face... Now you must
escape from Lisa Trevor...)*
Scene 4(P). Radio Transmission #1 (Note: You must have Richard’s radio to
get this cinema.)
*(Jill’s radio beeps. She takes it out.)*
Brad: This is Brad! If you can hear me, just give me a sign... Anything...
Jill: Jill to Brad! Can you hear me?
*(A while of radio silence...)*
Jill: Shit! It’s broken!
Scene 5. Draining the Pool Scene
*(Jill begins to rotate the Square Crank inserted in the pedestal. Suddenly,
we see a large, slightly rusty iron block that moves up and lets the water
flow through. As the water drains, we see that it was concealing a stone
passageway covered in moss. The text [You can hear the sound of a]
[waterfall in the distance...] is displayed.)*
Scene 6. Muffled Conversation
*(Dormitory hallway near the #002 Door. Jill is about to open it, when she
hears voices on the other side. She backs away and listens.)*
Barry: No, that wasn’t part of our deal.
Wesker: Like I said, I have my orders.
Barry: But it’s not necessary to destroy S.T.A.R.S.!
*(The camera angle changes to one above the door. We can see Jill on one
side, listening, and Barry’s shadow on the other side.)*
Wesker: Don’t be a hard dog to keep under the porch, Barry...
Barry: What about my family?
Wesker: I will guarantee their safety.
*(The view switches to another angle inside the #002 Room.
We again see Barry’s shadow.)*
Barry: *sigh* If I play my cards right...
*(Jill turns away from the door, visibly confused by what she’s heard.)*
Scene 7. Encounter With Barry
*(Jill enters the #002 Room. She finds Barry inside.)*
Barry: Jill!
Jill: Barry, I heard someone talking...
Barry: Oh... heard... *(begins to walk over to a desk to lean on)* I think
age is starting to take its toll... Talking to myself is becoming a bad
habit.
Jill: Talking to yourself? You all right? What’s gotten into you?
Barry: I’m getting you worried, aren’t I? But don’t be worried.
*(moves away from the desk and cracks his neck)* I guess this creepy mansion
has gotten on my nerves... Anyway, I think I’ll go outside and get
some fresh air for a change...
*(Barry turns to leave... Jill follows him.)*
Barry: Don’t worry. Just going to get some fresh air. If I’m lucky I’ll get
to waste some monsters along the way...
*(Barry exits.)*
Scene 8. Neptune Arrives
*(As Jill walks around the Aqua Ring, we see from the viewpoint of...
something swimming in the water. As it swims up towards the pathway that Jill
is walking on, it swims to the top of the water...)*
Scene 9. Neptune’s Wrath
*(After draining the pool, Jill spots the Gallery Key hanging on a rack on a
platform across a small pool of water. Inside the pool of water is the biggest
Neptune creature, unmoving. As Jill tries to take the key, the huge shark
violently awakens, lashing out and knocking the key from its place. Now Jill
must find a way to defeat the creature...)*
Scene 10. Fried Fish (Note: You can also just kill Neptune by shooting at it,
but then you don’t get this cinema.)
*(Jill pushes the control box into the water, and flips the power switch for
it. As the electric current courses through the water, the huge shark
convulses comically. The water begins to steam, and the Neptune turns on its
side. Finally, the generator for the control box shorts out, spouting steam.
The Neptune stops convulsing (for the most part), and Jill is free to pass.)*
Scene 11a. VJolt on Root (Note: To get this cinema, you’ve obviously got to
use the VJolt.)
*(Jill adds the VJolt to the evil plant’s roots. They begin to flail wildly,
and soon retract through the ceiling.)*
*(Jill then goes into the room that Plant 42 itself infests. As she does, the
tentacles begin to retract into the huge bulb. She walks over to it
cautiously, and as she does, she is ensnared by one of the tentacles! She
grunts as the tentacles swing her about the room. Barry then enters, carrying
a flamethrower. He looks at the creature in awe.)*
Barry: What the hell is this thing?
Jill: Barry!
Barry: Jill!
*(Barry runs forward to attempt to save her, but gets ensnared by the
tentacles as well. As the two struggle, Barry gets enough of a hold on
himself to aim the flamethrower at the plant’s bulb.)*
Barry: Gyaahhh!!
*(The plant begins to catch fire, and one by one, flaming petals begin to
drop from it. Soon, all the tentacles fall as well, tossing Jill and Barry
to the floor. They gasp.)*
Jill: I thought I was finished...
Barry: Yeah...
*(The two get up. Barry dusts himself off.)*
Jill: That was close! Thanks again.
Barry: Don’t mention it. But what was that? What the hell’s going on in this
place?
*(The cinema ends.)*
[Extra Click: Talk to Barry again. He’ll say...]
Jill: Barry...
Barry: *(turns around)* Something about that mansion still bothers me...
I think I’ll stay here a little longer. We should split up again and
investigate.
Jill: All right.
[End Extra Click.]
Scene 11b. Plant 42 (Note: You must not use V-Jolt to get this cinema.)
*(Jill enters the Plant 42 room. After shooting the plant for a while,
it spits out a bit more acid than usual from its center. After putting a
few more rounds into it, it contracts, but this time its petals in the center
begin to fall off, as well as the tentacles. Jill has killed Plant 42.)*
Scene 12. Reunite with Wesker
*(As Jill walks down the hallway, she hears three gunshots. After looking,
she finds out that it’s Wesker shooting bees!)*
Jill: Wesker!
Wesker: *(turns around)* Jill. So you’re safe.
Jill: (animatedly) That’s what I was going to say!
Wesker: I apologize. It was all I could do to protect myself against those
strange creatures. *(walks past Jill, and turns around)*
Jill: I understand. Anyway, it’s good that you’re safe.
Wesker: Did you notice...? Barry. He sounded a little flaky.
Jill: Now that you mention it, yeah! I’ll keep a close eye.
Wesker: Maybe it’s quite natural under these circumstances. It’s not really
our standard operation. Jill, our first priority is to get out of here.
*(turns around again)*
Jill: I agree.
Wesker: *(faces Jill again)* There are still rooms in that mansion we can’t
get into because they’re locked up. I’ve been looking for ways to...
Jill: Okay, if there’s anything I’ll go back to the other mansion.
Wesker: I’m counting on you.
*(Wesker walks down the hallway.)*
Scene 13(P). Radio Transmission #2
*(Jill’s radio beeps. She takes it out.)*
Brad: This is Brad... Come in, S.T.A.R.S. Alpha Team... Come in!
Jill: This is Jill!
Brad: Does anybody hear me?
Jill: I hear you Brad, over!
Brad: S.T.A.R.S. Alpha Team... Bravo Team! It doesn’t matter! Respond!
I repeat, this is Brad...
Jill: Brad? Brad!
Brad: This is Brad! If you can’t answer me, somehow give me a sign!
Jill: Jill to Brad, can you hear me?! Brad! *(fiddles with the controls)*
BRAD! (pauses) Shit, it’s broken.
*(The transmission ends.)*
C. Return to the Mansion
------------------------
Scene 1(P). Look! A Radio! (Note: You must have let Richard die (no Serum)
to see this cinema.)
*(Jill walks down the Breezeway. Suddenly, she notices something on the
ground.)*
Jill: Huh? *(kneels down)* What’s a S.T.A.R.S. radio doing here?
*(Jill listens to it, then proceeds to punch in three numbers.)*
Jill: Let’s hope the thing still works...
*(She walks away.)*
Scene 2. Hunter Arrives
*(After returning inside the mansion, primarily the room that leads to the
Breezeway path right before exiting the mansion, the view switches. Something
seems to be pursuing Jill! It quickly leaps up the elevator shaft in
the Courtyard, runs toward the shed and opens the door, runs into it, opens
the next door, runs through the Breezeway, and arrives at the door to the
mansion.)*
Scene 3. Yawn’s Revenge
*(As Jill walks around the Library’s second floor, suddenly something glass
shatters. Jill turns around, and sees the giant snake from before sliding
around the corner!)*
*(After engaging it in combat, the snake writhes in pain. It slams itself
against the nearby bookshelf, and falls to the ground, dripping venomous
fluid. It doesn’t seem to be living any more... We then see a sparkling book
that fell to the ground atop a pile of other books knocked over in the Yawn’s
death tantrum.)*
Scene 4(P). Radio Transmission #1 (Note: You will only see this cinema if
you saw Cinema C-1.)
*(Jill’s radio beeps. She takes it out.)*
Brad: This is Brad! If you can hear me, just give me a sign... Anything...
Jill: Jill to Brad! Can you hear me?
*(A while of radio silence...)*
Jill: Shit! It’s broken!
D. The Underground Tunnels
--------------------------
Scene 1. Meet Enrico
*(As Jill turns the corner in one of the underground tunnels, she hears a
voice.)*
Enrico: Is that you... Jill?
*(Jill walks forward.)*
Jill: Is that voice... Enrico’s?
Enrico: Yeah...
Jill: You’re alive! *(starts to run towards him)*
Enrico: Stop! Are you with anybody, Jill?
Jill: No... but why?
Enrico: (cough) The S.T.A.R.S. are finished... Someone is a traitor!
Umbrella set us up...
*(While Enrico was talking, someone in black pants and black boots walks
into the scene... The camera angle switches, and suddenly we hear a gunshot!
Enrico is shot in the chest. He grunts, and slumps over dead. Jill looks
back, and then goes to Enrico’s side.)*
Jill: Enrico! *(shakes him, then looks despondent)* ...traitor? Who?
*(While investigating him again, subtitles come up that say...)*
[Whoever did this is definitely]
[a professional.]
[Wait, he’s holding something...]
Scene 2. Spider’s Nest
*(As Jill enters the room, something begins to stir on the other side.
Suddenly, a HUGE spider crawls out, raises its front legs, and shrieks at
our heroine! Now she must combat it...)*
Scene 3. What Good Timing!
*(As Jill starts up the elevator, Barry enters the room.)*
Barry: Jill!
Jill: Barry? Thank God you’re safe!
Barry: You too, Jill. A noise I heard brought me down here, but I didn’t
expect to find a place like this... *(looks over the edge of the elevator
into the pit)* Have any idea as to what might be at the bottom?
Jill: There’s only one way to find out.
*(They descend the shaft. At the bottom, they hear a female moan. Barry
raises his Colt Python and steps off the elevator.)*
Barry: What the hell is that sound? It could be a person... Jill! Go check
it out. We had enough surprises for one day... I’ll stay here and secure our
escape route in case something happens.
Jill: Okay. *(runs off)*
[Extra Click: Talk to Barry again. He’ll say...]
Barry: I’ll stay and secure our escape route.
*(Jill nods.)*
[End Extra Click.]
Scene 4. Traitor?!?
*(As Jill walks forward back into the room with the elevator, it suddenly
ascends. Barry is at the helm of the controls.)*
Jill: Barry!!!
*(End scene.)*
E. The Altar
-----------------
Scene 1. Trust Barry?
*(Jill steps onto the Altar to find Barry investigating the coffin. As he
notices Jill, he turns around.)*
Barry: Jill! You’re alive! I was worried, cause I thought... you were...
*(He tries to raise his Colt Python to point it at Jill, but she grabs his
wrist and takes the gun from him. She points it at Barry.)*
Jill: Start talking.
Barry: Calm down, I didn’t want to do it, believe me, I can explain!
Jill: Don’t lie to me!
*(Suddenly, Lisa walks into the room. The camera switches to show us a tear
in the dress. It seems that she’s developed a large eye on her back, which
is characteristic of a G-Type. She moans, and proceeds to destroy both of the
statues surrounding her. She then screeches as five purple tentacles burst
out from her body (which are the characteristic of the Nemesis parasite.).
Barry: No time to talk... Jill, hand me my gun!
[Give the gun back to Barry?]
Scene 2a. Yes
*(Jill hesitantly offers Barry the grip of his gun.)*
Barry: Thanks, Jill.
*(Barry turns around and aims his Colt Python at the creature.)*
Scene 2b. No
*(Lisa walks over to Jill and Barry.)*
Jill: I can’t... do that.
*(One of Lisa’s tentacles whips out and knocks Jill down.)*
Barry: Jill!
*(Barry’s Colt Python drops to the ground. Barry eyes Lisa, and then the gun.
He tries to grab it, but Lisa uppercuts him off the edge of the platform.
He screams as he falls to his death.)*
Jill: Barry!
*(Barry’s photograph floats down to the ground. Jill gets up and stares down
Lisa. It is time for the confrontation...)*
Scene 3(P). The Reunion (Note: You can simply shoot Lisa while she is hanging
on the side of the pit, but then you won’t get this cinema.)
*(As the fourth stone plunges into the abyss, the lid on the coffin slides
open. As it does, the iron bars that blocked the passageway slide up. Lisa
walks over to the coffin.)*
Lisa: ...mo...ther...
*(She grabs her mother’s skull from the coffin and walks over to the side of
the pit. She gives one last angsty, primal scream as she sends herself off
the side of the pit.)*
[Extra Click: Talk to Barry after this. He’ll say:]
Barry: I don’t believe that thing’s really dead... Leave this place up to me,
go on ahead.
Jill: Okay.
E. The Umbrella Lab
-------------------
Scene 1. Draining the Fountain Scene
*(When Jill inserts the second medal, we see that the water in the fountain
is draining! The bottom of the pool seems to be parting, allowing the water
to flow through into the passageway beneath. Finally, the stone in front of
the fountain lowers, allowing you access to the stairway and elevator.)*
Scene 2. Slideshow
*(Jill starts up the projector.)*
Slide 01: The Umbrella logo is seen next to the word “Umbrella”. Below it,
it reads Bio Organic Weapon Official Report. On the right is a white strip,
with four black points making a cross-pattern atop the strip.
Slide 02: MA-39 CERBERUS is displayed at the top of the screen. Below it is
a segmented color picture of one of the zombie dogs. On the right is some
text next to a smaller segmented picture, and also a green wireframe of the
Cerberus.
Slide 03: FI-03 NEPTUNE is displayed at the top of the screen. Below it is a
color picture of the huge shark. On the right is some text next to a smaller
segmented picture, and also a green wireframe of the Neptune.
Slide 04: MA-121 HUNTER is displayed at the top of the screen. Below it is a
color picture of two Hunters. On the right is some text next to a smaller
segmented picture, and also a diagram of the Hunter’s hand/claws. A green
wireframe of the hand is also shown.
Slide 05: T-002 TYRANT is displayed at the top of the screen. Below it is a
green wireframe of the Tyrant next to a picture of its stasis chamber. On
the right is some text next to a smaller segmented picture, and also a small
picture of a DNA helix.
Slide 06: A photo of five researchers is shown. On the far left is a somewhat
chubby man. Next to him stands a woman with dark hair. Standing next to her
is a man wearing glasses, seemingly annoyed. The fourth man is standing
behind the group, and his features cannot be made out. The fifth man is a
person with blond, slicked-back hair, who is wearing sunglasses. Beneath his
labcoat, he is wearing a black shirt and black pants, as well as black gloves.
Hmm… Some text is displayed.
[Bio Organic Weapons Research]
[Group – Development Staff]
Slide 07: A bar code. The numbers displayed are 834170623.
*(The slides end.)*
Scene 3. Kenneth’s Film
*(Jill puts the film into the player. We see from inside the headset cam of
Bravo member Kenneth Sullivan. It displays [Kenneth.S] in the upper-left
corner, [*REC] in the upper-right corner, and [07/24/98] in the bottom-left
corner. He is firing three shots at an oncoming zombie, while spinning
around quite a bit. He pauses and trips, but fires two more shots. The
zombie still approaches.)*
Kenneth: Get away from me! No! Hey! Hey, no!
*(The zombie begins to kneel down over him while Kenneth screams. It begins
to devour him... a splash of blood covers the camera while we see the
zombie’s head working to rip the flesh from his bones... the camera starts
to short out. The film ends.)*
Scene 4(P). Meet with Chris
*(As Jill tries to open the prison door, Chris is sitting on the bed. As he
notices the banging, he gets up and walks over to the door.)*
Chris: Jill?
Jill: Chris! You’re alive!
Chris: Course I’m alive. Jill, there’s something big going down, and I don’t
think we’re part of the equation.
Jill: I have to get you out of here. *(tries pulling on the door with all her
might)* It won’t open! Wait. I’ll be back to get you out.
Chris: Okay! No sightseeing, though.
*(Jill runs off.)*
Scene 5(P). Rejoin with Barry
*(Jill calls the elevator and is about to get in when Barry comes around the
bend.)*
Barry: Jill!
Jill: Barry!
Barry: You could’ve at least waited up for me, ya know. *(playfully punches
Jill in the shoulder)*
Jill: Let’s go.
*(The two get on the elevator.)*
Scene 6a. Wesker Conversation 1 (Note: Barry must be alive to get this
cinema.)
*(As Jill and Barry enter the Tyrant Room, they see Wesker typing something
on a keyboard.)*
Jill: Wesker!
*(Barry points his Colt Python at Jill head.)*
Wesker: Thank you, Barry.
Jill: Well, what do you know.
Wesker: Oh, don’t blame Barry for everything. I hear that his better half
and two lovely daughters will be in danger if he doesn’t do everything I
tell him to.
Jill: Wesker, you’re pathetic.
Wesker: Well, you shouldn’t worry too much, dear. You’ll be free of all
this anyway.
*(The camera angle switches to the computer screen Wesker is typing away on.
Various windows pop up.)*
Jill: Why eliminate S.T.A.R.S.?
Wesker: Believe it or not, that’s Umbrella’s intention.
*(The viewpoint switches back to Jill and Wesker.)*
Jill: (scoffs) You’re just a slave of Umbrella.
Wesker: Smart girl... but I think you misunderstand me. The things you
mention are nothing. I’ll burn all of them along with this entire laboratory.
*(points his pistol at Jill)* Barry, go up on the ground and wait there.
*(Barry turns and walks away.)*
Jill: Barry!
Wesker: Ya gotta love Barry... he must really be afraid of Umbrella.
Jill: You and Umbrella took his family, you bastard!
*(Wesker punches Jill, who falls down.)*
Wesker: Umbrella... well, I used some carrots and sticks to cow him, but
it had nothing to do with Umbrella. I just used Barry for my personal
interests. Though both you and Barry seemed to think I was following
Umbrella’s orders.
Jill: What? What are you planning?!
Wesker: I guess it’s time for show-and-tell.
*(Wesker taps two buttons on the computer and turns around to look at
Tyrant.)*
Scene 6b. Wesker Conversation 2 (Note: Barry must be dead to get this cinema.)
*(After entering the Tyrant Room, Jill walks over to Wesker, who is typing on
a keyboard.)*
Jill: Wesker!
Wesker: Heh heh... Barry’s a disappointment. It’s too bad he wasn’t much of
a poker player.
*(Wesker pulls his gun on Jill.)*
Jill: You were behind all of this!
Wesker: Heh heh heh heh heh...
Jill: Why eliminate S.T.A.R.S.?
Wesker: Believe it or not, that’s Umbrella’s intention.
Jill: So having S.T.A.R.S. nosing about is an inconvenience. (scoffs)
You’re just like all the other things... a slave of Umbrella.
*(Wesker punches her in the gut and clubs her over the head with his pistol.
Jill goes down.)*
Wesker: Smart girl... but I think you misunderstand me. The things you
mention are nothing. I’ll burn all of them along with this entire laboratory.
That’ll be the end of my connection with Umbrella.
Jill: What? What are you planning?
Wesker: I’m going to show you something.
*(Wesker walks backwards, his gun still pointed at Jill, and presses a
button on his keyboard. He turns around and looks at the Tyrant’s tank.)*
Scene 7. Tyrant Showcase
*(The camera shows us a leg, encrusted with scars and ugly mutations. It then
switches to a huge, massively clawed hand. We see a huge heart beating,
located outside the creature’s chest. Then we see its face... a line of veins
or scar tissue across it, and no lips to speak of... its eyes are closed.
The camera pans back to show us the Tyrant in its full glory, still encased
inside its stasis tube...)*
Scene 8a. Wesker's Death (Note: Barry must be dead to see this Cinema.)
*(The Tyrant’s tank drains. Jill gets to her feet behind Wesker, while he
stares at the tank.)*
Wesker: The ultimate lifeform... Tyrant.
Jill: You couldn’t have been experimenting on people?
Wesker: It’s beautiful... *(walks over in front of the tank)*
Jill: For the sake of this thing...
Wesker: You’ll never understand.
*(The Tyrant begins to move behind him. It plunges its claw arm through the
tank, breaking the glass and skewering Wesker. He screams in agony,
and the Tyrant tosses him off to the side. It then begins to walk towards
Jill...)*
Jill: I’ll deal with you, freak...
*(Jill then has to fight the monstrosity...)*
Scene 8b. No! Not Barry! (Obviously, Barry must be alive to see this Cinema.)
*(Wesker is enthralled, looking at the Tyrant.)*
Wesker: (smiling) It’s magnificent...
Jill: For the sake of this thing...
Wesker: You know, I hate you guys.
*(Wesker aims his pistol at Jill, but it’s suddenly shot out of his hands.
Another shot rings out, and brings Wesker down. We see that it’s Barry firing
these shots!)*
Jill: (gasps) Barry!
*(Barry walks over.)*
Barry: Forgive... me...
Jill: No, you’re not to blame! It’s Umbrella and Wesker!
Barry: Even if it meant my family, I couldn’t bear turning my back on my
friends again...
*(Wesker crawls over to the keyboard and types something before falling down
again. Barry runs over.)*
Barry: Shit!!!
*(The liquid drains from the stasis tank. The Tyrant begins to smash at it
with its normal hand, making the glass crack. After two hits, it uses the
clawed hand and shatters the glass completely. It steps down from the tank
and looks at Barry and Jill.)*
Barry: Dammit!!! *(raises his weapon at the creature)*
Wesker: *(standing up while laughing maniacally)* Jill and Barry,
together... in hell!
*(The Tyrant advances.)*
Barry: You want a piece of me?
*(The Tyrant stops and turns toward Wesker.)*
Wesker: What? Premature?!?
*(Wesker goes flying as the Tyrant backhands him. Barry tries to run past it,
but gets hit into the row of computers.)*
Jill: No! Barry! ...you viral-cultured freak!
*(The Tyrant turns and looks at her... the battle begins.)*
*(Jill confronts the Tyrant in battle and in staying away
from the creature and firing, she gains an easy win, as
the creature slowly slumps to the floor. She then returns
to check on Barry.)*
Jill: Barry? Barry!
*(Barry opens his eyes.)*
Jill: Ah! You’re okay!
Barry: ...Ah... Jill... sorry... that was careless of me. Wesker?
*(Jill looks around.)*
Jill: ...he’s gone...
*(Barry stands up.)*
Barry: First, let’s just get out of here.
*(End scene.)*
Scene 9(P). Warning Announcement
*(As the two exit the Tyrant Room, an alarm klaxon sounds, along with a
voice.)*
Voice: The self-destruct system has been activated. All personnel must
evacuate immediately. Deactivating and releasing all locks.
Barry: Wesker must have set it off. Let’s hurry!
*(Jill nods. The two run to the elevator. When they get off, Barry raises his
Colt Python and nods at Jill. He runs down the hallway.)*
Scene 10a(P). Save Chris 1 (Note: You see this cinema only if you saw
Cinema 4.)
*(Jill enters the prison cell. As she does, she sees Chris sitting on his
bed, despondent. Chris notices her, however, and gets up.)*
Chris: Jill!
Jill: Sorry about the wait.
Chris: So everything’s taken care of?
Jill: Well, almost. Now let’s get the hell out of here!
*(The two exit the room.)*
Scene 10b(P). Save Chris 2 (Note: You see this cinema if you did not check
on Chris previously.)
*(Jill unlocks the door and enters the prison cell.)*
Chris: Jill! *(gets up off the bed)*
Jill: Chris! You’re okay!
Chris: *(puts his hand on Jill’s shoulder)* Glad to see you are too.
Anything on Wesker?
Jill: We’ll talk later. First, let’s get going.
*(The two exit the cell.)*
Scene 11(P). Chris’ Rush (Note: You’ve obviously got to save Chris to
see this cinema.)
*(As Jill enters the Lock Passageway, Chris runs ahead.)*
Chris: Come on, let’s go.
*(He exits the room.)*
Scene 12a. Barry's Rush
*(As Jill climbs up to the laboratory’s first floor, she sees Barry.)*
Barry: Hurry!
Scene 12b. Barry and Chris' Rush
*(As Jill climbs up to the laboratory’s first floor, she sees Barry and
Chris.)*
Chris: (waves) C’mon, c’mon!
Barry: Hurry!
Scene 13. Radio Transmission #3
*(As Jill rounds a corner, her radio beeps. She takes it out.)*
Brad: This is Brad! I’m running out of fuel... If there’s anyone alive,
contact me now; just give me a sign. I repeat, this is your last chance!
*(The transmission ends. Jill puts the radio away.)*
Scene 14a. Chris's Encouragement
*(As Jill activates the elevator, somewhere down the hall, a Hunter shrieks.
Chris jumps out to the hallway, pointing his gun in the direction of the
noise.)*
Jill: No! We’ve come so far!
Chris: We can make it. ...Jill... ladies first.
Jill: Chris!
Chris: Would you let me have my moments too?
Jill: Alright.
*(As Chris runs down the hallway, the elevator arrives. Jill gets on.)*
Scene 14b. Barry's Encouragement
*(As Jill activates the elevator, the voice speaks.)*
Voice: Three minutes to detonation.
*(From somewhere down the hall, a Hunter shrieks. Barry jumps out to the
hallway, pointing his gun in the direction of the noise.)*
Barry: Dammit, we’re almost there! I’ll go get ‘em. Jill, you just get in
contact with Brad! Whatever it takes!
*(Barry runs down the hall.)*
Jill: Okay!
*(The elevator arrives, and Jill gets on.)*
Scene 14c. Survivors' Encouragement
*(As Jill activates the elevator, the voice speaks.)*
Voice: Three minutes to detonation.
*(From somewhere down the hall, a Hunter shrieks. Chris and Barry jump out
to the hallway, pointing their guns in the direction of the noise.)*
Barry: Dammit, we’re almost there! Jill, you just get in contact with Brad!
*(Barry goes running down the hall.)*
Jill: No!
Chris: We can make it! ...Jill... ladies first.
Jill: Chris!
Chris: Would you let me have my moments too?
Jill: Alright. We’ll rendezvous at the heliport.
*(As Chris runs down the hallway, the elevator arrives. Jill gets on.)*
Scene 15a(P). Return of Tyrant (Barry and Chris)
*(Jill opens the Signal Rockets case, and presses the button to make it
fire. She backs away, and the rocket flies into the air and explodes. She
turns around when she hears the elevator activating. It opens, letting out
Chris and Barry.)*
Barry: Jill!
Jill: You made it!
*(Suddenly, they all turn around to see a huge hole being made in the
pavement. Chris and Barry train their guns on it, as Barry looks inside
the hole inquisitively. Suddenly, the Tyrant jumps out of the hole! Both
Chris and Barry fire off two shots at it, but Chris gets decked by one of
the Tyrant’s punches. He goes rolling into the wall, unconscious. It then
begins to advance on Barry. He shoots it once, and then realizes he’s out
of ammo... the beast continues to advance...)*
*(End cinema.)*
Scene 15b(P). Return of Tyrant (Barry)
*(Jill opens the Signal Rockets case, and presses the button to make it fire.
She backs away, and the rocket flies into the air and explodes. She turns
around when she hears the elevator activating. It opens, letting out Barry.)*
Barry: Jill!
Jill: You made it!
*(Suddenly, they turn around to see a huge hole being made in the pavement.
Barry trains his gun on it, and looks inside the hole inquisitively.
Suddenly, the Tyrant jumps out of the hole! It starts to advance on Barry...
Barry fires off three shots at it, and then realizes he’s out of ammo...
the beast continues to advance...)*
Scene 15c(P). Helicopter Pickup (Chris)
*(Jill opens the Signal Rockets case, and presses the button to make it
fire. She backs away, and the rocket flies into the air and explodes. She
turns around when she hears the elevator activating. It opens, letting out
Chris.)*
Jill: You made it!
*(Chris nods. The helicopter then flies overhead, shining its searchlight at
Chris and Jill. Jill keeps her hand over her face, while Chris pretty much
looks up at the helicopter, putting his head down every once in a while.)*
*(End cinema.)*
Scene 15d(P). Helicopter Pickup (Alone)
*(Jill opens the Signal Rockets case, and presses the button to make it
fire. She backs away, and the rocket flies into the air and explodes. She
walks around in circles as she waits for the helicopter to get closer. As
it does, it shines its searchlight at her. She covers her face. It does so
again, and Jill looks up at the helicopter while kneeling.)*
*(End cinema.)*
Scene 16(P). Brad's Gift
*(After a while, Brad drops a Rocket Launcher onto the Helipad.)*
Brad: Jill, use it! Kill it, whatever it is!
*(End cinema.)*
Scene 17(P). Death of A Tyrant
*(Jill fires the Rocket Launcher at the Tyrant. The rocket is then seen
flying at the Tyrant through four different camera angles before it actually
hits the Tyrant square in the chest. It explodes into bits, not being seen
again.)*
ENDINGS
Scene 18a. Ending A-Jill
*(A scene begins. The helicopter flies out from the horizon, and lands in the
Heliport; wobbling a bit as it lands. The helicopter flies off into a
cloudy sky. A view is seen of the Mansion complex below, which stays as it
was when the S.T.A.R.S. discovered it. Jill is sitting alone in the back of
the helicopter. She caresses her forehead, takes off her beret, shakes
her hair into place, and leans her head back while closing her eyes.
She then looks out the window... The camera angle changes to the view from
inside Raccoon Forest... we see the helicopter flying away... suddenly,
the view changes to a spherical shape, and we see that it’s really the eye
of the Tyrant. Its pupil-less eye blinks, and it breathes heavily...)*
Scene 18b. Ending B-Chris & Jill
*(A scene begins. The helicopter flies out from the horizon, and lands in the
Heliport; wobbling a bit as it lands. The helicopter flies off into a
cloudy sky. A view is seen of the Mansion complex below, which stays as it
was when the S.T.A.R.S. discovered it. The view switches to Jill and Chris
inside the helicopter. Jill is resting with her head on Chris' shoulder. She
seems to be asleep. Chris looks over at her, and then back out the window.
The camera angle changes to the view from inside Raccoon Forest...
we see the helicopter flying away... suddenly, the view changes to a spherical
shape, and we see that it’s really the eye of the Tyrant. Its
pupil-less eye blinks, and it breathes heavily...)*
Scene 18c. Ending C-Barry & Jill
*(A scene begins. The helicopter flies out from the horizon, and lands in the
Heliport; wobbling a bit as it lands. The scene switches as the helicopter
flies off over a cloudy sky. A view is seen of the Mansion complex below,
which after a few seconds bursts into a red-hot ball of flame. It switches
to a view inside the helicopter. Barry seems to have his head down,
looking intently at the picture of his family. Jill looks at him.)*
Jill: Your wife?
Barry: Yeah! My wife and kids. *(smiles)* They _always_ wait up for me.
Even today, my eldest daughter...
*(Barry looks over at Jill, who seems preoccupied and sad...)*
Barry: I didn’t mean to...
Jill: It’s okay. He’s alive... I just know.
*(Changes to a view of a red-orange sunset as the helicopter flies off...)*
Scene 18d. Ending D-Chris, Barry, & Jill
*(A scene begins. The helicopter flies out from the horizon, and lands in the
Heliport; wobbling a bit as it lands. The scene switches as the helicopter
flies off over a cloudy sky. A view is seen of the Mansion complex below,
which after a few seconds bursts into a red-hot ball of flame. It switches
to a view inside the helicopter. Jill is resting on Chris' shoulder. Chris
first looks over at her, and then looks at Barry. Barry is messing around
with his Colt Python; checking the sights and the like. Chris turns and
stares outside, and we get a view of the helicopter flying off into a
reddish-orange sunset.)*
Scene 18e. Ending E-Chris & Jill
*(A scene begins. The helicopter flies out from the horizon, and lands in the
Heliport; wobbling a bit as it lands. The helicopter flies off into a
cloudy sky. A view is seen of the Mansion complex below, which after a few
seconds bursts into a red-hot ball of flame. The view switches to Jill and
Chris inside the helicopter. Jill is resting with her head on Chris'
shoulder. She seems to be asleep. Chris looks over at her, and then back out
the window, as we get a view of the helicopter flying off into a
reddish-orange sunset.)*
Scene 18f. Ending F-Jill
*(A scene begins. The helicopter flies out from the horizon, and lands in the
Heliport; wobbling a bit as it lands. The helicopter flies off into a
cloudy sky. A view is seen of the Mansion complex below, which after a few
seconds bursts into a red-hot ball of flame. It switches to a view inside the
helicopter. Jill is sitting alone in the back of the helicopter. She caresses
her forehead, takes off her barret, shakes her hair into place, and leans her
head back while closing her eyes. She then looks out the window, as we get a
view of the helicopter flying off into a reddish-orange sunset.)*
Scene 19. Credits
[Resident Evil]
[Game Part Crew]
[Planners]
KOUJI KAKAE
JOESUKE KAJI
SHIGENORI NISHIKAWA
[Script Translation & Voice Direction]
SHINSAKU OHARA
[Motion Cap. & Movie Coordination]
AKIRA KOKUSHOH
[Software Engineers]
[Lead Engineer]
HIDEAKI MOTOZUKA
[Engineers]
RYUTA TAKAHASHI
SYUICHIRO CHIBOSHI
YOSHIAKI NISHIMURA
WAIARU OHMORI
KAZUNORI INOUE
TOMOHIRO AKIZUKI
MASAKATSU ENDO
AKIKO MATOBA
NAO UEDA
SATOSHI NISHIMURA
[Stage CG Artwork Unit]
[Art Director]
NAOKI KATAKAI
[Art Image Designer]
YUSUKE KAN
[Lead Designer]
MASACHIKA KAWAIA
[Designers]
MIHO HAMANO
NAOTO ISHII
YUKI KURAHASHI
KOICHI HIDAKA
HIDENORI KOUYAMA
HIROU YOSHII
YOSHIZUMI HORI
KAORI DOI
TETSUYA SASANO
TOSHIHIKO KATAYAMA
TOMOHIRO ISE
KENTARO YANO
KYOKO KOYAMA
NATSUKO SHIMIZU
FIJIRO NISHIMURA
TAKAHITO WASHISAKA
NAOHIRO YAMADA
[Technical Advisor]
ATSUTOSHI MURADA
[Character & Creature Creation Unit]
[Lead Designer]
KENICHI UEDA
[Enemy Direction]
MASAKI YAMANAKA
[Designers]
KENICHIROU YOSHIMURA
YOSHINORI MATSUSHITA
HIROSHI YUUGEN
YOSHIFUMI HATTORI
NOBUAKI YAMAZAKI
NAOHIRO TANAGUCHI
NOBUHIRO TATSUMI
YASUYO KONDOU
YUICHIRO HIRAKI
TAKESHI ARIMA
AKIHIKO NASU
[VFX Unit]
[VFX Lead Engineer]
YUSUKE HASHIMOTO
[VFX Engineers]
MASATO KIMURA
HIDEKI NAKANISHI
TAKUO YAMAMOTO
[VFX Background Music]
HIDEKI SHIOJIRI
[Items User Interface Moving Objects Unit]
[Item Design]
MUNEYUKI KOTEGAWA
[Interface Design]
NAOKI YOSHIKAWA
[3D Objects & Puzzle Interface]
SHIGEOMI OKAMURA
[Sound Unit]
[Local Composer Arranger]
SHUSAKU UCHIYAMA
[Composers Arrangers]
MAKOTO TOMOZAWA
MISAO SENBONGI
[Lead Sound Designer]
ATSUSHI MORI
[Sound Designers]
HIDEAKI UTSUMI
YOSHITO KATO
[Merchandiser]
TAKAYUKI SANO
[3D Real-Time Event Animation Crew]
[Director of Pictography]
HIDE GONDOH
[Layout Captured Motion Editing Facial Animation Lighting]
[Lead Designer]
TOSHIYA KOTANI
[Designers]
SHINJI UTSUNOMIYA
TAKAAKI YAMAGUCHI
YOSHIAKI HIRABAYASHI
KUNIHIKO TSUDA
MITSUHIRO KUBO
SACHIO NAKADA (Digital Frontier)
[NOVA Inc.]
[Animation Unit]
[Face Modeling and Facial Direction]
KASHOW ODA
[Facial Assistant]
KENJI KUMAGAI
[Designers]
HIDEAKI SAKADO
TSUYOSHI HANZAWA
YUJI KOGA
ISAO MATSUDA
KOYA IMAMURA
KYOMA MATSUYA
NAOYUKI TAKASAWA
TETSUYA TANABE
[Management]
NOBA ODA
[Motion Capture Unit]
[Operators]
TOMOATSU GODAI
KAZUAKI KITAZAWA
MASASHI IMANAKA
SEIICHI TANABE
[AM2 Motion Capture Studios]
[Film Shoot Tech. Support]
HANS VAN VEENENDAAL
[Film Shoot Support]
TAKEO IWATA
HIDEAKI FUKAI Jr.
KATSUHIRO FUJITA
[Storyboards by]
HITMAKER Co., Ltd.
[Storyboard Artist]
FUTOSHI NAGATA
[Management]
YUKIHIKO HOJO
[3D Character Model Scanning by]
Nissho Electronics
[Technical Support]
MASAHIRO AONO
NAOKI SAKAMOTO
[3D Scanning Hardware]
POLHEMUS
[3D Character Model Scanning Crew]
[Texture Filming]
KYUICHI OKANO
[Makeup Artist]
KYOTA UEJI
[Casting]
YUKI SUGA Office M2 Co. Ltd.
[Model Agencies]
TEAM
BRAVO Models
JUNES
DONNA Inc.
[3DCGI Crew]
[Opening Ending Zombie Tyrant]
[Direction by]
SHIMAKO SATO
[Gun Action Advisor]
KENICHI IMAZEKI
[Computer Graphics Movie by]
LINKS DIGIWORKS INC.
[Computer Graphics Movie Producer]
TAKASHI FUKUMOTO
[Computer Graphics Supervisors]
TAKU KIMURA
IKUO NISHII
KOICHI YAMAGISHI
[Computer Graphics Animators]
TSUYOSHI KOBORI
YUICHIRO MOURI
YUICHI ITO
AKIRA TAGUCHI
NELSON LI
SHIGEKI HAYASHI
MINORU KUSAKABE
TAKURA IMAMURA
[Storyboard Artists]
HIROYUKI HAYASHI (Unigami Janseyo)
[Production Software Programmer]
TAKAHIRO YAMAMOTO
[Rendering & Technical Support]
KOSEI MUNAKATA
NAOTO YAMAMURA
[Production Support]
IZUMI TOYOKI
YASUJI YAMAHATA
[Motion & Facial Capture by]
LINKS DIGIWORKS SAKURATEI STUDIO
[Motion Capture Producer]
KAZUHIDA NISHIMURA
[Motion Capture Supervisors]
KAZUHIKO MIHO
RYUICHI YAMAMOTO
[Motion Capture Recording Engineer]
SHIGERU OOHATA
[Motion Capture Lead Editor]
TOMOKAZU SAKAMOTO
[Motion Capture Editors]
SHIGEAKI NUNOKAWA
ERIKO SAKO
NAOYUKI KANAI
[Eye Capture Support by]
EYEMATIC INTERFACES INC.
[Water gate Water fountain Hunter appearance Water tank]
[Computer Graphics Movie by]
DIGITAL FRONTIER INC.
[Computer Graphics Movie Producer]
MASAJI SHIINA
[Director]
ATSUSHI DOI
[Designers]
HIROSHI YAGISHITA
MIO TAGIRI
NOBUTAKA EMOTO
[Motion Capture Action Crew]
[“3D CGI & Real-time Event Motion”]
[Director]
SHIMAKO SATO
[Action Director]
TETSUYA MATSUI
[KINGS JAPAN]
[Chris Redfield]
TETSUYA MATSUI
[Jill Valentine]
HANAI TAKAHASHI
[Barry Burton]
DAIGAKU SEKINE
[Rebecca Chambers]
SUMIE KANESHIRO
[Albert Wesker]
JUNICHI KAWAMOTO
[Josef Frost]
KENICHI WATANABE
[Zombie and etc]
TAKEHIKO TSUNO
[Rape Work]
NAOKI OGURA
TAKAKO SAKURAI
[Schedule Management]
YUMIKO ISHIKAWA/(Range Kobe)
[Additional “Real-time Event Motion”]
AKJO MAEDA (Mizikanachi Hanurai-Ichira)
WARETA ODUKA (Gekidan East)
KENJI HATA (RESCUERS)
[“Standard Game Motion”]
[Standard Action Motion]
SHARA (KINGS JAPAN)
[Jill Standard Motion]
NAOMI UEDA (Special Thanks)
[Zombie Standard Motion]
TATSUHITO SHIROKIHARA (RESCUERS)
[Sound Crew]
[Voice Actors]
[Chris Redfield]
JOE WHYTE
[Jill Valentine]
HEIDI ANDERSON
[Barry Burton]
ED SMARON
[Rebecca Chambers]
HOPE LEVY
[Albert Wesker]
PETER JESSOP
[Richard Aiken]
JOE WHYTE
[Brad Vickers]
ADAM PAUL
[Enrico Marini]
DAN HAGEN
[Kenneth J. Sullivan]
ED SMARON
[Josef Frost]
ADAM PAUL
[Forest Speyer]
ED SMARON
[Female Newscaster]
HEIDI ANDERSON
[Computer Voice 1]
HOPE LEVY
[Computer Voice 2]
CHIAKI SHIRATO (CAPCOM)
[Voice Production]
[Voice Director]
CAROLE RUGGIER
[V.O. & ADR Studio]
SOUNDELUX DESIGN MUSIC GROUP
[Engineer]
PETER ZINDA
[V.O. & ADR Coordinater]
AMANDA WYATT
[Sound Design by]
[Soundelux Design Music Group]
[Creative Direction Sound Supervisor and Designer]
SCOTT MARTIN GERSHIN
[Sound Designers]
PETER ZINDA
BRIAN CELANO
BRYAN BOWEN
DUTCH HILL
[Project Coordinator]
BECKY ALLEN
[Amet Manager]
AMANDA WYATT
[Special Thanks]
HIROSHI SHIBATA
WATARU HAMA
KATSUMI AOKI (Capcom Software)
TAKAYUKI SHIMAMURA
HOWARD CHENG
KAZUKI HIROSE
TIAN LIM
GUNASURPLUS PRO SHOP FIRST
[Supporting Companies]
*(The logos of the following companies appear:
NOVA
Links Digiworks Inc.
DC (???)
dmg (???)
MATSUI ENTERPRISE Co., Ltd.
GSX Watch Japan
MARUI)*
[Producer]
HIROYUKI KOBAYASHI
[Director]
SHINJI MIKAMI
[Presented by]
[CAPCOM]
Scene 20a. Jill Epilogue Picture
*(A picture of Jill in an action pose, bending and looking to
the right. It says [RESULT] and lists your [PLAY TIME].)*
Wesker: Jill, you did a fine job.
Scene 20b. Jill Epilogue Picture (Military)
*(A picture of Jill in an action crouch, holding a combat knife
in her teeth. It says [RESULT] and lists your [PLAY TIME].)*
Wesker: Jill, you did a fine job.
Scene 20c. Jill Epilogue Picture (RE3)
*(A picture of Jill sitting on an Item Box, staring off into space and
looking happy. It says [RESULT] and lists your [PLAY TIME].)*
Wesker: Jill, you did a fine job.
Scene 21. Rewards (Note: You may or may not get all these reward screens.)
A. Closet Key
*(The Art Closet is seen, with a camera angle that shows the door to the
closet (which is a picture of the mansion). An ornate-looking key is shown
rotating in the center of the screen. The text says...)*
[JILL HAS A NEW COSTUME!]
[You got the “Closet Key”.]
[A new costume has been unlocked.]
[You can change your outfit]
[in the costume room.]
B. Real Survival Mode
*(A picture is shown of the 1f West Wing Save room. The Item Box seems to
stand out.)*
[YOU CAN NOW PLAY]
[REAL SURVIVAL MODE!]
[The “Real Survival” mode]
[has been unlocked.]
[In this mode the Item Boxes are]
[no longer linked. The items put in the Item Box]
[can only be retrieved from that location.]
[In addition, “Aiming” changes]
[to manual operation.]
[This is the “prototype” feature that]
[existed even before first Resident Evil game.]
C. Invisible Enemy Mode
*(A picture is shown of Chris being attacked by an invisible assailant. His
blood shoots crimson into the air around him... He is in the Dressing Room,
the area tinted blood-red...)*
[NOW LET’S TRY TO SURVIVE]
[INVISIBLE ENEMY]
[The “Invisible Enemy” mode has been unlocked.]
[That’s right, you can’t see the enemies!]
D. Rocket Launcher
*(A picture of the Main Hall is shown in the background.)*
[CHRIS & JILL NOW HAVE A]
[SPECIAL WEAPON!]
*(In the center of the screen, a rocket launcher that looks suspiciously like
a rifle spins.)*
[You got a “*(infinity symbol)* Rocket Launcher”.]
E. Samurai Edge
*(A picture of the Main Hall is shown in the background.)*
[CHRIS & JILL NOW HAVE THIS!]
*(In the center of the screen, a mean-looking handgun spins.)*
[You got a “Samurai Edge”, Barry model.]
F. One Dangerous Zombie
[ONE DANGEROUS ZOMBIE !?]
[--- BE CAREFUL]
*(A picture is shown of the darkened 2f East Terrace Breezeway. A zombie is
standing in it. It appears to have grenades strapped to it...)*
*(red text)* [!WARNING!] *(end red text)*
[There is a special zombie lurking]
[somewhere in the mansion that’s outfitted]
[with a large supply of grenades.]
[If you encounter the zombie,]
[get out of there!]
G. Congratulations
*(A picture is shown of Chris and Jill posing together in the Main Hall.
Chris is wearing Jill’s beret. “Congratulations” is written in bright-red
cursive, and there is a lipstick-print on the right side of the photo.
In the left-hand section of the photo, you can see a movie clapboard.
In the bottom right, you see the date: [24 07 1998].)*
Scene 22(P). Mikami’s Message
*(Mr. Mikami’s message is displayed on sheets of stationery. Surrounding the
stationery are bullets, a S.T.A.R.S. handgun, and the Emblem Key.)*
[Thank you for taking the time to]
[play all the way through ‘biohazard’ (Resident Evil).]
[If you’re reading this letter, I salute you!]
[You are truly a remarkable player!]
[I imagine you must have had some pretty]
[memorable experiences along the way.]
<PAGE>
[The pain of seeing the “Game Over”]
[screen time after time...]
[The sweet taste of victory after you]
[finally beat the game...]
[The feelings of camaraderie you shared]
[with your character...]
[The excitement... and the overwhelming]
[sense of dread.]
<PAGE>
[We believe that games are more than just the]
[product of a team of developers.]
[It takes the support of dedicated players]
[like you to make a game worthwhile.]
[For this reason, we are truly delighted when]
[someone enjoys one of our games as thoroughly]
[as you have.]
<PAGE>
[Therefore, on behalf of the entire staff,]
[please allow me to express our gratitude and]
[congratulate you on a job well done!]
[Thank you very much for playing!]
[Shinji Mikami]
[Dev Team Representative]
*(End of letter.)*
Scene 23(P). Unused Costume Designs
First Slide:
In the first slide, there are three costume changes for Chris. On the upper
left, we see Chris in full doctor’s attire, with a stethoscope and... one of
those things that doctors wear on their heads. The metal things. It also
seems to have the logo of the Raccoon City medical services on it. On the
right-hand side, we see Chris dressed in a skater-type uniform. He wears a
black cap that appears to say “RPD” on it. He’s also styling a black
windbreaker with white sleeves. There’s a star on its left breast, and on the
right shoulder, there’s the insignia of the RPD. He appears to be wearing
jeans. In the bottom-left photo, Chris appears to be wearing a black
wife-beater along with baggy black pants. In the barely-visible upper-right
photo, Chris appears to be wearing a Napoleon-looking hat (???). A scrap of
paper in front of the photos says “Chris Redfield.”
Second Slide:
Here, we see three costume changes. This time, the scrap of paper reads
“too bad”. On the upper-left photo, Chris is wearing a sleeveless biker
jacket, black gloves, and tight leather pants. In the photo on the upper-right,
Chris is wearing a black old-style Western vest over a white long-sleeved
shirt. Note that in both of the previously mentioned designs, the
character is wearing sunglasses. The third and final picture in the
bottom-right appears to be a costume derived from Ash, in the movie Army of
Darkness! He’s wearing a brown shirt that’s been pretty much torn off, and
blue jeans. In the bottom-left corner, there’s a small card that reads
“Shooting Competion” “5th Champion” “Chris Redfield”. The text is set in
front of a blue outline of a gun, and there’s a small drawing of a target
with bullet holes in it.
Third Slide:
Here, there are four photos of Chris in a Judo outfit. He’s wearing a black
belt. The scrap of paper says this time, “too karate...” In the upper-left
photo, he’s seen on the path through the woods, wielding an old-looking rifle.
In the one on the upper-right, he’s standing in the Dining Room near the
Grandfather Clock. In the one on the bottom-left, he’s running through the
woods again... And finally, in the picture on the bottom-right, he’s posing
with the rifle in the “F” Passage.
Fourth Slide:
There are two concept art sketches for Jill costumes. The one on the left is
art for the Terminator 2/Sarah Connor outfit, while the one on the right is a
nice-looking skin-tight black bodysuit. Jill’s face is completely covered by
a black mask; the only thing you can see is a night-vision visor. She looks
to be a special-ops soldier or somesuch thing.
Fifth Slide:
Again, two concept art sketches for Jill costumes. The one on the left is of
Jill without her beret, wearing glasses. She has on a white button-up blouse
that has a holster strapped over it. She’s also wearing black gloves and
a blue skirt. The one on the right has Jill (sans beret again) wearing an
all-brown ensemble of a vest, a halter-top, and flared pants.
Sixth Slide:
Two Jill concept sketches again. The left one has Jill in a cowgirl outfit;
she’s got a cowboy hat dangling behind her head. She wears a red vest over a
dusty-peach-colored shirt, and has blue jeans on. The art on the right shows
Jill wearing an Ada-Wong type outfit, but with the addition of gold jewelry
around her neck and yellow boots.
Seventh Slide:
Three concept sketches of Rebecca. On the left one, she’s wearing a brown
tanktop, short blue jean shorts, and cowboy boots. She’s also got a belt on.
The middle sketch shows her in an orange t-shirt with black pants and black
boots. The sketch on the right shows Rebecca in a purple version of Jill’s
costume without the beret.
Eighth Slide:
Again, three concept sketches of Rebecca. On the left, we see Rebecca from
behind, wearing an orange halter-top with short blue jeans. The second
sketch is the same outfit, but from the front. The third outfit is the same
design as the second one, but the shirt is colored green.
Ninth Slide:
3 Rebecca concept sketches. On the left, we see Rebecca wearing a red version
of her original outfit. The other two sketches are a front and back viewing of
the alternate costume she wears in the final game (the cowboy-looking one).
*(That’s it.)*
II. Chris Redfield
----------------------
A. The Mansion
----------------------
Scene 1. Opening Cinema
*(We see text being typed on a computer screen..)*
[Jul. 1998]
[Raccoon Forest]
*(Background switches to a helicopter’s-eye-view of a dense forest. The
night is foggy and cloudy. We eventually see the face of the pilot, Brad
Vickers, who is wearing his flight helmet.)*
Chris: Alpha Team is flying around the forest zone, situated in northwest
Raccoon City, where we are searching for the helicopter of our compatriots,
Bravo Team, who disappeared during the middle of their mission.
[Background Talk:
Brad: Chris, you haven't found it yet?
Chris: No, not yet Brad.]
*(Changes to a very close-up picture of a television screen—it fades out to
show a woman on the news. A black and white photo of a family is shown in the
upper-right hand corner, along with the tagline KILLED, Ten Families in red.
The logo “RBC” is imposed on the bottom-right hand corner. As the report goes
on, the picture is zoomed in on.)*
Chris: Bizarre murder cases have recently occurred in Raccoon City. There are
outlandish reports of families being attacked by a group of about 10 people.
[Background Talk:
Reporter: And now for a special news update: the bizarre murders in our city
continue to escalate Words have just come in that a group of friends camping
in the forest have been killed.]
*(Screen changes to sepia-colored snapshots; the first is of a few small
steps leading to a wooden door of a house. A trash can lies to the right of
the door, and blood is spattered all over the steps. The second is of a body
lying on the floor of a room. The room contains a desk, some drawers, a shelf,
and a bed (which has a few flecks of blood on it). The victim appears to have
been in his pajamas. We don’t see the victim’s face. The third snapshot is of
his face: the right side of it is severely chewed. His eyes appear to be
rolled back into his head, and there is also some blood dripping down from
the top of his head.)*
Chris: Victims were apparently eaten.
*(Scene switches back to the helicopter flying around the forest zone.)*
Chris: The Bravo Team was sent in to investigate, but we lost contact.
*(The helicopter’s searchlight plays over the forest; we see a ruined
helicopter among the trees.)*
Jill: Look, Chris!
*(Changes to the headset cam of Alpha member Joseph Frost. It displays
[Joseph.F] in the upper-left corner, [*REC] in the upper-right corner, and
[07/24/98] in the bottom-left corner. The helicopter is wrecked; Joseph
breaks open the door, and we see that the side-window is broken. There’s also
a hole in the main windshield.)*
Chris: Bravo Team’s helicopter was a derelict.
*(Joseph looks around the front of the copter... in the front, we see a leg
with a hint of blood under the instrument panel...)*
Chris: Save for the remaining body of Kevin...
*(Joseph looks right, and sees Kevin’s body. He lets out a scream, as he sees
that the pilot’s head is rolled back, one eye seemingly gouged out, with the
other ghastly white. Joseph quickly exits the ill-fated copter...)*
*(We then see Wesker walking around the woods, holding his pistol at ready
over his other arm, which is holding a flashlight. Barry, behind him, and
Chris, across from him, do the same.)*
Chris: We continued our search for the other members... and it turned into...
a nightmare...
*(The viewpoint switches to a nameless something in the woods... it appears
to be rotating around the members of the Alpha Team, watching them... We then
switch back to Joseph’s headcam view. He is breathing heavily. We then see
Jill in front of him, walking towards the camera. Joseph turns around and
investigates something by the tree behind him... He walks cautiously towards
it and hears a growl. He panics and looks around, his shotgun at ready. After
a few silent moments, he decides he’s in the clear and lets out a sigh of
relief. We then see from the viewpoint of something charging at the hapless
STARS member, and we see the look of terror on his face as—something—bares
its fangs and jumps atop him. A shotgun blast is heard, and all the STARS
members turn and look in its direction. From Joseph’s headcam, we see that
they are some type of disgusting-looking dogs. He tries to shoot them with
his shotgun, but he only gets off two more rounds before his headset comes
off and we see his legs off camera and his screams as he is devoured alive
by the mutant dogs. A splotch of blood makes its way onto the camera… All
this time, Jill has been shooting at the dogs as well. Her pistol is empty,
but she keeps on pulling the trigger as she stares at the spectacle before
her. Four of the dogs are eating Joseph while he still screams. As the
screaming stops, one of the dogs, still chewing Joseph’s flesh in its mouth,
turns around and notices Jill. She staggers back slowly and falls while the
dog jumps at her. Luckily, Chris guns it down, leaving a surprised Jill with
a spot of blood on her face.)*
Chris: Come on!
*(He takes hold of Jill and runs just as the other dogs notice what’s
going on. As the pair runs, they look up and notice the helicopter flying
away.)*
Chris: Hey! Brad! Where the hell’s he going?
*(The dogs seem to be catching up now, and Chris turns to brace himself for
the impact of a dog jumping at him. Everything slows down, and a gunshot
rings through the air, bringing down the creature.)*
Wesker: Chris this way!
*(Chris and Jill run past Wesker, as the Alpha Leader fires three rounds at
the dogs. He moves off-screen, and Barry is seen firing his mighty Colt Python
at the dogs. He fires off three shots; the second one hits a dog, instantly
killing it. They all run towards the house, and Chris, Wesker, and Barry each
fire one more shot at the dogs.)*
Barry: Dammit!
Chris: Make for that mansion!
*(We see a running view of the huge, eerily-lit mansion ahead of them, and
then the pursuing dogs behind as the screen fades to black...)*
[Enter the survival horror.]
*(We see the doors on the mansion open, revealing an ornate mail hall.
Chris speaks.)*
Chris: There are only three S.T.A.R.S. members left now: Captain Wesker,
Jill, and myself. We don’t know where Barry is.
*(End Scene.)*
Scene 2. Inside the Mansion
*(All three of the elite force are huffing and puffing as they get inside
the mansion.)*
Jill: Is everyone alright?
Chris: Barry... where’s Barry?
Wesker: He’s...
Jill: No!
*(Suddenly, a gunshot rings out. Everyone turns in its direction.)*
Jill: What was that?
Chris: I’ll go and check it out.
Wesker: Alright. Jill and I will stay and secure this area.
*(Chris begins to walk towards the door.)*
Jill: Chris... Take care.
Chris: *(turns around)* Yeah. *(heads back towards the door)*
*(End scene.)*
[Extra Click: Return to the Main Hall again. Wesker will say...]
Wesker: That gunfire... I’m counting on you to investigate, Chris.
Chris: You got it, Wesker.
[End Extra Click.]
Scene 3. Zombie Scene
*(We see a man wearing a green jacket who has a bald, white, diseased-looking
head. He is crouched over another man, who is struggling. He is apparently
eating him! We see his mouth drip blood atop the face of the struggling man,
who is none other than Kenneth Sullivan from the Bravo Team. His eyes are
rolled back, and his mouth is open. The man then turns around, revealing a
misty white eye, cracked skin, and exposed teeth.)*
Scene 4. Searching for Wesker
*(As Chris returns to the Main Hall, he finds it abandoned.)*
Chris: Wesker? Jill? *(walks around)* Where did they go?
*(As he continues looking around, he spots Jill’s pistol lying on the floor.)*
*(End Cinema.)*
(O). Art Closet Zombie
*(As Chris tries to exit the Art Closet, he slowly walks backwards.
Apparently, a zombie has shuffled in. We see a view of the zombie, who moans
and opens/closes his rotting mouth. Now he’s got to fend it off... luckily, he
just found a dagger...)*
(O). Bathtub Zombie
*(Chris reaches in and unclogs the bathtub. As he waits for it to drain, he
peers in at the muddy water. As he does, a hand raises from the mess. Chris
stumbles back as the zombie slowly gets up from the bathtub, and falls onto
the ground. Chris now has to deal with the creature he woke up...)*
(O). Kitchen Zombie
*(As Chris tries to exit the kitchen, we quickly switch our point of view.
Someone... is walking down the stairs leading to the basement. We hear the
person making zombie squelching noises as he walks... With our viewpoint back
on Chris, we see him walk backwards as a zombie comes shambling towards him.
We get a good view of the zombie’s empty eyes and wanting jaw opening and
closing... Now he’s to find a way past the rotting human...)*
(O). Itchy Itchy Scott Comes
*(As Chris finishes reading the Keeper’s Diary on the desk, he turns to leave.
However, at that time the closet doors swing open, revealing a zombie lying
in wait. It quickly awakens and shifts its attention to our hero...)*
Scene 5. Meet Rebecca
*(As Chris walks around the bend in the Marble Room, he sees a young girl
dresses in white and green tending to Bravo Team member Richard Aiken, who
is lying on the ground.)*
Rebecca: You?!?
Chris: Chris Redfield, Alpha Team. We’re here to rescue you.
*(Chris walks over and kneels down by Richard.)*
Chris: Richard! What the hell happened to you?
Richard: C-Chris... This place... Get your team out of here.
*(The camera switches to a view of the deep lacerations in his arms.)*
Richard: Demons... everywhere...
Rebecca: Don’t talk! He seems to have been bitten by a poisonous snake, but
the size of the bitemark is huge!
Richard: It’s... not just any ordinary snake... Take my word for it...
Rebecca: He needs Serum. I left it in another room...
Chris: *(standing up)* I’ll go get it.
Rebecca: Please hurry...
Chris: Hold on. (to Richard) I’ll be back.
*(Chris gets up and runs out the door.)*
[Extra Click: Walk back in on Richard and Rebecca. They’ll say...]
Richard: Chris, be careful...
Rebecca: Please hurry, Chris!
[End Extra Click.]
(O). Forest is Dead... Well, Kind Of
*(Chris kneels down next to Forest’s body.)*
Chris: No...
*(Some text is displayed.)*
[There are deep wounds all]
[over his body.]
[What could have torn him up]
[like this?]
*(As Chris tries to take some herbs on the other end of the walkway, he hears
a noise behind him... He turns around, startled, and we hear the noise of a
zombie... it’s Forest! He’s quite fast, and tries to attack Chris!)*
Scene 6a. Give Richard Aid
*(Chris runs back in and kneels down by Richard. He gives Rebecca the Serum.)*
Chris: Hope this is what you wanted.
Rebecca: Thank you. (to Richard) I’m gonna give you a shot now, Richard.
Hang in there...
*(Richard hands his radio to Chris as Rebecca prepares the shot.)*
Richard: Here... take it... it’s a radio... Take care of yourself...
Rebecca...
*(His eyes close, and Rebecca gasps.)*
Chris: Richard!
Rebecca: ...he’s okay. He’s just unconscious.
Chris: Rebecca... it’s not safe here. Let’s get Richard to a safer place.
Rebecca: *(nods)* Right!
*(The screen fades to black. It reopens in the 1f West Save Room. Richard
lies on the bed. Rebecca sits next to him. Chris is in the room.)*
Rebecca: Richard’s doing well, Chris. He should recover soon.
Chris: Good. *(puts his hand on her shoulder)* Richard needs you now.
Rebecca: *(stands up)* As soon as Richard gets better, we’ll come after you.
Chris: Rebecca, you okay with a gun?
Rebecca: Yes.
Chris: Alright. I’m gonna continue my investigation. *(he walks towards the
door)*
Rebecca: Be careful... Okay?
*(Chris leaves. End Cinema.)*
[Big Extra Click 1: If you return to the save room, Rebecca will say...]
*(Rebecca is near the bed, tending to Richard. As she sees Chris, she gets
up.)*
Rebecca: This room is equipped with all sorts of medical supplies. I could
pretty much treat any wound. Want me to treat your wounds?
[Let Rebecca treat your]
[wounds?]
[Yes]
Chris: Yeah, would you?
*(Rebecca toys with Chris’ arm a bit. The screen fades to black with an
accompanying message...)*
[Rebecca has treated your]
[wounds.]
Chris: Thanks.
*(Rebecca walks over to the shelves.)*
Rebecca: Somebody sure knows how to get a deal… Most of the medical supplies
here are from Umbrella.
Chris: Umbrella?
Rebecca: Don’t you know? They’re only the biggest taxpayers around here.
They make most of these medicines right here! Homegrown in Raccoon City.
But there’s not much left, so... take care of yourself.
*(Scene ends.)*
(If you talk to her again, she says...)
Rebecca: Take care, Chris!
[No]
Chris: No, I’m okay. But if something should happen to me, I’m counting on
you. *(pats Rebecca on the shoulder.)*
Rebecca: No problem! But we’re very short on medical supplies, so take care
of yourself.
*(Scene ends.)*
(If you talk to her again, she says…)
Rebecca: Take care, Chris!
[Big Extra Click 2: If you come back again, Rebecca will say...]
Rebecca: Are you okay? Want me to treat your wounds?
[Let Rebecca treat your]
[wounds?]
[Yes]
*(The screen fades to black. The text
[Rebecca has treated your]
[wounds.]
is displayed. End cinema.)*
[No]
*(No cinema!)*
(If you talk to her again, she says...)
Rebecca: Take care, Chris!
[Big Extra Click 3: If you come back again, Rebecca will say…]
Rebecca: Are you okay? Want me to treat your wounds?
[Let Rebecca treat your]
[wounds?]
[Yes]
*(The screen fades to black. The text
[Rebecca has treated your]
[wounds.]
is displayed. It fades back in on Rebecca checking out Chris’s arm.)*
Rebecca: Well, this is it! We’re out of medicine. Don’t do anything I
wouldn’t do.
*(Chris nods. End cinema.)*
(If you talk to her again, she says...)
Rebecca: Take care, Chris!
[No]
*(No cinema!)*
[Extra Click 4: If you return after the medicine is gone, Rebecca will
say...]
*(Chris walks over to Rebecca, who is tending to Richard. Chris puts his hand
on Rebecca’s shoulder.)*
Rebecca: He should be fine with a little more time.
*(Chris walks away.)*
*(End Extra Cinema.)*
Scene 6b. Abandon Richard
*(Chris walks into the Marble Room and checks on Richard. Rebecca is gone.
He kneels down by Richard, and cradles his head in his hands. Chris then
shakes his head and stands up.)*
[Extra Click: Check his corpse again. It’ll say...]
[Richard is already dead.]
[If only you’d gotten that]
[serum in time!]
[End Extra Click.]
Scene 7a. Maestro Rebecca #1 (Note: To get this cinema, you must save
Richard.)
*(Chris uses the Music Notes on the piano. He tries pounding on a few keys,
obviously not knowing what he’s doing. The door suddenly opens, and Rebecca
walks in.)*
Rebecca: It’s me, Chris.
Chris: Rebecca...
Rebecca: That sounded like Moonlight Sonata.
Chris: Can you play?
*(Rebecca nods and sits at the piano. She begins to play, but not without
errors. She eventually gives up, clunking on the keyboard. Chris covers his
face and turns away.)*
Chris: Ugh... what was that?
Rebecca: My interpretation is off a little... Let me practice for a while.
*(Decision point. End scene.)*
Scene 7b. Maestro Rebecca #2 (Note: To get this cinema, you let Richard die.)
*(Chris uses the Music Notes on the piano. He tries pounding on a few keys,
obviously not knowing what he’s doing. The door suddenly opens, and Rebecca
walks in.)*
Rebecca: It’s me, Chris.
Chris: You okay?
Rebecca: Yes, I’m okay. Can’t grieve forever.
Rebecca: This is the Moonlight Sonata.
Chris: Can you play?
*(Rebecca nods and sits at the piano. She begins to play, but not without
errors. She eventually gives up, clunking on the keyboard. Chris covers his
face and turns away.)*
Chris: Ugh... what was that?
Rebecca: My interpretation is off a little... Let me practice for a while.
*(Decision point. End scene.)*
Scene 8a. Answer Yes
Chris: Sure. But don’t get too carried away.
Rebecca: Oh, I won’t.
*(She goes back to playing the piano. End scene.)*
Scene 8b. Answer No
Chris: We’d better get our priorities straight and get back to our
investigation of the mansion.
Rebecca: You’re right.
*(Rebecca begins playing the piano again. As Chris tries to leave the room,
he looks at her and says...)*
Chris: Rebecca...
Rebecca: I know, I know, but just a little bit longer!
*(Chris leaves. End Scene.)*
Scene 9. Moonlight Sonata (Note: Rebecca will have perfected it if you return
to the Main Hall, then go back to the Bar.)
*(Chris enters the Bar.)*
Rebecca: Chris! Chris! I think I got it!
*(He walks over as Rebecca plays the song rather well.)*
Chris: Practice makes perfect.
*(Suddenly, a section of the wall slides up. Chris walks in front of it...)*
[Extra Click: Talk to Rebecca again. She'll say...]
Rebecca: Be careful, Chris.
[Extra Click II: Talk to Rebecca after solving the Emblem puzzle. She says:]
Rebecca: Were you all right in there?
Chris: Yeah.
*(End scene.)*
Scene 10. Meet Yawn the Giant Snake
*(2f Attic. After approaching the middle of the room, a huge snake slides out
of a hole in the room's rear. It hisses at Chris, and tries to bite him.)*
*(If Chris chooses to defeat the giant snake in combat, it will soon start
shivering. It then it slides over to the rear corner of the Attic, and propels
itself up into a crevice somewhere on the upper wall.)*
Scene 11a. Rebecca's help
*(As Chris walks out of the Attic, he stumbles and collapses against the
wall.)*
Chris: Poisoned...
*(He falls completely to the ground. As he does, Rebecca runs in.)*
Rebecca: Chris!
Chris: I need... Serum...
Rebecca: Serum! I remember seeing it! I’ll be right back... Just hang in
there!
*(She quickly runs out of the room, and makes her way over to the 1f West
Save Room.)*
[Extra Click: If you click on Richard…]
*(Rebecca goes over to Richard and sits down by the bed. She puts her hand on
Richard’s face... She seems to be happy. She gets up and moves back a
little.)*
[End Extra Click.]
*(After getting the Serum, she returns to Chris, who seems to be asleep.
Rebecca administers the Serum to him, and he begins to wake up.)*
Rebecca: How are you feeling?
Chris: What happened?
Rebecca: You were bitten by a poisonous snake and fell unconscious.
*(Chris shakily attempts to stand.)*
Rebecca: Easy...
*(As Chris stands, he groans in pain and grabs his head.)*
Chris: Aah... oh, my head’s killing me!
Rebecca: You should be fine, cause I gave you a shot of Serum. And again,
don’t do anything...
Chris: That you wouldn’t do? I’ll try to remember that. I owe you one.
[Extra Click: Talk to Rebecca again. She’ll say...]
Rebecca: Oh, thank God I made it in time! *(Chris nods.)*
*(End scene.)*
Scene 11b. Get Serum
*(As Chris walks down the stairs leading to the Attic, he falters and needs
to brace himself up against the wall. He holds his head and groans.)*
Chris: Poisoned...? I need Serum...
*(He slowly stands himself up. Now he must go in search of the Serum...)*
Scene 12. A New Friend in an Old Box
*(Chris puts the four Death Masks in place in the Machine Room. The coffin,
which was previously hung by chains, falls to the ground. As Chris approaches
it, he notices there’s a body inside. His skin is bright red... Suddenly, iron
bars crash down over the exit, and the zombie from inside the coffin revives!
He is bearded, and seems to exhale some sort of cloudy, foul fume. He throws
aside one of his blazing-red arms (with claws on his fingers as well as
handcuffs), and appears to wipe his face... The fight begins.)*
B. The Residence (Guard House)
-------------------------------------------
Scene 1(P). Wesker’s Warning (Note: You must have the Radio to see this
Cinema.)
*(Chris’ Radio beeps. He takes it out.)*
Wesker: ...-one respond...
Chris: Wesker?
Wesker: ...monster in chains... ...-tre... ...not resist... ...-way...
..woods outside the mansion...
*(The transmission ends.)*
Scene 2. Scary Noises
*(As Chris enters the Cemetery on the path, he hears the sounds of chains
dragging… then a woman moaning… what could it be?)*
Scene 3. A Hideous Encounter
*(After getting the Crank, Chris tries to exit the cabin. As he walks there,
someone opens the door. A glimpse through a window shows a vaguely humanoid
figure, but only for a split second. As Chris reaches the stairs, a pair of
hands shackled in stocks smashes down over his head, knocking him out. Chris
reawakens a few moments later, and gets to his feet. As he does, we see the
chained legs and shackled hands of someone... We then see them from the
back... they are wearing a very tattered dress (you can see her ribs through
a rip), as well as the disgusting sight of a person’s face attached to their
back. Chris turns around and faces the creature... it is hunched, and wears
the skins of its many victims over its red, decayed face... Now you must
escape from Lisa Trevor...)*
Scene 4(P). Radio Transmission #1
*(Chris’ Radio beeps. He takes it out.)*
Brad: This is Brad... Come in, S.T.A.R.S. Alpha Team... Come in! Does anybody
hear me?
Chris: This is Chris.
Brad: This is Brad. S.T.A.R.S. Alpha Team... Bravo Team, it doesn’t matter.
Respond! I repeat, this is B—(fades into static)
Chris: Brad! This is Chris! Brad? ...Damn! Thing’s broken...
*(End Cinema.)*
Scene 5. Draining the Pool Scene
*(Chris begins to rotate the Square Crank inserted in the pedestal. Suddenly,
we see a large, slightly rusty iron block that moves up and lets the water
flow through. As the water drains, we see that it was concealing a stone
passageway covered in moss. The text [You can hear the sound of a]
[waterfall in the distance...] is displayed.)*
Scene 6a. Richard... here? (Note: In order to see this scene, you must have
saved Richard.)
*(As Chris enters the Aqua Ring, he sees Richard standing in front of him.)*
Chris: Richard! *(walks toward Richard)*
Richard: *(looks around and sees the largest Neptune heading for Chris)*
Chris! Chris, stop! Noooo! *(he runs to push Chris out of the way, but he is
eaten by the Neptune instead. It takes him under as he is devoured... Chris
hangs over the railing, hoping for a sign of him as the water turns red...)*
Chris: Richard...
Scene 6b. Neptune Arrives
*(As Chris walks around the Aqua Ring, we see from the viewpoint of...
something swimming in the water. As it swims up towards the pathway that Chris
is walking on, it swims to the top of the water...)*
Scene 7. Neptune’s Wrath
*(After draining the pool, Chris spots the Gallery Key hanging on a rack on a
platform across a small pool of water. Inside the pool of water is the
biggest Neptune creature, unmoving. As Chris tries to take the key, the huge
shark violently awakens, lashing out and knocking the key from its place.
Now Chris must find a way to defeat the creature...)*
Scene 8. Fried Fish (Note: You can also just kill Neptune by shooting at it,
but then you don’t get this cinema.)
*(Chris pushes the control box into the water, and flips the power switch for
it. As the electric current courses through the water, the huge shark
convulses comically. The water begins to steam, and the Neptune turns on its
side. Finally, the generator for the control box shorts out, spouting steam.
The Neptune stops convulsing (for the most part), and Chris is free to pass.)*
Scene 9a. Chris vs. Plant 42 (Note: You must have saved Richard to get this
cinema.)
*(As Chris enters the Plant 42 room, he looks up in surprise at the mutation.
Suddenly, one of the plant’s tentacles snatches Chris up! It swings him around
the room for a while, and then tosses him down to the floor with a loud
“thud”. Now Chris has to destroy the thing... After shooting the plant for a
while, it begins to spray a bit more acid than usual from its center. When
Chris deals out some more damage, it contracts, but this time its petals in
the center begin to fall off, as well as the tentacles. Chris has triumphed.)*
Scene 9b. Rebecca Helps Out Again (Note: Richard must be dead to get this
cinema.)
*(As Chris enters the Plant 42 room, he looks up in surprise at the mutation.
Suddenly, one of the plant’s tentacles snatches Chris up! Outside in the
Gallery, Rebecca hears Chris screaming and comes running)*
Rebecca: Chris!
Chris: Rebecca!
*(Rebecca points her pistol at the giant plant.)*
Chris: It’s no use... the roots are in the basement... You can...
*(grunts in pain, then screams)*
Rebecca: No!
*(Chris throws down a book to Rebecca.)*
Chris: Take that file! It’ll tell you how to make the potion to kill this
thing! Use it on its roots! Hurry!
*(Rebecca cautiously darts forward and takes the file. She looks up at
Chris.)*
Rebecca: Chris...
*(She exits the room. She then goes to the V-Jolt Room, makes V-Jolt,
travels down to the basement, and applies the chemical to the plant’s roots.
They begin to flail wildly, and soon retract through the ceiling. As Rebecca
leaves the room, she looks up concernedly. We then switch back to our hero,
Chris. The plant tosses him hard to the floor, and then begins to shrivel up.
It retracts for a while, as Chris watches in amazement. However, it soon
returns to its regular size, leaving Chris to battle with it. When Chris deals
out some more damage, it contracts, but this time its petals in the center
begin to fall off, as well as the tentacles. Chris has triumphed.)*
Scene 10a. Post-Plant 42 Discussion #1 (Note: You must have saved Richard to
get this cinema.)
*(Chris enters the hallway behind Rebecca, who is walking away. When she
notices him, she gasps.)*
Rebecca: Oh! You scared me! You okay?
Chris: Yeah. It’s dead. *(begins pacing around the room)* But... Richard...
he’s... gone.
*(Rebecca has a look of shock and pain on her face. She puts her hand to her
chest.)*
Rebecca: I’m sorry.
Chris: It’s my fault! I should’ve... watched out for him.
Rebecca: I found a pharmaceutical room. I think I can come up with something
useful. Be there. *(begins to run off, but turns around midway)* I’m glad
you’re still okay.
*(Rebecca goes into the V-Jolt Room. Scene ends.)*
[Big Extra Click #1: Talk to Rebecca inside the V-Jolt Room. She’ll say...]
*(Rebecca looks at the wall full of chemicals.)*
Rebecca: This room is equipped with all sorts of medical supplies. Want me
to treat... your wounds?
[Let Rebecca treat your]
[wounds?]
[Yes]
Chris: Yeah, would you?
*(Rebecca walks over to Chris and checks his arm. The screen fades to black
with an accompanying message...)*
[Rebecca has treated your]
[wounds.]
Chris: Thanks.
*(Rebecca suddenly breaks down crying. Chris puts his arm on her shoulder.)*
Chris: Be strong, Rebecca.
*(She looks up at Chris... the scene ends.)*
[No]
(If you talk to her again, she says...)
Rebecca: Take care, Chris.
[Big Extra Click #2: Talk to Rebecca inside the V-Jolt Room again. She’ll
say...]
Rebecca: Are you okay? Want me to treat your wounds?
[Let Rebecca treat your]
[wounds?]
[Yes]
Chris: Yeah, would you?
*(Rebecca looks at his arm. She then looks up at him with concern.)*
Take care, Chris!
[Rebecca has cured you.]
(If you talk to her again, she says…)
Rebecca: Take care, Chris.
[No]
*(No Cinema!)*
[End Big-Extra Clicks.]
Scene 10b. Post-Plant 42 Discussion #2 (Note: You must have neglected
Richard to get this cinema.)
*(Chris enters the hallway and sees Rebecca running towards him.)*
Rebecca: Chris! You’re okay?
Chris: Yeah. I think we got to the root of that problem. I owe ya, kid.
Rebecca: I’m glad I could help.
Chris: Rebecca... Thanks.
*(Rebecca reaches into her pocket and brings out a radio.)*
Rebecca: Chris... This is Richard’s radio. A moment ago, there was a
transmission. Brad’s still... flying around, but I don’t think he heard me.
Chris: Okay, I’ll keep the Radio. We have to somehow let Brad know about us.
*(Chris takes the Radio.)*
Rebecca: I found a pharmaceutical room. I think I can come up with something
useful. I’ll be there if you need anything. *(begins to run off, but turns
around midway)* Anyway, I’m glad you were all right.
*(Rebecca goes into the V-Jolt Room as Chris waves to her. Scene ends.)*
[Extra Click: Refer to 10a]
*(End scene.)*
Scene 11. Reunite with Wesker
*(As Chris walks down the hallway, he hears three gunshots. When he follows
them to the source, he finds Wesker shooting at bees!)*
Chris: Wesker?
Wesker: *(turns around)* Chris... You’re alive.
Chris: My words exactly. Where’s Jill? I thought you were with her.
*(runs past Wesker and turns around)*
Wesker: Yeah, I know. We got separated.
Chris: I see. Anyway, we’d better find a way out of here before we turn into
zombie-food. Got any suggestions, Wesker?
Wesker: We should get a better grip... on the situation. There must be areas
still to be explored in that other mansion. Chris, I want you to check them
out one more time. I’ll continue my investigation here.
Chris: Sure thing.
*(Wesker walks off. The scene ends.)*
Scene 12. Radio Transmission #2
*(Chris’ Radio beeps. He takes it out.)*
Brad: This is Brad... If you can’t answer me, somehow give me a sign...
Chris: Chris to Brad! Can you hear me? Brad? *(looks at the radio)* ...Damn!
*(The scene ends.)*
C. Return to the Mansion
-----------------------------------
Scene 1. Hunter Arrives
*(After returning inside the mansion, primarily the room that leads to the
Breezeway path right before exiting the mansion, the view switches. Something
seems to be pursuing Chris! It quickly leaps up the elevator shaft in
the Courtyard, runs toward the shed and opens the door, runs into it, opens
the next door, runs through the Breezeway, and arrives at the door to the
mansion.)*
Scene 2. Save Rebecca!
*(As Chris enters Spencer’s Study, he hears someone screaming upstairs. It’s
Rebecca!)*
Chris: Rebecca! Is she upstairs?
*(End scene.)*
Scene 3. 2f Hunter Confrontation
*(As Chris enters the 2f Study, he sees a Hunter cornering Rebecca. She runs
towards the door, tries to open it, then falls down and curls up in the
corner screaming. Now is your chance to do something...)*
a. Save Her
*(Chris quickly kills the Hunter and runs over to Rebecca, kneeling by her
side.)*
Chris: Rebecca!
Rebecca: *(uncovers her eyes)* Chris!
Chris: You okay?
Rebecca: I didn’t mean to get you worried...
Chris: We can’t stay here any longer. We have to get to the others and find
a way out of here! You with me?
Rebecca: Yes.
*(Chris stands up.)*
Chris: Then I’ll go ahead. Until then, Rebecca, you’re on your own.
*(helps Rebecca to her feet)* Stay cool, and use your better judgment.
Got it?
Rebecca: I can handle myself...
Chris *(gives her a thumbs up)* Good luck!
[Extra Click: Talk to Rebecca again. She’ll say...]
Rebecca: (louder) I didn’t mean to get you worried!
*(End scene.)*
b. Run Away
*(Chris exits the room. As he does, he hears Rebecca scream, and then the
sound of blood squirting. As he reenters the room, he kills the Hunter and
goes over to Rebecca. She is splayed face-down on the floor, and shows no
sign of being wounded (or any sign of life, for that matter...). Chris drops
to his knees)*
Chris: No...
*(The Cinema ends.)*
[Extra Click: Click on Rebecca’s corpse. It’ll say...]
[You’re at a loss for words...]
Scene 4. Yawn's Return
*(As Chris walks around the Library’s second floor, suddenly something glass
shatters. Chris turns around, and sees the giant snake from before sliding
around the corner!)*
*(After engaging it in combat, the snake writhes in pain. It slams itself
against the nearby bookshelf, and falls to the ground, dripping venomous
fluid. It doesn’t seem to be living any more... We then see a sparkling book
that fell to the ground atop a pile of other books knocked over in the Yawn’s
death tantrum.)*
D. The Underground Tunnels
----------------------------------------
Scene 1. Meet Enrico
*(As Chris rounds the corner in one of the underground tunnels, he finds a
fellow S.T.A.R.S. member lying against a wall. He begins to run over to
him.)*
Chris: Enrico!
Enrico: Don’t... come any closer, Chris... *(he slowly stands up)*
Chris: What happened?
Enrico: Double-crosser... *(points his pistol at Chris)*
Chris: Enrico... wait!
*(We hear a pistol being cocked, and then a shot goes off. Enrico falls
down, shot in the chest. Chris turns around, but only sees a black boot
running away from the scene... Chris goes to Enrico’s side.)*
Chris: Enrico!
Enrico: Um... brel... la...
*(Enrico dies.)*
Chris: Enrico! *(shakes him)* ...a double-crosser?
*(Chris turns and looks angrily behind him...)*
*(While investigating him again, subtitles come up that say...)*
[Killed him with just one shot...]
[Who could it be...?]
[Wait, he’s holding something.]
*(End cinema.)*
Scene 2. Spider’s Nest
*(As Chris enters the room, something begins to stir on the other side.
Suddenly, a HUGE spider crawls out, raises its front legs, and shrieks at
our hero! Now he must combat it...)*
E. The Altar
-----------------
Scene 1. Fighting the Mess-Up
*(As Chris descends the ladder to the Altar, he sees Wesker firing at a
creature.)*
Wesker: You’re a bit of a mess-up. *(notices Chris behind him as he reloads)*
Chris! Take a piece of the action!
*(They both battle Lisa Trevor.)*
Scene 2. The Reunion (Note: You can simply shoot Lisa while she is hanging on
the side of the pit, but then you won’t get this cinema.)
*(As the fourth stone plunges into the abyss, the lid on the coffin slides
open. As it does, the iron bars that blocked the passageway slide up. Lisa
walks over to the coffin.)*
Lisa: ...mo...ther...
*(She grabs her mother’s skull from the coffin and walks over to the side of
the pit. She gives one last angsty, primal scream as she sends herself off
the side of the pit.)*
[Extra Click: Talk to Wesker after this. He’ll say:]
Wesker: I’ll investigate this area... *(puts a fresh clip in his pistol)* A
little further.
*(End Cinema.)*
F. The Umbrella Lab
---------------------------
Scene 1. Draining the Fountain Scene
*(When Chris inserts the second medal, we see that the water in the fountain
is draining! The bottom of the pool seems to be parting, allowing the water
to flow through into the passageway beneath. Finally, the stone in front of
the fountain lowers, allowing you access to the stairway and elevator.)*
Scene 2. Slideshow
*(Chris starts up the projector.)*
Slide 01: The Umbrella logo is seen next to the word “Umbrella”. Below it, it
reads Bio Organic Weapon Official Report. On the right is a white strip, with
four black points making a cross-pattern atop the strip.
Slide 02: MA-39 CERBERUS is displayed at the top of the screen. Below it is a
segmented color picture of one of the zombie dogs. On the right is some text
next to a smaller segmented picture, and also a green wireframe of the
Cerberus.
Slide 03: FI-03 NEPTUNE is displayed at the top of the screen. Below it is a
color picture of the huge shark. On the right is some text next to a smaller
segmented picture, and also a green wireframe of the Neptune.
Slide 04: MA-121 HUNTER is displayed at the top of the screen. Below it is a
color picture of two Hunters. On the right is some text next to a smaller
segmented picture, and also a diagram of the Hunter’s hand/claws. A green
wireframe of the hand is also shown.
Slide 05: T-002 TYRANT is displayed at the top of the screen. Below it is a
green wireframe of the Tyrant next to a picture of its stasis chamber. On
the right is some text next to a smaller segmented picture, and also a small
picture of a DNA helix.
Slide 06: A photo of five researchers is shown. On the far left is a somewhat
chubby man. Next to him stands a woman with dark hair. Standing next to her
is a man wearing glasses, seemingly annoyed. The fourth man is standing
behind the group, and his features cannot be made out. The fifth man is a
person with blond, slicked-back hair, who is wearing sunglasses. Beneath his
labcoat, he is wearing a black shirt and black pants, as well as black
gloves. Hmm... Some text is displayed.
[Bio Organic Weapons Research]
[Group – Development Staff]
Slide 07: A bar code. The numbers displayed are 834170623.
*(The slides end.)*
Scene 3. Kenneth’s Film
*(Chris puts the film into the player. We see from inside the headset cam of
Bravo member Kenneth Sullivan. It displays [Kenneth.S] in the upper-left
corner, [*REC] in the upper-right corner, and [07/24/98] in the bottom-left
corner. He is firing three shots at an oncoming zombie, while spinning around
quite a bit. He pauses and trips, but fires two more shots. The zombie still
approaches.)*
Kenneth: Get away from me! No! Hey! Hey, no!
*(The zombie begins to kneel down over him while Kenneth screams. It begins
to devour him... a splash of blood covers the camera while we see the
zombie’s head working to rip the flesh from his bones... the camera starts
to short out. The film ends.)*
Scene 4(P). Meet with Jill
*(As Chris tries to bang on the door to the prison cell, Jill notices and
gets off of her bed.)*
Jill: Chris! *(runs over to the small window)*
Chris: Jill!
Jill: Chris, Wesker’s the...
Chris: I know.
*(Chris attempts to pull open the door again.)*
Chris: I can’t open it. Just wait, I’ll be back.
Jill: Okay.
*(Chris runs off. Cinema ends.)*
Scene 5(P). Rejoin Rebecca
*(As Chris activates the elevator, Rebecca comes running down the hall.)*
Rebecca: Chris!
Chris: Rebecca!
Rebecca: *(is gasping for air; she has her hands rested on her knees, and is
slightly bent over.)* I saw you in the... the garden, *huffs* I finally
caught up...
Chris: Well, I’m glad you’re okay. No more following, just... stay with me,
kid. *(pats Rebecca on the shoulders.)*
Rebecca: That’s my plan, sir!
*(Chris gives her a thumbs-up, and they both get into the elevator. Scene
ends.)*
Scene 5a. Wesker Conversation 1
*(As Chris and Rebecca enter the Tyrant room, they see Wesker typing on a
console across the room. They run over to him.)*
Chris: Wesker!
Wesker: So you’ve come... Chris, you make me proud. Of course, you are one
of my men.
Chris: (scoffs) Thanks!
*(Wesker pulls a pistol on the two.)*
Chris: Since when, Wesker?
Wesker: I’m afraid I don’t know what you’re talking about.
Chris: Since when have they been slipping you a paycheck?
Wesker: I think you’re a bit confused... I’ve always been with Umbrella.
And S.T.A.R.S. were Umbrella’s... No, rather... mine. Little piggies.
*(Chris gets angry.)* The Tyrant virus leaked, polluting this whole place...
and unfortunately, I had to give up my lovely members of S.T.A.R.S....
Chris: *(points a finger accusingly at Wesker)* You killed them with your own
dirty hands... You son of a bitch!
Rebecca: No...
Wesker: Oh, yes, dear. Just like this...
*(He aims the pistol at Rebecca, and shoots, hitting her in the abdomen and
knocking her over.)*
Chris: Rebecca!
Wesker: Don’t move!
Chris: You...
Wesker: I don’t think you want to die just yet. I have something that’s of
some interest to you.
*(Wesker taps two buttons on his keyboard, and they both turn around and look
at the Tyrant in its stasis tube...)*
Scene 5b. Wesker Conversation 2 (Note: You only see this cinema if Rebecca is
dead.)
*(As Chris enters the Tyrant Room, he sees Wesker typing on a keyboard of
some sort. He approaches him.)*
Chris: Wesker!
Wesker: So you’ve come! Chris, you make me proud. Of course, you are one of
my men.
Chris: (scoffs) Thanks!
*(Wesker tries to punch Chris, but Chris blocks him. He then spins around and
kicks Chris in the chest. He then kicks Chris in the head, which brings him
down. Wesker then points his pistol at the grounded Chris.)*
Chris: Since when, Wesker?
Wesker: I’m afraid I don’t know what you’re talking about.
Chris: Since when have they been slipping you a paycheck?
Wesker: I think you’re a bit confused... I’ve always been with Umbrella. And
S.T.A.R.S. were Umbrella’s... No, rather... mine. Little piggies.
*(Chris gets angry.)* The Tyrant virus leaked, polluting this whole place...
and unfortunately, I had to give up my lovely members of S.T.A.R.S....
Chris: You killed Enrico with your own dirty hands... You son of a bitch!
*(He attempts to grab the pistol from Wesker’s hand, but Wesker just steps
on his shoulder.)*
Wesker: Enrico? Yes... I’m a fair man. I’ll destroy all of you S.T.A.R.S.
along with this entire place.
Chris: You...
Wesker: Time for show-and-tell. Get up.
*(Chris slowly gets up while Wesker keeps his pistol trained on him. He taps
a button on his keyboard, and both of them turn to look at the capsule which
contains the Tyrant...)*
Scene 6. Tyrant Showcase
*(The camera shows us a leg, encrusted with scars and ugly mutations. It then
switches to a huge, massively clawed hand. We see a huge heart beating,
located outside the creature’s chest. Then we see its face... a line of veins
or scar tissue across it, and no lips to speak of... its eyes are closed.
The camera pans back to show us the Tyrant in its full glory, still encased
inside its stasis tube...)*
Scene 7. Wesker's Death
*(The water drains from the Tyrant’s stasis tube.)*
Wesker: The ultimate lifeform... Tyrant!
*(Chris begins to laugh.)*
Chris: Wesker, you’ve become senile!
*(Wesker walks in front of the tube.)*
Wesker: Chris, you’ll never understand. It’s magnificent...
*(He holds out his arms as if to beckon the creature with an embrace...
suddenly, we see the Tyrant breaking through the glass through the
reflection on Wesker’s sunglasses. It impales him and tosses him off to the
side.)*
Chris: Wesker!
*(The Tyrant turns its attention towards Chris...)*
Chris: Come on, you test-tube freak!
*(Chris begins his battle with the Tyrant... Scene End.)*
Scene 8(P). Rebecca Lives!
*(Chris kneels at Rebecca’s side. He picks her up, and she begins to cough.)*
Chris: Rebecca!
Rebecca: Chris!
Chris: It’s a good thing you were wearing your bullet-proof vest! There’s
nothing left for us to do here; let’s get moving.
*(Rebecca stands up.)*
Rebecca. Okay.
*(Scene Ends)*
Scene 9(P). Triggering System Discussion
*(As the two get off the elevator, Chris starts to run away.)*
Rebecca: Chris?
Chris: What is it?
Rebecca: I found a file in the lab... apparently, there’s still a lot of
Tyrant virus here. We should blow this whole place up!
Chris: Right! The show must go on. I’ll leave that up to you, Rebecca.
*(pats her on the shoulder.)*
Rebecca: I’m on it. I’ll start the self-destruct system I found a little
while ago.
Chris: It’s not like we’re out of this yet; I’ll see you on the outside.
Rebecca: Outside. *(nods and runs away.)*
*(Scene End.)*
Scene 10(P). Detonation Radio
*(As Chris walks though the “O” Passage, a voice accompanied by alarm klaxons
comes over one of the P.A. System speakers. Chris stares at one.)*
Voice: The self-destruct system has been activated. All personnel must
evacuate immediately. Deactivating and releasing all locks.
*(Chris looks around... the cinema ends.)*
Scene 11a(P). Rescue Jill #1 (Note: In order to see this cinema, you must
have seen Cinema 4—Meet with Jill.)*
*(Chris enters the prison cell. He walks over to Jill, who’s sitting on the
bed.)*
Chris: Jill! Sorry I made you wait.
Jill: I knew you’d come... *(gets off of the bed and stands up)*
Chris: Let’s get out of here
*(The two exit. End Cinema.)*
Scene 11b(P). Rescue Jill #2
*(Chris enters the prison cell. He sees Jill sitting on her bed, looking
despondent.)*
Chris: Jill?
Jill: Chris!
*(She runs up to him and gives him a hug.)*
Chris: You’re okay!
Jill: Chris, it’s Wesker. He...
Chris: I know. But first, let’s get out of here.
*(Jill nods, and they both exit.
Scene 12(P). Jill’s Rush (Note: Obviously you must rescue Jill to see this
cinema.)
*(As Chris enters the Lock Passageway, Jill runs ahead.)*
Jill: Let’s get going!
*(She exits the room.)*
Scene 13. Radio Transmission #3
*(Chris’ Radio beeps. He takes it out.)*
Brad: This is Brad... Running out of fuel... This is your last chance! If
there’s anyone alive, give me a sign! I repeat, this is your last chance!
*(Transmission ends.)*
Scene 14a. Jill's Encouragement
*(As Chris activates the elevator, somewhere down the hall, a Hunter shrieks.
Jill jumps out to the hallway, pointing her gun in the direction of the
noise.)*
Jill: I’ll take care of them!
Chris: But...
Jill: Chris, you just get in contact with Brad somehow.
Chris: Okay!
*(As Jill runs down the hallway, the elevator arrives. Chris gets on.)*
Scene 14b. Rebecca's Encouragement
*(As Chris activates the elevator, Rebecca comes running from down the hall.)*
Rebecca: The self-destruct system’s activated.
Chris: Good work! Brad’s up in the helicopter.
*(Suddenly, a Hunter shrieks from somewhere down the hall. Rebecca aims her
weapon down the hall. Chris stands next to her.)*
Chris: Shit! It’s those nasties again!
Rebecca: Chris, if Brad’s still up there... please try to get in contact with
him.
Chris: But...
Rebecca: Leave them up to me.
Chris: Alright! Clean ‘em up!
Rebecca: No problem.
*(As Rebecca runs down the hallway, the elevator arrives. Chris gets on.)*
Scene 14c. Survivors' Encouragement
*(As Chris activates the elevator, Rebecca comes running from down the hall.
Jill keeps her weapon pointed down the hall.)*
Rebecca: The self-destruct system’s activated.
Chris: Good work! Brad’s up in the helicopter.
*(Suddenly, a Hunter shrieks from somewhere down the hall. The two aim their
weapons down the hall.)*
Rebecca: Those things are coming!
Jill: I’ll take care of them!
Chris: But...
Jill: Chris, you just get in contact with Brad somehow.
Chris: Okay!
*(As Jill and Rebecca run down the hallway, the elevator arrives. Chris gets
on.)*
Scene 15a(P). Return of Tyrant (Rebecca and Jill)
*(Chris opens the Signal Rockets case, and presses the button to make it fire.
He backs away, and the rocket flies into the air and explodes. He turns around
when he hears the elevator activating. It opens, letting out Jill and Rebecca.
Rebecca is holding her arm.)*
Rebecca: Chris!
Chris: You okay?
Rebecca: Yeah.
*(Jill also nods.)*
*(Suddenly, they all turn around to see a huge hole being made in the
pavement. Jill and Rebecca train their guns on it. Suddenly, the Tyrant jumps
out of the hole! Both Jill and Rebecca fire off a shot at it, but Jill gets
decked by one of the Tyrant’s punches. She goes rolling into the wall,
unconscious. It then begins to advance on Rebecca. She shoots it four times,
and then realizes she’s out of ammo... the beast continues to advance...)*
*(End cinema.)*
Scene 15b(P). Return of Tyrant (Rebecca)
*(Chris opens the Signal Rockets case, and presses the button to make it fire.
He backs away, and the rocket flies into the air and explodes. He turns around
when he hears the elevator activating. It opens, letting Rebecca out. Rebecca
is holding her arm.)*
Rebecca: Chris!
Chris: You okay?
Rebecca: Yeah.
*(Suddenly, they turn around to see a huge hold being made in the pavement.
Rebecca trains her gun on it. Suddenly, the Tyrant jumps out of the hole! It
then begins to advance on Rebecca. She shoots it five times, and then realizes
she’s out of ammo... the beast continues to advance...)*
Scene 15c(P). Helicopter Rescue (Jill)
*(Chris opens the Signal Rockets case, and presses the button to make it fire.
He backs away, and the rocket flies into the air and explodes. He turns around
when he hears the elevator activating. It opens, letting out Jill. She’s
holding her arm.)*
Chris: You okay?
*(Jill doesn’t respond. The helicopter then flies overhead, shining its
searchlight at Chris and Jill. Jill keeps her head down with her hand over
her face, while Chris pretty much stares at the helicopter.)*
*(End cinema.)*
Scene 15d(P). Helicopter Rescue (Alone)
*(Chris opens the Signal Rockets case, and presses the button to make it fire.
He backs away, and the rocket flies into the air and explodes. He walks
around in circles as he waits for the helicopter to get closer. As it does,
it shines its searchlight at him. He covers his face and kneels. It does so
again, and Chris looks up at the helicopter while kneeling.)*
Scene 16(P). Brad's Gift
*(After a while, Brad drops a Rocket Launcher onto the Helipad.)*
Brad: Chris, use it! Kill it, whatever it is!
*(Chris looks up at Brad... End cinema.)*
Scene 17(P). Death of a... Hey, Wait a Minute!
*(Chris fires the Rocket Launcher at the Tyrant. The rocket is seen flying at
the Tyrant through three different camera angles, but as it gets near him,
the Tyrant swats it away!)*
Scene 18(P). Death of a Tyrant
*(Chris fires the Rocket Launcher at the Tyrant. The rocket is then seen
flying at the Tyrant through four different camera angles before it actually
hits the Tyrant square in the chest. It explodes into bits, not being seen
again.)*
ENDINGS
Scene 19a. Ending A-Chris
*(A scene begins. The helicopter flies out from the horizon, and lands in the
Heliport; wobbling a bit as it lands. The helicopter flies off into a cloudy
sky. A view is seen of the Mansion complex below, which stays as it was when
the S.T.A.R.S. discovered it. Chris is sitting alone in the back of the
helicopter. He raises his hands up to his forehead, leans back, and leans
his head back while staring into nothingness. He then looks out the window...
The camera angle changes to the view from inside Raccoon Forest... we see
the helicopter flying away... suddenly, the view changes to a spherical shape,
and we see that it’s really the eye of the Tyrant. Its pupil-less eye blinks,
and it breathes heavily...)*
Scene 19b. Ending B-Chris & Jill
*(A scene begins. The helicopter flies out from the horizon, and lands in the
Heliport; wobbling a bit as it lands. The helicopter flies off into a cloudy
sky. A view is seen of the Mansion complex below, which stays as it was when
the S.T.A.R.S. discovered it. The view switches to Jill and Chris inside the
helicopter. Jill is resting with her head on Chris' shoulder. She seems to be
asleep. Chris looks over at her, and then back out the window. The camera
angle changes to the view from inside Raccoon Forest... we see the helicopter
flying away... suddenly, the view changes to a spherical shape, and we see
that it’s really the eye of the Tyrant. Its pupil-less eye blinks, and it
breathes heavily...)*
Scene 19c. Ending C-Chris & Rebecca
*(A scene begins. The helicopter flies out from the horizon, and lands in the
Heliport; wobbling a bit as it lands. The helicopter flies off over a cloudy
sky. A view is seen of the Mansion complex below, which after a few seconds
bursts into a red-hot ball of flame. It switches to a view inside the
helicopter. Chris is looking to his right as Rebecca stretches and yawns.)*
Chris: Tired...
Rebecca: (looks ashamed) Chris... I’m sorry for...
Chris: Rebecca, you did just fine. This case was just too strange...
*(Close-up on Chris's face.)*
Chris: It was just... too... *(begins to stare out the window.)*
*(We then get a view of the helicopter flying off into a reddish-orange
sunset. End FMV.)*
Scene 19d. Ending D-Chris, Jill & Rebecca
*(A scene begins. The helicopter flies out from the horizon, and lands in the
Heliport; wobbling a bit as it lands. The scene switches as the helicopter
flies off over a cloudy sky. A view is seen of the Mansion complex below,
which after a few seconds bursts into a red-hot ball of flame. It switches to
a view inside the helicopter. Jill is resting on Chris' shoulder. Chris looks
over at her, then looks at Rebecca. Rebecca is peacefully asleep... Chris
turns and stares outside, and we get a view of the helicopter flying off into
a reddish-orange sunset.)*
Scene 19e. Ending E- Chris & Jill
*(A scene begins. The helicopter flies out from the horizon, and lands in the
Heliport; wobbling a bit as it lands. The helicopter flies off into a cloudy
sky. A view is seen of the Mansion complex below, which after a few seconds
bursts into a red-hot ball of flame. The view switches to Jill and Chris
inside the helicopter. Jill is resting with her head on Chris' shoulder. She
seems to be asleep. Chris looks over at her, and then back out the window,
as we get a view of the helicopter flying off into a reddish-orange sunset.)*
Scene 19f. Ending F- Chris
*(A scene begins. The helicopter flies out from the horizon, and lands in the
Heliport; wobbling a bit as it lands. The helicopter flies off into a cloudy
sky. A view is seen of the Mansion complex below, which after a few seconds
bursts into a red-hot ball of flame. It switches to a view inside the
helicopter. Chris is sitting alone in the back of the helicopter. He raises
his hands up to his forehead, leans back, and leans his head back while
staring into nothingness. He then looks out the window, as we get a view of
the helicopter flying off into a reddish-orange sunset.)*
Scene 20. Credits
[Resident Evil]
[Game Part Crew]
[Planners]
KOUJI KAKAE
JOESUKE KAJI
SHIGENORI NISHIKAWA
[Script Translation & Voice Direction]
SHINSAKU OHARA
[Motion Cap. & Movie Coordination]
AKIRA KOKUSHOH
[Software Engineers]
[Lead Engineer]
HIDEAKI MOTOZUKA
[Engineers]
RYUTA TAKAHASHI
SYUICHIRO CHIBOSHI
YOSHIAKI NISHIMURA
WAIARU OHMORI
KAZUNORI INOUE
TOMOHIRO AKIZUKI
MASAKATSU ENDO
AKIKO MATOBA
NAO UEDA
SATOSHI NISHIMURA
[Stage CG Artwork Unit]
[Art Director]
NAOKI KATAKAI
[Art Image Designer]
YUSUKE KAN
[Lead Designer]
MASACHIKA KAWAIA
[Designers]
MIHO HAMANO
NAOTO ISHII
YUKI KURAHASHI
KOICHI HIDAKA
HIDENORI KOUYAMA
HIROU YOSHII
YOSHIZUMI HORI
KAORI DOI
TETSUYA SASANO
TOSHIHIKO KATAYAMA
TOMOHIRO ISE
KENTARO YANO
KYOKO KOYAMA
NATSUKO SHIMIZU
FIJIRO NISHIMURA
TAKAHITO WASHISAKA
NAOHIRO YAMADA
[Technical Advisor]
ATSUTOSHI MURADA
[Character & Creature Creation Unit]
[Lead Designer]
KENICHI UEDA
[Enemy Direction]
MASAKI YAMANAKA
[Designers]
KENICHIROU YOSHIMURA
YOSHINORI MATSUSHITA
HIROSHI YUUGEN
YOSHIFUMI HATTORI
NOBUAKI YAMAZAKI
NAOHIRO TANAGUCHI
NOBUHIRO TATSUMI
YASUYO KONDOU
YUICHIRO HIRAKI
TAKESHI ARIMA
AKIHIKO NASU
[VFX Unit]
[VFX Lead Engineer]
YUSUKE HASHIMOTO
[VFX Engineers]
MASATO KIMURA
HIDEKI NAKANISHI
TAKUO YAMAMOTO
[VFX Background Music]
HIDEKI SHIOJIRI
[Items User Interface Moving Objects Unit]
[Item Design]
MUNEYUKI KOTEGAWA
[Interface Design]
NAOKI YOSHIKAWA
[3D Objects & Puzzle Interface]
SHIGEOMI OKAMURA
[Sound Unit]
[Local Composer Arranger]
SHUSAKU UCHIYAMA
[Composers Arrangers]
MAKOTO TOMOZAWA
MISAO SENBONGI
[Lead Sound Designer]
ATSUSHI MORI
[Sound Designers]
HIDEAKI UTSUMI
YOSHITO KATO
[Merchandiser]
TAKAYUKI SANO
[3D Real-Time Event Animation Crew]
[Director of Pictography]
HIDE GONDOH
[Layout Captured Motion Editing Facial Animation Lighting]
[Lead Designer]
TOSHIYA KOTANI
[Designers]
SHINJI UTSUNOMIYA
TAKAAKI YAMAGUCHI
YOSHIAKI HIRABAYASHI
KUNIHIKO TSUDA
MITSUHIRO KUBO
SACHIO NAKADA (Digital Frontier)
[NOVA Inc.]
[Animation Unit]
[Face Modeling and Facial Direction]
KASHOW ODA
[Facial Assistant]
KENJI KUMAGAI
[Designers]
HIDEAKI SAKADO
TSUYOSHI HANZAWA
YUJI KOGA
ISAO MATSUDA
KOYA IMAMURA
KYOMA MATSUYA
NAOYUKI TAKASAWA
TETSUYA TANABE
[Management]
NOBA ODA
[Motion Capture Unit]
[Operators]
TOMOATSU GODAI
KAZUAKI KITAZAWA
MASASHI IMANAKA
SEIICHI TANABE
[AM2 Motion Capture Studios]
[Film Shoot Tech. Support]
HANS VAN VEENENDAAL
[Film Shoot Support]
TAKEO IWATA
HIDEAKI FUKAI Jr.
KATSUHIRO FUJITA
[Storyboards by]
HITMAKER Co., Ltd.
[Storyboard Artist]
FUTOSHI NAGATA
[Management]
YUKIHIKO HOJO
[3D Character Model Scanning by]
Nissho Electronics
[Technical Support]
MASAHIRO AONO
NAOKI SAKAMOTO
[3D Scanning Hardware]
POLHEMUS
[3D Character Model Scanning Crew]
[Texture Filming]
KYUICHI OKANO
[Makeup Artist]
KYOTA UEJI
[Casting]
YUKI SUGA Office M2 Co. Ltd.
[Model Agencies]
TEAM
BRAVO Models
JUNES
DONNA Inc.
[3DCGI Crew]
[Opening Ending Zombie Tyrant]
[Direction by]
SHIMAKO SATO
[Gun Action Advisor]
KENICHI IMAZEKI
[Computer Graphics Movie by]
LINKS DIGIWORKS INC.
[Computer Graphics Movie Producer]
TAKASHI FUKUMOTO
[Computer Graphics Supervisors]
TAKU KIMURA
IKUO NISHII
KOICHI YAMAGISHI
[Computer Graphics Animators]
TSUYOSHI KOBORI
YUICHIRO MOURI
YUICHI ITO
AKIRA TAGUCHI
NELSON LI
SHIGEKI HAYASHI
MINORU KUSAKABE
TAKURA IMAMURA
[Storyboard Artists]
HIROYUKI HAYASHI (Unigami Janseyo)
[Production Software Programmer]
TAKAHIRO YAMAMOTO
[Rendering & Technical Support]
KOSEI MUNAKATA
NAOTO YAMAMURA
[Production Support]
IZUMI TOYOKI
YASUJI YAMAHATA
[Motion & Facial Capture by]
LINKS DIGIWORKS SAKURATEI STUDIO
[Motion Capture Producer]
KAZUHIDA NISHIMURA
[Motion Capture Supervisors]
KAZUHIKO MIHO
RYUICHI YAMAMOTO
[Motion Capture Recording Engineer]
SHIGERU OOHATA
[Motion Capture Lead Editor]
TOMOKAZU SAKAMOTO
[Motion Capture Editors]
SHIGEAKI NUNOKAWA
ERIKO SAKO
NAOYUKI KANAI
[Eye Capture Support by]
EYEMATIC INTERFACES INC.
[Water gate Water fountain Hunter appearance Water tank]
[Computer Graphics Movie by]
DIGITAL FRONTIER INC.
[Computer Graphics Movie Producer]
MASAJI SHIINA
[Director]
ATSUSHI DOI
[Designers]
HIROSHI YAGISHITA
MIO TAGIRI
NOBUTAKA EMOTO
[Motion Capture Action Crew]
[“3D CGI & Real-time Event Motion”]
[Director]
SHIMAKO SATO
[Action Director]
TETSUYA MATSUI
[KINGS JAPAN]
[Chris Redfield]
TETSUYA MATSUI
[Jill Valentine]
HANAI TAKAHASHI
[Barry Burton]
DAIGAKU SEKINE
[Rebecca Chambers]
SUMIE KANESHIRO
[Albert Wesker]
JUNICHI KAWAMOTO
[Josef Frost]
KENICHI WATANABE
[Zombie and etc]
TAKEHIKO TSUNO
[Rape Work]
NAOKI OGURA
TAKAKO SAKURAI
[Schedule Management]
YUMIKO ISHIKAWA/(Range Kobe)
[Additional “Real-time Event Motion”]
AKJO MAEDA (Mizikanachi Hanurai-Ichira)
WARETA ODUKA (Gekidan East)
KENJI HATA (RESCUERS)
[“Standard Game Motion”]
[Standard Action Motion]
SHARA (KINGS JAPAN)
[Jill Standard Motion]
NAOMI UEDA (Special Thanks)
[Zombie Standard Motion]
TATSUHITO SHIROKIHARA (RESCUERS)
[Sound Crew]
[Voice Actors]
[Chris Redfield]
JOE WHYTE
[Jill Valentine]
HEIDI ANDERSON
[Barry Burton]
ED SMARON
[Rebecca Chambers]
HOPE LEVY
[Albert Wesker]
PETER JESSOP
[Richard Aiken]
JOE WHYTE
[Brad Vickers]
ADAM PAUL
[Enrico Marini]
DAN HAGEN
[Kenneth J. Sullivan]
ED SMARON
[Josef Frost]
ADAM PAUL
[Forest Speyer]
ED SMARON
[Female Newscaster]
HEIDI ANDERSON
[Computer Voice 1]
HOPE LEVY
[Computer Voice 2]
CHIAKI SHIRATO (CAPCOM)
[Voice Production]
[Voice Director]
CAROLE RUGGIER
[V.O. & ADR Studio]
SOUNDELUX DESIGN MUSIC GROUP
[Engineer]
PETER ZINDA
[V.O. & ADR Coordinater]
AMANDA WYATT
[Sound Design by]
[Soundelux Design Music Group]
[Creative Direction Sound Supervisor and Designer]
SCOTT MARTIN GERSHIN
[Sound Designers]
PETER ZINDA
BRIAN CELANO
BRYAN BOWEN
DUTCH HILL
[Project Coordinator]
BECKY ALLEN
[Amet Manager]
AMANDA WYATT
[Special Thanks]
HIROSHI SHIBATA
WATARU HAMA
KATSUMI AOKI (Capcom Software)
TAKAYUKI SHIMAMURA
HOWARD CHENG
KAZUKI HIROSE
TIAN LIM
GUNASURPLUS PRO SHOP FIRST
[Supporting Companies]
*(The logos of the following companies appear:
NOVA
Links Digiworks Inc.
DC (???)
dmg (???)
MATSUI ENTERPRISE Co., Ltd.
GSX Watch Japan
MARUI)*
[Producer]
HIROYUKI KOBAYASHI
[Director]
SHINJI MIKAMI
[Presented by]
[CAPCOM]
Scene 21a. Chris Epilogue Picture
*(A picture of Chris in an action pose, running and holding up
his gun. It says [RESULT] and lists your [PLAY TIME].)*
Wesker: Chris, you did a fine job.
Scene 21b. Chris Epilogue Picture (Mexican)
*(A picture of Chris punching while striding forward... The Tyrant is
seen flying away, very small... It says [RESULT] and lists your
[PLAY TIME].)*
Scene 21c. Chris Epilogue Picture (RE:CV)
*(A picture of Chris in an action pose... He appears to be jumping over
something. It says [RESULT] and lists your [PLAY TIME].)*
Scene 22. Rewards (Note: You may or may not get all of these rewards.)
A. Closet Key
*(The Art Closet is seen, with a camera angle that shows the door to the
closet (which is a picture of the mansion). An ornate-looking key is shown
rotating in the center of the screen. The text says...)*
[CHRIS HAS A NEW COSTUME!]
[You got the “Closet Key”.]
[A new costume has been unlocked.]
[You can change your outfit]
[in the costume room.]
B. Real Survival Mode
*(A picture is shown of the 1f West Wing Save room. The Item Box seems to
stand out.)*
[YOU CAN NOW PLAY]
[REAL SURVIVAL MODE!]
[The “Real Survival” mode]
[has been unlocked.]
[In this mode the Item Boxes are]
[no longer linked. The items put in the Item Box]
[can only be retrieved from that location.]
[In addition, “Aiming” changes]
[to manual operation.]
[This is the “prototype” feature that]
[existed even before first Resident Evil game.]
C. Invisible Enemy Mode
*(A picture is shown of Chris being attacked by an invisible assailant.
His blood shoots crimson into the air around him… He is in the Dressing Room,
the area tinted blood-red...)*
[NOW LET’S TRY TO SURVIVE]
[INVISIBLE ENEMY]
[The “Invisible Enemy” mode has been unlocked.]
[That’s right, you can’t see the enemies!]
D. Rocket Launcher
*(A picture of the Main Hall is shown in the background.)*
[CHRIS & JILL NOW HAVE A]
[SPECIAL WEAPON!]
*(In the center of the screen, a rocket launcher that looks suspiciously like
a rifle spins.)*
[You got a “*(infinity symbol)* Rocket Launcher”.]
E. Samurai Edge
*(A picture of the Main Hall is shown in the background.)*
[CHRIS & JILL NOW HAVE THIS!]
*(In the center of the screen, a mean-looking handgun spins.)*
[You got a “Samurai Edge”, Barry model.]
F. One Dangerous Zombie
[ONE DANGEROUS ZOMBIE !?]
[--- BE CAREFUL]
*(A picture is shown of the darkened 2f East Terrace Breezeway. A zombie is
standing in it. It appears to have grenades strapped to it...)*
*(red text)* [!WARNING!] *(end red text)*
[There is a special zombie lurking]
[somewhere in the mansion that’s outfitted]
[with a large supply of grenades.]
[If you encounter the zombie,]
[get out of there!]
G. Congratulations
*(A picture is shown of Chris and Jill posing together in the Main Hall.
Chris is wearing Jill’s beret. “Congratulations” is written in bright-red
cursive, and there is a lipstick-print on the right side of the photo. In the
left-hand section of the photo, you can see a movie clapboard. In the bottom
right, you see the date: [24 07 1998].)*
Scene 23(P). Mikami’s Message
*(Mr. Mikami’s message is displayed on sheets of stationery. Surrounding the
stationery are bullets, a S.T.A.R.S. handgun, and the Emblem Key.)*
[Thank you for taking the time to]
[play all the way through ‘biohazard’ (Resident Evil).]
[If you’re reading this letter, I salute you!]
[You are truly a remarkable player!]
[I imagine you must have had some pretty]
[memorable experiences along the way.]
<PAGE>
[The pain of seeing the “Game Over”]
[screen time after time...]
[The sweet taste of victory after you]
[finally beat the game...]
[The feelings of camaraderie you shared]
[with your character...]
[The excitement... and the overwhelming]
[sense of dread.]
<PAGE>
[We believe that games are more than just the]
[product of a team of developers.]
[It takes the support of dedicated players]
[like you to make a game worthwhile.]
[For this reason, we are truly delighted when]
[someone enjoys one of our games as thoroughly]
[as you have.]
<PAGE>
[Therefore, on behalf of the entire staff,]
[please allow me to express our gratitude and]
[congratulate you on a job well done!]
[Thank you very much for playing!]
[Shinji Mikami]
[Dev Team Representative]
*(End of letter.)*
Scene 24(P). Unused Costume Designs
First Slide:
In the first slide, there are three costume changes for Chris. On the upper
left, we see Chris in full doctor’s attire, with a stethoscope and... one of
those things that doctors wear on their heads. The metal things. It also
seems to have the logo of the Raccoon City medical services on it. On the
right-hand side, we see Chris dressed in a skater-type uniform. He wears a
black cap that appears to say “RPD” on it. He’s also styling a black
windbreaker with white sleeves. There’s a star on its left breast, and on the
right shoulder, there’s the insignia of the RPD. He appears to be wearing
jeans. In the bottom-left photo, Chris appears to be wearing a black
wife-beater along with baggy black pants. In the barely-visible upper-right
photo, Chris appears to be wearing a Napoleon-looking hat (???). A scrap of
paper in front of the photos says “Chris Redfield.”
Second Slide:
Here, we see three costume changes. This time, the scrap of paper reads
“too bad”. On the upper-left photo, Chris is wearing a sleeveless biker
jacket, black gloves, and tight leather pants. In the photo on the upper-right,
Chris is wearing a black old-style Western vest over a white long-sleeved
shirt. Note that in both of the previously mentioned designs, the
character is wearing sunglasses. The third and final picture in the
bottom-right appears to be a costume derived from Ash, in the movie Army of
Darkness! He’s wearing a brown shirt that’s been pretty much torn off, and
blue jeans. In the bottom-left corner, there’s a small card that reads
“Shooting Competion” “5th Champion” “Chris Redfield”. The text is set in
front of a blue outline of a gun, and there’s a small drawing of a target
with bullet holes in it.
Third Slide:
Here, there are four photos of Chris in a Judo outfit. He’s wearing a black
belt. The scrap of paper says this time, “too karate...” In the upper-left
photo, he’s seen on the path through the woods, wielding an old-looking rifle.
In the one on the upper-right, he’s standing in the Dining Room near the
Grandfather Clock. In the one on the bottom-left, he’s running through the
woods again... And finally, in the picture on the bottom-right, he’s posing
with the rifle in the “F” Passage.
Fourth Slide:
There are two concept art sketches for Jill costumes. The one on the left is
art for the Terminator 2/Sarah Connor outfit, while the one on the right is a
nice-looking skin-tight black bodysuit. Jill’s face is completely covered by
a black mask; the only thing you can see is a night-vision visor. She looks
to be a special-ops soldier or somesuch thing.
Fifth Slide:
Again, two concept art sketches for Jill costumes. The one on the left is of
Jill without her beret, wearing glasses. She has on a white button-up blouse
that has a holster strapped over it. She’s also wearing black gloves and
a blue skirt. The one on the right has Jill (sans beret again) wearing an
all-brown ensemble of a vest, a halter-top, and flared pants.
Sixth Slide:
Two Jill concept sketches again. The left one has Jill in a cowgirl outfit;
she’s got a cowboy hat dangling behind her head. She wears a red vest over a
dusty-peach-colored shirt, and has blue jeans on. The art on the right shows
Jill wearing an Ada-Wong type outfit, but with the addition of gold jewelry
around her neck and yellow boots.
Seventh Slide:
Three concept sketches of Rebecca. On the left one, she’s wearing a brown
tanktop, short blue jean shorts, and cowboy boots. She’s also got a belt on.
The middle sketch shows her in an orange t-shirt with black pants and black
boots. The sketch on the right shows Rebecca in a purple version of Jill’s
costume without the beret.
Eighth Slide:
Again, three concept sketches of Rebecca. On the left, we see Rebecca from
behind, wearing an orange halter-top with short blue jeans. The second
sketch is the same outfit, but from the front. The third outfit is the same
design as the second one, but the shirt is colored green.
Ninth Slide:
3 Rebecca concept sketches. On the left, we see Rebecca wearing a red version
of her original outfit. The other two sketches are a front and back viewing of
the alternate costume she wears in the final game (the cowboy-looking one).
*(That’s it.)*
*COPYRIGHT INFO*
----------------------------
This FAQ is copyrighted by Dave Schmidt. The work within (basically the
actual script) is property of Capcom, Inc. All characters, monsters, the game
Resident Evil, and other things along that line of speaking are also Capcom's
property. If you would like to use this FAQ on your site, maybe HTMLize it
to make it easier to navigate, just e-mail me, and I'll probably let you use
it. Have fun trying to tie together the mysteries of the RE universe...
*Faq End*
