ALIEN3 SCRIPT

listen to music while you read! ALIEN III BY Walter Hill/David Giler Revised Jan. 16, 1991 (Blue) Jan. 17, 1991 (Blue) Jan. 26, 1991 (Blue) Jan. 28, 1991 (Blue) Jan. 31, 1991 (Blue) Feb. 1, 1991 (Pink) Feb. 20., 1991 (Pink) March 5, 1991 (Blue) April 10, 1991 (Pink) 26/l/91 W.H., D.G. 1. ALIEN III FADE IN: 1. EXT. DEEP SPACE CREDIT SEQUENCE 1 the void. luxuriously veiled in a star field. * BEGIN CREDITS: * 1a. quick - a facehugger finger -- 2. quick - a face,. under glass, out of focus -- the glass shatters... 2 2a. quick - a monitor -- A colorful catscan of a tendril. Down someone's throat. 2a. 3. quick - acid blood hits the floor, sizzles, eats through insulation wires... 3. 3a. quick - smoke passes a sensor -- 3a. 4. quick - a panel of lights explode on, flashing, urgent, something is very wrong 4. 4a. quick - blood seeps through white fabric -- 4a. 5 . quick - an exploding bolt -- 5 . 5a. quick - hypersleep tube falls away -- 5a. 6 . quick - hypersleep tube being vacuum sucked along, packed into the EEV … 6 6a. quick - the EEV floats momentarily in its docking, then drops from CAMERA and away ... 6a. 7 then - Ripley's face, quiet, peaceful -- moisture blows across her features ... 7 * 7a. then - the planet FIORINA 161. grey, lifeless, alone in space *7a.. 8. then - the EEV tumbles by ... 8. Legend: FIORINA 'FURY' 161 OUTER VEEL MINERAL ORE REFINERY MAXIMUM SECURLTY WORK-CORRECMONAL FACELITY 8a. then - FIORINA, horizon line -- a desolate industrial wasteland, black water in the distance. 8a. 8a. Legend: JULY 3RD, 0600. 9. then - through the dense atmosphere, a lone man wanders, dwarfed by derricks and cranes ... 9. then - close - the man turns and looks at the sky -- 9a. then - a light cutting through the clouds, beyond the cranes and derricks ... 9a. 10. then - the man follows along, in no particular hurry. 10. 10a. then - the EEV hits the water with great velocity l0a then - Newt's twisted, drowned face-- she screams in slow motion under water 11 -- a fetal Queen emerges - lla. then - Ripley's floating face - the fetal Queen forces her jaws open -- disappears inside ... lla. then - the man stops to look at the sea, something catches his attention 12. 12a. then - a body washed ashore 12a. 26/l/91 - W.H., D.G. 2. 13. then - the man looking down 13. then - rolls Ripley's body over ... 13a. then - carrying her through the wasteland 13a. 14. then - at the prison facility entrance -- they enter the weathertrap ... 14. 15. INT. BUG WASH - WEYLAND - YUTANI WORK - CORRECTIONAL FACILITY - FURY-161 15. * Medical Officer Clemens enters carrying Ripley's body - spots three prisoners delousing across the way... CLEMENS An EEV's come down - get out on the beach. There may be others. THE PRISONER'S SHOWER AREA They react to seeing the woman's body... CLEMENS Now! Move! The convicts grab their clothes AT A TABLE - BUG WASH Clemens kneels beside Ripley, checks her eyes Her lips start to move... Cradling her head, he tries to hear what she's saying Ripley suddenly SCREAMS... Clemens pulls her face close Turns her head away. Gagging on black salty water, Ripley coughs up -- Struggling for air as ... 16. EXT. FIORINA - BEACH 16. A group of prisoners run to the water ... Prisoners herd half a dozen oxen over a low sand dune -- 17. INT. INFIRMARY 17. Clemens carries Ripley to her bed -- She's out cold ... 18. EXT. FIORINA - BEACH 18. The EEV ashore, attached to the oxen 19. INT. INFIRMARY 19. as Ripley's clothes are cut from her -- tank top ... shorts ... 26/l/91 - W.H., D.G. 3. 20. INT. COMMUNICATIONS ROOM - WEYLAND YUTANI 20. WORK CORRECTIONAL FACILITY - FURY 161 A hand works as Dat-Scan operator. Types in the following: FURY 161 - CLASS C PRISON UNIT IRIS - 12037154 - REPORT EEV UNIT 2650 CRASH - ONE SURVIROR - LT RIPLEY - B5156170 - DEAD CPL. HICKS L55321 - UNIDENTIFIED FEMALE APPROX. 12 YEARS OLD - REOUEST EMERG. EVAC. SOONEST POSSIBLE - AWAIT RESPONSE SUPT. ANDREWS M51021 21. INT. EEV 21. A lantern reveals: Bishop. Hicks. Newt. Dead. 22. INSERT - COMPUTER TYPE - COMM ROOM 22. TO-, FURY 161 - CLASS C - PRISON UNIT - 1237154 - FROM NETWORK COMCON 01500 - WEYLAND YUTAM - MESSAGE RECEIVED. 23. INT. INFIRMARY - RIPLEY 23. Oil is wiped from her face and body - Her eyes rem restlessly ... 24. EXT. - FIORINA - BEACH 24. A group of prisoners take the bodies from the wreckage, oxen stand still lashed to the EEV -- 25. EXT. HORIZON LINE - FIORINA - BEACH 25. The setting sun... END CREDITS. * 26. INT. ASSEMBLY HALL 26 Four stories high. Minimal electric light. The assembled prisoners move into position... Hang from railings Smoke. A convict population of 25 men. 26/l/91 - W.H., D.G. 4. 26 CONT 26 CONT SUPERINTENDENT HARRY ANDREWS Late-forties, solid build, shaved head, seated at the center... AARON - Andrew's general factotum. * AARON * * Allright, Allright. Let's pull it * together -- get it going --Right? Right. Here we go, Mr. Dillon -- PRISONER DILLON Steps to the middle as all the prisoners rise and strike a reverent attitude. DILLON Give us strength, Oh Lord, to endure. We recognize that we are poor sinners in the hands of an angry God. Let the circle be unbroken --Until the day. Amen. The convicts all raise their right fists – CLEMENS - * Some distance away... his face reflects the somber mood of the room’s assemblage. * GROUND LEVEL Andrews clears his throat ... ANDREWS Thank you gentleman.. This is rumour control. Here are the facts. As some of you know, a 337 model EEV crash landed here at 0600 on the morning watch. There was one survivor. Two dead and a droid that was hopelessly smashed beyond repair. The survivor is a woman. Mumbles among the prisoners. MORSE - late twentys, tight-jawed, gold teeth - leans down from one of the upper tiers ... MORSE I just want to say that I took a vow of celibacy. That also includes women. We all took the vow. Now let me say, that I for one, do not appreciate Company policy allowing her to freely intermingle…. 26/l/91 - W.H., D.G. 5. 26 CONT 26 CONT * AARON * (to Andrews) Cheeky bastard, right sir? * Dillon steps in front of Morse, a gesture of restraint ... * DILLON What brother means to say is ... We view the resence of any outsider, woman, as a violation of the harmony, a potential break in the spiritual unity. ANDREWS We are well aware of your feelings in this matter. You will be pleased to know that I have requested a rescue team - Hopefully, they will be here inside of a week and evacuate her A.S.A.P. (to Clemens) What's her medical status? All eyes turn to Clemens. CLEMENS She doesn't seem too badly damaged. She is unconscious. Difficult at the moment to make a specific diagnosis. ANDREWS Will she live? Clemens considers the question. CLEMENS Yes. I should think so. - Pursing his lips. Andrews glances back at Dillon. ANDREWS Look, none of us here is naive. (pause) It's in everybody’s best interests if the woman doesn’t come out of the Infirmary until the rescue team arrives. And certainly not without an escort. Right? So we should all stick to our set routines and not get unduly agitated. Correct? All right. Thank you, gentlemen. 27 INT. INFIRMARY 27 Ripley lies still on a cot. Clemens at her side. There's an IV pack taped to her arm. 26/l/91 - W.H., D.G. 6. 27 CONT. 27 CONT Clemens checks her vital signs... On a table beside the cot, he finds a syringe with clear liquid... Prepares to give her an injection. Ripley's eyes snap open. RIPLEY What's that? Clemens is surprised, but tries not let it show -- expels air from the hypo. CLEMENS A light cocktail of my own mix. Sort of an eye opener. RIPLEY Are you a doctor? CLEMENS I've only got a 3-C rating. But I'm the best you're going to find around here … I really ought to shave your head. Startled, Ripley sits bolt upright on the cot, pulling the sheet around her: CLEMENS Lice. Big problem here, I'm afraid. When your hand is steadier you can attend to your private parts yourself. Pause. CLEMENS My name is Clemens. I'm the Medical Officer here ... RIPLEY Here? CLEMENS Fury 161. One of Weyland-Yutani's backwater work prisons. Do you mind? This is just sort of a stabilizer ... He lifts her arm -- gives her the injection. CLEMENS You crash landed in an EEV. Evidently separated from your mothership before you hit our atmosphere. I've no idea how long you were in hypersleep - coming down the way you did can be a jolt to your. system. 26/l/91 - W.H., D.G. 7. 27 CONT 27 CONT RIPLEY I'm gonna be sick for two weeks if I decompressed too fast. CLEMENS Yes. Quite nauseous. RIPLEY What about the others? CLEMENS I'm afraid they didn't make it. This sinks in. RIPLEY What? CLEMENS They didn't survive. RIPLEY I have to get to the ship. CLEMENS You're in no condition for that. She stands. Buck naked. RIPLEY You want to get me some clothes, or should I go like this? CLEMENS Given the nature of our indigenous population, I would suggest clothes. He turns and opens a closet. CLEMENS None of them has seen a woman in years. Neither have I for that matter. 28 INT. STAIIRWELL - CONE OF SELENCE 28 A now fully-clothed Ripley is being led along the corridor by Clemens. CLEMENS This used to be a thousand convict facility, but its been reduced all the way down to a twenty five man custodial staff. They keep the place on pilot light – RIPLEY Pilot light for what? 26/l/91 - W.H., D.G. 8. 29 INT. CONE OF SILENCE 29 Prisoners WILLIAM, ARTHUR, VINCENT, CHRISTOPHER and ED have lowered the EEV via a huge overhead crane. CLEMENS Toxic dump. The prisoners used to make lead sheets to seal off the shafts RIPLEY Any women here? CLEMENS Sorry Lieutenant Ripley. This is a double Y chromosome facility. Strictly male. RIPLEY How come you know my name? CLEMENS It's stenciled on the back of your shorts. We also found your dog tags. RIPLEY Great. Ripley takes a deep breath and crawls into: 30 INT.EEV 30 Everything is smashed, wrecked... In the very cramped quarters, Ripley finds a place to kneel. Clemens follows her inside. RIPLEY Where are the bodies? CLEMENS We have a morgue. We've put them there until the investigative team arrives, probably in a week's time. RIPLEY There was an android... CLEMENS Disconnected. There were pieces of him all over the place. What’s left was thrown in the trash. The Corporal was impaled by a support beam straight through the chest He never knew what hit him. RIPLEY What about the girl? 26/l/91 - W.H., D.G. 9. 30CONT 30 CONT CLEMENS She drowned in her cryotube. I don't think she was conscious when it happened...I'm sorry. She struggles for control. Impossible Her eyes fill with tears. Eyes brimming, Ripley spots the remains of Newt's cryotube. Faceplate is broken. Probably happened in the crash. There’s a strange discoloration on the metal below the faceplate. She leans forward, running her fingers over it... CLEMENS What is it? RIPLEY Where is she? CLEMENS I told you. The morgue. RIPLEY I want to see what's left of her body. CLEMENS What do you mean, what's left? The body's intact. RIPLEY It is? I want to see it. 31 INT. MORGUE - STEPS LEADING DOWN 31 CLEMENS Any particular reason you're so insistent? RIPLEY I have to make sure how she died. CLEMENS I hate to be repetitious about a sensitive subject, but it’s quite clear that she drowned. Clemens stops at the foot of the stairs CLEMENS Was she your daughter? RIPLEY No ... She wasn't my daughter. 26/l/91 - W.H., D.G. 10. 32 INT. MORGUE - MAIN FLOOR. THE DRAWER 32 They both look down at the body. RIPLEY Give me a moment. Clemens steps away ... Ripley begins to examine Newt's corpse. After a couple of moments Clemens returns CLEMENS O.K.? RIPLEY No. We need an autopsy. CLEMENS You're joking. RIPLEY No way. We have to make sure how she died. CLEMENS I told you she drowned. Clemens begins to slide the body back. Ripley stops him. RIPLEY I'm not so sure - I want you to cut her open. CLEMENS Listen to me, I think you're disorientated -- half your system's still in cryo-sleep. Ripley doesn't want to hear this. RIPLEY Look, I have a very good reason for asking this and I want you to do it -- CLEMENS Would you care to share this reason? RIPLEY Possible contagion. CLEMENS What kind? RIPLEY I'm not the doctor -- you are. 26/l/91 - W.H., D.G. 11 32 CONT 32 CONT CLEMENS You'll have to do better than that. RIPLEY Cholera. CLEMENS You can't be serious. There hasn't been a case reported in 200 years. She stares at him. CLEMENS As you wish. 32A AUTOPSY - TIME CUT 32A Clemens now masked and owned begins to incise Newt's chest. It's a long time since he's lone this, and he's not altogether sure why he's-doing it now ... He cuts through her rib-cage. CLEMENS We have nothing unusual. Everything in place. No sign of disease. No sign of any contagion.-Lungs flooded with fluid - ergo, she drowned. Makes a final cross-lateral incision. CLEMENS Still nothing. Satisfied? She turns away. CLEMENS Now, since I’m not entirely stupid, do you want to tell me what you're really looking for? From above a door smashes open -- Andrews and Aaron come clattering down the stairs. ANDREWS Mr. Clemens. CLEMENS Superintendent. I don't believe you've met Lieutenant Ripley. ANDREWS What's going on, Mr. Clemens? AARON Right sir, what's going on Mr.Clemens? 26/l/91 W.H., D.G. 12. 32A CONT 32 CONT CLEMENS First, Lieutenant Ripley is feeling much better. I'm happy to say. Second, in the interests of public health, I'm conducting an autopsy. ANDREWS Without my authority? CLEMENS There didn't seem to be time, but it's all turned out all right, the body shows no signs of contagion. ANDREWS Good. But it might be helpful of Lt. Ripley didn’t parade around in front of the prisoners, as I am told she did in the last hour. It might also be helpful if you kept me informed as to any change in her physical status. Or would that be asking too much? RIPLEY We have to cremate the bodies. ANDREWS Nonsense. We'll keep the bodies on ice until a rescue team arrives. AARON (to Andrews) Cremate -- that's a good one, sir. RIPLEY There is the public health issue. Looks at Clemens. CLEMENS Lt. Ripley feels that there's the possibility of a communicable infection. ANDREWS I thought you said there was no sign of disease. CLEMENS It would appear that the child drowned, though without the proper laboratory tests its Impossible to be absolutely certain - but I think it would be unwise to tolerate even the possibility of an unwanted virus. An outbreak of cholera would look very bad on your report, wouldn't it? 26/l/91 - W.H., D.G. 13. 32A CONT 32A CONT An unhappy Andrews turns to Ripley. ANDREWS We have twenty-five prisoners in this facility. All double Y chromos, all thieves, rapists, murderers, forgers, child molesters ... all scum. But scum that have taken on religion. I, for one, don't think that makes them any less dangerous. So I try not to offend their convictions. I don't want to disturb the order. I don't want ripples in the water. And I don't want a woman walking around giving them ideas. RIPLEY Yes. Obviously for my own personal safety. ANDREWS Exactly. The two lock eyes -- then Andrews turns back to Clemens. ANDREWS I will leave the details of the cremation to you, Mr. Clemens. 33 INT. ABATTOR - STALLS 33 Shiny, tiled walls. Stalls and pens containing live chickens, oxen, … Behind a screen across the way -- various cuts of meat, chicken, lamb, etc., hang from rusted hooks in the arctic gloom... Row upon row of razor sharp knives line a wall by the door. Two prisoners, FRANK and MURPHY, lurch into the room pushing the dead ox on a rusted ore-cart. FRANK (puffing) Well, at least Christmas came early - MURPHY How's that - FRANK Any dead ox is a good ox MURPHY God, ain’t it right. Smelly bastards, all covered with lice. FRANK Only three more of the buggers left then we're done with the buggers. God I hate hosing these brutes down, always get shit on my boots -- 26/l/91W.H., D.G. 14. 33 CONT 33 CONT MURPHY Speakin' of hosing down, Frank -- FRANK Yeah? MURPHY I mean if you got a chance - what would you say to her? FRANK What do you mean, if I got a chance? MURPHY You know, if you got a chance. FRANK Just casual you mean? MURPHY Yeah. How would you put it to her - you know, if you ran into her in the mess hall or something. They manage to get the dead beast out onto the floor -- Wrap chains around the animal’s back legs and begin to winch it over head. FRANK No problem. Never had any problem with the ladies. I’d say ‘good day, my dear, how's it going, anything I could do to be of service! - then I’d give her the look, you know, up down...give her a wink, nasty smile, she'd get the picture. MURPHY Right. And she'd say 'kiss my ass you horny old fucker.' FRANK I'd be happy to kiss her ass. Be happy to kiss her anywhere she wants. MURPHY Yeah, but treat 'em mean, keep 'em keen - right, Frank? FRANK Treat the queens like whores, the whores like queens. Can't go wrong. They pull the beast higher, then to a full stop as it swings on the thick chains. 26/l/91W.H., D.G. 15. 33 CONT 33 CONT MURPHY Frank? FRANK Yeah? MURPHY What do you think killed Babe? FRANK Beats me. Just keeled over. MURPHY How old was she? FRANK Charts say eleven. In the prime. Chop her up, later, we'll throw her in the stew. MURPHY Right. He lifts a small organism from the ore-cart where it was pancaked under the ox. It’s-a face-hugger. MURPHY What's this? FRANK Dunno. Looks like some jellyfish from the beach. MURPHY Right. Tosses it away. 34 OMITTED 34 35 INT. LEAD WORKS - BLAST FURNACE 35 An immense space located in the bowels of the operation. Vaguely rectangular, the room is carved out of the very rock of the planet. In the center, there's an enormous pit. Flames are visible over beveled edges descending to the depths. On one wall, a series of ducts and fans control oxygen flow into the furnace area Cranes on tracks running up and down the room can be loaded or unloaded from catwalks above the pit. 26/l/91 - W.H., D.G. 16. 35 CONT 35 CONT TWO PRISONERS Stand on a crane, a short distance from the fire in the pit. Rippling heat rises from the floor below. The prisoners hold between them two canvas bags, one containing Newt's body. One containing Hicks remains. Below them -- RIPLEY stands on a catwalk beside Clemens, looking at the two prisoners on the crane. Aaron. Dillon, and several other prisoners are behind her. To her right, Andrews opens a book and begins to read: ANDREWS We commit this child and this man to our keepin , 0 Lord. Their bodies have been taken from the shadow of our nights. They have been released from all darkness and pain... * 36 BELOW THE CATWALK 36 A small claustrophobic space cramped with iron pipes, levers and pulleys Prisoner Troy, starts opening valves... 37 THE WALL 37 of the furnace, as giant air-ducts slide open... Huge fans force air into the chamber. IN THE PIT Now combined with oxygen, the methane flame rises. Getting hotter and hotter.. Blitzes through the spectrum, going from red to white-hot ON THE CATWALK Ripley starts to quietly cry. Tears run freely down her face. Clemens watches her closely. Still reading, Andrews raises his voice; 26/l/91W.H., D.G. 17. 37 CONT 37 CONT ANDREWS The child and the man have gone beyond our world. They are forever eternal and everlasting...ashes to ashes, dust to dust. 38 INT. ABATTOIR - THE DEAD OX 38 Seemingly begins to dance crazily. Grotesque. Something inside the ox trying to break free... 39 CATWALK 39 Dillon shoulders his way through the others - stares out at the flames. DILLON (O.S.) Why are the innocent punished? Why the sacrifice? Why the pain? Andrews puts down the book. Looks over to Dillon, who has, seemingly uninvited, taken over the service. DILLON There aren't any promises. Nothing's certain. Only some get called. Some get saved. IN THE FURNACE the fire rages... ON THE CRANE reeling from the heat, the two prisoners reach their breaking point. Hurling the two canvas bags into the pit, they beat a hasty retreat. ON THE CATWALK weeping freely, Ripley watches what used to be Newt and Hicks disappear into the inferno. Impulsively she takes Clemens' arm for support. He gives it freely. Dillon keeps reading: DILLON She won't ever know the hardship and grief for those of us left behind. We commit this body to the void with a glad heart... 26/l/91 - W.H., D.G. 18. 40 IN.THE ABATT0IR 40 on the table, the ox's body is stretched and distorted. Suddenly, in a moment of carnal frenzy -- A CHEST - BURSTER explodes from the ox's thorax. Rockets out of the carcass and tumbles to the floor. This thing has four legs, Alien head and drooling mouth. Like a horrifying fawn, it struggles to get legs under it. Wobbles round the room. DILLON (OS) Within each seed there's the promise of a flower. And within each death, no matter how small, there's always a new life. A new beginning. Struggling upright, the baby creature gurgles... Clatters across the floor and disappears into an air-duct. 41 IN THE GALLERY 41 Above the furnace... Ripley can no longer maintain. A nervous gesture to her hair. Another to her ear. Now scratches her head, despite the tears. Scratches again. Looks at her hand. Recoils. Looks over to Clemens... 42 INT. BUG WASH 42 Ripley in a stall. Her face appears in a mirror, above a steaming basin. She studies her appearance. Now bald. CHEMICAL SHOWER Ripley standing in the hard spray amid the swirling steam... Chin high. Eyes shut. An act of purification. OUTER BUG WASH DOOR Clemens stands guard. 26/l/91 - W.H., D.G. 19. 43 INT. MESS HALL 43 All the prisoners eating -- making jokes, small talk. Andrews and Aaron at small table, off by themselves. TABLE - MESS HALL Prisoners GOLIC, BOGGS and RAINS eating. Each with a sullen look... Dillon sits down at their table. DILLON Okay. Lotta talk goin' round that we got some disharmony here -- You guys want to tell me what the problem is? No response. DILLON Speak to me, brothers. RAINS All right, I’ll tell you. I don't mind the dark, I don’t mind the bugs, I don’t mind wandering around in some cold, wet damp tunnel for a week at a time, I don t mind anything. But I mind Golic. DILLON (to Boggs) That the way you feel about it? BOGGS Yeah. The man is crazy. And smells bad. I ain't goin' out with him anymore. DILLON (to Golic) You got anything to say for yourself? Golic shrugs, grins like an idiot. DILLON (to Rains and Boggs) He’s going with you. Golic is just another poor, miserable, suffering son-of-a-bitch like you and me. RAINS Except he smells worse. BOGGS And he's crazy. 26/l/91 - W.H., D.G. 20. 43 CONT 43 CONT DILLON Knock this shit off -- you got a job to do. I don't want to hear another word about Golic. He looks up – RIPLEY Enters.. The entire room goes silent. She takes some cornbread from a basket on one of the tables... All eyes riveted on her. She spots Dillon. Moves to his table... ANDREW’S TABLE Andrews watches Ripley as she moves to Dillon. Not a happy look on Andrews’ face. He turns to Aaron. ANDREWS As I thought, Mr. Aaron. As I thought... AARON You called it, sir. DILLON'S TABLE As Ripley arrives. Stands opposite Dillon... He stares straight ahead. Doesn't acknowledge her presence. RIPLEY I wanted to thank you for your words at the funeral. They helped... He finally turns to her DILLON You don't wanna know me. I am a murderer and a rapist. Of women. RIPLEY Really. I guess I must make you nervous. DILLON Do you have any faith, sister? RIPLEY Not a lot. 26/l/9 1 W.H., D.G. 21. 43 CONT 43 CONT DILLON We got lots of faith here. Enough even for you. RIPLEY I thought women weren't allowed. DILLON We never had any before. But we tolerate anybody. Even the intolerable. RIPLEY Thanks. DILLON That’s just a statement of principle. Nothing personal. We got a good place here to wait. Up to now, no temptation. RIPLEY Wait for what.? DILLON We are waiting for God to return and raise his servants to redemption.. A moment as they stare at one another - she turns and moves off. 44 INT. ASSEMBLY HALL 44 Ripley and Clemens seated at ground level. Prisoner Martin sweets up in the background. Clemens pours himself a short whisky. CLEMENS Dillon and the rest of them got religion, so to speak, about five years ago -- RIPLEY What kind of religion? CLEMENS I don't know -- some sort of millenarian apocalyptic Christian fundamentalist brew... RIPLEY Ummm. 26/l/91 - W.H., D.G. 22. 44 CONT 44 CONT CLEMENS Exactly. The point is when the Company wanted to close down this facility. Dillon and the rest of the converts Wanted.to stay. They were allowed to remain as custodians -- with two minders and a medical officer. And here we are. RIPLEY How did you get this great assignment? He gestures... CLEMENS How do you like your hair cut? RIPLEY rubs her head) Weird. CLEMENS Now that I've gone out on the limb for you with Andrews, damaging my already less than perfect relationship with that good man, and briefed you on the hum-drum history of Fury 161, how about you telling me you looking for in the girl? And why was it necessary to cremate the bodies? Pause. RIPLEY Are you attracted to me? CLEMENS In what way? RIPLEY In that way. CLEMENS You are rather direct. RIPLEY Yes. I've been out here a long time. CLEMENS So have I. He swirls his drink -- looks it her. 26/l/91 - W.H., D.C;. 23. 45 INT. VENTILANON SHAFT 45 An enormous fan with razor sharp blades is going full bore... Fills the air-duct with warm air and soot. Murphy is cleaning the passageway, chipping away carbon deposits, scrubbing down the walls. He whistles as he works, doesn't like the job much... MURPHY (now singing) I see a red door and I want it painted, black. No col-ours any-y more, I want them to turn black. I see the girls walk by dressed in their sum-mer clothes. I have to turn my head until my dark-ness goes. Stopping, Murphy spots something in the dark of the air-duct. Kneeling, he checks it out. Looks like a reptile’s skin. Holding his broom, he stretches it out. Approximately the size of a small deer... Weird. He starts singing again ... MURPHY I look in-side my-self and see my heart is black. I See my red door and I want it paint-ed black. May-be then I’ll fade a-way and not have to face the facts. It's not ea-sy fac-ing up when your whole world is black. He hears something in the darkness to his left. Stopping, he sees a recessed storage area built into the wall of the air-duct... A gurgling sound is coming from inside. Curious, Murphy moves closer. Stopping before the recessed area, Murphy peers inside. * Sees the Alien -- * Still fawn like, but growing… Time stops a second. * Suddenly, the creature -- spits acid in Murphy’s eyes... * * Clawing at his face, flesh tom away from his cheeks -- * Murphy reels backwards. Smoke pours through his fingers. Screaming, he slam s into a wall and staggers backwards into * The fan... * Which rips him to pieces -- In a blink of an eye, the walls of the Air-duct are splattered with his remains… The fan CLANGS to a ringing stop as Murphy’s skin fouls the blade. 26/l/91 - W.H., D.G. 24. 46 INT. CLEMENS QUARTERS 46 Ripley lies under the sheets on a small cot. Clemens, across the way, lights a cigarette and pours himself a small whisky... CLEMENS Sorry I can't offer you a drink, but you are on medication. Clemens' back now turned, without his cowl for the first time Ripley can see clearly etched into the back of his head a bar code. CLEMENS I really do have to ask you some questions I'm afraid ... He hands her a glass. RIPLEY You're spoiling the mood? CLEMENS One does have a, job to do. I'd like to know why you were so insistent on having the bodies cremated. RIPLEY I get it -- now that I’m in your cot, you think I owe you an answer. CLEMENS No, you owe me an answer and being in my bed has nothing to do with it. RIPLEY In hyper-sleep I had a bad dream ... I don't want to discuss it. I just had to be sure what killed her -- I made a mistake... CLEMENS Yes, possibly. RIPLEY Maybe I made another mistake. 26/l/91W.H., D.G. 25. 46 CONT 46 CONT CLEMENS How's that? RIPLEY Fraternizing with the prisoners. Physical contact. That’s against the rules isn't it? CLEMENS Definitely. Who was the lucky fellow? RIPLEY You, dummy. CLEMENS I'm not a prisoner. RIPLEY Then what about the bar code on the back of your head? CLEMENS I suppose that does demand an explanation. But I don't think this is the moment. Sorry -- we are rather spoiling things, aren't we.? Buzz. Intercom. AARON (V.0.) Clemens. Clemens moves to the speaker... CLEMENS Yes, Mr. Aaron. AARON (V.0.) Andrews wants you to report to Ventshaft Seventeen on the Second Quadrant. A.S.A.P. We've had an accident. CLEMEENS Something serious? AARON (V.0.) Yeah. You could call it that. On-e of the prisoners got diced. Click. Clemens turns back to Ripley CLEMENS I'm sorry ... I have to go. Official duties. 26/l/91 - W.H., D.G. 26. 46 CONT 46 CONT RIPLEY Maybe I should come. CLEMENS Best not to -- I don't think your presence will be appreciate by Superintendent Andrews. I’ll be back. As he turns away... RIPLEY Not looking very happy. 47 INT. VENTILATION SHAFT 47 Kneeling on the floor, Clemens examines the remains of Murphy. Prisoner JUDE is mopping up. There is precious little to look at. The fans been shut down. Andrews and Aaron look on grimly. AARON He was a nutter ... I gave him the assignment. ANDREWS No apologies, Mr. Aaron. It wasn't your fault. Clemens glances up at Andrews: CLEMENS Not really much to say, is there? Death was instantaneous. AARON No shit. ANDREWS I take it he was pulled into the fan? CLEMENS A sudden rush of air I would imagine, except... AARON Right...almost happened to me once ... four years . ago ... I always tell people...keep an eye out for the fans. Nobody listens. CLEMENS Except the fan was blowing. 26/l/91 W.H., D.G. 27. 47 CONT 47 CONT Clemens stands, studying the inside of the air-duct. Moving closer to the recess in the wall, he notices it for the first time. Slowly, he looks inside. Empty. There’s something running down the wall. Something appears to have been spilled over the edge of the recess. AARON What's that? CLEMENS I really don't know... Andrews pins Clemens with his gaze. Clemens looks away. Instantly, Andrews is suspicious... ANDREWS I want to see you -in my quarters in say...thirty minutes. If you please, Mr. Clemens. He shepherds the others out of the air-duct. Alone, Clemens considers the grizzly scene before him... Returns his attention to the corrosive bum. 48 INT. EEV - CONE OF SI]LENCE 48 Ripley rummages through the cramped space, moving debris, something. Beneath some smashed and decimated equipment, secured within the bulkhead, she finds what she's after. Above a seal on the wall in bold letters, she reads: FLIGHT RECORDER DO NOT BREAK SEAL Wiping sweat from her eyes, she breaks the seal on the container. A modular black box appears from beneath the seal. She pries open a plate off the black surface and presses a button. She can see pulses on a meter in the box's face. Flight recorder still operational. Shutting it off, she puts it on the floor beside her. She studies the carnage in the cramped confines... Clemens appears, peering through the hole in the bulkhead: CLEMENS You know, wandering about without an escort is really going to piss Superintendent Andrews off.. RIPLEY What about the accident? 26/l/91 W.H., D.G. 28. 48 CONT 48 CONT CLEMENS Very bad. One of the prisoners has been killed. RIPLEY How? CLEMENS Airshaft. Poor silly bastard backed into a six foot fan. Pause. CLEMENS I found something at the accident site - just a bit away from where it happened -- A mark, a bum ... much like the one you found on the girl's cryotube. Ripley just stares at him. CLEMENS I'm on your side. I want to help. But I need to know what's going on, or at least what you think is going on. RIPLEY (re: box) I'm going to find out what happened here in the EEV, why we came down. If you really want to be helpful, find me a computer with audio capabilities so I can access this flight recorder. CLEMENS We don't have anything like that here. RIPLEY What about Bishop? CLEMENS Bishop? RIPLEY The droid that crashed with me. CLEMENS I’ll point you in the proper direction. I m afraid I can't join you. I have an appointment. 28/l/91 - W.H., D.G. 29. 49 INT. CANDLE STORE-ROOM 49 Prisoner GREGOR is helping Golic, Boggs and Rains load candles into over-sized backpacks. They are preparing to explore and forage among the abandoned mine shafts beneath the planet's surface. GREGOR There you are -- this'll top you off. Golic, don't fidget about. What's all this damn food you've got in here -it's not properly wrapped. Golic is stuffing food in his mouth. BOGGS What the hell does he ever do right? RAINS Eat. He's got that down pretty good. Dillon and Junior appear in the doorway. DILLON Golic? GOLIC Yeah? DILLON Light a candle for Murphy, will you? GOLIC Right. I'll light a thousand. He was a special friend. He never complained about me. Not once. I loved him. Did his head really get split into a million pieces? That’s what they say... Golic and his two companions move off.. 50 INT. ANDREWS' QUARTERS 50 Clemens and Andrews seated across from each other at a small wooden table. Andrews slowly pours tea. ANDREWS Sugar? CLEMENS Thank you. ANDREWS Milk? 26/l/91 - W.H., D.G. 30. 50 CONT - 50CONT CLEMENS Yes, please. . Andrews suddenly explodes: ANDREWS Listen to me, you piece of shit. You screw with me one more time and I’ll cut you in half. Clemens remains very calm... CLEMENS I'm not sure I understand. ANDREWS At 0-seven-hundred hours, I received word from the network. I may point out this is the first high-level communication this installation has ever received to my knowledge. They want this woman looked after. They made it very clear -- they consider her to be very high priority. CLEMENS Why? ANDREWS I have no idea -- Why'd you let her out of the infirmary? This accident with Murphy is what happens when one of these dumb sons-of-bitches walks around with a hard-on. CLEMENS I'm a doctor. Not a jailer. ANDREWS Don't hand me that. We both know exactly what you are... Getting up, Clemens heads for the door. Andrews pounds his fist on the desk... ANDREWS Sit down! CLEMENS I think it might be better if I left. I .find you very unpleasant to be around. 26/l/91 - W.H., D.G. 31 50CONT 50CONT ANDREWS You do? Isn't that lovely. Consider this, Mr. Clemens. Perhaps you'd like me to explain your sordid history to your new friend, Lieutenant Ripley? For her personal edification, of course... (Beat) Now sit the hell down. Clemens returns to his chair. ANDREWS I don't like you. You're unpredictable, insolent, possibly dangerous. You question everything and spend too much time alone. Always a bad sign. If I didn’t need a medical officer, I wouldn’t let you within light years of this operation. CLEMENS I'm very grateful. ANDREWS Keep your sarcasm’s to yourself. Now, is there anything I should know? CLEMENS About what? ANDREWS About the woman. Don't play with me, Mr. Clemens. You spend every second you can with her: And I have my suspicions that not all of your concerns with her are medical ... Has she said anything to you? Anything about where she’s from? What her mission is? What the hell she was doing in an EEV? CLEMENS She told me she was part of a combat team that came to grief. I assume beyond that it's all classified. I haven't pressed her for more. ANDREWS That’s all? CLEMENS Yes. ANDREWS Nothing more? 26/l/91W.H., D.G. 32. 50CONT 50CONT CLEMENS No. ANDREWS You're sure? CLEMENS Very sure. ANDREWS Get out of here. Clemens rises, heads for the door. 51 EXT./INT. OPEN CYLINDER - GARBAGE DUMP - 51 NIGHT As the wind shrieks... A gigantic pit stands open to the roaring sky. It's piled high with everything the prisoners have discarded. Standing on a mountain of rusted engines, pneumatic drills and other equipment RIPLEY rummaging through miles of wires, tubing and parts. The wind tears her eyes. Stopping for a second, she sees... A HAND sticking out of a pile of some wiring. Realizing what she's looking at, she starts digging through the refuse at speed. Finally, she unearths the remains of – BISHOP The Android. He's a shambles. Most of his face and lower jaw are gone. Parts of his neck, left shoulder and back are intact. At the rear of his mouth is a small speaker. Grabbing some wire, Ripley starts stuffing them into a bag. (NOTE: The following attackers are.: Junior, Gregor, William, plus one stunt prisoner). An arm suddenly comes from behind and grabs her around the neck. Another arm grabs her shoulders. 26/l/91 - W.H., D.G. 33. 51CONT 51CONT Another arm starts to fondle her private parts. As she struggles… A PRISONER appears, starts to advance on her. Ripley breaks free of the arms... Punches the prisoner -- Kicks him in the balls. But... An even LARGER PRISONER appears. It's Junior. He grabs her -- spread eagles her over a pipe rail. Two other prisoners appear just behind him. Dillon suddenly materializes from the dark. DILLON Knock it off. JUNIOR Jump in the saddle man. You wanna go first? DILLON I said knock it off. JUNIOR Hey what's it to you, man? DILLON It's wrong. JUNIOR Fuck you. Dillon smacks the two prisoners in back. Junior tries to belt Dillon -- Dillon gut punches him, grabs a metal bar, cracks him twice over the head with it -- time second blow dropping him. The prisoners cower-- Dillon hits them again - Looks at Ripley-- DILLON You okay? RIPLEY Yeah. Nothing hurt but my feelings. 26/l/91 - W.H., D.G. 34. 51CONt 51CONT DILLON Take off. I've got to re-educate some of the brothers. We're gonna discuss some matters of the spirit. She picks up the bag with Bishop's parts and starts to go. Passes one of the prisoners. Stops Punches him in the mouth... 52 INT. DARK PASSAGEWAY 52 Deep within the unexplored vastness of the complex. It's black as night. Illuminated by the light of his torch -- Golic eyeballs a sign on the wall in front of him. Behind him, Rains lights a candle. Kneeling he places it in a row that seems to crawl away forever into the dark. The flickering light reveals a hallway. A very long hallway. The sign on the wall above Golic reads: TOXIC WASTE DISPOSAL THIS SPACE HERMETICALLY SEALED Boggs glances back at Rains Kneeling, he studies a map at his feet. When he speaks, his voice echoes and re-echoes off the concrete walls. BOGGS How many? RAINS (checking notes) This makes a hundred and eighty-six. Golic shoves some food in his mouth and chews, noisily. He steps over to an abandoned cigarette machine. Kicks !he lock off with a bang -- begins loading packs of cigarettes into his duffel ... Irritated, Boggs turns on him. BOGGS Can't you work quietly? I’m tryin to figure how big this compartment is. I can't think with all the Goddamn noise you're making. RAINS You’re not supposed to swear. 26/l/91 W.H., D.G. 35. 52CONT 52 CONT BOGGS Sorry.. Golic swallows. BOGGS Now ... we've circled this entire compartment once. (turning) How many candles, again? Boggs doesn't get an answer. He, glances sideways at Rains. Rains is scratching himself furiously Stares fixedly down the row of flickering candles. Golic following his line of sight. Something very bizarre is happening . Every few seconds, one of the candles goes out. BOGGS What the shit is doing that? GOLIC You're not supposed to swear. BOGGS Shut up. It's okay to say shit. It's not against God. RAINS What the hell is going on with the candles? The three prisoners hold their torches- high in the air. Try to see what's going on. No deal. Whatever's snuffing out the candles is too far away to be illuminated by the torches. BOGGS Must be a wind from one of the ventshafts -- backwash from the closest circulating unit. If all the candles go out, how're we going to know where we are? RAINS Somebody will have to go back and re- ‘re-light 'em... (beat). I guess I'm nominated.. BOGGS (turning) Give him your torch. 26/l/91 - W.H., D.G. 36. 52 CONT 52CONT Golic hands Rains his torch. Rains moves down the line of candles. His companions receding in the distance. His footsteps echo inside the hallway. Behind him, he hears Boggs: BOGGS Watch your step. The words echo and reverberate within the enclosed space. Moving forward, Rains starts to sweat. Ahead, another candle goes out. Golic and Boggs are a long ways behind him, now. Only three more candles to go. Beyond, there's nothing but a black hole. Stopping at the last flickering candle, he raises his torch high in the air. There's nothing there. Relieved, he starts to relax. Then he realizes there's a massive glob of blackness off to his right. It's not reflecting the light from his torch. * And it's moving. * THE ALIEN rises up, directly in front of Rains. Now a fully mature creature. It moves with the speed of a big cat... In one blurred motion, it is upon him. Tears open his chest -- leaves a gapping hole in his abdomen. The last thing Rains hears is his own scream. INT. DARK PASSAGEWAY - GOLIC - BOGGS Three hundred yards behind, they'd hear Rains' agonized cry and watch the torch flicker out. Suddenly panicking, Boggs grabs the torch and takes off in the opposite direction. Golic charges after him. Rounding corners, charging through the blackness... A maze of ink-black passageways. Footsteps reverberate. Finally catching Boggs, Golic takes back the torch. Both men are exhausted, completely lost. Out of breath, unable to speak... Trying to collect himself, Golic stares around. Ahead, he see candles flickering in the dark. BOGGS We ran in a circle. We're back... 26/l/91 - W.H., D.G. 37. 52CONT 52CONT * Lighting the torch, he peers around in the dark. * Leaning against the wall. covered with blood RAINS stares blankly at nothing, a look of object terror frozen forever on his face. Boggs starts to get sick. He never finishes. Glancing up on the ceiling, Golic sees THE ALIEN crawling across the ceiling like a spider. At the speed of thought, it leans down and rips off Boggs' head. Blood flies everywhere, spattering Golic in the face. His tunic drenched... Paralyzed with fear, Golic watches the Alien hurls Boggs' helpless body against the wall. * Still hanging from the ceiling, it stops what it's doing and turns to Golic.- * Screaming like a banshee, torch in hand, he runs away into the echoing dark... 53 INT. INFIRMARY 53 Alone, Ripley studies the remains of Bishop. There’s a battery pack in his left shoulder. She checks the connections. A spark sizzles. Using a cable, she connects a terminal in Bishop's smashed thorax to the black flight recorder. Instantly, Bishop's one eye blinks. A garbled sound comes out of the small speaker at the back of his mouth. Shoving her hand into his throat, she gives him an adjustment. Bishop’s voice suddenly becomes audible. BISHOP Ripley. RIPLEY Hello, Bishop. Can you feel anything? BISHOP Yes. My legs hurt. RIPLEY I'm sorry that -- 26/l/91 - W.H., D.G. 38. 53 CONT 53 CONT BISHOP It's okay. I'm just a glorified toaster. How are you? I like your new haircut... RIPLEY Can you access the data on the flight recorder? BISHOP No problem. She plugs the black box into a connection, wires it to his head. Bishop’s one good eye opens and closes. What remains of his forehead wrinkles in concentration. BISHOP I'm home. RIPLEY What happened on the Sulaco? Why were the cryo-rubes ejected? Seconds pass. Then, the sound of the female voice heard aboard the Sulaco just prior to separation, comes out of Bishop's voice box. FEMALE VOICE (OS) Fire in cryogenic compartment. Repeat. Fire in cryogenic compartment. All personnel report to -- RIPLEY What started the fire, Bishop? (no response) Can you hear me? BISHOP The fire was electrical. It was in the subflooring... RIPLEY Did sensors detect any moving life forms on the ship prior to separation? BISHOP It's very dark here, Ripley. I'm not what I used to be. RIPLEY Just tell me - does the recorder indicate anything? Was there an Alien on board? An eternity. 26/l/91 W.H., D.G. 39. 53 CONT 53CONT BISHOP Yes . RIPLEY Is it still on the Sulaco or did it come with us on the EEV? BISHOP It was with us all the way. RIPLEY Does the company know? BISHOP The company knows everything that happened on the ship. It all goes into the computer and gets sent back to the network. RIPLEY And they want it? BISHOP I don't know. I'm not feeling very well. BISHOP I wish I could help you but I'm really not good for much. RIPLEY Look -- maybe if I ever get out of here, they can wire you up again. BISHOP No. I'm tired. Do me a favor. Just disconnect. I can be re-worked but I’ll never be top of the line again. I’d rather be nothing. RIPLEY You're sure? BISHOP Do it for me, Ripley. She pulls the wires. Bishop’s head rolls onto its side... 54 INT. MESS HALL 54 Golic seated, alone, eating Rice Krispies from a bowl. Battered, blood-smeared. Quite mad. Eric the Cook enters – Startled at the sight of Golic, he drops a load of plates 26/l/91 - W.H., D.G. 40. 54CONT 54 CONT ERIC Golic? Over Golic's shoulder, we see Dillon, Andrews, Aaron, Morse and Arthur enter the Mess Hall. 55 OMITTED 55 55A INT. INFIRMARY 55A Ripley sits alone in the back of the Infirmary. She watches as Dillon, Andrews, Aaron, and Clemens enter with Golic in a strait-jacket. They tie him down to a bed. Golic is still covered in blood and gore. Clemens tries to attend to him... GOLIC The dragon did it. It wasn't me. Slaughtered ‘em like pigs. It feeds on flesh. Why do I get blamed for everything Nobody can stop it. DILLON What about Boggs and Rains? GOLIC I didn't do it. They just got slaughtered.. It wasn’t me. ANDREWS Stark raving mad. I'm not saying it was anyone's fault, but he should have been chained up. AARON You called it, sir. Mad as a fuckin' hatter. ANDREWS Keep him separated from the rest, I don't want him causing a panic. Clemens, sedate this poor idiot. DILLON Not until we know about the brothers... (turns to Golic) Now pull yourself together, man, talk to me. Where are the brothers? GOLIC I didn't do it! 26/l/91 W.H., D.G. 41. 55A CONT 55A CON'I' ANDREWS Hopeless. You're not to get an thing out of him ... We’ll have to send out a search team. I'm afraid we have to assume that there is a very good chance this simple bastard has murdered them. DILLON You don't know that. He's never lied to me. He's crazy. He's a fool. But he's not a liar. Ripley walks up to the group from the shadows. A eyes turn to her. RIPLEY There's a good chance he's telling the truth. I need to talk to him about this dragon -- ANDREWS You're not talking to anyone Lieutenant. I am not interested in your opinions because you are not in full possession of the facts. This man is a convicted multiple murderer -- known for particularly brutal and ghastly crimes -- GOLIC I didn't do it! ANDREWS Isn't that right, Mr. Dillon? DILLON Yeah, that part is right. RIPLEY (straight at Andrews) I need to talk to you. It's important. ANDREWS When I have finished with my official duties I'll be quite pleased to have a little chat. Yes? 26/l/91 - W.H., D.G. 42. 56 INT. ANDREWS QUARTERS Andrews and Ripley --Aaron stands a against the back wall. Andrews leans very close to Ripley's face. ANDREWS Let me see if I have this correct, Lieutenant. It's an eight foot insect of some kind with acid for blood and it arrived on your spaceship. It kills on sight and is generally unpleasant. And, of course, you expect me to accept all this on your words . RIPLEY No. I don't expect anything. ANDREWS Quite a story. Yes, Mr. Aaron? AARON Right, sir. That’s a beauty. Never heard anything like it, sir. ANDREWS I expect not... Tell me, Lieutenant, what would you suggest we do? RIPLEY What kind of weapons have you got? ANDREWS This is a prison. It is not a good idea to allow prisoners access to firearms. RIPLEY What keeps them from killing you? ANDREWS Fear. No way to escape. The company would kill them when the supply ship comes around. RIPLEY So no weapons of any kind? ANDREWS Some carving knives in the Abattoir, a few more in the mess hall. Some fire axes scattered about -- nothing terribly formidable. RIPLEY Then we're fucked. 26/l/91 - W.H., D.G. PAGE 42A PAGE 42A 56 CONT 56CONT * ANDREWS No. You’re fucked. Confined to the infirmary. Quarantined. I think you'll be safe from any large nasty beasts while you’re in there. Right? Yes, that's a good girl. Mr. Aaron will escort you. 57 INT. INFIRMARY 57 Ripley sits on a cot. Sullen, angry. Buzz. Intercom: AARON'S VOICE Let's all report to the Mess Hall. Mr. Andrews wants a meeting. Mess Hall, right away, gang... 26/l/91 W.H., D.G. 43. 57CONT 57CONT RIPLEY Isn't there any way off here? Some damn way to escape? CLEMENS Sorry. No way out.. A supply ship comes once every six months. RIPLEY That's it? CLEMENS They are sending someone to pick you up and investigate this whole mess. Quite soon, I gather. RIPLEY Really? What's soon? CLEMENS I don't know. No one's ever been in a hurry to get here before ... Do you want to tell me what you and Andrews talked about? RIPLEY No I don't. You'd just think I was crazy. Golic stands across the way in a comer, staring at the wall He’s gone catatonic. He’s wearing a primitive looking straightjacket. CLEMENS That’s a bit uncharitable -- How are you feeling?. RIPLEY Not so hot. Sick to my stomach. And pissed off. CLEMENS Shock. Not unexpected, given the circumstances. He examines her throat, checks her glands CLEMENS I'd best give you another cocktail. 26/1/91 W.H., D.G. 44. 57CONT 57 CONT GOLIC (mumbling) I don't know why people blame me for things. Weird, isn’t it. It’s not like I'm perfect or something but sweet William I don't see where some people come off always blaming others for life's little problems. Clemens fills a syringe. CLEMENS That's quite profound. Thank you, Golic. In his straightjacket, Golic stares at nothing. Turning, he grins at Ripley. She looks away. GOLIC Are you married? RIPLEY Me? GOLIC You should get married. Have kids ... pretty girl. I know lots of 'em. Back home. 'They always liked me. You're gonna die too. He begins to whistle. CLEMENS Are you? RIPLEY What? CLEMENS Married? RIPLEY Why? CLEMENS Just curious. RIPLEY No. He approaches her with the syringe. 26/l/91 - W.H.. D.G. 45. 57 CONT 57 CONT RIPLEY How about leveling with me? CLEMENS Could you be a little more specific? RIPLEY When I asked you how you got assigned here, you avoided the question. When I asked you about the prison id.. tattoo on the back of your head, you ducked me again ... CLEMENS It's a long sad story. A bit melodramatic. RIPLEY Entertain me. CLEMENS If you insist ... after my student years, despite the fact that I had secretly become addicted to Morphine, I was considered most promising. A man with a future. While I was on my first residency, I did a 36-hour stretch in an E.R., went out, got more than slightly drunk, then got called back to duty after a boiler had blown on a fuel stationed. Thirty patients. Eleven of them died when I prescribed the wrong dosage of pain killer. I got seven years in prison and my licensed reduced to a 3-C. While in prison I kicked my habit. And here I am. RIPLEY I’m sorry. CLEMENS About what happened? Yes, so am I. I’m sure that the eleven people I killed had promising careers as well. About the prison sentence, no, I deserved it… RIPLEY Did you serve time here? CLEMENS Yes, and I got to know this motley crew quite well. So when they stayed. I stayed. Nobody else would employ me. He gets up to give Ripley her shot. 26/l/91 - W.H., D.G. PLEASE NOTE THAT THE ALTERNATIVE VERSION TO THE PREVIOUS SCENE HAS NOW BEEN CUT FROM YOUR SCRIPT. THE SCENE THAT NOW APPEARS ON THE PREVIOUS PAGE IS THE ONE THAT WAS SHOT. FOR THE ABOVE REASON THERE IS NO LONGER A PAGE 46. THANK YOU. 26/l/91 - W.H., D.G. 47. 57 CONT - 57 CONT CLEMENS So, do you will trust me with a needle? The ALIEN suddenly drops down from the ceiling behind Clemens - Rises to its full height -- over eight feet -- Big, black, shiny smooth head moves into the light. It moves towards her, cable-like arms held out at its side -- moving out of sync with its -feet -- Ripley tries to move, to cry out -- she can't. The Alien moves up right behind Clemens -- he should feel its breath on his neck but he doesn't -- he doesn't turn -- the Alien tears his head off -- Ripley can't scream. Diaphragm pushes air out -- but no sound. The Alien moves closer to her. She can feel his breath -- it evaporates the sweat on her forehead – a chill runs through her but she still can't move – The Alien stands alongside her bed. GOLIC Hey, you. Get over here. Lemme loose - I can help you. I wanna be your friend. The beast turns and looks at Golic, looks back at Ripley – Pulls itself back up into the overhead Airshaft and is gone. RIPLEY Mouth agape. Scared shitless. 58 INT. MESS HALL 58 Andrews stands before the assembled prisoners, Aaron seated nearby... Dillon at the center -- DILLON All rise, all pray. Blessed is the Lord. The prisoners rise. Strike a reverent attitude. DILLON Give us the strength, Oh Lord, to endure. We recognize we are poor sinners in the hands of an angry God. Let the circle be unbroken ---until the day. Amen. The prisoners all raise their right fist... 26/l/91 - W.H., D.G. 48 58CONT 58CONT DILLON What the fuck is happening here?' What is this bullshit What’s coming down!? We got murder! We got rape! We got brother’s in trouble! I don't want no more bullshit around here! We got problems ... We stand together. ANDREWS begins after ceremoniously clearing his throat. ANDREWS Yes - thank you, Mr. Dillon. All right, once gain this is rumor control. Here are the facts. At 0-four-hundred hours, prisoner Murphy, through carelessness on his part, was found dead in vent shaft seventeen. From the evidence gathered on the spot, he seems to have been caught by a strong air draft and got blown into the ventilator fan... He moves around the large room. ANDREWS At 0-four-hundred hours, Prisoners Boggs, Rains and Golic left on a routine foraging mission into the underground network -- at about 0-seven-hundred hours, prisoner Golic re-appeared in a deranged state. Prisoner Boggs and Rains are missing. Unfortunately, there seems to be a good chance that they have met with foul play at the hands of prisoner Golic. We need to organize and send out a search party. Volunteers will be appreciated. Stops under the air vent, near the doorway to the kitchen. ANDREWS I think it's fair to say that our smoothly running facility has suddenly developed a few problems. I can only hope that we are able to all pull together in the next few days, until the rescue team arrives for Lieutenant Ripley... Suddenly a door slams -- Ripley enters ... RIPLEY It's here! It got Clemens! 26/l/91 - W.H., D G. 49. 58CONT 58 CONT ANDREWS Stop this raving at once! Stop it! RIPLEY I'm telling you, it's here! ANDREWS I'm telling you, get control of yourself, Lieutenant! Mr. Aaron, get that foolish woman under control at once! Get her back to the infirmary! The lights dim. Prisoner confusion. What the shit is going on here? A sound from above -- Puzzled, Andrews looks up. Only to be snatched away by the beast. Both gone. Boom!! Like that. . 59 RIPLEY 59 As the Alien pulls Andrews’ still kicking body up into an Airshaft. CAMERA WHIP-PANS TO: MORSE Fuck! 60 INT. MESS HALL - TIME CUT - LATER 60 Jude once again, with his mop -- this time wiping up Andrews' blood. Complete, utter silence from the assemblage. Dillon rises -- then kneels... Begins to pray. DILLON We give you thanks, Oh Lord, your wrath has come and the time is near that we be judged. The apocalypse is upon us. Let us be ready. Let your mercy be just. 61 INT. ASSEMBLY HALL 61 Prisoners David and Martin in the back... DAVID It was big. I mean big. And fast. 26/l/91 - W.H., D.G. 50. 61 CONT 61 CONT KEVIN I saw it. asshole. I was there. DAVID Yeah. But I mean it was big... Aaron, Dillon, Morse, and all remaining living prisoners -- Frank, Troy, William, Gregor, Junior, Lawrence (crowd), Jude, Arthur, Kevin, Janni (crowd), Eric, Stunt V , Stunt E, and Stunt C ... Ripley sits off by herself, smoking a cigarette. WILLIAM Okay, what do we do mates? Nobody says anything ... WILLIAM Well who's in charge? I mean we need to get organized here, right? AARON I guess I'm next in line. MORSE 85's gonna be in charge - Jesus - give me a break! AARON Don't call me that! Not now, not ever! Stands, moves to the center AARON Look, no way I can replace Andrews you guys didn't appreciate him - he was the best man I ever worked with DILLON (cuts him off) I don't want to hear that shit. (to Ripley) What about you? You' re an officer -- How about us showing us a little leadership? Ripley doesn't respond. WILLIAM You take over. You run things here anyway-- DILLON No fuckin' way. I ain't the officer type. I just take care of my own. 16/l/91 - W.H.. D.G. 51 61CONT 61CONT WILLIAM Well, what's this fuckin' beast want -is the fucker gonna try and get us all? RIPLEY Yeah. MORSE Well, isn't that sweet?. How do we stop it? Ripley disgustedly throws her cigarette away – Stands, moves to the group. RIPLEY We don't have any weapons, right? No smart guns, no pulse rifles, nothing? AARON Right. RIPLEY I haven't seen one exactly like this, it's bigger - it's legs are different -- this other ones were-- afraid of fire. Not much else ... can we seal off this area? AARON No chance. The installation is ten miles square. There's six hundred air-ducts that run to the surface. RIPLEY What about video -- try to fmd it that way. I see monitors everywhere. AARON Video system hasn't worked in years. Nothin' much works here. We got a lot of technology, but no way to fix it. MORSE What 85's tryin’ I to tell you is -- AARON Don't call me that! -- MORSE We got no entertainment centers, no climate control, no viewscreens, no surveillance, no freezers, no fuckin' ice cream, no guns, no rubbers, no women, all we got here is shit. Turns to Dillon - 16/l/91 - W.H., D.G. 52. 61CONT 61CONT MORSE What the hell are we even talkin' to her for? She's the one that brought the fucker. Let's run her head through the wall. RIPLEY Sounds good to me. Dillon walks over to Morse. DILLON I won't say it again. Keep your mouth shut. Morse decides to keep quiet. AARON What do we do now? All eyes on Ripley. 62 INT. MAIN PASSAGEWAY 62 Ripley and Aaron moving along, holding schematic map - the overhead is lit by a few dim, bare electric bulbs. Ripley stares at the map RIPLEY What's this? AARON That connects the infirmary and the mess hall RIPLEY Maybe we can go in. flush it out. AARON * Come on -- there's miles and miles of * tunnels down there ... RIPLEY * It won't go far. It'll nest in this area right around here. * * She points on the map. * AARON * How do you know that? * RIPLEY * It's like a lion. It sticks close to the zebras. * 17/l/91 - W.H., D.G. PAGE 52A PAGE 52A 62 CONT 62 CONT AARON * We don't have any zebras here. * She stops, looks at him. AARON Oh, right ... but running around down there in the dark? You got to be kiddin'. We got no overheads once you get out of the main shaft here RIPLEY How about flashlights? AARON Yeah, we got 6,000 of them. But no batteries. I told ya, nothin' works. RIPLEY What about torches? Do we have capacity to make fire? Most humans have enjoyed that privilege since the stone age. 26/l/91 - W.H., D.G. 53 63 OMITTED 63 64 INT. DARK PASSAGEWAY - NEAR TOXIC WASTE DISPOSAL 64 Engulfed in an echoing sea of blackness, Ripley, Dillon, Aaron... They hold torches AARON Never been used. They were gonna dump a lot of nuclear crap in there store it in drums. They never got around to it, it's clean as a whittle inside. A huge door leads into the disposal... RIPLEY This is the only way in or out? AARON That's right. Walls six feet thick -- Solid steel. They really knew how to build these babies ... RIPLEY You get something in there and close it up, no way it can get out? AARON Right. No fuckin'way. Ripley moves to the enormous door... Breaks the seal on a control box and pushes a button. The big door slides open with amazing speed. Ripley, Dillon and Aaron stare through the door. Empty chamber within... DILLON Lemme get this straight - you wanna burn it down and outta the force it here, slam the door and trapping it's ass? She's still looking at the map. RIPLEY Ummm. DILLON And you’re looking for help from us Y-chromo boys. RIPLEY You got Something better to do? 26/l/9l - W.H., D.G. 54. 64 CONT 64 CONT DILLON Why should we put our ass on the line for you? RIPLEY Your ass is already on the line. The only question is what you're going to do about it -- 64A INT. STORAGE AREA - NEAR CONE OF SILENCE 64A A door opens, light breaks over metal drums -- Ripley, Aaron and Prisoner David appear. AARON This is where we keep it -- I don't know what this shit's called. DAVID Quinitricetyline. AARON (resentful) I knew that. (checks a notepad) Okay - I'm off to work out the section assignments with Dillon for the paint brush team -- David, you get these drums organized, ready to move. He moves off. DAVID Right, 85. AARON Don't call me that! Disappears down the corridor. RIPLEY What's this 85 thing? DAVID Lot of the prisoners used to call him that. We got hold of his personnel charts in the file room a few years ago – it’s his I.Q. David starts to roll one of the drums. 31/l/91 - W.H., D.G. 55 64A CONT 64A CONT DAVID I saw a drum of this crap fall into a beachhead bunker once, blast put a tug in dry dock for seventeen weeks... great stuff. 65 INT. STORAGE ROOM 65 Troy and Arthur root through a barrel of batteries – testing them with an electric device Troy looks at huge discard pile. T'ROY Dillon says God put us here for a reason. ARTHUR Find one fucking battery that works. That's reason enough. TROY Fucking miracle. God don't like me. ARTHUR Could be worse. Mighta got the paint brush detail. He tries a flashlight. The beam snaps on. 66 MAIN CORRIDOR 66 From the corridor, prisoners help one another climb onto shoulders, into the dark air ducts in the roof -- 66A AIR-DUCTS - PRISONERS 66A Prisoners emerge head first, feet first, into the metal pipes. Unlit flares between their teeth, brushes in hands, they fan out thru the air conditioning like an army of ants -- 67 AIR DUCT - KEVIN AND GREGOR 67 Kevin and Gregor crawl thru pipes. They empty containers of fluid, paint the interior surface with Quinitricetyline. GREGOR Kevin, you sniffing this stuff? KEVIN Uh-huh. GREGOR You get what I'm getting? KEVIN (giggles) Yeah. Some weird shit. 55A 67 CONT 67 CONT GREGOR Shit's getting you high. Don't breathe it -- KEVIN I'm in a pipe with the fuckin' stuff -- how can I keep from breathing it? 67A AIR DUCTS 67A Inside the labyrinth, the walls glisten with inflammable fluid. Morse crawls upwards, another prisoner heads downwards. Sees tears in his eye. From the fumes. MORSE I hate pipes. Ever since I was a little kid. I had a puppy once, got stuck in a pipe. I can still ear it mewling. Horrible. PRISONER Poor thing. What happened? MORSE Dunno. I just lit the match and ran. 67B AIR DUCTS 67B David crawls up a pipe. Finds a broken grill. DAVID It's out there Somewhere, the beast is waiting. 67C AIR DUCTS 67C Eric crawls along the cramped pipe, hears the warning -- Scared faces of prisoners - they stop work and listen out for noises -- starting to get scared shitless - 31/l/91 - W.H., D.G. 56 68 MAIN CORRIDOR 68 Prisoners seal the doors to the Toxic Waste Dump corridor - 69 MAIN CORRIDOR 69 Prisoners pour buckets of junk, spreading puddles with brooms, everyone giddy, eyes watering with the fumes. Tilt up to find - 70 MAIN CORRIDOR - DILLON AND RIPLEY 70 Dillon and Ripley with brooms. She pauses. DILLON You miss Clemens, right? RIPLEY I didn't know him very well. DILLON I thought you two got real close. RIPLEY I guess you've 'been looking through some keyholes. DILLON (smiles) That's what I thought. Unexpectedly, she suffers a wave of nausea. Leaning on a wall, she gags, coughs. Dillon moves to help. She shoves him away. DILLON You okay? RIPLEY Yeah. DILLON Whatever you say - but you don't look okay to me, sister. 70A MAIN CORRIDOR - AARON 70A Aaron tries to instill order into a group of Prisoners. AARON Okay. Listen up. Don't light this fire ‘till I give the signal – this is the signal -- (He holds up his arm) – Think you can remember that? PRISONER Think you can remember to do that? The prisoners drift off, ignoring him. Aaron left helpless. 31/l/91 - W-FL, D.G. 56A 71 VERTICAL AIR DUCT 71 Low angle of a prisoner, climbing up a vertical air duct. From above, we see him carrying the flare between his teeth-- Close up as he carelessly unclenches teeth, flare slips out From low angle, we see it fall -- down, down, down -- 71B INT. MAIN CORRIDOR 71B Dillon and Ripley hear the clanging noise echo thru the pipes -- They brace themselves for an explosion-- 71C VERTICAL AIR DUCT 71C Until -- CLANG! -- it hangs precariously on a ledge below. The prisoner inches down the ladder, reaches out , stains to curl fingers round the flare, and retrieves it . A sigh of relief. The prisoner heads back up the ladder, till - The Alien suddenly appears through a grate -- attacks - claws sink into the prisoner’s neck -- screams -- from a low angle, we see him writhing in space, and -- drops the flare. IN EXTREME SLOW M0TION - the flare tumbles down, down the pipe: - and through a hole, finally kissing the ground. -- awash with fluid -- And ignites -- BLAAAM! 71 MAIN CORRIDOR 72 Aaron hears explosion in the distance - AARON Wait for the fucking signal - He catches sight of the Alien crossing thru an air duct - AARON Shit! 73 AIR DUCTS 73 Fire rips down collapsed mining passageways-- buckets and drums of junk explode -- prisoners run from fire in background past mining machinery -- flames rage across ceiling of corridor 74 MAIN CORRIDOR 74 IN EXTREME SLOW MOTION- Ripley sees the flames billow from the rear - a split second before the blast hits, she screams - 16/3/91 57 74 CONT 74 CONT RIPLEY Down She dives into a side tunnel, head down .- Aaron follows –the other prisoners hesitate, confused -- turn round to face Whoomph The delayed sound bang of the explosion - A fireball tears through like a sudden wind from Hiroshima the temperature soars -- prisoners don't know what's hit them Hands scorched -- faces flayed - blistering blackened skin – the fireball sucks away the oxygen Ripley gulps for air -- tries to stand up -- stumbles -- FROM RIPLEY'S POV: A hallucinatory, dreamlike moment - The wind sucks prisoners bodies into a clumsy dance of death -- bodies lurching :- legs buckling - tumbling backwards -- gasping for air -- as sudden heat bends and distorts body movement -- In the mist of chaos, as the fireball gathers speed - 75 AIR DUCTS 75 Flash cuts: air ducts ignite - file blossoms in a constricted mining tunnel -- prisoner screams, trapped behind bars 76 AIR DUCTS 76 Flash cuts: thru flames, flickering shadows of the Alien scuttling down pipes - prisoners hear the sounds - as it -- Zips over, under, sideways, past them in a flash of an eye - Till the pipes echo with its sounds. - 77 AIR DUCT 77 Morse leaps like a scalded cat -- grabs a ladder, swings, looks down the Vertical air duct - Sees the Alien scuttle away from the pursuing fire. He turns - MORSE It's over here! Hey, it's here--! It's running away --! 78 AIR DUCTS 78 Prisoners hear him -- sense Victory - so crawl along hot pipes, every movement agony like dancing chickens – Injured prisoners drop down from burning ceiling -- 79 OMITTED 79 16/3/91 57A 80 SIDE TUNNELS 80 Prisoners emerge from the pipes -- scenting the beast like hounds -- they race after it with burning flares -- emboldened PRISONERS This way -- Torch the fucker – Bum it -- We cut it off Over this end – They converge at opposite ends of a side tunnel PRISONER Now -- ! A prisoner throws a flare down the tunnel, and - 81 SIDE TUNNEL 81 A plume of fire erupts in the tunnel – escaping from the other side -- Aaron and Frank race from flames -- but not fast enough - Aaron escapes, Frank is engulfed by fire .- falls in flames -- 82 MAIN CORRIDOR 82 Dillon rallies his troops -. Ripley races over to Gregor, seriously burned -- Dillon joins her, they beat out the flames Junior cradles wounded Frank in his arms as -- Dillon and Ripley choke on the smoke, look down the tunnel, and see a dreamlike vision -- 82A IN THE SAME TUNNEL 82A The Alien rising before them from the flames -- Its figure extending- to full height back lit by flames, distorted by heat -- like the devil itself -- 82B MAIN CORRIDOR 82B Prisoners make the sign of the cross in fear -- Ripley shouts -- RIPLEY Now! Close the doors-! Dillon rushes to seal off the door, as - INSIDE THE TUNNEL -- the Alien screeches, trapped by the fire -- IN THE MAIN CORRIDOR -- the door slams shut. Then - WHAM! -- the beast hurls itself repeatedly against the door - Its screeches soar to horrific pitch, then slowly die out.. A somber silence. Prisoners exchange glances. Nervous, disbelieving success - 16/3/91 58 82B CONT 82B CONT DAVID Did we get it? ERIC I saw it. In the fire. Burning like satan... Dillon looks at Ripley. She gives no sign of triumph. MORSE We fried the fucker. Listen. I don't hear it singing no more for its supper. They listen. Slowly the Prisoners congregate, tending to the wounded. Frank dies in Junior’s arms. He looks up at Dillon. DILLON Our eyes have witnessed the horror of the beast. Let our hearts empty of its darkness and fill with your light so our brothers' deaths be not in vain. Amen. Junior cradles Frank in his arms. Wipes his face, melted flesh comes away in his hands – Dillon and Ripley in prayer - Suddenly a bloodcurdling screech FROM AN AIR DUCT ABOVE THEM - WHAM! The Alien drops down in front of them - Cutting Junior and Frank's body off from the rest - 83 MAIN CORRIDOR 83 IN FOREGROUND - The Alien's leg flails as - Junior defiantly rises up - insane with grief -- Prisoners grab burning mops, attack tit beast – Junior-stands his ground, shouts to the group - to save themselves - JUNIOR Run! Run! Ripley and Dillon face him - an agonizing choice -as -- Junior makes his move – turns - runs towards the Toxic Waste door - JUNIOR Come and get me! The Alien turns towards Junior – gives chase -- Ripley, Dillon, Aaron and Prisoners run to help him, but -- the Alien bears down on him, as - MOVING ALIEN’S POV - Junior at the doorway screams - JUNIOR Here! Take a shot. fucker! 58A 83 CONT 83 CONT WHIPLASH TURN AS -- the Alien lunges at Junior THRU DOORWAY INTO THE TOXIC DUMP -- they both tumble back - JUNIOR Now --! BACK IN MAIN CORRIDOR .. Dillon races thru flames reaches control box - hits button-- FROM INSIDE THE TOXIC DUMP -- Junior screams as -- BAM! the triple doors slam shut A roar of fire. Then silence. Dillon stares at the doorway - his friend gone. Struggles thru the flames -- impervious to pain -- activiates the sprinkler system - FROM ABOVE THEM --water pours down like rain. Drenching them – Ripley soaked, staring at the doorway where Junior sacrificed himself – she looks at Dillon – the other prisoners -- Burned Exhausted. Frightened. Strangely innocent As water cascades over them -- Ripley bows her head. 31/l/91 - W.H., D.G. 59 84 INT. ASSEMBLY HALL 84 Dillon stands before the remaining prisoners -- 84A INTERCUT- 84A graphic silhouettes of the gathering of the bodies. 84B INT. ASSEMBLY HALL 84B The convicts assembled ... DILLON Even for those who have fallen, this is a time of rejoicing. We salute their courage. They will live forever. Those who are dead are not dead. They have moved up - they have moved higher... He joins the congregation in prayer. GALLERY Ripley and Aaron look down at the religious ceremony. AARON Andrews always- said it was a good thing Dillon and his meatballs hung up on this holy roller crap -- keeps 'em out of mischief, RIPLEY You're not the religious type - 1/2/91 - W.H., D.G. 60 84B CONT 84BCONT AARON Me? Shit no, I got a job. Pause. AARON I figure rescue team gets here in four, five days, six tops. They open the smart guns and kill the bastard. Right? RIPLEY Have you heard anything from them? AARON Naw. We just got a message received. Later we got something that said you you’re top priority -- They don't cut us in on much We're the ass-end of the totem pole out here. RIPLEY Look - if the company wants to take the thing back... AARON Take it back? Are you kiddin’? They aren't lunatics you know. They’ll kill right away. She just looks at him ... 85 INT. INFIRMARY 85 Golic still straight-jacketed... Guarded by Morse- GOLIC Hey, Morse... Morse just looks at him. GOLIC Let me out of this thing. MORSE No fucking way. GOLIC C'mon man. it hurts. MORSE Sorry. GOLIC I didn't do nothing. 112/91 W.H.. D.G. 61 85 CONT 85CONT MORSE Don't talk to me. GOLIC What'd I do? Just tell me what'd I do? MORSE I'll tell you what I'm going to do. I'm gonna guard your ass just like I was ordered. I don t want no trouble with Dillon. GOLIC All I did was tell about the dragon. What it did to Boggs and Rains. I wasn't lying. You saw it. MORSE Fuckin' A. I saw it -- GOLIC Let me loose. man. What if it nets in here? I couldn't even run. I'd be dead meat. MORSE It's not going to get in here. We got it trapped. GOLIC Then what’s the big deal? Come on, man. let me loose.- Didn't I always give you free ciggies before anybody else? MORSE Yeah. GOLIC You're my friend. I love you. Pause. MORSE Yeah - I love you too - Fuck it. Why not? But behave yourself. No fuckin' around or I’ll get nothin' but shit. Morse starts to free the straps. GOLIC Hey, no problem. Trust me, mate. Golic is now free. GOLIC Where they got it? 1/2/91 - W.H.. D.G. 62 85 CONT 85 CONT MORSE Up in the waste tank. We got that sucker nailed down. I mean tight. Golic swings his arms gets his circulation back... GOLIC I gotta see it again. He’s my friend. Golic rips a small fire extinguisher off the wall. MORSE What the fuck you talkin' about? Smack! Golic hammers him with the extinguisher. Morse is down and out. GOLIC No more ciggies for you, mate. He wanders off. 86 INSERT - COMPUTER TYPE 86 FURY 161 - CLASS C - PRISON UNIT 12037154 - REPORT DEATH OF SUPT. ANDREWS, MEDICAL OFFICER CLEMENS, EIGHT PRISONERS. 87 INT. COMMUNICATIONS ROOM 87 Ripley hovers over Aaron as he types into the Dat-Scan. AARON Okay. We got the first part now what do I say? RIPLEY Tell them we trapped it. AARON Right. What do we call it? RIPLEY A Xenomorph. AARON Right. How do you spell it? RIPLEY Here…. She elbows him aside. 1/2/91 - W.H., D.G. 63 87 CONT 87 CONT INSERT - COMPUTER TYPE HAVE TRAPPED XENOMORPH. REQUEST PERMISSION TO TERMINATE. COMMUNICATIONS ROOM AARON We can't kill it. We don't have any weapons. Right? RIPLEY Right. An answer starts coming back. INSERT - COMPUTER TYPE TO: FURY 161 - CLASS C - PRISON UNIT 1237154 - FROM NETWORK COMCON 01500 - WEYLAND - YUTANI - MESSAGE RECEIVED. AARON (V.0.) See, that's all they ever tell us. Treat us like shit. More type coming in.. RESCUE UNIT TO ARRIVE AT 12 HUNDRED HOURS - PERMISSION DENIED TO TERMINATE XENOMORPH REPEAT - PERMISSION DENIED. AVOID CONTACT UNTIL RESCUE TEAM ARRIVES. REPEAT - PERMISSION DENIED - RIPLEY Staring at the message - her worst suspicions confirmed. 88 INT. PASSAGEWAY - AT TOXIC WASTE DISPOSAL 88 A torch is planted in a crack in the concrete wall Flickering light illuminates the door. Arthur his been posted as guard -- he's seated by the big door as Golic approaches ... GOLIC Okay. Off and on. I gotta get in there. ARTHUR What the hell you talkin' about? He gets to his feet. 1/2/91 - W. H., D.G. 64 88 CONT 88 CONT GOLIC I just need to go on in there and see the beast. We got a lot of shit to talk over. ARTHUR. You ain't goin' in there, dickhead. Big motherfucker eat you alive. Plus you let that baby out. kiss your ass goodbye. Golic suddenly lifts a straight razor and slashes his throat. GOLIC I really didn't want to do that that. I’ll talk to your mother. I'll explain it. He eyeballs the battered door. Starts fiddling with the control. Finds the right button Somewhere, gears whine. Steel scrapes on steel. The door swings open. An ominous darkness is waiting, within – Nothing. Silence. GOLIC Okay. Just tell me what you want. Just tell me what to do, brother. Golic smiles. GOLIC Let's get this straight. I’m with you all the way. I just want to do my job. Keeps smiling... * GOLIC You just gotta tell me what to do next It's the last thing he ever says - Zap! * Dead Meat 89 INT. PRISONER CELL BLOCK - DILLON'S CELL 89 Dillon sits alone- playing solitaire. Ripley stands nearby as Dillon turns over another card. DILLON You're tellin’ me they're comin' to take this thing away? RIPLEY They’ll try. They don’t want to kill it. We’ve got to figure out some way to finish it off before they get here 1/2/91 - W.H., D.G. 65 89 CONT 89 CONT DILLON Why do we have to kill it? You just said the company's coming for it. RIPLEY That's right. They're going to take it back. DILLON What's wrong with that? RIPLEY They don't understand. They can't control it. It'll kill them all. DILLON Like I said, what's wrong with that? Bang! The cell block door opens. Morse enters. MORSE Hey, Dillon! DILLON Yeah? MORSE I think we got a very large fucking problem, mate. 90 INT. PASSAGEWAY - NEAR TOXIC WASTE DISPOSAL 90 Sometime later. Ripley, Dillon, Aaron and Morse have arrived. They stare at the open door – Golic's mutilated body. The prisoner Golic killed - Arthur - lies close by... AARON (standing over Golic's body) This cuts it. Miserable crazy son of a bitch let it loose. Got what he deserved by God. Now what the fuck are we gonna do? Andrews was right --should have kept the shithead chained up. (turning) What's the matter. She's sick again. Leaning on the wall for support, she struggles to get her breath. MORSE Piss on her -- The fuckin' thing's loose out there. Now what the fuck are we gonna do? 1/2/91 - W.H., D.G. 66 90 CONT 90 CONT AARON I just said that. You're the dumb prick that let Golic go. You miserable little shit. Wham! He flattens Morse. Dillon grabs Aaron. DILLON Cut that shit out -- AARON Then tell your fuckin' bozo to shape up! All this shit is his fault. Dillon pushes Aaron away... DILLON (to Ripley) What do you think. Ripley's head is killing her. Still leaning on the wall. Ripley struggles against nausea. RIPLEY I need to get to the EEV. AARON Yeah -- Okay. No problem. Why? RIPLEY The neuroscamer, I want to use the catscan... DILLON You don't look so good. Morse gets to his feet. MORSE Who gives a shit what's wrong with her --vvhat are we gonna do? AARON You want to hit your back again you little dork? Shut the fuck up and quit causin' panic. MORSE Panic! You're so goddamn dumb, you couldn’t spell it ---don't tell me about panic!. We ought to panic! We're screwed! AARON Yeah! And who's fault is it? 1/2/91 - W.H., D.G. 67 90 CONT 90 CONT DILLON Both of you. shut up!! They all stare at each other. AARON (to Dillon) Okay – I’m out of ideas. What do we do? MORSE What about the beach? AARON * Right. The sun won't be up for another week, and when it's down it's forty below zero. The rescue team is ten hours away so that makes a lot of sense. Ripley wanders off ... MORSE * Wonderful. So you just want us to stay here and let this fucking beast eat us for lunch. DILLON (to Morse) Get everybody that’s still left together. Get 'em to the cell block - (looks around) Where'd she go? 91 INT. CONE OF SILENCE 91 The EEV still sits on the hangar floor. Light flickers, dim and surges again 92 INT. EEV 92 Ripley stripping down in the cramped quarters - Simultaneously working a small keyboard -- A menu pops into the display screen. She stares at it. Then hits the keyboard. 1/2191 - W.H., D.G. 68 92 CONT 92 CONT Ripley forces her now naked body into the cryo-tube. It's a very tight fit. Claustrophobic as hell. She reaches back to work on the keyboard. Her hand barely reaches AARON (V.0.) You need some help? She starts at his sudden appearance. AARON Hey, didn't mean to scare you. Look, you shouldn't be wandering around alone -- RIPLEY Do me a favor - run the keyboard. I can't reach over and see what I’m doing. Aaron moves to the keyboard as Ripley settles back into the cryo-tube. AARON What do I do? RIPLEY Hit either 'B' or 'C. What's 'C? AARON Display bio-functions. RIPLEY That’s it. Aaron watches the display monitor. A picture of Ripley's head appears on the screen. AARON Okay. We're hot. What am I supposed to be lookin' for? I don't know how to read this stuff. Rapidly changing digital information and additional medical data are superimposed on the image. Aaron works the keyboard. A scanner begins moving down Ripley's body. Her neck and shoulders appear. He stares at the image on the display as it reveals the interior of Ripley’s thorax. AARON How do we get some enhancement? 1/2/91 - W.H., D.G. 68a** 92 CONT 92 CONT** RIPLEY Try 'B' He does AARON Nothing Tries again AARON I gotta get a better angel. Tries alarm Then a long moment-- 1/2/91 W.H., D.G. 69 92 CONT 92 CONT AARON Holy shit… Turns to her. AARON * I don't know how to tell you this - I think you got one inside you. A baby queen alien is clearly revealed, growing inside Ripley's chest. An embryonic head hangs down toward the pelvis. RIPLEY What's it look like? AARON * Horrible. RIPLEY Move the screen. I've got to take a look.. AARON Hey, I don't think you want to. RIPLEY Do it. Aaron adjusts the viewscreen. She takes a long look. RIPLEY Okay. Punching a button, he shuts off the scanner. AARON I’m sorry. I don't know what to say - Anything I can do - RIPLEY -- Yeah. Help me get out of here - 93 OMITTED 93 94 INT. PRISONER'S CELL BLOCK - DILLON 94 One shot from his fist - Bam! he breaks the window on a fire nose wheel, tears out the small axe secured within - Holds the axe over his head. DILLON Give us strength 0 Lord, to endure. Until the day. Amen. 1/2/91 - W.H., D.G. 70 94 CONT 94 CONT The remaining prisoners are assembled. They all raise their right fist... DILLON It's loose. It's out there ... a rescue team is on the way with guns and shit. Right now, there isn’t any place that’s real safe I say we stay here in the cell block. No overhead vents shafts. If it comes in, it’s gotta be through the door. We post a guard to let us know if it’s comin’. In any case – lay low. Be ready and stay right, in case your time comes. DAVID Bull shit, man. We'll all be trapped in here like rats. DILLON Most of you got blades stashed away, get 'em out. WILLIAM Right. You think we're gonna stab that mother fucker to death? DILLON I don't think shit. Maybe you can hurt it while you' re checkin’ out. It's something. You got any better ideas? A long silence. DILLON I'm tellin’ you, until that rescue team gets here -- we're in the shit. Get prepared. WILLIAM I ain't stayin' here. You can bet on it. DILLON Suit yourself. He turns and walks away... 95 OMITTED 95 96 INT. COMMUNICATION ROOM - COMPUTER ANNEX 97 Aaron taps out the five-digit code. Runs his thumb against the identiprint. The inner door opens Data banks comes to life. 1/2/91 - W.H., D.G. 71 96 CONT 96 CONT AARON Okay, what do you want to send? RIPLEY You got a line back to the Network? AARON Yeah -- it's up. What do you want to say? RIPLEY I want to tell them this whole place has gone toxic. AARON Are you kiddin'? Then they won't come here. The rescue team’ll turn back. RIPLEY Exactly. AARON What are you talkin' about? Our only hope is that they kill this fucker. And maybe they can do something for you. Freeze you – do an operation. They got the technology... RIPLEY If it gets off this planet, it’ll kill everything. We can’t let the company come here. They’ll try to take it back with them. AARON Fuck you. I’m sorry you got this thing inside you, lady, but I want to get rescued. I don’t give a shit about these meatball prisoners, but I got a wife and kid. I go back on the next rotation. RIPLEY I'm sorry -- look, I know this is hard. but I’ve got to send a message back. I need the code. AARON * Sorry, mum -- It's classified. RIPLEY Look, shithead, it's got to be done! Give it to me! 1/2/91 W.H., D.G. 72 96 CONT 96 CONT AARON No fucking way. You are not getting the code! Angry silence. AARON Nothin’ personal you understand. I think you're okay. RIPLEY Thanks. AARON Got an ideas? RIPLEY It won't kill me. AARON Oh yeah. Why? RIPLEY It can't nail me without killing the new queen. AARON You really want to bet this thing's that smart? RIPLEY I’m going to go find it. We'll see how smart it is. AARON You're gonna go look for it RIPLEY * Yeah. I got a pretty good idea where it is - it's just up there in the attic - AARON * What attic? We don't have an attic. RIPLEY * It's a metaphor. AARON * Oh. RIPLEY * Wanna come? 1/2/91 - W.H., D.G. 73 96CONT 96 CONT She walks out the door. AARON Fuck me. 97 OMIT 97** 98 INT. CORRIDOR - RIPLEY 98* She holds a torch under the joints of a network of old half-inch rusted out water pipes - satisfied, she jams the torch into a wall junction -- grabs the overhead pipe and gives it a huge yank -- the joint breaks loose - the pipe bends back -- She gives it another turn -- Then grabs the torch again and holds it to the next joint ... 99 INT. INFIRMARY 99 Ripley with a five foot stand of half-inch pipe - * A flashlight … She pulls herself up into the overhead air duct - 99A INT. AIR DUCT 99A** Ripley crawling along - Flashlight beam cutting through the dark ... AROUND A CORNER She peers into the darkness. RIPLEY Come on! I know you're here! Moves forward. RIPLEY Come on. This is simple. Just do what you do. Around another comer - RIPLEY Come on, you shithead. Where are you when I need you? Again forward. Stops. Did she hear a noise? RIPLEY Shit. 1/2/91 - W.H., D.G. 74 99ACONT 99ACONT Forward again. Another comer -- 99B ALCOVE 99B* Big enough to stand - She gets to her feet. * Looking at an old rusted out Hydro-Converter. A network of old rusted tangled pipes and a thousand gallon water tank RIPLEY - VERY CLOSE Peering off into the dark void Then another wave of nausea. She leans back against the Hydro-Converter... Suddenly - The Alien tail lazily flops out and knocks the electric torch from her hand. The light spins away - lands on the concrete apron -- but stays lit. THE BEAST Looking out at Ripley from within the network of pipes where it has been nesting -- resting -- sleeping The Xenomorph almost looks weirdly puzzled ... RIPLEY You fucker. She gathers her strength - takes her pipe-weapon and rams it straight into the Xenomorph ... Huge roar and cry as the beast comes boiling out of the network of pipes - metal crunching, giving way - The beast now fully aroused, stands directly in front of Ripley - RIPLEY Come on fucker - kill me! She slams it again with the pipe - The beast roars out, knocks the pipe away like a matchstick -- The two stare at each other - A long frozen moment Then: The beast bolts away. RIPLEY Bastard. 100 INT. ASSEMBLY HALL 100 Ripley seated alone in the huge, deeply shadowed room. Head in hands. Low ebb. Dillon, carrying his axe, enters ... 1/2/91 - W.H.,D.G. 75 100 CONT 100 CONT DILLON You okay? No response. DILLON What are you doin' out here? -- You're supposed to be lyin' low? RIPLEY It's not going to kill me. DILLON Why not? RIPLEY I’ve got one inside of me. The big one won’t kill it's own. DILLON Bull shit. RIPLEY Look, I saw it an hour ago. I stood right next to it. I could've been lunch, but it wouldn't touch me -- it ran away. It won't kill it's future. DILLON How do you know this thing's inside you? RIPLEY I saw it on the cat-scan. It's a queen. An egg layer. It can make thousands like the one that's running around out there - DILLON Still sounds like bullshit to me - If you got this thing inside you - how'd it get there? RIPLEY When I was in hypersleep – I got raped… Great, huh? I get to be the mother of the mother of the apocalypse – I can’t do what I should – so you’ve got to help – You’ve got to kill me. 1/2/91 - W.H., D.G. 76 100 CONT 100 CONT DILLON What the fuck you talkin' about? RIPLEY You don't get it. I'm dead anyway the minute it's-born. I've seen it happen -This thing inside me can make thousand more - It can wipe out the whole universe. It has to die and somebody's got to kill me - You up to it? DILLON You don't have to worry about that ... Ripley stands. RIPLEY Just do it. No speeches. Turns her back on Dillon. He raises the axe. RIPLEY Come on, do it! You told me you were a killer -- do it. Just do it. He looks at her - then swings the axe full force. Drives it into the wall next to her head. DILLON I don't like losin' a fight, not to nobody, not to nothing. That big one out there's already killed half my guys, got the other half scared shitless. As long as it’s alive, you’re not saving any universe - RIPLEY What's wrong? I thought you were a killer ... DILLON I want to get this thing - I need you to do it - if -it won't kill you then maybe that helps us fight it. She looks at him - frustrated ... DILLON Otherwise, fuck you. Go kill yourself. RIPLEY We knock its ass off, then you kill me? 1/2/91 - W.H., D.G. 77 100CONT 100 CONT DILLON No problem. Quick, painless, easy. Tears the axe back out of the wall -- 101 INT. CELL BLOCK 101 All remaining prisoners assembled. Aaron, off to one side, drinking a coke. Dillon and Ripley at the center -- DILLON This is the choice. You die sitting here on your ass, or maybe you die out there -- but at least we take a shot at killing it. We owe it one. It's fucked us over. Maybe we get even for the others. Now how do you want it? MORSE What the fuck are you takin’ about? DILLON Killin’ that big mother fucker. AARON Hold it -There's a rescue team on the way - why don't -we just sit it out? RIPLEY Rescue team for who? AARON For us. RIPLEY Bull shit. All they want's the beast. You know that -- AARON I don't give a damn what they want. They aren't gonna kill us - RIPLEY I'm not so sure. AARON Come on - they're gonna take us home. DILLON They ain't gonna take us home. 1/2/91 - W.H., D.G. 78 101 CONT 101 CONT MORSE That still doesn't mean we should go out and fight it – Jesus Christ, give me a break. AARON You guys got to be fucking nuts. I got a wife. I got a kid. I’m going home. DILLON Nobody gives a shit about you, 85. You are not one of us. You are not a believer. You are just a company man. AARON That’s right - I'm a company man and not some fucking criminal. You keep telling me how dumb I am, but I'm smart enough, not to have a life sentence on this rock, and I’m smart enough to wait for some fire-power to show up before we go out and fight the thing. DILLON Right. Okay. You just sit here on your ass. It's fine. MORSE How about if I sit here on my ass? DILLON No problem. I forgot - You're the guy that’s got a deal with God to live forever ... And the rest of you pussies can sit it out too. Me and her -: we'll do all the fighting. MORSE Okay - I’m with you. I want it to die. I hate the fucker -it killed my friends too. But why can't we wait a few hours and have the fuckin' company with guns on our side? Why the shit do we gave to make some sucking suicide run? RIPLEY Because they won't kill it. They may kill you for just having seen it, but they won’t kill it. AARON That’s crazy. Just horse shit. They won't kill us. 1/2/91 W.H., D.G. 79 101 CONT 101 CONT RIPLEY The first time they heard about this thing, it was crew expendable. The second time they sent some marines -- they were expendable – what makes you think they’re gonna care about a bunch of double Y-chromos at the back end of space? Do you really think they're gonna let you interfere with weapons research? They think you're crud. They don't give a damn about one friend of yours that died. Not one. PRISONER You got some kind of plan? DILLON This is a leadworks, isn't it? All we have to do is get the fuckin' beast into the mould, pour hot lead on it. Dillon kicks a stool across the corridor DILLON You're all gonna die, only question is when. This is as good a place to take your first step to heaven as any. It's ours. It ain't much, but it's our. Only question is how you check out. Now, you want it on your feet, or on your knees beggin'? I ain't much for beggin '. Nobody ever gave me nothin’. So I say, fuck it, let’s fight. CAMERA begins panning among faces of the remaining prisoners: PRISONER 1 Yeah. Okay. I'm in. PRISONER 2 Why not? We ain't got nothin' to lose. PRISONER 3 Yeah. PRISONER 4 Okay. PRISONER 5 Right. PRISONER 6 I'm in. PRISONER 7 Let's kick its fuckin' ass. 31/l/91 - W.H., D.G. 80 101 CONT 101 CONT PRISONER 8 (smile) You hold it, I’ll kick it. PRISONER 9 (smile) Right. CAMERA: stopping on Morse: MORSE Fuck it. Let's go for it. 102 INT. LEAD WORKS - VENT TUNNEL - 102 BAIT AND CHASE - Darkness . By torch light. Morse holds up two huge old electric switches, tries to connect them -- they power main corridor and doors --. but they won't reach. He pull, still inches short. He pauses, inspects wires, scratches head, when -From below -- a hand reaches up from an air vent, grabs his coat Morse starts. David's angry face pops out - DAVID Hurry the fuck up! MORSE Bastard. 103 MAIN CORRIDOR 103 Lights flicker on. Some bulbs bum out. A dull patchy glow. Pools of darkness. 104 ALCOVE 104 Troy watches control panel lights flicker on - except for one. Thumps panel, light pops on. Takes wires, ties with chewing gum -- Troy checks piston control lever. Turns, and with no confidence whatsoever gives a thumbs up to - 105 ANOTHER ALCOVE 105 Ripley and Dillon, waiting. She looks at Troy. RIPLEY When was the last time you used this thing? DILLON We fired it up five, six years ago - RIPLEY Am you sure the piston’s working? 5/3/91 80A 105 CONT 105 CONT DILLON Nothin's for sure... Includin' you. Remember, we trap it here first. We pull that lever ... start the piston, then the piston will push the mother fucker right into the mould. End of his ass. End of story. RIPLEY What if someone screws up? DILLON Then we're fucked. We've got one chance. One shot at this, that's all. You'll never have time to reset it. Remember, when you pull the lever for a few seconds -- you're gonna be trapped in here with that fucking thing. RIPLEY I'll do it. You guys don't drop the ball. I won't. DILLON Sister, you'd better be right about that thing not wantin you. Because if it wants out. that's how it's gonna go. RIPLEY Where're you gonna be? DILLON I’ll be around RIPLEY What about the others. Where are they? DILLON Praying. 106 CORRIDOR 106 A prisoner headbutts the wall - JUDE Let’s lunch this thing! He whirls round, smack elbows with Kevin - 107 AT THE END OF A CORRIDOR 107 Their whoops echo round -- David moves out of hiding, torch aloft, listening to the echoes. Head turns, trying to locate the source direction -- 5/3/91 80B 107 CONT 107 CONT DAVID For fuck's sake -- sssh! Echoes -- 'Fuck-sssh, fuck.sssh...' 108 DOWN THE CORRIDOR 108 Gregor peers out from hiding place, torch aloft. sees William deep in prayer, interrupts him -- GREGOR Hey, Willie? You believe in this heaven shit. WILLIAM I dunno. GREGOR Me neither. WILLIAM Fuck it. What else we gonna believe in? Bit late, now we're stuck here. GREGOR Yeah. ain't that the truth... Well hey, what the fuck -- right? He laughs... His laughter hits the walls, booms back, amplified, distorted..,. 109 CORRIDORS 109 Empty corridors. The laughter echoes. Then ssshing. More laughter. And more sssshing, reverberating sound - Disembodied voices. KEVIN Ssssh. JUDE (laughing) I can’t - KEVIN Ssssshh. MORSE Stop going ssssh--! DAVID For fucks sake - (etc.) Track down the maze. Twisting like a snake thru narrow, restricted corridors. 5/3/91 81 109 CONT 109 CONT Claustrophobia. Each prisoner isolated. Can't see round comers. Low-angle track, revealing air vents, wires and pipe work like entrails, as -- Schoolboy laughter mingles with nervous bravura. 109A ALCOVE 109A The echoes reach Ripley, waiting - 110 CORRIDOR 110 Morse gets nervous. Presses a large button to activate a door. A whine, the door opens – jams before closing. Morse gulps. Leans his head warily thru the jammed door MORSE Hey, guys…? Hold it, hold it I don't know-about this shit. Maybe we should rethink this. I mean, my fuckin' door ain’t workin' --... Guys....? Listens for response. Nobody there. 11OA ALONG THE CORRIDOR 110A A muffled echo reverberates. Prisoners turn to one another. GREGOR What the fuck's he saying? WILLIAM Shit I dunno. 111 FURTHER ALONG THE CORRIDOR 111 Kevin pokes his head out carrying a flare, stops. KEVIN Hey, you hear something? I heard Morse. Sounded kinda… A scream reverberates down corridor - Moves forward into POV of the Alien - devouring Vincent Kevin's face falls, a warrior cry, the creature turns, and - KEVIN Come and get me, you fucker -- With lighting speed the Alien charges him, gets him in his sights – Alien POV – sudden acceleration, closes in, scuttles round bends like a laser-guided spider – Kevin breathes hard, hauls ass --- But feels the whoosh of acceleration behind him, closing as – The Alien gains momentum – Kevin reaches out for the door, trips on the steel, hand slams the switch, and – BAM! The huge steel door slams shut in the Alien’s face -- †††††††††††††഍ऌ †††††††††††††ഠ఍㔉㌯ †††††††††††††഍ఉ㔯㌯ 5/3/91 81A 111B ON THE OTHER SIDE OF THE DOOR 111B Kevin cowers as -- CRASH !! -- the thick steel buckles as the Alien crashes into it, making a huge dent - KEVIN Door C9 - closed. 112 ON THE ALIEN'S SIDE OF THE CORRIDOR 112 From the other end, prisoner Jude appears, flare held aloft, taunting - JUDE Yoo-hoo. Hey, fuckface. come and get me. Take your best shot - The Alien swings round. Sees Jude. Who starts to run, as -- The Alien moves real fast onto the wall. whips round a comer And -- from Alien's POV - gives chase. Swinging left to right, up and down, moving very. very fast, onto the walls , down to the end of the corridor – As Jude slips out of sight, until - still from Alien POV - it travels over the corner, cranes down just in time to see - Jude escape thru the door- The Alien rushes towards him but – BAM! The door slams shut in its face. ON THE OTHER SIDE OF THE DOOR Jude gasps, out of breath -- JUDE Over in the east wing - door B7 - safe - THROUGH THE WINDOW IN THE DOOR - An Alien foreleg smashes through the glass, reaching out for him -- Jude slides down the wall, scrambles backwards, screaming, evading the frantic, scrabbling claw hand -- 112A IN THE CORRIDORS 112A The lights flicker and dim. A couple flare up, mini-fireworks. Then a duller glow. Semi-darkness descends. 113 MAIN CORRIDOR 113 From the corridors, overlapping voices reach Dillon DILLON It’s started. 5/3/91 81B 113A SIDE CORRIDORS 113A IN ONE SECTOR -- Morse running down corridor... MORSE It's in channel B must be heading over channel A 113B SIDE CORRIDORS 113B IN ANOTHIER SECTOR- From the opposite direction - Gregor racing down corridor, William emerging behind him GREGOR I heard it -- channel E, damnit WILLIAM Did you say B --? GREGOR No. E - WILLIAM We're supposed to stay - GREGOR Move your fucking ass – They race past at breakneck speed - 113C SIDE CORRIDORS 113C IN ANOTHER SECTOR -- Jude and Kevin running down corridors - meet at an intersection -- breathless scared - JUDE You too KEVIN Yeah - JUDE OK - over to E - everybody - KEVIN Where the fuck’s E--? 5/3/91 * 82 113C CONT' 113CCONT JUDE This way -- Get a fuckin' move on -- 113D SIDE CORRIDORS 113D IN ANOTHER SECTOR -- David on his own, running down the corridors -- tries to find the others Comes across the remains of Vincent - DAVID Kevin -- ? Gregor - ? Morse --? I found Vincent— (No response) – Let’s shut this fucker down -- Heads off into darker section of maze - 114 MAIN CORRIDOR 114 Dillon looks over, nods to Troy. DILLON Help them. Troy exits into maze with map. Eric stays guard - Glances up at Ripley. She checks the lever. Another light gone. She thumps the panel It flickers on … A couple’s A couple of guys cross the main corridor - Gregor in one direction – Then Morse going the opposite way - RIPLEY Where the fuck is he going? Why don't they stick to the plan--? DILLON You're immune. They're not. RIPLEY Well, what the hell are they doin? DILLON Improvising. Her hand goes to the piston lever, Ripley sees Eric staring back at her, sweating -- 114B CUT 114B 115 CORRIDOR 115 David stumbles blindly, through a dark corridor, flare aloft - DAVID Here, kitty, kitty, kitty ... Here… Till be emerges from the dark, pulls up short when he sees -- 5/3/91 82A 115 CONT 115 CONT The Alien down the corridor at Jude's door. He steadies himself. cocks his arm, ready to throw -When the Alien sees him. As David throws DAVID Hey, pussycat -- playtime! The burning flare flies across the corridor, clattering ineffectually to the floor, as - The Alien crawls crab-like onto the ceiling, scuttles along upside down so that - From its POV - its prey, David, seems to be running along the ceiling - David runs -- the Allen gains, spiraling round the corridor like a corkscrew, keeping him in his sights - until - Round a comer, David slips out of sight, races towards the door – dives through – slams the vertical close button-- But the door falters - closes slowly - agonizingly-slowly, as - BAM!! The Alien slams into the door at fall speed. Metal buckles. Momentary concussion. A moment's silence. Until - Be door whine jerks on repeat, and - An Alien paw punches through the gap in the door, grabbing at David’s leg - David leaps onto a ledge, screaming - As the Alien limbs creep through, flailing hideously, as the door jerks down. down, down. And The Alien foreleg withdraws. Silence. Only David’s whimpering. DAVID Door 3, F channel. Shut... I hope. 115B SIDE CORRIDORS 115B Troy running in direction of attack, hears voices 115C SIDE CORRIDORS 115C Morse zigzagging down corridor, nobody in sight - 5/3/91 82B 115C CONT 115C CONT MORSE Kevin? Gregor? Where the fuck are you? K - L-- M-- all locked -- I'm back in A -- 115D SIDE CORRIDORS 115D Gregor running, opposite direction -- GREGOR V channel secure - P channel holding A LONG WAY BEHIND HIM William, now fretting, losing his way - WILLIAM Did you say P - or D? - For fuck's sakes - UP AHEAD - Gregor turning round, shouting back to him - GREGOR Shut the fuck up -- Move -! 115E SIDE CORRIDORS 115E Kevin now unsure of directions, doubling back on himself - KEVIN Shit. I’m in R – That’s safe -- isn’t it? - 115F SIDE CORRIDORS - 115F Jude running like crazy - JUDE You forgot man. R leads back into F - I’m movin’ through F right now -gonna shut it down - 115G SIDE CORRIDORS 115G Troy, disorientated, stops at an intersection - TROY F channel? Where the fuck -? There ain't no fuckin’ F channel - Troy runs down the corridor - hesitates - turns down the wrong corridor – into the creature’s path -- Flash cut - Troy Is face - 5/3/91 83 115G CONT 115G CONT Flash cut -- the Alien rearing up 116 MAIN CORRIDOR - 116 Dillon and Ripley hear screams, then nothing -- DILLON ... Morse? ..Kevin? ... Gregor? RIPLEY What's going on back there? Dillon glances over at Ripley by the piston control DILLON All they have to do is run down the damn corridors -- stay here - Dillon moves off with his axe. 116A MAIN CORRIDOR / SIDE CORRIDOR -- 116A Dillon peeks out to check. No bug. No people. No nothing. Only voices from the corridors. Echoes from the catacombs, now panicking, quickly hushed - Ripley, Dillon, Eric listen out - ERIC Where in hell is it --? Dillon just looks at him. 116B SIDE CORRIDORS 116B Aliens POV - scuttling through corridors - Searching, searching -- Then up - into the air vents - disappears – 117 AT THE PLEXIGLASS WINDOW - 117 Through the glass, we see David peering round, scared, isolated. Hears a noise - rushes to window - Nose pressed against the glass. Looks up - DAVID (voice muffled) I’ve lost him. Don't know where the fucking thing is. Not gonna open the door - I think it went up the fucking air vent - 5/3/91 83A 117 CONT 117 CONT As the Alien drops down behind him. David turns slowly round, realizes something, too late -- The Alien strikes -- thru the window, we see -- jaws bared Back of his head explodes thru the glass David wrenched up and out of frame Blood showers down. The door bursts open. Blood and gore spills out into the corridor. 118 MAIN CORRIDOR 118 Ripley at the piston, listens, waits, as the echoes die down - Silence. Eric, growing panic -- moves up Ripley leaves alcove, moves down -- senses his fear – eyes locked like gunfighters in a leone shoot-out 119 CUT 119 120 SCENE MOVED 120 120A SIDE CORRIDOR 120A Dillon moving down corridors -- finds Troy's remains -- heads back the way be came - 120B CORRIDOR 120B Morse and Jude run down a corridor, Morse's flare burning aloft, smoke streaming behind them, till - Jude suddenly slips in the dark noes down hard on the floor, ass flat. He sits unceremoniously, feeling around him, something warm and sticky - JUDE For fuck's sake - yuck. Morse brings his flare down to illuminate, as Jude picks up a handful of something really gross. He stares at it as Morse recoils in horror. Jude looks puzzled up at Morse, back at the guts, then screams - Stare each other - SCREAM!! 121 MAIN CORRIDOR 121 &122 &122 Ripley hears the screams reverberating - Eric runs back to the lever -- Ripley runs after him In the background, the Alien tears past across the corridor Eric starts to pull the lever - Ripley grabs his hand - 5/3/91 83B 121 & 122 CONT 121 & 122 CONT RIPLEY Wait!! She prises his fingers off pushes him away -- Eric slumps down exhausted 122B CUT 122B 123 FROM AN AIR VENT 123 From above, we see Kevin walk slowly past holding his torch aloft. He pauses, hears a noise - Looks round. Nothing. We tilt down, then up to reveal -- The Alien behind him in the air vent (was its POV)--- Forelegs dart down - snatch Kevin up -- it bites – blood spatters, as -- DOWN THE CORRIDOR - Dillon rushes in from the end of the corridor -- sees the Alien clutching Kevin in his death throes -- reaches him – throws arms round his legs -- grabs writhing body -- The body drops with a thud. - Dillon drags him away - 124 MAIN CORRIDOR / ALCOVE 124. Ripley, at the piston control watches Dillon drag Kevin into the main corridor - She sees Eric across from her, slumped - leaves her post - 125 MAIN CORRIDOR 125 Ripley goes to help Dillon with Kevin's body - ravaged but still alive – jugular blood spurting Ripley removes jacket, wraps it round his neck - Kevin dies in Dillon’s arms - starts a prayer - DILLON No death, only - 126 MAIN CORRIDOR 126 Suddenly the Alien emerges from the middle side entrance-- poking out into the hall -- 127 MAIN CORRIDOR - 127 Ripley And Dillon back away - Eric hides - Dillon tries to protect Kevin’s body - 5/3/91 94 127 CONT 127 CONT RIPLEY Leave the body. Draw it in -- Ripley and Dillon leave the body and move back -- The Alien leaps from the door, to the abandoned body of Kevin -pounces -- devours -- dead meat - Ripley nods to Eric to pull the lever -- 128 MAIN CORRIDOR 128 Eric moves across to the alcove -- slams the lever down, and the piston jerks into motion, overhead lights flashing -- All hell let loose -- an ear-splitting noise -- a howling wind and blasting heat as the air is sucked out of the hall -- And the furnace starts up, thundering and shaking - But the Alien vanishes RIPLEY Where the hell's it gone? DILLON Shit - it must be behind the fucking piston - RIPLEY Behind it -? DILLON Seal the doors - we gotta get it back - 129 CUT 129 130 MOVED 130 131 MOVED 131 132 (OLD) CUT 132 132 (NEW) SIDE CORRIDORS - 132 Dillon races down corridors - DILLON Jude --! Morse --! 5/3/91 84A 132B SIDE CORRIDORS 132B Ripley running -- RIPLEY Eric --! William -- ! Turns a comer, suddenly comes across the remains of Eric and William -- 132C (FORMERLY 120) CORRIDOR 132C Morse creeps down his corridor. Hears a noise. Checks the direction -- nothing them. starts to retreat. Moves backwards, round a comer, ears peeled for the echoes of footsteps, until BUMP! Morse is hit from behind by Jude, carrying a pair of scissors, point out, like a weapon. Morse freaks out - MORSE What the --? Morse and Jude stare at one another like Laurel and Hardy – Morse grabs the scissors, points up - MORSE Not like this. (He turns them round. points now facing inwards)... Like this, moron. Morse cuffs Jude round the ear -- They separate, opposite directions -- 133 (OLD) CUT 133 133 (NEW) (FORMERLY 130) STEEL DOOR 133 The piston grinds past the rear air-lock window port One down. two to go. 134 MAIN CORRIDOR 134 Dillon runs back to main corridor - screams -- DILLON Jude! Jude! 135 SIDE CORRIDOR 135 Jude hears Dillon - But in background the Alien suddenly appears - 136 CUT 136 5/3/91 84B 137 SIDE CORRIDOR 137 From its POV -- the Alien runs after Jude -- gets him in its sights - Jude runs for his life -- the Alien gains, as -- 138 SIDE CORRIDOR 138 Ripley running back -- A lurch of nausea. Ripley doubles up in pain. She stops, backs up against the wall. Immobilished -- 139 MAINCORRIDOR 139 Dillon appears in doorway at end of corridor, goading Jude on - DILLON Don't look back - As fast as you fucking can - As Jude runs for his life from The Alien. looking down - Alien POV -- right on top of him 140 MAIN CORRIDOR 140 As Dillon gets ready to spring the trap, leaps back into the main corridor The piston a preaching in the background -- 140B MOVED 140B 141 SIDE CORRIDOR / DOOR JAMB 141 At the entrance. door, Jude is suddenly snatched into the air by the Allen - The door slams shut - Blood explodes against the door - Cascading thru onto - 142 MAIN CORRIDOR 142 Dillon. sensing defeat as - 142A BEHIND PISTON 142A Ripley shutting down doors – turns -- runs back - hears - 142B (FORMERLY 131) MAIN CORRIDOR 142B Suddenly piston grinds to a halt - only high-pitched whining - FROM THE MAIN CORRIDOR Dillon watches, tense – FROM A SIDE CORRIDOR 5/3/91 85 142B CONT 142B CONT RIPLEY Oh, fuck – Seconds tick by -- sparks -- sickening whiffing - Piston lurches forward again - 142C (FORMERLY 140B) STEEL DOOR 142C The piston grinds past the middle air-lock window - Two down, one to go. 143 SIDE CORRIDOR 143 Gregor screams for help, but nobody hears him - He races down the corridor, ricocheting from comer to comer like a pinball until -- BLAM! He runs smack into - another prisoner, Morse. They collide. Pick themselves up. Stare at one another in confusion. Tears of nervous laughter, until - Faster than an express train - The Alien - from its POV - swings over from on top, races down, flashes past Morse in a blur.-and - Smashes against Gregor, using its head like a hammer - It rips his body apart like a toy, and - Gregor's body falls like pulp in front of Morse, blood showering over him, as be scrambles away - Helpless to make himself heard above the noise - Screaming for mercy, as - Gregor’s body is sucked up into the overhead airduct by the Alien, while -- Morse crawls away ... comes to a pair of feet - Ripley standing there - Throws her flare at the Alien as it tries to duck into the airvent -- the thing drops Gregor’s ravaged body -- RIPLEY Come on. you bastard! The Alien coils up against a wall. 5/3/91 85A 143 CONT 143 CONT Ripley advances, the creature cringes and spits -- RIPLEY Come on. I got what you want. Follow me ... I want to show you something. Ripley screams at it, the Alien recoils, flicking its tail out Tail lashes Ripley -- whipping, slashing, cutting - She tries to fend it off -- grab it -. limbs flailing, when - Dillon arrives in the doorway, as Ripley turns, shouts -- RIPLEY (to Dillon) Get back! Dillon enters, sees the frightened beast – The creature roars at him, but Ripley shields him – Dillon sees, realizes -- grabs Ripley, holds her hostage – The Alien sees the threat, flips out -- Dillon pulls Ripley back with him into the main corridor, as – The Alien scuttles to camera upside down, into – 144 MAIN CORRIDOR 144. The noise still thunders, as - At the entrance to the mould, Dillon calls out to the Alien - DILLON In here -! Dillon sees the Alien on the ceiling, leap over the door jamb. RIPLEY (to Dillon) Shut it! Now! Dillon slams the door in front of her, imprisoning them both in main corridor with the Alien - Behind it appears Morse - MORSE Get out ! Get the fuck out now - ! Ripley shouts over to Morse - 513/91 85B 144 CONT 144 CONT RIPLEY Close the door --! Morse hesitates -- The creature turns, goes for Morse -- RIPLEY (to Morse) Now! 144B SIDE CORRIDOR 144B Morse slams his door shut, sealing them in .He stares at them -- still alive -- thru the glass - Then sees the piston grind slowly past the last air-lock window, obscuring, then blocking them from view Three down, no escape. He turns and runs - 144C MAIN CORRIDOR 144C Near the mould - the piston crunches into the Alien - Ripley and Dillon am trapped -- no choice - they have to enter the mould - 145 MAIN CORRIDOR 145 As the piston moves forward, the Alien tries to reach its leg around -it - No space – too tight -- The piston pushes it towards the mould - 146 TOP OF GANTRY 146 Up, up, up -- Morse climbs the ladder up to the crane cab - 147 INSIDE THE MOULD 147 BLAM! The piston wedges them into the mould - Locking the Alien - and Ripley and Dillon - inside 31/1/91 - W.H., D.G. 86 148 EXT. SURFACE OF PLANET FURY - NIGHT 148* The backwash of huge rocket engines. A Wayland-Yutani rescue craft touches down. 149 EXT. ENTRANCE TO FURY COMPLEX THRU 149* WINDOW PORT - AARON'S P.O.V. The company men arrive. Guns ready - 150 INT. BUG WASH - AARON 150** A broad smile. AARON I knew they'd make it -- Over here! Hey, this way! He begins to open the latch mechanism -- suddenly - The door EXPLODES inward ... Six Commandos and two medical officers enter. The Commando team covers the area with pulse rifles. The Captain is a dead ringer for the Android Bishop. Aaron snaps him a military salute - AARON Right, sir. Warder Aaron - 137512 - BISHOP II Where is Lieutenant Ripley. Is she still alive? AARON Right. sir - If she's alive, she's in the mould. They're all in the leadworks with the beast. sir. Absolute madness Wouldn’t wait. I tried to tell 'em ... BISHOP II You've seen this beast? AARON Right. sir. Horrible. Unbelievable. She's got one inside her. BISHOP II We know that. He nods to the Commandos - they blast Aaron with their pulse rifles. He stares unbelievingly -- then falls backward. 31/l/91 - W,H.. D.G. 87** 151 INT. LEADWORKS - BAIT AND CHASE - 151 CONCLUSION then - Ripley and Dillon continue backing into the inner-mould -- she glances upward ... then - overhead - she can see the gantry moving away 152 her look goes to the entrance as the Alien appears … 153 RIPLEY Climb! It's your only chance! DILLON What about you! RIPLEY It won't kill me! DILLON Bull shit! There's gonna be ten tons of hot lead in here! RIPLEY Good! I keep tellin' you I want to die! DILLON Yeah - but I don't! then - mould - the Alien moves closer ... RIPLEY Now's your chance - Get going! DILLON I’m taking you with me! then - - grabs her - starts to climb ... then - Dillon and Ripley climbing upward ... then - the Alien - looks up - starts to follow -- 154 then - top of the mould - Ripley climbs out - secures herself on the ledge - reaches to down to help Dillon 154. 155. then - Dillon trying to reach her - The Alien advancing fast - closing in -- 155. then - the beast’s inner jaw slides out … Dillon kicks down, slashes with his axe 156. then -she grabs at the nearby Pipes ... starts to climb through them 156. 157. then - Dillon fighting the beast -- 157 155. then - Ripley - she looks back at Morse Moving the gantry/crane 158 159. then - top of observation platform - Bishop II and the company men appear, rising up from the circular 159 steps – they stride along the platform -- 160. then - the molten lead bucket swinging overhead.... 160 161. then - Bishop II ---walks to edge of the platform -. sees: 161. the gantry crane - the mould - the furnace - 162. then - Morse operating the levers 163. then - as the bucket tips - Bishop II shouting ... 163 31/l/91 - W.H.. D.G. 88** 163CONT 163CONT. BISHOP II Don't do it! No! 164. then - the Alien - now at the top of the mould ... close to Dillon and Ripley 164 165. then - Ripley watches. as the lead pours past her and Dillon in a torrent – streaming into the mould 165 166. then - the Alien screams, rolls within the molten lead----falls back – swept down and away by the fiery metal … 166 167 then - Bishop gazes down ... 167 168. then - a smiling Morse ... 168 MORSE Eat shit -- you miserable fucker! 169. then - Ripley, Dillon - stare down at the smoking lead within the mould - the beast has vanished … 169 170. then - she sees Bishop II and the company men across the way - 170 RIPLEY They’re here! as Dillon looks off at Bishop II Ripley grabs him - RIPLEY Keep your promise! DILLON You mean it! RIPLEY Yes! I’ve got it inside me! Quit fucking around! he puts his hands around her throat - hesitates - RIPLEY Do it! DILLON I can’t, I can't do it. he looks at her, almost pleadingly— his face turns to horror as he is suddenly pulled backward – then - Dillon - the Alien. Burning and smoking, has reappeared in the mould - it snatches Dillon away … pulls him under the molten lead - then - lip of the mould - the Alien’s head appears then - Ripley reaches out for one of the nearby chains then - the Alien begins to climb out of the mould - then - Ripley puling on the chain - then - large water duct - the chain pulls open the seal - water gushes out 171. then - Ripley being drenched - hanging on for her life - the water cascades -- 171 172. then - the freezing water hits the Alien - it's head explodes!! 172 then - a huge explosion! the entire mould goes up -- 20/2/91 89 173 then - Ripley still on the chain - buffeted by the blast -- 173 174 then - top of gantry - Morse - also shaken by the concussion -- 174 175 then - the blast slowly subsides ... 175 176 then - Ripley - exhausted ... swinging on the heavy chain – the gantry lurches toward her -- 176 Morse reaching out to help her on board -- 177 OBSERVATION PLATFORM 177 Bishop II and his company watching 178 ON THE GANTRY 178 Dragging herself upright, Ripley grabs the railing and glances down at the furnace Its cross-like shape blurs, slipping in and out of focus -- Suddenly , she's sick again. Turning she sees the Company Men come up the stairs from below , led by Aaron RIPLEY Don't come any closer. Stay where you are. AARON Wait. They're here to help. Ripley looks at Aaron's simple, trusting face. He steps aside. The others move in behind him. A hand raised to stop them. Another wave of nausea overcomes Ripley. Unsure of herself, as - From the shadows, steps Bishop II. Our first sight -- same as the Droid Ripley stares at him. She doesn't know what she's seeing. RIPLEY Bishop? He stands still. The others move in behind them. Bishop II holds up his hand, stops them Another wave of nausea. BISHOP II I just want to help you. We're all on the same side. RIPLEY No more bullshit. I just felt the damn thing move. Halting Bishop II watches her step farther out on the gantry - Something horrible hits Ripley in the chest, knocking the wind out of her. Struggling for breath, she never takes her eyes off Bishop II 2O/2/91 - 89A 89A 178 CONT 178 CONT BISHOP II You know who I am. He gives her a small, comforting smile .. RIPLEY Yeah. A droid. Same model as Bishop. Sent by the fucking Company. 2O/2/91 90 178CONT 178CONT BISHOP II I'm not the Bishop android. I designed it. I'm the prototype. I'm very human. I was sent here to show you a friendly face – and to demonstrate how important you are to us. To me. Please come down. Bishop II holds out a hand. RIPLEY You just want to take it back. BISHOP II No. We want to take you home. We don't care what happens to it. We know what you've been through. You've shown great courage RIPLEY Bullshit! BISHOP II You're wrong. We want to help. RIPLEY What does that mean? BISHOP II We want to take the thing out of you. RIPLEY And keep it. BISHOP II Destroy it. Ripley looks at him. She wants to believe him. BISHOP II We admit we made mistakes. We didn't know. But we can make it up to you. All the potential lost, all the time, you can still have children. We’ll buy out your contract. Everything you deserve. RIPLEY (as if believing) You’re not going to take it back? BISHOP II No. We realize now. You're right. But time is important. Let us deal with the malignancy. We’ve got a surgery room set up on the rescue ship – ready to go. 2O/2/91 91 178 CONT 178 CONT A Company man steps forward. COMPANY MAN #1 It's very quick. Painless.. A couple of incisions. You'll be out for two hours. RIPLEY What guarantee do I have, once you've taken this thing out you'll destroy it? Bishop II steps forward. Face to face with Ripley. BISHOP II You're just going to have to trust me. Bishop II holds out his hand. A gesture of friendship. BISHOP II Trust me.. Please. We only want to help you. Ripley thinks. Takes her time. Looks up at Aaron. And Morse. And back at Bishop II. Then - Slides the gate between them RIPLEY No ----- Ripley nods at Morse, who hits the control panel The giant crane starts to move, heading out over the furnace. Bishop II lunges, reaches out, grabbing Ripley. Ripley breaks free, starts moving out over the furnace. The Company Troops raise their pulse rifles – BLAM! Shoot at Morse – takes a bullet in shoulder. Disappears behind control panel – Aaron starts. Picks up a pipe from the debris -- AARON You fucking Droid --!! And smashes Bishop II in the head. Bishop II writhes on the floor. The troops fire on Aaron, shoot him down. Bishop II turns. No wires. No milk. Real blood. BISHOP II I am not a DROIDDDDDDD!!!!1. I Ripley clutches her chest - RIPLEY It’s moving. 2O/2/91 91A 91A 178 CONT 178 CONT The Company Men rush to Bishop II BISHOP II You owe it to us. You owe it to yourself. Ripley smiles like the Mona Lisa ... RIPLEY No way ... Then her face distorts in pain. Her chest bulges. 20/2/91 92 178 CONT. 178CONT RIPLEY It's too late! BISHOP II It's not - The Alien Embryo bursts out! She catches it! Ripley holds it, the tiny beast kicking in her hands! RIPLEY Goodbye – Extends it above her head. Choking it -- fighting – killing it – BISHOP II Nooooo!!!! Still shaking the EMBRYO - She steps off the platform and disappears into the inferno. Down ... Down into the pure white flame. A moment of ecstasy. A moment of triumph. Morse on the gantry, sees Ripley fall MORSE Those who am dead are not dead. They have moved up. -- moved higher.. The flames engulf her. Ripples slowly disappear. Calm restored. FADE OUT FADE UP to -- 179 INT. WEYLAND-YUTANI WORK CORRECTIONAL 179 FACILITY - FURY 161 A complex maze of rooms and corridors …. No sign of life. Assembly Hall – empty. Mess Hall – empty. Furnace – empty. Dust particles floating…. 180 INT. BUGWASH 180 The Company Men shutting the place up. Morse, bandaged, turns. A last lingering look Then - Doors slam shut. 181 INT ANDREW’ OFFICE 181 A weird plastic bird drinks from a Styrofoam cup. 2O/2/91 92A 92A 182 INT. CONE OF SILENCE 182 In the dark the EEV sits -- a burnt out husk 183 INT. EEV. 183 Empty/ Lifeless. A broken glass tube where someone once slept. Someone who made a sacrifice. Someone who was victorious. Then -- over the desolation A ghostly echo... White noise from deep space... Then a crackling message, growing louder… A faint voice audible through static from a badly tuned radio... Only her last words – from ‘Alien I’- emerging clearly RIPLEY This is Ripley, last surviving. member of The Nostromo, signing off... Voice fades out To silence. FADE. THE END

Email: briand@bserv.com