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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 SECURITY WORK-CORRECMONAL
FACILITY
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
10a. then - the EEV hits the water with great velocity l0a
11. 11. 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.
lla. then - Ripley's floating face - the fetal Queen forces her jaws open -- disappears inside ... lla.
12. 12. 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 roomıs 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 everybodyıs best interests if the woman doesnıt 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. Whatıs 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.
Thereıs 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 itıs 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 gowned 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 Iım 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 didnıt 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, ainıt 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 animalıs back legs and begin to winch it over head.
FRANK
No problem. Never had any problem with the ladies.
Iıd say good day, my dear, how's it going, anything I could
do to be of service! - then Iıd 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.
Itıs-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, Iıll tell you. I don't mind the dark, I donıt mind the
bugs, I donıt 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)
Heıs 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...
ANDREWıS TABLE
Andrews watches Ripley as she moves to Dillon.
Not a happy look on Andrewsı 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
Thatıs 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 reptileıs 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 Iıll 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 Murphyıs 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 Murphyıs 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 Iım 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. Thatıs
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. Iıll 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.
Thereıs 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
Iıll 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? Thatıs 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 Iıll 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 didnıt need a medical
officer, I wouldnıt let you within light years of this operation.
CLEMENS
I'm very grateful.
ANDREWS
Keep your sarcasmıs 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 sheıs 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
Thatıs 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? Iım tryin to figure how big this
compartment is. I can't think with all the Goddamn noise
you're making.
RAINS
Youıre 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.
Thereıs 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.
Bishopıs 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. Bishopıs 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 Iıll never be top of the line again. Iıd rather be nothing.
RIPLEY
You're sure?
BISHOP
Do it for me, Ripley.
She pulls the wires.
Bishopıs 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 wasnıt 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 ... Weıll
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. Thatıs 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. Youıre fucked. Confined to the infirmary.
Quarantined. I think you'll be safe from any large
nasty beasts while youıre 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
Heıs gone catatonic.
Heıs wearing a primitive looking straightjacket.
CLEMENS
Thatıs 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, isnıt
it. Itıs 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
Iım sorry.
CLEMENS
About what happened? Yes, so am I. Iım 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
Whatıs coming down!? We got murder! We got rape!
We got brotherıs 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 Andrewsı 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 tryinı 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 youıre 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 itıs 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 prisonerıs 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 Juniorıs
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 ALIENıS 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 youıre 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 kiddinı? They aren't lunatics you know.
Theyıll 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 whatıs 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 Iıll 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. Heıs 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. Iıll 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. Iım 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 tellinı me they're comin' to take this thing away?
RIPLEY
Theyıll try. They donıt want to kill it. Weıve 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 couldnıt 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 Iım 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 thatıs 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 Iım 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
Thatıs 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 Ripleyıs 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
Iım 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 isnıt any place thatıs real safe
I say we stay here in the cell block. No overhead vents shafts.
If it comes in, itıs gotta be through the door. We post a guard
to let us know if itıs cominı. 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 checkinı
out. It's something. You got any better ideas?
A long silence.
DILLON
I'm tellinı 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
teamıll 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, itıll kill everything. We canıt let
the company come here. Theyıll try to take it back with them.
AARON
Fuck you. Iım sorry you got this thing inside you, lady, but I
want to get rescued. I donıt 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 Iıve 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
Nothinı 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
Iım 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
Iıve got one inside of me. The big one wonıt 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 canıt do what I
should so youıve got to help Youıve 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 itıs alive, youıre 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 takinı about?
DILLON
Killinı 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. Iım 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
Thatıs 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 Iım 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 thatıs 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 - Iım 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 wonıt kill it.
AARON
Thatıs 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 theyıre 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 nothinı. So I say, fuck it, letıs 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, Iıll 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 pistonıs 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
Iıll be around
RIPLEY
What about the others. Where are they?
DILLON
Praying.
106 CORRIDOR
106
A prisoner headbutts the wall -
JUDE
Letıs 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 canıt -
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 ainıt 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 Alienıs face --
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
Itıs 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 fuckıs 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) Letıs 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 coupleıs 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 Davidıs 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 Davidıs 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. Iım in R Thatıs safe -- isnıt it? -
115F SIDE CORRIDORS - 115F
Jude running like crazy -
JUDE
You forgot man. R leads back into F - Iım movinı 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 fuckinı F channel -
Troy runs down the corridor - hesitates - turns down the wrong corridor into the creatureıs 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)
Iıve 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 Dillonıs 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 Kevinıs 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 -
Gregorıs 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 Gregorıs 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 Wouldnıt
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 - Ripley and Dillon continue backing into the inner-mould -- she glances upward ...
152. 152. then - overhead - she can see the gantry moving away 152
then - overhead - she can see the gantry moving away 152
2. 2. 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
Iım 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 beastıs 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
Theyıre here!
as Dillon looks off at Bishop II Ripley grabs him -
RIPLEY
Keep your promise!
DILLON
You mean it!
RIPLEY
Yes! Iıve got it inside me! Quit fucking around!
he puts his hands around her throat - hesitates -
RIPLEY
Do it!
DILLON
I canıt, 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 Alienıs 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. Weıll buy out your contract. Everything
you deserve.
RIPLEY
(as if believing)
Youıre 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. Weıve 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
Itıs moving.
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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 ANDREWı OFFICE 181
A weird plastic bird drinks from a Styrofoam cup.
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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 Iı- emerging clearly
RIPLEY
This is Ripley, last surviving. member of The Nostromo,
signing off...
Voice fades out
To silence.
FADE.