edited & Re
September 23, 1985
July 23, 1994
** THIS DOCUMENT IS PROTECTED AGAINST ALTERATIONS **
1 SOMETIME IN THE FUTURE
Silent and endless. The stars shine like the love of God...cold and remote. Against them
a tiny chip of technology.
CLOSER: It is the NARCISSUS, lifeboat of the ill
fated star freighter Nostromo. Without
interior or running lights, it seems devoid of life. The ships computer comes to life,
reflecting off a
hypersleep capsule. The screen flashes PROXIMITY ALERT and the
coordinates of the intruder. The PING of a ranging RADAR grows louder, closer. A
shadow engulfs the Narcissus. The tiny ship is put into perspective as a MASSIVE DARK
HULL descends toward it.
2 INT. NARCISSUS
Dark and dormant as a crypt. Outside, massive metal forms CAN B
E SEEN descending
around the shuttle. Like the tolling of a bell, a BASSO PROFUNDO CLANG reverberates
through the hull.
CLOSE ON THE AIRLOCK DOOR: Light glares as a cutting torch bursts through the
ng with machine precision, cutting a hectagon path. The torch cuts off. The
door falls inward REVEALING a bizarre multi
armed figure. A ROBOT WELDER. It backs
away leaving the door clear.
A SCANNER then enters the shut
tle, supported by a metal arm. The large machine floats
in and begins scanning the room. Its blue laser playing over all the equipment. As it
passes over the hypersleep capsule, it stops and slowly scans it once more. The laser's
blue line contours a sleeping woman’s face. The scanner turns off its laser and backs out
of the room via the airlock door.
FIGURES enter, back
lit and ominous. THREE MEN in bio
isolation suits, carrying lights
and equipment. They approach the sarcophagus
like HYPERSLEEP CAPSULE, f.g. The
leader's gloved hand wipes at an opaque layer of dust on the canopy.
ANGLES INSIDE CAPSULE: The leader's light stabs in where the dust is wiped away,
illuminating the woman, her face in peaceful repose. WARRENT OFFICER RIPLEY, sole
survivor of the Nostromo. Nestled next to her is JONES, the ship's wayward cat.
goes our salvage, guys.
A EXT. SPACE / EARTH ORBIT
PANNING across the serene blue curve of the Earth AS SEEN from high orbit onto
GATEWAY STATION, a sprawling complex of modular orbital habitats. In f.g., a viewing
portal opens in a v
ertical wall of the MEDICAL SECTION.
3 INT. HOSPITAL ROOM
Harsh sunlight fills the room
from the viewing portal. A FEMALE MED
TECH turns from the
window. She crosses to a bed in which Ripley lies, looking wan, amid an array of arcane
white MEDICAL EQUIPMENT. The tech exudes practiced cheeriness, but Ripley isn't
How are we today?
Ripley begins to sit up. Her voice is barely audible.
Oh, better than yesterday at least.
Where am I?
tech comes around to the side of the bed and repositions Ripley's pillows for her.
Your safe. You’re at Gateway Station.
Been here a couple of days.
You were pretty groggy at first, but now you’re o
The tech glances up as the door opens o.s. She smiles, saved by the distraction.
Looks like you have a visitor.
A man crosses the room carrying a familiar large, orang
Jonesy! Come here!
Ignoring the man, she grabs the cat and hugs it to her. Jones seems none the worse for
wear and begins to purr.
Hey, come here. How are you, you stupid cat?
How are you? Where've you been?
The visitor sits beside the bed and Ripley finally notices him. He is thirty
ish and handsom
in a suit that looks executive or legal, the tie loosened with studied casualness. A smile
referred to as 'winning.'
3 CONTINUED: (2)
I guess you two have met, huh? I'm Burke. Carter Burke
I work for the company, but
don't let that fool you.
I'm really an okay guy. I'm glad to see you're feeling
better. They tell me that all the weakness and
disorientation should pass soon. That's just natural
side affects of such an unusually long hypersleep or
something like that.
What do you mean? How long was I out there?
Has no one discussed this with you, yet?
t, I mean. I don't recognize this place.
I know. Okay, it's just that this might be a shock to you.
How long? Please.
Ripley is stunned. She seems to deflate, her expression passing through amazement and
shock to realization of all she
had lost. Friends. Family. Her world.
That's the thing. You were out there for fifty
What happened was you had drifted right through the core
systems and it's really just blind luck that a deep
team found you when they
did. One in a thousand really.
I think you're just damned lucky to be alive, kiddo. You
could be floating out there forever.
While Burke is talk
ing, we have PUSHED INTO A TIGHT CLOSE
UP ON Jones, who begins
to hiss and struggle in Ripley's arms. WE GO INTO SUBTLE SLOW MOTION. The cat
leaps to the floor, bounding away. Ripley coughs suddenly, as if choking. Her expression
becomes one of dawning horror. Burke, unaware of what is coming, hands her a glass of
water from the nightstand. She slaps it away. It shatters with a SMASH on the floor.
Jones dives, yowling, under a cabinet. Burke hit
s a console button.
3 CONTINUED: (3)
Nurse! Please! Someone get in here now! NOW!!
Ripley grabs her chest, struggling as if she is strangling. The MED
TECH and a DOCTOR
run in for assistance.
Hold her... Hold
Burke and the doctor are holding Ripley's shoulders as she goes into convulsions. Ripley's
back arches in agony.
They try to restrain
her as she thrashes, knocking over equipment. Her EKG races like mad.
Jones, under the cabinet, hisses wide
Ripley looks down at her chest and pulls back her gown to reveal her stomach. She stares
at the SHAPE PUS
HING UP UNDER HER SKIN. Tearing itself out of her...
RIGHT ON RIPLEY, yelling, snapping UP INTO FRAME. Alone in the darkened hospital
room. She grasps for breath,
clutching pathetically at her chest. There is no demented
horror ripping itself out of her. Her eyes snap about wildly, slowly focusing on the reality of
her safety. Shuddering, bathed in sweat, she kneads her breastbone with the h
eel of her
hand and sobs.
A VIDEO MONITOR beside the bed snaps on. The MED
TECH'S face appears.
Bad dreams again? Want something to help you sleep?
No. I've slept enough.
The tech shrugs and switches off. Ripley hugs Jones to her and rocks with him like a child,
by the nightmare.
4 EXT. PARK
t streams in shafts through a stand of popular, beyond which a verdant meadow is
VISABLE. Backing away, we see that the forest is really a HIGH
ENVIRONMENTAL WALL SCREEN, a sort of cinerama video
loop. Ripley sits on a be
in what is an ATRIUM off the medical center. Just as she turns off the video, Burke ENTERS
in his usual mode, casual haste.
Hi. I'm sorry I'm late. I've been running behin
d all morning.
Is there any word about my daughter?
I really think we should worry about the hearing now.
Because we don't have a lot of time. I read your
deposition and it's great. If you just stick to that,
I think we'll be fine. The thing to reme
mber is that
there are going to be a lot of heavyweights in there.
You've got Feds and Interstellar Commerce Commission,
Colonial Administration, insurance company guys....
Do you have any news about my daughter?
Well, we did come up with some informat
ion. Why don't
we sit down. I was hoping to wait until after the inquest.
They sit down on the bench and he opens his briefcase, removing a sheet of printed hard
copy, including a tele
McClaren. Married name, I guess. Age:
six...and that was at time of her death. Which was
two years ago.
(looks at Ripley)
I'm real sorry.
ey studies the PHOTOGRAPH, stunned. The face of a woman in her mid
could be anybody. She tries to reconcile the face with the little girl she once knew.
She was cremated and
interred at Westlake Repository,
Little Chute, Wisconsin. No children.
4 CONTINUED: (2)
(a beat, then)
I promised her
I'd be home for her birthday.
Let's get one thing straight... Ripley can be one tough lady. But the terror, the loss, the
emptiness are, in this moment, over
whelming. She cries silently. Hugging the photograph
5 INT. CONFERENCE ROOM
Not cool. Not unemotional.
I don't understand this. We have been here for three hours.
How many different ways do you want me to tell the same
She faces the EIGHT MEMBERS of the board of inquiry at a long conference table. Gray
suits and grim faces. They aren't buying. Behind Ripley. on a large VIDEOSCREEN,
PARKER grins like a goon from his personal mugshot.
His file prints out next to it.
BRETT'S face and dossier replace it, and then the others as the scene continues... KANE,
LAMBERT, ASH the android traitor, DALLAS. VAN LEUWEN, the ICC representative,
steeples his fingers an
Look at it from our perspective, please. Please.
Now, you freely admit to detonating the engines of, and
thereby destroying, an M
Class star freighter. A rather
expensive piece of hardware...
two million in adjust
ed dollars. That's minus
payload, of course.
The lifeboat's flight recorder corroborates
of your account. And that, for reasons unknown, the
Nostromo set down on LV
426, an unsurveyed planet at
that time. That it resumed it's course and w
subsequently set for self
. For reasons
Not for reasons unknown. I tol
d you, we set down there
to get this thing, which destroyed my
crew and your expensive ship.
5 CONTINUED: (2)
Van Leuwen sighs with exasperation.
The analysis team, which went over the lifeboat, centimeter
by centimeter, found no physical evidence of the creature
Good! That's because I blew it out the goddamn airlock!
Like I said.
(to the ECA rep.)
Are there any species like this 'hostile organism' on
No. It's a rock. No indigenous life.
Ripley grits her teeth in frustration.
Did IQ's drop sharply while I was away? Maam, I already
said it was
indigenous. There was a derelict
ship. It wasn't
. Do you
get it. We homed in on it's be
And found something which has never been reported once
from over three hundred surveyed worlds... 'a creature...
(she reads from Ripley's statement)
... that gestates inside a living human host,' these are
your words, 'and has concentrated
acid for blood.'
That's right. Look, I can see where this is going. But,
I'm telling you these things exist.
Thank you, Officer Ripley. That will be all.
Please, you're not listening. Kane, the crew member.
Kane, who went in that ship
, said he saw thousands of
Thank you. That will be all.
5 CONTINUED: (3)
Goddamnit! That's not all! Because, if one of those
things gets down here, then that will be all! Then all
this... this bullshit you think is so important, you can
just kiss all that goo
The looks of the members at the table is enough to tell that what Ripley did wasn't smart.
The ECA REP. just stares at her and Burke leans back in his chair and rubs his head.
Ripley ignores them and stares at Van Le
uwen. She knows she had to say it, even if it
meant that she would be found guilty.
UP ON VAN LEUWEN as he reads the verdict of Ripley's inquiry. While he reads,
the camera switches back and forth between Ripley a
nd Van Leuwen.
It is a finding of this court inquiry that Warrant Officer
Ripley, NOC14472, has acted with questionable judgment,
and is unfit to hold a ICC license as a commercial flight officer.
Said license is hereby suspended indefinitely. Now, no
criminal charges will be filed against you at this time..and
you are released on your own recognizant for a six month
period of psychometric probation.
To include monthly
review by an ICC psychiatric technician.
All the while Van Leuwen reads, Ripley just stands and stares at him. Now that she has
heard the verdict, her eyes close i
n defeat. Her face is a mask of tightness.
(close on him)
These proceedings are closed.
dossier fills the scr
een behind her. At the bottom, a new entry prints out:
FILE STATUS: CLOSED.
UP ON RIPLEY as she stands with her arms crossed by the conference table.
Burke comes up.
That could have went better. Look, I think they...
She shrugs off Burke's restraining arm and catches up to Van
Leuwen as he and the other
representatives head for the rooms elevator.
5 CONTINUED: (4)
Why don't you just check out LV
Because I don't have to. There have been people there
for over twenty years and they never complained about
any hostile organism.
Van Leuwen steps toward the elevator with the others, but Ripley stops him.
What do you mean? What people?
Terraformers... planet engineers. They go in, set up these
big atmosphere processors
to make the air breathable.
Takes decades. It's what we call a shake 'n bake colony.
The door tries to close. Ripley holds it back. The other people are getting annoyed.
How many are there? How many colonists?
I don't know. Sixty, maybe seventy families.
Do you mind?
Ripley's hand slides off the door, strengthless. It closes in her face.
6 EXT. ALIEN LANDSCAPE
PANNING SLOWLY ACROSS a storm
blasted vista of tortured rock and bleak twilight onto
a metal sign which reads!
Some local has added 'have a nice day' with a spray
force wind SCREECHES
around the corroded sign. As we move up the sign, the colony appears in the b.g., a squat
complex surrounded by an angled storm
barrier wall. A vehicle rolls up to the barriers main
UP ON THE RIGHT FOUR WHEELS OF THE VEHICLE as the door slides back,
allowing the vehicle to continue on into the colony streets. As it moves forward, we can see
that it has EIGHT
WHEELS and a medium
cab on top.
7 EXT. COLONY COMPLEX
ANGLE FROM STREET TO THE SIDE OF THE VEHICLE as it drives by. Its two large,
bright headlights shining in the blowing dust all around the
vehicle and streets. As it
drives down the street, we pause for a second on an alley with another vehicle in the back,
covered in a plastic tarp that is blowing in the wind.
SEVERAL ANGLES ESTABLISHING the town, a cluster
like buildings huddling
in the wind. The eight
wheeled vehicle rolls by and down one of the main streets of the
complex. It drives by and under two open windows in the top corner of a building. People
can be s
een moving around inside.
9 INT. OPERATIONS ROOM
CONTROL BLOCK 9
center of the colony, jammed with computer terminals, displays and technicians.
DOLLYING AHEAD OF SIMPSON, the harried OPERATIONS MANAGER, as he is
approached by his assistant, LYDECKER.
(to a technician)
I'll be down in maintenance, okay?
(walking toward Simpson)
You remember you sent some wildcatters out to the
middle of nowhere last week? Out past the Ilium Range.
As they walk, they leave the operations room and move into a connecting corridor. It's a
wide hallway bustling with routine activity. We SEE a cross
section of the hardy frontier
stock who have come to live in this God
forsaken wilderness in the b.g.
One of them
's on the horn, mom
pop survey team.
Says he's onto something and wants to know will his
claim be honored.
Why wouldn't his claim be honored?
Well, because you sent them to that particular middle
of nowhere on company orders, maybe. I don't know.
honcho in a cushy office on Earth says go
look at a grid reference, we look. They don't say why,
and I don't ask. I don't ask because it takes two weeks
to get an answer out here and the answer's always
They pause at a junction in the corridor. Simpson turns to face Lydecker.
So, what do I tell this guy?
Tell him, as far as I'm concerned, he finds something,
It is his.
Children's laughing voices can be heard o.s. Simpson looks in their direction.
The CHILDREN are playing and racing in the corridor on foot and on wheeled plastic toys.
Simpson gestures toward them, telling Lydecker to move them out of the area.
You kids know you’re not supposed to be on this level.
. Get out of here.
UP OF A CHILD ON A WHEELED TOY as he rolls down the corridor in our
direction. Three other children chase each other around him in the b.g. and beside him.
He passes by a box to the right of the
corridor that has a sign on it which reads:
YUTANI CORP. BUILDING BETTER WORLDS.
10 EXT. ACHERON
THE MIDDLE OF NOWHERE
WHEELED TRACTOR r
oars into view across corrugated rock, blasting through
soggy drifts of volcanic ash. Strange wind
etched rock shapes are all around.
11 INT. TRACTOR
At the controls, intent on a PINGING scope, is RUSS JORDEN, independent prospector.
Beside him is his wife / partner ANNE and in the back, their two kids are arguing over a
11 CONTINUED: (2)
Do too. You go in places we c
I'm the best!
(turning to face them)
Knock if off! If I ca
tch either of you playing in the air ducts
again, I'll tan your hides.
Mom. All the kids play it...
(cutting over the conversation excitedly)
Hey, wait! Wait! Wait! Wait! Wait a minute! Come on,
Anne. Take a look at this, will ya'.
ANGLE THROUGH FRONT CANOPY: On a bizarre shape looming ahead. An enormous
like mass projecting upward from the bed of ash. Canted on it's side and buckled
against a rock outcropping by the lava flow, it is still reco
gnizable as an EXTRATERRESTRIAL
(close on him)
Folks, we have scored big this time!
The tractor moves around the base of the vast enigma, passing under part of it that is jutting
up into the air, while heading toward a gash in the hull. Newt looks up through the clear
roof at the ship.
What is it, dad?
ANGLE LOOKING DOWN INTO THE TRACTOR: Everyone is looking up with Newt at the
I'm not sure.
LE FROM BEHIND THE FRONT SEATS THROUGH THE FRONT CANOPY. The
gash in the ship is right in front of them.
See if we can't get a closer look at this thing. Maybe
through that crack down it's side.
Shouldn't we call in?
11 CONTINUED: (3)
Let's wait 'til we know what to call it in
That's as close as we can get.
UP ON ANNE & JORDEN as they look out the window and then at each other.
Should we take a look inside?
at him and then at the ship with a worried, but curious look on her face.
12 EXT. TRACTOR
PANNING ACROSS THE LANDS
CAPE TO THE TRACTOR: Jorden and Anne step down,
carrying LIGHTS, PACKS, CAMERAS and TEST GEAR.
You kids stay inside. I mean it! We'll be right back.
Newt and Anne say goodbye. Jorden closes the door and they trudge toward the alien
13 INT. / EXT. TRACTOR
Newt has her face to the glass of the window, steaming it. Watching her parents head to
14 EXT. LANDSCAPE / SHIP
ANGLE LOOKING THROUGH THE GASH TOWARD THE TRACTOR: Jorden and Anne
pause at the enormous gash in the hull. Blackness inside. They enter. Their lights
playing off the walls, showing
strange formations. They move deeper into the ship.
15 EXT. LANDSCAPE
The tractor and the derelict are dark and motionless.
The wind HOWLS around them.
16 INT. TRACTOR
Newt looks away from the window toward Tim o.s. Tim is asleep in t
he front passenger
seat. Newt shakes him awake, trying hard not to be to worried.
Timmy... they've been gone a long time.
Tim considers the night. The wind. The vast landsca
pe. He bites his lip.
16 CONTINUED: (2)
t'll be okay, Newt. Dad knows what he's doing.
CRASH! Newt jumps as the drive door beside her is RIPPED OPEN. A dark shape
lunges inside! ANNE, panting and terrified, grabs the dash mike.
Mayday! Mayday! This is Alpha Kilo Two Four Niner
calling Hadley Control! Repeat! This is....
As Anne shouts the mayday, Newt looks past her, to the ground. Russ Jorden lies
inert, dragged somehow by Anne from inside the ship. There is SOMETHING ON HIS
FACE. An appalling MULTI
LEGGED CREATURE, pulsing with obscene life. Newt
begins to SCREAM hysterically, competing with the shrieki
ng wind, which rises to a
crescendo as we:
17 INT. RIPLEY'S APARTMENT
Silence. A cigarette comes into view. Half it's length is ash and ready to fall. Moving up
an arm, we see a face. Ripley, looking haggard, sits at a table in the din
contemplating the smoke rising from her cigarette. The place is minimal, the bed is unmade,
there are dishes in the sink. Jones prowls across the counter and drops to the floor.
18 INT. CORRIDOR
Carter Burke and LIEUTENANT GORMAN, Colonial Marine Corps. own the narrow, corridor
as they stop in front of Ripley's door. Burke p
ushes the buzzer on the door. Gorman looks
young and severe in his officer's parade uniform. The door opens halfway.
Hi ya', Ripley. This is Lieutenant Gorman of the Colonial
SLAM. Burke talks to the door.
Ripley, we have to talk. We've lost contact with the colony
A pause, then the door opens. Ripley considers the ramifications of
as she stares at
19 INT. RIPLEY'S APARTMENT
A LITTLE LATER
Ripley is pouring coffee for the three off them. She gives Burke and Gorman their cups.
19 CONTINUED: (2)
I don't believe this. You guys throw me to the wolves...
and now you want me to go back
? Forget it!
It's not my problem.
Can I finish?
No. There's no way.
Ripley, you wouldn't be going in with the troops. I can
guarantee your safety.
These Colonial Marines are very tough hombres, and
they're packing state
art firepower. There's
nothing they can't handle. Lieutenant, am I right?
hat's true. We've been trained to deal with situations
Well, you don't need me... I'm not a soldier.
Yeah, but we don't know what's going on out there.
It may be a down transmitter, okay. But, if it's not,
I would like you there... as an a
dvisor and that's all.
What's your interest in all this? Why are you going?
financed that colony. Colonial
Administration. We're getting into a lot of terraforming
now. Building Better Worlds...
Yeah, yeah. I saw the commerc
ial. Look, I don't have
time for this. I've gotta go to work.
Oh, right. I heard you were working the cargo docks.
19 CONTINUED: (3)
Running loaders, forklifts, that sort of thing?
Nothing. I think it's great your keeping busy, and I know
it's all you could get. There's nothing wrong with it.
What would you say if I said I could get
as a flight officer. The companies already agreed to pick
up your contract?
If I go.
Yeah, if you go. Come on, that's a second chance, kiddo.
I think, personally for you, it would be the best thing in the
world for you to face this thing. Get back on the horse...
Spare me, Burke. I've had my psych evaluation this
Burke stands up and leans close, a let's
Yeah, I know. I've read it. You wake up every night,
your sheets soaking with sweat.
I said NO, and I mean it! Now, please leave. I am not
going back and I'm... I wouldn't be any good to you if I
Burke puts his hands up to calm her.
Okay, shhhh. Would you do me a favor and just
think about it.
ips a TRANSLUCENT CARD onto the table. Burke nods to Gorman, and they head
for the door.
Thanks for the coffee.
Ripley stares as they leave. Then turns and goes over to fee
20 INT. ACHERON LANDSCAPE
(CUT SCENE) As the wind HOWLS through tormented rock, BUILDING IN PIT
CH until we:
21 INT. APARTMENT
Ripley lunges up INTO FRAME with an animal outcry. She clutches her chest, breathing
hard. Bathed in sweat. She swings her legs over the side of the bed and sits there
her head with her hands.
22 INT. APARTMENT
Ripley enters and goes to the sink. She puts water on her face. Ripley stares at hers
in the mirror. Still breathing hard, but gaining control.
23 INT. APARTMENT
TIGHT ON PHONE CONSOLE: as
Ripley's hand inserts Burke's card into a slot. Burke's
face, bleary with sleep, appears.
Hello. Ripley. You okay?
Just tell me o
ne thing. You're going out there to destroy
them, right? Not to study. Not to bring back. Just to
wipe them out.
That's the plan. You have my word on it.
UP ON RIPLEY: taking a deep slow breath. It's time to look the demon in the eye.
All right. I'm in.
ls the card out before Burke replies, before she can change her mind. She turns to
Jones sitting on the bed and her tone becomes admonishing...
, you little shithead, your staying
Jones blinks, cynical cat
eyes... "count me right out."
24 EXT. DEEP SPACE
THREE WEEKS LATER 24
An empty star field. Metal spears slice ACR
OSS FRAME, followed by a mountain of steel.
A massive military transport ship, the SULACO. Ugly, battered... functional.
25 INT. CARGO LOCK
PANNING ACROSS THE CARGO BAY: we see a DROPSHI
P sitting, waiting for action.
We move across the bay to the WEAPONS ROOM. The walls hold all sorts of armament
and two rows of pulse rifles await use in their storage shelves.
26 INT. MESS HALL / LOCKER ROOM
PANNING ACROSS THE MESS HALL: with its few long tables awaiting the warmth and
sound of people to sit on them and to enjoy their meals. Food dispensing
the back wall are silent.
PANNING OVER THE LOCKER ROOM: the lockers are closed and neat looking. Each
one full with a crew members belongs. Every room silent and still. Only the rumble of the
ship as it moves through space can heard quietly in the background.
27 INT. HYPERSLEEP VAULT
Very little light is available in
the long room. What light there is casts its rays on a long row
of capsules. A near
by COMPUTER TERMINAL lights up, typing out each individual in
one. Then, lights come to life in all the capsules. Hydraulics
canopies off the row of horizontal HYPERSLEEP CYLINDERS. They almost reach the
ceiling and then lock open. Lit up, white and sterile.
The prone figures in the cylinders come to life. Ripley stirs. Apone si
ts up and
immediately places his trademark cigar in his mouth. Next to Ripley, Gorman and Burke
are stirring and beyond them, the troopers, wearing shorts and dog tags. They are:
MASTER SERGEANT APONE, CORPORAL HICKS,
CORPORAL DIETRICH (female),
PFC HUDSON, PFC VASQUEZ (female), PRIVATES DRAKE, FROST, WIERZBOWSKI
and CROWE, plus the drop
ship crew: CORPORAL FERRO (female, pilot) and crew
PFC SPUNKMEYER. In addition, there is E
XECUTIVE OFFICER BISHOP, who
supervises planetary maneuvering. GROANS echo across the chamber. Everyone is
looking around and at each other.
They ain't payin' us enough for t
Not enough to have to wake up to your face, Drake.
What! Is that a joke?
I wish it were.
Hey, Hicks... you look just like I feel.
Hicks gives him a small smile. Sergeant Apone moves down the row of freezers.
Awright, whattya' waitin' for, breakfast in bed? Let's go.
Let's go. Another glorious day in the Corp. A day in the
Marine Corp. is like a day on the farm. Every meals a
nquet, every paycheck a fortune, every formation a
I love the Corp
Man, this floor's
Whattya' want me to do, fetch you your slippers for ya'?
Gee, would you, sir? I'd like that.
(putting his finger to his e
Look into my eye. Fall in people! Let's go!
I hate this job.
Give me some slack, man.
Come on, Spelunk. On your feet.
The group of men and women move to their lockers near the freezers. Vasquez begins
doing some chin
Alright, first ensemble is in fifteen people. Shag it!
Vasquez stops her chin
ups. Looks over at Ripley.
y, Mira... who's Snow White?
She's supposed to be some kinda’ consultant.
Apparently, she saw an alien once.
do! Hey, I'm impressed.
27 CONTINUED: (3)
goes back to her chin
ups. Drake joins her. Hudson stands and watches.
Hey, Vasquez... have you ever been mistaken for a man?
No. Have you
Vasquez and Drake stop their exercises and look at each other.
Oh, Vasquez... your just too bad.
She slaps Drake's open palm and it clenches into a greeting which is part c
Playful, but rough. We sense the bond between them. She gives Drake a hard, but
playful slap on the face.
28 INT. MESS HALL
An unconscious segregation takes place as the troopers assemble at one long table while
Gorman, Burke and Ripley sit at another. Everybody is nursing a coffee, waiting for eggs
from the AUTO
CHEF, served by Bishop. Some get their meals by themselves. Hudson is
one of them. He comes from the machine and sits down at the table with the others.
Hey, 'Top.' What the op?
It's a rescue mission. You'll love it. There's some juicy
colonists' daughters we gotta' rescue from their virginity.
it. Dumbass colonists.
(picking up something from his plate)
What's this crap supposed to be?
Cornbread, I think.
It's good for you boy, eat it.
Hey, I sure wouldn't mind getting me some more of that
Arcturan poontang. Remember that time?
All the soldiers laugh. Frost and Hudson slap hands across the table.
28 CONTINUED: (2)
Yeah, Frost! But, the one that you had was a male.
Hey, it doesn't matter when it's Arcturan.
Hey Bishop, man. Do the thing with the knife.
Oh please. Not again.
Yeah, do it, Bishop. Go on, man. This is great.
Frost tosses Bishop a K
Bar combat knife and Bishop puts his palm on the table next to
Hudson. Before Bishop can start, Drake comes up and pushes
Hudson's hand forward on
the table. Bishop places his hand precisely on top Hudson's hand.
Hey, man. Whattya' doing. Come one. Quit messin'
Hudson, shut up!
Bishop! Hey, man.
Do it, Bishop.
Hey, not me man.
Hey, come on. Quit messin' around. Come on!
Bishop proceeds to stab the point down rapidly between his an
d Hudson's spread fingers,
speeding up until the knife is a blur, as the other's cheer. Inhumanly fast and precise.
28 CONTINUED: (3)
Alright, knock it off! Knock it off.
Drake moves Hudson's food tray back in front of him, then slaps him on the arm.
Enjoy your meal.
Drake walks back to his spot at the table. Hudson is white, his mouth hangs open in
That wasn't funny, man!
Across the room, at the other table, Gorman sits with his creases perfect...the consummate
strict NCO. Bishop comes up and takes a seat beside Ripley. He hands arou
nd a tray
with cornbread on it.
At the soldiers' table, everyone watches the small group of high
Looks like the new lieutenants too good to eat with the
rest of us grunts.
Boy's definitely got a corncob up his ass.
Back at the groups' table, Bishop holds up his hand and examines a tiny cut closely.
I thought you never missed, Bishop?
28 CONTINUED: (4)
To Ripley's horror, a trickle of WHITE SYNTHETIC BLOOD runs down his finger. Ripley
spins on Burke, her tone accusing.
You never said anything about an android being on board!
It never occurred to me. It's common practice.
We always have a synthetic on board.
I prefer the term 'artificial person' myself.
Is there a problem?
I'm sorry. I
don't know why I didn't even...
Ripley's last trip out, the syne...'artificial person'
A few problems and a few deaths wer
I'm shocked. Was it an older model?
Hyperdyne Systems 120
Bishop turns to Ripley, very conciliatory.
Well, that explains it. The A/2's were always a bit twitchy.
That couldn't happen now with our behavioral inhibitors.
It is impossible for me to harm or
, by omission of action,
allow to be harmed, a human being.
Sure you don't want some.
WHAM! Ripley knocks the plate of cornbread out of his hand, halfway across the room.
28 CONTINUED: (5)
Just stay away from me, Bishop! You got that straight?!
Burke and Gorman exchange glances.
Frost, at the next table, shrugs and turns back to
the other troopers.
I guess she don't like the cornbread either.
29 INT. CARGO LOCK
WIDE ANGLE: All the troopers are either lounging among the racks of high
practice fighting. Gorman enters with Ripley and Burke.
! Officer on deck!
As you were.
Quickly, quickly! Set
tle down. Alright, listen up!
Morning Marines. I'm sorry we didn't have time to brief you
people before we left Gateway, but...
What is it, Hicks?
Hudson, sir. He's Hicks.
(looking over at Hicks standing beside him hanging his weight
on a dangling chain)
What's the question?
Is this going to be a stand
up fight, sir, or another bug
All we know is that there's still no contact with the colony
and that..a xenomorph may b
Excuse me, sir. A what?
29 CONTINUED: (2)
It's a bug
What exactly are we
dealing with here?
Gorman nods to Ripley, who stands before the troops.
I'll tell you what I know. We set down on
426. One of