ALIENS Script - Final Draft - Alien Legend

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Dec 14, 2013 (3 years and 7 months ago)

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"
ALIENS
"


by


James Cameron


******************************


Re
-
edited & Re
-
written


by


Elak Swindell
















FIRST

FINAL


September 23, 1985




COMPLETED FINAL


July 23, 1994


** THIS DOCUMENT IS PROTECTED AGAINST ALTERATIONS **


A86

"ALIENS"



FAD
E IN


1 SOMETIME IN THE FUTURE
-

SPACE 1



Silent and endless. The stars shine like the love of God...cold and remote. Against them


drifts
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

2



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


metal, movi
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.


LEADER


Well, there
goes our salvage, guys.



DISSOLVE TO:


2
-
A EXT. SPACE / EARTH ORBIT

2
-
A



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.




A86 (CO
NTINUED)



2



3 INT. HOSPITAL ROOM

3



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



buying it.


MED
-
TECH


How are we today?



Ripley begins to sit up. Her voice is barely audible.


RIPLEY


Terrible.


MED
-
TECH



Oh, better than yesterday at least.


RIPLEY


Where am I?



The med
-
tech comes around to the side of the bed and repositions Ripley's pillows for her.


MED
-
TECH



Your safe. You’re at Gateway Station.


Been here a couple of days.


You were pretty groggy at first, but now you’re o
kay.



The tech glances up as the door opens o.s. She smiles, saved by the distraction.


MED
-
TECH


Looks like you have a visitor.



A man crosses the room carrying a familiar large, orang
e TOMCAT.


RIPLEY


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.


RIPLEY



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
e,


in a suit that looks executive or legal, the tie loosened with studied casualness. A smile


referred to as 'winning.'






A86

(CONTINUED)



3


3 CONTINUED: (2)

3


MAN


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.


RIPLEY


What do you mean? How long was I out there?


BURKE


Has no one discussed this with you, yet?


RIPLEY


No. Bu
t, I mean. I don't recognize this place.


BURKE


I know. Okay, it's just that this might be a shock to you.


It's long...


RIPLEY



How long? Please.


BURKE


Fifty
-
seven years.



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.


RIPLEY


What!?


BURKE


That's the thing. You were out there for fifty
-
seven years.



What happened was you had drifted right through the core


systems and it's really just blind luck that a deep
-
salvage


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.




A86 (CON
TINUED)



4


3 CONTINUED: (3)

3


BURKE



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.


DOCTOR


Hold her... Hold

her...



Burke and the doctor are holding Ripley's shoulders as she goes into convulsions. Ripley's


back arches in agony.


RIPLEY


Pleeaassee...kill me!



They try to restrain

her as she thrashes, knocking over equipment. Her EKG races like mad.


Jones, under the cabinet, hisses wide
-
eyed.



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...


RIPLEY


Nooooooo!



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.


MED
-
TECH


Bad dreams again? Want something to help you sleep?


RIPLEY



(faint)


No. I've slept enough.



The tech shrugs and switches off. Ripley hugs Jones to her and rocks with him like a child,


still shattered
by the nightmare.




CUT TO:


4 EXT. PARK

4







A86 (CO
NTINUED)



5


4 CONTINUED:

4



Sunligh
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
-
RESOLUTION


ENVIRONMENTAL WALL SCREEN, a sort of cinerama video
-
loop. Ripley sits on a be
nch


in what is an ATRIUM off the medical center. Just as she turns off the video, Burke ENTERS


in his usual mode, casual haste.


BURKE


Hi. I'm sorry I'm late. I've been running behin
d all morning.


RIPLEY


Is there any word about my daughter?


BURKE


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....


RIPLEY


Do you have any news about my daughter?


BURKE


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
stat photo.


BURKE


Amanda Ripley
-
McClaren. Married name, I guess. Age:


sixty
-
six...and that was at time of her death. Which was



two years ago.


(looks at Ripley)


I'm real sorry.


RIPLEY


Amy.



Ripl
ey studies the PHOTOGRAPH, stunned. The face of a woman in her mid
-
sixties. It


could be anybody. She tries to reconcile the face with the little girl she once knew.


BURKE


She was cremated and
interred at Westlake Repository,


Little Chute, Wisconsin. No children.




A86 (CO
NTINUED
)




6


4 CONTINUED: (2)

4


RIPLEY


No children.


(a beat, then)


I promised her

I'd be home for her birthday.


Her
eleventh

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


to her.


5 INT. CONFERENCE ROOM
--

ON RIPLEY
--

GATEWAY 5



Not cool. Not unemotional.


RIPLEY



I don't understand this. We have been here for three hours.


How many different ways do you want me to tell the same


story?



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
d frowns.


VAN LEUWEN


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...


INSURANCE INVESTIGATOR


Forty
-
two million in adjust
ed dollars. That's minus


payload, of course.


VAN LEUWEN


The lifeboat's flight recorder corroborates
some

elements



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
as


subsequently set for self
-
destruct. By
you
. For reasons


unknown.


RIPLEY


Not for reasons unknown. I tol
d you, we set down there


on
company orders

to get this thing, which destroyed my


crew and your expensive ship.





A86

(CONTINUES)



7


5 CONTINUED: (2)

5




Van Leuwen sighs with exasperation.


VAN LEUWEN



The analysis team, which went over the lifeboat, centimeter


by centimeter, found no physical evidence of the creature


you described...


RIPLEY



Good! That's because I blew it out the goddamn airlock!


(pause)


Like I said.


INSURANCE MAN



(to the ECA rep.)


Are there any species like this 'hostile organism' on


LV
-
426?


ECA REP.



No. It's a rock. No indigenous life.



Ripley grits her teeth in frustration.


RIPLEY


Did IQ's drop sharply while I was away? Maam, I already



said it was
non
-
indigenous. There was a derelict


spacecraft. An
alien

ship. It wasn't
from there
. Do you


get it. We homed in on it's be
acon...


ECA REP.


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.'


RIPLEY


That's right. Look, I can see where this is going. But,


I'm telling you these things exist.


VAN LEUWEN



Thank you, Officer Ripley. That will be all.


RIPLEY


Please, you're not listening. Kane, the crew member.


Kane, who went in that ship
, said he saw thousands of


eggs there.
Thousands
...


VAN LEUWEN


Thank you. That will be all.



A86

(CONTINUED)



8


5 CONTINUED: (3)

5


RIPLEY


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
dbye.



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.



CLOSE
-
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.


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.


VAN LEUWEN


(close on him)


These proceedings are closed.



Ripley's video
-
dossier fills the scr
een behind her. At the bottom, a new entry prints out:


FILE STATUS: CLOSED.



CLOSE
-
UP ON RIPLEY as she stands with her arms crossed by the conference table.


Burke comes up.


BURKE



That could have went better. Look, I think they...


Ripley!


RIPLEY


Van Leuwen!



She shrugs off Burke's restraining arm and catches up to Van
Leuwen as he and the other


representatives head for the rooms elevator.






A86 (CO
NTINUES)



9


5 CONTINUED: (4)


5


RIPLEY


Why don't you just check out LV
-
426?


VAN LEUWEN


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.


RIPLEY



What do you mean? What people?


VAN LEUWEN


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.


RIPLEY



How many are there? How many colonists?


VAN LEUWEN


I don't know. Sixty, maybe seventy families.


Do you mind?




Ripley's hand slides off the door, strengthless. It closes in her face.


RIPLEY


Families... Jesus.


6 EXT. ALIEN LANDSCAPE
--

DAY

6



PANNING SLOWLY ACROSS a storm
-
blasted vista of tortured rock and bleak twilight onto


a metal sign which reads!


HADLEY'S HOPE
--

POP. 159



Some local has added 'have a nice day' with a spray

can. Gale
-
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


door a
nd honks.



CLOSE
-
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
-
sized
cab on top.


7 EXT. COLONY COMPLEX

7




A86

(CONTINUES)



10


8 CONTINUED:

8



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

of bunker
-
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



The nerve
-
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.


SIMPSON


(to a technician)



I'll be down in maintenance, okay?


LYDECKER


(walking toward Simpson)


Al!


SIMPSON


What.


LYDECK
ER


Hey, Al!


SIMPSON


What?!


LYDECKER


You remember you sent some wildcatters out to the



middle of nowhere last week? Out past the Ilium Range.


SIMPSON


Yeah. What?



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.


LYDECKER


One of them
's on the horn, mom
-
and
-
pop survey team.


Says he's onto something and wants to know will his


claim be honored.


A86

(CONTINUES)




11


9
CONTINUED: (2)

9


SIMPSON


Why wouldn't his claim be honored?


LYDECKER



Well, because you sent them to that particular middle


of nowhere on company orders, maybe. I don't know.


SIMPSON


Christ! Some

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


'don't ask."



They pause at a junction in the corridor. Simpson turns to face Lydecker.


LYDECKER


So, what do I tell this guy?


SIMPSON


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.


SIMPSON


Lydecker?



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.


LYDECKER


You kids know you’re not supposed to be on this level.


Go on
. Get out of here.



CLOSE
-
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:


WEYLAND
-
YUTANI CORP. BUILDING BETTER WORLDS.


10 EXT. ACHERON
--

THE MIDDLE OF NOWHERE
--

DAY 10



AN EIGHT
-
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

11



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


game.


A86

(CONTINUES)




12


11 CONTINUED: (2)

11


BROTHER


Do too. You go in places we c
an't fit.


SISTER


So! That's
why

I'm the best!


ANNE


(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.


SISTER


Mom. All the kids play it...


JORDEN



(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


bone
-
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


ship. Bio
-
mechanoid. Non
-
human design.


JORDEN


(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.


NEWT



What is it, dad?



ANGLE LOOKING DOWN INTO THE TRACTOR: Everyone is looking up with Newt at the


strange object.


JORDEN


I'm not sure.



ANG
LE FROM BEHIND THE FRONT SEATS THROUGH THE FRONT CANOPY. The


gash in the ship is right in front of them.


JORDEN


See if we can't get a closer look at this thing. Maybe



through that crack down it's side.


ANNE


Shouldn't we call in?


A86

(CONTINUES)



13


11 CONTINUED: (3)

11


JORDEN


Let's wait 'til we know what to call it in
as
.


That's as close as we can get.



C
LOSE
-
UP ON ANNE & JORDEN as they look out the window and then at each other.


JORDEN


(to Anne)


Should we take a look inside?



Anne looks

at him and then at the ship with a worried, but curious look on her face.


12 EXT. TRACTOR

12



PANNING ACROSS THE LANDS
CAPE TO THE TRACTOR: Jorden and Anne step down,


carrying LIGHTS, PACKS, CAMERAS and TEST GEAR.


ANNE


You kids stay inside. I mean it! We'll be right back.


TIM



Okay.



Newt and Anne say goodbye. Jorden closes the door and they trudge toward the alien


derelict.


13 INT. / EXT. TRACTOR

13



Newt has her face to the glass of the window, steaming it. Watching her parents head to


the ship.


14 EXT. LANDSCAPE / SHIP

14



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
--

NIGHT 15



The tractor and the derelict are dark and motionless.

The wind HOWLS around them.


16 INT. TRACTOR

16



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.


NEWT


Timmy... they've been gone a long time.



Tim considers the night. The wind. The vast landsca
pe. He bites his lip.


A86 (CONT
INUES)



14


16 CONTINUED: (2)

16


TIM


I
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.


ANNE



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

there


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:




CUT TO:


17 INT. RIPLEY'S APARTMENT
--

GATEWAY
--

DAY

17



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
ing alcove


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

18



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.


BURKE


Hi ya', Ripley. This is Lieutenant Gorman of the Colonial



Marine Corp...



SLAM. Burke talks to the door.


BURKE


Ripley, we have to talk. We've lost contact with the colony



on LV
-
426.



A pause, then the door opens. Ripley considers the ramifications of
that

as she stares at


them.


19 INT. RIPLEY'S APARTMENT
--

A LITTLE LATER

19



Ripley is pouring coffee for the three off them. She gives Burke and Gorman their cups.





A86 (CON
TINUES)




15


19 CONTINUED: (2)

19


RIPLEY


I don't believe this. You guys throw me to the wolves...


and now you want me to go back
out there
? Forget it!



It's not my problem.


BURKE


Can I finish?


RIPLEY


No. There's no way.


GORMAN



Ripley, you wouldn't be going in with the troops. I can


guarantee your safety.


BURKE


These Colonial Marines are very tough hombres, and



they're packing state
-
of
-
the
-
art firepower. There's


nothing they can't handle. Lieutenant, am I right?


GORMAN


T
hat's true. We've been trained to deal with situations


like this.


RIPLEY


Well, you don't need me... I'm not a soldier.


BURKE



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.


RIPLEY


What's your interest in all this? Why are you going?


BURKE


Corporation co
-
financed that colony. Colonial



Administration. We're getting into a lot of terraforming


now. Building Better Worlds...


RIPLEY


Yeah, yeah. I saw the commerc
ial. Look, I don't have


time for this. I've gotta go to work.


BURKE


Oh, right. I heard you were working the cargo docks.


RIPLEY



That's right.



A86 (CO
NTINUES)



16


19 CONTINUED: (3)

19


BURKE



Running loaders, forklifts, that sort of thing?


RIPLEY


Yeah, so?


BURKE


Nothing. I think it's great your keeping busy, and I know



it's all you could get. There's nothing wrong with it.


(pause)


What would you say if I said I could get
you reinstated


as a flight officer. The companies already agreed to pick


up your contract?


RIPLEY


If I go.


BURKE


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...


RIPLEY


Spare me, Burke. I've had my psych evaluation this


month.




Burke stands up and leans close, a let's
-
cut
-
the
-
crap intimacy.


BURKE


Yeah, I know. I've read it. You wake up every night,


your sheets soaking with sweat.
..


RIPLEY


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



did.



Burke puts his hands up to calm her.


BURKE


Okay, shhhh. Would you do me a favor and just


think about it.



He sl
ips a TRANSLUCENT CARD onto the table. Burke nods to Gorman, and they head


for the door.


GORMAN


Thanks for the coffee.



Ripley stares as they leave. Then turns and goes over to fee
d Jones.


A86 (CO
NTINUES)



17


20 INT. ACHERON LANDSCAPE
--

NIGHT 20



(CUT SCENE) As the wind HOWLS through tormented rock, BUILDING IN PIT
CH until we:




CUT TO:


21 INT. APARTMENT

21



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


massaging
her head with her hands.


22 INT. APARTMENT
--

BATHROOM 22



Ripley enters and goes to the sink. She puts water on her face. Ripley stares at hers
elf


in the mirror. Still breathing hard, but gaining control.


23 INT. APARTMENT

23



TIGHT ON PHONE CONSOLE: as
Ripley's hand inserts Burke's card into a slot. Burke's


face, bleary with sleep, appears.


BURKE


Hello. Ripley. You okay?


RIPLEY


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.


BURKE



That's the plan. You have my word on it.



CLOSE
-
UP ON RIPLEY: taking a deep slow breath. It's time to look the demon in the eye.


RIPLEY


All right. I'm in.



She pul
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...


RIPLEY


And
you
, you little shithead, your staying

here.



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.




CUT TO:


A86 (CO
NTINUES)



18


25 INT. CARGO LOCK

25



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

26



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
machines along


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

27



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


hypersleep, one
-
by
-
one. Then, lights come to life in all the capsules. Hydraulics

lift the


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
-
chief


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.


DRAKE


They ain't payin' us enough for t
his, man.


DIETRICH


Not enough to have to wake up to your face, Drake.


DRAKE


What! Is that a joke?


DIETRICH



I wish it were.


DRAKE


Hey, Hicks... you look just like I feel.



Hicks gives him a small smile. Sergeant Apone moves down the row of freezers.




A86

(CONTINUES)



19


27 C
ONTINUED: (2)

27


APONE


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


ba
nquet, every paycheck a fortune, every formation a


parade.
I love the Corp
.


HUDSON


Man, this floor's
freezing
.


APONE



Whattya' want me to do, fetch you your slippers for ya'?


HUDSON


Gee, would you, sir? I'd like that.


APONE


(putting his finger to his e
ye)


Look into my eye. Fall in people! Let's go!


CROWE


I hate this job.


APONE


Crowe!


CROWE



Give me some slack, man.


APONE


Come on, Spelunk. On your feet.



The group of men and women move to their lockers near the freezers. Vasquez begins


doing some chin
-
ups.


APONE


Alright, first ensemble is in fifteen people. Shag it!



Vasquez stops her chin
-
ups. Looks over at Ripley.


VASQUEZ


He
y, Mira... who's Snow White?


FERRO


She's supposed to be some kinda’ consultant.


Apparently, she saw an alien once.


HUDSON



Whoopy
-
fucking
-
do! Hey, I'm impressed.



A86 (CON
TINUES)



20


27 CONTINUED: (3)

27



Vasquez
goes back to her chin
-
ups. Drake joins her. Hudson stands and watches.


HUDSON


Hey, Vasquez... have you ever been mistaken for a man?


VASQUEZ


No. Have you
?



Vasquez and Drake stop their exercises and look at each other.


DRAKE


Oh, Vasquez... your just too bad.



She slaps Drake's open palm and it clenches into a greeting which is part c
ontest.


Playful, but rough. We sense the bond between them. She gives Drake a hard, but


playful slap on the face.


28 INT. MESS HALL

28



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.


HUDSON


Hey, 'Top.' What the op?


APON
E


It's a rescue mission. You'll love it. There's some juicy


colonists' daughters we gotta' rescue from their virginity.


SPUNKMEYER



Shee
-
it. Dumbass colonists.


(picking up something from his plate)


What's this crap supposed to be?


FROST



Cornbread, I think.


HICKS


It's good for you boy, eat it.


FROST


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.





A86

(CONTINUES)



21


28 CONTINUED: (2)

28


SPUNKMEYER


Yeah, Frost! But, the one that you had was a male.


FROST



Hey, it doesn't matter when it's Arcturan.


HUDSON


Hey Bishop, man. Do the thing with the knife.


BISHOP


Oh please. Not again.


FROST



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.


HUDSON


Hey, man. Whattya' doing. Come one. Quit messin'



around Drake.


DRAKE


Hudson, shut up!


HUDSON


Bishop! Hey, man.



DRAKE



Do it, Bishop.


HUDSON


Hey, not me man.


DRAKE


Yeah, you.


HUDSON



Hey, come on. Quit messin' around. Come on!


DRAKE


Don't move.


BISHOP


Trust me.



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.



A86 (CON
TINUES)



22


28 CONTINUED: (3)

28



HUDSON


Wooooooooooooow!




APONE


Alright, knock it off! Knock it off.



BISHOP


(to Hud
son)


Thank you.



Drake moves Hudson's food tray back in front of him, then slaps him on the arm.



DRAKE



Enjoy your meal.



Drake walks back to his spot at the table. Hudson is white, his mouth hangs open in


disbelief.



HUDSON



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.



BISHOP


Mr. Gorman?




GORMAN


No.



BISHOP


Mr. Burke?





BURKE


Yeah, thanks.



At the soldiers' table, everyone watches the small group of high
-
ranks eat.



HICKS


Looks like the new lieutenants too good to eat with the


rest of us grunts.



FROST



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.




BURKE


I thought you never missed, Bishop?


A86 (CON
TINUES)




23


28 CONTINUED: (4)

28




To Ripley's horror, a trickle of WHITE SYNTHETIC BLOOD runs down his finger. Ripley


spins on Burke, her tone accusing.



RIPLEY



You never said anything about an android being on board!


Why not?!



BURKE



It never occurred to me. It's common practice.


We always have a synthetic on board.



BISHOP



I prefer the term 'artificial person' myself.



BURKE


Right.




BISHOP


Is there a problem?



BURKE


I'm sorry. I

don't know why I didn't even...


Ripley's last trip out, the syne...'artificial person'


malfunctioned...





RIPLEY


Malfunctioned?!



BURKE


A few problems and a few deaths wer
e involved.



BISHOP


I'm shocked. Was it an older model?



BURKE


Hyperdyne Systems 120
-
A/2.



Bishop turns to Ripley, very conciliatory.



BISHOP



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.


(smiling)


Sure you don't want some.




WHAM! Ripley knocks the plate of cornbread out of his hand, halfway across the room.



A86 (CON
TINUES)




24


28 CONTINUED: (5)

28



RIPLEY


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.



FROST


I guess she don't like the cornbread either.


29 INT. CARGO LOCK

29



WIDE ANGLE: All the troopers are either lounging among the racks of high
-
tech weaponry


or
practice fighting. Gorman enters with Ripley and Burke.



APONE


Squad!
Ten
-
hut
! Officer on deck!




GORMAN


As you were.



APONE


Quickly, quickly! Set
tle down. Alright, listen up!



GORMAN


Morning Marines. I'm sorry we didn't have time to brief you



people before we left Gateway, but...



HUDSON


Sir?




GORMAN


What is it, Hicks?



HUDSON


Hudson, sir. He's Hicks.



(looking over at Hicks standing beside him hanging his weight


on a dangling chain)



GORMAN



What's the question?



HUDSON


Is this going to be a stand
-
up fight, sir, or another bug
-
hunt?




GORMAN


All we know is that there's still no contact with the colony


and that..a xenomorph may b
e involved.



FROST


Excuse me, sir. A what?


A86

(CONTINUES)



25


29 CONTINUED: (2)

29



GORMAN


A xenomorph.




HICKS


It's a bug
-
hunt.


(louder)


What exactly are we

dealing with here?



Gorman nods to Ripley, who stands before the troops.



RIPLEY


I'll tell you what I know. We set down on

LV
-
426. One of