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-                               "ALIENS"
-
-
-                                  by
-
-
-                             James Cameron
-
-
-
-
-
-
-
-                                                   FIRST DRAFT
-                                                   May 28, 1985
-
------------------------------------------------------------------------------
-
-                                ALIENS
-
-        FADE IN
-
-        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 SHOT  It is the NARCISSUS, lifeboat of the
-        ill-fated star-freighter Nostromo.  Without interior
-        or running lights it seems devoid of life.  The PING
-        of a RANGING RADAR grows louder, closer.  A shadow
-        engulfs the Narcissus.  Searchlights flash on, playing
-        over the tiny ship, as a MASSIVE DARK HULL descends
-        toward it.
-
-        INT. NARCISSUS                                            2
-
-        Dark and dormant as a crypt.  The searchlights stream
-        in the dusty windows.  Outside, massive metal forms can
-        BE 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.  Sparks shower into the
-        room.
-
-        A second torch cuts through.  They move with machine
-        precision, cutting a rectangular path, converging.  The
-        torches meet.  Cut off.  The door falls inward REVEALING
-        a bizarre multi-armed figure.  A ROBOT WELDER.
-
-        FIGURES ENTER, backlit and ominous.  THREE MEN in
-        bio-isolation suits, carrying lights and equipment.  They
-        approach a sarcophaguslike HYPERSLEEP CAPSULE, f.g.
-
-                                   LEADER
-                           (filtered)
-                    Internal pressure positive.  Assume
-                    nominal hull integrity.  Hypersleep
-                    capsules, style circa late twenties...
-
-        His gloved hand wipes at on opaque layer of dust on the
-        canopy.
-
-        ANGLE INSIDE CAPSULE  as light stabs in where the dust is
-        wiped away, illuminating a WOMAN, her face in peaceful
-        repose.
-
-        WARRANT OFFICER RIPLEY, sole survivor of the Nostromo.
-        Nestled next to her is JONES, the ship's wayward cat.
-
-                                   LEADER
-                           (voice over; filtered)
-                    Lights are green.  She's alive. 
-                    Well, there goes out salvage, guys.
-
-                                                        DISSOLVE TO:
-
-        INT. HOSPITAL ROOM - TIGHT ON RIPLEY - GATEWAY STATION    3 
-
-        She's lying in a bed, looking wan, as a female MED-TECH
-        raises the backrest.  She is surrounded by arcane white
-        MEDICAL EQUIPMENT.  The Med-Tech exudes practiced
-        cheeriness.
-
-                                   MED-TECH
-                    Why don't I open the viewport?
-                    Watch your eyes.
-
-        Harsh light floods in as a motorized shield slides into
-        the ceiling, REVEALING a breathtaking vista.  Beyond the
-        sprawling complex of modular habitats, collectively
-        called GATEWAY STATION, is the curve of EARTH as seen
-        from high orbit.  Blue and serene.
-
-                                   MED-TECH
-                    And how are we today?
-
-                                   RIPLEY
-                           (weakly)
-                    Terrible.
-
-                                   MED-TECH
-                    Just terrible?  That's better
-                    than yesterday at least.
-
-                                   RIPLEY
-                    How long have I been on
-                    Gateway station?
-
-                                   MED-TECH
-                    Just a couple of days.  Do you
-                    feel up to a visitor?
-
-        Ripley shrugs, not caring.  The door opens and a MAN
-        enters, although Ripley sees only what he is carrying.
-        A familiar large, orange TOMCAT.
-
-                                   RIPLEY
-                    Jones!
-
-        She grabs the cat like a life preserver.
-
-                                   RIPLEY
-                           (cooing baby-cat talk)
-                    Come here Jonesy you ugly old
-                    moose...you ugly thing.
-
-        Jones patiently endures Ripley's embarrassing display,
-        seeming none the worse for wear.  The visitor sits
-        beside the bed and Ripley finally notices him.  He is
-        thirtyish and handsome, in a suit that looks executive
-        or legal, the tie loosened with studied casualness.  A
-        smile referred to as "winning."
-
-                                   MAN
-                    Nice room.  I'm Burke.  Carter Burke.
-                    I work for the company, but other
-                    than that I'm an okay guy.  Glad to
-                    see you're feeling better.  I'm told
-                    the weakness and disorientation
-                    should pass soon.  Side effects of
-                    the unusually long hypersleep, or
-                    something like that.
-
-                                   RIPLEY
-                    How long was I out there?  They
-                    won't tell me anything.
-
-                                   BURKE
-                           (soothing)
-                    Well, maybe you shouldn't worry
-                    about that just yet.
-
-        Ripley grabs his arm, surprising him.
-
-                                   RIPLEY
-                    How long?
-
-        Burke gazes at her, thoughtful.
-
-                                   BURKE
-                    All right.  My instinct says
-                    you're strong enough to handle
-                    this...Fifty-seven years.
-
-        Ripley is stunned.  She seems to deflate, her expression
-        passing through amazement and shock to realization of
-        all she has lost.  Friends.  Family.  Her world.
-
-                                   RIPLEY
-                    Fifty-seven...oh, Christ...
-
-                                   BURKE
-                    You'd drifted right through the
-                    core systems.  It's blind luck that
-                    deep-salvage team caught you when
-                    they...are you all right?
-
-        Ripley coughs suddenly as if choking and her expression
-        becomes one of dawning horror.  Burke hands her a glass
-        of water from the nightstand.  She slaps it away.  It
-        shatters with a SMASH.  Jones dives, yowling.  Ripley
-        grabs her chest, struggling as if she is strangling.
-        The Med-Tech hits a console button.
-
-                                   MED-TECH
-                           (shouting)
-                    Code Blue!  415.  Code Blue!
-                    4-1-5!
-
-        Burke and the Med-Tech are holding Ripley's shoulders as
-        she goes into convulsions.  A DOCTOR and TWO TECHS run
-        in.  Ripley's back arches in agony.
-
-                                   RIPLEY
-                    No...noooo!
-
-        They try to restrain her as she thrashes, knocking over
-        equipment.  Her EKG races like mad.  Jones, under a
-        cabinet, hisses wide-eyed.
-
-                                   DOCTOR
-                    Hold her...Get me an airway, stat!
-                    And fifteen cc's of...Jesus!
-
-        AN EXPLOSION OF BLOOD beneath the sheet covering her
-        chest!  Ripley stares at the SHAPE RISING UNDER THE
-        SHEET.  Tearing itself out of her.
-
-        HER P.O.V. as the sheet rises.  A GLIMPSE OF the
-        CHITTERING HORROR...IT SCREECHES.
-
-        TIGHT ON RIPLEY  screaming, snapping up INTO FRAME.
-        Alone in the darkened hospital room.  She gasps for
-        breath, clutching pathetically at her chest.  There is
-        no demented horror rigging 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 heel of her hand and sobs.
-
-        A VIDEO MONITOR beside the bed snaps on.  A MED-TECH's
-        face.
-
-                                   MED-TECH
-                    Bad dreams again?  Do you want
-                    something to help you sleep?
-
-                                   RIPLEY
-                           (faint)
-                    No.. I've slept enough.
-
-        The Med-Tech shrugs and switches off.  Touching a button
-        on the nightstand she opens the viewport, REVEALING
-        Gateway and the turquoise Earth.  She hugs Jones to her
-        and rocks with him like a child, still shattered by the
-        nightmare.  Shivering.  Sleep is far off.
-
-                                   RIPLEY
-                    We made it, Jones.  We made it.
-
-        But at what price?
-
-                                                        CUT TO:
-
-        EXT. PARK                                                 4   
-
-        Sunlight streams in shafts through a stand of poplars,
-        beyond which a verdant meadow is VISIBLE.
-
-        EXTREME F.G.  Jones stalks toward a bird hopping among
-        fallen leaves.  He leaps.  And smack into A WALL.
-
-                                   RIPLEY
-                           (voice over)
-                    Dumbshit.
-
-        WIDER ANGLE  as Jones steps back confused from the
-        HIGH-RESOLUTION ENVIRONMENTAL WALL SCREEN, a sort of
-        cinerama video-loop.  Ripley sits on a bench in what we
-        now SEE is an ATRIUM off the medical center, still
-        somewhere in the bowels of Gateway Station.  Benches.
-        Some unenthusiastic potted trees.  The sterile corridors
-        VISIBLE beyond glass doors b.g.
-
-        Burke ENTERS in his usual mode, casual haste.
-
-                                   BURKE
-                    Sorry...I've been running behind
-                    all morning.
-
-        Ripley seems healthier now, but still a bit brittle.
-
-                                   RIPLEY
-                    Have they located my daughter
-                    yet?
-
-                                   BURKE
-                    Well, I was going to wait
-                    until after the inquest...
-
-        He opens his briefcase, removing a sheet of printer
-        hard copy, including a telestat photo.
-
-                                   RIPLEY
-                    Is she...?
-
-                                   BURKE
-                           (scanning)
-                    Amanda Ripley-McClaren.  Married
-                    name, I guess.  Age:  sixty-six
-                    ...at time of death.  Two years
-                    ago.
-                           (looks at her)
-                    I'm sorry.
-
-        Ripley 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.
-
-                                   RIPLEY
-                    Amy.
-
-                                   BURKE
-                           (reading)
-                    Cancer.  Hmmmm.  They still haven't
-                    licked that one.  Cremated.  Interred
-                    Parkside Repository, Little Chute,
-                    Wisconsin.  No children.
-
-        Ripley gazes off, into the pseudo-landscape, into the
-        past.
-
-                                   RIPLEY
-                    I promised her I'd be home for
-                    her birthday.  Her eleventh
-                    birthday.  I sure missed that
-                    one.
-                           (pause)
-                    Well...she has already learned
-                    to take my promises with a grain
-                    of salt.  When it came to flight
-                    schedules, anyway.
-
-        Burke nods, a simpatico presence.
-
-                                   RIPLEY
-                    You always think you can make it
-                    up to somebody...later, you know.
-                    But now I never can.  I never
-                    can.
-
-        Let's get one thing straight...Ripley can be one tough
-        lady.  But the terror, the loss, the emptiness are, in
-        this moment, overwhelming.  She cries silently.
-
-        Burke puts a reassuring hand on her arm.
-
-                                   BURKE
-                           (gently)
-                   The hearing convenes at 0930.  You
-                   don't want to be late.
-
-        INT. CORRIDOR - GATEWAY                                   5
-
-        Elevator doors part and Ripley emerges, in mid-conversation
-        with Burke.  DOLLYING AHEAD OF THEM as they move rapidly
-        down the corridor.
-
-                                   RIPLEY
-                    You read my deposition...it's
-                    complete and accurate.
-
-                                   BURKE
-                    Look, I believe you, but there are
-                    going to be some heavyweights in
-                    there.  You got Feds, you got
-                    interstellar commerce commission,
-                    you got colonial administration,
-                    insurance company guys...
-
-                                   RIPLEY
-                    I get the picture.
-
-                                   BURKE
-                    Just tell them what happened.  The
-                    important thing is to stay cool
-                    and unemotional.
-
-        INT. CONFERENCE ROOM - ON RIPLEY - GATEWAY                6
-
-        She's not cool.  Not unemotional.
-
-                                   RIPLEY
-                    Do you people have earwax, of
-                    what?  We have been here 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 VIDEO SCREEN,
-        PARKER grins like a goon from his personnel 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
-        and frowns.
-
-                                   VAN LEUWEN
-                    Look at it from our perspective.
-                    You freely admit to detonating the
-                    engines of, and thereby destroying,
-                    an M-Class star-freighter.  A
-                    rather expensive piece of hardware...
-
-                                   INSURANCE INVESTIGATOR 
-                           (dryly)
-                    Forty-two million in adjusted dollars.
-                    That's minus payload, of course.
-
-                                   VAN LEUWEN
-                    The shuttle's flight recorder
-                    corroborates some elements of
-                    your account.  That the Nostromo
-                    set down on LV-426, an unsurveyed
-                    planet, at that time.  That
-                    repairs were made.  That it resumed
-                    its course and was subsequently set
-                    for self-destruct.  By you.  For
-                    reasons unknown.
-
-                                   RIPLEY
-                    Look, I told you...
-
-                                   VAN LEUWEN
-                    It did not, however, contain any
-                    entries concerning the hostile
-                    life form you allegedly picked up.
-
-        Ripley sense the noose tightening.
-
-                                   RIPLEY
-                    Then somebody's gotten to it...
-                    doctored the recorder.  Who had
-                    access to it?
-
-        The ECA (Extrasolar Colonization Administration)
-        Representative (ECA REP) just shakes his head.
-
-                                   ECA REP
-                    Would you just listen to yourself
-                    for one minute.
-
-        Ripley glares at the ECA Rep, a woman on the ungenerous
-        side of fifty.  Van Leuwen sighs with exasperation.
-
-                                   VAN LEUWEN
-                    The analysis team which went over
-                    your shuttle centimeter by
-                    centimeter found no physical
-                    evidence of the creature you
-                    describe...
-
-                                   RIPLEY
-                           (losing it) 
-                    That's because I blew it out the
-                    Goddamn airlock!
-                           (pause)
-                    Like I said.
-
-                                   INSURANCE MAN
-                           (to ECA Rep)
-                    Are there any species like this
-                    'hostile organism' on LV-426?
-
-                                   ECA REP
-                    No.  It's a rock.  No indigenous
-                    life larger than a simple virus.
-
-        Ripley grits her teeth in frustration.
-
-                                   RIPLEY
-                    I told you, it wasn't indigenous.
-                    There was an alien spacecraft there.
-                    A derelict ship.  We homed on its
-                    beacon...
-
-                                   ECA REP
-                    To be perfectly frank, we've surveyed
-                    over three hundred worlds and no one's
-                    ever reported a creature which, using
-                    your words...
-                           (read from Ripley's
-                           statement)
-                    ...'gestates in a living human host'
-                    and has 'concentrated molecular acid
-                    for blood.'
-
-        Ripley glances at Burke, silent at the far end of the
-        table.  His expression is grim.  Her mouth hardens as
-        a bit of the old nail-eating Ripley surfaces.
-
-                                   RIPLEY
-                    Look, I can see where this is
-                    going.  But I'm telling you those
-                    things exist.  Back on that planetoid
-                    is an alien ship and on that ship
-                    are thousands of eggs.  Thousands.
-                    Do you understand?  I suggest you
-                    find it, using the flight recorder's
-                    data.  Find it and deal with it --
-                    before one of your survey teams
-                    comes back with a little surprise...
-
-                                   VAN LEUWEN
-                    Thank you, Officer Ripley.  That
-                    will be...
-
-                                   RIPLEY
-                           (louder, stepping
-                           on him)
-                    ...because just one of those
-                    things managed to kill my entire
-                    crew, within twelve hours of
-                    hatching...
-
-        Van Leuwen stands, out of patience.
-
-                                   VAN LEUWEN
-                    Thank you, that will be all.
-
-        Ripley stares him down, glowering at the board.
-
-                                   RIPLEY
-                    That's not all, Goddamnit!  If
-                    those things get back here, that
-                    will be all.  Then you can just
-                    kiss it good-bye, Jack!  Just kiss
-                    it goodbye.
-
-        Ripley turns sharply away, trembling with frustration
-        and anger.  Dallas looks back at her from the video
-        screen, his eyes burning from the photograph, as we:
-
-                                                        CUT TO:
-
-        INT. CORRIDOR                                             7
-
-        Ripley kicks the wall next to Burke who is getting coffee
-        and donuts at a vending machine.
-
-                                   BURKE
-                    You had them eating out of your
-                    hand, kiddo.
-
-                                   RIPLEY
-                    They had their minds made up
-                    before I even went in there.
-                    They think I'm a head case.
-
-                                   BURKE
-                           (cheerfully)
-                    You are a head case.  Have a donut.
-
-        INT. CONFERENCE ROOM - TIGHT ON RIPLEY - LATER            8
-
-        Van Leuwen clears his throat.
-
-                                   VAN LEUWEN
-                    It is the finding of this board of
-                    inquiry that Warrent Officer Ellen Ripley,
-                    NOC-14672. has acted with questionable
-                    judgment and is unfit to hold an
-                    ICC license as a commercial flight
-                    officer.
-
-        Burke watches Ripley taking it on the chin, white-lipped
-        but subdued.
-
-                                   VAN LEUWEN
-                    Said license is hereby suspended
-                    indefinitely.  No criminal charges
-                    will be filed at this time and you
-                    are released on own recognizance
-                    for a six month period of
-                    psychometric probation, to include
-                    monthly review by an ICC psychiatric
-                    tech...
-
-        INT. CORRIDOR                                             9
-
-        DOLLY BACK as the conference room door bangs open and
-        Ripley strides through.  She shrugs off Burke's
-        restraining arm and catches up to Van Leuwen walking
-        down the corridor.
-
-                                   RIPLEY
-                           (insistent)
-                    Why won't you check out LV-426?
-
-                                   VAN LEUWEN
-                           (condescendingly)
-                    Because I don't have to.  The
-                    people who live there checked it
-                    out years ago and they never
-                    reported and 'hostile organism'
-                    or alien ship.  And by the way,
-                    they call it Acheron now.
-
-                                   RIPLEY
-                    What are you talking about.
-                    What people?
-
-        Van Leuwen steps into an elevator with some others, but
-        Ripley holds the door from closing.
-
-                                   VAN LEUWEN
-                    Terraformers...planet engineers.
-                    It's what we call a shake 'n' bake
-                    colony.  They set up atmosphere
-                    processors to make the air
-                    breathable...big job.  Takes
-                    decades.  They've already been
-                    there over twenty years.  Peacefully.
-
-        The door tries to close.  Ripley slams it back.  People
-        are getting annoyed.
-
-                                   RIPLEY
-                    How many colonists?
-
-                                   VAN LEUWEN
-                    Sixty, maybe seventy families.
-
-                                   RIPLEY
-                           (low)
-                    Sweet Jesus.
-
-                                   ELEVATOR PASSENGER
-                    Do you mind?
-
-        Ripley's hand slides off the door, strengthless.
-
-        TIGHT ON HER  FROM INSIDE the elevator as the doors close
-        like fate on her lost expression.
-
-        EXT. ALIEN LANDSCAPE - DAY                               10
-
-        A hideous, storm-blasted vista.  Tortured rock forms.
-        Bleak twilight at midday.
-
-        PAN SLOWLY ONTO a CORRODED METAL SIGN set in concrete
-        pylons, which reads:
-
-                       HADLEY'S HOPE - POP. 159
-                         "WELCOME TO ACHERON"
-
-        Some local has added below in spray-can graffiti
-        "Have a nice day."  Gale-force wind SCREECHES around
-        the steel sign, driving a freezing rain.
-
-        The COLONY, b.g., is a squat complex with lots of
-        floodlights.
-
-        EXT. COLONY COMPLEX                                      11
-
-        The town is a cluster of bunkerlike metal and concrete
-        buildings connected by conduits.  Neon signs throw garish
-        colors across the vaultlike walls, advertising bars and
-        other businesses.  It looks like a sodden cross between
-        the Krupps munitions works and a truckstop casino in
-        the Nevada boondocks.
-
-        Huge-wheeled tractors crawl toadlike in the rutted
-        "street" and vanish down rampways to underground garages.
-
-        ANGLE ON THE CONTROL BLOCK  the largest structure.  It
-        resembles vaguely the superstructure of an aircraft
-        carrier...a flying bridge.
-
-        VISIBLE across a half kilometer of barren heath, b.g.,
-        is the massive complex of the nearest ATMOSPHERE
-        PROCESSOR, looking like a power plant bred with an active
-        volcano.  Its fiery glow pulses in the low cloud cover
-        like a steel mill.
-
-        INT. MAIN CONCOURSE - NEAR CONTROL BLOCK                 12
-
-        A central space, laid out like a scaled-down shopping
-        mall with no styling flourishes.  We SEE a cross section
-        of the types of people who have come to live on
-        Godforsaken Acheron.  Tough.  Pragmatic.  "Grapes of
-        Wrath" faces.  Calloused hands.  Not too many interior
-        decorators.  Some children race in the corridor on things
-        that look suspiciously like "Big Wheels."
-
-        INT. OPERATIONS ROOM - CONTROL BLOCK                     13
-
-        Jammed with computer terminals, technicians, displays...
-        most of the business of running the colony flows through
-        here.  It's high tech but used and scrungy.  Papers
-        piled up.  Coffee cup rings.
-
-        DOLLY AHEAD OF LYDECKER, the Assistant Operations Manager,
-        as he catches up to the harried Operating Manager,
-        SIMPSON.
-
-                                   LYDECKER
-                    You remember you sent some
-                    wildcatters out to that
-                    plateau, out past the Ilium
-                    range, a couple days ago?
-
-                                   SIMPSON
-                    Yeah.  What?
-
-                                   LYDECKER
-                    There's a guy on the horn,
-                    mom-and-pop survey team.  Says
-                    he's homing on something and
-                    wants to know if his claim will
-                    be honored.
-
-                                   SIMPSON
-                    Christ.  Some honch in a cushy
-                    office on Earth says go look at
-                    a grid reference in the middle
-                    of nowhere, 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.'
-
-                                   LYDECKER
-                    So what do I tell this guy?
-
-                                   SIMPSON
-                    Tell him, as far as I'm concerned,
-                    he finds something it's his.
-
-        EXT. ACHERON - THE MIDDLE OF NOWHERE - A SIX-WHEELED     14
-        TRACTOR - DAY
-
-        It roars across corrugated rock, blasting through soggy
-        drifts of volcanic ash.
-
-        INT. TRACTOR                                             15
-
-        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 playing among the
-        heavy sampling equipment.
-
-                                   JORDEN
-                           (gloating cackle)
-                    Look at this fat, juicy magnetic
-                    profile.  And it's mine, mine,
-                    mine.
-
-                                   ANNE
-                    Half mine, dear.
-
-        NEWT, their six-year-old daughter, yells from the back...
-
-                                   NEWT
-                    And half mine!
-
-                                   JORDEN
-                    I got too many partners.
-
-                                   NEWT
-                    Daddy, when are we going back
-                    to town?
-
-                                   JORDEN
-                    When we get rich, Newt.
-
-                                   NEWT
-                    You always say that.  I wanna go
-                    back.  I wanna play 'Monster Maze.'
-
-        Her older brother TIM sticks his jeering face close to
-        hers.
-
-                                   TIM
-                    You cheat too much.
-
-                                   NEWT
-                    Do not.  I'm just the best.
-
-                                   TIM
-                    Do too!  You go in places we
-                    can't fit.
-
-                                   NEWT
-                    So!  That's why I'm the best.
-
-                                   ANNE
-                    Knock it off!  I catch either of
-                    you playing in the air ducts again
-                    I'll tan your hides.
-
-                                   NEWT
-                    Mom.  All the kids play it...
-
-                                   JORDEN
-                           (reverently)
-                    Holy shiiit!
-
-        ANGLE THROUGH FRONT CANOPY  ON a bizarre shape looming
-        ahead.  An enormous bonelike mass projecting upward from
-        the bed of ash.  The tractor slows.
-
-        Canted on its side and buckles against a rock outcropping
-        by the lava flow, it is still recognizable as an
-        EXTRATERRESTRIAL SHIP.  Bio-mechanoid.  Nonhuman design.
-
-                                   JORDEN
-                    Folks, we have scored big this
-                    time.
-
-        EXT. TRACTOR                                             16
-
-        Jorden and Anne step down, wearing ENVIRONMENT SUITS.
-        Carrying LIGHTS, PACKS, CAMERAS, TEST GEAR.  Their
-        breath clouds in the chill air.
-
-                                   ANNE
-                    You kids stay inside.  I mean
-                    it!  We'll be right back.
-
-        They trudge toward the alien derelict.
-
-                                   ANNE
-                    Shouldn't we call in?
-
-                                   JORDEN
-                    Let's wait till we know what to
-                    call it in as.
-
-                                   ANNE
-                           (nervous)
-                    How about 'big weird thing'?
-
-        They pause at a twisted gash in the hull.  Blackness
-        inside.
-
-        INT./EXT. TRACTOR                                        17
-
-        Newt has her face pressed to the glass, steaming it.
-        Watching her parents enter the strange ship.  Tim GRABS
-        HER from behind.  She SHRIEKS.
-
-                                   TIM
-                    Cheater!
-
-        EXT. LANDSCAPE - NIGHT                                   18
-
-        The tractor and the derelict are dark and motionless.
-        The wind HOWLS around them.
-
-        Tim is curled up in the driver's seat.  Newt shakes him
-        awake, trying hard not to cry.
-
-                                   NEWT
-                    Timmy...they've been gone a
-                    long time.
-
-        Tim considers the night.  The wind.  The vast landscape.
-        He bites his lip.
-
-                                   TIM
-                           (quavering)
-                    It'll be okay, Newt.  Dad knows
-                    what he's doing.
-
-        CRASH!  Newt SCREAMS as the 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 MULTILEGGED CREATURE, pulsing
-        with obscene life.  Newt begins to SCREAM hysterically,
-        competing with the shrieking wind which rises to a
-        crescendo as we:
-
-                                                        CUT TO:
-
-        INT. RIPLEY'S APARTMENT - GATEWAY - DAY                  20
-
-        Silence.  Ripley, looking haggard, sits at a table in
-        the dining alcove contemplating the smoke rising from
-        her cigarette.  The place is modest, to be charitable,
-        and there are few personal touches.  Though it's late
-        in the day Ripley is still wearing a robe.  The bed is
-        unmade.  Dishes in the sink.  Jones prowls across the
-        counter.  The WALLSCREEN is on, blaring vapidly.
-
-                                   VOICE FROM VIDEO
-                           (o.s.)
-                    Hey, Bob!  I heard you and the
-                    family are heading off for the
-                    colonies!
-
-                                   BON
-                           (o.s.)
-                    Best decision I ever made, Bill.
-                    We'll be starting a new life
-                    from scratch, in a clean world.
-                    No crime.  No unemployment...
-
-        The door BUZZES.  Ripley jumps like a cat.  Jones doesn't.
-
-        INT. CORRIDOR                                            21
-
-        Carter Burke stands in the narrow, dingy corridor with
-        LIEUTENANT GORMAN, Colonial Marine Corps.  Young and
-        severe in his officer's dress-black.  The door opens
-        slightly.
-
-                                   BURKE
-                    Hi, Ripley.  This is
-                    Lieutenant Gorman of the...
-
-        SLAM.  Burke buzzes again.  Talks to the door...
-
-                                   BURKE
-                    Ripley we have to talk.
-                           (pause) 
-                    They've lost contact with the
-                    colony on Acheron.
-
-        The door opens.  Ripley considers the ramifications of
-        that.  She motions them inside.
-
-        INT. RIPLEY'S APARTMENT - A LITTLE LATER                 22
-
-        Burke and Gorman are seated, nursing coffee.  Ripley
-        paces, very tense.
-
-                                   RIPLEY
-                    No.  There's no way!
-
-                                   BURKE
-                    Hear me out...
-
-                                   RIPLEY
-                    I was reamed, steamed and
-                    dry-cleaned by you guys...and
-                    now you want me to go back out
-                    there?  Forget it.
-
-        We SEE that she's gut scared, covering it with anger.
-        Burke sees it.
-
-                                   BURKE
-                    Look, we don't know what's going
-                    on out there.  It may just be a
-                    down transmitter.  But if it's
-                    not, I want you there...as an
-                    advisor.  That's all.
-
-                                   GORMAN
-                    You wouldn't be going in with the
-                    troops.  I can guarantee your
-                    safety.
-
-                                   BURKE
-                    These Colonial Marines are
-                    some tough hombres, and they're
-                    packing state-of-the-art firepower.
-                    Nothing they can't handle...right,
-                    Lieutenant?
-
-                                   GORMAN
-                           (cool)
-                    We're trained to deal with these
-                    kinds of situations.
-
-                                   RIPLEY
-                           (to Burke)
-                    What about you?  What's your
-                    interest in this?
-
-                                   BURKE
-                    Well, the corporation co-financed
-                    that colony with the Colonial
-                    Administration, against mineral
-                    rights.  We're getting into a lot
-                    of terraforming...'Building Better
-                    Worlds.'
-
-        Burke is revealing his early days in sales.
-
-                                   RIPLEY
-                    Yeah, yeah.  I saw the commercial.
-
-                                   BURKE
-                    I heard you were working in the
-                    cargo docks.
-
-                                   RIPLEY
-                           (defensive)
-                    That's right.
-
-                                   BURKE
-                    Running loaders, forklifts, that
-                    sort of thing?
-
-                                   RIPLEY
-                           (shrugging)
-                    It's all I could get.  Anyway,
-                    it keeps my mind off of...
-                    everything.  Days off are worse.
-
-                                   BURKE
-                    What if I said I could get you
-                    reinstated as a flight officer?
-                    And that the company has agreed
-                    to pick up your contract?
-
-                                   RIPLEY
-                    If I go.
-
-                                   BURKE
-                    If you go.
-                           (pause)
-                    It's a second chance, kiddo.  And
-                    it'll be the best thing in the
-                    world for you to face this fear
-                    and beat it.  You gotta get back
-                    on the horse...
-
-                                   RIPLEY
-                           (frosty)
-                    Spare me, Burke.  I've had my
-                    psych evaluation this month.
-
-        Burke leans close, a let's-cut-the-crap intimacy.
-
-                                   BURKE
-                    Yes, and I've read it.  You
-                    wake up every night, sheets
-                    soaking, the same nightmare
-                    over and over...
-
-                                   RIPLEY
-                           (shouting)
-                    No!  The answer is no.  Now
-                    please go.  I'm sorry.  Just
-                    go, would you.
-
-        Burke nods to Gorman who rises with him.  He slips a
-        TRANSLUCENT CARD onto the table, heads for the door.
-
-                                   BURKE
-                    Think about it.
-
-        EXT. ACHERON LANDSCAPE - NIGHT                           23
-
-        As the wind HOWLS through tormented rock, BUILDING IN
-        PITCH until we:
-
-                                                        CUT TO:
-
-        INT. APARTMENT                                           24
-
-        Ripley lunges INTO FRAME with an animal outcry.  She
-        clutches her chest, breathing hard.  Bathed in sweat
-        she lights a cigarette with trembling hands.  Do we
-        hear a faint, desolate wind?
-
-        TIGHT ON PHONE CONSOLE  as Ripley's hand inserts Burke's
-        card into a slot.  "STAND BY" prints out on the screen
-        and is replaced by Burke's face, bleary with sleep.
-
-                                   BURKE
-                           (on video phone)
-                    Yello?  Oh, Ripley.  Hi...
-
-                                   RIPLEY
-                    Burke, just tell me one thing.
-                    That you're going out there to
-                    kill them.  Not study.  Not bring
-                    back.  Just burn them out...clean
-                    ...forever.
-
-                                   BURKE
-                    That's the plan.  My word on it.
-
-        CLOSEUP - RIPLEY  taking a deep slow breath.  It's time
-        to look the demon in the eye.
-
-                                   RIPLEY
-                    All right.  I'm in.
-
-        She punches off 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 my dear, are staying
-                    right here.
-
-        Jones blinks, cynical cat eyes..."count me right
-        out."
-
-                                                        CUT TO:
-
-        EXT. DEEP SPACE - THREE WEEKS LATER                      25
-
-        An empty starfield.  Metal spires slice ACROSS FRAME.
-
-        A mountain of steel following.  A massive military
-        transport ship, the SULACO.  Ugly, battered...
-        functional.
-
-        INT. CORRIDOR TO CARGO LOCK                              26
-
-        An empty corridor, seemingly miles long.  No movement.
-        The THRUMMING of hyperdrive engines.
-
-        INT. CARGO LOCK                                          27
-
-        An enormous chamber, cavernous and dark.  Squatting
-        in the shadows are two orbit-to-surface shuttles.
-        DROP-SHIPS.  Heavy machinery all around them...
-        cranes, loading equipment.
-
-        INT. BRIDGE                                              28
-
-        Dark electronic womb.  CAMERA DOLLIES SLOWLY among
-        murmuring instrumentation.  A sudden high-pitched
-        TRILLING accompanies a sequence of lights.  An alarm.
-
-        INT. HYPERSLEEP VAULT                                    29
-
-        Blackness, until a bank of indicators lights up.
-        Hydraulics lift a grid of equipment from a row of
-        horizontal HYPERSLEEP CYLINDERS.  It reaches the
-        ceiling.  Locks.
-
-        CLOSE ON RIPLEY'S CAPSULE  as trickles of water run
-        down the frosted canopy.
-
-                                                        DISSOLVE TO:
-
-        INT. HYPERSLEEP VAULT                                    30
-
-        Lit up, white and sterile.
-
-        The canopies of the row of capsules are raised.  Ripley
-        sits up.  Rubs her arms briskly.  Next to her Gorman
-        and Burke are stirring and beyond them the troopers,
-        wearing shorts and dog tags.  They are:
-
-           MASTER SERGEANT APONE                    UNIT LEADER
-
-           CORPORAL HICKS                         B-TEAM LEADER
-
-           CORPORAL DIETRICH (female)                  MED-TECH
-
-           PFC HUDSON                                  COM-TECH 
-           
-           PFC VASQUEZ (female)            'SMART-GUN' OPERATOR
-
-           PRIVATE DRAKE                   'SMART-GUN' OPERATOR
-
-           PRIVATE FROST                                TROOPER
-
-           PRIVATE CROWE                                TROOPER
-
-           PRIVATE WIERZBOWSKI                          TROOPER
-
-           CORPORAL FERRO (female)              DROP-SHIP PILOT
-
-           PFC SPUNKMEYER                   DROP-SHIP CREW CHIEF
-
-        The ship is fully automated in interstellar flight so
-        there is no crew, except for EXECUTIVE OFFICER (ECA) Bishop,
-        who supervises planetary maneuvering.
-
-        GROANS echo across the chamber.
-
-                                   SPUNKMEYER
-                    Arrgh.  I'm getting too old for
-                    this shit.
-
-        SPUNKMEYER says this sincerely, though he must have
-        enlisted underage not long ago.  Looking surly, DRAKE
-        sits up.  He's young as well but street-tough.  Nasty
-        scar curling his lip into a sneer.
-
-                                   DRAKE
-                    They ain't payin' us enough
-                    for this.
-
-                                   DIETRICH
-                    Not enough to have to wake up
-                    to your face, Drake.
-
-                                   DRAKE
-                    Suck air.  Hey, Hicks...you look
-                    like I feel.
-
-        HICKS, an older lifer-type who keeps his own counsel,
-        just snorts good-naturedly.
-
-        Ripley scans the group as they shuffle past her to a
-        bank of lockers.  Though not supermen they are lean and
-        hardened...tough, capable, jaded.  They combine the
-        specialized techno-combat training of the twenty-first
-        century fighting man with those qualities universal to
-        "grunts" through the ages.  SERGEANT APONE moves down the
-        row of freezers.
-
-                                   HUDSON
-                    This floor's freezing.
-
-                                   APONE
-                    Christ.  I never saw such a
-                    buncha old women.  You want me
-                    to fetch your slippers, Hudson?
-
-                                   HUDSON
-                    Would you, Sir?
-
-        Ripley steps back as the troopers shuffle past nodding
-        cursory hellos.  She feels isolated by the camaraderie
-        of this tightknit group.
-
-        VASQUEZ eyes her coldly as she passes.  Like Drake,
-        Vasquez is younger then the rest and her combat-primer
-        was the street in a Los Angeles barrio.  She is tough
-        even by the standards of this group.  Hard-muscled.
-        Eyes cunning and mean.
-
-                                   HUDSON
-                    Hey, Vasquez...you ever been
-                    mistaken for a man?
-
-                                   VASQUEZ
-                    No.  Have you?
-
-        She slaps Drake's open palm and it clenches into a
-        greeting which is part contest.  It gets rougher.
-        Painful.  Until she cuffs him hard and they break with
-        vicious laughter.  Dobermans playing.  Conscripted from
-        juvenile prison, the two of them were trained to
-        operate the formidable "SMART-GUNS."  That is part
-        of their bond.
-
-        BISHOP is helping everyone like a valet.  As he passes
-        close to her Ripley notices a strange TATTOO across
-        the back of his left hand...an ALPHA-NUMERIC CODE.
-
-                                   FROST
-                    Hey, hand job, you take my
-                    towel?
-
-                                   SPUNKMEYER
-                           (overlapping)
-                    I need some slack, man.  How
-                    come they send us straight back
-                    out like this?  We got some slack
-                    comin', man.
-
-                                   HICKS
-                    You just got three weeks.
-
-                                   SPUNKMEYER
-                    I mean breathing, not this frozen
-                    shit.
-
-                                   DIETRICH
-                    Yeah, 'Top'...what about it?
-
-                                   APONE
-                    You know it ain't up to me.
-                           (louder)
-                    Awright!  Let's knock off the
-                    grabass.  First assembly's in
-                    fifteen...let's shag it.
-
-        INT. SHOWERS                                             31
-
-        High pressure water jets and a blast of hot air when
-        you step out...a drive through car wash for people.
-        Through the swirling steam Hudson, Vasquez and FERRO
-        are watching Ripley dry off.
-
-                                   VASQUEZ
-                    Who's the fresh meat again?
-
-                                   FERRO
-                    She's supposed to be some kinda
-                    consultant...
-                    (exaggerated)
-                    ...She was an alien once.
-
-                                   HUDSON
-                    Whoooah!  No shit?  I'm impressed.
-
-                                   APONE
-                    Let's go...let's go.  Cycle through!
-
-        INT. MESS HALL                                           32
-
-        An unconscious segregation takes place at the troopers
-        assemble at one long table while Gorman, Burke, Bishop
-        and Ripley sit at another.  Everybody is nursing a
-        coffee, waiting for eggs from the AUTOCHEF.  Among the
-        troopers dress discipline is lax...fatigues customized
-        and emblazoned with patches.  Drake's tunic is cut off
-        to a vest and has "Eat the apple and fuck the Corps"
-        stenciled on back.  "Peace Through Superior Firepower,"
-        "Pray for War" and "I've Served My Time in Hell:  Cetti
-        Epsilon NC-104" are some others.
-
-                                   HUDSON
-                    Hey, 'Top.'  What's the op?
-
-                                   APONE
-                    Rescue mission.  There's some
-                    juicy colonists' daughters we
-                    gotta rescue from virginity.
-
-        Apone is stocky, grizzled, with peregrine eyes.  He runs
-        it loose and fair, but only because he knows his people
-        are the best.
-
-                                   SPUNKMEYER
-                    Shee-it.  Dumbass colonists.
-                    What's this crap supposed to be?
-
-                                   WIERZBOWSKI
-                    Cornbread, I think.  Hey, I wouldn't
-                    mind getting me some more a
-                    that Arcturan poontang.  Remember
-                    that time?
-
-                                   HICKS
-                           (low)
-                    Looks like that new Lieutenant's
-                    too good to eat with us grunts.
-
-                                   WIERZBOWSKI
-                           (glancing
-                           over shoulder)
-                    Yeah.  Got a corn cob up his ass,
-                    definitely.
-
-        Across the room, at the other table, Gorman sits with
-        his creases perfect...the consummate strack NCO.  Bishop
-        takes a seat beside Ripley, who pointedly gets up and
-        moves to the far side of the table.  He looks wounded.
-
-                                   BISHOP
-                    I'm sorry you feel that way
-                    about Synthetics, Ripley.
-
-        Ripley spins on Burke, her tone accusing.
-
-                                   RIPLEY
-                    You never said anything about an
-                    android being here!  Why not?
-
-                                   BURKE
-                    Well, it didn't occur to me.  It's
-                    been policy for years to have a
-                    synthetic on board.
-
-                                   BISHOP
-                    I prefer the term 'artificial person'
-                    myself.  Is there a problem?
-
-                                   BURKE
-                    A synthetic malfunctioned on her
-                    last trip out.  Some deaths were
-                    involved.
-
-                                   BISHOP
-                    I'm shocked.  Was it an older model?
-
-                                   BURKE
-                    Cyberdyne 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 could never happen now with
-                    out behavioral inhibitors.  Impossible
-                    for me to harm or, by omission of
-                    action, allow to be harmed a
-                    human being.
-                           (smiling)
-                    More cornbread?
-
-        WHAM!  Ripley knocks the plate out of his hand, halfway
-        across the room.
-
-                                   RIPLEY
-                    Just stay away from me, Bishop!
-                    You got that straight?
-
-        Burke and Gorman exchange glances.
-
-        Wierzbowski, at the next table, shrugs and turns back
-        to the other troopers.
-
-                                   WIERZBOWSKI
-                    She don't like the cornbread
-                    either.
-
-        INT. READY ROOM - TIGHT ON APONE - ARMORY                33
-
-        bellowing.
-
-                                   APONE
-                    Tench-hut!
-
-        WIDER ANGLE  as the troops snap to from their lounging
-        among the racks of high-tech weaponry.  Gorman enters
-        with Burke and Ripley.
-
-                                   GORMAN
-                    At ease.  I'm sorry we didn't
-                    have time to brief before we
-                    left Gateway but...
-
-                                   HUDSON
-                    Sir?
-
-                                   GORMAN
-                           (annoyed)
-                    Yes, Hicks?
-
-                                   HUDSON
-                    Hudson, Sir.  He's Hicks.
-
-                                   GORMAN
-                    What's the question?
-
-                                   HUDSON
-                    Is this going to be a stand-up
-                    fight, Sir, on another bug-hunt?
-
-                                   GORMAN
-                    All we know is that there's
-                    still no contact with the colony
-                    and that a xenomorph may be
-                    involved.
-
-                                   WIERZBOWSKI
-                    A what?
-
-                                   HICKS
-                           (to Wierzbowski;
-                           low)
-                    It's a bug-hunt.
-                           (louder)
-                    So what are these things?
-
-        Gorman nods to Ripley, who stands before the troops.
-        She sets some RECORDING DISKETTES on the table.
-
-                                   RIPLEY
-                    I've dictated what I know on
-                    these.
-
-                                   APONE
-                    Tease us a bit.
-
-                                   SPUNKMEYER
-                    Yeah...previews.
-
-                                   RIPLEY
-                    Okay.  It's important to understand
-                    this organism's life cycle.  It's
-                    actually two creatures.  The first
-                    form hatches from a spore...a sort
-                    of large egg, and attaches itself
-                    to its victim.  Then it injects
-                    an embryo, detaches and dies.
-                    It's essentially a walking sex organ.
-                    The --
-
-                                   HUDSON
-                    Sounds like you, Hicks.
-
-                                   RIPLEY
-                           (controlled)
-                    The embryo, the second form, hosts
-                    in the victim's body for several
-                    hours.  Gestating.  Then it...
-                           (with difficulty)
-                    ...then it...emerges.  Moults.
-                    Grows rapidly --
-
-                                   VASQUEZ
-                    I only need to know one thing.
-
-                                   RIPLEY
-                    Yes?
-
-                                   VASQUEZ
-                    Where they are.
-
-        Vasquez coolly points her finger, cocks her thumbs, and
-        blows away an imaginary alien.
-
-                                   DRAKE
-                    Yo!  Vasquez.  Kick ass!
-
-                                   VASQUEZ
-                    Anytime.  Anywhere.
-
-                                   HUDSON
-                    Somebody said alien...she
-                    thought they said illegal alien
-                    and signed up.
-
-                                   VASQUEZ
-                    Fuck you.
-
-                                   HUDSON
-                    Anytime.  Anywhere.
-
-                                   RIPLEY
-                           (icy)
-                    Am I disturbing you conversation
-                    Mr. Hudson?
-
-        Hudson settles down, smirking.  Ripley locks eyes with
-        Vasquez.
-
-                                   RIPLEY
-                    I hope you're right.  I really
-                    do.
-
-                                   BURKE
-                           (to all)
-                    I suggest you study the disks
-                    Ripley has been kind enough to
-                    prepare for you.
-
-                                   GORMAN
-                    Are there any questions?  Hudson?
-
-                                   HUDSON
-                    How do I get out of this
-                    chicken-shit outfit?
-
-        Gorman scowls then, thanking Ripley with a nod, takes
-        over the predrop briefing.
-
-                                   GORMAN
-                    All right.  I want this to go
-                    smooth and by the numbers.  I
-                    want DCS and tactical database
-                    assimilation by 0830.
-                            (some groans)
-                    Ordnance loading, weapons strip and
-                    drop-ship prep details will have
-                    seven hours...
-
-        EXT. SPACE - ACHERON                                     34
-
-        They have arrived.  From orbit the planet looks serene
-        ...Pearlescent cloud cover masking the environmental
-        torment beneath.  The SULACO floats, its MANEUVERING
-        JETS FIRING.  A bluish glow.  Then twice more, rapidly.
-
-        INT. BRIDGE                                              35
-
-        Bishop is installed in his command seat, hemmed in by
-        instrumentation.
-
-                                   BISHOP
-                           (into mike)
-                    Attention.  This concluded final
-                    maneuvering operations.  Thank
-                    you for your cooperation.  You
-                    may resume work.
-
-        INT. LOADING BAY - TIGHT ON MASSIVE FORKS - CARGO LOCK   34
-
-        sliding into a heavy ordnance rack with an echoing
-        CLANG.  PULL BACK as the rack of tactical missiles is
-        lifted, REVEALING two powerful hydraulic arms.
-
-        Spunkmeyer, seated inside a POWER LOADER, swings the
-        ordnance up into a belly nacelle of the DROP-SHIP where
-        it locks into place.  As he exerts pressure with his
-        hands against the servo-controls the hydraulic arms
-        move correspondingly...but with a thousandfold increase
-        in power.  The forklift-style CLAWS on each arm can
-        crush with tons of pressure.  The loader has an open
-        ROLL CAGE to protect the operator, and is supported
-        by squat HYDRAULIC LEGS which also move correspondingly
-        with the driver's movements.
-
-        You have never seen anything like this before.
-        Advanced as it is to us, it's only an old forklift
-        to them...battered and well used.  Covered with grease.
-        Repainted many times.  Across the back is stencilled
-        "CATERPILLAR."
-
-        Spunkmeyer's machine swings out from under the drop-ship
-        and we become aware of the intense activity throughout
-        the cavernous loading bay.  Troopers on foot or driving
-        TOW-MOWERS, OVERHEAD LOADING ARMS...all in motion.
-        Hicks checks off items on an electronic manifest.
-
-        INT. READY ROOM - ARMORY                                 37
-
-        Wierzbowski, Drake and Vasquez are fieldstripping
-        light weapons with precise movements.  Around them,
-        in racks, is an arsenal of advanced personal
-        artillery.
-
-        Vasquez likes the feel of the guns, the weight...the
-        authority.  Her hands move without hesitation.  CLACK.
-        CLACK.  CLACK.  She swings one of the SMART-GUNS out
-        on a work stand.  Using a body brace and GYRO-STABILIZED
-        SUPPORT ARM, it is a computer-aimed, video targeted
-        automatic weapon.  The futuristic equivalent of a .30
-        caliber light machine gun.  Sort of a steadicam that
-        kills.
-
-        INT. LOADING BAY - ANGLE ON BURKE AND GORMAN             38
-
-        with pre-flight activity b.g.
-
-                                   BURKE
-                    Still nothing from the colony?
-
-                                   GORMAN
-                    Dead on all channels.
-
-        Ripley watches the drop-ship being loaded.  A cross
-        between a Huey Aircobra gunship and the space shuttle
-        might describe it.  An orbit-to-surface troop carrier,
-        heavily armed for the close support of ground missions.
-        She watches a six-wheeled APC, ARMORED PERSONNEL
-        CARRIER, being raised hydraulically into the ship's
-        belly.  Ripley looks around as Frost wheels a rack of
-        incomprehensible equipment toward her.
-
-                                   FROST
-                    Clear, please.
-
-        Ripley jumps aside, nodding apologetically.  She turns.
-        Steps hastily back.  Hudson cruises by with a laden
-        forklift.
-
-                                   HUDSON
-                    Excuse me.
-
-        ANGLE ON APONE  standing with Hicks, as Ripley approaches
-        him
-
-                                   RIPLEY
-                    I feel like a fifth wheel
-                    here.  Is there anything I can
-                    do?
-
-                                   APONE
-                    I don't know.  Is there anything
-                    you can do?
-
-                                   RIPLEY
-                           (pointing)
-                    I can drive that loader.  I've
-                    got a Class Two rating.  My
-                    latest career move.
-
-        Apone turns.  A SECOND POWER LOADER sits unused in
-        an equipment bay.
-
-        TWO SHOT APONE AND HICKS  skeptical.  Considering.
-
-        TIGHT ON POWER SWITCH  as Ripley's finger punches it on.
-        A RISING WHINE of power.
-
-        TIGHT ON THE HYDRAULICS  as the massive machine stirs
-        to life.
-
-        FULL, as the loader starts.  Ripley is strapped into
-        the safety cage, her arms and legs inserted in the
-        servo-sensor assemblies.  She takes a step.  BOOM!
-        Two tons of hardened steel takes a step.
-
-        Ripley spins the wrist servos.  The huge claws swing,
-        open...slide smoothly into lifting brackets on a
-        cargo module, nearby.  She raises it deftly.
-
-                                   RIPLEY
-                    Where you want it?
-
-        Hicks looks at Apone, cocks an eyebrow appreciatively.
-
-        INT. READY ROOM - ARMORY                                 39
-
-        The troopers are suiting up for the drop.  Strapping on
-        their bulky COMBAT-ARMOR...interlocking plates like
-        football padding.  They tape their wrists.  Draw on
-        segmented boots.  The sole cleats CLACK like hooves
-        on the deck plates.  Lockers SLAM.
-
-        WEB BELTS.  PACKS.  HARNESSES.  HELMETS.  COM-SETS.
-        Their fingers move methodically over the fastenings.
-        It has its own rhythm...CLICK.  CLICK.  CLICK.
-
-                                   APONE
-                    Let's move it, girls!  On
-                    the ready line.  Let's go,
-                    let's go.
-
-        INT. DROP-SHIP - APC                                     40
-
-        Ripley, wearing a flight jacket and headset, files into
-        the ship with the hulking troopers.  Inside they pass
-        directly into the APC we saw loaded earlier and take
-        seats facing each other across a narrow aisle.  They will
-        drop already strapped into their ground vehicle for
-        rapid deployment.  A KLAXON SOUNDS, signalling
-        depressurization of the cargo lock.
-
-        Hudson prowls the aisle, his movements predatory and
-        exaggerated.  Ripley watches him working his way toward
-        her.
-
-                                   HUDSON
-                    I am ready, man.  Ready to get
-                    it on.  Check-it-out.  I am the
-                    ultimate badass...state of the
-                    badass art.  You do not want to
-                    fuck with me.  Hey, Ripley, don't
-                    worry.  Me and my squad of
-                    ultimate badasses will protect you.
-                    Check-it-out...
-
-        He slaps the SERVO-CANNON controls in the GUN BAY
-        above them.
-
-                                   HUDSON
-                    Independently targetting
-                    particle-beam phalanx.  VWAP!
-                    Fry half a city with this puppy.
-                    We got tactical smart-missles,
-                    phased-plasma pulse-rifles,
-                    RPG's.  We got sonic eeelectronic
-                    ballbreakers, we got nukes, we
-                    got knives...sharp sticks --
-
-        Hicks grabs Hudson by his battle harness and pulls him
-        into a seat.  His voice is low, but it carries.
-
-                                   HICKS
-                    Save it.
-
-                                   HUDSON
-                    Sure, Hicks.
-
-        Ripley nods her thanks to Hicks.  MOTORS WHINE and the
-        craft lurches.  Burke, next to Ripley, grins eagerly
-        like this is a sport fishing trip.
-
-                                   BURKE
-                    Here we go.
-
-        She looks like she's in a gas chamber waiting for the
-        pellet to drop.
-
-        EXT. SULACO                                              41
-
-        The drop-ship lowers from the cargo-lock on a massive
-        launch rig.  The night side of Acheron yawns below...
-        enigmatic.
-
-        INT. COCKPIT                                             42
-
-        Ferro and Spunkmeyer run rapidly through the switches.
-
-                                   FERRO
-                    Initiate release sequencer on my
-                    mark.  Three.  Two.  One.  Mark!
-
-        EXT. SULACO - DROP-SHIP                                  43
-
-        Hydraulic WHINE.  Clamps SLAM BACK.  The ship drops.
-
-        INT. DROP-SHIP - APC                                     44
-
-        Apone, stalking the aisle, snatches for a handhold.
-        Bishop, Burke and Gorman groan at the sudden gees.
-        Ripley closes her eyes...the point of no return.
-
-        EXT. DROP-SHIP                                           45
-
-        It screams down through the stratosphere, plunging
-        into dark turbulence.
-
-        INT. COCKPIT                                             46
-
-        Beyond the canopy is gray limbo.  The craft shudders
-        and lurches.
-
-                                   FERRO
-                           (icy calm)
-                    Switching to DCS ranging.
-
-                                   SPUNKMEYER
-                    Two-four-o.  Nominal to profile.
-                    Picking up some hull ionization.
-
-                                   FERRO
-                    Got it.  Rough air ahead.
-
-        INT. HOLD - APC                                          47
-
-        TIGHT ON HICKS  asleep in his harness.
-
-                                   FERRO
-                           (voice over;
-                           filtered)
-                    Stand by for some chop.
-
-        TIGHT ON GORMAN  as the ship begins to buck, his eyes
-        closed.  Pale.  Sweating.  He rubs his hands on his
-        knees repeatedly.
-
-                                   RIPLEY
-                    How may drops is this for you,
-                    Lieutenant?
-
-                                   GORMAN
-                    Thirty-eight...simulated.
-
-                                   VASQUEZ
-                    How many combat drops?
-
-                                   GORMAN
-                    Well...two.  Three, including
-                    this one.
-
-        Vasquez and Drake exchange do-you-believe-this-shit
-        expressions.  Ripley looks accusingly at Burke.
-
-        INT. COCKPIT                                             48
-
-                                   FERRO
-                    Turning on final.  Coming around to
-                    a seven-zero-niner.  Terminal
-                    guidance locked in.  Where's
-                    the damn beacon?
-
-        EXT. DROP-SHIP                                           49
-
-        It emerges from the low cloud ceiling.  From the twilight
-        haze ahead the distant colony LANDING BEACONS become
-        visible.
-
-        INT. HOLD - APC                                          50
-
-        Stumbling as the ship pitches, Ripley makes her way
-        forward to the MOBILE TACTICAL OPERATIONS BAY (MTOB),
-        a control console lined with monitor screens.  She
-        joins Burke watching over Gorman's shoulder as the
-        Lieutenant plays the board like a video director.
-
-        TIGHT ON MONITOR CONSOLE  REVEALING screens labelled with
-        the names of the troopers.  Two for each soldier.  The
-        upper screens show images from the IMAGE-INTENSIFIED
-        VIDEO CAMERAS in their helmets.  The lower screens are
-        BIO-MONITORS:  EEG, EKG, and other graphic life-function
-        readouts.  Other screens show EXTERIOR VIEWS.
-
-                                   GORMAN
-                    Let's see.  Everybody on line.
-                    Drake, check you camera.  There
-                    seems to be a...
-
-        CLOSE ON DRAKE  as he whacks himself on the head with
-        an ammo case.  A familiar malfunction.
-
-                                   GORMAN
-                           (o.s)
-                    ...that's better.  Pan it around
-                    a bit.
-
-                                   APONE
-                    Awright.  Fire-team A.  Gear up.
-                    Let's move.  Two minutes.
-                    Somebody wake up Hicks.
-
-        A clatter of activity as they don backpacks and weapons.
-        Vasquez and Drake buckle on their smart-gun body
-        harnesses.
-
-        Ripley watches the AP station loom on the exterior
-        screens.
-
-                                   RIPLEY
-                    That the atmosphere processor?
-
-                                   BURKE
-                    Uh-hunh.  One of thirty or so,
-                    all over the planet.  They're
-                    completely automated.  We
-                    manufacture them, by the way.
-
-        EXT. SHIP - AP STATION                                   51
-
-        The tiny ship circles the roaring tower.  A metal
-        volcano thundering like the engines on God's Lear jet.
-
-        INT. HOLD - APC                                          52
-
-        Gorman plays with the controls, zooming the image of
-        the colony.
-
-                                   GORMAN
-                           (to Ferro via mike)
-                    Hold at forty.  Slow circle of
-                    the complex.
-
-                                   RIPLEY                                   
-                    The structure seems intact.  They
-                    have power.
-
-        On the screen the colony buildings loom in and the low
-        visibility like wrecks of freighters on the sea floor.
-
-                                   GORMAN
-                           (to Apone)
-                    Okay, let's do it.
-
-                                   APONE
-                    Awright!  I want a nice clean
-                    dispersal this time.
-
-        Ripley turns as Vasquez squeezes past her.
-
-                                   VASQUEZ
-                    You staying in here?
-
-                                   RIPLEY
-                    You bet.
-
-                                   VASQUEZ
-                           (turning away)
-                    Figures.
-
-                                   GORMAN
-                           (to Ferro via mike)
-                    Set down sixty meters this side
-                    of the telemetry mast.  Immediate
-                    dust off on my 'clear,' then stay
-                    on station.
-
-                                   APONE
-                    Ten seconds, people.  Look sharp!
-
-        EXT. COLONY COMPLEX                                      53
-
-        Landing beacons sweep harsh light across the wet Tarmac.
-        The ship roars down, extending the loading ramp.  Slams
-        down on hydraulic LANDING LEGS.  The APC hits the ground
-        a moment later, pulling away from the ship as it leaps
-        up in a cloud of spray and peels off, circling.
-
-        The APC pulls to the edge of the complex.  The CREW DOOR
-        opens.  Troopers hit the ground running.  Spread out.
-        They drop behind immediate cover.  Apone scans with
-        him image intensifier visor lowered.
-
-        APONE'S P.O.V.  through the starlight-scope visor.
-        Bright as a sunny day, though contrasty and lurid, we
-        SEE the colony buildings.  Trash blows in the street.
-        No other movement.
-
-                                   GORMAN
-                           (voice over;
-                           filtered)
-                    First squad up, on line.  Hicks,
-                    get yours in a cordon.  Watch the
-                    rear.
-
-                                   APONE
-                    Vasquez, take point.  Let's move.
-
-        Sprinting in a skirmish line, Apone's team advances on
-        the colony main entry-lock.  Parked tightly across the
-        doors are two heavy-duty tractors.  Vasquez reaches one
-        of the tractors, looks inside.  The controls are ripped
-        out, as if by a crowbar or axe.  She moves on.
-
-        EXT. COLONY BUILDING                                     54
-
-        Vasquez reaches the main doors, Drake flanking on the
-        right.  Apone tries the door controls.  Nothing.
-
-                                   APONE
-                    Sealed.  Hudson, run a bypass.
-
-        Hudson, all business now, moves up and studies the
-        door control panel.  He pries off the facing and starts
-        clipping on the bypass wires.
-
-                                   APONE
-                    First squad, assemble on me at
-                    the main lock.
-
-        The wind roars around the bleak structures.  A neon sign
-        creaks overhead.  Hudson makes a connection.  The door
-        shrieks in its tracks and rumbles aside.  It jams
-        partway open.  Apone motions Vasquez inside.  She
-        eases over the wrecked tractor, through the doors.
-        The others follow.
-
-                                   GORMAN
-                           (voice over;
-                           filtered)
-                    Second team, move up.
-                    Flanking positions.
-
-        INT. COLONY - MAIN CONCOURSE                             55
-
-        DOLLYING SLOWLY FORWARD, following Vasquez and Apone as
-        they move into the broad corridor.  A few emergency
-        lights are still on.  Wind moans along the concourse.
-        Pools of water cover the floor.  Farther down, rain drips
-        through blast holes in the ceiling.  Evidence of a
-        fire fight with pulse-rifles.
-
-        ON VASQUEZ  moving forward.  Taut.  Alert.  Her smart-gun
-        cannon swinging slowly in an arc.  She studies the
-        video aiming monitor, looking down rather than ahead.
-        Their footsteps echo.
-
-        INT. APC                                                 56
-
-        Ripley watches as the bobbing images reveal the empty
-        colony building.
-
-                                   GORMAN
-                    Quarter and search by twos.  Second
-                    team move inside.  Hicks, take the
-                    upper level.  Use your motion
-                    trackers.
-
-        INT. MAIN CONCOURSE - SECOND LEVEL                       57
-
-        Hicks leads his squad up the stairwell to second level.
-        They emerge cautiously.  An empty corridor recedes into
-        the dim distance.  Hicks unslings a rugged piece of
-        equipment.  Aims it down the hall.  He adjusts the
-        "gain."  It remains silent.
-
-                                   HICKS
-                    Nothing.  No movement.
-
-        They pass rooms and offices.  Through doors they see
-        increasing signs of struggle.  Furniture overturned.
-        Papers scattered...floating sodden in the puddles.
-
-        INT. APC                                                 58
-
-        Ripley et al watching.
-
-                                   BURKE
-                    Looks like my room in college.
-
-        Nobody laughs.
-
-        INT. SECOND LEVEL                                        59
-
-        Hicks' group passes several burnt-out rooms.  There are
-        no bodies.  In several offices the exterior windows are
-        blown out, admitting wind and rain.  Hicks picks up a
-        half-eaten donut beside a coffee cup overflowing with
-        rainwater.
-
-        INT. LOWER LEVEL - QUARTERS                              60
-
-        Apone's men are searching systematically in pairs.  They
-        pass through the colonists' modest apartments, little
-        more than cubicles.  Hudson, on tracker, flanks Vasquez
-        as they move forward.  Hudson touches a splash of color
-        on the wall.  Dried blood.  His tracker BEEPS.
-
-        Vasquez whirls, cannon aimed.  The BEEPING grows more
-        frequent as Hudson advances toward a half open door.  The
-        door is splintered partway out of its frame.  Holes
-        caused by pulse-rifle rounds pepper the walls.  Vasquez
-        eases up to the door.  Kicks it in.  Tenses to fire.
-
-        Inside, dangling from a piece of flex conduit, a
-        junction-box swings like a pendulum in the wind from a
-        broken window.  It clanks against the rails of a child's
-        bunkbed as it swings.
-
-        INT. DROP-SHIP - APC                                     61
-
-        Ripley watches Hicks' monitor.
-
-                                   RIPLEY
-                    Wait!  Tell him to...
-                           (plugs in
-                           headset jack)
-                    ...Hicks.  Back up.  Pan left.
-                    There!
-
-        TIGHT ON MONITOR  as the image shifts, revealing a
-        section of wall corroded almost through in an irregular
-        pattern.
-
-        TIGHT ON RIPLEY  knowing what it is.
-
-                                   HICKS
-                           (voice over;
-                           filtered)
-                   You seeing this okay?  Looks
-                   melted.
-
-        Burke raises an eyebrow at Ripley.
-
-                                   BURKE
-                    Hmm.  Acid for blood.
-
-                                   HICKS
-                           (voice over;
-                           filtered)
-                    Looks like somebody bagged them
-                    one of Ripley's bad guys here.
-
-        INT. FIRST LEVEL                                         62
-
-        Hudson is looking at something.
-
-                                   HUDSON
-                    Hey, if you like that, you're gonna
-                    love this...
-
-        WIDER ANGLE  showing the trooper standing beneath a
-        gaping hole.  Another hole, directly beneath, is at his
-        feet.  The acid has melted right down through two levels
-        into the maintenance level.  Revealing pipes, conduit,
-        equipment...eaten away by the ferocious substance.
-
-                                   APONE
-                    Second squad?  What's your status?
-
-                                   HICKS
-                           (voice over;
-                           filtered)
-                    Just finished our sweep.
-                    Nobody home.
-
-                                   APONE
-                           (to Gorman)
-                    The place is dead, Sir.  Whatever
-                    happened, we missed it.
-
-        INT. APC                                                 63
-
-        Gorman turns to the others.
-
-                                   GORMAN
-                    All right, the area's secured.
-                    Let's go in and see what their
-                    computer can tell us.
-                           (into mike)
-                    First team head for operations.
-                    Hudson, see if you can get their
-                    CPU on line.  Hicks, meet me at
-                    the south lock by the up-link
-                    tower...
-
-        INT. FIRST LEVEL                                         64
-
-                                   GORMAN
-                           (voice over)
-                    ...We're coming in.
-
-                                   HUDSON
-                           (cupping his mike)
-                    He's coming in.  I feel safer
-                    already.
-
-                                   VASQUEZ
-                           (sotto voice)
-                    Pendejo jerkoff.
-
-        EXT. COLONY COMPLEX                                      65
-
-        Lights arc across the dormant buildings as the APC turns
-        onto the "main drag."  It trundles down the rutted
-        street, throwing up sheets of filthy water as the
-        massive wheels hit pondlike potholes.  Windblown rain
-        lashes across the headlights.
-
-        Hicks emerges from the south lock just as the APC rolls
-        up close to the entrance.  The crew-door slides back.
-        Gorman emerges, followed by Burke, Bishop, and
-        Wierzbowski.  Burke looks back to see Ripley stop in the
-        APC doorway, eyeing the ominous colony structure.  She
-        meets his eyes.  Shakes her head "no."  Not ready.
-
-                                   HUDSON
-                           (voice over;
-                           filtered)
-                    Sir, the CPU is on-line.
-
-                                   GORMAN
-                    Okay, stand by in operations.
-                           (to those present)
-                    Let's go.
-
-        INT. APC                                                 66
-
-        The crew-door cycles home with a clang.  Ripley sits in
-        the dark interior, lit by the tactical displays.  The
-        wind howls outside, an incredibly desolate sound.  She
-        hugs herself.  Alone.  Unarmed.  She knows she's in a
-        tank, but remembers the acid.  Leaps up.  Hits the door
-        switch.
-
-        EXT. APC - SOUTH LOCK                                    67
-
-        The crew-door opens and Ripley emerges.  In time to see
-        the lock doors rumbling closed.
-
-                                   RIPLEY
-                           (shouting)
-                    Burke!
-
-        The wind snatches her words away.  The crew door whines
-        shut behind her.  She walks to the exterior lock
-        door-controls and studies them.  She punches some
-        unfamiliar buttons.  Nothing happens.  She looks really
-        nervous, alone in the howling wind.  She hits another
-        button.  The door-motors come to life and she relaxes
-        a little.  Glances behind her.  AND SCREAMS!  There's
-        a face right there!  Right at her shoulder.  She jumps
-        back, gasping for breath.
-
-                                   WIERZBOWSKI
-                    Scare you?
-
-                                   RIPLEY
-                    Christ, Wierzbowski!
-
-                                   WIERZBOWSKI
-                    Sorry.  Hicks said to keep an
-                    eye on you.
-
-        He gestures for her to precede him inside.
-
-        INT. CONTROL BLOCK CORRIDOR                              68
-
-        Ripley catches up with the others as they move into the
-        bowels of the complex.
-
-                                   GORMAN
-                           (to Burke)
-                    Looks like you company can write
-                    off its share of this colony.
-
-                                   BURKE
-                           (unconcerned)
-                    It's insured.
-
-        ON RIPLEY  as they move along the corridor...reacting to
-        the fact that she is back in alien country.  She sees
-        the ravaged administration complex.  Fire-gutted offices.
-        Hicks notices her looking around nervously.  He motions
-        to big Wierzbowski with his eyes and the trooper casually
-        falls in beside her on the other side, rifle at ready.
-        a two-man protective cordon.  She glances at Hicks.  He
-        winks, but so fast maybe it's something in his eye.
-
-        Trooper Frost emerges from a side corridor ahead.