Re-edited & Re-written
September 23, 1985
July 23, 1994
** THIS DOCUMENT IS PROTECTED AGAINST ALTERATIONS **
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 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, moving 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 shuttle, 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.
Well, there goes our salvage, guys.
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 vertical wall of the MEDICAL SECTION.
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
How are we today?
Ripley begins to sit up. Her voice is barely audible.
Oh, better than yesterday at least.
Where am I?
The med-tech comes around to the side of the bed and repositions Ripley's pillows for her.
Your safe. You’re at Gateway Station.
Been here a couple of days.
You were pretty groggy at first, but now you’re okay.
The tech glances up as the door opens o.s. She smiles, saved by the distraction.
Looks like you have a visitor.
A man crosses the room carrying a familiar large, orange TOMCAT.
Jonesy! Come here!
Ignoring the man, she grabs the cat and hugs it to her. Jones seems none the worse for
wear and begins to purr.
Hey, come here. How are you, you stupid cat?
How are you? Where've you been?
The visitor sits beside the bed and Ripley finally notices him. He is thirty-ish and handsome,
in a suit that looks executive or legal, the tie loosened with studied casualness. A smile
referred to as 'winning.'
3 CONTINUED: (2) 3
I guess you two have met, huh? I'm Burke. Carter Burke
I work for the company, but don't let that fool you.
I'm really an okay guy. I'm glad to see you're feeling
better. They tell me that all the weakness and
disorientation should pass soon. That's just natural
side affects of such an unusually long hypersleep or
something like that.
What do you mean? How long was I out there?
Has no one discussed this with you, yet?
No. But, I mean. I don't recognize this place.
I know. Okay, it's just that this might be a shock to you.
How long? Please.
Ripley is stunned. She seems to deflate, her expression passing through amazement and
shock to realization of all she had lost. Friends. Family. Her world.
That's the thing. You were out there for fifty-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 talking, 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 hits a console button.
3 CONTINUED: (3) 3
Nurse! Please! Someone get in here now! NOW!!
Ripley grabs her chest, struggling as if she is strangling. The MED-TECH and a DOCTOR
run in for assistance.
Hold her... Hold her...
Burke and the doctor are holding Ripley's shoulders as she goes into convulsions. Ripley's
back arches in agony.
They try to restrain her as she thrashes, knocking over equipment. Her EKG races like mad.
Jones, under the cabinet, hisses wide-eyed.
Ripley looks down at her chest and pulls back her gown to reveal her stomach. She stares
at the SHAPE PUSHING UP UNDER HER SKIN. Tearing itself out of her...
RIGHT ON RIPLEY, yelling, snapping UP INTO FRAME. Alone in the darkened hospital
room. She grasps for breath, clutching pathetically at her chest. There is no demented
horror ripping itself out of her. Her eyes snap about wildly, slowly focusing on the reality of
her safety. Shuddering, bathed in sweat, she kneads her breastbone with the heel of her
hand and sobs.
A VIDEO MONITOR beside the bed snaps on. The MED-TECH'S face appears.
Bad dreams again? Want something to help you sleep?
No. I've slept enough.
The tech shrugs and switches off. Ripley hugs Jones to her and rocks with him like a child,
still shattered by the nightmare.
4 EXT. PARK 4
4 CONTINUED: 4
Sunlight 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 bench
in what is an ATRIUM off the medical center. Just as she turns off the video, Burke ENTERS
in his usual mode, casual haste.
Hi. I'm sorry I'm late. I've been running behind all morning.
Is there any word about my daughter?
I really think we should worry about the hearing now.
Because we don't have a lot of time. I read your
deposition and it's great. If you just stick to that,
I think we'll be fine. The thing to remember is that
there are going to be a lot of heavyweights in there.
You've got Feds and Interstellar Commerce Commission,
Colonial Administration, insurance company guys....
Do you have any news about my daughter?
Well, we did come up with some information. 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 telestat photo.
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 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.
She was cremated and interred at Westlake Repository,
Little Chute, Wisconsin. No children.
4 CONTINUED: (2) 4
(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, overwhelming. She cries silently. Hugging the photograph
5 INT. CONFERENCE ROOM -- ON RIPLEY -- GATEWAY 5
Not cool. Not unemotional.
I don't understand this. We have been here for three hours.
How many different ways do you want me to tell the same
She faces the EIGHT MEMBERS of the board of inquiry at a long conference table. Gray
suits and grim faces. They aren't buying. Behind Ripley. on a large VIDEOSCREEN,
PARKER grins like a goon from his personal mugshot. His file prints out next to it.
BRETT'S face and dossier replace it, and then the others as the scene continues... KANE,
LAMBERT, ASH the android traitor, DALLAS. VAN LEUWEN, the ICC representative,
steeples his fingers and frowns.
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...
Forty-two million in adjusted dollars. That's minus
payload, of course.
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 was
subsequently set for self-destruct. By you. For reasons
Not for reasons unknown. I told you, we set down there
on company orders to get this thing, which destroyed my
crew and your expensive ship.
5 CONTINUED: (2) 5
Van Leuwen sighs with exasperation.
The analysis team, which went over the lifeboat, centimeter
by centimeter, found no physical evidence of the creature
Good! That's because I blew it out the goddamn airlock!
Like I said.
(to the ECA rep.)
Are there any species like this 'hostile organism' on
No. It's a rock. No indigenous life.
Ripley grits her teeth in frustration.
Did IQ's drop sharply while I was away? Maam, I already
said it was 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 beacon...
And found something which has never been reported once
from over three hundred surveyed worlds... 'a creature...
(she reads from Ripley's statement)
... that gestates inside a living human host,' these are
your words, 'and has concentrated acid for blood.'
That's right. Look, I can see where this is going. But,
I'm telling you these things exist.
Thank you, Officer Ripley. That will be all.
Please, you're not listening. Kane, the crew member.
Kane, who went in that ship, said he saw thousands of
eggs there. Thousands...
Thank you. That will be all.
5 CONTINUED: (3) 5
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 goodbye.
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 Leuwen. 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 and 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 in defeat. Her face is a mask of tightness.
(close on him)
These proceedings are closed.
Ripley's video-dossier fills the screen 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.
That could have went better. Look, I think they...
She shrugs off Burke's restraining arm and catches up to Van Leuwen as he and the other
representatives head for the rooms elevator.
5 CONTINUED: (4) 5
Why don't you just check out LV-426?
Because I don't have to. There have been people there
for over twenty years and they never complained about
any hostile organism.
Van Leuwen steps toward the elevator with the others, but Ripley stops him.
What do you mean? What people?
Terraformers... planet engineers. They go in, set up these
big atmosphere processors to make the air breathable.
Takes decades. It's what we call a shake 'n bake colony.
The door tries to close. Ripley holds it back. The other people are getting annoyed.
How many are there? How many colonists?
I don't know. Sixty, maybe seventy families.
Do you mind?
Ripley's hand slides off the door, strengthless. It closes in her face.
6 EXT. ALIEN LANDSCAPE -- 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 and 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
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 seen 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.
(to a technician)
I'll be down in maintenance, okay?
(walking toward Simpson)
You remember you sent some wildcatters out to the
middle of nowhere last week? Out past the Ilium Range.
As they walk, they leave the operations room and move into a connecting corridor. It's a
wide hallway bustling with routine activity. We SEE a cross-section of the hardy frontier
stock who have come to live in this God-forsaken wilderness in the b.g.
One of them's on the horn, mom-and-pop survey team.
Says he's onto something and wants to know will his
claim be honored.
9 CONTINUED: (2) 9
Why wouldn't his claim be honored?
Well, because you sent them to that particular middle
of nowhere on company orders, maybe. I don't know.
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
They pause at a junction in the corridor. Simpson turns to face Lydecker.
So, what do I tell this guy?
Tell him, as far as I'm concerned, he finds something,
It is his.
Children's laughing voices can be heard o.s. Simpson looks in their direction.
The CHILDREN are playing and racing in the corridor on foot and on wheeled plastic toys.
Simpson gestures toward them, telling Lydecker to move them out of the area.
You kids know you’re not supposed to be on this level.
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 roars 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
11 CONTINUED: (2) 11
Do too. You go in places we can't fit.
So! That's why I'm the best!
(turning to face them)
Knock if off! If I catch either of you playing in the air ducts
again, I'll tan your hides.
Mom. All the kids play it...
(cutting over the conversation excitedly)
Hey, wait! Wait! Wait! Wait! Wait a minute! Come on,
Anne. Take a look at this, will ya'.
ANGLE THROUGH FRONT CANOPY: On a bizarre shape looming ahead. An enormous
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 recognizable as an EXTRATERRESTRIAL
ship. Bio-mechanoid. Non-human design.
(close on him)
Folks, we have scored big this time!
The tractor moves around the base of the vast enigma, passing under part of it that is jutting
up into the air, while heading toward a gash in the hull. Newt looks up through the clear
roof at the ship.
What is it, dad?
ANGLE LOOKING DOWN INTO THE TRACTOR: Everyone is looking up with Newt at the
I'm not sure.
ANGLE FROM BEHIND THE FRONT SEATS THROUGH THE FRONT CANOPY. The
gash in the ship is right in front of them.
See if we can't get a closer look at this thing. Maybe
through that crack down it's side.
Shouldn't we call in?
11 CONTINUED: (3) 11
Let's wait 'til we know what to call it in as.
That's as close as we can get.
CLOSE-UP ON ANNE & JORDEN as they look out the window and then at each other.
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 LANDSCAPE TO THE TRACTOR: Jorden and Anne step down,
carrying LIGHTS, PACKS, CAMERAS and TEST GEAR.
You kids stay inside. I mean it! We'll be right back.
Newt and Anne say goodbye. Jorden closes the door and they trudge toward the alien
13 INT. / EXT. TRACTOR 13
Newt has her face to the glass of the window, steaming it. Watching her parents head to
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 the front passenger
seat. Newt shakes him awake, trying hard not to be to worried.
Timmy... they've been gone a long time.
Tim considers the night. The wind. The vast landscape. He bites his lip.
16 CONTINUED: (2) 16
It'll be okay, Newt. Dad knows what he's doing.
CRASH! Newt jumps as the drive door beside her is RIPPED OPEN. A dark shape
lunges inside! ANNE, panting and terrified, grabs the dash mike.
Mayday! Mayday! This is Alpha Kilo Two Four Niner
calling Hadley Control! Repeat! This is....
As Anne shouts the mayday, Newt looks past her, to the ground. Russ Jorden lies 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 shrieking wind, which rises to a
crescendo as we:
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 dining 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 pushes the buzzer on the door. Gorman looks
young and severe in his officer's parade uniform. The door opens halfway.
Hi ya', Ripley. This is Lieutenant Gorman of the Colonial
SLAM. Burke talks to the door.
Ripley, we have to talk. We've lost contact with the colony
A pause, then the door opens. Ripley considers the ramifications of that as she stares at
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.
19 CONTINUED: (2) 19
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.
Can I finish?
No. There's no way.
Ripley, you wouldn't be going in with the troops. I can
guarantee your safety.
These Colonial Marines are very tough hombres, and
they're packing state-of-the-art firepower. There's
nothing they can't handle. Lieutenant, am I right?
That's true. We've been trained to deal with situations
Well, you don't need me... I'm not a soldier.
Yeah, but we don't know what's going on out there.
It may be a down transmitter, okay. But, if it's not,
I would like you there... as an advisor and that's all.
What's your interest in all this? Why are you going?
Corporation co-financed that colony. Colonial
Administration. We're getting into a lot of terraforming
now. Building Better Worlds...
Yeah, yeah. I saw the commercial. Look, I don't have
time for this. I've gotta go to work.
Oh, right. I heard you were working the cargo docks.
19 CONTINUED: (3) 19
Running loaders, forklifts, that sort of thing?
Nothing. I think it's great your keeping busy, and I know
it's all you could get. There's nothing wrong with it.
What would you say if I said I could get you reinstated
as a flight officer. The companies already agreed to pick
up your contract?
If I go.
Yeah, if you go. Come on, that's a second chance, kiddo.
I think, personally for you, it would be the best thing in the
world for you to face this thing. Get back on the horse...
Spare me, Burke. I've had my psych evaluation this
Burke stands up and leans close, a let's-cut-the-crap intimacy.
Yeah, I know. I've read it. You wake up every night,
your sheets soaking with sweat...
I said NO, and I mean it! Now, please leave. I am not
going back and I'm... I wouldn't be any good to you if I
Burke puts his hands up to calm her.
Okay, shhhh. Would you do me a favor and just
think about it.
He slips a TRANSLUCENT CARD onto the table. Burke nods to Gorman, and they head
for the door.
Thanks for the coffee.
Ripley stares as they leave. Then turns and goes over to feed Jones.
20 INT. ACHERON LANDSCAPE -- NIGHT 20
(CUT SCENE) As the wind HOWLS through tormented rock, BUILDING IN PITCH until we:
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 herself
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.
Hello. Ripley. You okay?
Just tell me one thing. You're going out there to destroy
them, right? Not to study. Not to bring back. Just to
wipe them out.
That's the plan. You have my word on it.
CLOSE-UP ON RIPLEY: taking a deep slow breath. It's time to look the demon in the eye.
All right. I'm in.
She pulls 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...
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 ACROSS FRAME, followed by a mountain of steel.
A massive military transport ship, the SULACO. Ugly, battered... functional.
25 INT. CARGO LOCK 25
PANNING ACROSS THE CARGO BAY: we see a DROPSHIP 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 sits 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 EXECUTIVE OFFICER BISHOP, who
supervises planetary maneuvering. GROANS echo across the chamber. Everyone is
looking around and at each other.
They ain't payin' us enough for this, man.
Not enough to have to wake up to your face, Drake.
What! Is that a joke?
I wish it were.
Hey, Hicks... you look just like I feel.
Hicks gives him a small smile. Sergeant Apone moves down the row of freezers.
27 CONTINUED: (2) 27
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
banquet, every paycheck a fortune, every formation a
parade. I love the Corp.
Man, this floor's freezing.
Whattya' want me to do, fetch you your slippers for ya'?
Gee, would you, sir? I'd like that.
(putting his finger to his eye)
Look into my eye. Fall in people! Let's go!
I hate this job.
Give me some slack, man.
Come on, Spelunk. On your feet.
The group of men and women move to their lockers near the freezers. Vasquez begins
doing some chin-ups.
Alright, first ensemble is in fifteen people. Shag it!
Vasquez stops her chin-ups. Looks over at Ripley.
Hey, Mira... who's Snow White?
She's supposed to be some kinda’ consultant.
Apparently, she saw an alien once.
Whoopy-fucking-do! Hey, I'm impressed.
27 CONTINUED: (3) 27
Vasquez goes back to her chin-ups. Drake joins her. Hudson stands and watches.
Hey, Vasquez... have you ever been mistaken for a man?
No. Have you?
Vasquez and Drake stop their exercises and look at each other.
Oh, Vasquez... your just too bad.
She slaps Drake's open palm and it clenches into a greeting which is part contest.
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 AUTOCHEF, served by Bishop. Some get their meals by themselves. Hudson is
one of them. He comes from the machine and sits down at the table with the others.
Hey, 'Top.' What the op?
It's a rescue mission. You'll love it. There's some juicy
colonists' daughters we gotta' rescue from their virginity.
Shee-it. Dumbass colonists.
(picking up something from his plate)
What's this crap supposed to be?
Cornbread, I think.
It's good for you boy, eat it.
Hey, I sure wouldn't mind getting me some more of that
Arcturan poontang. Remember that time?
All the soldiers laugh. Frost and Hudson slap hands across the table.
28 CONTINUED: (2) 28
Yeah, Frost! But, the one that you had was a male.
Hey, it doesn't matter when it's Arcturan.
Hey Bishop, man. Do the thing with the knife.
Oh please. Not again.
Yeah, do it, Bishop. Go on, man. This is great.
Frost tosses Bishop a K-Bar combat knife and Bishop puts his palm on the table next to
Hudson. Before Bishop can start, Drake comes up and pushes Hudson's hand forward on
the table. Bishop places his hand precisely on top Hudson's hand.
Hey, man. Whattya' doing. Come one. Quit messin'
Hudson, shut up!
Bishop! Hey, man.
Do it, Bishop.
Hey, not me man.
Hey, come on. Quit messin' around. Come on!
Bishop proceeds to stab the point down rapidly between his and Hudson's spread fingers,
speeding up until the knife is a blur, as the other's cheer. Inhumanly fast and precise.
28 CONTINUED: (3) 28
Alright, knock it off! Knock it off.
Drake moves Hudson's food tray back in front of him, then slaps him on the arm.
Enjoy your meal.
Drake walks back to his spot at the table. Hudson is white, his mouth hangs open in
That wasn't funny, man!
Across the room, at the other table, Gorman sits with his creases perfect...the consummate
strict NCO. Bishop comes up and takes a seat beside Ripley. He hands around a tray
with cornbread on it.
At the soldiers' table, everyone watches the small group of high-ranks eat.
Looks like the new lieutenants too good to eat with the
rest of us grunts.
Boy's definitely got a corncob up his ass.
Back at the groups' table, Bishop holds up his hand and examines a tiny cut closely.
I thought you never missed, Bishop?
28 CONTINUED: (4) 28
To Ripley's horror, a trickle of WHITE SYNTHETIC BLOOD runs down his finger. Ripley
spins on Burke, her tone accusing.
You never said anything about an android being on board!
It never occurred to me. It's common practice.
We always have a synthetic on board.
I prefer the term 'artificial person' myself.
Is there a problem?
I'm sorry. I don't know why I didn't even...
Ripley's last trip out, the syne...'artificial person'
A few problems and a few deaths were involved.
I'm shocked. Was it an older model?
Hyperdyne Systems 120-A/2.
Bishop turns to Ripley, very conciliatory.
Well, that explains it. The A/2's were always a bit twitchy.
That couldn't happen now with our behavioral inhibitors.
It is impossible for me to harm or, by omission of action,
allow to be harmed, a human being.
Sure you don't want some.
WHAM! Ripley knocks the plate of cornbread out of his hand, halfway across the room.
28 CONTINUED: (5) 28
Just stay away from me, Bishop! You got that straight?!
Burke and Gorman exchange glances. Frost, at the next table, shrugs and turns back to
the other troopers.
I guess she don't like the cornbread either.
29 INT. CARGO LOCK 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.
Squad! Ten-hut! Officer on deck!
As you were.
Quickly, quickly! Settle down. Alright, listen up!
Morning Marines. I'm sorry we didn't have time to brief you
people before we left Gateway, but...
What is it, Hicks?
Hudson, sir. He's Hicks.
(looking over at Hicks standing beside him hanging his weight
on a dangling chain)
What's the question?
Is this going to be a stand-up fight, sir, or another bug-hunt?
All we know is that there's still no contact with the colony
and that..a xenomorph may be involved.
Excuse me, sir. A what?
29 CONTINUED: (2) 29
It's a bug-hunt.
What exactly are we dealing with here?
Gorman nods to Ripley, who stands before the troops.
I'll tell you what I know. We set down on LV-426. One of
our crew members was brought back on board with
something attached to his face...some kind of parasite.
We tried to get it off. It wouldn't come off. Later, it seemed
to come off by itself and died. Kane seemed fine. We're all
having dinner and um...it must have laid something inside his
throat...some sort of embryo. He started...um he…
Look, man. I only need to know one thing...
Vasquez coolly points her finger, cocks her thumb, and blows away an imaginary alien.
Yo! Vasquez. Kick ass!
Right, right! Somebody said alien...she thought they said
illegal alien and signed up.
Are you finished?!
Hudson settles down, smirking. Ripley locks eyes with Vasquez.
I hope you're right. I really do.
Gorman stands, clearly taking over.
29 CONTINUED: (3) 29
Yeah, I hope you’re, right. Thank you, Ripley.
We also have Ripley's report on disk, and suggest
you study it...
Because, just one of those things managed to wipe out
my entire crew in less than twenty-four hours. And if the
colonist have found that ship, then there's no telling how
many of them have been exposed. Do you understand?
CLOSE-UP ANGLES on Vasquez, Apone and Hicks, each showing either respect or
Anyway, we have it on disk. So, you'd better look at it.
Hudson raises his hand.
What is it private.
How do I get out of this chicken-shit outfit?
You secure that shit, Hudson!
Alright! Now listen up. I want this thing to go smooth
and by the numbers. I want DCS and tactical database
assimilation by 0830.
Ordnance loading, weapons strip, and drop-ship prep
details will have seven hours. Now, move it people!
Alright sweethearts. You heard the man and you know
the drill! Asshole's and elbow's! Hudson, come here!
30 EXT. SPACE - LV-426 30
They have arrived. From orbit, the planet looks serene. The SULACO floats across
the frame over the planetary view.
31 INT. LOADING BAY - CARGO LOCK 31
31 CONTINUED: 31
CLOSE-UP ON APONE as he circulates among the troops that are preparing weaponry and
the DROP-SHIP for action. There is intense activity throughout the cavernous loading bay.
Troopers on foot or driving POWER-LOADERS...all in action.
I don't care if you are short, Hudson. Get it done.
Hey, Sarge! You get lip cancer smoking those!
Corporals! I want this loading lock sealed...now!
How many more you got, Spunkmeyer?
Good. Take it away.
TWO MASSIVE FORKS lift up a NT-432B AIR-TO-GROUND BALLISTIC MISSILE. PULL
BACK, REVEALING two powerful hydraulic arms attached to the forks. Spunkmeyer,
strapped inside a POWER-LOADER, swings the missile up into a belly nacelle of the
DROP-SHIP. The loader is a sort of forklift that you wear, a robotic exoskeleton with two
legs and two arms, powered by hydraulics.
32 INT. LOADING LOCK 32
Ripley approaches Apone and Hicks, standing near the DROP-SHIP. Hicks checks off
items on an electronic manifest.
Hi. I feel like a kind of fifth wheel around here. Is there
anything I can do?
I don't know. Is there anything you can do?
Well, I can drive that loader. I have a Class 2 rating.
Apone looks over at a SECOND POWER-LOADER sitting unused in an equipment bay.
Apone and Hicks exchange a skeptical glance, considering.
Be my guest.
Ripley climbs into the POWER-LOADER and buckles the FOUR POINT RESTRAINT BELT.
She locks her feet into place and PULLS DOWN THE ROLL CAGE, which locks into place
with an echoing CLANG.
32 CONTINUED: (2) 32
TIGHT ON POWER SWITCHES: As Ripley's finger punches them on. A RISING WHINE of
Ripley pulls back on the ARM CONTROL JOYSTICKS. The huge clawed arms lift up. She
moves the wrist servos. The claws open and close, swiveling on their joints.
CLOSE-UP: Hicks and Apone share glances. Hicks smiles.
Ripley slides the claws smoothly into lifting brackets on a cargo module, nearby. She
raises it deftly and turns toward Apone and Hicks.
Where do you want it?
Apone and Hicks look at each other again and laugh.
Bay Twelve, please.
33 EXT. SPACE - LV-426 33
The SULACO glides by over the cloud strewn atmosphere of Archeron.
34 INT. READY ROOM - ARMORY 34
Vasquez, Drake and Frost are field-stripping light weapons with precise movements.
Around them, in racks, are an arsenal of advanced personal artillery.
Vasquez swings one of the SMART-GUNS out on a work stand. It is a computer-aimed,
video-targeted automatic weapon. Drake imitates her moves behind her with his own
35 INT. LOADING BAY 35
The DROP-SHIP engines PITCH INCREASES as it is readied for flight. Ferro and
Spunkmeyer take their seats in the cockpit. Ripley stands in front of it, watching. Burke
A massive APC, ARMORED PERSONNEL CARRIER, crosses the loading deck. It pulls
up beside the DROP-SHIP.
36 INT. READY ROOM - ARMORY 36
The troopers are suiting up for the drop. Strapping on their bulky COMBAT ARMOR.
Alright, squad. We're a team and there's nothing
to worry about. We come here, we gonna' conquer,
and we're gonna' kick some. Is that understood?
36 CONTINUED: (2) 36
That’s what were going do, sweethearts. We are
going to go and get some. Alright people, on the
ready-line! Are you lean?!
Are you mean?!
WHAT ARE YOU?!
LEAN, MEAN MARINES!!
WHAT ARE YOU?!
Hudson! Get on the ready line, Marines!
Get some today! Get on the ready line!
Move it out! Move it out, goddamn it! Ten, hut!
One, two, three! Come on! Get out! Get out! Get out!
Move it out! Move it out! Move it out! Move it out!
Move it out! Move it out! One, two, three, four!
One, two, three!
All the soldiers are filing up to the door of the APC. Apone verbally pushing them the entire
Absolutely badassess! Let's pack 'em in! Get in there!
37 INT. / EXT. APC 37
The line of soldiers double time into the APC. They find their seats and begin strapping in.
Alright! Move it! Go on! One, two, three, four, five, six!
Let's go! Let's go! Let's go!
Alright, I won't combat seating. You know your places.
Ripley comes in and looks around at the melee of activity. She quickly finds a seat.
Get those weapons stowed. Let's go!
Come on, settle down people.
Gorman takes control of the MOBILE TACTICAL OPERATIONS BAY (MTOB). Checking
out all the monitors.
Lock 'em in, Hudson!
Ready to get it on, you know it!
Okay, Bishop. Let's go.
Bishop engages the throttle and drives the APC up a ramp into the drop-ship.
I'm ready, man. Ready to get it on! Yo!
Hudson slaps the up-raised hand of a fellow trooper VASQUEZ The APC comes to a stop on
the ramp. It is lifted up into the belly of the drop-ship as the ramp closes.
Hicks and Gorman lock into their seats.
38 INT. DROP-SHIP - COCKPIT 38
Ferro sets the drop controls in the cockpit. Everyone in the APC can hear her over the
39 EXT. / INT. DROP-SHIP 39
Stand by. Cross locking now. Pre-launch auto-cycle
engaged. Primary couplers released. Hit the internals.
The ship is lowered into a cargo lock on a massive launch rig. It comes to a JOLTING stop
and locks into position. Ripley looks nervous.
Oh shit, man.
Confirmed cross lock and drop stations secured.
Affirmative. All drop stations secured.
40 EXT. DROP-SHIP 40
The cargo lock's inner door closes above the ship, sealing the drop-ship in the blackness
of the lock, except for a solitaire blue KLAXTON that plays over the ship.
41 INT. DROP-SHIP - COCKPIT 41
Stand-by, ten seconds.
Looking through the cockpit windows, we see the outer doors of the cargo lock open below
the drop-ship. Revealing the blue, cloud strewn surface of LV-426.
Stand-by to initiate release sequencer...on my mark.
Five, four, three,...
42 INT. HOLD - APC 42
CLOSE-UP OF HUDSON.
We're on the express elevator to Hell. Going down.
Ripley looks very nervous.
43 INT. DROP-SHIP - COCKPIT 43
...two, one. Mark.
44 EXT. DROP-SHIP 44
Clamps SLAM BACK. The ship drops.
45 INT. HOLD - APC 45
CLOSE-UP OF HUDSON.
Ripley closes her eyes...the point of no return.
46 EXT. DROP-SHIP - SPACE 46
The drop-ship dives toward the atmosphere of Archeron. It looks like a tiny black
mosquito next to the planet. It's engines igniting with a ROAR of a tiger.
47 INT. DROP-SHIP - COCKPIT 47
Switching to DCS ranging.
Two-four-o. Nominal to profile.
We're in the pipe. Five-by-five.
48 EXT. DROP-SHIP 48
It screams down through the stratosphere, plunging into masses of white clouds.
49 INT. DROP-SHIP - COCKPIT 49
We're picking up some hull ionization.
Rough air ahead. We're in for some chop.
50 INT. HOLD - APC 50
TIGHT ON GORMAN: The shaking of the ship is jolting him around in his seat. He looks
very tense and is gripping the chair tightly.
TIGHT ON OTHER TROOPERS: All being bucked wildly in their seat restraints.
51 EXT. DROP-SHIP 51
The craft is being bounced around like a balloon caught in a strong air current. It is
descending through a very thick, gray cloud layer.
52 INT. DROP-SHIP - COCKPIT 52
52 CONTINUED: (2) 52
Ferro and Spunkmeyer are monitoring the flight controls intensely.
53 INT. HOLD - APC 53
Gorman is sitting semi-calmly in his chair. Eyes closed. Ripley looks over at him.
How many drops is this for you Lieutenant?
How many combat drops?
Uh...two. Including this one.
Vasquez and Drake exchange do-you-believe-this-shit expressions.
Ripley looks accusingly at Burke. TIGHT ON HICKS: asleep in his seat harness.
54 EXT. DROP-SHIP 54
Still screaming through the extremely dense layer of clouds.
55 INT. DROP-SHIP - COCKPIT 55
The drop-ship's flight computer screen displays the Archeron landscape below the clouds.
The graphics are just lines, but it is easy to tell where the valleys and hills are. The
pictures move with the ship.
Range zero-one-four. Turning on final.
56 EXT. DROP-SHIP 56
It emerges from the low cloud ceiling. The rocky, wind carved landscape of the planet is
VISIBLE directly below it.
57 INT. HOLD - APC 57
TIGHT ON HICKS: Still asleep in his seat.
57 CONTINUED: (2) 57
But, I'm telling you. I have a bad feeling about this drop.
Hudson is looking around the hold. Scanning the room with his HELMET CAMERA.
You always say that, Frost. You always say, "I have a
bad feeling about this drop."
Okay, okay. When we get back without ya', I'll call your
TIGHT ON MONITOR CONSOLE: REVEALING that Hudson's camera image is just one of
the pictures being displayed on the APC's MOBILE TACTICAL OPERATIONS BAY, manned
by Gorman. He controls the board like a video director. The board has lots of screens.
Each labeled with the names of the troopers. Two for each soldier. The upper screens are
BIO-MONITORS: EEG, EKG, and other graphic life-function readouts. The lower screens
show images from the IMAGE-INTENSIFIED VIDEO CAMERAS on their helmets. Other
screens show EXTERIOR VIEWS.
Alright. Let's see what we can see. Everybody on line...
looking good. Drake, check your camera. There seems
to be a malfunction...
CLOSE ON DRAKE: As he WHACKS his helmet camera against an ammo case. A
...that's better. Pan it around a bit. Good.
Gorman looks over his shoulder at Apone, who came to check things out. Gorman nods to
him. Hudson gets out of his seat and starts walking up the isle in the hold, talking to the
I'm ready, man. Check it out. I am the ultimate
badass. State-of-the-badass art. You do not
want to fuck with me. Check it out.
He sees Ripley and moves over to talk to her.
Hey, Ripley. Don't worry. Me and my squad of
ultimate badasses will protect you. (laughs)
Some of the troopers get into the speech and let out a few cheers.
57 CONTINUED: (3) 57
Check it out!
Hudson moves to the back of the APC and stops at the controls for the roof-mounted
Independently targeting, particle-beam phalanx. WHAP!
CLOSE ON RIPLEY AND BURKE: as they watch Hudson boast. Burke looks over at
Ripley and then back at Hudson.
Fry half a city with this puppy. We got tactical smart
missiles, phased-plasma pulse rifles, RPG's. We got
TIGHT ON HICKS: still asleep in his seat.
One of the troopers lets out a whoop of excitement.
We got nukes. We got knives, sharp sticks...
Knock it off, Hudson.
Ripley closes her eyes and puts her hand on her head. Listening to Hudson has given her
Alright, gear up! Two minutes people! Get hot!
Somebody wake up Hicks.
A clatter of activity starts as they don backpacks and weapons. Vasquez and Drake buckle
on their smart-gun body harnesses.
58 EXT. DROP-SHIP 58
A HIGH-PITCHED WHINE is heard over the roar of air as four arms swing out from the body
of the ship. Each arm carries a load of missiles and other weaponry.
59 INT. DROP-SHIP - COCKPIT 59
Coming around for a seven-zero-niner.
59 CONTINUED: (2) 59
Terminal guidance locked in.
Where's the damn beacon? Oh, I see it.
From the twilight haze ahead, the distant ATMOSPHERE PROCESSOR becomes VISIBLE.
60 INT. HOLD - APC 60
Ripley watches the AP station loom on the exterior monitor screens.
That's the atmosphere processor?
Yeap, that's it. Remarkable piece of machinery.
Completely automated. You know we manufacture those,
by the way.
Ripley looks back at Burke from over her shoulder, then returns to viewing the monitors.
61 EXT. DROP-SHIP - STATION 61
The tiny ship flies by the side of the AP station. A metal volcano THUNDERING like the
engines on God's Lear jet.
62 INT. HOLD - APC 62
Gorman plays with the controls of the MTOB, zooming in the image of the colony.
Okay, Ferro. Take us in lower over the main colony
complex. Storm shutters are sealed. There's no visible
activity. Alright. Hold at forty.
Give me a slow circle of the complex.
Structure seems intact. They still have power.
Okay, Ferro. Set down on the landing grid. Immediate
dust-off on my clear and then stay on station.
63 EXT. COLONY COMPLEX 63
The drop-ship roars down, extending the loading ramp. As the landing gear hit the ground:
(into Bishop’s headset)
Down and clear.
The APC hits the ground a second later, pulling away from the ship.
64 INT. HOLD - APC 64
All the soldiers are standing, rocking in place, prepared to leave the APC quickly.
Ten seconds people! Look sharp!
65 EXT. APC - LANDSCAPE 65
The APC zooms toward the colony as quick as possible. The drop-ship is seen flying
skyward in the background.
66 INT. HOLD - APC 66
Alright, I want a nice, clean dispersal this time.
67 EXT. APC - COLONY COMPLEX 67
The APC pulls up to the edge of the complex. The CREW DOOR flies open.
Let's go! Move it out! Head 'em out!
The troopers hit the ground running. Spread out, they get behind immediate cover of the
colony's storm wall. Apone pulls out his starlight-scope binoculars and scans the complex.
APONE'S P.O.V.: The area is as a sunny day, though contrast and lurid, we SEE the
colony buildings and streets. Rain pours down in sheets and trash blows in the streets.
No other movement.
68 INT. HOLD - APC 68
CLOSE-UP PROFILE ON RIPLEY looking at the APC monitors o.s. Gorman and Bishop
are in the b.g.
First squad up, on line. Hicks, get yours in a cordon.
Watch the rear.
69 EXT. COLONY COMPLEX 69
69 CONTINUED: (2) 69
Vasquez, take point. Let's move!
Sprinting in a skirmish line, Apone's team advances on the colony's main entry-lock.
Parked across the ramp to lock is a heavy-duty tractor. Vasquez, then everyone else
reach it. She looks to Apone for the clearance to proceed. Apone waves them forward.
Vasquez reaches the main doors. Apone comes up and tries the door controls. Nothing.
Hudson, run a bypass.
Hudson, all business now, moves up and opens the door control panel. He pries off the
facing and starts clipping on the bypass wires.
70 INT. HOLD - APC 70
CLOSE-UP PROFILES ON RIPLEY and GORMAN watching the APC monitors.
Second squad, move up. Flanking positions.
71 EXT. COLONY COMPLEX 71
(voice over, filtered)
Second squad on line.
Hick's team move up from behind the storm barrier and stop behind the tractor.
72 EXT. COLONY BUILDING 72
The wind HOWLS around the bleak structures. A loud SNAP-HISS is heard as Hudson
makes a connection. The door roars to life and rumbles aside. Apone motions Vasquez
inside. She goes through the door. The others follow.
73 INT. COLONY - MAIN CONCOURSE 73
DOLLYING SLOWLY FORWARD: Following Vasquez, Hudson and Apone as they move
into the complex. They come to an inner door that is jammed partway open. Hudson
moves up past Vasquez to the door.
73 CONTINUED: (2) 73
Hudson nods and they pull it open. The door shrieks in its tracks. Beyond, a broad
corridor stretches into the heart of the complex. Rain drips through blast-holes in the
ceiling in various spots along the corridor. Evidence of a fire-fight with pulse rifles.
ON VASQUEZ: Moving forward, her smart-gun cannon swinging slowly back and forth.
74 INT. HOLD - APC 74
CLOSE-UP ON GORMAN at the APC monitors.
Second team move inside...
75 EXT. COLONY BUILDING 75
Hicks and his squad wait right outside the main concourse's door.
(voice over, filtered)
...Hicks, take the upper level.
Hicks moves his team inside.
76 INT. COLONY - MAIN CONCOURSE 76
Apone and his team are still moving forward. Vasquez at point, swinging her smart-gun
back and forth, looking for any signs of movement. All they find is water and wreckage
APONE'S P.O.V.: WE SEE the concourse and it's damage through his helmet camera.
(voice over, filtered)
Sir, are you copying this?... Looks like hits from small
77 INT. HOLD - APC 77
(voice over, filtered)
We got some explosives damage. Probably seismic
survey charges. Are you reading this? Keep it tight people.
78 INT. MAIN CONCOURSE - SECOND LEVEL 78
Hicks leads his squad up the stairwell to the second floor. Ripley is watching Hicks'
P.O.V. on the APC monitors. They emerge cautiously. An empty corridor recedes into
the dim distance.
78 CONTINUED: (2) 78
(voice over, filtered)
Alright. Hicks...Hudson, use your motion trackers.
79 INT. FIRST LEVEL 79
Hudson unslings a rugged piece of equipment and aims it down the hall. We SEE the
screen on the instrument. The machine gives off a THUMP, THUMP, THUMP sound as it
scans the area. No movement. Apone and his people move cautiously down the corridor.
80 INT. SECOND LEVEL 80
Hicks is scanning his area with the tracker.
Nothing. Not a goddamn thing.
81 INT. HOLD - APC 81
CLOSE-UP PROFILES ON RIPLEY and GORMAN at the APC monitors.
Quarter and search by twos.
82 INT. FIRST LEVEL 82
Apone's squad come to a three-way junction. He signals them to split up and search
systematically in pairs.
83 INT. SECOND LEVEL - QUARTERS 83
Hicks' group come to some damaged rooms. There are no bodies.
Okay, Dietrich...Frost, you’re up.
They move on down the corridor. Hicks and Drake, taking point, explore the rooms.
Furniture is pushed over, objects broken everywhere. The exterior windows are blown out,
admitting wind and rain.
84 INT. FIRST LEVEL - QUARTERS 84
Hudson and Vasquez come across some of the other colonists' apartments, little more
than cubicles. Hudson, on tracker, flanks Vasquez as they move forward down the corridor.
His tracker BEEPS. We see a white spot appear on the screen. Vasquez whirls, cannon
aimed and ready.
85 INT. HOLD - APC 85
Gorman hears the beeping and moves over to look at Hudson's monitor. He looks nervous.
86 INT. FIRST LEVEL - QUARTERS 86
The BEEPING grows more frequent as Hudson advances toward a half-open door.
Hudson motions Vasquez toward it. The door is partway open. Pulse-rifle blast holes
pepper the walls in places. The motion tracker screen shows that the movement is in the
cubicle. Hudson points inside the door and mouths IT’S INSIDE THERE to Vasquez.
Vasquez readies herself as Hudson puts his foot on the door and pushes it open with a
bang. Vasquez hustles inside quickly, followed by Hudson. They move over to another
door, which is closed. They ready themselves as Hudson kicks it in.
Vasquez is first in, then Hudson with a growl. Inside, a gerbil runs around in its cage,
totally unaware of what has and what is going on around it.
Good one, Hudson.
Uh, sir, we have a negative...
87 INT. HOLD - APC 87
(voice over, filtered)
...situation here. Uh, movin' on, sir.
Gorman watches Hudson's camera as it shows the little animal running in its cage. He
88 INT. SECOND LEVEL - QUARTERS 88
Finishing their sweep of the damaged rooms, Hicks looks at a half-eaten donut beside a
coffee cup overflowing with rainwater.
89 INT. HOLD - APC 89
Ripley is watching Hicks' monitor, when she sees something important on it.
Wait! Wait, tell him to...
(picks up a headset)
Hicks. Backup. Pan right. There.
The image shifts, REVEALING a section of floor that has been melted away in an irregular
pattern. We SEE Hicks kneeling by the holes from Drake's P.O.V..
89 CONTINUED: (2) 89
You seeing this all right? Looks melted. Somebody must
have bagged one of Ripley's bad guys here.
Ripley looks over at Burke.
Acid from blood.
90 INT. FIRST LEVEL 90
We SEE Hudson from Vasquez's P.O.V.. He is looking up at something.
If you like that, you're gonna' love this...
WIDER: 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. Hudson leans over the hole and spits into it. It drops for a long way
down into blackness. Vasquez playfully nudges him toward the hole. Hudson jumps
Quit screwing around!
Second squad, what's your status?
We just finished our sweep. Nobody's home.
Roger. Sir...uh, this place is dead. Whatever happened
here, I think we missed it.
91 INT. HOLD - APC 91
CLOSE-UP ON GORMAN at the APC monitors.
Alright, the area's secure. Let's go in and see what their
computer can tell us.
Wait a minute. The area's not secure...
91 CONTINUED: (2) 91
The area's secure, Ripley. First team, head to
92 INT. FIRST LEVEL 92
CLOSE-UP ON HUDSON and VASQUEZ in the colony corridor.
(voice over, filtered)
...Hudson, see if you can get their CPU on line.
93 INT. HOLD - APC 93
CLOSE-UP ON GORMAN at the APC monitors.
Hicks, meet me at the South Lock. We're coming in.
(voice over, filtered)
94 INT. FIRST LEVEL 94
CLOSE-UP ON HUDSON and VASQUEZ in the colony corridor. HUDSON covers his helmet
microphone while looking at VASQUEZ.
He's coming in. I feel safer already.
Pendejo jerk off.
95 EXT. COLONY COMPLEX 95
The APC rolls down a deserted street of the complex and stops at the South Lock. Frost
and Hicks emerge from the lock. The APC's CREW DOOR slides back and Gorman
emerges, followed by Burke and Ripley.
(voice over, filtered)
Sir, the CPU is on-line. No problem.
Good. Stand-by in operations.
95 CONTINUED: (2) 95
Gorman shuts the door. Ripley looks around, feeling unsure about entering the building.
Okay, let's go.
The group head for the lock and meet up with the troopers. Bishop exits from the other side
of the APC and runs over to the group. They proceed into the complex. Ripley stops just
before entering the building, hesitating about go in. The rain pours down on her, soaking
her and matting down her hair.
Hicks and Frost notice that Ripley has stopped. Hicks turns and moves back to her.
Are you all right?
Ripley moves past them into the complex. The soldiers follow. The large doors of the lock
whine close and shut with a bang.
96 INT. CORRIDOR 96
Gorman emerges from a hole in a barricade blocking the corridor, a hastily-welded wall of
pipes, steel-plate, outer-door panels and machinery. Acid-holes have slashed through
floor and walls in several places. The metal is scratched and twisted by hideously
powerful forces, peeled back like a soup can on one side. The rest of group emerge after
Drake comes up the corridor to meet them.
They sealed off this wing at both ends. Welded the doors
and blocked off the stairs with heavy equipment.
Ripley comes through the barrier, wide eyed and tense. The group slowly moves up the
But, it looks like the barricade didn't hold.
96 CONTINUED: (2) 96
Last stand. Must have been a helluva’ fight.
Yeah. Looks that way.
Alright. Drake...this way. We should be able to cut
through the Med-Lab to Operations.
97 INT. MED-LAB 97
The soldiers' pack-lights play over the devastation of the colonists' last ditch battle. The
equipment of the Med-Labs has been uprooted to add to the barrier. But, a lot of it is still
in place and intact. The blue lighting in the rooms causes lots of unwanted shadows.
Burke touches Gorman, pointing him to something across the room. The others follow.
TIGHT ON RIPLEY: Transfixed by something.
The others approach, seeing what she sees. She has stopped at the door of a second
room, part of the Med-Labs area. In a storage alcove, at near eye-level, stand six
transparent cylinders filled with liquid, each lit from beneath. STASIS TUBES.
They seem to contain large SEVERED ARTHRITIC HANDS, the palsied fingers curled in
Hicks comes up behind Ripley and looks in the room from the doorway.
Gorman comes over. Hicks and Gorman move passed Ripley into the room. Burke and
Bishop follow closely.
Are these the same ones?
Ripley nods, unable to speak. Burke walks over and leans close to one of the cylinders
in fascination, his face almost touching it...
The creature inside lunges suddenly, slamming against the glass. Burke, jumps back.
So does everyone else. From the "palm" of the thing's body emerges a pearlescent
TUBULE, which slithers tongue-like over the inside of the glass.
97 CONTINUED: (3) 97
Looks like love at first sight to me.
WIDE ANGLE ON BISHOP and GORMAN staring at the o.s. active facehugger in the tube.
Oh, he likes you, Burke.
BISHOP picks up a file-folder from between two of the dead specimen tanks.
Two are alive, the rest are dead.
BISHOP flicks through the file-folder’s pages. Inside is a medical chart printout with hand-
Surgically removed before embryo implantation.
Subject: Marachuk, John J. Died during the procedure.
They killed him taking it off.
They are all startled by a LOUD BEEPING. Hicks' motion tracker, being held by Frost,
comes to life. Something is moving in its scanning range. BEEP. BEEP.
Yo, Hicks! I think we got something here.
They all come up to look closely at the tracker.
One of us?
Apone...where are your people? Anybody in D-Block?
(voice over, filtered)
That's a negative. We're all in Operations.
Drake moves up ahead of the group. Frost falls in next to him. They all start heading toward
the source of the signal. Drake keeping his smart-gun aimed ahead at all times.
97 CONTINUED: (2) 97
Talk to me, Frosty.
Just keep moving baby.
As the soldiers round an array of complicated equipment, Gorman accidentally knocks over a
metal canister, sending it CLANGING. Ripley jumps like a cat. She looks at Gorman and
It's coming straight for us. Straight up.
98 INT. MED-LAB - CORRIDOR 98
The team move into an adjoining corridor. Hicks' tracker beeps rapidly.
CLOSE-UP: The tracker’s screen shows the object moving closer. It counts down the feet
Something moves in the dark, jumping across the corridor.
ON DRAKE: Pivoting smoothly to fire. In the same instant, Hicks' rifle slashes INTO
FRAME, slamming Drake's barrel upward. A STREAM OF TRACER FIRE rips into the
Hold up! Ripley.
He motions her forward. Trusting his judgment, she comes up beside him. They crouch
down by a row of steel cabinets and Hicks aims his light under them.
RIPLEY'S P.O.V.: Lit by Hicks' pack-light...a tiny cowering figure. A very dirty, very
terrified NEWT JORDEN.
She grips the HEAD OF A LARGE DOLL, holding it by the hair. Just the head.
Hey, shhhhh. It's alright. Come on.
98 CONTINUED: (3) 98
Hicks begins reaching under the cabinets to grab her. Newt inches away each time he
comes to close.
Just grab her, Corporal.
Don't be afraid. Come on. We won’t hurt you.
Shhhh, it's alright. It's okay. Come on out.
Come on. Easy. Easy.
Newt finally gets herself jammed in a corner and Hicks is able to grab her wrist.
I got her!
Newt bites him on the hand and bolts like a shot, scuttling along beneath the floor grilling.
Hicks yanks his hand back in pain.
Don't let her go!
She's under the grill!
Frost, use your lantern. Frost, get your light up here!
Where'd she go?!
She's on the other side of us!
Shine your light!
Down here! Here, here!
98 CONTINUED: (3) 98
There she is!
Keep back! Keep back! Don't scare her!
Grab her, man! We're going to loose her!
Newt reaches an air duct set in the baseboard and scrambles inside.
Ripley grabs Bishop's light and dives, squirms into the duct without thinking.
She can't get out!
99 INT. VENTILATION ROOM 99
Newt enters the room and quickly turns to lock the ducts grille door. But, Ripley pushes
the grille open before the child can latch it, and crawls in after her.
Newt is backed into a cul-del-sac in the tiny steel chamber. Ripley shines her light around
in amazement. It is a NEST. A nest built by a child. Wadded up blankets and pillows line
the space, mixed up with a haphazard array of TOYS, STUFFED ANIMALS, DOLLS,
CHEAP JEWELRY, COMIC BOOKS, EMPTY FOOD PACKETS, and even a batter-
operated TAPE PLAYER. She looks up at the rotating fan drum above the room while
moving silently forward.
It's okay. It's alright. Don't be afraid.
Ripley picks up one of the cheap jewelry pearl necklaces and holds it up in front of Newt as
she moves forward.
Newt's not buying and is trying desperately to back further away, but the wall behind is
stopping her. Nowhere to run. Nowhere, except another air duct right beside her. She
dives for the hatch.
99 CONTINUED: (2) 99
Wait! No you don't!
Ripley grabs her, controlling the girl in a bear hug. The child struggles wildly, like a cat at
It's okay! Everything is going to be alright now! Shhhhhh!
Easy, easy...it's going to be okay. It's alright, your going
to be okay. Shhhh, shhhh, shhhh,...easy...easy.
Newt goes limp, almost catatonic.
Ripley looks over to her side and notices something amidst the debris...a FRAMED
PHOTOGRAPH of Newt, dressed up and smiling. In embossed white letters underneath,
SECOND GRADE CITIZENSHIP AWARD
Looking back down at Newt in her arms, Ripley strokes the girl’s hair in a motherly fashion,
keeping the child calm. Newt is lost in her mind, staring at nothing.
100 INT. OPERATIONS - MANAGER'S OFFICE 100
Hicks opens the storm shutters on all the windows. We can SEE that fog has rolled in and
covered up the landscape outside.
Newt sits on a desk, legs dangling over the side, looking at a point in space. Ripley enters,
carrying a coffee mug. She stands and watches Gorman talk to Newt.
What's her name again?
Gorman leans in front of Newt while Dietrich watches her readouts from a portable
BIO-MONITORING terminal in her hand.
Now think, Rebecca. Concentrate. Just start at the
beginning. Where are your parents?
Now look, Rebecca. You have to try and help...
100 CONTINUED: (2) 100
Gorman! Give it a rest why don't ya'.
Gorman straightens up with a sigh of dismissal.
Physically, she's okay. Borderline malnutrition, but I don't
think any permanent damage.
Come on. We’re wasting our time.
Gorman and Dietrich exit, leaving only Ripley with Newt. She kneels down beside the
child. Newt continues to stare ahead blankly.
Try this. It's a little hot chocolate.
She wraps the child's hands around the cup. Raises it to her lips for her. The girl drinks
mechanically, spilling down her chin.
Here you go. Ooop, that good, huh.
Ripley wipes away the spilt coco, causing some of the dirt on Newt's face to come away.
Uh oh. I made a clean spot here. Now I've done it.
Guess I'll just have to do the whole thing.
She pours water from a squeeze-bottle onto a small cloth and gently washes the little girl's
Hard to believe there's a little girl under all this.
And a pretty on too.
Newt doesn't seem to know she's there.
You don't talk much, do you?
101 INT. OPERATIONS 101
TIGHT ON MONITOR SCREEN: As an abstract of the main-colony ground-plan drifts across
the screen. Searching.
101 CONTINUED: (2) 101
The ground team are gathered around a terminal in the computer center. Hudson has the
main computer's CPU on-line and reading out.
Hudson operates a joystick controller, which moves the ground-plan around.
Smoking or non-smoking?
Just tell me what your scanning for private?
Personal-Data Transmitters. Every colonist had one
If they're within twenty clicks, we'll read it out here...
but so far, zippo.
102 INT. OPERATIONS - MANAGER'S OFFICE 102
Ripley is washing Newt's tiny hands with the cloth, pink skin emerging from black grime.
I don't know how you managed to stay alive. But, you're
one brave kid, Rebecca.
Newt's voice is all but inaudible.
Ripley leans closer. The single syllable was incomprehensible.
What did you say?
Newt. My n-name's Newt. Nobody calls me Rebecca,
except my brother.
Ripley grins. She speaks quietly, not wanting to break the spell.
102 CONTINUED: (2) 102
Newt. I like that. I'm Ripley. It's nice to meet you.
And who is this, huh?
Ripley lifts Newt’s filthy left hand up which still clutches a disembodied doll. Newt looks at
Hello, Casey. And what about your brother, what's his
Is Timmy around here too? Maybe hiding like you were?
Newt seems to close up, staring away from Ripley, not making eye-contact.
Newt shakes her head "no," barely moving.
Mom and Dad?
The little girl nods, almost imperceptibly.
Newt...look at me.
(lifts the child’s face with her hand)
Where are they?
There dead! All right?! Can I go now?!
I'm sorry, Newt. Don't you think you'd be safer here with
Newt shakes her head "no" with chilling certainty.
These people are here to protect you. They're soldiers.
102 CONTINUED: (3) 102
It won't make any difference.
103 INT. MED-LAB 103
Bishop is hunched over an ocular probe doing a dissection of one of the dead facehuggers.
Spunkmeyer enters with some electronics gear on a hand truck and parks it near Bishop's
Need anything else?
Bishop looks up from his work at Spunkmeyer. He seems to have trouble answering the
Hello, Bishop. Do you need anything else?
That's a nice pet you've got there, Bishop.
Magnificent, isn't it?
104 INT. OPERATIONS 104
Everyone jumps as Hudson cries out triumphantly.
Yo! Stop your grinnin' and drop your linen! Found 'em.
Unknown. It looks like all of them. Over at the
processing station...Sub-Level 3...under the main cooling
TIGHT ON SCREEN: Showing an amoeba-like cluster of flashing white dots clumped
tightly in one area.
Looks like a goddamn town meeting.
104 CONTINUED: (2) 104
Let's saddle up, Apone.
Aye, sir. Alright, let's go people, they ain't payin' us by
the hour. Let's go! Head 'em out! Okay, Frost. Your
105 EXT. ACHERON - TWILIGHT 105
The APC roars across the stygian landscape toward the ATMOSPHERE STATION two
106 INT. HOLD - APC 106
It's okay. Don't worry. It'll be okay.
Newt sits just aft of the driver's cockpit. Gorman's MTOB is right behind her. She sits,
clutching her doll head and talking to it in a caring manner. She stops and looks behind her.
Ripley is standing by Gorman, her gaze is riveted to a monitor, which the atmosphere
station looms ahead on.
107 EXT. APC - STATION 107
The vast structure towers above the personnel carrier as it drives up the access ramp and
stops before the door. It opens, sliding up into the ceiling. The APC drives on into the
station, dropping its huge top-mounted cannon down on its rear in the process. If it hadn't,
the cannon would have bashed into the ceiling of the narrow corridor ahead.
The APC comes to a halt. Deploying in front of the APC, backlit by its lights, the troopers
cast long shadows. The base of the station is a depthless maze of conduits and pressure
vessels, like an oil refinery.
(voice over, filtered)
I want a straight B-Deployment. Second team on the left
flank. Advance on axial six-six-four. Tracker on-line.
Set the V-gain to filter RF ambient...
Hudson, tracker on-line. Left and right little buddy.
(voice over, filtered)
Forty meters in, bearing two-two-one, there should be a
Check! Got it!
107 CONTINUED: (2) 107
(voice over, filtered)
You want Sub-Level 3.
They descend the stairwell into the dark pit of machinery.
Let's go people. Hudson, you get the point. Hicks,
watch our tails. Nice and easy. Check those corners...
108 INT. HOLD - APC 108
We SEE Apone and the other soldiers from Hicks' P.O.V.. They are still descending the
(voice over, filtered)
…Check those corners.
Watch your spacing.
(voice over, filtered)
Awright, you heard the man. Don't bunch up Stay lose.
Uh...your transmission's showing a lot of breakup.
We SEE Hudson from Apone's P.O.V.
Probably getting some interference from the structure.
(voice over, filtered)
Watch those lights.
TIGHT ON COMPUTER SCREEN: Showing the ground-plan of the station. The troopers are
only a line of white dots slowly moving down the stairwell in the layout.
Next one down. Then proceed on a two-one-six.
(voice over, filtered)
Uh...roger. That's a two-one-six.
TIGHT ON NEWT: Watching all the troopers on the monitors.
108 CONTINUED: (2) 108
We SEE the corridor the soldiers have just entered from Vasquez's P.O.V.. The group
stands before a bizarre tableau. Over the refinery-like lattice pipes and conduits,
something new and not of human design has been added.
It is a structure of some sort, extending from and crudely imitating the complex of plumbing,
but made of some strange encrusted substance.
I'm not making that out to well. What is that, Hudson?
Hudson APPEARS on Vasquez's P.O.V..
You tell me, man. I only work here.
109 INT. ALIEN STRUCTURE 109
WIDER: They enter the organic labyrinth, playing their lights over the walls, REVEALING
a BIO-MECHANICAL LATTICE.
110 INT. HOLD - APC 110
They watch the various helmet-camera P.O.V.s' of the wall's detail.
What is that?
I don't know.
111 INT. ALIEN STRUCTURE 111
The soldiers move on through a corridor, in a broken line. Everywhere they look, the walls
are covered with the alien substance. Water drips down through holes in the ceiling.
TIGHT ON VASQUEZ: As they come to a junction and go left. Hudson looks excited.
(voice over, filtered)
Watch your firing and check your targets. Remember,
we're looking for civvies in here.
Vasquez comes to another junction and points her smart-gun to the left. The team heads
111 CONTINUED: (2) 111
(voice over, filtered)
(voice over, filtered)
Tighten it up, Frost. We're getting a little thin.
(voice over, filtered)
Nice and easy.
TIGHT ON DIETRICH: as she snaps off a piece of alien lattice from a wall.
Looks like some sort of secreted resin.
Yeah. But, secreted from what?
(voice over, filtered)
Nobody touch nothin'.
112 INT. HOLD - APC 112
Busy little creatures, aren't they?
113 INT. ALIEN STRUCTURE 113
TIGHT ON FROST, then HUDSON as they come into view.
Hot as hell in here.
Yeah, man...it's the dry heat.
Knock it off, Hudson.
114 INT. HOLD - APC 114
Ripley leans forward suddenly, studying the graphic readout of the STATION GROUND
Lieutenant, what do those pulse-rifles fire?
114 CONTINUED: (2) 114
10mm explosive-tip caseless, standard light-armor
piercing round. Why?
Well, look where your team is, they're right under the
primary heat exchangers.
So, if they fire their weapons in there, won't they
rupture the cooling system?
Ho, ho, ho. Yeah. She's absolutely right.
So? So what?
Look, this whole station is basically a big fusion reactor.
Right? So, we're talking about a thermonuclear explosion
and adios muchachos.
Oh...ah, great. Wonderful. Shhhit!
Look...uh…Apone...look, we can't have any firing in there.
I, uh, want you to collect magazines from everybody.
115 INT. ALIEN STRUCTURE 115
The troopers look at each other in dismay. They all start arguing against the command.
Is he fucking crazy?
What the hell are we supposed to use, man?
(voice over, filtered)
Flame-units only. I want rifles slung.
115 CONTINUED: (2) 115
(voice over, filtered)
Just do it, Sergeant. And no grenades.
Awright, sweethearts, you heard the man. Pull 'em out.
Come on. Let's have 'em. Come on, Vasquez. Clear
Apone walks among the troopers, collecting the magazines from each one's weapon.
You too, give it up Speedy. Come on. Let's go.
Crowe, I want it now. Give it up.
When Apone moves on, Vasquez pulls out two spare magazines from concealment and
inserts one in her weapon. She gives the other to Drake.
Right on, Vas.
Let's go, Marine. Give it up. Frost, you got the duty.
Open that bag.
Apone puts all the cartridges in Frost's rucksack and hands it back to him to carry.
Thanks a lot, Sarge.
Hicks! Cover our ass. Head 'em out people!
Hicks reaches over his shoulder and slides out an old-style PUMP-ACTION TWELVE
GAUGE with a sawed-off butt stock from a leather quiver attached to his battle-harness.
Frost looks over at it.
I like to keep this handy...
Hicks chambers a round.
...for close encounters.
I heard that.
116 INT. LARGE CHAMBER 116
The air is thick. Lights flare.
(voice over, filtered)
Hudson watches his tracker, scanning.
Apone stops, his expression changing as he gazes up a wall.
They face a wall of living horror. The colonists have been brought here and entombed alive.
COCOONS protrude from the niches and interstices of the structure. The cocoon material
is the same translucent epoxy. The bodies are frozen in twisted positions. Rib cages burst
outward, exploded from within. Paralyzed, then brought here as hosts for the embryos which
grew within them.
117 INT. HOLD - APC 117
Ripley is seeing the chamber of horrors on the monitors. She can hardly watch, but pushes
Newt, go sit up front. Go on. Now!
118 INT. COCOON CHAMBER 118
Arrayed across the floor are a number of leathery OVOIDS, alien eggs, their tops open like
flower petals. Hicks shines his light and aims his shotgun into one. Empty and dry.
119 INT. HOLD - APC 119
TIGHT ON GORMAN: Wide-eyed and alert. Frightened by what he is seeing.
120 INT. COCOON CHAMBER 120
Hicks finds one of the multi-legged parasites, curled up and shriveled like a dead spider.
Others lie at the feet of the cocooned colonists, graphically illustrating the bizarre life-cycle.
He lifts it up with the end of his twelve-gauge to examine it. His light showing the
non-human grotesqueness of the creature.
(voice over, filtered)
Steady people. Let's finish our sweep.
120 CONTINUED: (2) 120
Hicks tosses the dead parasite to the floor and moves on.
The line of troopers, with Vasquez at point, move alone a cocoon wall. A drop off blocks
their way on the left. Only a guard rail protects them from falling.
(voice over, filtered)
We're still Marines and we have a job to do.
Keep it movin'. Easy.
TIGHT ON DIETRICH: As she moves close to examine one of the figures, perhaps the most
"recent." A WOMAN, ghost-white and drained. Dietrich lifts up the head of the woman. The
woman's EYES SNAP OPEN. They seem to plead.
TOP!! Get over here! We've got a live one! You're going
to be alright. Your going to be alllright.
121 INT. HOLD - APC 121
Ripley watches the woman and soldiers on their monitors, white-knuckled.
(voice over, filtered)
Just stay calm. We're going to get you out of here.
(voice over, filtered)
Uh...sir, we've got a survivor here.
(voice over, filtered)
It's going to be alright. Give me a hand. We gotta get her
out of here.
(voice over, filtered)
Hudson...Dietrich, what's going on?
122 INT. COCOON CHAMBER 122
122 CONTINUED: (2) 122
The woman begins to convulse.
The woman screams, a sawing shriek of mindless agony.
123 INT. HOLD - APC 123
Ripley watches in horror as the woman screams in blinding pain.
Dietrich, get back! Get back!
124 INT. COCOON CHAMBER / INT. HOLD – APC 124
Viewpoints jump back and forth between the shrieking woman and Ripley in the APC as
she tries not to watch the painful birth of something that rips it's way out of the cocooned
woman’s chest. A SMALL FANGED HEAD EMERGES, HISSING VICIOUSLY.
125 INT. COCOON CHAMBER 125
Get back! Flamethrower! Move!
Frost hands it to him. Apone pulls the trigger. Then the other troopers carrying flame-units
open fire. An orgy of purging fire. The creature let's out a high-pitched death shriek as it
dies. It slumps over in the flames, half in / half out of the dead woman. The cocoons vanish
in the shimmering heat.
A SHRILL HISSING begins throughout the chamber. Like a siren created from escaping gas.
Apone and Dietrich look above them. Unseen by the troopers, SHAPES begin to move in the
walls themselves...glistening bio-mechanoid forms. Visibility drops as smoke fills the chamber.
What's the position?
125 CONTINUED: (2) 125
Uh...can't lock in...
Talk to me, Hudson.
Uh, multiple signals...they're closing.
Go to infra-red people. Look sharp.
The squad members snap down their image-intensifier visors, which cover the right eye,
leaving the other free for normal vision.
126 INT. HOLD - APC 126
Gorman is playing with the gain controls on the monitors.
What's happening, Apone? We can't see anything in
Ripley senses it coming, like a wave at night. Dark, terrifying and inevitable.
Pull your team out, Gorman.
127 INT. COCOON CHAMBER 127
In abstract glimpses, we SEE the walls come alive...the troopers move in the smoky grotto,
seeing without seeing.
I've got signals! I've got readings in front and behind.
Where, man! I don't see shit.
He's right. There's nothing back here.
Look, I'm telling you, something's moving and it ain't us.
Dietrich comes up and touches Frost on the shoulder, making him jump.
127 CONTINUED: (2) 127
The tracker's off the scale, man. They're all around us,
Maybe they don't show up on the infra-red at all.
Dietrich, standing near a wall of the chamber, grips her flamethrower tightly. She doesn't
see the nightmarish figure emerge from the wall behind her. It strikes, seizing her and
taking her upward. She fires, reflexively, wildly. The jet of flame ENGULFS FROST, nearby.
He falls over a railing, dropping like a lit match into the dark heart of the complex.
Hicks and Crowe turn, horrified, to see the human torch drop his flaming satchel of pulse-
rifle magazines. Hicks grabs Crowe, pulling him away from the burning ammo.
They turn and run. BOOM! They are catapulted forward by the blast, with Crowe striking a
128 INT. HOLD - APC 128
Ripley watches Crowe's monitor spin and go black. Frost and Dietrich's have turned to
static break up. Their bio-readouts go FLAT-LINE.
Jesus Christ! Apone, what is going on?!
Hicks shows up on Hudson's P.O.V.
Weirzbowski and Crowe are down!
129 INT. COCOON CHAMBER 129
Dietrich...Frost, off the board!
...sound off! Frost! Frost!
129 CONTINUED: (2) 129
Hicks turns over Crowe's dead body. He turns at the sound of someone yelling off to his
130 INT. HOLD - APC 130
We SEE Wierzbowski's P.O.V. spinning and then become static.
131 INT. COCOON CHAMBER 131
Vasquez looks over at Drake with a grim satisfaction.
They OPEN UP simultaneously. Vasquez moves ferret-quick in a pivoting dance. Thunder
and lightning. Better than sex for her.
132 INT. HOLD - APC 132
Who's firing, goddamnit?! I ordered a hold fire!
133 INT. COCOON CHAMBER 133
TIGHT ON VASQUEZ as she and Drake blast the hive walls with bullets, their bodies
illuminated by strobes of muzzle blasts from the weapons.
134 INT. HOLD - APC 134
Gorman stares at the APC monitors in shock, his mental state starting to collapse since he
doesn’t know what to do and his orders are not being met.
I ordered a hold fire!
They're coming out of the walls!
135 INT. COCOON CHAMBER 135
Vasquez and Drake start leading the other troopers toward the exit tunnel.
135 CONTINUED: (2) 135
They're coming out of the goddamn walls! Let’s book!
136 INT. HOLD - APC 136
Gorman looks as if he is going to loose it at any moment. He is pale and covered with
(voice over, static)
On your right, man!
(voice over, static)
...I want you to lay down suppressing fire with the...
137 INT. COCOON CHAMBER 137
(voice over, static)
...incinerators and fall back by squads to the APC, over.
Vasquez! Drake! Hold your fire, goddamnit!
(voice over, static)
Apone...are you copying this? Lay down a
suppressing fire with the...
138 INT. HOLD - APC 138
...incinerators and fall back by squads...
139 INT. COCOON CHAMBER 139
Apone is spinning in place, looking all around him for the unseen enemy and trying to listen
(voice over, static)
...to the APC, over.
139 CONTINUED: (2) 139
Say again! All after incinerator!
140 INT. HOLD - APC 140
I said, I want you to lay down a suppressing fire with the
incinerators and fall back...
141 INT. COCOON CHAMBER 141
(voice over, static)
...by squads to the APC, over.
Apone spins, isolated in the dense smoke. Can't see anything. Suddenly, his eyes snap
upward to see one of the creatures above. He raises his flamethrower to fire. But, he’s not
142 INT. HOLD - APC 142
Apone's monitor whites out as his flamethrower fires, then SPINS CRAZILY. Sounds of a
vicious struggle...then rolling static.
(voice over, static)
Eeeaahhh! Sarge! Sarge!
(voice over, static)
Talk to me?
(voice over, static)
He's dead, man!
(voice over, static)
Top! You copy!
(voice over, static)
Ah, man! He's gone!
142 CONTINUED: (2) 142
Apone...talk to ME!
CLOSE-UP ON MONITOR: Showing different soldiers' P.O.V.'s of the surrounding battle.
GET THEM OUT OF THERE!
DO IT NOW!
Ripley grabs a headset from the counter and yells into it.
Hicks! Who's ever left, get the hell out of...
Gorman rips the headset out of her hand.
Just shut up!
God Damn it!!
TIGHT ON P.O.V.'s: As we SEE the soldiers' running around and yelling into each other's
Where's Apone?! Where's Apone?!
The sarge is gone! Let's get the fuck out of here!
Hudson! Move it! Let's go, Marines!
Let's move it, Vas! Let's move it!
142 CONTINUED: (3) 142
Hudson! Look out!
We SEE Hicks come up and blow away one of the o.s. creatures with his twelve-gauge on
(voice over, static)
Move it! Fall back! Fall back!
Gorman is ashen. Confused. Gulping for air like a grouper. How could the situation have
unraveled so fast?
I told them to fall back.
(voice over, static)
Fall back, goddamn it, now!
(voice over, static)
Come on! Move it! Move it!
I told them to fall back.
They're cut off! Do something!
But, he's gone. Total brain lock.
(voice over, static)
Let's go, Marines! Let's move it!
TIGHT ON RIPLEY: As she struggles with a decision. She's terrified...of what she knows
she's about to do. But, more than that, she's furious. Shouldering past a paralyzed
Gorman and a stunned Burke, she runs up the isle of the APC.
142 CONTINUED: (4) 142
(voice over, static)
Come on! Keep moving, baby!
Ripley comes up to Newt, sitting in one of the soldiers' seats, and locks the harness down
Hold on, Newt.
Ripley jumps into the driver's seat of the APC. Taking a deep breath, she starts slapping
switches. Gorman suddenly comes back to his senses upon hearing the APC startup.
Ripley, what the hell are you doing?!
She slams the tractor into gear.
143 EXT. APC 143
As the drive-wheels spin on the wet ground, the massive machine leaps forward, moving
down the narrow corridor.
144 INT. DRIVER'S CABIN - APC 144
Gorman lunges into the driver's cabin and grabs the steering controls, causing Ripley to
loose control of the vehicle momentarily.
145 EXT. APC 145
The temporary loss of control scraps the APC along the corridor's wall. Sparks fly.
146 INT. DRIVER'S CABIN - APC 146
Gorman is trying his best to stop Ripley from going any further.
That’s an order!
Newt pushes up the seat's harness and moves down into a corner on the floor of the APC.
Turn this thing around!
146 CONTINUED: (2) 146
Get off me, damnit!
Goddamnit! That's an order!
Burke rushes up and pulls him off Ripley and places him in co-pilot seat.
You had your chance, Gorman!
147 INT. / EXT. APC 147
Ripley comes to a descending rampway and slams the left and right drive-wheel actuators
viciously, spinning the machine in a roaring pivot. The APC hits the corridor's wall sideways
and then keeps on moving.
148 INT. ESCAPE CORRIDOR 148
Hicks, supporting a limping Hudson, appears from a smoky corridor. Drake and Vasquez
bring up the rear, taking out the closing creatures with accuracy.
Come on, Drake!
149 EXT. APC 149
The APC roars down into the smoky structure. Emerging from a cloud of smoke that covers
150 INT. DRIVER'S CABIN - APC 150
TIGHT ON RIPLEY: As the smoke from the cloud clears, Ripley looks out and SEES a
wall of alien-encrustation directly in path of the vehicle. She braces for impact.
151 EXT. APC 151
The APC smashes through the wall, showering debris everywhere. Another wall is broken
as the APC continues to move forward into the chamber beyond. As the APC comes to a
halt, alien debris is scattered all around the vehicle.
152 INT. ESCAPE CORRIDOR 152
Drake and Vasquez are opening up on the creatures. They seem to appear from every nook
and cranny in the chamber.
152 CONTINUED: (2) 152
Come on! Let's move it!
Come on! Let's go! Let's go!
153 EXT. / INT. APC 153
Hicks and Hudson appear in front of the APC. The debris around the APC blocks their
way for a straight-away shot to the crew-door.
It's blocked, man! We've gotta go around!
Ripley sees Hicks and Hudson out of the APC's front windows. Burke is right next to her.
Open the door!
(into head mic)
Burke quickly moves to open it.
152 EXT. APC 152
Drake! We are leaving!
Give some, Vas! Run for it! Shit!
Drake goes empty, slaps the buckles, cutting loose his smart-gun harness, and unslings a
flamethrower he has picked up.
153 INT. HOLD - APC 153
Hicks carries Hudson inside quickly, dropping him down on some ammo boxes.
Let's go! Let's go!
154 EXT. APC 154
Drake, come on, man! We're going!
Hicks pulls Vasquez inside, massive gear and all. Drake is right behind her, frying the
chamber with his flamethrower.
154 CONTINUED: (2) 154
Drake, come on!
A DARK SHAPE RISES next to him. Vasquez notices it first and fires 10 bursts, prone.
Clean body hits. The flashes light up the inhuman grin, blowing open the thing's body. A
spray of BRIGHT YELLOW ACID slashes across Drake's face and chest, eating into him
like a hot knife through butter. He yells, dropping in boiling smoke, reflexively triggering
The jet of liquid fire arcs around as he falls, engulfing the back half of the APC.
155 INT. HOLD - APC 155
Vasquez rolls aside as a gout of napalm shoots through the crew-door, setting the interior
Fire in the hold!
Burke grabs a fire extinguisher and quickly begins spraying the contents on the fire. Hudson
hands Gorman one as well while everyone moves around to get out of the way.
No! Drake’s out there!
Put it out! Put it out! Put it out! Go! Go! Go!
Hicks is rolling the door closed when Vasquez lunges, clawing out the opening. He stops
her, dragging her inside.
Hicks snaps off her armor and gun. Slams her against the door and yells in her face.
155 CONTINUED: (2) 155
Forget 'em! He's gone!
Ripley works the reverse gears. Hicks get the door almost closed when, suddenly, CLAWS
appear at the edge. The door is being SLOWLY WRENCHED OPEN FROM THE OUTSIDE.
Hicks yells at a paralyzed Gorman.
Get on the goddamn door!
Vasquez and Hudson move up and help close the door, while Hicks reaches down and
grabs his twelve-gauge from the floor. An alien head wedges through the opening, it's
hideous mouth opening. Hicks jams his SHOTGUN MUZZLE between it's jaws.
He pulls the trigger! BLAM! The back of the creature's head explodes, spraying acid blood.
The spray eats into the door, the deck, and some hits Hudson on the arm. He yells in pain.
Hicks and Vasquez slide the door home and dog it tight.
Ripley! Go, go, go!
156 EXT. APC 156
The armored vehicle roars backward. Pulling out of the wreckage around and behind it.
157 INT. / EXT. APC 157
Ripley works the shifters. The APC squeals forward, up the access ramp it had come
The soldiers inside grab for hand-holds as they are buffeted around. The shock of the
sudden forward acceleration tears loose a storage rack, sending some heavy ammo cases
down on Gorman, knocking him unconscious. Ripley jams the actuators hard, turning the
APC quickly to the right into the main access corridor.
CLOSE-UP ON FRONT OF APC: a huge dent is visible on the front right bumper and the
rear left side of the machine is still on fire.
Ripley hears a thud on the APC. As she looks out the small windshield, an alien arm suddenly
arcs down, right in front of her face. It smashes the window. Glistening, hideous jaws
lunge partially inside.
Ripley recoils. Face to face once again with the same mind-numbing horror. She reacts
instinctively by slamming on both sets of brakes with all her strength. The huge wheels
lock. The creature flips off, landing in the headlights. Ripley hits full throttle. The APC
roars forward, crushing the skeletal body under the right massive wheel. The machine
powers ahead and comes smashing through the Atmosphere Station's Main Access Door,
157 CONTINUED: (2) 157
thundering out into the open landscape and away from the station. A sound like bolts
dropping in a meat grinder is coming from the APC's rear end. Hicks moves up and
eases Ripley's hand back on the throttle lever. Her grip is white knuckled.
It's alright...we're clear! Ripley, you've blown the
transaxle! You’re just grinding metal! Come on, ease
down! Ease down! Ease down. Ease down.
158 EXT. APC - LANDSCAPE 158
The personnel carrier limps to a halt, a smoking acid-scarred mass...A HALF-KILOMETER
from the station.
159 INT. HOLD - APC 159
Ripley, still running on the adrenaline dynamo, spins out of her seat into the aisle, looking
all around. She spots Newt, wedged into a tiny space between the driver's seat and a
bulkhead. She is coughing, and looks scared, but it's not the basket case catatonia of
before. Kneeling down, she looks the girl over.
Newt gives her a THUMBS-UP, wan but stoic. Ripley goes back to the others. Hudson is
holding his arm and staring in stunned dismay at nothing, playing it all back in his mind.
Burke tries to have a look at his arm. Hudson jerks away.
I’m alright. Get away from me, man!
Ripley joins Hicks, who is bent over an unconscious Gorman, checking for a pulse. Gorman
has a nasty forehead gash.
What happened to Gorman?
I don't know. Maybe a concussion. But, he's alive.
No man, he's dead!
She grabs Gorman by the collar, hauling him up roughly, ready to pulp him with her elbow.
Wake up, pendejo man, I'm gonna' kill you!
159 CONTINUED: (2) 159
Hicks puts his arm in the way, right before Vasquez hits Gorman in the face.
Back off! Right now!
She releases Gorman and moves off to another spot.
Someone get me a first aid kit.
Hey...hey, look! The sarge and Dietrich aren't dead, man.
Their signs are real low, but they ain't dead.
They turn to see Hudson at the MTOB monitors, looking at the bio-function screens.
Well, we go back in there and get them.
We don't leave our people behind. Besides...
I ain't going back in there, man! You can't make me!
Hudson is pale, his voice panicky.
You can't help them...you can't. Right now, they're being
cocooned just like the others.
Oh, dear lord, Jesus. This ain't happening, man.
This can't be happening, man. This ain't happening!
TIGHT ON VASQUEZ: wired and intense.
Alright. We got seven canisters of CN-20. I say we roll
them in there and nerve gas the whole fucking nest.
That's worth a try. But, we don't even know if it's gonna'
159 CONTINUED: (3) 159
Look, let's just bug out and call it even, okay? What are
we talking about this for?
I say we take off and nuke the entire site from orbit.
Everyone looks over at her.
It's the only way to be sure.
Whoa! Ho, ho, hold on one second. This installation
has a substantial dollar value attached to it...
They can bill me.
Okay...look. This is an emotional moment for all of us,
okay? I know that. But, let's not make snap judgments,
please. This is clearly...clearly, an important species
we're dealing with and I don't think that you or I or anybody
has the right to arbitrarily exterminate them...
Yeah. Watch us.
Hey, maybe you haven't been keeping up on current
events, but we just got our asses kicked, pal!
Look, I'm not blind to what's going on. But, I can't
authorize that kind of action. I'm sorry.
Well, I believe Corporal Hicks..has authority here.
159 CONTINUED: (4) 159
This operation is under military jurisdiction and Hicks is
next in chain of command. I'm I right, Corporal?
Yeah...yeah, that's right.
Burke starts to loose it and it's not a pretty sight.
Yeah. Look, Ripley?
This is a multi-million dollar installation, okay? He can't
make that kind of decision. He's just a grunt!
(glances at Hicks)
None taken. Ferro, do you copy?
(voice over, static)
Prep for dust-off. We're gonna' need an immediate evac.
(voice over, static)
Roger. On our way.
I say we take off and nuke the site from orbit.
It's the only way to be sure.
He looks over at Ripley. She smiles slightly.
Let's do it.
160 EXT. APC - LANDSCAPE - STATION 160
The group file out of the personnel carrier, which is clearly a write-off. Hicks and Hudson
have Gorman between them on a stretcher. The others follow behind.
160 CONTINUED: (2) 160
Let's go! Pick it up, Hudson. Pick it up, baby.
Alright! We'll set him down here.
Hicks lights a flare and throws it to an area visible from the air.
161 INT. DROP-SHIP - COCKPIT 161
Ferro sits in the cockpit, preparing for lift-off. She calls to Spunkmeyer over her headset.
Move it, Spunkmeyer. We're rollin’.
162 EXT. / INT. DROP-SHIP 162
Spunkmeyer runs up the cargo ramp into the ship. As he hauls himself up into the
drop-ship's hold, he notices that his hand is in some sticky substance that shouldn't be
there. He looks all around the hold, but doesn't notice anything unusual.
Hold on a second. There's something...
(voice over, filtered)
Just get up here!
I'm in. Ramp closing.
163 EXT. DROP-SHIP 163
The ship rises through the spray thrown up by the down blast of the VTOL jets, hovering
above the complex like a huge insect. It's searchlights blazing.
164 EXT. APC - LANDSCAPE - STATION 164
Hicks throws a few more flares around the site as the group watches the drop-ship roar in
on it's final approach.
165 INT. DROP-SHIP - COCKPIT 165
She taps her headset mike.
The compartment door behind her slides slowly open.
165 CONTINUED: (2) 165
Well, where the fu...
An alien stands before her, it's DROOLING JAWS OPENING with a hiss. Ferro quickly
goes for her sidearm. But, the alien lunges forward. A whirl of motion takes places, Ferro
claws at the bloody window as the life slips from her. The throttle levers are slammed
forward in the melee.
166 EXT. APC - LANDSCAPE - STATION 166
They watch in dismay as the approaching ship drops and VEERS WILDLY. It's main
engines ROAR FULL ON and the craft accelerates toward them even as it looses altitude.
It skims the ground, hitting a ridge. Tumbles, bursting into flame, breaking up. It arcs into
the air, end over end, a Catherine wheel juggernaut.
She grabs Newt and sprints for cover as the tumbling ship rolls by, skipping off the ground
like a stone, engulfed in flames. It roars passed the survivors and CRASHES INTO THE
STATION. The fireball EXPLODES, throwing flaming pieces of the craft in all directions.
The remainder of the ground team watch their hopes of getting off the planet, and most of
their superior fire power, reduced to flaming debris. Hicks gets up and looks around. He
sees one of the smoking debris lying on top of the unconscious Gorman and quickly yanks
it off him. Hudson picks up another piece of the wreckage as he gets up.
Well, that's great! That's just fucking great, man!
Now what the fuck are we supposed to do?! We're in
some real pretty shit now, man!
Hicks grabs Hudson by his chest armor, getting hs attention.
Are you finished?!
She nods. She can't disguise her stricken expression when she looks at Newt, but the
little girl seems relatively calm.
I guess we're not going to be leaving, now. Right?
I'm sorry, Newt.
166 CONTINUED: (2) 166
You don't have to be sorry. It wasn't your fault.
That's it, man! Game over, man! Game over!
What the fuck are we gonna' do now?! What we going
Maybe we could build a fire and sing a couple of songs, huh?
Why don't we try that?
We should get back, 'cause it'll be dark soon and they
mostly come at night. Mostly.
Ripley follows Newt's gaze to the AP station looming in the twilight, the burning drop-ship
wreckage jammed into it's basal structure.
167 EXT. CONTROL BLOCK - NIGHT 167
The wind howls mournfully around the metal buildings, dry and cold. One of soldiers raises
the storm windows.
168 INT. OPERATIONS 168
The weary and demoralized group are gathered to take stock of their grim options. Vasquez
and Hudson bring in a box of equipment and place it on a table.
That's everything, right?
Hicks begins to go over all the equipment on the table. Telling everyone what is there.
All right! This is absolutely everything that we could
salvage out of the APC wreckage. We've got four
pulse-rifles, with about fifty rounds each. That ain't so
good. You got...uh, fifteen of these M-40 grenades.
Hicks sets the grenade down on the table. Newt reaches over to pick it up. Hicks stops
Don't touch that. Dangerous, honey.
168 CONTINUED: (2) 168
Is that the only flame thrower?
TIGHT-ON HUDSON: He looks very nervous and high-strung.
Yeah. It's only half full, but it's functional...
TIGHT-ON NEWT: She picks up one of the soldiers' helmet's and put it on. Her head
disappears into it.
...and another one's damaged. I don't know about that one.
But, the good news. We've got four of these robot-
sentries...with display and scanners intact. They really
kickass. I think they'll come in handy.
How long after we're declared overdue can we expect a
TIGHT-ON HICKS: As he looks at Vasquez. She gazes back with a look at loss, but
underlying strength as she holds her weapon.
Seventeen days? Hey, man...I don't want to rain on your
parade. But, we're not going to last seventeen hours!
Those things are going to come in here, just like they did
before, and they're going to come in here...
...and they're going to come in here and there going to get
Hudson! This little girl survived longer than that with no
weapons and no training. Right?
Ripley indicates Newt, who salutes Hudson smartly.
What?! You put her in charge?!
168 CONTINUED: (3) 168
You better just start dealing with it, Hudson. Hudson,
just deal with it, because we need you and I'm sick of
your bullshit. Now, I want you to get on a terminal and
call up some kind of floor plan file, do you understand?
Construction blueprints, I don't care, anything that shows
the layout of this place, are you listening?
I need to see air ducts. I need to see electrical access
tunnels, sub-basements. Every possible way into this
complex. We don't have much time.
Hudson gathers himself, thankful for the direction.
Okay...okay, I'm on it.
Hudson! Just relax.
Hudson exhales loudly to prepare himself and leaves the group. Bishop moves up to the table.
I'll be in Med-Lab. Check on Gorman, continue my
Fine. You do that.
She watches him leave. Still unnerved by his presence.
169 EXT. ATMOSPHERE STATION 169
The giant metal volcano rumbles away, unaware of the happenings of both inside and outside
170 INT. OPERATIONS 170
Burke, Ripley, Hicks, Hudson and Vasquez are all bent over a large HORIZONTAL VIDEO
SCREEN, like an illumination chart table. Newt hops from one foot to the other to see.
170 CONTINUED: (2) 170
So, this service tunnel must be how they're moving back
She traces a finger down a tunnel on the map.
That's right. It moves from the processing station right
into the sub-level here. Come down on that. Okay, come
over. Hold it. Go back. Punch that in right there.
He touches a spot on the screen. Newt moves up next to Hicks. He picks her up and seats
her on the corner of the table. Hicks watches closely as the blueprint is moved around.
No. It's back.
Well, there's a pressure door at this end. Couldn't we put
a remote sentry unit in the tunnel and then seal that door.
Yeah. That'll work. But, we gotta' figure on them getting
into the complex.
That's right. So, we repair the barricades at these
...and weld plate-steel over these ducts here and here
and...here. That way, they can only come at us from
these two corridors.
Alright, then we put the other sentry units here and here.
Hicks contemplates her game plan and looks over at her.
Outstanding. Then, all we need is a deck of cards.
He straightens up, satisfied.
170 CONTINUED: (3) 170
All right, people, let's move like we've got a purpose.
171 INT. OPERATIONS - TACTICAL 171
TIGHT-ON MONITORS: Showing Hudson and Vasquez setting up one of the sentry units.
Hicks is setting up the KEYBOARD DISPLAYS for the four sentry units. He opens them
and types in some commands.
CLOSE-UP ON DISPLAY: As Hicks types, the screen's commands are highlighted. He
sets the units to SEARCH and AUTO.
172 INT. SERVICE TUNNEL - SUB-LEVEL 172
A long straight service tunnel, lined with conduit, seems to go on forever. Vasquez and
Hudson have finished setting up two of the robot sentry guns on tripods in the tunnel.
Do your thing, baby. Come on, come on, Vasquez.
Let's get the hell out of here.
Hudson here. A and B sentries are in place and keyed.
173 INT. OPERATIONS - TACTICAL 173
Hicks sets the units to ARMED.
Stand-by. Arming now. Test it, Hudson.
174 INT. SERVICE TUNNEL - SUB-LEVEL 174
Fire in the hold!
174 CONTINUED: (2) 174
She hurls a wastebasket down the tunnel, into the automatic field of fire. The sentry guns
swivel smoothly, the wastebasket bounces once...and is riddled by two quick bursts.
Okay! Let's get the hell out of here!
They retreat behind a heavy steel FIRE DOOR, which they slide down closed on it's tracks.
We're sealing the tunnel. Come on, baby.
175 INT. SECOND LEVEL CORRIDOR 175
Burke and Newt are moving back and forth with cartons of food on a hand truck and in their
arms, stacking it inside the operations center. Behind them, Hicks and Ripley are covering
an air duct opening with a metal plate, welding it in place, showering sparks in the semi-
dark corridor. Hicks sets down his welder and hits the plate.
For what it's worth. Here, I want you to put this on.
He removes what looks like a wristwatch from his arm. It is a standard issue LOCATING
What's it for?
It's a locator. Then I can find you anywhere in the
complex on this...
He indicates a tiny LOCATOR hooked to his battle harness.
It’s just a precaution.
Ripley pauses for a moment, regarding him quizzically.
Doesn't mean we're engaged or anything.
Ripley smiles and looks at the beeper.
Now, what's next?
She consults a printout of the floor plan.
176 EXT. CONTROL BLOCK 176
The wind has utterly died and in the eerie stillness, a diffuse mist has rolled in to shroud
the complex. Everything looks like it's underwater. There is no movement.
177 INT. CORRIDOR 177
In the barricaded corridor, sentry guns 'C' and 'D' sit waiting, swiveling on their tripods,
their 'ARMED' lights flashing green.
178 INT. MED-LAB ANNEX - SURGERY 178
Ripley carries an exhausted Newt through the inner connecting rooms of the medical wing.
She reaches an OPERATING ROOM, which is small but very high-tech...vault-like metal
walls, strange equipment. A cot has been set up, displacing O.R. equipment, which is
pushed into one corner.
Newt is resting her head on Ripley's shoulder, barely awake...out of steam.
Last stop. Get in.
Ripley sets her down on the cot’s edge and Newt scoots under the covers. Ripley sits beside
Scoot down. That's good. Now, you lie here and have
a nap. You're very tired.
I don't want to...I have scary dreams.
This obviously strikes a chord with Ripley, but she feigns cheerfulness.
Well, I bet Casey doesn't have bad dreams. Let's take
She lifts the doll's head from Newt's tiny fingers and looks inside. It is, of course, empty.
Nope. Nothing bad in there. See. Maybe you could
just try to be like her.
Newt rolls her eyes as if to say "don't pull that six-year-old shit on me, lady. I'm seven."
Ripley,...she doesn't have bad dreams because she's
just a piece of plastic.
Right. (laughs) I'm sorry, Newt.
178 CONTINUED: (2) 178
Ripley turns, reaching for a PORTABLE SPACE HEATER sitting nearby, and slides it closer
to the bed. She switches it on. It HUMS and emits a cozy orange glow.
My mommy always said there were no monsters.
No real ones. But, there are.
Ripley's expression becomes sober. She brushes damp hair back from the child's pale
Yes, there are, aren't there.
Why do they tell little kids that?
Newt's voice reveals her deep sense of betrayal.
Most of the time, it's true.
Did one of those things grow inside her?
I don't know, Newt. That's the truth.
Isn't that how babies come? I mean, people babies...
they grow inside you?
No, it's very different.
Did you ever have a baby?
Yes, I did. I had a little girl.
Where is she?
178 CONTINUED: (3) 178
You mean dead.
It's more statement than question.
Ripley unsnaps the TRACER BRACELET, given to her by HICKS, and puts it on Newt's
tiny wrist, cinching it down.
Here, take this...for luck.
She switches off the light by the bed and starts to rise. Newt grabs her arm. A plaintive
voice in the dark.
Don't go! Please.
Newt. I'll be right in the next room. And, see that camera
right up there?
Newt looks at the VIDEO SECURITY CAMERA above the door. Its swivels on its mount as
it scans the room.
I can see you right through that camera, all the time,
to see if you're safe. I'm not going to leave you, Newt.
I mean it. That's a promise.
I cross my heart.
And hope to die?
Ripley flinches slightly at the innocently grim expression.
And hope to die.
Newt grabs her in a desperate hug and Ripley returns it slowly, a bit overwhelmed at first,
then with fierce emotion. The child's need is so vast, Ripley prays she has made a promise
she can keep. With a kiss on the cheek, Newt let's go and lays back down.
Now go to sleep...and don't dream.
178 CONTINUED: (4) 178
Newt points at Ripley's shirt. Ripley looks down and Newt playfully flicks Ripley's nose.
Ripley EXITS and Newt turns on her side, gazing at the bracelet in the orange glow of the
179 INT. MED-LAB 179
Ripley stands over Lieutenant Gorman, lying motionless on a gurney, his head bandaged.
Bishop is behind her. Hudson and Vasquez are nearby, their weapons cradled.
The molecular acid oxidizes after the creature stops,
completely neutralizing it.
Bishop...do you know that's very interesting. But, that
doesn't really get us anywhere, does it? We're trying to
figure out what we're dealing with here. Let's go through
it again. They grabbed the colonists, they move them
over there, and immobilized them to be hosts for more
Ripley looks at the stasis cylinders containing the facehugger specimens.
Which would mean there would have to be a lot of these
parasites, right? One for each colonist...that's over a
hundred at least.
Yes. That follows.
Each one of these things comes from an egg, right?
So, who's laying these eggs?
I'm not sure. It must be something we haven't seen yet.
Hey, maybe it's like an ant hive.
Bees, man. Bees have hives.
179 CONTINUED: (2) 179
You know what I mean. There's like...one female that
runs the whole show.
Yes, the Queen.
Yeah, the momma. She's badass, man. I mean, big!
These things ain't ants, pendajo.
I know that.
Bishop, I want these specimens destroyed as soon as
you're finished with them. Is that clear?
Bishop glances at the creatures, pulsing malevolently in their cylinders.
Mr. Burke gave instructions that they were to be kept alive
in stasis for return to the company labs. He was very
specific about it.
180 INT. MED-LAB - ANNEX 180
In a small observation chamber, separated from the Med-Lab by a glass partition, Ripley
and Burke have squared off.
Look, those two specimens are worth millions to the
bio-weapons division, right? Now, if you're smart...we can
both come out of this heroes and we will be set up for life.
Your crazy, Burke, do you know that? Do you really
think you can get a dangerous organism like that past
How can they impound it if they don't know about it.
But they will know about it, Burke. From me. Just like
they'll know that you were responsible for the deaths of
one hundred and fifty-seven colonists here...
180 CONTINUED: (2) 180
Wait a second...
You sent them to that ship.
I just checked the colony log...directive dated six-twelve-
seventy-nine. Signed Burke, Carter J.
Ripley's fury is peaking, now that the frustration and rage finally have a target to focus on.
You sent them out there and you didn't even warn them.
Why didn't you warn them, Burke?
Okay, look. What if that ship didn't even exist. Did you
ever think about that. I didn't know. So now, if I went and
made a major security situation out of it, everybody steps
in. Administration steps in and there's no exclusive rights
for anybody. Nobody wins. So, I made a decision and it
was...wrong. It was a bad call, Ripley. It was a bad call.
Ripley snaps. She grabs his collar and slams him against the wall, surprising herself and
These people are dead, Burke! Don't you have
any idea what you have done here?! Well, I'm going to
make sure that they nail you right to the wall for this!
You're not going to sleaze your way out of this one! Right
to the wall!
She releases him, and looks at him with utter loathing, as if the depths of human greed are
a far more horrific revelation than any alien. She turns away and begins to leave.
Ripley, I...you know, I expected more of you. I thought..
you would be smarter than this.
181 CONTINUED: (3) 181
I’m happy to disappoint you.
Ripley strides out. Burke stares after her, his mind a whirl of options.
182 INT. CORRIDOR 182
A door opens, Ripley walks out and heads toward operations. All of sudden, a STRIDENT
ALARM begins to sound. She breaks into a run.
183 INT. OPERATIONS - TACTICAL 183
Ripley double-times it to Hicks' TACTICAL CONSOLE. Hudson and Vasquez come running
in as well. Hicks slaps a switch, killing the alarm.
What is it? What's going on?
In the tunnel.
In the background, the sound of the sentry guns begin firing. Their loud bursts of fire echoing
around the complex.
Here we go.
They all gather around the monitors and the sentry units' displays. The echoing crash of the
gun fire and alien screams can be heard everywhere. The sound vibrates through the flooring.
A and B guns, tracking and firing. Multiple targets.
The RSS guns pound away, echoing through the area. Their separate bursts overlap in an
irregular rhythm. A counter on the sentry displays' counts down the number of rounds fired.
184 INT. SERVICE TUNNEL - TIGHT ON THE RSS GUNS 184
Blasting stroboscopically in the tunnels. Their barrels smoke as they slowly heat up.
185 INT. OPERATIONS - TACTICAL 185
Look at those ammo counters go.
185 CONTINUED: (2) 185
CLOSE-UP ON THE SENTRY DISPLAY: As the rounds left quickly decrease.
186 INT. SERVICE TUNNEL - TIGHT ON THE RSS GUNS 186
The units keep blasting everything in sight. Not one creature gets by them, until...
187 INT. OPERATIONS - TACTICAL 187
B-gun's down fifty percent.
Man, it's a shooting gallery down there.
Warning beeps start to emit from the control terminal as the ammo begins to run out.
Sixty rounds left on B. Forty...twenty...ten...B-gun's dry.
Twenty on A. Ten...five...that's it.
Jesus. They're wall to wall in there.
SILENCE. Then a GONG-LIKE BOOMING echoes eerily up from the sub-level.
They're at the pressure door.
Man, listen to that.
Bishop here. I'm afraid I have some bad news.
Well, that's a switch.
188 INT. OPERATIONS - MINUTES LATER 188
Everyone, including Bishop, is crowded at the window, intently watching the AP station,
which is a dim silhouette in the mist.
It's very pretty, Bishop. But, what are we looking for?
Suddenly, a column of blue flame, like an acetylene torch, jets upward from the station at
the base of the cone.
188 CONTINUED: (2) 188
That's it. The emergency venting.
Ah, that's beautiful, man. Ah man, that...that just beats
How long until it blows?
Four hours...with a blast radius of thirty kilometers.
Equal to about forty megatons.
We got problems.
I don't believe this. I don't fucking believe this.
Vasquez. Close the shutters.
Why can't we shut it down from here?
I'm sorry. The crash did too much damage. An overload
was inevitable, at this point.
Oh, man. And I was gettin' short. Four more weeks and
out. Now, I'm going to buy it on this rock. It ain't half
Hudson, give us a break.
Four more weeks. Oh, man.
Well, we've got to get the other drop-ship from the
Sulaco. I mean, there must be some way of bringing it
down on remote?
How? The transmitter was on the APC. It's wasted.
188 CONTINUED: (3) 188
I don't care how! But, we'd better think of something.
We'd better think of a way.
Think of what? We're fucked!
Shut up! What about the colony transmitters? The
up-link tower down at the other end. Why can't we use
No, I checked. The hardwiring between here and there
is damaged. We can't align the dish.
Ripley is wound up like a dynamo, her mind spinning out options, grim solutions.
Well, somebody's going to have to go out there. Take a
portable terminal and go out there and patch in manually.
Oh, yeah! Sure! With those things running around.
You can count me out!
Yeah, I guess we can just count you out of everything,
That's right, man. Why don't you go, man?
188 CONTINUED: (4) 188
I'll go. I mean, I'm the only one qualified to remote-pilot
the ship anyway.
Yeah, right, man. Bishop should go. Good idea.
Believe me, I'd prefer not to. I may be synthetic, but I'm
189 INT. MED-LAB 189
One of the acid holes from the colonists' siege has yielded access to sub-floor conduits.
Vasquez cuts an opening into one of the main shafts. Bishop looks into the shaft with a
flashlight, nothing. He hands the flashlight back to Vasquez and then sits on the edge of
This duct runs almost to the up-link assembly.
One hundred eighty meters.
Ripley passes him a portable terminal and a small satchel containing tools, which he pushes
into the constricted shaft.
Say, forty minutes to crawl down there.
An hour to patch in and align the antenna. Thirty minutes
to prep the ship, and about fifty minutes flight time.
Bishop lies down in the shaft, on his back. Vasquez hands him the flashlight.
It's going to be close.
Vasquez pulls out her service pistol and hands it to Bishop. He looks it over and gives it to
189 CONTINUED: (2) 189
See you soon. Watch your fingers.
Vasquez and Ripley place the metal plate over the hole again. Bishop turns over and
squirms into the shaft, pushing the equipment along ahead of him with a scraping rhythm.
Vasquez begins spot-welding the plate in place behind him.
Vaya con dios, man.
190 INT. CONDUIT 190
Bishop moves on, crawling in a rhythm with his body and breathing. Ahead of him, the
conduit dwindles straight to seeming infinity, ending in a tiny white dot.
191 INT. CORRIDOR 191
Sentry units 'C' and 'D' are blaring away as the alien onslaught try again from another
approach. Their numbers decreasing as they contact the guns.
192 INT. OPERATIONS - TACTICAL 192
Ripley and Vasquez run to the tactical console, where Hicks is mesmerized by the images
from the surveillance cameras. The flashes of the sentry-guns flare-out the sensitive video,
but impressions of figures moving in the smoky corridor are occasionally visible. The robot-
sentries hammer away, driving streamers of tracer fire into the swirling mist.
This is unbelievable. Forty meters and closing. Fifteen.
I can't tell. Lots. D-guns down fifty percent.
193 INT. CORRIDOR 193
The guns' fire lash out at the invaders. HIGH-PITCH SCREAMS of dying creatures echo all
around the corridor.
194 INT. OPERATIONS - TACTICAL 194
C-guns right behind it.
The monitors show the war. There is an occasional visible glimpse of one of the creatures,
but it is quickly dispatched by the spray of bullets, throwing acid blood all over the corridor.
194 CONTINUED: (2) 194
They ain't stoppin' 'em. They ain't stoppin' 'em.
Hundred-fifty rounds on D.
Come on. Come on, baby. Come on, D!
CLOSE-UP ON SENTRY DISPLAY: showing 91 rounds in D-gun and dropping.
The monitors show more scenes of the seemingly-endless battle going on. Lots of creatures
exploding upon contact with bullets, acid thrown everywhere.
Come on! Come on!
CLOSE-UP ON DISPLAY: The word CRITICAL starts flashing and beeping on the screen,
indicating the gun is almost dry.
D-guns down to twenty. Ten.
D-gun goes empty.
Hicks gets up quickly, grabbing his gun, and starts to head toward the battle-raged
195 INT. CORRIDOR 195
D-gun clicks empty and continues tracking. Then the firing from the remaining gun stops
abruptly. Both guns' sit smoking, still swiveling to locate any possible targets.
196 INT. OPERATIONS - TACTICAL 196
Ripley is watching the monitors very closely. The video image is a swirling wall of smoke.
There are black and twisted shapes scattered at the edge of visibility. However, nothing
emerges from the wall of smoke.
Wait! They're retreating. The guns' stopped them.
Hicks freezes where he is and stares at the monitors in disbelief. Nothing comes through the
smoke and blackness.
196 CONTINUED: (2) 196
The moment stretches. Everyone exhales slowly.
Next time, they walk right up and knock.
The digital counters for the two sentry units read '0' and '10' respectively. Less than a
seconds worth of firing.
Yeah, but they don't know that. They're probably looking
for other ways to get in. That'll take them awhile.
Maybe we got 'em demoralized.
(to Vasquez and Hudson)
I want you two walking the perimeter. Move!
Ripley picks up a cup of cold coffee, draining it in one gulp. She looks shaken and tired.
(to Vasquez and Hudson)
Hey, listen. We're all in strung-out shape, but stay frosty
and alert. Can't afford to let one of those bastards in here.
She hits Hudson on his chest plate.
The two troopers head for the corridor. Ripley drains down another cup of cold coffee.
How long has it been since you got any sleep?
Ripley looks at Hicks. She seems soul-weary, drained by the nerve-wracking tension.
When she answers, her voice seems distant, detached.
Hicks. I'm not going to end up like those others.
You'll take care of it won't you.
196 CONTINUED: (3) 196
If it comes to that, I'll do us both. Listen, let's make sure
it doesn't come to that. Alright?
Ripley smiles slightly.
Hey, I want to introduce you to a personal friend of mine.
He picks up his pulse-rifle. Lifting it for Ripley to see.
This is a M-41A pulse-rifle...10mm, with over and under
30mm pump-action grenade launcher. Feel the weight.
He hands it Ripley. She hefts the weapon. It is heavy and awkward.
Okay. What do I do?
197 INT. CONDUIT 197
Bishop is in claustrophobic limbo between two echoing infinities.
(CUT SCENE) He approaches an irregular hole which admits a tiny shaft of light. He puts
his eyes up to the acid-etched opening.
BISHOP'S P.O.V.: As drooling jaws flash toward us, SLAMMING against the steel with a
vicious scraping SNAP.
Bishop flattens himself away from the opening and inches along, looking pale and strained.
He glances at his watch.
198 INT. OPERATIONS 198
Ripley has the stock of the M-41A snugged up to her cheek and is awkwardly trying to keep
up with Hicks' instructions.
Okay, pull it in tight here.
Lean into it.
198 CONTINUED: (2) 198
Alright, it will kick some. Alright, when the counter reads
zero here, you...
I press this up?
Ripley snaps open the bolt and drops out the magazine.
Then, get another one in quick and slap it in hard.
Now your ready to rock n' roll.
She indicates a stout TUBE underneath the slender pulse-rifle barrel.
Uh, that's the grenade launcher...I don't think you want
to mess with that.
You started this. Show me everything. I can handle
Yeah. I've noticed.
199 INT. CORRIDOR 199
The door to Operations opens and Ripley strides out. DOLLYING WITH Ripley walking
down the corridor, now carrying her newfound friend, the M-41A. Gorman steps out of the
door to the Med-Lab, looking weak, but sound. Burke is right behind him.
How do you feel?
Alright, I guess. One hell of a hangover. Look, Ripley...
I just wanna...
199 CONTINUED: (2) 199
Forget it. Excuse me.
She shoulders by him into the Med-Lab. Burke watches her as she goes by. Gorman turns
to see Vasquez staring at him with cold, slitted eyes.
200 INT. MED-LAB - ANNEX 200
Ripley crosses the deserted lab, passing through the annex to the small O.R. where she
201 INT. SURGERY 201
Entering the darkened chamber, Ripley looks around. Newt is nowhere to be seen. On a
hunch, she kneels down and peers under the bed. Newt is curled up there, jammed as far
back as she can get, fast asleep. Still clutching 'Casey'.
Ripley stares at Newt's tiny face, so angelic despite the demons that have chased her
through her dreams and the reality between dreams. Ripley lays the rifle on top of the cot
and crawls carefully underneath. Without waking the little girl, she slides up behind
Newt and slips her arms around the child. Newt cries out, a vague inarticulate plea.
It's okay. It's okay.
202 EXT. UP-LINK TOWER - VIEW OF AP-STATION 202
A VIEW of the processing station from the colony landing field. Great streaks of lightning
shoot out from the station, lighting the sky and ground all around.
PAN OVER to Bishop f.g., standing in the wind at the base of the telemetry tower. He has
a TEST-BAY PANEL open and the portable terminal patched in. His jacket is draped over
the keyboard and monitor unit to protect it from the elements and he is typing frenetically.
One of the commands he types causes the dish on the array to swivel and stop. He
watches it and then continues typing. He punches a few more keys and then hits a white
button marked 'ENABLE."
203 INT. SULACO CARGO LOCK - IN ORBIT 203
The drop-bay is empty and silent, with the remaining ship brooding in the shadows.
Rotating clearance lights come on. Hydraulics whine to life. Drop-ship two moves out on
its overhead track and is lowered into the drop-bay for launch-prep.
204 INT. SURGERY 204
TIGHT ON RIPLEY as she awakens with a start. She checks her watch...an hour has
passed. She sees something and FREEZES. Across the room, just inside the door to the
Med-Lab, are TWO STASIS CYLINDERS. They are on their sides with the tops hinged
open and the suspension fields switched off. They are both EMPTY. Ripley realizes the
inescapable certainty of a lethal presence.
204 CONTINUED: (2) 204
Newt. Wake up.
Be quiet. We're in trouble.
Newt nods, now wide awake. They listen in the darkness for the slightest betrayal of
movement. Ripley reaches up and, clutching the springs of the underside of the cot, begins
to inch it away from the wall.
When the space is wide enough, she cautiously slides herself up between the wall and the
edge of the cot, reaching for the rifle she left lying on top of the mattress. Her eyes clear
the edge of the bed. The rifle is GONE.
She snaps her head around. A SCUTTLING SHAPE LEAPS TOWARD HER. She ducks.
The obscene thing hits the wall above her. Reflexively, she slams the bed against the
wall, pinning the creature inches above her face. It's legs and tail writhe with incredible
ferocity. Newt screams.
Newt slides out from under the cot. Ripley, in a frenzied scramble, rolls from underneath
the bed. She flips it over, trapping the creature underneath.
They back away, gasping. The creature scuttles out from beneath the bed and disappears
under a bank of cabinets in a blur. Ripley and Newt head toward the door, moving as if
every object in the room has a million volts running through it. They reach the door. Ripley
hits the wall switch. Nothing happens. Disabled from the outside. They try pushing the
door open manually, but it is jammed. They move to the observation window.
She and Newt pound on the window. From the outside, they look like mimes because no
sound gets through the double thickness of the window. Ripley looks down on a table
outside the room and SEES her rifle laying on it.
Ripley looks around and spies the surveillance camera. She quickly moves over to it and
waves her arm in a circle while yelling.
204 CONTINUED: (3) 204
205 INT. OPERATIONS 205
TIGHT ON THE VIDEO MONITOR SHOWING Ripley waving her arms. There is no sound,
a surreal pantomime.
(voice over, into mike)
Uh, say again, Bishop. You've got it into outer refuel
mode and the sequencing, right?
A hand ENTERS FRAME and switches off the monitor. Ripley's image vanishes.
WIDER: As Burke straightens casually from the console. Hicks is talking via headset
with Bishop in the background and hasn't noticed Ripley's plight or Burke's action.
(voice over, static)
Okay, good. Stay on it.
(voice over, static)
That's where I am now!
Get back to me when you've activated the launch cycle.
(voice over, static)
He's at the up-link tower.
206 INT. SURGERY 206
206 CONTINUED: (2) 206
Hicks! Hicks! Hicks!
Hicks! Help us!
Break the glass! Break it. Break it.
Ripley picks up a steel chair and slams it against the observation window. It bounces back
from the high-impact material. She tries again to no success, knocking over some
equipment. She drops the chair and backs against the window.
Ripley studies the room. She hears the facehuggers scurrying around on the floor.
Ripley steadies herself, realizing Newt's horror and the child's dependence on her. She gets
She removes her lighter from a jacket pocket. Moving cautiously across the room, she
lifts the lighter and strikes it under the temperature-sensor of a fire-control system
SPRINKLER HEAD. It triggers, spraying the room from several sources with water. An
ALARM sounds throughout the complex. Newt runs to her, hugging her tight.
207 INT. OPERATIONS 207
Hicks jumps at the sound of the alarm, finally identifying its source among the lights flashing
on his board.
It's the Med-Lab!
He bolts for the door, yelling into his headset as he moves.
207 CONTINUED: (2) 207
Hudson, Vasquez, meet me in Med-Lab!
We've got a fire!
(voice over, filtered)
We're on our way!
Hicks grabs a fire extinguisher as he quickly runs to the source of the problem. Gorman
208 INT. SURGERY 208
Ripley and Newt are drenched as the sprinklers continue to drizzle in the darkness.
They're coming, Newt.
Ripley is eye-level with a complex surgical MULTI-LIGHT. She looks into its tangle of arms
and cables, inches away. Looks away. Her eyes snap back. SOMETHING LEAPS AT
HER FACE. She SCREAMS and falls, splashing to the floor. Newt shrieks and scrambles
away as Ripley hurls the creature off of her. It slams against a wall, uprights itself, then
SKITTERS across the floor straight toward her. She scrambles desperately, pulling
equipment over as she moves, clawing across the floor in a frenzy of motion.
The creature leaps at her face. She grabs it with both hands, forcing the pulsing body back
for her face.
Newt screams abjectly, backing away, until she is pressed up against a desk next to a
wall. The thing's tall whips around Ripley's throat and begins to tighten, forcing the
underside of its body close to her. Ripley thrashes about, knocking over equipment,
sending instruments CLATTERING.
ANGLE ON NEWT: As crab-like legs appear from behind the desk, right behind her.
She sees it and, thinking fast, jams the desk against the wall, pinning the writhing thing’s tail.
The desk jumps and shudders against all the pressure her tiny body can bring to bear
on it. She wails between gritted teeth as the second creature’s segmented tail slowing pulls
free an inch at time as it works toward her.
The team of soldiers' appear outside the room, with Hicks leading. He immediately sees
what's going on inside.
Shoot it out!
Hudson shoots a burst of pulse-fire into the observation window, shattering the tempered
glass. Hicks dives into the crazed spider-web pattern and explodes into the room. He hits
rolling, and slides across to Ripley. Hudson, Gorman and Vasquez leap into the room after
Hicks. Gorman and Vasquez rush to help Hicks pull at the creature and Ripley.
208 CONTINUED: (2) 208
Jesus! Christ kid, look out!
He flings Newt away from the desk to go skidding across the wet floor, and blasts the
second creature against the wall and floor. Point-blank. Acid and smoke.
Hicks and Gorman have got their fingers around the thrashing legs of the vicious beast and
are pulling it away from Ripley's face, though Ripley is losing strength as the tail tightens
sickeningly around her throat.
Vasquez appears at Ripley's side and grabs the tail, helping to unwind it's writhing length like
a boa constrictor coil from her throat. Hicks gets the rest of it free. All of them grip the
struggling SHRIEKING creature.
Over there! Ready?!
Hicks and Gorman hurl the thing into a corner. WHAM! Vasquez gets it clean with her rifle.
Ripley collapses in Hicks’ embrace, gagging. The alarm and sprinklers shut off automatically.
Newt runs up and hugs her.
Yeah, all clear. I nailed the other one. It's history, man.
Burke...it was Burke.
209 INT. OPERATIONS 209
209 CONTINUED: (2) 209
ANGLE ON BURKE: Looking icy calm, although beads of sweat betray intense concealed
tension. Hudson comes up and shoves his rifle into Burke's face.
I say we grease this rat-fuck, son-of-a-bitch right now.
It just doesn't make any Goddamn sense.
He figured that he could get an alien back through
quarantine...if one of us was...impregnated...whatever you
call it...then frozen for the trip home. Nobody would know
about the embryos we were carrying. Me and Newt.
Wait a minute, now. We'd all know.
Yes. The only way he could do it is if he sabotaged
certain freezers on the way home. Namely yours.
Then he could jettison the bodies and make up any
story he liked.
Fuuuck! He's dead.
You're dog meat, pal.
This is so nuts. I mean listen...listen to what you're
saying. It's paranoid delusion. It's really sad.
You know, Burke, I don't know which species is worse.
You don't see them fucking each other over for a goddamn
Alright, we waste him.
Ripley shakes her head. The rage giving way to a sickened emptiness.
No! He's gotta go back.
209 CONTINUED: (3) 209
THE LIGHTS GO OUT. Everyone stops in the sudden darkness, realizing instinctively it is
a new escalation in the struggle. The emergency lighting kicks in, basking everything in a
They cut the power.
What do you mean, they cut the power? How could they
cut the power, man?! They're animals!
(to Hudson and Vasquez)
I want you two with trackers, checking the corridors.
Gorman, watch Burke!
You got it.
Newt! Stay close.
Vasquez and Hudson pick up their trackers and move to the door. Hudson has to slide it
open manually on it's track.
210 INT. CORRIDOR 210
I'll go to this side.
You do that, man.
The two troopers separate and move slowly to the barriers at opposite ends of the control
block. Each move slowly, holding the trackers out in front of them. Nothing...yet.
211 INT. OPERATIONS 211
Ripley picks up a headset and puts it on, connecting herself with the soldiers.
(voice over, filtered)
212 INT. CORRIDOR 212
BEEP. Hudson's tracker lights up, a faint signal. He pans it around. Back down the
corridor. It beeps again, louder.
It's inside the complex.
You're just reading me.
Hudson quickly swivels around, aiming his tracker toward Vasquez's position.
No. No! It ain't you. They're inside. Inside the perimeter.
They're in here.
Hudson, stay cool. Vasquez?
ANGLE ON VASQUEZ: Swinging her tracker and rifle together. She aims it behind her.
Hudson may be right.
213 INT. OPERATIONS 213
Get back, both of you.
The signal's weird...
Hicks and Ripley start checking their pulse-rifles. Taking off the safety's and checking the
214 INT. CORRIDOR 214
Hudson backtracks nervously, peering all around. He looks stretched to the limit.
Must be some interference or something.
There's movement all over the place.
215 INT. OPERATIONS 215
Get back to operations!
215 CONTINUED: (2) 215
Ripley and Hicks share a look..."here we go."
It's game time.
They run-walk to the door to operations and wait for the soldiers.
Seal the door. Hurry.
Vasquez reaches the door to operations at a run, a moment before Hudson.
Come on! Get back!
Hicks and Hudson pull the door shut and lock it.
Hicks and Vasquez pull out their hand-welders' and begin sealing the door.
Cover your eyes, Newt. Don't look at the light.
Hudson's tracker beeps. Then again. The tone continues through the scene, it's rhythm
Movement! Signal's clean. Range twenty meters.
They found a way in, something we missed.
Sparks shower around Vasquez and Hicks as they move as fast as they can to get the door
We didn't miss anything.
Ripley picks up Vasquez's tracker and aims it in the same direction as Hudson's.
215 CONTINUED: (3) 215
Something under the floor, not on the plans. I don't know!
Definitely inside the barricades.
Newt begins tugging on Ripley's clothing. Trying her best to get her attention.
CLOSE-UP ON TRACKER SCREEN: Showing an amoeba-like mass of dots moving across
That's right outside the door. Hicks...Vasquez, get back!
Man, this is a big fucking signal!
How you doing, Vasquez? Talk to me.
Vasquez is heedlessly showering herself with molten metal as she welds the door shut.
Working like a demon.
Almost there. That's it.
They drop their torches and begin moving to the back of the room with everyone else.
Man, they’re right on us.
215 CONTINUED: (4) 215
Remember, short controlled bursts.
Can't be. That's inside the room!
It's readin' right, man. Look!
Well, you're not reading it right!
Ripley jerks her tracker up. Not believing Hudson. Her eyes widen in horror when she
realizes that the reading is true.
Five meters, man...four. What the hell?!
He looks at Ripley. She looks up at the ceiling and it dawns on both of them at the same
Oh my, God! Oh shit!
Gimme' the light!
Hicks climbs onto a file cabinet and raises a panel of the acoustic drop-ceiling. He pans his
his light inside.
216 CEILING - HICKS P.O.V. 216
A soul-wrenching nightmare image. Moving in the beam of his light are alien warriors. They
are crawling like bats, upside-down, clinging to the pipes and beams of the structural ceiling.
The inner sanctum is utterly violated.
217 INT. OPERATIONS 217
Hicks yells and falls back into the room, firing, just as the creatures detach en-masse from
the handholds. THE CEILING EXPLODES, raining debris. Nightmare shapes drop into the
They're they go over there! Get 'em!
217 CONTINUED: (2) 217
Vasquez and Hudson open fire. Hicks gets up and let's it fly next to Vasquez. One by one,
the creatures are mowed down in the spray of pulse-fire.
Come on! Come on!
Do something, Gorman!
Gorman turns to fire and Burke bolts for the only remaining exit, the corridor connecting to
the Med-Lab. In the strobe-like glare of the pulse-rifles, we SEE flashes of aliens, moving
forward in the smoke of the fires that have started.
Look out! Look out! Look out! There’s more of them!
Medical! Get to Medical! Do it! Go!
Ripley grabs Newt and dashes for the corridor to the Meb-Lab.
Hudson! Look out!
Right as Ripley enters the corridor to the Med-Lab, a warrior comes around a corner a few
feet away from her and Newt. It moves like a locomotive. Shaking, Ripley raises her rifle.
She squeezes the trigger. NOTHING HAPPENS.
Ripley checks the SAFETY. The safety is off. The DIGITAL COUNTER. The magazine is
full. Newt begins to wail. The thing is almost on Ripley, beginning to tower over her. She
then remembers, she snaps the bolt back, chambering a round. Whipping the stock to her
shoulder, she FIRES. FLASH-CRACK! A FLASHBULB GLIMPSE of shrieking jaws as the
silhouette is hurled back, screeching insanely.
She turns, grabbing Newt, and sprints down the corridor. RIPLEY'S P.O.V.: She SEES
Burke clear the door to the Med-Lab Annex. HE SLIDES IT CLOSED. Ripley slams into
the door. Hears it lock from the far side.
Burke! Open this door! Burke! Open it!
218 INT. MED-LAB ANNEX 218
218 CONTINUED: (2) 218
Burke slowly backs away from the door. The sounds of the battle still penetrate through it.
Terror shows in every part of his body.
219 INT. OPERATIONS 219
Hicks is opening up on every dark shape that moves. They seem to be everywhere.
Ahhh! Come on! Let’s go! Fall back!
Hicks runs and jumps over a barricade, landing behind Vasquez. Hudson, close-by, opens
fire on a group of three aliens that have dropped through the ceiling.
220 INT. CORRIDOR 220
Ripley and Gorman are desperately trying to get the door open.
221 INT. OPERATIONS 221
Mother fucker! Come on! Come and get it, baby!
I don’t got all day! Come on! Come on, you bastard!
Come on, you too! Oh, you want some of this! Fuck you!
Hudson is so busy yelling and shooting at the approaching creatures that he doesn't notice
the floor panels smash under him and clawed arms seize him with lightning speed, dragging
him down into the floor. He yells and fires into the floor as he is pulled down.
Aaarghhh! Fuck you! Hicks! Hicks!
Hicks tries to help him by pulling him out, but the creatures are to strong. Hudson quickly
disappears into the hole yelling.
221 CONTINUED: (2) 221
Hicks rolls over just in time to blast a diving creature before is takes him down the hole too.
Another appears and he hits it full in the chest with pulse fire. Vasquez grabs Hicks and
pushes him into the corridor with the others.
Come on, Hicks, go!
222 INT. CORRIDOR 222
Hicks seems to materialize out of the smoke and runs toward Ripley and the others at the
Hicks unsnaps the torch off his belt and cuts into the lock.
223 INT. OPERATIONS 223
Vasquez, standing just outside the entrance to the corridor, is destroying incoming aliens
by the dozens. She stops firing and pumps back the grenade launcher, letting one fly.
It detonates behind some machinery, blowing up a group of hiding aliens. Another is fired
with the same affect of destruction. Vasquez turns and sprints up the corridor.
224 INT. CORRIDOR 224
CLOSE-UP ON LOCK: As the flame from the torch melts the metal into white-hot liquid
Ripley watches nervously down the corridor as Hicks finishes on the lock.
Got it! Let's go! Let's go!
The group crowds into the annex and Hicks slides the door shut.
Vasquez pulls out her torch and begins welding it closed. Ripley finds the door to the Med-Lab
locked. She bangs on it.
224 CONTINUED: (2) 224
225 INT. MED-LAB 225
Burke, hyper-ventilating with terror, backs across the dark chamber. Gasping, almost
paralyzed with fear, he crosses to the door leading to the main concourse. He backs into
and stumbles over some canisters on the way.
Goddamn you! Open this door!
His fingers reach for the control panel. It moves by itself. The door opens slowly.
ON BURKE: His eyes wide, transfixed by his fate.
One of the creatures stands in the doorway, it's slimy jaws opening and extending.
226 INT. ANNEX 226
Vasquez is still welding as fast as she can when the door is hit with a clanging impact.
Another impact and the door begins to dimple inward.
Gorman, get out of the way!
Ripley! This way!
Newt grabs Ripley's hand and pulls her over to an air vent set low in the wall and expertly
unlatches the grill, dropping it to the floor. Newt starts inside, but Ripley pulls her back.
Wait! Get behind me.
Whatever you’re going to do, do it fast!
226 CONTINUED: (2) 226
Ripley kneels and shines her flashlight down the air duct lit by red emergency lighting.
Nothing. The way is clear.
Come on, let's go! Move!
Ripley enters the air shaft, which is a tight fit. Newt scrambles in behind, followed by Hicks
and Gorman. Vasquez finishes up just in time as the door is hit full force by the alien mob.
The dimple grows larger as the impacts on the door increase.
227 INT. AIR SHAFT 227
Ripley and Newt come to a 3-way junction. Ripley looks in every direction, but doesn't know
which way to go.
Which way is it to the landing field from here?
Newt points to the right-hand tunnel and they move out.
228 INT. MED-LAB ANNEX 228
The increased impacts on the door have now made the dimple reach it's maximum and a
gapping crack has formed in it's center. Vasquez fires into it. The high-pitched death
screams of several of the creatures can be heard.
229 INT. AIR SHAFT 229
Ripley turns into a larger MAIN DUCT, where there is enough room to crab-walk in a low
crouch. She runs, Newt following. The troopers' armor clatters in the confined space.
They come to another intersection.
RIPLEY'S P.O.V.: Her light illuminating the slightly dark tunnel ahead of them as they come to
yet another 3-way junction.
This way! This way.
229 CONTINUED: (2) 229
The head off to the right, into a long connected duct. TIGHT ON RIPLEY'S FACE as they
run. Her light casting a white glow upon her terrified face.
Vasquez is quickly trying to catch up with the group. She fires behind her as she runs in
a crab-walk. Dark shapes move in the tunnel behind her.
Ripley and the others are moving at their top speed through the shafts.
Straight ahead and left.
Bishop, do you read me?! Come in! Over!
(voice over, static)
The ship is on it's way...
230 EXT. UP-LINK RELAY - LANDING FIELD 230
Bishop is standing next to the base of the telemetry mast. The wind blows all around him
and is gusting viciously.
E.T.A. - sixteen minutes!
231 INT. AIR DUCT 231
Good! Stand-by there! We're on our way!
Vasquez finally catches up, moving in behind Gorman. Looking back, she SEES more of
the creatures, coming up fast through the tunnel. She fires on them, killing the head alien.
Ripley and Newt come to another intersection. Ripley shines her light down each one.
Which way now?
That way. (indicating left)
No, wait! This way. (pointing right)
231 CONTINUED: (2) 231
Hicks and Gorman wait at the intersection for Vasquez. She's moving up the tunnel and
blasting incoming creatures at the same time.
Ripley and Newt round a corner and Ripley stops to look back for the group. Newt continues
Right up here. It's just up here.
We're almost there!
Ripley doesn't see the group and panics. Looking the other way, she notices that Newt is
getting too far ahead.
Newt! Wait! Newt!
She has to make a choice, to stay and wait for everyone or follow Newt. She decides and
quickly runs to catch up with girl.
Vasquez comes to the intersection where Hicks and Gorman were, but they have moved on
ahead. She blasts a few more creatures and the pulse-rifle go empty. Dropping the
weapon, she pulls out her service pistol and runs up the shaft after the group.
Vasquez passes under an overhead air duct and looks up just in time to see a WARRIOR
SCREECHING DOWN THE VERTICAL SHAFT, right towards her. She fires. It falls next
to her, rolling and writhing around. She wrestles it and manages to slam the thing's head
against the wall with her foot.
She fires into it's head. Acid-blood spills out and hits her ankle, searing into her leg. She
grits her teeth against the white-hot pain. Vasquez pushes the creature away and moves
clear of it, firing her last two shots into it. The alien rolls and bounces around the shaft
in it's death throes.
Hicks and Gorman stop at the corner Ripley was at earlier and look back for Vasquez.
231 CONTINUED: (3) 231
Vasquez is sprawled out on the shaft's floor on her stomach. She moans out in pain,
while managing to eject the magazine from her pistol.
Gorman hits Hicks on the back and runs back to help Vasquez. He comes up just as the
pain hits her in full.
Ohhhhh! Ohhhh, nooooo!
Gorman grabs her underneath the arms and starts dragging her toward safety. Just then,
one of the creatures breaks through an air duct grating in the tunnel's floor in front of them.
Gorman pulls out his pistol and fires at it's head. The bullets just bounce off its armored
232 INT. SHAFT JUNCTION 232
Ripley, Newt and Hicks reach a large metal housing and Newt crawls inside.
Up there, there's a short-cut across the roof.
It is a junction of several shafts, including a vertical duct with ladder rungs leading up to an
exterior vent hood. The "floor" is actually the top of a large blower drum, a vained cylinder.
The room is tall enough for all three of them to stand up fully.
Ripley crosses to the ladder, seizes a rung to steady herself, and reaches back for Newt.
Hicks lifts Newt up and hands her over to Ripley. Newt grabs onto the ladder and holds on
233 INT. AIR SHAFT 233
Gorman unloads his pistol into the alien. Finally killing it. But, it's too late. They are cut
off on both sides as the tunnel is blocked by incoming aliens. They crawl along the shaft
like multi-armed freaks.
You always were an asshole, Gorman.
233 CONTINUED: (2) 233
Gorman pulls out an M-41A grenade and palms it. Vasquez is barely conscious. He looks
around the tunnel, seeing the closing creatures, and pops off the safety top on the grenade,
pressing the detonator stub. Vasquez hears it and looks over. She seizes his hand in a
deathly grip, but we recognize it as the "power greeting" she shared with Drake...something
for the chosen few. Gorman returns the grip. One of the aliens begins to strike with it's jaws,
but it's not fast enough. The tunnel explodes in fire and debris. The explosion sends a
POWERFUL BLAST OF FLAME up the tunnel.
234 INT. SHAFT JUNCTION 234
Hicks is crouched by the door to the ventilation room when it hits. The blast knocks him
over and dislodges Newt from the ladder. She falls onto the blower drum, causing it to rotate.
Newt slips nightmarishly through a narrow gap into another duct, a chute angling into the
depths at a 45 degree angle. She catches the lip of the chute and holds on.
Newt! Hicks! Hicks, get her! Hurry!
Hicks jams his pulse rifle into the drum, stopping the rotation. Then, both Ripley and Hicks
lunge into the gap with their arms out to reach her.
Hold on, Newt!
Don't let go!
I gotcha'! I gotcha'!
234 CONTINUED: (2) 234
Ripley seizes the sleeve of Newt's oversize jacket, just as she looses her grip AND SLIPS
OUT OF IT. With an echoing scream, Newt plummets, sliding down the chute into
darkness, disappearing around a bend. Ripley yells after her.
The shaft recedes into darkness. No answer. Hicks pulls her up out of the gap.
Come on! We can find her with this!
He shows her the LOCATOR from his belt, it BEEPS slowly. Ripley nods, then yells down
the chute into darkness.
Stay where you are, Newt!
A plaintive call from the darkness is heard. Echoey, distorted, terrified.
235 INT. STAIRWELL / CORRIDOR 235
Kicking out a ventilator grille, Hicks emerges onto a stairwell landing, followed by Ripley.
They rush down the stairs as fast as possible.
236 INT. SUB-BASEMENT 236
Newt is in a low grotto-like chamber, filled with pipes. It is flooded, almost up to her neck.
She looks around, stroking the doll's head that she is still carrying.
237 INT. STAIRWELL / CORRIDOR 237
Hicks and Ripley reach the bottom of the stairs and sprint along a corridor, intent on the
locator's signal. The signal BEEPS faster as they close in on Newt.
This way. She's close.
237 CONTINUED: (2) 237
238 INT. SUB-BASEMENT 238
Newt is wading around, looking everywhere for unexpected visitors.
239 INT. CORRIDOR 239
Where are you! Can you hear me!
240 INT. SUB-BASEMENT 240
Newt hears footsteps and voices. She looks up.
She climbs up on some pipes toward the overhead grilling.
241 INT. CORRIDOR 241
Newt's tiny fingers wriggle up through the bars of the grate work in front of Ripley and Hicks.
They stop and drop down by them. Ripley squeezes the child's precious fingers and shines
her light through the floor grating to see Newt's face.
Newt. Are you okay?
Newt nods. Hicks grips the grating and tries to pull it up. No success.
Let's cut it.
241 CONTINUED: (2) 241
Climb down, honey. We've gotta' cut through.
Hicks unsnaps his welder and flips up the guard screen.
242 INT. SUB-BASEMENT 242
Newt climbs back down into the water. She looks up and watches Hicks.
243 INT. CORRIDOR 243
Hicks cuts into the bars. The torch emits a blinding blue light that illuminates the corridor.
Ripley blocks off the glare to her eyes with her light as she looks down into the
244 INT. SUB-BASEMENT 244
Newt looks around as the blue sparks rain down into the water next to her.
...Now, don't move. Stay very still.
245 INT. CORRIDOR 245
We're almost there. Hang in there, okay?
Hicks' motion tracker comes to life. It's BEEPING doesn't go unnoticed. Ripley looks
over and picks it up. A blob of white dots are moving onto the screen.
245 CONTINUED: (2) 245
I mean it!
TIGHT ON TORCH FLAME as it quickly cuts through the bars on the grating.
246 INT. SUB-BASEMENT 246
Newt is starting to look very frightened now as she continuously scans the room. The blue
sparks showering blindly beside her. TIGHT ON UNDERSIDE OF GRATING as the flame
cuts through, turning the metal into liquid and sparks.
247 INT. CORRIDOR 247
Ripley is watching the motion tracker closely. She jerks away and looks down at Newt.
Newt! Newt, just stay still!
248 INT. SUB-BASEMENT 248
Newt, standing shoulder deep in water, watches sparks fall as Hicks cuts. Silently, a
glistening shape rises in one graceful motion from the water behind her. It stands, dripping,
dwarfing her tiny form. She turns and SCREAMS as the shadow engulfs her.
249 INT. CORRIDOR 249
Ripley panics, hearing the screaming below, then splashing.
All most there!
She and Hicks kick desperately at the grating, smashing it down.
Ripley lunges into the hole with her light. The surface of the water reflects the beam
placidly. Newt is gone. Bobbing in the water, eyes staring, is "Casey", the doll head.
It sinks slowly, distorting, vanishing in darkness.
Hicks pulls Ripley away from the hole. She struggles furiously, trying to tear out of his
249 CONTINUED: (2) 249
They don't kill you! They don't kill you! They...she's alive!
Alright! I believe you! She's alive! But, we've gotta' go!
He drags her down the corridor toward an ELEVATOR, not far away at the end of the tunnel.
Hicks gets her inside, slamming her against the back wall and hits the button to go to the
surface level. The door doesn't close. Hicks hits it again and it begins to close. Not fast
enough though. An alien warrior leaps at the door and gets it's arms and head through,
the doors closing on it. Hicks FIRES, POINT-BLANK, blasting it in the head. It falls off the
door into the tunnel. Acid sluices between the closing doors, across Hicks' armor chest
plate. The lift starts upward. Hicks' fingers race with the clasps. Galvanized out of her
hysteria, Ripley claws at his armor, helping him as much as possible.
Get it off! Get it off!
He screams as the acid contacts his chest and arm. He shucks out of the armor like a
madman as acrid fumes fill the lift. The armor hits the floor. A large sizzling hole can be
SEEN in the chest. The elevator stops. The doors part and they scramble out.
250 EXT. COLONY - NORTH LOCK 250
Ripley supports Hicks, who is doubled over in agony as they emerge into the storm-blasted
Come on, you can make it!
251 EXT. LANDING FIELD - UP-LINK TOWER BASE 251
CLOSE-UP ON TERMINAL MONITOR as Bishop steers the incoming drop-ship with a
joystick. He looks up as drop-ship two flies over the North Lock building, and descends
toward the landing grid, side-slipping in hurricane gusts. Bishop stands, guiding it with
the portable terminal. The ship sets down hard, lowering it's access ramp on contact.
Ripley and Hicks stumble up to Bishop. Ripley shouts to be heard over the wind.
Bishop! How much time!
Plenty! Twenty-six minutes!
251 CONTINUED: (2) 251
We're not leaving!
They run up the ship's access ramp, disappearing inside.
252 EXT. DROP-SHIP - COCKPIT 252
Bishop sits in the control seat, piloting the ship toward the massive processing station.
253 EXT. PROCESSOR STATION 253
An infernal engine, roaring out of control. Steam blasts and swirls, lightning zaps around
the superstructure and columns of incandescent gas thunder hundreds of feet into the air.
WE APPROACH, hypnotically. The drop-ship ENTERS FRAME, moving toward the
station. It flies through the massive archway in front, entering the belly of the beast.
254 INT. DROP-SHIP 254
Ripley pulls down two weapons from a storage rack and ties their barrels together with
some cloth. Then, she winds tape around the stocks, securely fastening them together.
Ripley finishes winding tape and drops the roll. She has crudely fastened an M-41A
assault rifle, side by side, with a flamethrower unit.
Hicks is sprawled in a flight seat, the contents of a FIELD MEDICAL KIT strewn around him.
He's out of the game...contorted with pain. He finishes giving himself a shot of pain killer
and looks over at Ripley, mystified at what she's doing.
255 EXT. DROP-SHIP - COCKPIT 255
Bishop looks around, finding a good place to set the ship down. He sees a NARROW
LANDING PLATFORM twenty levels above the ground.
256 EXT. PROCESSING STATION 256
The drop-ship pivots, hovering in the blasting turbulence, and settles down on the platform
with a CLANG. Lightning arches all around the platform and the ship as the station begins
257 INT. DROP-SHIP 257
Ripley works rapidly, preparing for what she is planning to do. She slaps a magazine into
the rifle. The counter lights up, it reads 95. She tapes Hicks' LOCATOR to the barrel of
the rifle. Hanging the guns' over her shoulder, she pulls out a few M-41A grenades from
257 CONTINUED: (2) 257
a box. Ripley is stuffing gear quickly into a satchel, her hands flying. She picks up a
packet of flares and a bandoleer of grenades, shoving them into the satchel. Bishop
comes aft from the pilot's compartment.
I don't want to hear about, Bishop. She's alive.
There's still time.
In nineteen minutes, this area is going to be a cloud of
vapor the size of Nebraska.
Hicks, don't let him leave.
Hicks is holding a wad of gauze plastered over his face.
We ain't going anywhere.
She hefts the hybrid weapon, grabs the satchel and spins to leave.
See you, Hicks.
Dwayne. It's Dwayne.
They share a moment, albeit brief. Mutual respect in the valley of death.
(nods in satisfaction)
Don't be gone long, Ellen.
Ripley smiles and runs to the door controls. The door opens to a side access ramp.
Wind and machine thunder blast in. Ripley runs down the ramp, crossing the platform
to the closed doors of a large FREIGHT ELEVATOR. She hits the open button. The
doors part. In the background, the female voice of the warning system is heard.
Attention. Emergency. All personnel must evacuate
immediately. You now have fifteen minutes to reach
minimum safe distance.
257 CONTINUED: (3) 257
Ripley enters the elevator. The doors close.
258 INT. FREIGHT ELEVATOR 258
The elevator descends. Ripley crouches on the floor and loads up the grenade launcher
on the M-41A. Cocks it. Setting the weapons down, she removes a flare packet from her
satchel. Pulling out the six flares, she stuffs them into her pants pockets.
CLOSE-UP ON THE FLOOR READ-OUT: As the elevator descends. The level counter
Ripley removes her jacket and dons a battle harness directly over her T-shirt. Her eyes
burn with determination that holds the gut-panic in check.
She puts the BANDOLEER OF GRENADES around her chest as well. Hefting the guns
up by her side, she stands ready.
Ripley closes her eyes and tries to calm herself. This is the most terrifying thing she has
ever done. She is soaking in sweat. The voice of the warning system echoes down the
tunnel again, calm and mechanical.
Attention. Emergency. All personnel must evacuate
immediately. You now have fourteen minutes to reach
minimum safe distance.
Ripley primes the flamethrower. A blue flame emits by it's barrel. The lift motor whines,
slowing. It hits bottom with a bump. The safety cage retracts. Slowly, expectantly, the
doors part. She stands there, swiveling the weapons. Steam clouds swirl all around her.
259 INT. CORRIDOR 259
Ripley moves out of the lift, knuckles white on the rifle. She looks around. A jet of steam
sprays out above, startling her. Before her is a network of pipes stretching in every
direction. Some glow cherry red from heat build-up. She moves into the tunnel ahead and
shoots the flame unit into the open space above her, just for precautionary measures.
Continuing forward, she fires again, lighting up the tunnel, and setting a few pillars on fire
in the process. Rounding a pillar, Ripley looks back to SEE the elevator doors close with a
bang. No turning back now.
TIGHT ON RIPLEY: As she looks around, then down at the locator. It BEEPS slowly,
showing the range to it's target.
A blast of energy goes off to her left causing Ripley to close her eyes for protection. Ripley
moves that way, approaching a "Sub-Level 03" stairway. The bottom is obscured in mist.
She sprints down the stairs, coming to a landing with an overheated red-hot pipe over it.
Ducking, she moves straight on to a two-way junction. Ripley pans the locator around. The
BEEPS become faster to the right. She moves on.
260 INT. CATACOMBS 260
260 CONTINUED: (2) 260
Ripley stops just outside the entrance to the alien-encrusted tunnel before her. Just to be
on the safe side, she sends a blast of flame scorching ahead of her. Pulling out a flare,
Ripley ignites it and throws the stick down. It almost disappears in the encrustation.
Momentum speeds up as Ripley continues forward as fast as possible, her guns aimed
straight ahead at all times. Ready for anything. Her breathing is fast and hard. Coming to
another stairwell junction, she flames straight ahead. Ripley moves around the stairs,
stopping at a corner to peer around it in terror. Her breathing has become short gasps and
her heart beep races, THUMP-THUMP, THUMP-THUMP, beating loudly. The locator has
begun to BEEP faster by the second. She checks it. It's signal is louder when aimed toward
a nearby descending staircase. Ripley dashes down them.
At the bottom, she quickly moves around the stairs and begins up another corridor. The
locator's beeping has increased again. Stopping under a flashing yellow KLAXON, she
sends a burst of flame out ahead of her. Ripley moves forward, swiveling to look everywhere.
Another flare is lit to mark the way back.
Appearing out of a steam cloud, Ripley comes to a corner. She points the locator around
and heads right. She run-walks along the corridor until the locator's signal has become
a stream of sound.
CLOSE-UP ON LOCATOR: Showing the digital counter. It reads zero.
Ripley can't believe it. Where's Newt then? She looks down. There, lying in the sticky
encrustation, is the tracer watch. All hope recedes, disintegrating into mindless chaos.
She grips the bracelet hard and begins to weep.
261 INT. EGG CHAMBER 261
Newt is cocooned in a pillar-like structure at the edge of alien egg cluster. Her eyelids
flutter open and she becomes aware of her surroundings. The egg nearest her begins to
move...opening like an obscene flower. Newt stares, transfixed by terror, as jointed legs
appear over the lip of the ovoid one by one. She SCREAMS.
262 INT. CATACOMBS 262
Ripley hears the scream and breaks into a run.
263 INT. EGG CHAMBER 263
Newt watches the face-hugger emerge and turn toward her. Ripley runs in just as it is
tensing to leap, and FIRES, blasting it with a burst from the assault rifle. Out of nowhere,
the figure of an adult warrior comes bounding along a corridor's walls like it was a spider.
Firing from the hip, Ripley drills it with two controlled bursts which catapult it back. Two
more warriors show up. She takes them out as well. Her expression is murderous.
263 CONTINUED: (2) 263
Ripley runs to Newt and begins tearing at the fresh resinous cocoon material, freeing the
child. She pulls her up onto her chest. Strands of the sticky resin stretches between them.
Grab onto me! Hold on!
264 EXT. PROCESSOR STATION 264
A huge fireball billow out of the center of the station. The structure begins to self-destruct.
265 INT. EGG CHAMBER 265
Ripley turns to retrace her steps, only to have an explosion on a lower level engulf the
passageway in an enormous fireball. She retreats, moving through another steam-filled
corridor. She and Newt emerge into a LARGE CHAMBER.
TIGHT ON RIPLEY: As she enters the chamber and stops. Her expression changes
to worry as she turns.
Ripley is standing in a room full of eggs. Dozens and dozens of them line the floor
everywhere around her. She hears something and turns around slowly.
Newt and Ripley watch as a strange tube-like membrane places an egg on the floor with
the others. It retracts, dripping slimy, gelatinous ooze from the tube’s opening onto the egg.
We follow Ripley's gaze as she eyes along an egg-filled abdomen which swells and
swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits
by a web-like membrane as if some vast coil of intestine was draped carelessly among
Finally, Ripley looks up and sees it. A massive silhouette in the mist, the ALIEN QUEEN
glowers over her eggs like a great, glistening insect-Buddha. What's bigger and meaner
than the Alien? Its momma. The Queen's deep, heavy breathing echoes around the
As Newt and Ripley watch, the Queen's legs, arms and massive inner jaws extend. She
HISSES loudly at them. The hiss is really a silent call for guards and three drones step
out of the shadows and mist around the chamber. One hisses at Ripley. She SEES them
and sets Newt down, pushing the girl behind her.
QUEEN'S P.O.V.: as she looks down on the two intruders that have entered into her lair.
Ripley swivels and FIRES A BURST OF FLAME above the eggs. The Queen screams
and twists in her throne. Ripley turns back to the queen and points the flame unit at an
egg. Ripley stares at her for a response. The drones freeze. A nightmare tableau.
The Queen gets the point. It motions and hisses to the left and right with its large crested
head. The hiding drones back off into the shadows that hid them. A Mexican standoff
between two females fighting for their young. Ripley watches the drones disappear and
begins to back out of the chamber, away from the queen.
265 CONTINUED: (2) 265
QUEEN'S P.O.V.: as she watches the two intruders move away from her.
Ripley and Newt carefully move backward toward the tunnel they came in from, stepping
gently and firmly. They stop in the entrance to the tunnel. Ripley scans the room, noticing
an egg unfold near her. She thinks for a second, then unleashes the flame thrower, igniting
the field of eggs with an insane fury. The Queen goes berserk, SCREECHING like some
psychotic steam whistle. She claws at the air, trying to get at Ripley, but she is too far
and is stuck in her throne.
Ripley glances at the walls of the chamber and SEES the three drones coming for her.
They are blown off the walls that they cling to by Ripley's pulse-fire. She keeps firing, now
focusing all her rage on the burning eggs. They explode on contact with the bullets.
Ripley fires until there is only 12 rounds left in the gun.
She stops and pumps the slide on her grenade launcher. Fires. The grenade punches deep
into the Queen’s egg sac and EXPLODES, ripping it open from within. Eggs and tons of
gelatinous matter spray across the chamber floor. Ripley pumps and fires again and again
and again. Four times into the egg sack. The Queen is crazy with rage.
Ripley and Newt begin backing into the exit tunnel. She continues to fire the flame unit
into the chamber, igniting eggs. Newt looks behind them.
Ripley turns and blows away an approaching drone. It drops to the floor. Ripley unloads
the rest of her ammo into it. Grabbing Newt, she moves around a corner. Unslinging the
bandolier of grenades, Ripley primes one, and throws the whole thing as far as she can into
the egg chamber. Scooping up Newt, she dashes into the catacombs and is hurled
forward by the shock wave of multiple explosions.
266 INT. EGG CHAMBER 266
The explosions around the Queen have caused her supports to break, dropping her into the
flames around her. She lashes out in pain and anger, and pulls herself free from the egg
sac, ripping away and dragging torn cartilage and tissue behind her.
267 INT. CATACOMBS - CORRIDOR 267
Ripley and Newt run, blindly, with panting intensity verging on hysteria. She sees one of
the flares dropped earlier and turns. Sees another, Ripley sprints toward it as the
foundations of the world shake.
Rounding a corner, Ripley finds the stairs she came down and dashes up them. At the top,
the entire superstructure rocks as another explosion ignites within the heart of the station.
Ripley holds on and then keeps going.
267 CONTINUED: (2) 267
Upon rounding a corner, she sees the lift. Ripley sprints to it, gasping for breath, and hits
the up button. Nothing. She hits it again and looks up the shaft for the elevator.
RIPLEY'S P.O.V.: as she SEES the lift slowly coming down the shaft. Flame billows all
Ripley moves to the adjacent lift and hits the up button. The sound of LIFT MOTOR'S
WHINE as it begins its slow descent as well from several floors up. She is frantic, hitting
the buttons over and over again, hoping for some faster action. AN ENRAGED SCREECH
ECHOES in the corridor behind them. Ripley turns, eyes wide with terror. She begins
hitting the buttons again.
Come on! God damn it!
The SCREECH again. Closer. She looks up the corridor once more and sprints for a
nearby ladder going up.
Hold on to me!
She begins to climb, just as the silhouette of the Queen rounds a corner and slowly makes
it's way up the corridor. Ripley backs down the ladder. The Queen sees them and
HISSES. Ripley hears the lift and looks back to SEE it stop and open for them. She
races into it and jams the up button.
RIPLEY'S P.O.V.: as the Queen quickly moves it's way up the misty corridor, screeching
at the top of it's lungs.
Ripley drops Newt and readies her weapons to fire. The lift cage slides closed just in time
as the Queen comes up to it. Ripley fires her flame thrower through the cage. The Queen
screeches and reels back. Ripley continues firing until the unit runs dry. The Queen
notices this, but the lift doors close to quickly for an attack.
The elevator starts upward quickly. Ripley and Newt hug the back wall, terrified. A large
explosion nearby rocks the lift.
ANGLE DOWN THE SHAFT: We SEE the elevator coming up. Some debris falls on its
roof with a BANG as a huge fireball slightly engulfs the lift.
268 INT. CORRIDOR 268
The second lift reaches bottom, the doors rolling open for anyone. The Queen looks over
and freezes, as if contemplating the open lift cage.
269 INT. ELEVATOR - PLATFORM 269
The ride up is not comforting as explosions constantly shake the tiny lift and its occupants.
The mechanical voice of the warning system is heard again. It is much shorter now.
269 CONTINUED: (2) 269
You now have two minutes to reach minimum safe
The lift reaches the top and Ripley and Newt hustle out onto the platform. Ripley looks
around through wind-whipped streamers of smoke and she sees...nothing. THE SHIP IS
The platform is completely empty. Ripley looks up and shouts an outrage at the final
Bishop! God damn you!
She slumps over in defeat, breathing heavy. A sound behind her catches her attention.
She moves over to the adjacent lift cage and looks down.
ANGLE DOWN THE SHAFT: showing the second lift slowly coming up. Clouds of fire
explode all around it.
Ripley and Newt back away from the doors. She checks her gun. The counter reads
empty. Ripley drops the weapons. Picking up Newt, they back up toward the railing.
There is no place to run. MULTIPLE EXPLOSIONS detonate in the complex far below
and all around. Huge fireballs well upward through the machinery. The platform bucks
wildly. Nearby, a cooling tower collapses with a THUNDEROUS ROAR and the SHRIEK
OF RENDING STEEL. Chaos and destruction totally surround them, offering no reprieve.
The lift stops. Ripley and Newt stare transfixed as the safety cage opens. Flashes from
the explosion give a glimpse of the apparition within. Then, it moves it full view. The
Queen has come.
(to Newt, low)
Close your eyes, baby.
ANGLE ON RIPLEY AND NEWT: as the drop-ship RISES RIGHT BEHIND THEM, its
hovering jets roaring. Newt sees it first.
Ripley sees it too. She looks back at the lift. The creature is screeching maddingly at
them, moving forward.
Ripley lifts Newt onto the loading stairs extending from the ship's side. She crawls up,
turning to help Ripley up.
269 CONTINUED: (3) 269
Come on! Come on!
Ripley grabs on and crawls up.
Just as Ripley gets half-way up the ramp, a TREMENDOUS EXPLOSION RIPS THROUGH
THE COMPLEX below. She quickly moves inside, hitting the close button on the ramp,
while running to a flight seat with Newt. The explosion hits the ship, slamming it sideways.
Its extended landing legs foul in a tangle of conduit, grinding with a hideous squeal of metal
270- INT. / EXT. DROP-SHIP - STATION 270-
Ripley cradles Newt and begins strapping in. Bishop wrestles with the controls. The
landing legs retract, ripping free, but still trailing some debris. Ripley slams her seat
Punch it, Bishop!
The entire lower level of the station disappears in a fireball. The air vibrates with intense
heat waves and concussions. The drop-ship engines fire. Ripley is slammed back in her
seat. The ship vaults out and up, Bishop standing it on it tail, pouring on the gees. Ripley
and Newt see everything shake into a blur.
272 EXT. STRATOSPHERE 272
The drop-ship lunges up out of the cloud layer into the clear high night. Below, the clouds
light up from beneath from horizon to horizon.
A SUN HOT DOME OF ENERGY bursts up through the cloud layer, whiting out the FRAME.
The tiny ship is slammed by the shockwave, tossed forward...and climbs, scorched but
functioning, toward the stars.
273 INT. DROP-SHIP - COCKPIT 273
CLOSE ON BISHOP: as he checks over the instruments for damage. All is fine. They
have survived. He picks up the inter-ship mike.
It's okay. We're okay.
274 INT. DROP-SHIP 274
Ripley hears Bishop's words and closes her eyes, relieved. They made it. She looks at
Newt in her lap.
274 CONTINUED: (2) 274
Newt looks over at her.
We made it.
I knew you'd come.
Ripley smiles and kisses her. They turn and look out at the welcoming stars of space.
275 EXT. DROP-SHIP - SPACE 275
The tiny ship rockets upward, heading back home to the Sulaco.
276 INT. SULACO CARGO LOCK - IN ORBIT - LATER 276
The scorched and battered ship once again sits in its drop bay, steam blasting from cooling
vents beside the engine. Rotating clearance lights sweep around the large chamber.
277 INT. DROP-SHIP 277
Ripley inspects the comatose Hicks. Bishop and Newt are beside her.
He's going to be alright. He's just out. I had to give him
another shot for the pain.
Ripley starts to lift the seat restraint to take him out, but Bishop stops her.
We need a stretcher…to carry him up to medical.
Ripley nods and lowers the restraint back. They leave the ship.
278 INT. CARGO LOCK - DROP-SHIP 278
The group appear, coming down the loading stairs.
I'm sorry if I scared you. That platform was just becoming
too unstable. I had to circle and hope things didn’t get to rough
to take you off.
He stops under the back landing leg of the ship. Ripley catches up and stops before
Bishop...you did okay.
278 CONTINUED: (2) 278
TIGHT ON RIPLEY: as she looks at Bishop. It's hard to admit it, but she does.
They hear a sizzle sound from below Bishop. Looking down, they see a tiny innocuous
drop of liquid splash onto the deck next to Bishop's shoe. SSSSS. A hole begins to
form. Acid. SOMETHING BURSTS FROM BISHOP'S CHESTS, spraying Ripley with
milk-like android blood. It is the razor-sharp scorpion TAIL of the alien QUEEN. Driven
right through him from behind. Ripley pushes Newt back out of the way, onto the floor.
Bishop thrashes, spraying white blood out of his mouth. He seizes the protruding section
of tail in his hands, as it slowly lifts him off the deck and up to the Queen's chest. Above
them, the Queen glowers from its place of concealment among the hydraulic mechanisms
inside the landing-leg bay. It blends perfectly with the machinery until it begins to emerge.
Seizing Bishop in two great hands, it rips him apart and flings him aside, shredded, like a
Bishop's upper-half lands hard on the deck near the front of the drop-ship. His milky blood
covers him. Bishop looks over at what did this to him.
The Queen descends slowly to the deck, the rotating lights glistening across its shiny
black limbs, dripping acid and rage. It is huge, powerful...and very pissed off. It descends,
it's six limbs unfolding in inhuman geometries.
Ripley moves with nightmarish slowness herself, staring hypnotized...terrified to break and
run. Never taking her eyes off the creature, she motions to Newt with her hand.
Newt crawls slowly backward. The Queen sees her and HISSES. Ripley waves her arms,
No! Here! Here!
CLOSE ON QUEEN: as she turns her attention to Ripley and hisses. Her open jaws filled
with long, sharp, translucent teeth. Drool drips from her open maw.
Ripley slowly backs away. She calls to Newt.
Newt gets up and runs to an open maintenance hatch in the deck, dropping in.
278 CONTINUED: (3) 278
ANGLE FROM BEHIND RIPLEY: as she waves at the alien to keep its attention. The
Queen looms in front of her, standing sideways on the landing strut, ready to attack.
Ripley slowly lowers her arms and backs up carefully. Not carefully enough. The Queen
sees her movement and doesn't approve.
CLOSE ON QUEEN: as she hisses at Ripley again.
Ripley notices an open cargo bay behind her. She spins, sprinting toward it. The creature
leaps for her, moving like an out-of-control locomotive. Its feet slam, echoing, on the deck
behind her. Ripley clears the cargo door. Hits the close switch. It WHIRRS half-way
closed when the creature hits. BOOM! It backs up and the door closes completely.
Angrily, it rams the door again. BOOM!
279 INT. DARK CHAMBER 279
Ripley backs away from the door, gasping for breathe, as the creature outside continues
to slam into the door. She looks around and notices something that will help her out of
this situation. She quickly moves to it.
280 INT. CARGO LOCK 280
CLOSE ON BISHOP as he flails around, positioning himself to see the Queen. It walks
by o.s., it's feet CLOMPING on the deck. Bishop watches it quietly.
281 INT. SUB-FLOOR CHANNELS 281
Newt is looking up through the grille-work flooring. Light plays across her shadowed face
in bars. The Queen comes into view overhead, SEEN THROUGH the bars, looking down at
the floor for Newt. It passes over Newt's hiding spot, then backs up. It sees her, noticing
the movement of Newt's head as she watches. The Queen hisses, pulls up the flooring
with its big hand and reaches in for her. Newt screams and scurries away. She crawls
along quickly like a rabbit as the looming figure of the alien appears above. A section of
grille in front of Newt is ripped away. She retreats, crawling back the way she came, only
to have the Queen reach in for her through another hole in the flooring in front of her. She
quickly turns away in another direction.
CLOSE ON NEWT: as she stops and stares up through the flooring, watching the Queen.
It moves around above her. It pauses, seeing her. Newt notices and scurries away.
The Queen beats her and rips up the flooring right above her. Newt freezes in fright,
screaming, as the alien reaches down to get her.
282 INT. CARGO LOCK 282
A loud CLANK echoes through the chamber as the door to the room Ripley went into opens.
The Queen spins at the sound of it, turning to see what it is.
282 CONTINUED: (2) 282
CLOSE ON DOOR: as it REVEALS an inhuman silhouette standing there.
It is Ripley, WEARING TWO TONS OF HARDENED STEEL. THE POWER LOADER.
She lifts the arms horizontally beside her and stomps out...the massive feet CRASH-
CLANGING on the deck. She stops midway to the Queen.
Get away from her, you bitch!
TIGHT ON QUEEN: as it hisses with pure lethality. Newt looks out of the flooring at Ripley
Ripley moves the arms up for combat, both in swinging positions and takes two steps.
The Queen screeches and charges. WALLOP! A roundhouse from one great hydraulic
arm catches the creature on its hideous skull, slamming it onto the deck. The Queen gets
up and Ripley hits it again with the other arm, sending it sliding into some heavy cargo boxes.
The alien rights itself, standing in a lethal stance. It hisses violently, clearly really pissed off.
Ripley swings around, positioning herself toward the Queen.
The Queen charges and Ripley closes the right arm's forks on the its skull. It lashes and
writhes with incredible fury, coming within inches of her exposed body. The alien tries to
bite at her, but Ripley moves away slightly. The Queen is desperate to get free and brings
up its spear-like tail to strike. The creature swings it around twice, slapping it against the
crash-bars next to Ripley. Ripley releases the clamps, freeing the alien. It backs away.
Both stand their ground now. Ripley, constantly moving her arms around, keeping the
Queen back and the Queen, hissing, clawing, and striking with her tail to get at Ripley.
It is a stalemate. Ripley senses this and changes the game plan.
TIGHT ON ARM CONTROLS: as Ripley keys in a command.
ANGLE ON RIPLEY IN LOADER: as doors of a RECTANGULAR PIT open in the
background. A VERTICAL LOADING AIRLOCK.
The Queen senses the change in direction of the fight and charges. Ripley lowers an arm
and closes it around the alien's neck. The creature screams. Its face is now right in front
of Ripley. The striking teeth extend almost a meter from inside its fanged maw, shooting
between the crash-bars. Ripley ducks and the Queen strikes again. Ripley ducks again
and flicks open the CUTTING TORCH trigger on the control joystick. The flame on the
torch shoots out, right into the alien's face. The Queen screams and moves it's head
Ripley screams with exertion as she lifts her right arm, bringing the alien of it's feet. It
dangles in the air writhing.
TIGHT ON CONTROL JOYSTICK: as Ripley hits the turning controls.
282 CONTINUED: (3) 282
The upper body of the loader swings right, bringing the Queen with it. It is now hanging
over the open loading airlock.
ANGLE UP AIRLOCK: showing the Queen swinging in open air above the lock.
Ripley bends the loader forward, dropping the alien into the lock. It grabs the loader, pulling
it off balance. Ripley screams as they topple and fall together, over the lip of the pit.
283 INT. LOADING LOCK 283
They crash together five meters below. The loader pinning the Queen. It shrieks and
claws in pain, trying to get free.
284 INT. CARGO LOCK 284
Newt sees them go over and jumps out of the sub-floor channels.
285 INT. LOADING LOCK 285
Ripley frantically pulls her arms out of the controls of the loader and claws toward a nearby
service ladder. She climbs quickly. Halfway up, the Queen loosens itself slightly and
seizes Ripley's ankle. She grips the ladder rungs tightly, fighting against the alien strength.
ANGLE ON RIPLEY: as she fights the pull of the alien. Next to the ladder is an airlock
actuating control panel. She hits the red "INNER DOOR OVERRIDE" button.
ANGLE DOWN AIRLOCK: as a KLAXON begins to sound and red warning lights come
on below Ripley. The Queen is still screeching and trying to free itself.
ANGLE ON RIPLEY: as she pulls down the "OUTER DOOR OPEN" lever. There is a
hurricane shriek of air as the doors on which the loader and Queen are lying part,
REVEALING the infinite pit of stars, below.
The airlock becomes a wind tunnel, blasting and buffeting Ripley as she struggles to
hold onto the ladder. The air of the vast ship howls past her into space as she locks her
arm around a ladder rung, feels it almost torn out of it's shoulder socket.
286 INT. CARGO LOCK 286
Newt screams as the hurricane air stream sucks her across the floor toward the airlock.
Bishop, torn virtually in two, is having the same problem, but manages to grab hold of
the barred flooring right next to the lock. Newt also grabs hold of the flooring.
287 INT. LOADING LOCK 287
287 CONTINUED: (3) 287
The doors open slowly, due to the weight on them, but they finally open completely. The
loader tumbles clear, falling into the void. The Queen falls free, hanging in the opening of
the door by Ripley's ankle. It screeches in the wind as the air pushes against it with
extreme force. Ripley is loosing the fight. Her strength in almost gone. Her arm feels
as if it is going to rip free at any moment. She screams in pain as her shoe rips away
from her foot, dropping the Queen into the depths of space.
288 EXT. SULACO - AIRLOCK 288
The Queen spins away from the open airlock door, tumbling into the blackness, shrieking
and clawing for survival. It's fight is over.
289 INT. LOADING AIRLOCK 289
With all her strength, Ripley fights the blasting air, crawling up to the lip of the inner
doorway and starts to climb over it.
290 INT. CARGO BAY 290
Newt's strength is gone and she slides away from the equipment that she held onto toward
the open airlock. Bishop reaches out desperately for her as she slides past him.
He catches her arm and hangs on as she dangles doll-like, in the air blast.
TIGHT ON AIRLOCK LIP: as Ripley's hand comes over it, then the rest of her. She crawls
over the lip and lays on the deck.
Newt claws up to Bishop and holds onto him.
Ripley yanks at the closed OVERRIDE panel on the deck and pulls it open. Hits the inner
door close. The door closes next to her. She pulls her leg out of the way. The turbulent
air eddies and settles.
She rolls over and lies on her back, drained of all strength. Gasping for breath. Weakly,
she turns, seeing Bishop and Newt together. Ripley slowly crawls over to them and grabs
Newt. Newt turns and hugs her desperately.
Bishop looks up at them. He is encrusted with his own vanilla milkshake blood. His voice
is gargled with the fluid.
290 CONTINUED: (2) 290
No bad for…a human.
Ripley looks down at him. He gives her a small, grim smile. She turns back and clings to
Newt. She has won the war.
291 INT. HYPERSLEEP 291
Newt stands, cross-armed, by a hypersleep capsule. PANNING DOWN, we SEE Bishop
enclosed within a plastic membrane.
ANGLE ALONG CAPSULES: showing Hicks in the foreground, asleep in his capsule with
bandages over his face and chest, and Bishop in his right behind him. Newt stands
watching as the capsule doors whine closed.
TIGHT ON HICKS: as the door closes, we SEE Hicks' face sleeping peacefully through
clear top. Part of his face is bandaged up from the acid burns.
Newt walks over to Ripley at the hypersleep control board. Ripley punches in a few more
commands and closes the keyboard. They both move over to Newt's capsule. Newt gets
in and sits up.
Are we going to sleep all the way home?
All the way home.
Can I dream?
Ripley smiles and brushes a strand of hair from Newt's forehead.
Yes, honey. I think we both can.
Ripley points to something on Newt's shirt. She looks down and Ripley flicks her nose.
The both giggle. Newt lies back on the bed.
DISSOLVE TO NEWT IN CAPSULE. It's a TWO SHOT, with Ripley behind, perfect in sleep.