ALIEN REDEMPTION An Original Screenplay by Bartholomew L. Bishop Novemeber 27, 1997 Revisions January 14 , 1998 Revisions January 15 , 1998 Rewrites March 20, 1998 ---------------------------------------------------------------------- EXT. DEEP SPACE SILENT BLACK We open with a shot of the endless expanse of space. Stars stretch for billions of light years . Suddenly, a massive space ship floats by the camera. A NARRATIVE TITLE reads: U.S.M. AURIGA MEDICAL RESEARCH VESSEL UNITED SYSTEMS MILLITARY STANDING CREW 42 ENLISTED 7 SCIENCE OFFICERS 6 MONTHS AGO The camera continues to follow along the ship as it drifts on. Then we hear: DR. GEDIMAN (V.O.) Two centimeters. INT. THE AURIGA We see flashes of dark corridors, labs, recreational rooms. Armed soliders patrol the halls. DR. WREN (V.O.) Careful now. INT. OPERATING LAB Several Doctors are standing around an operating table. Someone lays on the table, but we can't see them. The table seems to be encased in a plastic surrounding. A man , Assistant #1, stands on one side of the table, his hands through two holes in the casing, in robotic gloves. CLOSE UP: We see a close up of the patients stomach; overlarge and peculiar in a way, cut open, and in the middle we see a small beast, resembling some kind of organ, it sits motionless. Assistant #1 picks up the beast with clamps. It lets out a small shriek, as if yawning. DR. WREN Ready with that amnio. Assitant #1 places the creature in a small cylinder case, and then it seals up. Assistant#2 walks off with it. Gediman looks from the patient to Dr. Wren. GEDIMAN What should be done with "it"? Do we keep it alive? Wren turns to assistant #3 near the monitoring equipment. WREN How is our host doing? ASSISTANT#3 Doing well. Wren looks back at Gediman. WREN Sew our number 7 up, and put her back with the rest of them. GEDIMAN Yessir. Gediman walks back towards the operating table. Wren looks off towards the tinted glass window. Then he walks out through the door. INT. OBSERVATION ROOM GENERAL PEREZ has been watching the whole operation. He stands motionless, surrounded by several monitors and computers. We see flashes of the patient from the monitor screens but we never see the face. Wren enters the room through a door on the right and walks up to General Perez. WREN The operation went better than expected , after all of the other......failures. PEREZ How is the specimen doing? WREN Perfect, absolutely perfect, and with its growth rate it should start to reproduce in weeks. PEREZ That's not our problem. An akward silence fills the room. Then Wren speaks out. WREN Well sir, with the success of number 7, I think that we may be able to improve number 8 even more. PEREZ Good. WREN Um...sir, when is the GENEVA going to arive? PEREZ Within the hour, have the specimen ready. WREN Yessir. Wren exits the room and we see a shot of Perez from the back and through the window we see the patient being rolled away. EXT. HALLWAY We see a shot of the Gediman pushing the table down the hallway. He approaches a door labeled 1-6. Gediman stops the table and walks to the door. FATHER Identification please. Gediman breathes on the identifier; a small black orb. FATHER Thank you Dr. Gediman. The door opens and Gediman wheels the table into the room. As he enters the room we see what is inside. 6 tubes stand in the room and inside are malformed looking creatures. One small one that looks like a baby, but aged greatly. Another ape size creature with hair covering its body and two mouths. Gediman strolls past all these towards the end of the room and sets the table there. Gediman steps away and we finally see who the patient is: It's Ripley, but only from her face can you tell this. One of her arms is deformed and seems to have the biomechanical look of the aliens but with human flesh. Her stomach is oversized and swelled. Her legs go off in awkward directions. Suddenly her eyes flash open and she looks at Gediman with tears in her eyes. RIPLEY Kill me......please..... kill me..... Gediman looks down on her with not even a shred of remorse in his soul. GEDIMAN Now we couldn't do that to our beautiful butterfly could we. EXT. SPACE A small spaceship passes by the camera. Much smaller than the Auriga, it mostly resembles a blimp. It has several long antennes and transmitting towers sticking from the front of it. On the back are four small engines in a diamond formation. The hull is lined with several columns of machinery. It looks clean and pristine. A NARRATIVE TITLE reads: THE GENEVA MEDICAL RESEARCH VESSEL COMMERCIAL TRANSPORT STANDING CREW 21 PASSENGERS 10 MEDICAL TECHNICIANS We see the Auriga off in the distance as the Geneva gets closer. The Geneva flys under it and stops under the main airlock. The airlock opens up and the Geneva hits its bottom thrust, sending it upward. It flys up through the airlock. It gets to the top of the docking area and hovers in front of a large landing pad. The landing gear comes out, four robotic looking legs at the four corners of the ship. The ship cuts thrust and at very nooks and cranies steam and gas is blown out. A door slides opens on the bottom of it and ramp lowers down. It hits the ground with a clank. SHOT OF: AIRLOCK door opening up. Various crew members of the Geneva walk inside. Soldiers stand by General Perez. FATHER I am Father. Welcome to the U.S.M. Auriga. Step forward for contraband and weapons search. Please report any infectious diseases to the medical officers. Levels seven through twelve are off limits to civilians. Thank you for your cooperation. The medical officers and crewmen from the Geneva walk forward for weapons check. A soldier stands by with a robotic glove/scanner which he checks people for weapons with. In the doorway stands two men. One is tall and stout, the other medium build . They both wear long coats, black and grey. The taller one has very short red hair, a receding hairline, and he's very russian. He wears rounded, red tinted glassed and has a u-shaped scar that goes from the right side of his chin, across his mouth, and stops on his cheek. He looks to be early fourties. The shorter one has brown spiky hair. He wears no glasses and seems to be mid to late twenties. He looks to have a two day stubble. He's American. The taller one smokes a cigarette, a futuristic one that is 90% filter, and 10% cigarette. FATHER Alchohol, narcotics, and any nicotine or tabacco based products are prohibited aboard millitary space craft under the congressional act of....... The taller man flicks the cigarette out the airlock where it flys over the side. SHOT OF: Cigarette falling over edge into an endless drop. FATHER Thank you. The two men walk from the airlock door and into the hallway up to the small group. A soldier walks up to scan them but General Perez waves him away. The soldier oblidges and backs off. PEREZ Mr. Renko, Mr. Castle , so nice to have you aboard again. Mr. Renko, the tall one, looks around, bored. CASTLE Lets skip the neccesities fatman. RENKO I pray the operation went well. Perez looks nervous. His forehead is covered in sweat. PEREZ It went perfectly well, no problems at all. RENKO Good, my employers will be pleased. Do you have the package? PEREZ Yes, it's right here. Perez holds up his hand and a soldier walks up and puts a cylinderic case in it. PEREZ Do you have the money? Renko holds up his hands and one of the crewmen places a large case in it. RENKO 3 Billion credits in unmarked bills. Blue backs, as you requested. Renko places it on the ground in front of General Perez. Perez looks very pleased. PEREZ Good, very good. Perez hands the cylinder case to Renko. RENKO This concludes our business transaction. Mr. Castle turns around and snaps his fingers at the crewmen and medical officers. They walk back through the airlock door and up the ramp into the Geneva. Renko leans in close to Perez. RENKO We were never here, you never saw us, and if any mention of our cargo leaves this ship I will personally serve your head on a platter to Mr. Kwang. Tovarisch? PEREZ Of course, of course, your secret dies with me. RENKO Well, I guess this is dasvadanya then. Renko and Castle turn around and walk back towards the Geneva. They exit through the airlock door and walk up the ramp. SHOT OF: The Geneva taking off from the landing pad. SHOT OF: We see the Geneva from below, slowly lowering down out of the docking bay. The airlock opens up and the Geneva falls out of the Auriga, seeming to hover for a bit, and then it hits the afterburners and it goes speeding away from the ship. INT. THE GENEVA We see see a door open up and Mr. Renko enter through it. He walks up to a type of freeser looking locker and stops. He looks at the cylinderic container he holds and unscrews the lid. From inside he slides another tube out. Inside the tube we see lays the beast that was brought out of Ripley, frozen in cryo. It's a queen Alien. FADEOUT: BLACKSCREEN: TITLE ROLLS - ALIEN REDEMPTION BLACKSCREEN: PRESENT DAY EXT. SPACE - EARTH SHOT We see earth off in the distance as the camera moves ever closer. We move at impossible speeds until we get to the earth. We fly down into earth's atmosphere and then we hit clouds. The clouds seem to go on forever until we come to a clearing. We see THE BETTY fly by the camera at high speed, followed by two futuristic looking jets, V-Shaped, called INTERCEPTORS. We move in closer and see U.A.T(United African Territory) symbol painted on one wing of the jet, on the other it procliams "Death from above". INT. BETTY COCKPIT We enter the betty cockpit to see Vriess sitting in the pilots chair on the left and Johner on the right one. They're talking to the pilots of the interceptors. PILOT#1(over intercom) You are an unregistered ship flying over United African Territory. I have orders to shoot you down unless you comply with me and do what we ask. Now change your course to vector 0-0-9 bearing 6-0-6, and follow us back to the base. JOHNER Fuck you orders son. Now why don't you mozy on back to your little base and we'll just change our course and get off this dustball. PILOT#2(over intercom) I"m afraid we can't let you do that sir. Now if you'll please just follow our orders, I'm sure we can straighten this whole mix up out. Johner leans back in his chair and smirks at Vriess. VRIESS Inbred cocksuckers. JOHNER Yep, the whole lot of me. PILOT#1 I repeat sir....... EXT. AFRICAN MILLITARY BASE We see a shot of an airforce looking base. Rows of different types of futuristic jets line the airfield. INT. BASE - CONTROL ROOM The room is darkened , only lit by the phospherescent green light coming off of the computer monitors and radar specs. A man plots something on a plastic map board. A door opens and a large black man enters the room, dressed in Millitary uniform, and smoking a huge cigar. This is General McCry. He walks over to where a younger black man sits talking to the pilots. There is a radar monitor in front of him. GENERAL MCCRY Status son? RADAR BOY The two interceptors have given the Betty the orders you provided, and still they refuse to change course. MCCRY That could be a problem. McCry leans in close and touches a button on the council. MCCRY This is General McCry speaking to the crew of the Betty....... INT. BETTY We see the looks on Johner and Vriess's face change. MCCRY(over intercom) I am under orders by the President of the Free American Government. You have a hostile Alien organism on your vessel that must be destroyed. Now please change your course and follow the Interceptors to the base. If you comply you will be offered a pardon for all the acts you have perpetrated upon the core systems. The door in the back of the Betty opens up and CALL walks in, followed by RIPLEY. Ripley walks over and leans in close next to Johner. Call stands behind the group with her arms crossed. JOHNER As wondeful as that sounds General, I'm afraid we're gonna have to pass, so you kiss my ass. Johner leans back and laughs franatically at his rhyme. The rest of the group stands still. JOHNER Well I thought that was funny , but you guys aint laughing. RIPLEY What the hell is going on here. CALL That's what I'd like to know. VRIESS What's going on here is that apparently we caused a little property damage when we crashed the Auriga, and now every government on this planet wants our asses in a sling. INT. COCKPIT - PILOT#1 The pilot looks out his window at the other pilot, who looks just as worried. PILOT#1 Um , General, what would you like us to do? INT. CONTROL ROOM McCry stands motionless for a moment, and then he leans down and speaks into the comlink. MCCRY Splash the bogies, repeat............. INT. COCKPIT - PILOT#2 A smile comes on the pilots face. MCCRY(over intercom) ....repeat splash the bogie. The pilot starts to push assorted buttons and gadgets. PILOT#2 Lock and load. POV SHOT: From the pilots point of view as a holographic heads up display appears in front of him. A green square appears around the Betty. PILOT#2 I've got good tone. Then the little yellow circle that had been spinning around in the middle of the square stops and turns green. PILOT#1 I've got a good lock, firing. INT. THE BETTY Every whistle and bell starts to go off in the cockpit of the betty. We see the display light up with a warning signal. JOHNER They're gonna fire on us goddamn it! VRIESS Johner, hit the countermessures! Johner slams a large red button on the council. INT. PILOT#1's COCKPIT The pilot pushes another button. CLOSEUP:OF the pilot's finger. He has it over the firing button on the top of the joystick. He pushes it down. EXT. SKY AREA We see two large slots slide open on the Betty. Two cannons come out that resemble rocket launchers. The camera switches to the two jets. Four missles are fired out, two from each jet, that go soaring at incredible speeds at the Betty. The two cannons on the Betty shoot two small warheads out. They home in on the missles that are heading towards the Betty and knock into them, blowing up two. The two others get closer and closer. Out of another opened slot on the Betty shoots out a fine grey cloud of mist. The two rockets get to the cloud and when they go in they start to sparkle with electricity. Then they blow up. The pilots see that this happen and go to plan B. Two gatling guns come down from the wings of the Interceptors and they open fire on the Betty. The Betty begins to look like swiss cheese as the gattling guns tear into it. INT. THE BETTY - COCKPIT The control board on Johner's side suddenly explodes, sennding sparks everywhere and catching fire. Johner is knocked back and Call runs to the wall and pulls off a fire extinguisher. She begins to spray it out all over the main board. CALL DAMN IT!! JOHNER We're really shot to shit now! Ripley gets next to Vriess and leans in close to him. RIPLEY Do we have any defenses on this rundown piece of shit! Vries goes into action pushing buttons. He pushes a button and a key board comes out and sits on his lap. He begins to type at an incredible pace. EXT. OUTSIDE THE BETTY An large slot slides open in the middle of the Betty. A huge rig comes out. Two large rail guns sit in the middle of the rig, and on the top is a turbo laser. INT. BETTY'S COCKPIT Vriess is still typing and then a screen comes up. We see a shot of the outside on the computer monitor. A red aimer sits in the middle of the screen. Vriess takes the joystick on the keyboard and aims at Interceptor#1. The red aimer sits right on it, and Vriess pushes the button labled ENABLE. EXT. OUTSIDE THE BETTY The rig comes to life and aims directly at Interceptor#1 , and fires all its weapons at once. The interceptor is hit head on with two slugs and an energy shot and is blown to pieces. Then the rig turns to aim at the second interceptor. INT. BETTY'S COCKPIT Johner is patting Vriess on the back as he moves the joystick to the other interceptor. He focuses on it and pushes the enable button. EXT. OUTSIDE THE BETTY The rig aims at Interceptor#2 and fires. The missles go flying at it, and are about to hit when the Interceptor swoops to the right at the last minute. The whole left wing is blown off and the interceptor twists to the side and begins to fly head first at The Betty. INT. BETTY'S COCKPIT Vriess looks stunned at what he just did and grabs the ships controls, trying to swerve them out of the way. EXT. OUTSIDE THE BETTY The interceptor hits the Betty, ramming into the left side, and breaking the wing into pieces. The whole left side of the Betty cacthes fire. The Betty is greatly shaken by this and begins to rock and rattle. Then it goes down. INT. BETTY'S COCKPIT A wave of panic has hit the passengers on the Betty. Vriess tries franticly to pull the controls of the ship up but still the ship keeps falling. Ripley pushes him out of the chair and takes the controls. RIPLEY Sorry Vriess, but I think I can handle this. Ripley pulls up with all her might but even she can't get the ship going straight. We see a shot of the upcoming earth, rushing up fast. JOHNER This ship is toast, lets get to the life pods! VRIESS Fuckin A! CALL No hold on, one of the lifepods is malfunctioned. JOHNER So what! CALL Well, the lifepods can only fit three people! Everyone looks around at eachother. JOHNER That's an easy one, ditch the cripple. RIPLEY I'm the only one who can fly this thing, you go, I'll try to land this hunk a junk! CALL But Ripley, I'm a synth, I might have a better chance of survival. RIPLEY NO! You three have been alive for the last two hundred years, but if I die, no one will give a fuck! JOHNER She has a point, lets move. Johner picks Vriess up and Vriess holds onto his back, like he's riding piggy back. They run through the door and towards the lifepods. Call stops at the door. CAll Ripley...... RIPLEY yeah? CALL Good luck. For a moment they lock eyes, and we can see their growing friendship blossom. RIPLEY You too, now get out of here. Call runs through the door and towards the pods. EXT. HALLWAY Johner runs up to a door with LIFEPODS labled on it. He punches the bottom on the side and it opens up. JOHNER Watch the head. Vriess gets down low and they walk into a small room with two hatches labled pod#1 and pod#2. Call comes in behind them and closes the door. She walks up to the hatch labled pod#1 and opens it. Johner sets Vriess inside and then gets in himself. Then Call gets in and seals the hatch behind her. On the inside she hits a button labled launch, and then the pod shoots out. SHOT OF: Life pod being shot out of the Betty and falling down to the earth. INT. BETTY'S COCKPIT Ripley is still straining with the controls trying to get the ship up. The ground is ever closer and closer. POV SHOT: Through the windshield as the ground comes rushing up. The Betty is just about to hit the ground when Ripley pulls with all her might and straghtens the ship out. But it's too late and the Betty hits the ground and begins to slide across the African jungle landscape. Trees fly up and animals run aside as the Betty skids. The Betty's right wing breaks from the Betty and flys through the air. A large chunk of the hull is ripped of and falls to the side. Finally the Betty slides to a stop. EXT. JUNGLE We see a shot of the lifepod, imbedded in the ground. The hatch opens up and Call jumps out and land on the ground. Vriess crawls out and falls to the ground. Johner comes out looking dazed and he almost falls over. JOHNER Woohoo! That was almost better than sex! VRIESS Yeah, like you would know. JOHNER Ohh good one Vriess, you pain me here. Johner puts his fist on his heart. CALL Will you two shut up, lets get back to the Betty. Call points off into the distance and we see smoke rising from the jungle. Call begins to run towards it. JOHNER Yeah , what's left of it! Johner picks up Vriess and runs off after Call. EXT. OUTSIDE THE BETTY The Betty has seen better days. The whole back end has been broken off, exposing the entrails of the ship, and the whole right side is crushed beyond repair. The left front wing is torn off, and the cockpit is smashed in. It lays on its side like a dead animal. Call and the others make it to the Betty and stop. Suddenly the airlock door opens up and Ripley pops out, worse for wear. She has several bruises and bumps and she has a cut across her forehead. She pulls herself up out of the airlock and stands atop the Betty. CALL Ripley, you're alive!! JOHNER Didn't you know Call, nothin can kill Ripley. Ripley jumps down from the Betty and comes to the group. Suddenly two more interceptors roar over the crash site and pass by. The group looks up and all have suspicious looks. VRIESS Wonder what that's all about? RIPLEY I don't know , and I don't want to find out. JOHNER Yeah, lets get the fuck out of here. Johner grabs Vriess and they all runs into the jungle. INT. COCKPIT - PILOT#3 We see a shot of a small screen showing a picture of the site, but in infra-red. Ripley and the group can be seen as little red specks. PILOT#3 Sir, the geo-thermal scan has detected four lifeforms by the crash site. All living, they appear to be the mercenaries. INT. CONTROL ROOM General McCry looks very pissed at this. He chomps down hard on his cigar. MCCRY Napalm the whole fucking area! PILOT#3(over intercom) Yes sir. Arming. INT. PILOT#3'S COCKPIT The pilot flips several switches and a statistics screen appears on his monitor , reading out information about the bomb. In big letters ARMED appears and the pilot grabs a lever on the side of the cockpit. Then he pulls it. EXT. JUNGLE - WATERFALL Ripley and the others have come up to a waterfall now and have no where to go. They look up and see the interceptors passing over. JOHNER Now what the fuck are we 'sposed to do? SHOT OF: The interceptors dropping their bombs. CLOSEUP: Of Ripley's horrified expression. CALL WE JUMP!! Call jumps off of the cliff while Johner hesitates. Ripley is about to jump but stops and gives Johner a "hurry up" look. JOHNER But I'm afraid of heights!! Ripley grabs Johner and pulls him to the side of the cliff. She pushes him off. Johner screams like a little girl all the way down. RIPLEY Deal with it. Ripley looks up and sees the bombs about to hit and she grabs Vriess and jumps off the cliff. We see the whole jungle blow to pieces behind them as they fall thousands of feet, Vriess screaming all the way down. Then they hit the water. They're in rough rapids now and they don't surface for a bit, but then Ripley pops her head up out of the water, gasping for air. Ripley looks around and sees Call and Johner floating up stream but no sign of Vriess. Ripley dives back under water. She sees Vriess sinking down under the currents and she swims to him at incredible speeds. She grabs him and swims back to the surface. EXT. RIVER BANK The rapids finally die down and Johner sees Call get out of the water. Call reaches out her hand and Johner grabs it and pulls him up. Ripley floats by and throws Vriess out of the water where he hits the ground in front of Call. Ripley swims to the bank and jumps out. Ripley indicates Vriess's body. RIPLEY He's not breathing, you know CPR? CALL Yeah. Give him some room. Call begins to give Vriess CPR and blows into his mouth every ten thrusts on the chest. Vriess doesn't respond. She puts two fingers on his neck, no pulse. Call gets desperate and begins to sob. She hits Vriess's chest but he doesn't wake up or even respond. RIPLEY He's dead Call. CALL No, no he's not, I can still save him, I can. Ripley steps in front of her and kneels down. She lifts up Call's chin with her hand and they look at eachother face to face. Then they hug eachother, a long hug that seems like it will last forever. Then they let go and Call stands up. She takes her jacket off and lays it over Vriess's face. CALL We gotta take his body with us. JOHNER Why, it's just dead weight. RIPLEY(looking back at Johner) She's right, if his body is found here they'll know we're still alive. Call almost scowls at them. CALL That's not what I meant. He needs a proper burial. Johner shrugs his shoulders. JOHNER Well, he's your baggage, you fall behind, I'm not stopping to wait up. Now let's get the hell out of here before they decide to drop a nuke on us. Johner runs walks off fast into the woods. Ripley looks at Call and then she leans over and picks up Vriess's body. She hefts him over her shoulder and turns around and walks away. Call rubs her eyes and then follows. CUT TO: EXT. SKY A shot of the clouds, dark and smoggy. We're flying through the clouds again but now we come out of them to see a view of a city that stretches for hundreds of miles. NARRATIVE TITLE reads: NEW ENGLAND CITY POPULATION: 200 Billion New England city, the capital of the United States of America, now known as The Free American States. From the whole view of city we can see how Earth has changed in the last centuries. All the buildings tower above the ground up into the skies for miles. The city is divided into three main levels, depending on the class of people , divided by three energy grids created by power generator towers. All of the buildings are attached to each other by long cylinderical glass tube walkways . We fly through the city seeing all these things. People walking along through the walkways. Food stands sit along the way. Some people slide along moving walkways. The camera seems to fall down through the layers of the city as we: EXT. CITY STREETS People mill around the city streets. This place is the lowest form of human life. The slums of New England. Most of the people look like junkies, gang bangers. The new age style of the street seems a mix of Hippy type clothes, and punk rock of the 1980's. People wear leather jackets peppered with flowers. Men and woman walk by with assorted hair does, ranging from jerry curles to mowhawks to afros. A cab speeds past a red light and rams into another car. The man in the cab jumps out of his car and takes a bat with him. He jumps on the car he hit and begins to beat the windshield in. We can tell that this is the lowest class of the city. We move on and pass by a stairwell labled "Air Lift Shuttles". We see an opening in the ground where a small ship comes out, resembling a subway train. It blasts away. We stroll down more a ways of the street and settle on a shop labled "Willy's Pawn Shop". We see a man in a blue denim jacket and hood enter the shop. INT. PAWN SHOP The man enters the store and looks around. This is a pawn shop of the future. Several nicknacks litter the place. Weapons racks on the wall, robotic parts, movie posters, jewelry, a large stack of movies with a sign over them labled 'XXX' on it. The man in the jacket walks up to the counter and hits the bell. He looks around nervously and then rings again. He rings again when Willy himself walks through the door way that leads to the back. The doorway is blocked off with beads. Willy is a man in his late fifties, raggidy grey hair and a rugged face. He's missing one eye and has a patch over it. If he had a parrot on his shoulders his image would be complete. WILLY All right all right all ready, you can stop ringing the bell. What do you want? The camera pans around to show the face of the man in the jacket. He wears black sunglasses, but we can see that he's in his mid to late twenties, blond hair, and his bangs hang down across his face. He takes the glasses off and looks around suspiciously. COOPER My name is Richard Cooper, I believe you have something for me. Now Willy's attitude changes to suspicious mode like Cooper. He walks through the opening in the counter and comes to the door. He closes the blinds and turns the 'WE'RE OPEN' sign over to closed. Willy walks back to the counter and lifts up the opening. He taps Cooper's shoulder. WILLY Come on. They both walk back through the beeds and into a small room full of the most antique stuff. Gun cases , samauri swords, a poster of Raquel Welch. Willy stops at a dusty old book case. He runs his fingers across the rows of books and we see glimpses of other book titles: The Bible, Moby Dick , Tom Sawyer , Chicken soup for the soul, Dennis Rodman's Bad as I want to be, the Diary of Anne Frank. Then he stops at a book wrapped in a dusty towel. He takes it off the shelf. WILLY Out of all the banned reading, this was what the company wanted burned the most. I don't know why, not a bloody thing makes sense in the whole book. Willy unwraps the cover and the book is covered in a thick layer of dust. Willy blows it off and all the dust floats into the air. Then we're able to see the Title across the front of it; "THE BOOK OF MORSE: Life on Fury 16." Cooper reaches out to take it but Willy pulls it back. WILLY uh uh uhhh, you owe me a little something, this book was very hard to come by. Been in my family for almost two hundred years. My father passed it down to me when he died. Cooper reaches into his pocket and takes out a small rectangular object in a plastic case. The camera follows Cooper's hand as he hands it to Willy. CLOSEUP: We see that it's a baseball card. On it is a picture of Babe Ruth. Willy grabs it and holds it like a little boy on christmas. WILLY A Babe Ruth rookie card, the most valuable baseball card in history. Hell, probally the most valuable possesion in history. COOPER Yep, now I'll be taking my book. Willy hands the book over to Cooper who then tucks it into his jacket. Then he puts his black glasses back on and turns around to leave. WILLY Be seeing you. Cooper doesn't answer back and exits out the door. Willy smiles and kisses the card. Then he walks up to the counter and stops at the HOLOphone, a small flat gadget that sits on the counter. He opens up his wallet and takes out a small credit card. He sticks it in a slot on the side of the phone and turns the phone on. Then he punches in a phone number and a video screen appears in mid air, a holo projector. On the screen a small old lady sits with a cigarette in her hand and a small microphone in front of her mouth. SECRETARY May I help you? WILLY Can I speak to Mr. Kwang please, tell him it's a urgent call from Willy the pawn shop owner. SECRETARY Please hold. On the holoscreen the words "Please Hold" appear in front of a black screen along with a muzac version of an old 1960's toon. INT. MR. KWANG'S OFFICE We see a man sitting in a chair in front of a large pine wood desk , but we never see the man's face. The intercom buzzes and a hand reaches out and pushes the button atop. SECETARY Mr. Kwang, there's an urgent call for you from some man, Willy from a pawn shop. He says it's urgent. KWANG I'll take it. SECRETARY Line two sir. Kwang switches off the intercom and presses a button on his Holophone. The holoprojector turns on and a screen appears in the air. It's Willy of course. KWANG Hello Willy, what have you got for me. WILLY Well, your nosy scientist finally came back today. I gave him the book. KWANG(sounding pissed) Why did you give him the book Willy! My specific orders were to alert me when he came back to your shop asking about it! WILLY Well, he gave me a good deal, (He holds up Babe ruth card) see a Babe Ruth rookie card, almost five hundred years old! KWANG(sighs) Very well Willy, thank you for that splendid little bit of information, we can take it from here. WILLY Mr. Kwang, do you think you could have a talk with city council about maybe adding some credits to my G.C.R(Grid credit rate),see I promised the misses that I would accumulate enough credits to get us promoted to second grid........ KWANG I'll see what I can do Willy. WILLY Thanks Mr. Kwang. Bye...... Kwang pushes a button on the console and Willy dissapears from the screen. In large words 'Connection has been reset' appears. The camera shifts to a couch across the room. A young man, about 20, sits on the couch. He is Asian, long hair in a pony tail. He smokes a cigarette and wears a white tuxedo. He's Kwang's nephew LEI. LEI So, what is to be done with our Mr. Cooper? The camera turns back towards the desk and we see Kwang. A short fat Asian man, he has his hair slicked back and a receding hair line. He too smokes a cigarette and wears a white tuxedo. He looks to be early fifties. KWANG He is too valuable to the project, but he needs to be disciplined. No one questions the ways of Sin-Tech. LEI So, should I go and persuade him? An evil smile unfolds across Kwang's chubby cheeks. KWANG No, I think I'll send the Spetsnaz to do his dirty work. Kwang hits the intercom button. KWANG Margaret, get me Mr. Renko on the phone. MARGARET(secretary) Yes sir. Kwang takes his finger from the intercom and leans back in his chair. CUT TO: EXT. THE CITY - GRID STATION - NIGHT We see the grid station from far away moving closer to it. A grid station is like a huge hovering orb with 10 holes circling around it. There's a big sign on the top labled 'GRID STATION 6, sector2' and many small tunnels protrude from the holes. Little booths sit where the tunnels begin and cars stop there. Energy generaters circle the grid station, and that's how the grids are created. We have ben moving closer and closer until we're right in front of the station. We see Cooper drive up in an old beat up car, though it's better than any car we've seen, a HOVERCAR, like a jet automobile. The car in front of Cooper finishes up and drives away down the tunnel. Cooper moves up to the booth and stops. He looks over and we see from his POV a man in a police type uniform , looking mad and exhausted. Reluctantly the man speaks. BOOTHMAN License , registration, and proof of citizenship please. Cooper takes out his wallet and we see a flash of a card. It's security pass for Sin-Tech industries. He removes his drivers license and his G.C.R. and places it through the slot under the bullet proof glass and then he opens the glove box and removes a paper slip and then puts that through the slot. The camera shifts from outside the booth to inside. The Boothman picks up the cards and slides the G.C.R. into a little slot on his computer. We see all the specifics about Cooper pop up on the monitor, his date of birth, height , weight, etc. The Boothman picks up the drivers license and gives it a once over. He looks at it, then looks at Cooper, and then puts the card down. He looks at the monitor as the G.C.R. card slips out of the slot. He slides the identification stuff through the slot and Cooper picks them up. BOOTHMAN Welcome back to Level 2 Mr. Cooper, and a whole 5 minutes earlier than the amount of time you said you were going to spend in Level 1. Cooper looks bored and iritated at the boothman's small talk. COOPER mmmhmm. BOOTHMAN Well, drive on through. The boothman pushes a button on his council which opens up the gate, which Cooper drives through. The gate leads down a long tunnel where on the sides can be seen maintenance men and gas stations, auto repair shops. Cooper drives silently to the end of the tunnel and then pulls up on the steering wheel, flying into a new tunnel which leads to the top of the Grid Station. Other cars are driving next to him in the other lanes. SHOT OF: The top of the grid station as cars come flying out of the tunnel and out into the city. We see Cooper's car drive on past and fly off. INT. COOPER'S CAR Cooper turns on the radio and one of the most famous talk shows is on, the Mitch Silionsky Talk hour. Mitch Silionsky, the future's version of Howard Stern. MITCH(on radio) We're just coming up to the hour folks, and I have to tell you, I'm depressed. I haven't had sex in two weeks. My wife is going through one of her pissy stages , god, I hope she's not one of those lesbians like on dateline the other day, that get married to men, and then go off........ Mitch's producer interjects now. PRODUCER(O.R.) Uhh, Mitch, can we move it along here. MITCH Ohh yeah right, well, moving on, next up we have the lovely doctor Mary Wilson, noted psychiatrist and has had many of her articles published in the New England Journal, the New York times, ohhh what the hell am I saying, who cares what she's done, for when she's around Mitch Silionsky, she must bow down before me, god of Radio, now, lets bring her on out here. Cooper stops at a traffic light turned green now and laughs at the radio speaker. MARY(O.R.) Well, it's very nice to be here and...... MITCH Blah blah blah, lets get to the point lady, let me ask you something, when was the last time you just got naked and streaked through the radio station? MARY MY word! MITCH No seriously. PRODUCER MITCH!!! MITCH All right all right, now where's that damn topic? (shofelling of paper) Here it is. Now , Dr. Wilson is here to speak with us today on the emotional effects of the city grid zones, and why those fascist government bastards put them up in the first place. I'll tell you why, to enforce their so called law, and to bring down the little guy like me! Now I'll tell you something, I used to have a well renowed and respected radio show up in second grid, until one day I made and anti- government comment over the radio waves, and here I am now, shock jock of the stars. MARY Well, that's exactly it Mitchell, the government feels the need to have law and order over chaos....... Cooper looks out the window, sees a man on a ledge about to jump, and some cop cars and media vans around him. MARY ........and so they believe that if they seperate all the citizens they deem low standard and ship them down to the gutter of human society, they can create order and chaos, presumably in the top grid. MITCH Well, you've seen top grid before Doc, what's it like? MARY It's like a paradise, you can go anywhere and do anything. It's filled with the governments hand picked model citizens and everyone gets along. It's like one of those old TV shows, like the Dick Van Dyke show, where every family gets along, perfect model class society. Unlike the second and third grid, where people have to have licenses to have children, where there is no fresh food, and you're forced to eat recycled junk. You know what, I saw a woman in lower grid the other day, she was in labor at the end of an alley. I took it upon myself to help her, and we delivered the baby together. When the police showed up, she had no proof of a parenting license , and the baby was taken away from her, right on the street. I went home and cried myself to sleep................. MITCH Yeah touching story Doc, but I'm the one that babbles on for hours on this show, so shut cha trap. That's all the time we have for today, tune in tomorrow when I interview braless teen pornography stars. PRODUCER That sounds like a good one............ As Cooper drives into a parking garage , he switches off the radio. He turns a switch and the car stops in mid air and wheels come from the bottom. They thouch the ground and Cooper drives down the driveway to a large garage door. He stops the car and pushes a button on the dashboard. The garage door opens and Cooper drives in. The door shuts. INT. GARAGE He stops the car and restraints grab onto the wheels. Cooper opens the door and hops out. He takes the book with him. He walks up to a door labled exit and walks through it. SHOT OF: Cooper shutting the door from the other side, in the hall. INT. HALLWAY Cooper walks away from the door and towards an elevator. He pushes a button and the little numbers above the elevator door light up one by one as they get closer. The elevator door opens and Cooper steps in. He turns around and looks towards the camera. The door shuts. INT. ELEVATOR Cooper pushes a button on the council labled 120th floor. The elevator begins to go upwards. Cooper looks around and notices the video camera. He becomes nervous and hides the book under his coat. INT. UPPER HALLWAY We see the elevator door closed for a second, and then it opens up. Cooper rushes out and walks down the hall. He sees a man sitting by a doorway in the hall, an unshaven , badly dressed gang looking thug. COOPER Hi. GANGMAN Fuck you! Cooper keeps walking by and gets to his door. He makes it to his door, and then stands there for five seconds. Then a voice responds. VOICE Identification please. Cooper takes a card out of his wallet and slides it through a slot on the side. VOICE Thank you. The door opens and Cooper walks in. VOICE Welcome home Richard. COOPER Hello Anne, nice to finally be home. Lights. The lights in the room turn on. Cooper takes off his jacket and drops it on the couch. He drops the book along with it . He enters into the kitchen and opens up a cabintet. ANNE What musician would you like to hear Richard? COOPER Surprise me Anne. ANNE How about Beethoven? COOPER Sounds good. Cooper opens up a small box, which says instant tea on it. He takes out a small cube from it. Then he takes out a glass container and drops the cube into the glass container. He walks to the sink and pours some water into it. Then he places the glass container on a coffee maker looking contraption. He flips a metal cover over the glas container and pushes a button. The machine buzzes for a moment, and then dings. Cooper flips up the metal holder. In the background Beethoven II begins to play. Cooper takes out a jug and pours the instant tea into the jug. He pours out some of it into a glass that he takes out of the cabinet. Cooper takes a sip of the tea and walks out of the kitchen up to the couch. He picks up the book and strides over to a chair near the window. He sits down and reads his book to the music. INT. THE HALLWAY A man dressed in a long dark coat passes by the gang man in the hallway. We don't see his face. The gang man looks up suspiciusly. GANGMAN Hey fuckface, I"ve never seen you on this floor before, you live here? The man pauses and wips out a pistol with a silencer on it from his coat and shoots the gangman point blank in the face. Then he walks on. The man walks up to Cooper's door and stops. Anne the computer voice notices. ANNE No other resident lives in this apartment sir, please walk on, or show identification and proof of being an acquaitance of Mr. Cooper. The man takes out a card from his jacket and slides it through the card slot. As soon as the card slides past sparks fly from the council. ANNE You are not permitted to 'zzehzz' enter this apartment unless proof of residency 'zzzhheeh'. The man pushes open the door and walks inside. He aims his pistol at Cooper who is so shocked he falls out of his chair. The man removes another pistol from his jacket and shoots the stereo three times. it sits silent. COOPER So, they sent the great Spetznaz just to retrieve a messly book. The camera shifts to show the face of the man. It's Mr. Renko from the beginning. RENKO From what I hear, this book is a lot more valuable than anything on this earth. A banned book, banned for two hundred years now by the house of representatives. Said it would cause a disturbance in the public, that people coldn't handle it. COOPER Maybe they can't, that's exactly why I got it, because of what we're doing down at Sin-tech, I had to know what this species was like, before we made a mistake. I believe now that we have made a very bad mistake, one that may destroy all of mankind as we know it. RENKO Just hand over the book Mr. Cooper, I have orders not to kill you, but they didn't say I couldn't have my fun with you if you didn't cooperate. Cooper looks down at the book, the up at Renko. He tosses the book to Renko , who catches it. RENKO Nice doing business with you Mr. Cooper. Renko turns around and leaves the apartment. Cooper stands motionless, then when he is certain that Renko is gone, he walks up to the kitchen countertop and sits down in a stool. He picks up a small monitor and the screen flashes "Computer system infected. Unknown virus detected." Cooper sighs and curses under his breath. CUT TO: Shots of African landscape. Animals roaming the area. A scene of a jungle. Monkeys swing from trees. Lions lay motionless in their din. Then we see the opening at the front of the jungle, leading into a desert. The desert isn't like a barren wasteland, it's actually qutie nice. Vegetation sprinkles the landscape this way and that. Oasis's can be seen in the distance. Then three figures pass by the camera. Call is in the front of the group. She looks as normal as she did when we left the group last. The camera stops as Call passes by and then we see Johner, covered in sweat from head to toe. He rubs some from his forehead and keeps walking. Then Ripley passes by, looking better than Johner, but not in good shape as it is. She has Vriess slung over her shoulder. They walk on for a bit. Then the wind starts to kick up. JOHNER Man, what I wouldn't do for a shot glass right now. Call rolls her eyes and keeps going. Ripley smiles, almost about to laugh when she stops and looks off in the distance. She squints her eyes and concentrates. Call stops and turns around. Then so does Johner. CALL Ripley....? JOHNER What the fuck is up with her? Call shrugs her shoulders. RIPLEY There, off in the distance, you see it? CALL See what? JOHNER How can you see anything in this shit? We see Call stop and look off where Ripley was looking. POV SHOT: From Call's point of view we see through the storm. Schemetics and readings pop up in her view like on a computer screen. The view zooms in closer to the object off in the distance. We see a small house. CALL Yeah I see it. It's a house, almost small enough to be a shack. How anyone could live out here, I don't know. JOHNER Well, lets get going then. They all begin to walk. They finally make it to the house and Call kicks open the door. Johner runs in and Ripley quickly follows. Then Call enters and shuts the door behind her. The group looks around the house and they see a shrine to hunting. Animal heads litter the walls. Elephant tusks stick out from one display. A tiger skin rug sits near the door. A gun rack sits on one wall and an assortment of old fashion rifles sit there. Johner walks up to admire them. JOHNER Who is this guy? CALL I don't know, but I say we don't stick around to find out. RIPLEY Call, we at least have to wait out this storm. Ripley drops Vriess's body on top of the tiger skin rug. Call walks up and folds the rug over Vriess's body, to cover him up. Johner walks through a doorway into another room. The camera follows him as he enters. The room is empty except for a cot in the corner. Call walk sin behind him and looks around too. JOHNER All right, who gets the bed? EXT. OUTSIDE SHACK We see the dust storm rage on. Sand is starting to pile up on the sides of the house. Night has fallen. INT. SHACK - INSIDE - LATER Ripley is standing face to face with a wild boar head stuck to the wall. She stares deep into it's eyes, as if challenging it. Call walks up and waves her hand in front of Ripley's face. Ripley jumps for a second, and then looks at Call, and they laugh together. Johner then walks into the room from the room where the cot was. He looks pissed. JOHNER Hey, some people are trying to get some sleep around here. Call and Ripley laugh like giggling little girls. Johner rolls his eyes, and then walks back into the room he came from. Call walks towars the window and stands there. Ripley plops down in a chair. CALL Ripley........what are we going to do after we leave here? Where can we go? (Call turns towards Ripley) The government will be after us wherever we go, whatever we do. You're a government science project and I'm a fugitive synth. We just made a crater in the African continent with an expensive piece of government hardware. Ripley seems unworried by all that Call has said, and shrugs her shoudlers. RIPLEY We don't have to worry about the government. They napalmed the whole area and they'll asume that all that's left of us is ashes. If we lay low for a couple of months they'll forget all about us. Then we have to get off planet. Somewhere maybe we can get an old ship for a low price. Then we gotta get out of the core systems. Mayeb head out to the outer rim where the government has barely any say. Ripley stops, finally relizing the responsibility she is bestowing upon Call. RIPLEY Listen Call, you don't have to do this. I'm in this alone, always have been, but you, you could just go and start a whole new life. Just put the past behind you. Call looks at Ripley, almost seeming to yearn for any semblance of a normal existence. CALL No Ripley, I can't leave you now. When I let you live in that jail cell I took responsibility for your life. We can help eachother Ripley, and we're in this together. RIPLEY Your call kid, your funeral. Call frowns at this, then turns back towards the window. EXT. OUTSIDE - MORNING The dust storm has blown over, and everything is calm. Large mounds of sand lay against the old shack. The sun beats down on the earth with a vengeance. INT. THE SHACK Ripley sits silently asleep in the chair she last lay in. Call is no where to be seen. The camera leaves the room and goes to the next, where we see Johner lying fast asleep on the cot, snoring loudly. We pan back to where Ripley sleeps. She lays still for a moment, and then suddenly jumps awake. She looks around the room, sniffing the air. She stands up from her chair and looks over where Johner sleeps. Then she walks out of the shack. EXT. OUTSIDE Ripley walks outside and scans the yard. She hears some sort of strange sound and turns towards a seperate house of to the side. It looks like a small barn, and the doors are open. Ripley walks over to the barn and enters to discover Call sitting inside a ancient looking jeep. The sound we heard was the cranking of the oldest jeep ever seen. Call waves at Ripley and rolls down the window. CALL Lookey what I found. This piece of tin must be 200 hundred years old, but someone has kept it running. RIPLEY Well, lets take it and get the hell out of this wasteland. CALL Now hold on a second, we don't even know who owns this jeep. What if they come back here and need it for something. Ripley rolls her eyes. RIPLEY Like what Call, there isn't anything around here for miles. CALL Exactly, they may need it to get to the nearest town. Besides, we don't even know where we are, the nearest town may only be a few miles from here. RIPLEY All the better reason to get going now. I'm gonna go wake up Johner, then we gotta go. Ripley walks back through the barn entrance back towards the house. Call runs out after her. CALL Ripley, I'm not so sure about this. Johner Hey, what's up? RIPLEY What we're doing is getting the hell out of here. Call found a jeep. Suddenly a gunshot rings out and bullets start to hit the ground around the group. Johner pulls out his two pistols and aims them towards the shack where the shots came from. Another shot is heard and one of Johner's pistols fly from his hands and hit the ground. A man steps out of the shack. A small african man, about 50 years old, long grey hair that poofs out to the sides, long ripped up jeans, and a leather vest, but no shirt. He holds an old winchester rifle right at Johner. Call pulls out her pistol but The man pulls out a .347 magnum from his back pocket and aims it at her. Ripley stands timdily through all of this. RIPLEY Would you assholes stop jerking around, and lets settle this like civilized barbarians. JOHNER Tell that asshole to drop his guns, we drop ours. MAN You assholes are the ones who ransacked my house, and from what I've seen, tried to take my jeep. Call throws down her pistol to the ground and holds her hands up. CALL Liten, we don't want any trouble. Our ship crashed in the jungle, and we've been looking for civilation ,you could say. The stranger holds his rifle down, and puts the magnum in his back pocket. He eyes Call suspiciously. MAN No way you could just crash out in the middle of nowhere. Someone would come for you, the United Earthian Sky Guard or whoever the hell scans the ships that enter atmosphere. Why they no come for you? The group stands silent, not knowing how to explain. The stranger starts to laugh. MAN Ohh, I see, a little trouble with the big bad govment huh? I had a little spat with them once, that's why I'm out here in this wasteland. Well, I'm always willing to help out a fellow refuge in need. I'll drive you to the nearest town. But no one drives my jeep but me. The group smile together and all walk towards the jeep. WALKABOUT By the way, my names Walkabout. RIPLEY I'm Ripley. JOHNER Johner man, nice to meet you. CALL I'm called Analee-Call, you can call me Call. WALKABOUT All right Analee, Call it is. Call kinda blushes. Walkabout holds points his finger towards the jeep. WALKABOUT shall we? CUT TO: Shot of the jeep from a distance, driving at a break neck rate. Dust flies up in a cloud behind the jeep. The camera moves in closer until we reach the jeep. The occupants of it are talking together. Vriess's body lay in the back of the jeep, feet hanging out. CALL So , what kinda town is this? WALKABOUT Well, it's not much, and when I say not much, I mean not much. The population count is probally ten at the most. RIPLEY Where is the nearest town from there? WALKABOUT I don't know, five hundred, six hundred miles. Ripley leans back against the back seat where she sits, looking stunned. Johner is in denial. JOHNER The fuck........? No way am I gonna be stranded out here for the rest of my life. I'm in my prime goddamn it! There's gotta be some way out of this place. WALKABOUT Well, every six months or so a supply ship shows up, maybe you could get a ride on that. The African govment, fearing law suit, sought it fit to send out low grade food to this lowly town. WE'd have to signal the ship though, cause it doesn't stop to land. Ripley and Johner let out a ring of obscenities, very pissed at their situation. CALL I don't know about you guys, but this sounds like a fucking cakewalk to what we've just been through. WALKABOUT What exactly have you been through? Call goes silent. Ripley doesn't answer. JOHNER We had a uhhhh...... bug problem on our ship. A big bug problem. Walkabout stays silent, not really caring enough to ask more. Ripley leans in close to Johner. RIPLEY (Sarcasticly) Nice save. The jeep keeps driving on as we CUT TO: EXT. NEW ENGLAND CITY We are flying through the city again as we go flying far down to the bottom of the city. We stop in front of a building where people can be seen entering the front door. The people are men and woman dressed in business suits and some are talking in cell-phones. Security officers can be seen in the doorway sensoring people as they enter. A sign in the front reads "SIN-TECH INDUSTRIES: Making life easier for the worker class." We stop for a second, and then go flying up following the building up its many floors. The building seems like it goes on forever until we finally reach the top where a large Sin-Tech sign can be seen. We move in closer until we reach a window of a prestigious office. We see a man sitting at a desk. Suddenly we hear an intercom ring and we CUT TO: INT. KWANG'S OFFICE We see Kwang hit the intercom with one finger. The ringing stops. KWANG Yes? SECRETARY(over intercom) A Mr. Renko here to see you sir. KWANG Send him right in. SECRETARY Yes sir. Kwang takes his finger off the intercom and leans back in his chair. The doors to his office open and Renko enters. KWANG Take a seat Mr. Renko, please. Without saying a word Renko comes and sits down in the chair sitting in front of Kwang's desk. renko looks bothered that he has been summoned here. KWANG Did you recover the book, as I asked? Renko opens up his coat and takes out the book, then he places the book on the desk, slides it to Kwang. KWANG You are a man of little words Mr. Renko, I like that. RENKO It gets the job done, better to make it swift, and silent. Renko says this with a pleasurable grin. Kwang examines the book and flips through the pages. KWANG Very nicely done. I have another mission for you now. Kwang takes out a file from his desk and tosses it in front of Renko. Renko takes it in his hand and on the cover it reads TOP SECRET. KWANG No bodies were found at the crash site of the Betty . #8 is believed alive and we want to recover her before the American or African government do. She is accompanied by an Auton synthetic human. The Auton could be huge profits for our synthetic industry, which had been lagging ever since the rebellion on Versa 213. RENKO Yes , the mining colony where the synths took over and attempted to get off planet, I heard of that. Renko flips through the file. Pictues of the crash site are in it, and then pictures of the different mercenaries, followed by profiles. RENKO When do we leave? KWANG Effective immediately, you leave tonight. RENKO Good, more poy for me. The camera moves in closer and closer to Renko until we're right in front of his eyes , covered in his glasses. CUT TO: EXT. AFRICAN LANDSCAPE - DUSK We settle on a patch of dirt, silent and calm. Off in the distance we can see a small town. Then all of the sudden a jeep drives by at break neck speed and sprays dirt into the air. CALL(off camera) So, why are you called Walkabout? INT. JEEP - DUSK We see a bewildered look come over Walkabout's face. He looks awkwardly at Call. Call gives a look like "answer the question please!" WALKABOUT I don't know, just liked the name I guess. CALL So, that's not what you parents named you? What's your real name then? Walkabout looks back into the backseat and gives the group a hesitant glance. WALKABOUT Asks a lot of questions don't she. RIPLEY Tell me about it. JOHNER It's all in her programming, she's pogrammed to be a nosy bitch. Call looks hurt and then angry. RIPLEY Hey, fuck you Johner, she'll always be more of a human then you'll ever be. JOHNER Oh this from the half alien hybrid. RIPLEY Big words from such a little man. Ripley and Johner start to smack at each other in the backseat. WALKLABOUT I'm sensing I'm sailing into uncharted territory here. CALL You have no idea. The jeep pulls up into town and passes a sign labled "Faith", apparently the name of this worn out town. The jeep drives down the streets of the town where no one seems to live. It passes by houses and deserted looking shops. Everyone in the jeep glances back anf forth, wondering what they've gotten into with this dead town. The jeep stops in front of an old church. Walkabout shuts off the ignition and everyone hops out. WALKABOUT You three wait here, I'll go get Father Billy. Walkabout runs inside. Johner gives Call a smartass look. JOHNER Father Billy? What type of pussy ass name is that for a Priest? Ripley looks nervous and steps back a bit. RIPLEY Uh, listen guys, I think I'll catch up with you later. CALL What do you mean? RIPLEY Well, I'm just gonna walk around town a bit, you know, get the feel of the place. Ripley holds her hands behind her back, looking agitated. She turns around and walks down the road. JOHNER What's with her? CALL You expect me to know? JOHNER Just thought it was a chick thing. Call punches Johner's shoulder playfully. Then Walkabout and a young man, Father Billy Schneider, walk out of the Church. Billy is about twenty one, short cut sandy brown hair. He's wearing cut off jeans shorts to his knees and a white shirt covered in dryed paint. He also has paint smeared across his face. He holds out his hands to them. BILLY Hi, I'm Father Schneider, I know I know it sounds like a jewish name. (hesitates a second) My friends call me Billy. Call almost looks threatened. CALL Are we your friends, father? BILLY I've never met a person I didn't like. JOHNER I can think of a thousand things to say, but I think I'll hold 'em back. Johner steps up in front of Billy, standing almost a foot taller. He seems to tower over him. BILLY Uh , hi, mister? JOHNER Johner, call me Johner. BILLY No first name? Johner doesn't answer. BILLY Okeedokee Call extends her hand, and Billy takes it. CALL And I'm Analee, Analee-Call. Walkabout looks around confused. WALKABOUT And there was someone else with them, I don't know where she went. What was her name.......? CALL Ripley, she's just a bit shy. She'll be back in a bit. BILLY All right. Well, 'Bout here tells me you guys are in need of a place to stay? CALL Well, are ship crashed about 100 miles from here. I guess we do need a place to stay if what Walkabout says is true, that there isn't civilization for a long ways away. BILLY That's right, if you were to look at a map of Africa, the town of Faith would be the little speck in the middle, the thing people think is just a piece of their lunch that they dropped. CALL Walkabout tells us there's a supply ship that comes every six months? BILLY That's a shame too, you just missed the last ship. Won't be another for a whole six months. Johner kicks the side of the jeep hard. JOHNER SHIT! How the hell am I gonna be able to live around all this religious crap for six months. Billy seems unmoved by this. BILLY Well, if you're going to stay here, I guess I'll show you your rooms. Lets go inside. CALL Wait a second. Johner, help me with Vriess's body. They both walk over to the beach and grab Vriess's body, covered in a blanket so you can't really see him. BILLY Um, body? Why do you guys have a body with you? CALL He didn't make it through the crash. BILLY I'm really sorry for your loss. Johner looks strained from the weight of the body. JOHNER Can we just get this shit load inside? CALL(pissed off) Damn it Johner! JOHNER What!!! CALL Don't talk about Vries that way. JOHNER Excuse me for living. Everybody turns to walk inside the church. Call and johner haul the body through the door. Walkabout doesn't come though. He runs up to his jeep and hops in. WALKABOUT Guess I'll be heading out then. CALL Thanks a lot for your help, we really appreaciate it. WALKABOUT No prob! Walkabout drives off out of town. EXT. TOWN'S STREET Ripley walks down the street minding her own business. She sees a light down the street and walks up towards it. She stops in the doorway and looks up. A sign on the front reads "Fat Tony's Bar and Grille". Ripley walks through the doorway. INT. FAT TONY'S PLACE Ripley enters through the door and looks around. The bar seems to be totally empty. A man, Fat Tony, stands behind the bar. He's short, has his greasy hair slicked back. He wears an apron and is washing a glass cup with an old dirty rag. Ripley turns her head and the camera follows her. An ancient black and white TV set is propped up from the ceiling behind the bar. Ripley looks off to the corner and sees the only other person there, a small old man in the corner, dressed in an old grey suit. Content with her surroundings, she walks up to the countertop. FAT TONY What's your pleasure? RIPLEY Whiskey, straight up. Tony leans down behind the counter and takes out a whiskey bottle and places it on the countertop. Then he reaches down again and takes out a shot glass. He slams it down in front of Ripley, then he pours into the glass. Ripley picks up the glass and drinks the whole shot in one gulp. Tony picks up the bottle. Ripley grabs his arm. RIPLEY Leave it. Tony pulls his arm, but doesn't seem threatened by this outsider. TONY Sure lady, whatever. Ripley smiles at him, a rather sinister one. Tony turns around and walks into the kitchen. Ripley turns around and leans against the bar. She picks up the bottle of whisley and drinks the entire thing, in one long chug. She then turns around and slams the bottle down on the counter. the tiny Tv set catches her eye. The picture is distorted a bit. On it two men, political looking, one a small black man with short white hair that looks African , the other a large white man that looks America, sit in chairs in a living room type area, while appearing to converse. The TV is muted. Fat Tony walks back into the room from the back room, and sees Ripley looking up at the TV set. RIPLEY Can you turn that up please? Tony looks agrivated that she would ask, but he oblidges. TONY Sure lady. Tony goes over to the TV set and reaches up. He turns one of the nobs and the volume inscreases. On the TV the two men still speak to eachother, while a nes anchorman talks. The politicians can't be heard though, only the anchorman. ANCHORMAN(On TV) President Dolen met with the Ambassador of the United African Territories in the Oval Office today, and expressed his apologes for the Crash of the U.S.M owned ship Auriga , that devastated nearly five hundred acres of African land. PRESIDENT(On TV) And I give you my humblest of apologes, Mr. Ambassador, and promise that an incident like this will never happen again. We Americans take pride in......... Ripley turns away from the TV, not seeming to care anymore. RIPLEY Turn that shit off. Tony shakes his head at her impoliteness, but walks over to the TV set and switches it off. Suddenly , a man enters through the doorway. A short man, crew cut dark brown hair, wearing a dirty brown tank top and green fatigues, leather combat boots , and a hat resembling that of a green beret. On his arm sits a holster where he has his pistol. He smokes a large cigar. He looks to be the meanest son of a bitch to ever walk the earth. He looks right at Ripley, who returns the gaze. This is a rather tense moment. Then he walks forward and takes a chair, turns it around backwards, ands sits down in it, watching Ripley the whole time. Ripley comes out of her trance and turns towards Tony. RIPLEY(whispering) Who is that joker? Tony leans in close and looks over Ripley's shoulder, eyeing the man. TONY That's the Colonel. Colonel Samson Briggs. Washed up old marine , stuck in this dead end town like the rest of us. Briggs lifts up his head and looks right at both of them. BRIGGS That's ex-colonel Briggs, Tony. Would still be a Colonel if the government hadn't screwed me over. (eying Ripley) And you, you're one of them, I can smell it on you. Briggs lifts his nose up in the air, and sniffs loudly. Ripley smirks. RIPLEY One of what? What the hell are you babbling about soldier boy? Ripley walks up to Briggs's table and takes a seat. BRIGGS Don't you know girl. You're like me, you had one of those bastards inside you. I can smell it on you. That's what happens when you got one of them things in you, you never lose their stench. Even the cleanest shower can't wash an Alien off 'ya. From the counter, Tony shakes his head and snickers. TONY Have you been drinking somewhere else Sam, 'cause you sure sound like you've had a drink or two, or three. BRIGGS You see any other bars in town Tony? nope, didn't think so. Besides, unless you have a license to order, liquor's too expensive to import. RIPLEY Hold on a minute, what were you talking about. You mean you've had an alien inside you, like this. Ripley opens up her shirt a bit, exposing her small scar across her chest. Briggs snears at this. he pulls down his collar and exposes his scar, more old and faded than Ripley's. Ripley seems astonished. RIPLEY But where.........? BRIGGS Me and my platoon were given a mission to drop down in the LZ on this hot spot in one of the outer sphere systems. Can't remember the name now, Lb-246 or something. We were to infiltrate this large Derelict Alien space craft and retrieve some kind of egg. They never told us what we'd find man! My whole platoon got was slaughtered by an onslaught of xenos! Briggs jumps out of his chair now and leans down in front of Ripley. BRIGGS Those things killed my men, but that wasn't enough. Me and my lieutenant were brought back to some sort of hive. That's when I can't remember anymore, except waking up, and seeing the company men making their way through the masses of alien corpses. They took me down off the wall, and they took out whatever those xeno bastards put in me. They wasted my whole platoon , they gave me this, (points at scar) All for one goddamn alien speciman. Tony rolls his eyes at the counter. TONY Lay off the sauce man. RIPLEY And why do you think I give a fuck? Next time, when I'm drinking, don't bother me with stories that just remind me of how my life sucks. Trust me bud, you're one of the lucky ones. They spared you, and let you off to live here. But for some of us, the pain doesn't stop. Briggs looks dumbfounded. Ripley gets up and walks towards the doorway. BRIGGS Who are you anyway? Ripley smiles again and turns towards Briggs. RIPLEY Ripley, Ellen, Lieutenant First Class, number three-six-seven-oh-six. Ripley walks out the doorway. BIGGS Beer Tony. TONY(laughing) I think you've had enough. EXT. TOWN STREET Ripley walks down the street silently and reaches the church. She pauses in front of it and looks around. No one home? She walks up the steps and enters the church. INT. CHURCH The place is lit up brightly with dozens of candles. The Church is worn down and old. Paint cans sit by the wall next to white coverings. ripley walks down the middle of the chapel and up to the Altar. A staute of Jesus sits on the ground on the altar. Wooden blood drips down from Christ's crown. Ripley shivers at this site. A tool box lays next to it. BILLY(off camera) Haven't had time to put that up yet. The Church needs a lot of remodeling. Ripley jumps up and throws billy a disturbed look. Billy had just walked through a doorway on the side of the church wall. BILLY Hey, didn't mean to frighten you. You are Ripley right. RIPLEY Yeah. BILLY I've already showed your friends there rooms. You must be tired, would you like me to show you.......... Ripley cuts him short and walk up passed him, but stops. RIPLEY I'd love to, it's been a hard day. BILLY Right this way. Billy directs Ripley towards the door and Ripley walks through. Billy picks up a candle and walks through after her. INT. HALLWAY Billy and Ripley walk down the dark hallway and Billy stops in front of a room. He opens up the door and leads Ripley in. BILLY This will be your room, for however long you chose to stay at my humble home. The room is as plain as you get. A small cot sits in the corner, with a thin blanket laid upon it. The room sits empty of any materual possessions accept for a small dresser by the doorway. Billy sits the candle down on the dresser. BILLY I'll just leave this here so you can have a light. We have no electrictity here at the church. Billy looks up at Ripley, looking for any sign of gratitude. Ripley shows none. BILLY Well, I guess I'll just be going. Billy steps out the doorway when Ripley grabs his arm, gently, but firmly. RIPLEY Listen Father, I may not show it too often, but I'm really greatful. My friends and I, we have no place to go. This is really generous. BILLY All comes in the job description Ellen, you mind if I call you Ellen? Ripley smiles, but this time kindly. RIPLEY No, Billy, if you don't mind if I call you that? BILLY Of course not. They stand awkwardly for a moment, not knowing quite what to say. RIPLEY I guess you should be going. BILLY all right, see you tomorrow Ellen. Billy closes the door behind him as he exits. RIPLEY(whispering) Goodbye. Ripley steps towards the bed and removes her brown jacket. Under it she wears a white tank top that looks worse for wear. She turns her head and sees a small crucifix over the door. She stares at it for a long moment. Then she walks over and takes it down from the wall and opens up the top drawer of the dresser and throws it in. She then closes the drawer and sighs. CUT TO: shot of the sun coming up over the barren land's horizon. A large field can be seen. It appears that it once could have been able to raise crops; not anymore. QUICK SHOT: of the town streets of Faith. Farm animals roam the empty streets. An old african woman sits next to a small houses front door. SHOT OF: the inside of the church, sitting serene and calm. All the candles are out now. No one is around. INT. RIPLEY'S ROOM Ripley lays asleep on her bed, but she doesn't look all peaceful and serene as her surroundings. She tosses and turns, and appears to be taking up a real sweat. DREAM SEQUENCE: Ripley is walking down a long corridor that vaugely resembles a chambered nest of shallows on a much larger scale. It is a structure of some sort, extending from and crudely imitating the complex of plumbing, but made of some strange encrusted substance. Ripley looks very nervous, and can't help but sweat. VOICE(Off camera) Mommy, mommy is that you? Ripley tenses and turns, looking off in every direction. RIPLEY Newt? VOICE Mommy, I"m scared. Help me mommy, save me! Then suddenly an ear piercing scream rings out, that of a little girl. Now Ripley is running down the halls at full speed, picking ways to go as she follows the scream. But no matter where she turns or runs, she can't find the orgin of the scream. Ripley stops and puts her hands on her knees, at a loss. Then another scream is heard and is closer. Ripley turns a corner and sees NEWT, the little girl from Aliens, cocooned to the wall, looking unconcious. Ripley walks up to her. RIPLEY Don't worry baby, mommy's here, I'll get you out. Suddnely the little girls eyes open up, and she looks at Ripley. Now her face changes to that of AMANDA RIPLEY, Ripley's daughter, only eleven years old. She looks straight into Ripley's eyes. AMANDA You were never there for me mommy. I waited on my birthday, but you never came. You promised mommy, and you never came. Ripley looks positively in pain, not knowing what to say. RIPLEY But I did try to come , I really did......... AMANDA But now it's too late , and you couldn't save me. You let me die! Suddenly Amanda starts to convulse and shake. Her eyes roll into the back of her head and a dark red spot appears on her chest. Something jerks up on her chest , not yet breaking the skin. Then it bursts through, an alien chestburster. It sits inside of Amanda's chest gazing at Ripley. Ripley screams and backs up against the wall. Something moves behind her. DALLAS You couldn't save me Ripley, why couldn't you save me? YOU KILLED ME!! Ripley turns around and gasps . A malformed Dallas lay cocooned to the wall of the hive. He reaches out to her and she backs up again. voices from all around the hive begin to yell out to Ripley. HICKS You let me die in my sleep Ripley, why didn't you save me?!! Ripley turns and sees Hicks, looking like he was when she last saw him, bandage to the head and upper torso. He lay cocooned to the wall of the hive also. Ripley becomes overwhelmed by this and turns to run. BURKE Ripley, help me, I can feel it moving inside me. Ripley turns away from Burke to behold a horrific site; the statue of JESUS CHRIST cocooned to the wall. Blood gushes from his crowned head. Then the statue seems to come alive and Jesus looks down at Ripley. JESUS You let me die Ripley. RIPLEY NOOOOOOOO!!!!!! Ripley screams like a banshee and runs away from this site, running madly down a long corridor. She looks up and sees the end of the tunnel and runs faster. When she makes it to the end she enters into a GIGANTIC EGG CHAMBER. Spanning miles long and miles high, millions of eggs lay. Ripley turns around to run back but sees that the tunnel has been sealed off. A voracious hiss is heard, almost like the roar of GODZILLA. Ripley turns around to see sitting in the center of the chamber is a HUGE Alien Queen, probally ten times bigger than the on in ALIENS. It hisses loudly and looks towards Ripley. Suddenly a chanting can be heard, all around Ripley and through out the chamber. CHANTING Join us, come with us, join us, we will show you things we've seen. Ripley puts her hands over her ears and shuts her eyes. RIPLEY Get out of my head!! The chanting continues on and Ripley writhes around madly. The queen reaches out her long hand across the chamber towards Ripley. Ripley screams and falls to the ground in the fetal position just as the queen's hand comes down to close around her when: Ripley wakes up from her nightmare. She jumps up from her pillow and frantically looks around the room. It lays silent and still. Ripley puts her hand on her chest rubbing the spot where her scar is. Then she pulls away the covers and hops out of bed. She runs her hands through her hair and walks towards the door. EXT. BARREN FIELD Call and Johner work on a harvester , a big rusty hovering thresher roughly the size of a winnebago, out in the middle of the old dried out field. The church can be seen not too far off in the distance. Call has a wrench in her hand and is working under the thresher , on her back , while Johner sits in the cockpit type area , watching. CALL All right, now try it. JOHNER We're never gonna get this old piece of shit to work, you do know that Call? CALL Goddamn it Johner, just do what I say. Johner shrugs his shoulder and cranks the engine. He turns the ignition key, and the Harvester turns over, almost starts for a second. Then it dies. Call smacks the side of the old machine . CALL Damn it! Why does everything in this town have to be more than a century old! JOHNER This is some life I'm in. Having to work for a priest for six months, just so we maybe will get out of this piece of shit town. Call gets ot from under the thresher and leans against the side. She sits there for a second and then sighs. CALL All right, lets try it again. EXT. OUTSIDE - CHURCH Ripley comes out from the front of the church and looks around. No one home it seems. she walks a bit down the street and to the side of the church. She rounds the corner and sees Father Billy on a ladder painting the side of the church with a roller . Billy looks down at her and smiles. RIPLEY I kinda feel like a fifth wheel around here, think there's anything I can do? BILLY Well, I don't know, is there anything you can do? RIPLEY How about I take this roller here, (Ripley picks up a roller from the paint tray laying on the ground) And I'll start on the bottom. BILLY (smiling) Two painters are better than one. Ripley picks up the roller and begins to spread paint across the bottom of the church wall . BILLY We're having the funeral in an hour, is that okay? RIPLEY(Puzzled) Funeral? BILLY For your friend. What was his name? Reese, Virus, no no, Vriess, yeah, that was it. RIPLEY Oh, well, we didn't know eachother that long. I guess......I guess we were friends though. I'm not really sure who my friends are these days. CUT TO: A shot of a chunk of dirt, lifted up from the ground, and tossed into the air. EXT. GRAVESITE Billy, Call, and Ripley stand in a fenced-in area which is apparently a gravesite. Only about ten or so other graves are in the site though. From the hole where Vriess's grave lay, dirt flies up from it. A casket lay next to the hole. Johner's hand pops out from the hole , and he pulls himself up. JOHNER Hell of a time diggin that shee-it hole. Billy walks up to the front of the hole, and motions towards Call and Ripley. Ripley picks up two cords on the side of the casket and pulls, while Call does the same on the other side. They drag the casket over, and begin to lower it into the hole. It hits the bottom with a thud. As Call and Johner begin to shovel dirt into the hole, Ripley freezes up and goes off, into another world, another time. INT. LEAD WORKS - BLAST FURNACE - DREAM SEQUENCE - "ALIEN3" The area looks fuzzy and dreamlike as Ripley stands next to Clemens, crying on his shoulder. Andrews finishes saying his peace, when Dillon shoulders his way through the small crowd of inmates. Ripley brings her head off Clemen's shoulder to see what he has to say. DILLON Why are the innocent punished? Why the sacrifice? Why the pain? Andrews places his bible down as Dillon preaches on. DILLON There aren't any promises. Nothing's certain. Only, some get called, some get saved. TIGHT ON: The inmates below on the platform. They recoil from the great heat, and then hurl two canvas bags into the raging inferno. DILLON She won't ever know the hardship and grief of those of us left behind. We commit these bodies to the void with a glad heart. SHOT OF: As the two canvas bags fall for what seems like an eternity into the mouth of fire. DILLON(cont'd) For within each sead, there's the promise of a flower. And within each death , no matter how small, there's always a new life. A new....beginning. INT. GRAVESITE Ripley snaps out of her trance while Call taps on her shoulder. Ripley looks at Call, who looks concerned. CALL Are you allright? RIPLEY(uneasily) I'm......I'm fine. Lets just get this over with. Johner stabs a cross into the ground in front of the grave, which now has been covered in dirt. On it reads, "Patrick L. Vriess" "R.I.P" Billy opens up his bible, and solenmly begins to read from it. BILLY We commit this man to our keeping , O'lord. His body has been taken from the shadow of our nights, he has been released from all darkness and pain. This man has gone beyond our world. He is forever eternal and everlasting.......ashes to ashes, dust to dust. A hunanimous "AMEN" goes through the group, as they lay their shovels to the ground. CUT TO: A Hovercopter flying over an apocalyptic looking landscape. The hovercopter looks like a large millitary type helicopter, but instead of a propellar, it has two hover engines(resembling small jet engines) on each side of it. The Hovercoptet is fully self contained and has a large door on its rear end. The Copter is flying over the African land where the Auriga crashed. Nothing is left of the jungle climate. The entire area is flattened. It looks like a nuke one thousand times Hiroshama hit this place. EXT. CRATER SITE The Hovercopter flys over a humongous crater and circles around. Other ships and hovercopters and land vehicles can be seen parked at the base of it. The Hovercopter lands near the other vehicles and the back of it opens up. Several soldiers run down the ramp and make two single file lines by the hovercopter. Mr.Renko and Mr. Castle exit the helicopter and walk past the soldiers. As they walk we can see dozens of people in suits that look like radiation suits. They have little monitors with foot long poles that seem to be taking readings of the area. Renko and Castle walk towards a small man that seems to be in charge. He looks to be about fourty , short, bald, and wears rimmed glasses. He has on a Sin-Tech uniform and holds a clipboard. He has a miniature headset on; a small object , about the size of a hearing aid, sits in his ear, and a small metal wire with a mike on the end is in front of his mouth. He is directing the masses. RENKO You in charge here? SILVER Ahh yes, you must be Mr. Renko and Mr. Castle. Mr. Jason Silver holds his hand out to the two, but they don't return the gratitude. SILVER Ahe, well I'm Jason Silver. Plasure to make your acquaitance. CASTLE Have the bodies been found yet Mr. Silver? SILVER(agitated and nervous) Um, no, but I assure you they will. Nothing could have survived this, (indicating the landscape) This type of destruction. RENKO Mr. Silver, I was sent here by my, your, our mutual employer, Mr. Kwang, to see that you were successful in finding the bodies of number 8 and the synthetic. I am very dissapointed that you have failed. Silver shakes and sweats badly. SILVER Not exactly failure.......I assure you that we're using all the resources at hand.......... RENKO Walk with me Mr. Silver. Renko begins to walk forward. Castle grabs Silver's arm with his hand and takes him as he moves along. They all begin to walk away from the crater area. RENKO Now, lets say I'm Ripley and I just crahed in my space ship. The very same African government jets that shot me down and tried to kill me are still flying around the area. What do I do? Silver looks absolutely puzzled and shaken. Castle gets right in Silver's face. CASTLE Well? SILVER Uh, uh, I guess I would run. Renko nods. RENKO Yes Mr. Silver, you would run, but were would you run to? A loud rumbling sound can be heard and quickly becomes a roar. Renko walks up to the edge of the waterfall and looks over. Castle brings Silver right up to the edge. SILVER To the , uh, to the ........ RENKO Mr. Silver my patience runs thin. SILVER To the waterfall!! Yeah, that's it, this is the only place they could have gone. Hey, I figured it out. RENKO We're all very impressed Mr. Silver. Now I want a swift search of this entire river for a hundred miles down. I want to know ever single sign of civilization near here, and I want to know every possible nook and crany and rock that our number 8 could be hiding under. Do you understand? SILVER Yes, I understand very clearly. RENKO Good. I want them found, within the next thirty eight hours, or I'll have your head. POV SHOT: Through binoculars we see Renko and Castle and Silver up on the cliff off in the not so far distance. The binoculars are futuristic and have specs and and data all around the sides. SHOT OF: The front of the binoculars as they come down to reveal the face of Walkabout. CUT TO: Shot of the statue of Jesus's face. It sits still for a moment and then lifts off camera for a second. We hear a grunt and some where someone yells out PULL! The camera pulls back to reveal the statue being lifted up in the air on a rope by Johner and Billy. Call stands on a ladder on the altar waiting for it to be lifted up. CALL Come on you guys, we're gonna lift this thing if we break our backs in the process. JOHNER What's this we stuff, I don't see you lifing anything. Ripley enters the room and shakes her head at the sight before her. RIPLEY You guys still haven't got that thing up yet. Here, I'll give you a hand. Ripley walks over and pushes them out of the way. With a mighty pull she lifts the staute high up into the air. Call grabs hold of it and straightens it out, and then pushes it close to the wall. Then she takes out some nails from her pocket and places them up to the statues corners and hammers them down with her hammer. RIPLEY Now, that wasn't too hard, was it? Billy and Johner sit down on the ground, exhausted. RIPLEY What do we do now? CALL (smiling) We eat! CUT TO - DINNER TABLE Everyone sits at the small table except for Call, who charges through the door with a large pot. She sets it down on the table and takes off the lid, then she lifts up a spoon from inside, and walks around the table spooning soup into each's bowl. JOHNER What is this stuff? CALL It's good for you boy, eat it. JOHNER I'll eat it, but I don't have to like it. Johner begins to chow down on the soup , devouring it with his spoon. He picks it up to drink like a cup when he sees that everyone else is looking at him. JOHNER What? BILLY I thought we would say a prayer first. CALL Can I say it Father? BILLY Go ahead Call. CALL Bless us Father, on the first day of the rest of our lives. We have been dealt many hardships these past few months, but through it all, friends and allies have come to our aid. Father Billy is one of these many friends. We thank him for his graciousness, and hope that someday we can return the favor. Bless our first meal father, and the many others to come. BILLY Amen. RIPLEY (reluctantly) Amen. JOHNER Can we eat? Everyone at the table turns towards Johner and makes a face. CALL Johner! JOHNER Sorry! I'm just hungry for god's sake! BILLY His appetie is justifiable. JOHNER Damn straight. A hush comes over the room. Only Johner eats his soup in a mad hungered rush. He looks up at the rest of the people and then points across the table at something. JOHNER Can someone pass the bread? Everyone rolls their eyes at Johner. CUT TO: It's nightime out next to the side of the river bank. Several men in Sin-Tech uniforms meander around with German Shepards, investigating the area. Lights from their flash lights pierce the air and light up some areas, while most stay as black as night. Barking can be heard off in the distance. Men's voices can be heard calling out to eachother. A sin-Tech man, early twenties, clean shaved and looking green, looks around close to the bank of the river when his dog starts to fidget. The German shepard kneels its head down and sniffs at the ground. A joyous grin comes across the young mans face. SIN-TECH MAN You got something boy? The dog barks and walks forward a bit. Then the dog stops and sniffs the ground again. The man shines his flash light at the spot where the dog sniffs to reveal tons of imprints in the muddy soil. Assorted foot prints and what looks to be the outline of a man. ST MAN Holy shit! Good work boy. The boss will be happy about this. The man pats and rubs the dogs head, who accepts hapilly. The St man runs off with the dog in the direction of where the light and sounds of the men is coming from. The camera stops on a bush and we see him run off. In the bush there is a sudden movement. Like a chameleon , a man had been hiding in the bush, and was there the whole time, but was so well hidden, could only be noticed by a trained eye. It's Walkabout, and he has a grim look on his face. SMASH CUT TO: A shot of the burning sun in the sky. The camera moves away from the sun to show that we're flying over the barren field. We fly across the football sized field and start to lose altitude, going farther down and down until we see some people at the edge of it. The camera comes down to the ground and settles near the people. We see that they're Ripley, Johner, Billy, and Call, all dressed in work clothes; tank top, cut up jeans, raggidy old gloves. They're putting up a fence along the field, and look like they've been working for a while, even though it's just early morning now. Johner picks up a skinny log and puts it up straight in a picked spot on the ground, and Call puts soil down in the hole. Billy and Ripley do the same farther down the field. Ripley hands some barb wire out of a long spiral of it to Billy, who then hammers it to the top of the log. Billy wipes his sweated forehead with the back of his gloved hand and looks up at the sun. Ripley puts her hands on her sides and looks up too. RIPLEY Haven't worked this hard in a while, at least when my life didn't depend on it. BILLY Well, I'm greatful for the help. Haven't had any around here, since my dad died. Ripley gives him an inquisitive look. BILLY This used to be a prosperous town you know. The farming was great, the people were great. My grandfather moved here fifty years ago, brought my dad along with him after my grandmother passed away. Father said she was a good woman, shame I never met her. The two continue on working. Ripley doesn't want to push him too far , but Billy begins to speak again anyway. BILLY They lived here for many years, my grandfather was a farmer. He became good friends with the local priest and and tried to help him out when they took it upon themselves to rebuild the old church. My grandfather rallied the town and everyone helped rebuild it. My father met my mother during the rebuilding. They were married a month after they met. I was born. Everything seemed great. RIPLEY But? BILLY But, it had to end. Company men came to our town and bought out the mayor. They wanted our prosperous farm land, it being one of the last fertile places on Terra. Hundreds of people lost their jobs to the company. Many moved away because of the lack of work. Then the chuch burnt down. My parents died one night while praying in the church. I guess it could have been an electrical fire, maybe someone knocked over a candle, I don't know. Some said it was the company men that did it, in an act of desperation to eliminate the last bonding ties of this town. Billy stops talking for a second, looks down at his feet. BILLY I was all alone. RIPLEY I know the feeling. BILLY Father Malcolm took me in. He helped me and brought me up like his own when the town seemed to be falling apart around us. He taught me of the lord and his mysterious ways. When I was down and cursed the lord for my troubles, he always showed me that god was not to blame, and that it was wrong to hate. He was a great man. RIPLEY Where is he now? BILLY He.....passed away, five years ago. RIPLEY I'm sorry. BILLY Don't be, he's in a better place now. RIPLEY I wish I could be so sure of that. BILLY What was that? Ripley puts on her innocent little girl face and smiles at Billy. RIPLEY Nothing. So, why are the fields so dead if they used to be so fertile? Billy gives her a look like 'duh'! At first Ripley doesn't nderstand, but then realization fills her. BILLY The company's machine, used up the nutrients and minerals in the field up. Sucked them dry. Now, this is all we have left, (Indicates field). RIPLEY And, you plan to rebuild the church, and with that, hopefully this town? BILLY If I have to lay down every brick, nail every board, and super glue every last piece of this town back togeter by myself, I'd still do it. Ripley laughs at this. Billy starts to laugh too, but he looks like he's not sure why. RIPLEY I like determination in a man. It's a good trait. BILLY(Smiling) Then you must like me a lot. RIPLEY(smiling) Well, you do have that boyish charm of yours. Billy blushes broadly. CUT TO: A shot of a barren desert land stretching on for miles. Suddenly a jeep flys by the camera at over a hundred miles per hour. INT. JEEP It's Walkabout's jeep and he sits in the front seat with a detrmined look on his face. The roof is up on the jeep and Walkabout still looks sweaty. He glances around for his car a bit and then opens up the glove box. He removes a CD case and opens it up, takes the CD out, and puts it into his stereo. The CD pauses for a moment and then comes on. It's the theme song to American Bandstand. A smile comes across Walkabout's face and he sways to the music. CUT TO: Back to the town of Faith. Nightime now and as usual the city streets are empty and quiet. INT. BILLY'S OFFICE Billy sits quietly on a couch reading in his office. Next to the couch is a small desk where a lamp sits, illuminating the dark room. Billy looks entranced by the book, which is down to the last page. He finishes and sighs, then closes the book and gets up from the couch. He walks over to a bookshelf on the side of the office and puts the book back. SHOT OF: The side of the book reads, "Voyage of the Space Beagle" and below is says," A.E. Van Vogt". Billy stands by the book shelf scanning the wall for another book. None really stand out for him so he bends down to where a row of magazines sit. He pulls out a dozen or so and smacks them down on the ground in front of him and starts to flip through them. SHOT OF: As Billy lifts up a magazine from the stack to reveal an ancient issue of "PEOPLE". On the cover is a picture of Ripley, hair cropped off like in ALIENS. A blurb sits below her face reading,"Ellen Ripley, only survivor of the Nostromo disaster, awakes from a 57 year long hypersleep. Exclusive interview on pg. 28." Billy flips through the pages and comes to page 28. Several pictures of Ripley are on the pages, some of her in a hospital gown, some of her in plain clothes. Strangely, an orange cat is in most of the pictures. Billy looks astounded and flips back to the cover and reads the date. BILLY 2179? That's impossible! Billy drops the magazine to the floor, looking confused as hell. BILLY Who are these people? CUT TO: Ripley stands outside in the moonlight, leaning against the fence they had put up early. She has a faint smile on her face and looks up longily at the moon. Billy walks up from behind her, and stops. He has his hands behind his back. Ripley doesn't move a muscle, simply stands quiet. BILLY Hi Ripley, I......I think we have to talk. RIPLEY About what Billy? Ripley turns around and looks at Billy. Billy almost looks ashamed. BILLY About this, (Holds up the magazine) How can it be possible? RIPLEY Well, I was desperate for some money, and people called me up, me having the record for longest time in hypersleep. I swallowed my pride, and did the article. Got good money for it too...... BILLY Ripley, you know what I mean, this magazine is two hundred years old! RIPLEY Oh, that little detail. Well, it has to do with, the person that's on the cover of that magazine, is not me. That person died two hundred years ago. I'm just a replicant of her. BILLY You mean, you're a clone? RIPLEY Exactly. BILLY And that's why you guys are here, the government's after you, aren't they? RIPLEY Well, yeah. We kinda had to destroy a piece of expensive government hardware. BILLY Why's that? RIPLEY A horde of the most deadly Alien species mankind has ever known was onboard. BILLY Sounds like you've had a tough life Ripley. RIPLEY Yep, all two weeks of it. So, you don't care about us being here? You won't turn us in? BILLY No, I know you have done nothing wrong, it is the government that always seems to be at fault. RIPLEY Thank you Billy, for everything you've done for us. BILLY It's really no problem Ripley, just doing my job. An awkward silence comes over them. It seems to be more awkward for Billy than it is for Ripley. She notices this. RIPLEY So Billy, when did you get your...um what's the word? Your calling I guess you would call it. BILLY It was right after Father Malcolm died. For a while there I was lost, and angry at the world. No matter what I did, nothing ever turned out right. The town was asunder, my parents and my mentor were dead. Thought of suicide passed through my head alot, I'm sad to admit. I came to the church one night with a gun in my hand, and asked god's forgiveness for what I was about to do. There was only one bullet left in my fathers old pistol, and when I pulled the trigger, nothing happened. The bullet had been a dud! With no bullets left for the gun, I took that as a sign from god to not kill myself, and to continue my life with the determination to help others like me in dire need of help. Ripley smiles at Billy, examining this young man. RIPLEY So, devoted your whole life to religion? BILLY Yes, yes you could say that. RIPLEY Was it worth it? BILLY Well, sometimes, when times are really bleak, I get down, and even start to doubt god, but , he always shows me the way. I'll never really be in doubt for long. Ripley leans in close to Billy, right in his face now. Billy seems uncomfortable with Ripley being so close. Ripley leans in and tries to kiss Bill, who ducks down before she can. Ripley kisses air and Billy jumps back from her. BILLY Uh, Ripley, what are you trying to do? RIPLEY I was......just testing your faith. Either you really are devoted to god, you don't find me the least bit attractive, or your gay. BILLY Well Ripley, I am devoted to god, but the other two you can disregard. RIPLEY so, you do find me attractive. BILLY Well, if I wasn't celibite, you are like twenty years older than me Ripley. Kinda an age problem. Ripley kinda feels ashamed and doesn't try to conceal it. BILLY No Ripley, you are a very attractive woman, but , I have a purpose in life , a purpose that has its draw backs. Why...why do you throw yourself at me anyway? I mean, am I that much of a hotty or what? Billy flexes his arm muscle and kisses his forearm sarcasticly. Ripley doesn't laugh. RIPLEY I don't know Billy, it's just , lately, I've had some major problems with faith, and religion. BILLY Yeah, what problem is that? RIPLEY Well, I just think it's total bull shit. Billy nods his head, not at all shaken by this. Ripley laughs. RIPLEY To be totally blunt with you. Billy laughs too at this. BILLY You sure don't have a problem with that do you? No Ripley, I do not wish to force religion upon the unfaithful or misguided. I just wish you had some sort of path to guide you, some divine influence. Ripley looks up sky ward and points at the stars. RIPLEY Well, I guess my divine influence would be them, the stars. I've never really stopped to admire them before, but somehow I've always been drawn to them. Guess that's why I become a star pilot. To be as close as I could, you know. BILLY God works in mysterious ways Ripley, maybe his way of helping you is through the stars. I'm just going out on a limb here. RIPLEY No no Billy, it's okay of you to try. After what I've been through though, the stars are the most of my problems. (looks at Billy) I knew someone like you once. A great man named Dillon. He helped me in my time of need. His faith was very strong and he told me once that he could have enough faith for the both of us. BILLY Well Ripley, I could be like that for you. And maybe some day, you will come back to the church. Maybe not today, maybe not tomorrow, but someday and someday soon. RIPLEY Okay Bogey, now don't start getting preachy on my. Yeah, maybe religion isn't all that bad. It is a symbol of hope for some people, and that is something everyone needs. BILLY I think he could be saved yet Ripley. Ripley puts her hands on Billy shoulders. RIPLEY Don't get your hopes up too high Billy, but yes, I would say it's a start. BILLY Lets get inside. I'm getting tired, and a warm bed beckons to me. RIPLEY Sounds good to me. They both walk back up to the church. EXT. THE DESERT WAlkabout stands tinkering under the hood of his jeep, which has broken down. A small lamp hangs from the top of the hood. Walkabout fools with the jeep for a second, and then walks to the front seat and sits down. He puts the key in the ignition and tries to start the car. It turns over but then dies. Walkabout smacks the steering wheel. WALKABOUT Come on you piece of shit, don't fail me now! Walkabout tries it again and it starts. Walkabout screams of joy. He jumps out and gets the lamp and slams the hood shut. Then he gets back in the front seat and drives away, off into the desert unknown. CUT TO: Shot of the sun coming up again, low in the sky. It lights the desert land red and orange. EXT. TOWN STREET - NEXT TO CHURCH WAlkabout's jeep pulls into town and honks his horn several times. He drivesd down the streets of the town waking up those who listen and stops in front of the church. Walkabout jumps out of the jeep and runs up the steps of the church. INT. CHURCH Walkabout barges through the doors running down the hallways screaming. WALKABOUT Everyone wake up!!! Ya gotta wake up everyone!!! Billy walks out the door next to the altar in his pajamas waiping sleep from his eyes. He comes up to Walkabout looking confused. BILLY What's up chum? Why are you so hyper? Johner and Call comes through the door from their rooms and looking around dazed. Actually, Call looks wide awake and alert, which can't be said for Johner. JOHNER What the fuck is going on here? Walkabout looks hurt at Johner's phrasing. Call elbows him in the stomach. CALL Sorry Johner is always so....brusque. He'll regret it later . So, why have you come here Walkabout? WALKABOUT To give you a warning , and to possibly help. Ripley walks in just then, and over hears what he just said. RIPLEY A warning for what? CUT TO: A shot of a hover copter flying over the horizen. It flies not too far from the ground and looks like a huge dragon fly. INT. HOVERCOPTER Ten soldiers sit on the benches in the helicopter, five on both sides. Each are heavily armored and wear blue sin-tech uniforms and hats that have in large letters ST on them. They each holds shock rifles and have side arms strapped to their belts. At the end of the rows sit Mr. Renko and Mr. Castle , wearing no armor and having no rifles, just the long coats and casual wear. Except for Renko's expensive armani vest he wears under the coat and his fine black silk shirt. Castle wears shabby clothes, symbol of a twenty something human who doesn't care about fashion. Renko gets up from his seat and walks up to the cock pit, where two pilots sit with large helmets and fly suits on. One wears silver looking flight glasses and is a woman in her ealry twenties, the other a goofy looking man in his late thirties. Think Spunkmeyer and Ferro. RENKO How long? The pilots exchange a look. MAN PILOT Oh, 'bout fifteen, twenty minutes. What's the rush? RENKO Make sure we're there in ten. Renko gets up and goes back tho his seat. The man pilot scowls at Renko and gives the woman a quizzical look. MAN PILOT Who's dick does got up his ass? WOMAN PILOT Probally that guy's. She points back at Castle. MAN PILOT(laughing) Yeah, 'probly. They both laugh as we CUT TO: A gentle shot of the town, all silent and empty. The hovercopter suddenly flies past, disturbing the silence. It hovers in the sky for a second. INT. HOVERCOPTER The woman pilot looks back at Renko, not sure what to do. WOMAN PILOT Where the hell is everyone? RENKO Land this thing. MAN PILOT Where do you want it chief? Renko snears at the pilot. RENKO Land in front of the old church. WOMAN PILOT Aye-firmative. EXT. CHURCH The hovercopter lands in front of the old church and the back opens. A ramp rolls out and the troops run out and form single file lines, five on each side, like earlier. Renko and Castle walk briskly down the ramp and stop at the front of the line. The ramp goes back up to the door , which seals back up. RENKO (TO Pilots via mike) Hold at fourty. Slow circle of the area. WOMAN PILOT(Over mike) You got it chief! A pissed off look comes across Renko's face. He shakes it off and points at the soldiers. RENKO You three, come with me. (points further down the line) you two, go south and patrol that part of the town. (points on the other side) You three patrol the north. (points at last two in line) And you two patrol the west. CASTLE Do not harm #8 and the synthetic called Call, but feel free to eliminate any one else who comes between you and our mission. RENKO Lets go! INT. CHURCH The soldiers enter first, strafing the walkway, pointing their guns in every direction. At the altar stands Billy, dressed in full priest wear, looking unimpressed by this display. One soldier notices Billy and holds his burner towards him while the others still point this way and that. At the door Renko and Castle enter, Renko in front. They walk down the hallway to the altar silently. Renko comes right up to Billy. A soldier stands behind Renko looking ready to fire his rifle off. BILLY What can I do for you gentleman? Do you wish to repent from your sins? RENKO No Father. We're looking for some people and thought you, being what looks like to be the only person in this town, might have seen them. (Takes a photo of Ripley from his jacket pocket and holds it up to Billy) Ever seen this woman? BILLY Nope, can't say I have. RENKO (pulls another picture from hsi pocket, of Call) How about her? BILLY I haven't seen her either. Is there some reason....... Like a flash Renko lashes out and grabs Billy by the collar. He pulls him to him and brings his face up to his. RENKO Now listen to me very carefully Father, I want to know exactly where they went, and exactly how long ago they left. Do you understand? BILLY Yes, I understand. Johner. SHOT OF: From the confessionarie on the right side of the church wall Johner burts out through the doorway. He leaps through the air , pistols filling each of his hands, firing wildly. Two of the three soldiers go down, one on each side of the third soldier. Simultaneously the third soldier and Renko shoot at Johner, who ducks down behind a bench. The blast from the burner slams into the wooden bench, causing no effect, but the bullets tear into it. Johner ducks down low, avoiding the gun fire. Billy tries to stop the soldiers and Renko from firing, but Castle roughly pushes him back to the altar. Billy slams right into the podium, knocking it over. Castle draws his gun from his jacket and aims it at Billy. BILLY Please, don't do this. CASTLE Walk with god my son. And shoots him square in the head. Billy lays motionless on the ground. Behind the bench, Johner's eyes light up as he hears the gun shots. He stands up, uncaring of the danger, and sees Billy , dead. He screams in fury. He fires at Renko, strafing across the room. Renko jumps sideways, shooting both pistols as he falls. When he hits the ground, he rolls and is up again, shooting at Johner, who jumps over a bench and lands hard against the bench in front of it. Suddenly from the other confessional on the left comes Walkabout, bearing a rusty old double barrel shotgun. He fires and hits Castle , who had been watching Johner and Renko's gun fight , in the side of his arm, taking a good chunk out of it. The last soldier brings his gun up to fire but Walkabout shoots him in the chest, knocking him back against another bench. Walkabout opens up the shotgun and pulls out the shells , unaware of Castle, who pulls himself back up, coming to bear on his good arm. Just as Walkabout flings the shells away from his shot gun, Castle shoots him in the chest. Walkabout looks surprised at first, like he wants to say something. Before he can utter a word, Castle shoots him again in the chest. Walker hits the ground, dead. Castle hits the ground, out of it, but alive. Johner pops up and lets out a few shots, but the hammers go back on his pistols. He clicks a switch on the side, and the clips fall with him as he ducks back down behind the bench. Renko, lying on his back on the ground, shoots the last of his clips as Johner ducks back down. Simultaneously, the two reload their guns; Renko places one of his pistols down, takes a clip from his jacket, slams it in, places the gun down, does the same for his other pistol. Johner ducks down behind the bench, places one of his pistols down, takes a clip from his ammo belt, slams it in, does the same for the other pistol. Now they're both ready. Johner and Renko pop up at the same time, wasting no time to open fire. Johner fires as he hops over the benches one by one. Renko dodges bullets that explode around him as Johner comes nearer. Johner ducks down behind a bench, comes up firing while hopping over it. Then he does the same for the next, and then the next. As Johner gets to the second to last bench, Renko ducks down behind the front bench. Johner jumps over the bench and lands on his feet. Both gun fighters come up at the same time, bringing their pistols to eachothers forehead. They both sustain from firing. JOHNER Bang. RENKO You're dead. JOHNER And you're dreaming pal. They both stand silent, then Renko boldly pulls back the hammer on his pistol. Johner almost fires, but then sees the game they are playing. He also pulls the hammer back. Renko smiles. RENKO You can't win, you do know that. JOHNER What makes you say that rusky? RENKO I heard no bullet chamber in your weapon. You're out of ammo , while I am not. I clearly have the advantage here, don't you think? Johner at first doesn't want to believe it. He nervously looks back and forth from his gun to Renko. Then, coming to a decision, he drops the pistol from his hand. Johner closes his eyes, holds his arms out, and SCREAMS, as loud as he can. Renko fires, ending the screaming. Johner's lifeless body hits the ground, and rolls slightly to his side. Renko bends down, picks up Johner's discarded pistol, and pops the clip out. As he peers inside, we can clearly see that there is one lone bullet left. Renko looks around for a second, smirking at the disaster that surrounds him. Then Castle groans, and sits up, holding his bloodied arm. Renko approaches him. RENKO What the fuck did you kill a priest for? Renko holds out his hand, and Castle excepts. Renko pulls him up. CASTLE For spite. RENKO I love you American boys. You truely are from the wild west. CASTLE I'm a cowboy all right. Renko taps his mike and speaks into it. RENKO All squads report location and status. SOLDIER#1(Over mike) We're stll patrolling, nothing found yet. SOLDIER#2 Same here sir. SOLDIER#3 We've been hearing some suspicious activity in the area, we're going to investigate. RENKO You do that. Report in if you find anything. SOLDIER#3 Yes sir. EXT. TOWN STREETS - TONY'S PLACE The soldier stops speaking into the mike and looks off towards the bar down the street. He motions for the other soldier to come with and they both jog over to the bar. The stop in the front of the bar and they both back up against both sides of the doorway. The lead soldier holds up his hand in a fist, and then spreads all his fingers. The other soldier leaps up and runs into the bar, rifle in front. INT. FAT TONY'S PLACE The soldier looks around as the other one enters through the door. They both flank the room, but no one is home. The lead soldier points towards the bar and the other walks towards it. He is about to turn to point his burner at the other side of the bar and he takes a deep breath. SHOT OF: From a low shot we see the nervous soldier jump into view and point the burner right at the camera. Nothing pops out and he exhales. He looks back at the leader. SOLDIER Nothing, not a goddamn thing. BACKWARDS POV SHOT: From in front of the leader we see Call drop down from the doorway, hanging with her feet on the roof. She holds a pistol and fires, hitting the leader through the back of the head. The other soldier tries to fire but Call shoots him dead where he stands. He slumps to the ground. The doorway to the kitchen opens up and Call brings up her pistol to fire , but stops herself when she sees it's only Tony in the doorway. Call relaxes and drops her pistol to her side. TONY Is it safe to come out now? CAll Yeah. You better get out of here. I've got a feeling the shit is about to hit the fan. TONY Right, thanks, you know, for saving me and everything. CALL No need to thank me, it's not like I can help myself. A confused look comes across Tony's face. He shrugs it off and runs out the door of the bar. Call exits too and looks around. Nobody seems to be around. She pulls the clip from her pistol, looks to see how many bullets left, and then slaps it back in. She walks off. SHOT OF: The top of a door and a little bell attached to the top. Suddenly the door opens and the bell rings. INT. PAWN SHOP Three of the Sin-Tech soldiers enter the old pawn shop and look around. The place is ancient looking and has the cob webs to prove it. An old shelf stands in the middle of the room. At the counter sits a small ringer. One of the soldiers walks over to it and slaps his hand down on it, ringing it. The other soldiers give him dirty looks. SOLDIER#1 Will you stop jerking off! SOLDIER#2 Sorry man, I just couldn't resist. The first soldier turns around towards the shelf and rolls his eyes. SOLDIER#1 Dumbass. Suddenly the soldier notices someone standing on the other side of the shelf. He yells and the other soldiers snap to attention as he raises his rifle. It's too late though and the shelf comes down on the first two soldiers. Ripley steps from behind the shelf and comes towards the third soldier who looks to be panicking. SOLDIER#3 Stop right there or I'll shoot!! Ripley keeps coming towards him and the soldier aims the rifle straight at Ripley's face as she stands right in front of him. SOLDIER#3 Stand the fuck still or I'll shoot!! Ripley slaps the rifle from his hands and it rolls across the floor. The soldier looks stunned and stands there for a second clueless. Ripley just smiles. The soldier lunges towards the burner and Ripley grabs him by the pants and throws him backwards. EXT. OUTSIDE PAWNSHOP The soldier comes flying through the window and comes to a stop when he hits the ground hard. Ripley comes out of the shop and steps up right next to him. She nudges him with her foot but he only groans and moans. Ripley bends down and takes his side arm. She examines it for a second, then reaches down and retrieves two clips from the soldier's belt. Then she stuffs them in her back pocket and the pistol in the back of her pants and walks off. EXT. OUTSIDE CHURCH Call comes towards the church and stops, listening. A unsettling silence fills the air. Call looks around and determines she is alone, and then walks into the church. INT. CHURCH Call enters the church and gasps at what she sees. Billy lay face down in a puddle of blood on the altar, Walkabout lay motonless on the ground, and Johner lay near him. Call runs down the walkway and up to the altar. She comes up to the Priest Billy. She kneels down beside him and turns over his body. Besides a sliver of blood dripping from the corner of his mouth, Billy looks almost if he were still alive. Call quietly sobs to herself, artificial tears streamin down her cheeks. She quickly recovers though, standing up. CALL I'll find who did this to you Father, and they'll pay. Of all the people that inhabit this godforsaken world, Priests deserve to live the most. The rest of us are just like gnats on a wall. Call brushes her hands over Billy's eyes, closing them. Then she crosses herself, stands up, and walks out of the church. EXT. OUTSIDE CHURCH Call runs out the door but as soon as she exits a gunshot rings out and wood splinters next to Call on the door panel. Call jumps back in surpirse and looks to see her attackers. Renko stands, gun drawn and pointed at Call, across the street while Castle holds his arm and stands a bit closer. A look of rage comes across Call's face and she briskly starts walking towards Castle, the closest attacker, with a determined look. Renko holds up his pistol at her. RENKO Stop right there! I said stop! Call ignores the threats. Renko opens fire and begins shooting at Call, her old wounds exploding across her chest. A white milky synthetic blood drains out. This doesn't stop Call and she keeps walking towards Castle. Renko sees the white blood and his eyes flash with understanding. RENKO Castle! Watch out, she's the synth! A look of terror comes across Castle's face and he draws his pistol and shoots at point blank range as Call closes in. Call slaps the gun from his hands and lifts him high up in the air. Castle gags and chokes as Call squeezes harder. CUT TO: Farther down the street Ripley runs up and sees the situation at hand. RIPLEY Goddamn it Call, what have we gotten into. Ripley keeps running towards them. CUT BACK: Call keeps choking Castle and Renko runs out of bullets. He drops the clip from his gun and takes another from his jacket and slams it in. CLOSE UP: Of Castle's face as he slowly dies. Suddenly, with deadly force Call shifts her wrist sidewayss, breaking Castle's neck in two. His eyes roll over backwards and he dies. Call drops his lifless body to the ground. Then Call herself drops down to her knees and coughs up a mouthful of white blood. Renko steps right up to Call who tries to draw her gun but drops to the ground beside herself. Renko comes up and places his gun on the back of her head. RENKO Main unit processor situated in the back of the head. I know all about android anatomy and I know that one shot in the back of the head and you'll drop like a fly. You have two options here robot. You can either let me shoot you now, or maybe you could come of some use to me later. Which is it gonna be? A click is heard and Renko turns around to see Ripley standing right behind him, gun pointed at his face. Call smiles at this. RIPLEY I don't know who you are mister, but I swear I'll shoot you dead where you stand if you don't back away from my friend, right now. RENKO Ahhh yes, #8. Intact I see. It is so nice to see you. Renko pulls his pistol back and steps away from Call. In a quick motion he brings his pistol up and aims it at Ripley and pulls another pistol from his jacket and aims it at Call. Ripley looks ready to fire but doesn't. Neither does Renko. RIPLEY Call , you okay? Call coughs up a haze of blood and then sputters. She speaks in a dull mechanical voice now. White blood drains freely from her chest. Then she grabs the gun and stands slowly up and points it at Renko. CALL I'm just hunky dorry Ripley. RIPLEY Good. Now, I suggest you drop your gun stranger, you're surrounded. An evil smiles stretcehs across Renko's face. RENKO I still have an ace up my sleeve ladies. The cocking of rifles is heard and from the side of a building pops out the last two soldiers, rifles pointed at Ripley and Call. They quickly run to Renko's side and one points at Ripley while the other at Call. SOLDIER#3 Drop the shit! SOLDIER#4 Do it now and no one gets hurt! Renko begins to laugh and loosely holds his pistol behind him laughing in the air. RENKO It appears we have a standoff here ladies. For what seems like an eternity the five hold their guns steady and stand fast. Renko doesn't look worried, but the two soldiers sure do. RIPLEY you may have an ace stranger, but in my game , deuces are wild. The two soldiers look baffled and become agitated. SOLDIER#3 What the fuck is she talking about sir? SOLDIER#4 Yeah, she crazy or something? RENKO I don't have the slighest idea. CUT TO: A shot of a computer screen, showing the exact same picture we jsut saw, of the five standing with their guns on eachother, but with data and statistics scrolling by. Targets appear on each of the enemy targets. By Ripley and Call friendly fire icons appear. The camera comes back to reveal a laptop type computer sitting on the edge of a roof. We see that Samson Briggs sits on top of a building's roof with the laptop on his lap and a gun contraption sitting next to him. It resembles the sentry gun from aliens, but smaller and about the size of a normal rifle. It sits on a mount and is armed, ready to fire. A smile comes across Samson's face as he goes down to press that enable button that is on the laptop. SHOT OF: In slow motion as his finger comes down upon the button and pushes it in. CUT TO: IN FRONT OF THE CHURCH Shots ring out and one soldier goes down, then the other. Renko jumps off to the side seeing what's happening and gets behind the church as random gunshots sprinkle the ground. Mysteriously, none of them hit Ripley and Call, but seem to hit around them. Then the gunshots stop. Renko taps his mike and speaks into it. RENKO (Via Mike) I'm gonna need some air support here. All my troops are down. WOMAN PILOT Yessir, what do you want us to take out? RENKO That psycho shooting at me from the rooftop!!! MAN PILOT Oh, okay. Consider it done. EXT. ROOFTOP Samson jumps up and waves towards Ripley and Call, yelling happily. Call and Ripley wave back. SAMSON I did good, didn't I! I took out those bastards! Suddenly the roof around Samson explodes and he goes flying off. The hovercopter flies overhead , its rocket turrets smoking. EXT. OUTSIDE CHURCH A look of distress comes across Ripley's face as the hovercopter comes to a landing in the front of the church. The two pilots come out of the hovercopter, armed with rifles. They point them at Ripley and Call. WOMAN PILOT Feeze and no one gets hurt! Call and Ripley make no move to drop their weapons. MAN PILOT I assure you, these are not burners and shoot real ammunition! Ripley and Call finally oblidge and drop their weapons, and then put their hands up. CUT TO: Renko stands talking on a small cell phone while in the background we can see Ripley and Call being escorted onto the hovercopter. RENKO (To phone) Yes, we have #8 and the synth intact. We'll be leaving now and we'll get back within the next twenty four hours. (Pauses to listen into phone) All right. Goodbye. Renko slaps the bottom of the phone up, closing it and shutting it off. He turns around and looks back towards the hovercopter, pauses a moment, and then walks to it. He enters into the chopper, and behind him the ramp comes up and the door shuts and locks down. CUT TO: A cloudy setting some time later. All around us clouds accumulate as we fly through them. Then we come past the clouds, similar to earlier. In the clearing of the clouds we see a futuristic jet soaring through the air. It looks very similar to a HARRIER JET, but the size of a concord instead. Half of each wing tips up and bends to make the plane look like a bird kind of. Six engines are on the plane, three on each wing, and it goes at considerable speeds. INT. JET - PASSENGER ROOM We enter the jet and see Ripley, strapped down to a chair in shackles, and Renko, getting a drink from a tiny bar. They are in a very exstravegant room that gives the illusion of not being in an airplane, but maybe a swanky hotel suite. A mini bar, wide screen TV(turned off), comfortable chairs, etc. Renko pours himself a drinks in a shot glass, and takes a small sip from it. He turns and looks back at Ripley, who struggles with her bonds hopelessly. RENKO Would you like a drink, Ms. Ripley? Ripley doesn't answer, but struggles harder to loosen her bonds. Renko walks over to her and sits down opposite of her, and places his glass on a small glass table between them. RENKO (laughs softly to himself) Oh, I see, you're all tied up right now. Maybe later then. Ripley stops struggling and settles down. She stares with piercing eyes at Renko, who doesn't return the stare. He doesn't seem inclined to, he merely glances around the room casually. RIPLEY Where are we? Renko sees something to occupy his time and takes the chance. He leans close to her and speaks softly. RENKO You're in a plane somewhere over the mid-atlantic. Ripley doesn't looked satisfied. RIPLEY Where are we going? RENKO To New England City. A confused look comes over Ripley's face as she ponders this. Renko sees this confusion and picks up his glass, takes another small sip, and then sets it down again. RENKO Ahh yes, New England City wasn't around in your time , was it? Well, I can tell you that it's , I guess you could say, the equivalent of New York, but much more gigantic, and a finely tuned slum of a town. My boss lives there. Renko leans back and laughs loudly. Ripley isn't amused. Where's Call? RENKO You are the little information sponge aren't you? Ripley doesn't answer. Renko shrugs his shoulders. RENKO I assure you, she is in someplace safe. Ripley trusts this answer, and sits quiet for a second. She turns her head and seems to examine her surroundings. she looks at every nook and crany of the room. Renko seems annoyed at the sudden lack of conversation. He leans in right in front of Ripley's face. He smiles at her. RENKO What are you thinking in that brain of yours Ripley? Ripley doesn't answer for a second, but then she smiles back at Renko. RIPLEY When I get out of these shackles, I'm going to kill you Renko. I'm going to wring that little russian neck of yours. Renko laughs and leans back again in his chair. He picks up his drink, takes a sip, and then points with his pinky finger at Ripley with the same hand that he holds the glass with. RENKO IF you get out of those shackles. RIPLEY It's not a question of if , it's just a question of when. The smile that was expressed so freely across Renko's face now dissapears. RENKO I don't take light to threats Ripley. I've killed lesser men than you over petty threats. Are you prepared to die over a petty threat, Ripley? RIPLEY I think the question is, are you? SMASH CUT TO: We move back along the ship and we see different things. We move past Ripley and Renko as they sit in their room farther back into the bowels of the ship. We move into the cargo room of the plane and see several body bags sprawled across the floor, lined up in a row. We move farther back through the ship and slow down now in a large room filled with several men and woman in white coats holding charts and notepads meandering around the room. In the middle of the room sits a pod, resembling a stasis pod from ALIEN and ALIEN3. A male scientist walks over to the pod and pushes a button on the side. A small key pad comes out and he presses some buttons on it. SHOT OF: From the top of the stasis tube we can see inside through the glass covering. The glass is fogged over, but we can faintly see Call, laying silent and unconscious in her skivies. Some tubes and wires are stuck into her in assorted places and some foreign liquid seems to flow through it. EXT. SKY OVER NEW ENGLAND CITY - SIN-TECH BUILDING The jet comes out from the clouds over the city. It soars through past the mountainous buildings and comes to the Sin-Tech building. On top fo the very wide rooftop is a landing pad. The jet stops in mid air high above the landing pad, and slowly descends to it(hence the resemblance to a HARRIER JET). EXT. TOP OF SIN-TECH BUILDING The side of the jet opens up and a small step ladder gets dropped down by a male flight attendant. He spreads his hands as Renko walks by. FLIGHT ATTENDANT I hope you enjoyed your flight sir. RENKO Ack! I hate airline food! The flight attendant rolls his eyes as Renko walks to the bottom of the steps. Behind him comes Ripley, still shackled. She walks silently down the steps and looks like if she could, she would throw Renko right off the building. Renko comes to the bottom and steps to the side of the staircase. Ripley makes it to the bottom and steps off. Renko motions for her to walk on, and she does. They both walk silently to the far side of the rooftop where a large door is. AS they step up to it , a booming voice speaks out. SECURITY Please state name and occupation please. RENKO Renko, Borris. Personal helper for Mr. Kwang. A smile comes across Ripley's otherwise dull face and Renko notices. RIPLEY Borris? RENKO It was my Grandfather's name, so shut up. RIPLEY Okay, whatever. Don't get so defensive. They wait a second and then the large doors open. Ripley and Renko step inside. INT. ELEVATOR To what you were thinking was going to be a normal elevator turns out to be much more. It is a medium sized room, and looks to be a mini fancy restaurant. Tables line the walls, each have candles and roses on them. Booths sit in the middle. A small bar sits at the right side of the room, and a Asian bartender stands rubbing a shot glass with a towel. In the middle booth in the room stands Mr. Kwang, still dressed in his white tuxedo which seems to blend in better in this environment. Next to the booth stands LEI, his hand stuck in his jacket, as if he were about to reach in for his gun. Kwang motions for them to walk forward. Renko pushes Ripley, who had been standing in front of him, and she walks towards the table. She stops a safe distance from it, and looks around the room. Her view stops on a painting of a breath takingling beautiful Asian woman, nude, sprawled across a tiger rug, rose in her mouth. She has hair down to her ankles which lies across her body, covering up most of her nakedness, giving the illusion of clothing. The funny thing is the woman wears black high heel shoes also. Kwang does not mind that Ripley seems to ignore her, but notices her eyeing the painting. He points towards it. KWANG (almost yearnful) That was my wife, Mei Lein. She posed for that a long time ago. She was very beautiful. RIPLEY Ye she was. Where is she now? KWANG She's dead now. I was killed her when I found her in bed with my brother, the dog and his bitch. I killed them both where they lay. No one defiles me Ms. Ripley. And no one betrays me. RIPLEY I'll keep that in mind. KWANG It is still an exquisite painting though. I keep it to remind me of my old life, before all this. (indicates the room around him) One wall of the elevator is a large window, and outside as the elevator goes gradually down, we can see our progress from how much lower in the city we are. Flying cars speed past the wind at breakneck speeds and we see the insides of buldings near the elevator. Some people can be seen miling around inside. RIPLEY Is there some reason you brought me here? Or did you just want to show off the pretty sites. KWANG We have brought you here for reasons that you will soon learn for yourself. You are very important to our little.....project. Just then the elevator stops a and Ripley kinda trips a bit from the jerk, but steadies herself. The door opens beind them, but we can't see through it. Mr. Kwang waves at Ripley and Renko. KWANG You're in for a very big surprise Ripley. I wish I could see the look on your face, but, (taps his watch) I'm a very busy man. Ripley turns to walk through the door and Renko lets her go past so he can hold his gun on her. Kwang starts to laugh very loudly and the stonefaced Lei breaks his cracks and laughs along. The doors shuts behind Ripley and Renko as they enter the new room. It is a very high ceiling room. The walls are made of very plain looking solid concrete and the room is very small. In front of Ripley and Renko is a huge metal door, like a vault to a bank door. Lots of locks and gadgetry litter the assembly on the door. In the middle of the room stands a short man, with long brown hair that is ragged and uncombed. He wears glasses and has a two day stubble. He is basicly your average over the top workaholic scientist. He wears a white lab coat over his shirt. The shirt he wears is a STAR WARS add. On it is a picture of an IMPERIAL STAR DESTROYER and DARTH VADER. It reads,"Join the Empire and see the Galaxy". He also wears some docker pants. He comes forth and with two hands , grabs Renko's hand and begins to shake it. DR. SMITH You must be Mr. Renko! I've heard so many things about you from the man upstairs, not all good if you know what I mean. Renko doesn't look amused and looks like he is thinking of killing the little man before him. Smith laughs. SMITH I'm just messing with you man! I'm Doctor Smith, no relation to the Lost in Space chracter. Nice to meet you. And you must be, (he says with great admiration) Ripley #8. We have been searching for you for a long time now. He walks up to Ripley and gets right in her face, as if he is examinging her. Ripley starts to get pissed. She doesn't like the caged animal feeling. Renko taps his shoulder with his finger, telling him to lead them on. RENKO Come on little man, I don't have all day. How about you show us around this place before we lock up our prisoner here. A look of glee comes across Smith's face, like a boy who gets to show off his new toys to his two new best friends. SMITH Okay, that sounds good. Smith runs up to the side of the vault to a control panel. He punches in several keys. The he turns around and looks back at Ripley and Renko. SMITH You guys are gonna love this!! Renko rolls his eyes. Ripley stands silent. Smith punches some more buttons and suddenly , a loud hissing can be heard. The joints of the vault door begin to budge. The interlocking gears dislodge and come apart. A large donut shaped lock twists around. Then a loud clang is heard, and then silence. Like a strike of lightning the doors suddenly burst ajar, then slowly open. Steam rises from the doorway and spreads throughout the room, clouding our vision. The doors come to a clanging stop against the walls. SHOT OF: A vent sucks up the steam from the room. It flies into it and dissapears inside. INT. ALIEN STASIS TUBE ROOM The room seems to become clearer now, and we finally see the room they are about to enter. It is a huge room, probally a third the size of the floor of the building, and stretches long and tall. Down the middle of the room there are two rows of stasis tubes, standing upright, each numbered on the top. The tubes go the entire length of the room, and there are hundreds of them on each side. But what is the most horrifying thing of all, is that inside each tube floats an ALIEN DRONE. All of them look docile, maybe asleep. Tubes and wires are stuck into their elongated heads, and monitoring equipment sits next to each tube. Next to almost every tube there stands a scientist monitoring the aliens readings and taking notes on it. In the background at the walls of the room soldiers in full body armor walks back and forth. SMITH (indicating the aliens) They're beautiful, aren't they? Ripley looks terrified at what she sees. Smith begins to walks forward, but Ripley doesn't budge. Renko pushes her back, and she oblidges. They walk down the middle of the room, between the pods, and we get to see the tubes more closely now. The scientists raise a weary eye at Ripley and the other two as they pass. Each ALIEN the scientsits stand next to looks different than the other. Some are varied different hues of color, some are larger than others, but what is most noticable of all is their physical appearance. All the aliens have taken on the distinctive appearance of a different EARTH animal. Some stadn upright like a man, while others are hunched like animals. Most are double jointed, but some are triple jointed. Some are very large and bulky and could probally be classified as WARRIOR ALIENS, while some are skinny and less muscular. Most noticable of all is that the larger ones have dips along their long heads;little indentions. Most have smooth heads though. As they walk, Ripley passes by a very large tube containing a huge alien. On its head there are two large horns. Ripley stops to examine it for a second. Smith steps behind her. SMITH That's a Bull Alien. RIPLEY Bull Alien? SMITH We classify the species depending on their genetic code. This alien was birthed from a bull, and thus took on some characteristics of it. The large body mass, some behaviorial patterns. Most notable the large horns extending from its head. RIPLEY So, you're saying it adapts by taking what it needs from it's host? SMITH Why, yes, that's correct. RIPLEY Well hell, I knew that all along. Ripley turns and walks on past Smith, who likes dumbfounded. He jogs after her. Renko follows close behind. RIPLEY So, do I have to ask? Smith looks confused at her inquiry. SMITH About? RIPLEY How did you do it? We destroyed the Auriga, which was supposed to be the only source of aliens. When it hit ground zero, there was no way you could have gotten any samples from the wreckage. Smith laughs at her naivety. SMITH We are not the United Sytems Government Ripley. We are not limited to codes and laws and regulations. We attained an Alien queen from the easily corruptable, and I believe now deceased, General Perez. RIPLEY Well, that explains it. SMITH And, we didn't have to take the time to clone the aliens either, the specimen was an Alien Queen. Ripley almost gets hysterical now. RIPLEY But, Dr. Gediman said their were inconsistencies, that the queen couldn't breed for very long, the reproductive system....... SMITH Oh, that. It turned out that it wasn't a very hard task to fix the errors in the queen's reproductive code. The only reason the Auriga's scientists missed it was because they weren't working from experience. We are. Now Ripley goes back to her normal self and smiles at the dimwitted Smith. RIPLEY And you think that will save you? Smith doesn't answer. He looks to be becoming nervous around Ripley. RIPLEY Tell me Dr. Smith, if you didn't clone all these aliens, then you wasted human life for a lost cause? SMITH I assure you Ripley, this isn't a lost cause. This Xenomorph is going to revolutionize the field of science as we know it. They reach the end of the large room, and stop at a normal looking door. Smith comes to the door and pushes the button that opens the door. He swings his arms towards the door. SMITH After you Ripley. RIPLEY(sarcasticly) Aren't you the gentleman. Ripley steps through the door, and Smith and Renko come in behind her. The camera stops as they step through and backs away from the door to one of the stasis tubes. A man comes into view, another one of the scientists in the coats. The camera pans up to reveal RICHARD COOPER eyeing the door they just entered through suspiciously. The door closes as the three enter. Ripley looks upon the room with shock of what she is seeing. A very dark room, illuminated only by night lights from hundreds of aquarium like boxes. Inside each box floats an naked animal, human or any other creature from the animal kingdon. Each creature is apparently unconscious, with a breathing tube stuck in their mouth. Monitoring equipment sit next to each box. SMITH This is where the lambs come for the slaughter. RENKO Yeah, a regular freak show. RIPLEY My god. Smith looks back at Ripley with a devious grin. SMITH Believe me when I say Ripley, the only gods here are you and I. Smith begins to walk, and the other two follow his lead. They crisscross through the shadowy room, passing the various animals. Smith talks as they walk along. SMITH We wanted to take the aliens genetic structure to the limit. We wanted to test its capacity to evolve, to survive. We found every living species on earth that could be found and used them as hosts for the aliens. As they pass by a tube where a naked man lay, suddenly the man begins to convulse. Amusement fills Smith's eyes. Disqust in Renko's. Total fear in Riply's for a feeling of realization passes trhough her. SMITH Looks like we've got one about to pop here. The man's chest bulges with stress and finally gives. It rips apart and a foreign object springs forth from his chest as the water fills with blood. Ripley screams with anguish and turns away from the scene, clutching her chest with pain. Ripley goes into a trance like state, invisioning something from the past. INT. MESS HALL - Dream SEQUENCE - "ALIEN" The crew members of the starship Nostromo all sit around the dinner table talking. Suddenly, one of them, the crew member Kane, grimaces with pain. The others look concerned. RIPLEY What's wrong? Kane's voice strains. LAMBERT What's the matter? KANE I don't know.......I'm getting cramps. The others stare at him in alarm. Suddenly, he makes a loud groaning noise, and clutches the edges of the table with his hands, knuckles whitening. ASH Breath deeply. Kane screams. KANE Oh god , it hurts. It hurts! it hurts! (stands up) Ohhhhhh! BRETT What is it? What hurts? Kane's face screws into a look of agony. He falls back onto the table. A red stain. Then a smear of blood blossoms on his chest. The fabirc on his shirt rips apart. A small head the size of a man's fist punches out, an ALIEN CHEST BURSTER. The crew shouts in panic and leaps away from the table. The cat Joneesy hisses and spits. The chest burster lunges forward, comes spurting out of Kane's chest, trailing bodily liquids and blood in it's wake. INT. TANK ROOM Renko recoils in disqust at the mess. He grabs Smith by the collar and pulls him towards himself. RENKO Do something about this mess, will you? It's truly grossing me out. With fear in his eyes, Smith nods. SMITH Sure, yeah, okay, whatever you say Chief. Renko drops Smith, who rushes over to the monitoring equipment. He flips open a cover and punches down a large red button. Somewhere a silent alarm goes off, because suddenly across the room, we see some medical technicians and two soldiers rushing to see the rucus. A look of relief comes across Smith's face. The two med techs and soldiers rush up and the meds grab the aquarium. SMITH Take this to the holding lab stat. I want that chestburster in observation for changes in metabolic rate and gene traces. MED TECH Yessir! The meds wheel the blood filled aquarium away as we see the alien chestbuster swimming around in it. The two soldiers jog close behind. Smith turns around to Renko and smiles. SMITH See, I handled it well. RENKO I see. Can we get moving? SMITH Sounds good. Ripley , are you okay? Ripley , turned away from the group, sniffles and clears her voice. RIPLEY What the fuck do you care? Smith shrugs his shoulders. SMITH I don't, I guess. Ripley turns around, looking better now, but still shaken. RIPLEY I'm better now. SMITH Lets go then. CUT TO: A low shot from a hallway. A clear picture of a doorway can be seen, and then it opens. Smith walks by, then Ripley, then Renko. The camera follows them as they walk by, nut stays in one place. INT. HALLWAY They all walk quietly now, all looking disgruntled. All except for Smith, who seems to be taking this all in a comical way. Renko stills looks like he wants to kill someone. They reach the end of the long hallway, and to a door marked TOP PRIORITY. SMITH This is the main event now. You guys are in for some cool shit. (twitches) Pardon my french. COMPUTER VOICE Identification please. Smith leans into the ID breather on the side panel on the door. He breaths on it, practically hacking up something. COMPUTER Identification confirmed. Have a nice day Dr. Smith. Smith salutes the doorway. SMITH You too darlin. They all step through the door into a small room with a glass panel on the front. INT. QUEEN OBSERVATION ROOM The three step into a very small room, containing nothing but walls and a glass window in the front. They all step up into it and gaze into a gargantuan sized room. What we see in the room is magnificient: A captive Alien queen, fed by giant intravenous pipes. Each of itss limbs is tethered by restraining clamps preventing any movement. To the rear, it's giant egg sac glows and throbs, suspended by a jury rigged sling. A SCANNING MECHANISM hangs above the eggs the queen lays, seemingly defying gravity. As each egg is scanned by a blue triangular beam, it becomes translucent, giving us a view of the pulsing FACEHUGGER inside. Scientists in lab coats walk around through the egg area freely because the top of each egg has a restrainer on it; a kind of time lock that only opens when the right code is put in. The scientists observe the eggs and the queen's behavior to them. This done, a manipulator carefully loads several eggs onto a pallet, which then sinks into a hatchway in the floor. SMITH Beautiful isn't she? RENKO Are you off your rocker doc? That is one ugly bitch! an annoyed look comes across Smith's face. SMITH No no no! She is a work of art! the most pure and perfectly evolved species in this whole universe. The room goes silent for a bit, as each person examines the other. Finally Ripley speaks out. RIPLEY I'd have to say, that for once, I think Mr. Renko is right. For a second, Smith becomes extremely angry, but then he comes himself down. He faces the others and forces a grin. SMITH It doesn't matter anyway. She is not the reason for you being here. That is still to come. (Pauses) We've seen enough here, lets move on. Smith turns to walk out, but then waves at the queen alien. SMITH Later your hinus! Smith and Renko go to walk out the door, but Ripley goes up to the glass and leans against it. She sighs of sorrow. The queen seems to feel what she does, and looks up at Ripley, as if understanding. RIPLEY I know how you feel , I guess you could say the same about me. CUT TO: The three are walking down the hallway again. In a silent scene we see them walk up to another doorway, Smith breath on the IDer, and they walk in. INT. HYBRID OBSERVATION They all enter into the room, not much different than the queen observation room except for what they are watching. On the other side of the glass is a very strange site. It looks to be that off a classroom, one maybe at a preschool level. And the students are the strangest thing of them all. Three people in hospital gowns are in the room, while two other scientists work with them. The people in hospital gowns are strange sights. Resembling the NEWBORN from the last film, but drastically different. Two of the three sit at a small table in kiddy chairs playing a boardgame, while the third stands at a board, writing different childish phrases in ver bad handwriting. One man has a half human face, while the other half seems deformed and takes on ALIEN characteristics. He has the four pipes extending from his back, and so do the others. One leg looks to be like an ALIEN leg, while the other is human. Another has an elongated head like an ALIEN , but human eyes and a human skin covered face. He reaches out with one of his hands to pick up the dice, and his handlooks like an Alien hand, but with human flesh. The one at the board looks the most human, only with semi- biomechanicalness along its body, until, in happiness for writing a sentence correct, when he opens his mouth, a second mouth comes out, the ALIEN RAMROD. But the most shocking thing of all is, the human part of these hybrids looks like SAMSON BRIGGS. Ripley doesn't react as bad to this. What she has seen already takes the cake in her book of traumatizing things. Now all she feels is remorse for these poor creatures. SMITH These were our....failures. We attempted to combine the alien DNA with human DNA, like what happened to you. We wanted to create the most powerful human warriors on earth. Warriors that may not be as deadly as the Alien, but could be controlled to do our bidding. RIPLEY (sarcasticly) So, you're saying these were.......less than accurate? Smith can tell Ripley is being sarcastic, but he can take it. SMITH That's why we need you Ripley, so we can create the ultimate combination of human and alien DNA. You're going to be a mother again Ripley. Ripley backs up against the glass in a fighting stance, the best she can do in shackles. RIPLEY Lets just see which one of you gets to die trying to get my blood. Renko had had his hands in his pockets, but like a flash he brings out a small box , about the size of a voice box, from his pocket and slaps it on Ripley's arm. Little lights begin to flicker and sounds emit from it. RIPLEY What the.......? Then a little green light flashes on the box, and Ripley screams in pain. She falls to the ground, unconscious. Smith walks over and takes the box off her arm. He holds it up, smiling at it. SMITH A combination of tissue sampler and sedative, gotta love it. The doors open and two soldiers walk in. Smith points at Ripley's body. SMITH Take her to her cell. The two soldiers pick up Ripley. One grabs her legs, the other her shoulders, and they carry her out. INT. HALLWAY The two soldiers carry Ripley down the hallway and around a corner. They reach a door labled HOLDING CELL. COMPUTER VOICE Identification please. SOLDIER Authorization code 976, under special orders from Dr. Smith. A couple of seconds pass, then: COMPUTER Code accepted, admintance granted. The door opens and the soldiers bring Ripley inside. they put her down on the ground, and one soldier takes off some keys from his belt. The other soldier puts his gun right in Ripley's face, but she doesn't move. The soldier bends down and unlocks Ripley's shackles, and then jumps back with the shackles. Ripley doesn't attack them though. They shrug their shoulders and walk out. The door closes behind them. GENTLE FADE TO BLACK: FADE BACK IN: WE move along through the hallways at a slow pace seeing soldiers walking along and scientists conversing. We come to a door with not label on it. INT. OBSERVATORY This room looks like the one for the queen and the hybrids, but has a lot of monitoring equipment and hardware. Scientists walk around getting printouts and studying the monitors. On a funky looking monitor, resembling a heart rate monitor, we see a line bounce up and down, but abnormally. On another computer we see a 3D model of a person, and data and statistics around it. Finally we come to the window and we see what's inside. Call lay strapped to a wall of machinery, tubes and wires stuck in her, her hands and legs restranied to the wall. She wears a hospital gown now over herself. Her bullet wounds no longer drain, the white blood cauterized around the holes. She seems to be fixed up, but wacked out. CLOSE UP: Of Call's face. One eye is shut, but the other flutters open and shut, like R.E.M. . Her lip droops down like a drunk. CUT TO: Smith walks down the hallway briskly towards an unknown destination. Suddenly Richard Cooper runs up beside him and tries to keep up with his pace. COOPER So, Dr. smith, I see #8 was found today. SMITH Well, yes. she is in her holding cell now. I believe that everything will go smovely with her here, she is the key to our success. COOPER Or to our downfall. Smith looks at Cooper suspiciously. SMITH what is that supposed to mean? COOPER I'm just saying that Ripley is a relentless person. She won't stop until this species is completely wiped out. I'm starting to think these days that she isn't half wrong. SMITH Now Dr. Cooper, you're not losing faith in the project are you? COOPER I just have this nagging feeling that something is going to go wrong. What if.....what if the aliens escape? There would be no way to stop them. They reach a door now, and both stop. SMITH But they're not going to escape Richard. We've seen to that. Every possible precaution. (looks at door) Now run along Richy , this is where you get off. COOPER Think about what I said Doctor. Cooper turns and walks away down the hall. Smith looks towards the door. COMPUTER Identification please. SMITH Now don't you start with me. COMPUTER Please try again. INT. QUEEN OBSERVATORY Smith enters the room and walks over to the glass. He puts one hand on the glass and leans against it. Inside the chamber, the queen appears to be asleep. She stirs a bit, and then looks up at Smith. Smith smiles. SMITH Your royal hinus. The queen opens up her jaws, and her interior mouth drops down, slime dripping from it. She seems to smiling back at Smith. SMITH Isn't that just the smile that would light up the world. In the background, a faint whispering can be heard. Smith doesn't seem to notice. It becomes louder and louder now, like a chant. SMITH What is that? CHANTING join us, come with us, join us........ Smith puts his hand over his ears and drops to his knees, screaming. SMITH Stop, make it stop! Get it out of my head! The chanting becomes ever increasingly louder. In the chamber the queen bides her time and waits. Blood begins to come out of Smith's ears and dribble across Smith's hands. Now the chanting gets too loud to even hear, and Smith falls to the ground unconscious. Then the chanting stops as he hits the groud. Smith lays still for a moment, and then suddenly his eyes flash open. He looks like a man in a trance now. He gets up and steadies himself, and looks into the chamber. The chanting starts again, but lower now, almost too low to hear. SMITH Yes.......my queen. CUT TO: Smith exits the room and walks down the hallway. He looks like a zombie now, no emotions, void of all thought. People pass him in the hall and give him strange looks. He doesn't care. INT. ALIEN STASIS TUBE CHAMBER Smith enters the huge chamber containing the aliens in the stasis tubes. He stops in front of the door and looks around lazily. Cooper sees him come in and rushes over to him. COOPER Dr. Smith, that was a fast session with the queen. You didn't let her intimidate you , did you? Smith doesn't answer and begins to walk towards an assortment of computer monitors and hardware; the main control board stationed on the right side of the large room. Cooper looks confused at Smith's behavior. He follows after him. COOPER Dr. Smith are you okay? Smith comes to the control board and begins to turn switches and push some buttons. Cooper can't understand what's happening. COOPER What are you doing? Suddenly on the screen a picture of the Alein stasis tubes appear, and a simulation of them opening up is shown. COOPER Holy shit! Have you gone crazy! You've got to stop this now! Smith merely stands by and doesn't move a muscle. COOPER Well I won't let you do this! Cooper pushes Smith aside from the computer. Smith hits the ground but quickly gets up. Cooper tries frantically to stop the stasis tubes from opening, but Smith picks Cooper up with two hands and hurls him across the room, knocking him against the wall. Cooper slides to the ground and sees that it is futile, so he runs over to the door and goes through. SHOT OF: One of the alien stasis tubes as the liquid inside drains from it. INT. HALLWAY Cooper stumbles down the hallway and sees an alarm on the wall. He elbows it to break the glass and then pulls down the switch. An alarm begins to sound off and the computer voice speaks again. COMPUTER Attention, emergency, all personnel must evacuate immediately. You now have fifteen minutes to reach minimum safe distance. Several soldiers run down the hallway to Cooper and stop in front of him. SOLDIER Sir, what's going on? Cooper grimaces at his hurt back. COOPER Smith's gone mad and is releasing the aliens, you've gotta stop him! SOLDIER Don't worry sir, we'll handle this. You just get yourself to safety. (Waves an arm at the troops) Come on men! INT. ALIEN STASIS ROOM All of the stasis tubes are open now, and the aliens have come out and are swarming around Smith. Smith holds his hands up in the air as they circle him. SMITH Yes my children, come to me! The aliens hesitate a second, and then jump on Smith, engulfing him. His screams of pain and surpise echo through the halls. CUT TO: Cooper runs down the hall, but is stopped short when he hears Smith's death scream. He dismisses it and runs on. INT. ALIEN STASIS ROOM The soldiers, about twenty in all, enter the room, rifles ready. The aliens that had been there appear to be gone. The soldiers don't know what's happening. LEAD SOLDIER What the fuck is going on?! How can a hundred xenos just dissapear like that?! One soldier points towards a door that appears to have been torn open. SOLDIER Guess they all went that way sir! LEADER Maybe, man we are in some real pretty shit now! SOLDIER#2 Sir, I've got a body! The leader runs over to where Smith's body lay, or what's left of it. he lay torn to pieces, some parts of his body strewn across the room. The soldiers try to avoid the ever spreading puddle of blood that leaks out from him. LEADER Fuck!! That's Dr. Smith's body! We are screwed royally now! (BEAT) All right, this area is compromised, lets evacuate....... A glob of slime splashes down on the leader's hat that he wears. He puts a hand on the slime and then looks at it like,"What the fuck?" He looks up towards the ceiling, and so do all the other soldiers to see ALL OF THE HUNDREDS OF ALIENS CRAWLING ACROSS THE CEILING!! The soldiers yell in fear and open fire. A horrendous spray of bullets hits the aliens on the ceiling. Some of the aliens explode in a burst of acid, which falls down to the ground. A waterfall of acid blood hits a soldier, who falls to the ground, skin melting from his body. The rest of the aliens leap down from the ceiling and rush the soldiers like the football team from hell! The soldiers fire upon the aliens in a last ditch effort to stop them. INT. HALLWAY Cooper stops for a second. The screams of the soldiers echo down the hallway along with the sounds of rapid gun fire. Another sound can be heard too, the unearthly sound of the aliens screaming. A shiver runs up Cooper's back, but he runs on. VOICE Attention, emergency, all personnel must evacuate immediately, you now have twelve minutes to reach minimum safe distance. Cooper rounds a corner and stops at a door labled HOLDING CELL. He sits there for a monent, comtemplating,and then decides. COOPER Security Overide 002, request permission for access, Cooper, Richard. A nervous second passes, and then the voice speaks again. COMPUTER Permission granted. The door begins to slide open when Ripley bursts out and grabs Cooper by the neck, lifing him high off the ground. RIPLEY Give me on good reason why I shouldn't kill you now. Cooper gasps for breath, and chokes out his answer. COOPER Because....I'm here to help you......and I know where your friend......Call is. Ripley drops Cooper to the ground at her feet. Cooper rubs his strained neck. RIPLEY Good answer. COOPER Besides, I'm the only one who knows the way out of here between the two of us. RIPLEY All the reason to keep you alive. COMPUTER Attention , emergency, all personnel msut evacuate immediately, you now have ten minutes to reach minimum safe distance. RIPLEY What happens in ten minutes? Cooper stands back up, but Ripley still dwarfs him by a good five inches. COOPER This whole floor seals itself up, and that means we get stuck in here with those things. RIPLEY We better move some ass then! Where's Call? COOPER Follow me! They both start to run down the hallway. INT. ALIEN STASIS ROOM The area is a massacre. The aliens are ripping the soldiers apart, and they can't do much about it. Bodies lay strewn across the landscape, torn to ribbons. Two of the soldiers run for a door, shooting as they go. Dozens of aliens converge in on them as they reach the door. One of the soldiers slams down the control pad and the door opens. He rushes in as an alien drops down on the other guy. The soldier grabbed by the aliens screams as he is pulled away from the door. BRIAN RAY!!!! Help me!!! The soldier in the doorway, Ray, shoots shoots at Brian's captives. the aliens seemed amused by this and rip Brian apart. His blood sprays all over Ray's face. RAY Brian!! NO!!!! Ray cocks his rifle and shoots a grenade into the room. The aliens are blown back by it and back away. Ray kicks at the control pad and the door shuts. Ray sighs and looks down at the dial on his rifle. It reads 00. RAY Shit! Ray drops the rifle and pulls out his sidearm, and gets up running down the hallway. He runs like a madman, twisting around corners and sprinting down the hall. Finally he stops and puts his hands on his knees, gasping for air. A figure drops down in front of Ray as he stands there. POV SHOT: From Ray's point of view, we see the chest of an alien. the camera moves up from the chest , to the neck, and to the face of the Alien. the Alien stands there motionless, except for his mouth. The alien's lips seperate away from the mouth as drool drips down like a rush of water. The alien opens it's jaws wide. Ray is paralyzed in fear. Like a flash the aliens RAMROD flies from its mouth, through Ray's head, and out the back, along with Ray's brains. Ray doesn't even have time to scream. The alien takes back the ramrod, and Ray falls dead to the ground. INT. HALLWAY Ripley and Cooper are running down it now. They stop at a door labled LAB. Suddenly the electronic voice speaks again. COMPUTER Attention, emergency, all personnel must evacuate immediately. You now have five minutes to reach minimum safe distance. RIPLEY We gotta hurry! COOPER This is where she is. I hope my clearance still works. (Steps up to the door) ID, Cooper, Richard. COMPUTER Voice anylization complete. ID confirmed. The door opens and they run inside. INT. LAB Call still lay pinned to the wall, unconscious. Ripley runs over to her and begins to try to get her down. Cooper runs over to a control panel and pushes some button. Call's restraints come undone and Ripley catches her. Call wakes up slightly. CALL Ripley, is that you? RIPLEY Yeah, it's me. We're getting the hell oughtta here! Ripley takes Call and helps her along as they run. Cooper runs after. INT. HALLWAY They all rush into the hallway and turn right, running at full speed. COOPER The other exit is nearby. We gotta move fast. This way! They run down the hallway until they reach a fork. Richard can't seem to decide which way. RIPLEY You work here and don't even know you way around!! COOPER Well, I've never been in this area before! CALL(weakly) Just......pick one......and lets....move! COOPER (points to the way right) Um, this way! Ripley begins to run that way but Richard stops them. COOPER (points the left way) No, this way! RIPLEY Are you sure?! COOPER Positive!! COMPUTER Attention emergency, all personnel must evacuate immediately, you now have 3 minutes to reach minimum safe distance. This makes them all freeze up in fear, but then Ripley runs down the left way. RIPLEY No time to stop now! We're almost there! They run down the hallway, each with distraught looks on their face. They turn several ways, and Cooper looks confused. COOPER I could have sworn........ RIPLEY Do you know the way or not?!! COOPER Yeah yeah this way! COMPUTER Attention, emergency, all personnel must evacuate immediately. You now have one minute to reach minimum safe distance. COOPER Lets move! They run down the hallway and reach the end. They hesitate for a second, then look right. A long hallway stretches down the way, and at the end another bank vault sits. COMPUTER 30, 29, 28, 27....... They all begin to run down the hallway as fast as they can. Call slips and hits the ground. Ripley tries to help her up, but she won't budge. COMPUTER 20, 19, 18......... Cooper runs over and grabs Call's feet, and Ripley grabs her upper torso. They hobble down the hallway as fast as they can. COMPUTER 10, 9, 8......... RIPLEY NOOO!!!! COMPUTER 5, 4, 3.......... Right as they make it to the door, the locks and bolts join together and lock in place. It seals itself shut right in front of them. Ripley drops Call and begins to bang on the vault door, but doesn't even dent it. RIPLEY NOO!!! Goddamn it, there's gotta be another way!!! Cooper looks solemn now, and slumps to the ground, giving up. COOPER There is no other way out. The entire place is sealed. Ripley stops banging on the door, and leans against it. RIPLEY Then what do we do now? CLOSE UP: Of Cooper's face, looking grim and hopeless. COOPER We die. INT. QUEEN OBSERVATORY The room lay silent for a second, and then suddenly the door begins to get beat upon. It holds, but not for long. Slowly , it buckles in, then collapses to the floor. Three aliens run inside and up to the glass window. They pauses for a second, look at eachother, and then at the glass. All three begin to spit molecular acid on the glass, which quickly melts through. The glass smokes as the three aliens rush into the queen's chamber. For a moment the queen nods at them, as if welcoming their presence. Then she twists her head at the EGGS. The aliens understand and each pick up an egg and skitter up the wall, and then run out of the room. More aliens come in and do the same, running in, grab an ALIEN EGG, and then run away as we FADE OUT: THE END