ALIEN SURVIVAL An Original Screenplay By Bartholomew L. Bishop January 29, 1998 ------------------------------------------------------------------------ FADE IN: INT. SIN-TECH RESEARCH FACILITY We open with several shots of the research facility. Long dark hallways, empty labortories. A door swings in the wind. On a desk a small toy bird rocks back and forth. The place is dead silent. INT. HALLWAY The hallway lays quiet; no movement, no life. Out of nowhere three figures run by the camera. They are soldiers, very scared and frantic soldiers. Two of them shoot back at some unknown force with their rifles, while the one in front keeps on moving, with one thought in his mind, escape. The two men stop and being shooting back down the hallway at the unknown when the third soldier comes to the end of the hall where a door is located. On top of the door reads,"RESTRICTED AREA". The soldier begins to punch in a code to the door. He looks back at the other two, sweat dripping down from every pour. He yells to them. SOLDIER#3 Move it guys!!! We gotta go!!! The soldiers stop shooting their rifles and run up to where the third one stands. The third soldier finishes the code, and the door opens up. He rushes in and urges the others on. POV SHOT: From an unknown point of view we move like lightning towards where the soldiers are standing at the doorway. Two of the soldiers move to the other side while shooting their rifles backwards. INT. RESTRICTED HALLWAY The third soldier punches a button on the doors control panel and it shuts just as something reaches it. The soldiers back away from the door as a loud banging can be heard from the other side. The door begins to slightly bend inward. The soldiers tense, ready to fight. Then like it never happened, the banging stops. All there is, is silence. The first soldier looks down at his rifle at the electronic dial on it. It reads 00. SOLDIER#1 I'm out. Damn . The soldier drops the empty rifle to the ground in disguist, and unholsters his sidearm from his belt. The second soldiers looks anxious and begins to run ahead. SOLDIER#2 I don't know about you guys, but I am getting the fuck out of here. The soldier runs down the hallway as the other two look at eachother. SOLDIER#3 I'm with him. The first soldier nods, and they run ahead. CUT TO: Shot of the soldiers coming from the end of the hallway, running like madmen. They pass by the camera as we DOLLY to the left to see them moving farther down the hallway. INT. HALLWAY As the soldiers run down it at a quick pace, the third soldier stops. He looks really worn out, and goes puts his hands on his knees, breathing in hard. The other two stop and look back at him pissed. SOLDIER#1 Damn it, come on!! SOLDIER#2 Lets go man, or the nasties are gonna get us! SHOT OF: The third soldier nods his head in agreement, and begins to move forward just as something dark and biomechanical looking drops down behind him. SHOT OF: The other soldiers scream in fear and bring up there weapons to fire. SHOT OF: The third soldier turns around just in time to see his attacker. It's an ALIEN WARRIOR; standing eight feet tall, sleak black biomechanical body, elongated smooth head, jaws of death. It opens it's jaws and out of it's mouth flies it's RAMROD. The soldier doesn't even have time to scream as his brains fly out of the back of his head. The other soldiers cry in anger and fear as they open fire on the beast. The Alien is blown back by the bullet spray. It explodes in a shower of acid, it's unearthly death cry filling the air. The soldiers stand stunned for a moment, and then the second soldier punches the first one in the arm. The first soldier gets his meaning, and they move on. ANGLE: The soldiers are running again, at a maniacal pace. But they don't encounter any Aliens, and become more at ease. As the soldiers round another corner in the hall, they come upon a horrifying site. Three Aliens walks slowly towards them, in almost crouch position. The soldiers back away from the oncoming Aliens. SHOT OF: From the side of the soldiers, we see down the hallway they just had come from. More Aliens approach from that direction. The soldiers start to panic. They turn around to run, but see more Aliens approaching from that direction. They turn left and begin to run down another hall. As they are about halfway down, two Aliens drop down in front of the second soldier. He brings up his rifle to fire, and hits one of the Aliens, but the other rushes him. Before he can kill it, it swipes at his mid-section, and takes a good chunk of it. The soldiers blows the Alien away, and then falls to the ground coughing up blood. The first soldier freaks out now. He begins to back away from the bleeding soldier. The second soldier on the ground reaches out his hand to him as more blood dribbles over his lips. SOLDIER#2 Help me up man. I'm dying here..... The soldier moans and falls to the ground. The first soldier looks back behind himself and sees the onproaching Aliens. He turns and sees a doorway right in front of him. He punches the door panel, and it opens up. INT. LAB The soldier runs in and slams the door panel. The door closes behind him, and he sighs of relief. INT. HALLWAY Outside the hallway, the second soldier gets up, holding his side with one hand, rifle in the other. He comes up to the door and begins to bang on it. SOLDIER#2 Let me in man!! Those things are coming!! INT. LAB The first soldier backs away from the door in absolute terror. He's not going to open it. SHOT OF: Outside the lab, the second soldier sees the oncoming Aliens from both sides, and brings his rifle up to fire. INT. LAB Outside the lab, gun shots can be heard. Then a howl of utter pain and fear rings out. The first soldier holds his hands over his ears to block it out. The scream goes on for a few seconds, and then fades away with a low gurgle. The soldier takes his hands off his ears, but then jumps in terror as the door begins to be pounded on. It bulges in, barely holding. The soldier backs to the end of the room, crying now like a child. He moves around some tables, knocking over vials and lab equipment. The door breaks in, and dozens of Aliens rush into the room. They slowly approach the soldier. Some hiss lowly, ramrods outstretched from their jaws, while others stare longily at the soldier. Green drool drips down from their mouths in expectation of the kill. As the Aliens approach, the soldier holds up his sidearm to fire, but then reconsiders it. The Aliens are about to close in as he places the gun to his forehead, and pulls the trigger. FADE OUT - CREDITS ROLL FADE IN: As we FADE IN , we see a shot of a large steel door, resembling a bank vault. Intermingling locks and gears make up the doorway. It sits silent for a moment, and then comes to life. A loud hissing can be heard. The joints on the vault begin to budge. The interlocking gears dislodge and come apart. A large donut shape lock twists and comes apart. A clang is heard, and then silence. Suddenly the doors burst ajar, then begin to open slowly. Steam rises from the doorway and begins to spread down the hallway, clouding our vision. Finally, the doors come to a stop and rest against the walls. The haze starts to clear, and we see that there is about a dozen large figures standing in the doorway. They wear bulky armored suits, fully self contained. They have big spherical helmets, resembling biker helmets down to the black visor. They have solid steel chest plates, steel shoulder pads, robotic gauntlets. They wear strange boots made of an ensemble of materials; looking to be a sinewy kevlar padding, and over large metal shoes at the bottom of the boot, like a size thirty metal tennis shoe. The suits have a strange black and grey design. Their helmets, shoulder pads, boots and chest plate are black, the kevlar sleeves and pants legs are grey. On the black chest plates on each figure in large white letters are the initials S.W.A.T. . They all hold futuristic looking assault rifles. The rifle has an ammo drum, bearing a resemblance to an old fashion tommy gun. The barrel of the rifle is a good meter long. These soldiers look like the ultimate badasses, and are ready for anything. The S.W.A.T. Team leader steps forward, and holds up his gauntlet in a fist. He pauses for a moment, and then outstretches his fingers. Two SWAT officers come to his right, two others to his left. He begins to walk forward down the hallway. They all holds their rifles up facing forward, light shining off the flashlights that sit on the muzzle of their rifles. They come to an intersection, and the leader stops. He looks right, then left. Then he waves his hand at the soldiers on his right, they begin to walk down the right hall. He does the same to the left, and they start down the left hall. INT. HALLWAY/WEAPONS ROOM A SWAT officer walks down the hallway training his rifle forward. His partner follows close behind. They walk down the hall a bit, and then reach the first door. Over it is a label,"WEAPONS ROOM". The SWAT officer motions for his partner to get behind him. He takes a deep breath, and then pushes the button on the control panel. The door slides open and he sees: ANALEE-CALL, laying on the floor in a hospital gown. Her gown has a rip in the side of it, which looks rather deliberate. Wires and tubes hang out, and Call attempts to rewire herself and fix some of the damage from the gunshot wounds she has. Next to her sits RICHARD COOPER, still dressed in lab clothes, he looks like he is trying to help Call. The first SWAT officer steps forward to enter the room when , like a flash, out steps ELLEN RIPLEY. She brings up a pistol and holds it right up to the forehead of the SWAT man. The Swat man freezes up, scared out of his mind. CUT TO: The SWAT team Leader walks down another hallway, some other officers around him. someone yells out something, and he stops to listen. SWAT MAN#2 Hey Sarge!! We got problems here!! SARGE/SWAT TEAM LEADER What are you talking about?! SWAT MAN#2 You better just get over here quick!!! The Sarge curses under his breath, and then motions for his men to follow him. INT. HALLWAY/WEAPONS ROOM The Sarge, followed by three other Officers run down the hallway top the WEAPONS ROOM. He sees the two other officers standing by the doorway, and gets suspicious. He makes it to the doorway and sees why. Ripley sees the Sarge come forward, and relaxes a bit. The Sarge becomes more tense though, seeing one of his men with a gun on him. Ripley takes on a menacing tone. RIPLEY Who are you people? If you're with Sin-Tech you can kiss soldier boy here goodbye! The sarge and his men exchange glances. SARGE Lady, we're the police, we're here to save you. Now, why don't you just put the gun down.......... The Sarge steps forward a bit, but Ripley pulls back the hammer on the pistol. The Sarge stops in his tracks. RIPLEY Don't fuck with me!! One step closer and he dies!! From behind Ripley, Call groans and coughs up some white spittle. Then she looks up at Ripley, and tries to speak. CALL For God's Sake Ripley, just put the gun down. Then she goes down again, coughing up more spittle. Richard stands up, and speaks in a consoling tone. COOPER Ripley, these are the police, they're here to save us. Now, I suggest you give me the gun, and just calm down a bit. (looks up at the Sarge) She's not from around here. The Sarge nods, in a strange way understanding. Ripley backs away from the SWAT man with the gun still pointed right at his head. She comes all the way back to Richard, and then without turning around, brings the gun to her side. Richard takes the gun from her hands. Just he takes hold of the gun, the Officer Ripley had had the gun on comes forward with his rifle right in Ripley's face, like he's going to shoot her. SWAT MAN#1 You're under arrest for a code fifteen , which is attempted murder of an Officer of the law. HALLEY, cuff her! SWAT MAN#2/HALLEY steps forward, taking cuffs from his utility belt, but Richard jumps in front of Ripley, who stands docile and zombielike. COOPER She hasn't done anything. We've all been through hell, and she's just a little tense! The Swatman#1 brings his rifle up to Richard. SWATMAN#1 Please step out of the way sir, or I'll arrest you too for obstruction of justice! HALLEY Murtaw man, calm down!! It wasn't a big deal.......... SWATMAN#1/MURTAW She almost fucking killed me man!! I should grease her right where she stands......... Behind the bickering soldiers the Sarge looks pissed. Through his visor you can see his face turning red. SARGE Will you two assholes just shut the hell up!!! No one is getting arrested. These people are just innocent civvies, and our mission is to find all the survivors in this place, and now we've found some! Murtaw brings his rifle down reluctantly, and turns back around and looks at the Sarge. MURTAW Yeah , mission accomplished. The Sarge doesn't like the tone he just used, but shrugs it off. He points at Richard. SARGE You there, you look like the only sane person here, would you mind telling us what happened. Richard seems hesitant, looks back at Call and then Ripley, who still stands dazed, and then looks forward at the SWAT team. COOPER Well, most of this stuff is TOP SECRET, but what I can tell you is, some deep shit really went down here. A nasty biological species escaped, and is now running loose through these halls. Seargent, I suggest that if you value the life of your men and your own , you will get out of here as fast as you can, and blow the whole fucking floor up. The Officers look at eachother for a second, and then they all burst out laughing. Some slap eachothers shoulders, some even go down to their knees laughing. Cooper looks dumbfounded. COOPER What? What is so funny? The Sarge stops laughing and straightens himself up. SARGE Son, me and my team aren't afraid of any bugs. Now , I suggest you get out of here before you break a nail or something. Halley, Murtaw, would you mind escorting these people down to the lobbey? HALLEY No sir! MURTAW(sarcasticly) Certainly not sir. Come on, lets move it! He motions with his rifle for the people to move. Cooper turns and helps Call up, and they walk out. Ripley just stands there. Murtaw comes up to her and holds his rifle to her chin. MURTAW Come on lady lets go! Suddenly , Ripley comes to life. She pushes Murtaw back hard and he flies into the small group of SWAT men. They try to catch him, but he knocks the whole group over. Ripley walks forward and steps over the fallen SWAT team members. She walks on down the hall after Richard, letting out a hysterical laugh. Murtaw lay on the men for a moment, and then pulls himself off, looking very pissed. The other men snicker at him as he runs after Ripley. The Sarge, who had been standing away from the men as Murtaw was thrown into them, hefts up his rifle and becons for the men to come. SARGE Come on men, we've got to find the rest of the survivors, and eliminate the so called biological threat. Some grunts of agreement go through the group of men, and they all jump up, ready to go. The Sarge starts down the hall. SARGE Hawkins, Perry, to my left, Nesser, Matheson to my right. In unison Hawkins, Perry , Nesser, and Matheson answer in unison and run forward to join the Sarge. INT. HALLWAY Ripley walks down the hallway silently. Up ahead of her Call and Cooper walk along with Halley. Murtaw comes running up behind Ripley and slows to her pace when he reaches her side. He looks real pissed off. MURTAW There's something fishy about you, I just can't lay my finger on it. They, (Indicating his fellow SWAT team members) may not believe me, but I know the truth. Ripley just smiles her devilish smile. RIPLEY Oh really? MURTAW Yeah, I know the type. (he looks her up and down) I'm watching you lady. RIPLEY You do that. Murtaw slows a bit, letting Ripley walk ahead of him. Then he starts walking again, keeping a short distance behind her. UP AHEAD: Call suddenly slips, and hits the ground hard. Richard stops to pick her up. Halley looks worried over the two. HALLEY You need any help? COOPER No , no, I can get it. Richard folds his arms around her waste like she was a child. Call responds and wraps her arms around his neck. He helps her up, and they walk along again, her arm over his shoulder. INT. HALLWAY/VAULT DOOR They all make it to the vault doorway, and Call, Richard , and Halley walk through it. Richard, with Call over his shoulder, walks over to the elevator , pushes the up arrow button. He looks up to see the little numbers lighting up as the elevator gets closer and closer. Halley waits in the doorway as Ripley and Murtaw finally make it. Ripley walks on past him to where Call and Richard stand. She stops behind them. Murtaw comes next to Halley. MURTAW There's something very weird going on here man. I gotta a bad feeling in my gut. Halley rolls his eyes at his partner. HALLEY You always have a bad feeling in your gut man. Whenever we go on one of these raids. Why don't you just try to relax. MURTAW All right, all right. I'll try to relax man. (beat) But my gut don't lie. Halley moans and shakes his head. Suddenly, the numbers run out, and the elevator dings. The doors open , and Ripley, Call, and Richard enter. Halley puts his hands in front of him, indicating to Murtaw. HALLEY After you. MURTAW Smart ass. Murtaw walks by him, and Halley laughs. ANGLE: From down the hallway, we see the SWAT Officers entering into the elevator. Off to the side, obscured from our vision, a shadowy figure drops down, watching the people. INT. ELEVATOR The elevator doors close around the Officers as they enter into the elevator. We finally see what the elevator looks like. It's rather spacious, much larger than most elevators. It's modern, sterile, all metallic. It looks as if more than twenty people could fit in here comfortably. Call lay against the wall in the far right hand corner, Richard sits next to her. Ripley stands in front of them , arms crossed, as if she were guarding them from the police men. Halley goes and stands next to the wall in the left hand corner just as they elevator begins to move. Murtaw leans against the wall in the left hand corner closest to the door next to the control panel. The elevator begins to move down, and gives everyone a bounce as it jolts to life. Murtaw and Ripley glare at eachother like animals in a cage. Each one is trying to stare the other down. Halley becomes uncomfortable, and begins to whistle an old Charlie Daniels tune. Murtaw turns his head towards Halley, mad that he had distracted him. Halley gives Murtaw an expression like,"What did I do?" Just then the elevator stops , and along with it the lights go out. Inside the elevator we can hear the shuffelling of nervous feet. A beam of light suddenly illuminates the room, then another; the rifle flashlights. MURTAW What the fuck just happened? Halley shines his flashlight in Murtaw's face. Murtaw winces at the light. HALLEY The power went out. MURTAW Damn it Halley, I know that! I meant why did the power go out? HALLEY Well, you should have said that in the first place............. CALL(frantic) It's those things isn't it?!! COOPER It might just be an electrical failure. Murtaw flashes his light on Call's face. She almost looks hysterical. MURTAW What the fuck is she talking about?!! CALL Like Richard was trying to tell you earlier. These creatures are going to escape, and when they do the whole world is going to die.............. MURTAW Just shut up! Shut the fuck up! HALLEY Hey man Murtaw, maybe we should listen to him. MURTAW Halley, I can handle this! RIPLEY They're close, I can feel it. COOPER What? The sound of sniffing can be heard in the air, then silence. RIPLEY They're almost upon us. COOPER Oh my god. MURTAW Lady, I don't know............... Right then the lights come back on, but the elevator doesn't move. Riplet stands just like before, arms crossed. Murtaw looks up at the ceiling lights. MURTAW I'll be damned. HALLEY Why isn't the elevator moving? With an explosion of sparks, a WARRIOR ALIEN drops down through the ceiling. The ceiling light breaks loose on one side, making it fall and bang on the side of the elevator. It hangs there, flickering on and off, causing a strobe light effect. Halley freaks and screams, backing as far away from the ALIEN as he can, up against the elevator wall. The Alien turns it's long head swiftly, and eyes Halley. It charges at him and barells him against the wall. Halley bellows in pain as most of his ribs are broken in. The Alien grabs his helmet, and twists Halley's head right off his shoulders. Halley's body stands erect for a second, dark black red blood spraying out from his neck. Then he slumps over and hits the ground. Murtaw , still up next to the control panel, yells in fury at the Alien, and opens fire with his assault rifle. The Alien doesn't have time to react before it gets shot full of holes. Acid spews from it's body like popping fire crackers. The whole corner of the elevator gets splashed with acid, pops and sizzles , and quickly melts away. An acrid smell begins to fill the room as the Alien's lifeless body falls through the large hole, down what seems like an endless drop. In the corner, Cooper looked shocked beyond belief. Call only looks bitter at her situation. The look on Ripley's face is unreadable. Murtaw walks towards the large hole, and points his rifle downward. The light from the rifle's flashlight doesn't shine down too far, but Murtaw can tell the Alien is gone. He turns his head, and sees his dead partner's body. It hits him hard, and for a moment, he seems in another world. Finally he shakes it off , and looks towards Ripley. MURTAW You people all right? CALL I'm fine. COOPER I'm......I'm okay. Ripley doesn't respond, but unfolds her arms, as if in a new respect for the outsider. For her, loss can be a bonding ritual. MURTAW I'm gonna see if I can get this elevator going. Murtaw moves over to the elevator door, places his rifle against the wall, and opens the control panel . He begins to work the circuitry. Ripley looks over to the dead Police Officer, and steps over to him. She picks up his discarded rifle, straps it to her shoulder. She also grabs Halley's sidearm from his utility belt holster. Murtaw glances back at what Ripley's doing, and considers objecting, but then pushes it out of his mind. Ripley gets up and hands the sidearm to Richard, who holds it awkwardly. When Ripley turns around, he hands it to Call, who cocks it, and handles it like she knows what she's doing. ANGLE: A thick goop of green slime drips down from the raggid hole in the ceiling. Movement can be seen outside the elevator. The slime hits the ground with a splash. Ripley notices it. Another drop, then another. A small puddle of goop begins to form. Murtaw turns around and looks at the floor, notices the puddle. He brings his rifle up in a defensive stance just as another WARRIOR ALIEN leaps at him through the hole in the ceiling. He fires off the rifle but misses the Alien completely as it pounds on him. The Alien picks him up with two hands and slams him to the floor. Murtaw's faceplate cracks wide open , and we see his face; bloodied, the look of shock and fear on it. The Alien outstretches it's ramrod and buries it's head right into his stomach, through the armor. Blood splatters across the wall near the Alien. Ripley unstraps her newly acquired rifle to fire, but before she can, another gun shot rings out. The Alien gets shot several times in the back, little explosions of blood and Alien shell retching from the wounds. The Alien turns around to confront it's attacker, but receives several shots to the face, sending it slamming against the wall. It slides to the ground, dead. Ripley turns around to see Call, smoking pistol in hand, with a smile on her face. Ripley smiles back, but Richard freaks. COOPER We gotta get oughtta here!! Those things are just gonna keep coming until we're all dead! We gotta, we gotta find some way! Ripley interrupts him, very pissed off. RIPLEY I'm tired of your bullshit Cooper. You either calm down, or me and Call leave you here with those things. Capische? COOPER Ca....capische. Cooper is definitely losing it now. He tries hard to control himself, and can almost conceal it. RIPLEY Now, what can we do to get out of here? She glances at the hole, and realization comes over her face. She motions for Cooper andd Call to follow. RIPLEY We gotta climb down the rope to the lobey. It's our only chance. COOPER Are you crazy? That's over two hundred floors down! RIPLEY Do you have any better ideas?! Richard pauses for a moment, not knowing what to say. Then it dawns on him. COOPER We gotta get to my car. In, in the parking lot. It's only about ten floors down. We can make it easy. Ripley looks down at Call, who looks worse than before. RIPLEY Yeah, WE can............. Richard looks at Call as well. Call sees what they are doing, and doesn't like it. CALL I can make it, don't worry about me. (reaches hand out to Cooper) Give me a hand up. COOPER Are you sure? CALL Positive. Now give me a hand up. Richard grabs her hand, and pulls her to her feet. Call loses here balance for a second, and almost falls off her feet, but straightens herself. RIPLEY All right Call, you go first. I'll cover you two. Call walks over to the hole, examines it for a second, and then puts her feet through. She pushes herself off, and grabs hold of the edge with her hand. INT. ELEVATOR SHAFT Call hangs from the hole in the elevator . She looks around for a second, and then sees the rope. She reaches for it, her fingers just barely making it, and grabs hold. She takes in a deep breath, and then lets go of the elevator. She almost falls, but grabs hold of the rope before she can. She swings freely for a second, then starts to climb down slowly. INT. ELEVATOR Cooper sees Call go through. Ripley nods to him, and he sees that it's his turn. He goes up to the hole, and begins to climb down. COOPER(reassuringly) Just ten floors, not a big deal. RIPLEY Keep telling yourself that Cooper. Cooper gives her a dirty look, and then slips through the hole. Ripley stnads there for a second, and then looks up at the hole in the ceiling. ANGLE: Through the hole, we see Ripley walk up to it, rifle pointed upwards. Some Alien slime drips down from the edges of the hole. INT. SIN-TECH RESEARCH FACILITY/HALLWAY The SWAT Team patrols the hallways of the facility, until they reach a doorway marked,"OFFICIAL PERSONNEL ONLY". The Sarge walks up to the door, and presses a button on the control panel. It doesn't open. COMPUTER VOICE Access denied. Please identify yourself. The Sarge looks pissed, but still stays in control. He motions for another soldier to come to him and the door. SARGE Nesser, run a bypass. NESSER Yes sir! Nesser runs up to the door and opens up the control panel. He fiddles with it for a second. SHOT OF: Nesser cross some wires together in the circuitry. An electronic wir can be heard. The door opens up, and a smile creeps across the Sarge's face. He walks into the door, motioning for his men to follow. INT. TANK RESEARCH ROOM The soldiers walk into the room and spread across the walls in combat stance. What they see stops them in their tracks: The entire room is filled with aquarium like tanks, hundreds of them. The only light that illuminates the pitch black room is coming from the tanks. Monitoring equipment sits connected to the tanks. What is the strangest thing of all though, is that nothing is in the holding tanks. Each one lay empty. some are completely shattered, others only have a glass hole, as if they were punched through. Water that had been inside the tanks now soaks the floor. HAWKINS What the fuck went on here? NESSER Some crazy shit man. The Sarge is not riled though, and takes on his leadership tone. SARGE All right people, we still got a job to do. Lets keep moving. Perry, Jenkins, take point. Perry and Jenkins come to the front of the group and start to walk across the room. They zig zag around the different tanks as the rest of the team follows. ANGLE: As a soldier passes one of the tanks, a drop of blood drips down from it. We follow the drop through the air until it hits the ground with a splash. Perry and Jenkins come to the end of the room, and up to a door marked,"SPECIMEN OBSERVATORY". The Sarge approaches, and tries to door panl. The door doesn't open, but a voice doesn't speak out either. SARGE Garrish, blow it. GARRISH Right. The Sarge steps to the side and motions for the rest of the troups to back away from the door as Garrish comes to it. Garrish places a small black box on the door, and presses a few buttons on it. A count down comes to life, reading,"15, 14, 13....." As Garrish backs away from the door also. The SWAT Officers all come to squat behind tanks, or just far across the room. As Garrish runs across the room, he yells out. GARRISH Fire in the hole!! Garrish comes to settle behind a small tank. He kneels down behind it and covers his ears, though it looks kinda funny because of the bulky armor tha covers him. SHOT OF: The times ticks down,"3, 2, 1, 0." The door explodes, and not a very big explosion at that. Just enough to blast the door off. Smoke rises around the area as the Officers stand back up. SARGE Move it people, on the double!! The men come alive again and run to the doorway. Perry and Jenkins enter into the room first. INT. ALIEN OBSERVATORY/HIVE As the SWAT Team enters into the research lab, they see that it isn't exactly a observatory anymore. It's in the process of being converted into an ALIEN HIVE. The walls are coated with a thin layer of the familiar ALIEN RESIN, but it's not fully formed yet, maybe not dried. In small patches around the room lay five or six ALIEN EGGS. Laying docile and dormant, they seem to pose no threat. The only thing missing from this scene is the QUEEN ALIEN, most noticably of all, the ALIENS themselves. Now the SWAT members know what was inside the tanks in the last room. Cocooned to the walls of this newborn hive, are hundreds of different animals. Large dogs, jungle creatures, bears, but most of all humans. A soft moaning emits from all these creatures. MATHESON Holy mother of god. SARGE God had nothing to do with this. (pause) Come on, lets get these civies down. The SWAT Officers walk forward towards the cocooned people. Some try to avoid the Alien eggs, walking as far from them as they can. Two Officers, Wessen and Macholski, walk together towards a cocooned woman on the wall. Wessen comes towards the woman and tries to pull of her bonds, but she is cocooned tightly in the resin. WESSEN Damn it, this shit is tough. MACHOLSKI Hey Wessen, what are those things? Macholski points his rifle towards a patch of EGGS. WESSEN I don't know Macholski, but it's best not to mess with 'em. Macholski walks towards the patch of eggs, mesmerized by them. Wessem finally breaks off one of the arm bonds on the cocooned lady. When he does , he jerks back a bit, and sees what Macholski is doing. WESSEN Damn it Macholski, what did I tell you. MACHOLSKI I'm just looking man, don't get your panties in a rough. As he says this, the EGG he stands closest to silently OPENS, looking like a flower budding, unfolding to the sides. Macholski turns his head back, and notices the change. MACHOLSKI Hey man, one of these things opened. WESSEN Don't mess with it man. Wessen goes back to the task at hand, but Macholski still is curious. He kneels down in front of the EGG, and leans in for a closer look. POV SHOT: As Macholski pears into the EGG, we see what lays inside. An organic mass of veins and fidgeting tissue. MACHOLSKI You gotta see this man. WESSEN What are you..........? Like a flash, something leaps out of the ALIEN EGG and onto Macholski's faceplate. The sound of sizzling and melting metal can be heard as Macholski falls to the ground with a thud. Wessen turns around and sees what has happened to his friend. WESSEN Holy shit! Sarge!!! Across the room, the Sarge notices the screaming and runs towards Wessen. When he makes it, he notices what has happened. WESSEN Something came out of that thing (indicating EGG) And grabbed onto his face. SARGE Melted right through his helmet, how the fuck? WESSEN We gotta help him. SARGE Yeah, yeah, all right, lets get his helmet off. They both kneel before Macholski. The Sarge hits a leaver on one side of Macholski's helmet, Wessen does the same on the other. The helmet unlatches on each side, and the Sarge and Wessen lift the helmet off of Macholski's face. They see what had grasped onto Macholski's face; an ALIEN FACEHUGGER. Bearing a peaches brown hue, it seems to be some sort of twisted mix of a human hand, and some sort of arachnid creature. Two sacks on the creature that rest against Macholski's cheeks seem to breath in slowly. A long sectioned tail lay around Macholski's neck. SARGE What is that thing? WESSEN I don't know, but we gotta get it off him. What if it's eating his face off or something? SARGE You're right. We gotta get it off. The Sarge reaches his gauntlets out, and takes a firm hold of the creature. The HUGGER tightens it's hold around Macholski's neck, but the Sarge doesn't notice. The Sarge starts to pull at the creature, but it's not coming off. Worst of all, the HUGGER has such a grip on him, that Macholski's face would be ripped right off if you tried to take it off. A small trickle of blood runs down the side of Macholski's face. WESSEN Stop it man, you're hurting him. SARGE Damn it, how are we gonna get this fucker off? (looks up at the men gathered around him) Nesser, Matheson, get Macholski out of here. He's gotta get to a hospital or something. They both say YES SIR in unison and kneel down next to Macholski. Nesser grabs hold of Macholski's feet, Matheson to his arms. They lift him up and carry him towards the door. Wessen watches as they exit, and then looks back towards the patch of eggs. He brings up his assault rifle and lets loose on them while yelling obscenities at them. The EGGs explode in chunks and go flying in every direction. Wessen looks satisfied with his work, but then sees that all the others have been watching him. For a second he seems embarressed, but then the other Officers open fire on the EGGs, blowing the entire hive apart. Wessen backs up towards the wall, proud of what he has started. He stands there for a second, and then above him, an ominous hissing can be heard. He looks up. POV SHOT: As Wessen looks up, he sees dozens of Aliens climbing high up on the walls and ceiling, ready to strike. Wessen screams and brings up his rifle to fire. INT. HALLWAY Nesser and Matheson walk down the hallway bringing Macholski along when back towards the hive sounds of men screaming and several people firing their rifles can be heard. Nesser and Matheson stop. NESSER Ah man, all hell's breaking loose back there, we gotta go back. Matheson nods, but then looks down at Macholski's body. MATHESON What about him? NESSER Lets just set him down here. It's not like he's going anywhere. MATHESON Right. They both set Macholski down, unstrap their rifles from their backs, and run down the hallway back towards the hive. INT. ELEVATOR SHAFT Call moves slowly down the elevator rope with a distraught look on her face. Not too far above her is Richard, having a little trouble keeping his grip. Ripley is no where to be seen. An elevator door comes into view just below Call. She looks back up at Richard, and points at it with a smile on her face. CALL (gasping for breath) Finally made it. Call comes down to where the door is, and stops. There's a good meter between her and the door. Call looks discouraged. CALL Richard, I don't know if I can make it. COOPER You gotta try Call. You can do it, I know you can. CALL Okay, I'll try. Call begins to swing back and forth, reaching for the door. Higher up, Richard gets shaken badly from this. Call stretches as far as she can, her hands brush the stainless steal doors. She takes one more swing back, and then lets go, grabbing on with two hands to the doorway like a frightened child. COOPER You made it! Call gives Richard a thumbs up, who gradually starts to slide down the rope to where Call is. As he reaches her, Call grabs onto the crack in the doorway, and pulls it apart with her inhuman strength. It slides open easily. Call walks through the doorway to see what lays on the other side. INT. OFFICE WORK ROOM Call steps through the elevator into a large office workroom. Empty cubicles sit alone in the room, some ripped to shreds. The bosses office has been completely destroyed; the windows shattered, the walls have large claw marks strew across them, the desk lay on it's side. In the corner of the room a water jug lay turned over, a large water stain spread from it. Call stands in shock for a moment, but gets over it. She's seen worse. She turns back to the elevator door where Richard has just come through. Richard gets one look at the devastation, and knows that it wasn't a train that ran through here. COOPER Jesus Christ! Those things really get around. CALL Where's Ripley? RIPLEY Right here. Ripley pops up behind them through the elevator door. Call and Richard jump a bit at her sudden appearance. RIPLEY(sarcasticly) Miss me? COOPER Damn it Ripley, don't do that. CALL What took you so long? A sly grin comes across Ripley's face. RIPLEY I was just investigating something. CALL Well, don't stray off like that. We gotta all stick together. RIPLEY I didn't know you cared. CALL Even if you don't think so Ripley, I do. Call says this truefully, and for a moment Ripley becomes seriouus. RIPLEY Listen Call, I'm........... CALL No need Ripley. I know you didn't mean anything by it. They lock eyes for a moment, a tender moment. Then: COOPER Listen ladies, this is a very touching moment for all of us, but we gotta book. Ripley looks towards Richard, then at Call. RIPLEY He's right, they'll be coming soon. COOPER(nervously) Come on! Call nods her head and begins to follow after Richard, who has started across the room. Ripley stands there for a moment, and then turns around and pulls the elevator door closed. When it shuts, she pushes them as tightly as she can together, bending the steel, and grafting the doors together. She slaps her hand together, and then turns around and runs after the others. INT. MID-BUILDING LOBEY As we enter into this area, we see a huge crowd of people miling around in the lobey. This isn't the ground floor lobey though, it's a lobey that's in the middle of the building. It seems more like a subway station though. Food stands and paper stands line the walls. The sides of the buildings are only windows, and we can see far out into the metropolitan city. A statue stands in the middle of the lobey; it's of the planet EARTH with two rings around it. At the bottom of the statue, a small sign reads,"SIN-TECH: Making the Earth better for your future." The people in the lobey transverse into two tunnels on the sides of the buildings. These are the tunnels that connect every building in the city together. Resembling miniature versions of tunnels that cars drive throuhg, except made completely of glass. Over a dozen moving walkways line the tunnels, and people stand on them, moving back and forth. SHOT OF: One of the elevator doors. It dings, sits there for a moment, and then opens up. Inside is a horror from another world. Ten ALIEN WARRIORS rush out of the elevator and attack the people nearest to it. SHOT OF: The entire lobey as the Aliens rush out of the elevator. The people farthest from it don't even notice the Aliens, but a riot breaks out around the elevator. The Aliens begin to slaughter dozens of people. Some try to run away, pushing and shoving eachother aside. Most get trampled. An Alien leaps high into the air and lands on a fat middle aged man running away. The man falls to the ground as the Alien boars into his back. Another Alien shoots it's ramrod through a young screaming woman's head, and drops her lifelss body to the ground. A fat security guard runs up to where an Alien is attacking people and takes aim at it. He fires off five rounds, hitting the Alien square on. Acid flies from the Aliens body and hits several people in the crowd. They scream in pain and fall to the ground, skin burning and smoking. The Officer sees what he just did, and is stunned. For a moment he stands still, not knowing what to do. Then he hears a crying sound. He turns his head towards it. POV SHOT: Several people run past the security Officer as he sees a little girl, holding a teddy bear in her hands, crying her eyes out. She stands right next to an open elevator door. The Security guard springs to life. He pushes people aside as he runs for the little girl. Off to his left , an Alien rips a person to shreds, and sees the little girl. It advances towards her. The Security guard runs as fast as he can, not caring for his own life, just for the little girls. The elevator begins to close. The Alien is almost there. He makes it and grabs the little girl, sees the Alien coming, and throws her as lightly as he can into the elevator right as it closes. All good deeds don't go unpunished though. Before the security guard can draw his weapon, the Alien jumps him, ripping into his face with it's long claws. SHOT OF: The Sin-Tech statue of earth. Blood is splattered against it and makes a strange looking design. INT. BUILDING TUNNEL A young couple, early twenties, madly in love, stand on one of the moving walkways. The guy, tall jock type, and the woman, fawning cheerleader type. They kiss once again. CHARLENE I love you Mike. MIKE I love you Charlene. Charlene sighs and puts her arms around Mike's waste, who is a good foot and a half taller than her. She sighs with love in her heart. Up ahead soemthing seems to be up though. A crowd of people have rushed into the tunnels and aren't even using the walkways. They're just running for their lives. A worried look comes across Charlene's face. CHARLENE Mike, what's going on? MIKE I don't know. Don't worry Charlene, I'll protect you. Charlene smiles, knowing that her Mike would indeed stay with her and protect her to the end. INT. FRONT OF BUILDING TUNNEL/LOBEY A manic crowd of people run out of the lobey into the tunnel. People climb over the turnstyles , some even jump. Others are crushed under others as they try to get over. INT. TUNNEL/ASIAN BAR A tiny bar type booth sits on the side of the tunnel. As the crowds of people run by, a middle aged Asian man, lacking hair, and has a long white beard, comes up to look out as he rubs a glass with a rag. A haggered 40ish man sits on one of the stools, and also looks towards the approaching crowd. He is very drunk, and squints at the oncomers. DRUNKMAN What the fu......? As the first wave of the crow passes by, the man holds out his hand to stop someone. DRUNKMAN Hey what's going on? The Drunkman gets knocked over by the crowd and falls to the ground either unconscious, or too drunk to notice. The Asian man looks down the way and sees an Alien leap high in the air, and come down upon the crowd. ASIANMAN Pook-gai!! The Asian man bends down and takes something out from under the counter. It's a long black case. He lays it down on the counter, and pops the locks. He opens it up to reveal an ancient looking sword. He picks it up and holds it close to his face. He scoffs and takes the rag he was holding, and rubs it down. When he finishes, a twinkle of sunshine comes off the sword. He kisses it, and then jumps over the counter, with the crowd, sword high above his head. FARTHER DOWN THE TUNNEL: Mike and Charlene have been running the other way, but they can't outrun the crowd. They stop and look up into eachother's eyes. CHARLENE I don't want to die Mike. MIKE Just hold onto me! They hug eachother tight as they crowd engulfs them. Hundreds of people run by them like a locomotive. When the crowd has past, there stands Charlene and Mike, not touched by the crowd. MIKE Woooohoo! That was a rush. He looks down at Charlene, who has a horrified look in her eyes. MIKE What? What's wrong? Charlene doesn't answer, just points back down the tunnel. Mike, still holding onto her, turns to look back. Now they see what everyone had been running from. Several people are running from the Aliens as they attack. some get away and run past Mike and Charlene. In the front of the survivors is the Asian man, screaming his head off. He turns around to swing at an Alien, but it ducks, and he misses. The Alien slahses at him and the sword goes flying through the air. It lands with a clang in front of where Mike and Charlene stand. The Asian man screams in pain as he is torn apart by the Alien. The Alien looks up, blood covering it's mouth, towards where Mike and Charlene are. It starts slowly towards them. Mike notices this, and walks over to the sword and picks it up. CHARLENE No Mike, don't do it. MIKE Just stay here Charlene. Mike walks towards where the Alien has stopped, crouched ito a attack stance. Mike comes up to the Alien and holds the sword in front of him. For a second they just stand there, facing one another. Then the Alien leaps to strike. At the last second, Mike sidesteps the Alien. It looks confused at what happened, and turns around to strike again, but before it can, Mike spins around and brings the sword down upon the Alien, slicing the Alien down the middle of it's head. The Alien stands there for a second, and then the right side of it's head falls off, exposing the inside of it's skull. Mike smiles at his kill, but then notices that the sword is smoking, but doesn't melt away. He walks around the Alien body and towards where Charlene is. An Alien comes to where Mike is and tries to attack but Charlene screams out. CHARLENE MIKE!!! Behind you!! Without turning to look, he swings the sword around. The Alien ducks and dodges the sword, and tries to swipe at Mike. Mike jumps back and slices at the Alien, taking it's arm off. The Alien screeches in pain and backs away for a second. Now the top half of the sword comepletely melts away. Mike curses. The Alien tries to rush him again, but Mike thrusts the sword out, burying it deep into the Aliens head. It screeches for a second, then falls to the ground , dead. Mike runs over to Charlene, and takes hold of her. Dozens of Aliens pass by the bodies of their brothers, look down at them, then up at Mike and his in anger. Mike holds Charlene tight. CHARLENE Oh god Mike. MIKE Close your eyes baby. SHOT OF: What seems like hundreds of Aliens surround Mike and Charlene, and then leap in for the kill. INT. PARKING GARAGE Ripley bursts through the stairwell door and keeps on running. Call follows after, and so does Richard. RIPLEY Where's your car? COOPER B,22. Ripley looks over at the wall and sees a yellow box on it. She looks back at Cooper. COOPER It's down that way. (pointing down the parking garage) Um, it might take a bit to get there. I'm not exactly high up on the foodchain. Ripley looks pissed. RIPLEY We better get moving then. The three begin to run through the parking lot. INT. MAIN LOBEY We enter the main lobey now. It almost the same as the lobey before, down to the SIN-TECH statue, but minus the tunnel entrances. Three SWAT TEAM Officers guard the elevator doors, standing beside them, guns pointed at the doors. They're all kind of nervous because the numbers are counting down; something is coming to the lobey. Finally, the numbers make it down to zero. A pause. The door opens. The SWAT Officers are ready to fire, but they notice what's inside: It's the LITTLE GIRL from the other lobey, still crying her head off. Some blood has been splattered across her flower dress. Her short blond hair has been strewn about. She looks like a mess. LITTLE GIRL(crying) I want my mommy. The three Officers exchange glances. SWAT#1 Get her oughtta there. The second SWAT Officer kneels down before the little girl and reaches out to pick her up. She backs away from his outstretched arms defensively. SWAT#2 I'm not gonna hurt you little girl. Just come on out. The little girl sniffles and wipes her nose. SWAT#2 Please? LITTLE GIRL All right. The little girl walks forwards and the Officer picks her up. He lifts her in his arms and walks on past the other two. As he leaves, the first Officer walks into the elevator and points rifle up towards the elevator ceiling. EXT. OUTSIDE SIN-TECH BUILDING The Officer walks out the front door with the little girl in his arms. Dozens of police cars are parked in the front, more than five media vans, and a large tank like RIG with S.W.A.T. written on the side. The crowd of police gathered around their cars cheer and clap with the arrival of the little girl. INT. MAIN LOBEY The third Officer stands outside the elevator door waiting for the other to come out. He notices something out of the corner of his eye. He looks up to see the numbers blinking down at the top of the elevator. SWAT#3 Hey Seith. No answer. SWAT#3 Yo Seith!! SWAT#1/SEITH What! SWAT#3 We got something here. Seith steps out of the elevator to see what he is talking about. The Third Officer points up at the numbers counting down. They both tense up, and bring their rifles up to bear on the door. SWAT#3 Hey Seith, are we expecting trouble? SEITH From what I heard went down up there, trouble can't even begin to describe this. SWAT#3 Thanks Seith, you were always the one that could cheer me up. SEITH(sarcasticly) Funny. The door makes it down to zero now. It dings. For a second all is silent. Then it opens. Both the Officers are about to fire, but they see that there is NOTHING INSIDE the elevator. Seith looks very suspicious. He walks into the elevator, rifle pointed up at the ceiling. Nothing happens. He brings his rifle down to his side and shrugs his shoulder at the other Officer. SEITH Nuffin. Suddenly an ALIEN WARRIOR crashed down through the top of the elevator on top of Seith. As Seith falls to the ground, he screams in terror. He slams to the ground, and his rifle discharges, spraying the area outside the elevator. The other Officer gets hit straight on in the chest and goes down. The Alien turns him over on his back and pins him to the ground. Seith screams as the Alien shoots it's ramrod right through Seith's helmet, out the back of his head. EXT. OUTSIDE SIN-TECH Everything seems calm outside. People converse, cops stand by their cars eating donuts. By one of the news vans a crowd of reporters is gathered around an spparently high ranking Officer. For a fraction of a second, everything is serene, then: An ONSLAUGHT of ALIENS comes crashing through the front windows of the Sin-Tech buildings. Dozens, maybe hundreds of them come rushing out towards the clueless police men. Some Officers bring up there weapons to fire, but are quickly overcome by the overwhelming odds. Back where the Officer was being interviewed, the reporters scater away from the Officer and go into reporter mode. REPORTER#1 Are you getting this?! REPORTER#2 Get that camera on!! REPORTER#3 This is Trish Tilby reporting live. POV SHOT.CAMERA: From the point of view of one of the cameras, we see the outpouring of the Aliens from the building. The high ranking Officer, the Chief, comes running up to the cameras. CHIEF Turn that camera off and get the fuck oughtta here!! He unholsters his sidearm and runs back towards the police who are fighting the Aliens. EXT. OUTSIDE SIN-TECH Several Aliens swarm the SWAT van and begin to tear into it. People run screaming as Aliens leap on top of them. Most of the Officers see that the battle is futile and run for their cars. INT. SWAT VAN The remaining four SWAT team members are stuck in the van as it is overtaken. One of them runs over to the weapons rack and passes out rifles to two others. The gladly take them and load them, ready for battle. The fourth one runs for the front seat. He jumps into the drivers seat and starts the van. Behind him the SWAT members have opened fire on the ALIENS. SHOT OF: The van begins to back up away from the sintech building slowly . The Aliens on top bust through and converge inside. INT. SWAT VAN The SWAT members scream as the Aliens drop down upon them. One Officer runs to the back of the van as his friends are killed by the Aliens. When he reaches the back he turns around and wimpers, then opens fire on the Aliens. The Aliens scream as they are blown apart by the Officers blast. The acid from the Aliens gets blown out of the back of their bodies right into the right seat. The driver screams as his backside gets melted away. He fidgets for a second, and then falls forward, his head resting on the steering wheel. As he lays there his body begins to spasm. SHOT OF: The drivers foot comes down on the gas and involuntarilly pushes down hard, because of a reflex action. SHOT OF: The van speeds up to breakneck speeds going in reverse. It slams into a media van and busts right through it, practically ripping it in half. It busts through the van and slams into the building behind it. A huge explosion erupts from it as it hits. SHOT OF: Police Officers running from the blast as the whole front of the building explodes. One lone Police Officer stands watching the fire for a second, then reacts. He turns and runs for his car. As he makes it to it, the front door is on the other side , so he leaps and slides over the hood in one swift motion. He grabs the door handle and opens it up, and jumps inside the car. As he makes it inside, he slams the door shut and reaches for where the ignition is, but something is missing. THE KEYS. He curses under his breath and reaches into his pocket to retrieve them. He takes the keys out, but then freezes. In front of the car, a fellow Officer gets slaughtered by an Alien. A look of anger comes across the officer's face in the car. He slams the keys in the ignition, takes the car out of reverse, and hits the gas. The Alien turns it's long head just in time to see the fender of the car before it goes sailing over the hood, crashes and shatter the windshield, and flies over the roof. The Officer turns the car and hits the breaks. It slides for a bit, but the comes to a stop. The Officer sighs, sweat dripping down from his face. He turns back to see what he has accomplished. POV SHOT: Outside the car on the street, the Alien slowly gets back up and looks towards the car, mad as hell. The Officer swears and starts shifing through the keys on his key chain. He gets to the right one, and then reaches down next to his seat. He starts unlocking his SHOTGUN; a futuristic looking one, but the same basic design as the 20th century one. He puts the key in and unlocks it. Outside, the Alien stalks towards the police unit on four legs, like a panther. It comes right up to the car, then leaps atop the roof. INT. POLICE CAR The Officer opens up the glove box and takes out a box of shells. The Alien can be heard on the roof now, and it bulges in slightly. The Officer takes the shells out of the box and loads five into the gun, cocks it menacingly, and then points the gun towards the roof. SHOT OF: The Alien embets it's claws into the roof, and tears it right off. The Alien looks down upon it's victim, as if pitying it's helplessness, and then gets blown back by the force of a BUCKSHOT. INT. POLICE CAR The police Officer smiles at his kill, then wipes his forehead of sweat. SHOT OF: The entire area outside the building. It lay in ruins. Most of the area has been set on fire from the massive SWAT van explosion. The media van had been ripped in two from it. Many police cars have been turned over or on their sides by the Aliens. The bodies of hundreds of slaughtered people lay strewn about the streets. But what's worst of all is, most of the bodies haven't been killed. Aliens run down the street with one or two unconscious humans over their shoulders. Some kick and scream, but can't get away. Some Aliens keep running down the streets, some rush into shops along the sidewalk. One Alien runs up to a sewer hole and kneels down before it. It places the body of a woman down, and then rips the manhole off from the hinges. Then it stands up, grabs the body, and drops down into the hole. INT. PARKING LOT Ripley Call and Richard are still running through the parking lot now. Richard begins to slow down and he looks off to the wall. They all turn to see a blue square on the wall. COOPER There we are, the blues. RIPLEY Which one was it again? COOPER Blue 22. They begin to run down the road in the lot counting the numbers over each car. Finally they make it to 22 and stop. Richard comes up to the trunk and kisses the car with full lips. COOPER Thank you god. I thought I would never get out of that. Ripley walks up to Richard and holds here hand out. RIPLEY Give me the keys. COOPER Why? CALL Ripley, you can't drive. RIPLEY I know the basics. It can't be that hard. COOPER Um, all right. Richard reaches into his pocket and takes out his keys, hands them to Ripley with a shaky hand. Ripley grabs them and walks over to the driver's side door. she opens it and gets in. Cooper walks over and gets in the front passenger's side, Call gets in the back seat. INT. RICHARD'S CAR Ripley puts the keys in the ignition and cranks the car, very confidently. But then, she stops, not sure what to do. Richard notices. COOPER What you gotta do now is take the park brake off, like this, (pulls up brake) And then put the car in reverse by pulling that lever, (points at lever). Ripley does so, almost child like. RIPLEY Okay. Cooper nods. COOPER Now, you ease down on that pedal there, so we can back up........ Ripley slams her foot down on the gas and they are thrown forward. SHOT OF: The car backs up like a rocket and slams into the concrete wall HARD. The whole back gets smashed in, and a rear view light hangs down from some wires. INT. CAR Ripley takes her head off the steering wheel and looks over at Richard, who looks very very pissed off. RIPLEY Maybe you should drive. CALL He's got my vote. INT. PARKING LOT The car starts and turns off to the side. It drives down the parking lot and around a corner. CUT TO: The car comes up to a ramp and goes up it. It's a twisting ramp and the car turns corner after corner as it drives to the top. POV SHOT: From inside the car we see that it comes to the end of the ramp. We can see out into the city, the far off titans of buildings, and the flying cars. Off to the side of the ramp is a booth where a security guard would have been, but the glass window has been broken in, and covered in blood. The stick that blocks the way out is still lowered, so the car can't go throuhgh. INT. CAR The group tenses at what they see before them. Ripley opens up her car door, but Call grabs her shoulder to stop her. CALL Ripley, don't go. RIPLEY I gotta see what's up. Ripley pulls her arm away from Call, a little too forcefully. Call backs off, looking a little hurt. EXT. RAMP/BOOTH Ripley steps out of the car, and walks slowly, suspiciously towards the booth. She doesn't bother to look through the window, but goes straight to the door. POV SHOT: From Ripleys point of view, we see her hand reach out and push the half open door. It slowly curves inside and Ripley walks forward. Inside the room, blood has been splattered across the dexterior. The console looks totally destroyed, wires strewn about, circuitry hanging from it's ends. None of this seems to phase Ripley, who has a stern expressionless look. She notices something on the wall where blood had been splattered. Several large hand prints, definitely Alien in orgin, are imprinted in the blood, along with a four long streaks, as if someone had brushed the wall with their hand. EXT. RAMP/CAR Ripley walks over to the blocking stick as Richard and Call watch her from the car. She takes a grip on it and thrusts is upward. It bangs against the wall as it hits hard and cracks in two. Ripley walks back to the car and gets in. RIPLEY There was a sign of struggle , a lot of blood, but no body. CALL Just get us out of here Richard. COOPER Right. Cooper flips a switch on the dash and the car begins to vibrate. SHOT OF: The car lifts a few feet off the ground as the wheels turn on their sides, halfway under the car, halfway out the sides. The car hovers a second, and then flies forward out into the city. INT. HOVERCAR Ripley and Richard sit silently in the front seat as they drive along. Outside the windows, traffic seems to be really busy. Ripley glances outside the window , fascinated by what she sees. Has the world really changed that much since she was alive? Seems to be so. RIPLEY(Still looking out window) It.......it didn't used to be like this. Richard glances towards her, then looks back towards traffic. Call had been minding her own business in the back seat, but now she leans over into the front, a curious child like expression. CALL What do you mean? Ripley looks back from the window, into Call's eyes, down into her soul. RIPLEY This. The way things are. The very earth itself. Things have changed a lot. CALL I've scanned vids of your time. The Earth doesn't look all that different. (thinks about it a moment) That's seems kind of a surprise, doesn't it. COOPER More like a dissapointment. RIPLEY No, it is rather similar in appearance, but in the mood, the attitude. (pauses) When I lived on Earth as a child, it was more prestine. The air was cleaner, the cities weren't so industrious. After years of destroying the planet, everyone wised up a bit. COOPER It got that way when Weyland&Yutani started terraforming and then colonizing other worlds. It wasn't good enough that they already controlled the Earth, they had to control the galaxy also. When people started leaving earth for a new beginning on another world, people just stopped caring about Terra. It started being looked upon as a place to get away from, rather than a place to live. CALL I've heard of colonies. Seem rather primitive now. I saw the colony complex on Beta61 a few years ago. Been converted into a museum. RIPLEY What? Call begins to speak, but Richard interrupts her. COOPER Well Ripley, there isn't such thing as colonies anymore. A few decades ago, the DOMES were introduced. RIPLEY Domes? COOPER Fully self contained MEGA CITIES. Incased in a glass dome. Built by worker robots. Takes weeks to build, very cheaply done so greedy corporations can make a buck. Not nearly as reliant as the original colony designs. RIPLEY (refering the Weyland&Yutani type corporations) The more things change the more they stay the same. Now that Cooper has got going on a manner that he is versed in, he can't stop talking. COOPER Yep, the whole cities survive off of recycling. Recycled air, recycled food. I've been to one once, a real shit hole. SHOT OF: Richard's car soars off into the distance where we can see his building approaching. INT. CITY/PARKING LOT The car flies into the side of Richard's building where a parking lot is. It lands inside , hovers in mid-air for a second as the wheels touch down, and then drives off. INT. PARKING LOT/GARAGE The car comes up to where Richards garage is, stops for a second as the door to the garage opens, and then drives inside. It comes to a stop inside. Mechanical restraints clamp down on the wheels as Richard and Ripley step out of the car. Call gets out of the car also. Unlike earlier, she seems to not have as much trouble moving as she did earlier. She walks with an uprigt posture instead of slumped over. They all go for the door leading out of the garage and exit out. INT. HALLWAY The group enters into the hallway and Richard heads for the elevators. Call and Ripley stay by the door to the garage , looking nervous. Richard pushes the up button on the elevator and looks back on Call and Ripley, clueless to how they are acting. COOPER My apartments a few floors up. (beat) You guys okay? CALL I'm fine, yeah, never better. Call walks over to the elevator which has just opened. Ripley still stands still. She tilts her head up, sniffing the air. COOPER You coming Ripley? Ripley looks around for a bit more, then calms down. It finally dawns on Richard what she was doing. COOPER Ripley, there's no way those things could have gotten this far away in this amount of time. Ripley walks towards the elevator towards Richard. RIPLEY You never know. She steps past Richard into the elevator along with Call. Richard shrugs and enters himself. INT. ELEVATOR Richard leans forward and pushes his floor number, then backs away. He puts his hands behind his back, rocking back anf forth. Call looks calm, leaning against the wall, Ripley seems composed, serene. Richard looks over to them, anxious about something. COOPER Have you guys even considered what we're going to do next? CALL What do you mean? RIPLEY (ignoring Call) First off, we gotta get off planet. COOPER(shocked) Isn't that a little drastic? I mean, you really think those giant bugs can't be stopped? RIPLEY They breed in like wild fire. They come to maturity in less than a day. This city is a gold mine for human hosts. I think the odds are stacked against us. COOPER Ripley, don't be such a masachist. The millitary will probally be brought in, they will be able to find the buggers and kill 'em. Call, you agree with me right? Call doesn't respond. She bows her head, as if ashamed of agreeing with Ripley's thesis. Richard can't believe it. He looks back towards Ripley. Ripley folds her arms across her chest, content that someone trusts her judgement. RIPLEY By the time the millitary finds them, it'll be too late. Within days, there will be hundreds, no, thousands of those things. Nothing can stop them. (more assertively) We have to get off planet as soon as possible. It's our only chance. The elevator door opens now, and they all step out deep in conversation while walking down the hall. COOPER How do you propose we do that? Personal star ships are very expensive! It would cost me like five years salary to get a decent one. We can't get on any commercial transports off. We're all wanted people. Call is an AUTON, which are outlawed throughout the core systems. Ripley here is wanted by the American government; they still believe she's rightfully their property from what I hear. And me, I'll be wanted for questioning when my body isn't found amongst the casualties. They reach the doorway to Richard's apartment now, but it lay ajar. The other notice this, but Richard isn't worried. COOPER A couple of days ago one of the compant assassins was sent to rough me up a bit. He kinda trashed my apartment, and my door! Haven't got it fixed yet. Ripley and Call both nod their heads in understandment. They know who he's talking about. Richard pushes the door slightly and they all step inside. RIPLEY Still, all of this doesn't matter. We need a way to get off earth before they overwhelm it. CALL So, that's your purrogative huh? We just abandon ship while it goes down, and not even try to save our passengers? RIPLEY That's a real nice uephemism Call, but what are you talking about? CALL Somehow Ripley, somehow we have to warn these people. No one knows the destructive qualities of these things. We do. We gotta, we gotta do something. We can't just let a whole world die like.....like.......... Ripley steps across the room and gently but firmly grabs ahold of Call's shouders. They lock eyes. RIPLEY I tried for years to be a hero and save the world, and look where it got me. This world is going down the toilet, and trust me when I say there is nothing you or I or anyone else can do about it. Call looks shocked at first, but then nods her head. CALL You....you're absolutely right. Richard steps into the kitchen walking towards the refridgerator. He opens it up and bends down, rummaging through. A second later his head comes up, disgusted at what lay inside. COOPER I haven't been to the store in two weeks! I gotta go out for supplies. Cooper walks towards the door. When he gets there he puts his hand on the doorknob, but Call stops him. CALL Before you go, is there any of your clothes I can borrow? (looks down at her hospital gown) COOPER(smiling) Sure, might be some spare clothes in my room, down the hall. CALL Thanks. Call walks over to the hallway and quickly runs down it. Richard turns to leave, but takes one look back at Ripley. Ripley stares at him. COOPER You got something to say? RIPLEY Yeah. (pauses) Be careful. Richard smiles and walks out the door. When Richard is gone, Ripley looks around the apartment, bored out of her mind. She passes by the TV, and becomes interested with it. She picks up the controlled from the top of the TV and turns it on as she walks to the couch, slouching on it. CLOSE UP TV: The Tv comes yo life as the blackness slowly fades. On it blaring rock music emits; grunge rockers dance around on stage banging their heads around and yelling into their mikes. *CLICK* the channel changes to show a cooking show with a woman chief cooking some french cuising.*CLICK* the channel changes again to show a news show. On the screen reads,"WEEKLY WORLD NEWS", which quickly fades away to reveal two news broadcasters sitting on opposite sides of a lagre desk in a TV studio. One is a woman, long brown hair, early 20s, the other an older man, early 50s with streaks of grey lining his plainly dyed hair. They both act like they are shoffeling their papers and smile towards the camera as the program starts. MAN Good evening, I'm Kevin Davidson, and this is Weekly World News. Tonight, we have for you three top stories. One of a terrible biological outbreak at Sin-Tech today, another of the American/Russian stand off in Sarajevo, and finally of little Timmy Walters, trapped down a well in Michigan. To bring you the news on our first story is Vicky Longlaster. Vicky? The camera moves over to the other side of the desk to again show us Vicky Longlaster's smiling face. She places her papers down on the desk and looks towards Kevin. VICKY Thank you Kevin, (looks back at camera) Yes, today was a grave day for Police officers......... The picture switches away from Vicky's smiling face to the scene of devastation in front of the Sin-Tech building. Now , though, several ambulances are there. Injured people can be seen be taken away on stretches, more than others Body bags can be seen. VICKY(voice over) One hundred people dead, seventy five wounded, and over two hundred reported missing in the massacre that took place at Sin-Tech today. Officals report that hundreds of these creatures....... The picture switches to a rough police sketch of what the ALIEN looks like. The picture is greatly exaggerated; the teeth more elongated, spikes emitting from the cranium, but the picture pretty close to the real thing. VICKY(voice over) Escaped from the Sin-Tech labs and proceeded to massacre any civillians or police officers that got in there ways. Through a valiant effort, these creatures were stopped from doing more damage than they already inflicted, but was it in vain. Witnesses have reported seeing the remaining creatures escaping into the sewers. Could these creatures be a threat to our safety? CALL(off screan) No news is good news, huh? Ripley points the controlled towards the Tv and mutes it. She turns around to look up at Call, who has changed clothes. She now wears jeans and a light grey tank top, which seem to be kind of baggy on her. She holds in one hand an old Denim jacket. RIPLEY How long have you been standing there? CALL Long enough to know that everything you said is true. That if even one of those things, furthermore hundreds of them, were to escape like they have, we'll all be dead within the week. Call begins to walk towards the kitchen. RIPLEY(comical) So, you've decided to join us masachists? CALL(sarcastic) I'm not just a member, I'm also the president. Ripley bursts out laughing at this, and Call snickers to herself as she scrummages through the cabinets. RIPLEY(jokingly) That's quite a wardrobe Richard has going there, maybe I'll try some on too. What do you think? CALL(sarcasticly) You're one to talk. You look like you got your clothes from good will. RIPLEY Well, it is millitary issue, so you're probally right. They both snicker at her comment. Call has a girlish laugh, like a young school girl, strange for her demure. Ripley shows more emotion than she has in weeks with her laugh. This is a break through moment, but quickly passes. They grow silent. Call begins to rummage through the kitchen. Ripley sees where the conversation has gone. She grabs the controller and turns the TV off. For a second she sits there, looks around the room. Then she gets up and walks to the sliding glass door and out to the terrace. Sounds of the city can be heard outside as she leans over the bars to look down. Call sees Ripley walk out, wonders why. She debates between leaving Ripley be, and going out to talk. They were having a bonding moment weren't they? Call decides and walks out to the terrace, leaning off the rails by Ripley. Ripley sees her come, but does not speak for a second. Call admires the city. Off in the distance the large sun goes down, illuminating the entire sky with bright purples and oranges. RIPLEY Pretty isn't it? CALL Oh, you mean the colors? You know that's just all the pollution in the air. That's one of the advantages of destroying the Earth's ozone; prettier sunsets. RIPLEY(ignoring her comment) It's been a long time since I last saw a sunset. I was with my little girl............... EXT. DREAM SEQUENCE - WHEAT FIELD We see a shot of a long wheat field, cinnamon brown colors stretching for miles, lightly blowing in the wind. In the middle of the field a large tree sits. It's rather old, gnarly, intertwined and twisted. A little girl's laughter can be heard, followed by another familiar laugh, but somehow different. A little girl runs into view, skipping through the field. She looks to be about ten, brown hair so dark it looks almost black that rests across her back. She giggles as she runs in her flower dress. Another figure comes into view. It's RIPLEY , though a different Ripley completely. She looks to be about late twenties, maybe early thirties , also dressed in a flowery sundress. Her hair has been put back into a pony tail as she runs along. In her hands she holds a picnic basket. FLASH CUT: Ripley and the little girl sit on one of the high branches of the gnarled trees, watching the sun go down in the distance. Down below them lay a blanket and the open picnic basket. Dirty paper plates lay on the blanket, the meal long finished. The little girl points towards the sunset, intranced by it. Ripley notices this, and a smile comes across her face. A pure smile, not yet plagued by the hardships of life, not having yet faced the ALIEN menace. RIPLEY It's beautiful, isn't it AMANDA. AMANDA Yeah Mommy, it's pretty. FLASH CUT: Back to Ripley and Call on the terrace. Ripley has been clearly shaken by her memories, and lets her tears flow freely. Call seems clearly fascinated , hanging on every word Ripley has said. CALL I......I never knew you had a daughter. RIPLEY It was a long time ago. CALL The father..........? RIPLEY We were young and stupid. It was an accident, while I was in..... (looks for the word) College. When I told him I was pregnant with his child, we had a kind of falling out. I dropped out of college, went back to live with my parents. They gladly took me in, though I always felt they were more distant after that. Maybe they didn't like the idea of pre-marrital sex. I don't know. (pauses, sniffles) Anyway, after Amanda was born, I had to get a job. What kind of job could a college drop out with a child get? I went to interviews, tried some temp jobs, but could never afford to buy my own apartment for me and Amanda to live in. So, my dad , who used to be a Star Pilot himself, introduced me to a couple of friends of his. I got my Star Pilot's license, signed up with a cargo cruiser NEXUS 6. Push went to shove, I had to go out on longer transports, I saw less of Amanda. I finally had some leeway time coming up when I was put on as Warrant Officer on the Nostromo.................. Call's eyes light up with the knowledge of what Ripley will say next. She has a look of remorse. RIPLEY Well, you know the rest of the story. Ripley puts her elbows on the safety bar and leans out far. Call does the same, with a subtle grin. CALL Tough life, huh? RIPLEY You could say that. MOVING SHOT: The camera starts over Ripley's shoulder but quickly moves away. It flies up in the air, as if in a birds POV, and jerks downward flying at breakneck speeds. Cars fly past in blurs as we move downward. A grid passes us , then another. Finally we see a detailed view of the lower city streets. We come to a stop on the ground as we cut to: EXT. LOWER CITY STREETS The streets are dweary and dank. Littered with trash and people that are almost lower than trash. Off in the distance a car alarm goes off. Gunshots can be heard from inside a nearby building. A black man dressed in a stereotyped rapper type outfit passes by with a large boombox playing some obscene music; grunge rock/gangsta rap/death metal. A man, pure cyber punk in every way, purple hair, nose , lip, ears, tongue and eyebrows pierced, runs up to an old car and throws a brick through the window. He sticks his hand through the broken glass and unlocks the door, and then opens it. INT. CAR The man leans onto the appolstry of the car and likes the feel of it. This is an older car, lacking the advancements of the future. No safety procautions to protect it. The man removes a small metal gadget and inserts it into the ignition, and then jerks it, breaking the started, but leaving the car on. The man smiles as it starts and begins to drive away when a shadow becomes cast upon the city streets. The man leans forward to look out the windshield. POV SHOT: Low to the streets, a shuttle transport ship, millitary class, is lowering down to the streets, engines blazing. The man in the car gulps as the shadow completely obscures his view. His last thought is of an old Road Runner/Wile E. Coyote cartoon. SHOT OF: The transport lands on the street, completely crushing the car. The engines shut down and steam juts from every nook and crany on the shuttle. The people that had been on the streets run inside for cover now, afraid of the what may emerge from this vessel. CLOSE UP: The door on the bottom of the shuttle slowly opens and lowers to the ground. As it touches the earth, a ramp lowers and slams hard to the street. For a second all is silent when: The pounded of large feet can be heard in the shuttle. Suddenly, two lines of armored soldiers emerge from the craft. They wear white MEDICAL ARMOR very similar to the soldiers in ALIEN3, but less bulky and more combat orientated. Most cradle assault rifles in their hands, but some have ENERGY CANNONS; connected to a harness that is attached directly to the armored suits, the cannons have long barrels and rotating muzzles. They are like futuristic MINI-GATLING GUNS, or more comparable to the SMART GUNS from ALIENS. When the soldiers rotate them, they pivot and turn mechanically, targetting different objects. A dozen soldiers patrol the left side of the street, while a dozen others walk the right. Some soldiers branch off with partners and run into the buildings that line the streets. The remaining soldiers arrive at a MANHOLE. The Lead soldier kneels down behind it and pushes a button in the middle, releasing the clamps that hole the manhole down. SHOT OF: From inside the sewers we see a shot of the manhole lifted up and away, and an armored commando peers inside. INT. SEWERS The lead soldier climbs down the ladder clumsilly and then drops down with a splash. He scans the area, and then hits a switch on his shoulder. A bipodial SHOULDER LAMP pops up and snaps into place. A light beacon comes to life and lights up the darkness. The commando hefts up his cannon and moves on as his comrades drop down into the sewer behind him. CUT BACK: RICHARD'S APARTMENT Call sits on the couch in Richard's apartment watching the TV with the volume low. Ripley lay asleep , her head in Call's lap. No snores come from Ripley, to Call's relief. Call's head pops up as the door opens. Call's ready to react when she sees that it's only Richard, grocery bag in each arm. Richard sees Ripley asleep and winks at Call. He tiptoes to the kitchen and sets the bags down. Call lifts Ripley's head up from her lap and at the same time slowly gets up from her spot on the couch. As she gets up, she lays Ripley's head back down on a pillow she picked up. Through this, Ripley never woke up. Call comes over to the kitchen where Richard still is and moves to talk to him. CALL(whispering) You have any trouble? COOPER No , no trouble at all. There was this check out lady that was giving me grief but............ CALL(slightly angry) I'm serious Richard. Richard takes on a more passionate tone now. COOPER Call, you don't have to worry. We're going to be fine, all of us. Who knows, maybe the earth will actually triumph over evil for once. Call smiles bitterly at him. CALL(sarcasticly) Hope is for suckers. I think I'm gonna go to bed now. Richard becomes confused. COOPER You sleep? Call looks almost offended, but understands why he would wonder that very question. CALL I ..... we have neural impulses that run through.......(stops) Yes. COOPER I'd prefer a life without dreams. When you dream, your mind releases all the demons that have ever haunted you at once. (pauses) At least that's how it is for me. Hope you don't think I'm weird or anything. I've just never really felt ........ normal, like I thought everyone else would be like. CALL There is no normal, just different degrees of abnormalty. Richard snickers at this. He then yawns a bit, and looks at Call. COOPER You can sleep in my bed if you want. I can just crash on the floor for tonight. Call is taken aback by his sweetness. She smiles faintly. CALL Really, that's so sweet of you. COOPER All I need is a pillow and a blanket and I'm set. CALL I'll go get it. Call runs down the hall to Richard's room and enters. A second later she comes back with a pillow and a blanket. Richard excepts it graciously. COOPER Thanks. CALL No, thank you. For everything. Call kisses him on the cheek and walks away. In the background we hear a door close as she enters the room. Richard brushes his cheek and smiles. COOPER] I'm never washing this cheek again. CUT TO: A shot of the city; dark and mysterious, yet quiet now, almost at peace. The buildings are lit by offices and apartments , little lighted boxes across the land. As we move through the city we see off in the distance one of the building tunnels that link each building together together. Several sections are in darkness, but towards the end we see that some lights still are on. A figure can be seen moving down the tunnel. INT. BUILDING TUNNEL A woman walks down the empty tunnel, minding her own business. She's young, early twenties with auburn brown hair. Though her age would make it seem otherwise, she has a street smart toughness about her. She is a single woman living alone in the city isn't she? She wears a long brown over coat, and a black leather purse on a strap over her shoulder. POV SHOT: From the woman's POV we see a man closing up his foodstand rather hurriedly. The man grabs his bag and runs down the tunnel. The woman thinks this is peculiar, but bears it no mind. Down the way a lone figure can be seen. The woman tenses a bit, reaching into her bag, probally for pepper spray. As the figure comes closer she sees that it's only a night watchman, spinning his night stick as he walks along. As he makes it closer to the woman, he tips his hat to her. WATCHMAN Evenin' ma'am. WOMAN Good evening. The woman smiles at her foolishness as the watchman passes. She moves on down the tunnel until she comes to a newpaper stand where an elderly man sits back in a chair, reading the newspaper. A small old fashion radio sits on the counter, playing low. The woman stops next to the stand. WOMAN Hi larry. LARRY Patricia! I haven't seen you in the longest time. How have you been? PATRICIA I've been good. My mom is feeling a lot better now after the operation. LARRY Oh yes, the operation. I had forgotten all about that. (pauses) What was it for again? PATRICIA She was getting artificial eyes implanted. She bumped her head in a car crash last year, and her sight was all out of wack. Now, she can see clearer than she ever has. LARRY Well, that's just great. I'm happy for you. (beat) I've got your subscriptions for you. You want them now, or should I save them for tomorrow? PATRICIA Now would be fine. Larry takes a pile of newspapers, tied together, out from beneath the counter, and slams them down on the counter. LARRY There you go. PATRICIA Thanks. Something intrigues Patricia on the radio and she strains to listen. PATRICIA Mind if I turn that up? LARRY Go right ahead. Larry brings his newspaper back up to read the SPORTS. Patricia turns the dial on the radio, increasing the volume. RADIO SPEAKER Mass dissapearances have been reported throughout the city today. Some think it might be linked to the biological outbreak this morning at Sin- Tech. Lou Kwang, the owner of Sin-Tech industries, was wanted for questioning in these matters, but couldn't be reached. Some reports have said that Kwang might have gone off-planet, fearing prosecution for illegal experimentation with a dangerous biological organism........... LARRY Maybe I should walk you home? Patricia had been engrossed in the telecast, and snaps out of it when Larry speaks. she glances over at him. LARRY I mean, just like the news said. It isn't safe for a girl like you to be walking home alone in this city. Patricia looks greatful, but is tough, and hides her fear. She smiles at Larry. PATRICIA Oh Larry, always like a father to me. (pause) I really just think the news is making more of this then there really is. It's just some propaganda used to rile up the media. (pauses) Don't worry about me, I'll be fine. LARRY You sure? PATRICIA Positive. Seeya later Larry. Patricia turns around and walks down the tunnel. INT. LOBBEY Patricia enters into the lobbey of her building. She stops and looks around for a second. The place is all quiet, all the lights are off. She gathers up her strength and jogs to the elevator. When she gets there she slams the elevator door. What was that? Patricia turns around. A sound could be heard off in the corner. Behind her the elevator door opens, and she rushes inside. As it closes in front of her, she shuts her eyes with relief. CUT TO: The elevator door opens and Patricia steps out, newspapers in hand. She begins to walk down the hallway a bit when she hears a ding behind her. She pauses and turns around slightly. The elevator door next to the one she just came out of has opened, but no one is coming out. PATRICIA Is anybody there? Patricia stands silent for a second. Maybe it will just go away if she doesn't move. No, she knows that's only what a child would do. She walks to the elevator and jumps out in front of the door to reveal: NO ONE INSIDE. It's empty. Patricia looks very confused. She puts her hand on her forehead. PATRICIA I must be going crazy. Patricia turns and begins to walk down the hall again. As she makes it to her door, she can hear the mechanical noise as the elevator closes. SHOT OF: Just as the doors are about to close, a biomechanical claw reaches forth, stopping it. The doors rebound and open again. Slowly, a the drooling face of an ALIEN WARRIOR comes into view, peering down the hallway at Patricia as she reaches into her bag for the keys to her door. CUT TO: A blur of speed and light passes by the darkness that lay before our view. The sound of a speeding automation can be heard. It's a SUBWAY TRAIN. As it passes by at hundreds of miles per hour, a few lonely people can be seen standing and sitting inside. INT. SUBWAY STATION/BOOTH The train comes to a stop in front of the station, and we see that it's not a normal subway train, but a HOVER TRAIN. It hovers a good two feet of the tracks. Electrical sparks can be seen channeling between the tracks through the air onto the bottom of the train. The doors of the train open up, and a small crowd of people emerges. It is in fact late at night. A man in a trench coat passes by holding a newspaper in one hand. A woman strolling a baby exits. A couple of young kids. An old bum, dressed in rags and looking unshaven, comes off the train and sits on a bench next to the tracks. As soon as he sits down, he's fast asleep. The people off the train pass through the turn style and walk up the stairs out into the streets. It gets quiet. No one is around except for the sleeping bum. The camera PANS around to show the whole station, and we see there is some life. The only light in the whole station, besides the stairway, comes from the tolebooth. Surrounded in glass and wood, a young man sits inside. He looks like a dropped out med student that couldn't make the grade and had a nervous break down. His dark brown hair is in shambles, he wears a blue button up shirt with the collar and the topper most buttons undone. Cheap glasses sit on the rim of his nose. He looks as pale as a ghost. He leans back in his chair, minding his own business, reading a girly magazine. On the cover a scantilly clad woman lay on a bed in erotic positions. The title of the magazine looks to be BAZOONGAS. As the man looks at the magazine, in the background a strange figure can be seen crawling up from the tracks. The homeless man's eyes light up, and he tries to let out a scream. Before he can, swift hands strike out and grab him, pulling him down to the tracks. The man in the booth looks up, seeing movement where the bum had just been pulled down. A look of suspicion has just come across his face. He places the porn magazine down and exits out the door. INT. SUBWAY STATION The man walks slowly forward towards the tracks. He arches his head up trying to see down onto the tracks, but can't quite get the angle. Suddenly, a deep growling can be heard. Then a low hissing. The man stops. BOOTHMAN(stuttering) Is......is anyone.......the the the there? Quiet for a moment. The man sighs and is about to turn around and walk away when an ALIEN jumps up from the tracks onto the concrete. The man screams and falls backwards. As the Alien slowly approaches him, the man keeps pushing himself back until he is finally able to get up and run. ALIEN POV SHOT: from the Aliens obscured POV we see the man get up and run for the stairs. The man runs for the stairs and is about to go through the turnstyle when another ALIEN drops down on the other side. The man screams and runs back away from the Aliens to come face to face with the other ALIEN. Now he realizes what's happening. He's caught between the two, who slowly circle him. The aliens start to lurch forward, growling, but not at the man, but seemingly at eachother. The man sees this and takes the initiative. He runs for his booth. Both the aliens look at eachother like,"What type of idiot is this guy?" The man makes it to the booth and runs inside , locking the door behind him. He looks out towards the Aliens outside the booth. POV SHOT: The aliens turn towards the booth and start walking towards it. The man gasps and backs away from the window. He jumps forward and slams down a button, making a metal cover come down upon the window, sealing it off. INT. BOOTH The man backs as far away from the window as he can, struggling for breath. For a second, nothing happens, then: The metal cover bulges in, shattering the window. Glass flies across the room, covering everything. The aliens beat upon the metal as if it were plastic. Their long black claws stick into the metal, tearing at it. Before the Aliens break in, the man lets out one last scream of fear. CUT TO: A small bedroom. The room looks to be occupied by that of a very poor person. Cracks are in the walls and ceiling, wires protrude from every crack. An old metal bed sits in the corner, and a small figure lay upon it, fast asleep. A cheap blanket covers the figure, holes across it. SHOT OF: The door to the room slowly opwna, letting in a beam of light that goes across the room illuminating the bed. A young black woman enters the room. She looks to be young, around 29, and very late in a pregnancy. Her long black hair has been braided across her cranium. She is rather pretty, but somewhat sad. She walks across the room to the bed an looks upon it with a smile. she leans down close to the figure. CLOSE UP: Of a young boys face, 13, as the woman kisses him on the cheek. The woman straightens the cover over the boy, and then turns and walks out. When she leaves, for a second, nothing happens, then the boy springs to life. He throws off the covers from his bed, revealing himself to be fully dressed. He wears a blue sweater, pull strings hanging down, and army fatigue pants. The boy pulls up his mattress a bit to reveal a pistol. The boy grabs the pistol, which is rather large for his hands, and smiles. EXT. FIRE ESCAPE The window to the boys room opens, and he steps out onto the fire escape. He stuffs the gun down into his pants as he climbs down. EXT. CITY STREETS The boy climbs down the ladder from the fire escape and hits the ground on his feet. Then he's off running. The streets are dark, lit only by the occassional street light at the corner. The boy rounds the corner, and at the end of the street, standing under the spot light, is a lone figure. The boy smiles and runs toward the figure. The boy makes it to the figure, and we see what he looks like. A tall man, early 30's, with a dusty black coat covering most of his appearance. He has a baseball cap on backwards, and smokes a cigarette. The boy approaches and they bump fists, a sign of greeting. TALLMAN 'Sup Jermane. BOY/JERMANE Hey Erving, what's happening. The boy pulls out a cigarette, and the man oblidges by lighting it for him. Erving puts his hand over the boys shoulder. They begin to walk down the street. ERVING I scored us a way to get some big money. The boy stops for a second, looks up at the big man. JERMANE Talk to me. EXT. DOWN THE STREET Down the street away from the two, a very expensive looking car sits in front of an alleyway. An anxious man in an expensive suit sits in the car. He looks at his watch. INT. ALLEY In the alley two men stand conversing. One of them is dressed business like, like the man in the car. The other man wears a dark grey sweat jacket with the hood up, and dark sunglasses to disguise his face. The business man takes a bundle of wrapped up bills and hands them to the man, who then hands the business man a small plastic sack, containing a white powdery substance. EXT. THE STREET The business man exits the alley and jumps into the expensive car, which quickly speeds away. In the wake of the car, Jermane and Erving come running up to the alley. INT. ALLEY The drug dealer counts the money he got from the business man when Erving runs into the alley, a large gun drawn. The drug dealer is caught off guard and before he can reach for his gun, Erving shoots him full of holes. His chest explodes in blood as he falls to the ground. Erving smirks at his handy work and grabs the money that lay next to the drug dealer. As he walks out of the alley, he passes Jermane, who also has his gun drawn, but has a look of disbelief on his face. He can't stop looking at the dead body before them. ERVING Hey man you coming or not? JERMANE You......you didn't have to kill him. It was two against one, he.....he would've given up the money. ERVING Jermane my boy, we can't let scum like him walk the streets can we? He was dealing drugs to people. What if he had sold some of them to a young kid? Erving easily twists Jermane's beliefs to use him as his pawn. Still, Jermane doesn't look convinced. Erving sees this, and then finds the perfect thing to say. ERVING What if he had sold some of that shit to the little brother or sister that you'll have one day? Now Erving knows he said the right thing, because Jermane has a look of anger in his face. JERMANE Yeah, scum like that don't deserve to live. ERVING That's my boy. Suddenly from the alley an ALIEN jumps out and grabs Erving, who gets pulled back into the alley, screaming all the way. Gun shots ring out, then a final death scream, a finally a disguisting gurgling sound. Jermane gets up and starts running as fast as he can down the streets. EXT. UNDER SUBWAY TRACKS Jermane runs from around the corner into an area covered by an elevated train track/bridge. The whole place lay in darkness. Jermane coughs and sputters and looks back. POV SHOT: An ALIEN runs from around the corner and scans the area. It almost misses Jermane, but then it spies him and starts to charge at him. Jermane runs like he's never run before. Off the street onto a stairwell leading to the subway train stops. Jermane skips some steps as he runs and makes it to the top. He comes out of the stairwell and looks around. No one is there. It's completely dead. A train is coming off in the distance though. A ray of hope penetrates Jermane, but then he hears a hissing behind him. He turns around to see an ALIEN crouching in the entrance to the stairwell. It slowly begins to appraoch him, green saliva leaving a trail as it walks. Jermane backs away from the ALIEN, getting right to the edge of the train track. The ALIEN lunges at him and he trips, falling right onto the track. A loud whistle can be heard, and Jermane sees that the train is almost upon him. He gets up to run when he sees the ALIEN poised to strike. QUICK SHOT: The ALIEN leaps at Jermane. QUICK SHOT: Jermane's terrified face. QUICK SHOT: Of the approaching train. FADE OUT FADE IN: CLOSE UP: Of Jermane's face. His eyes are shut, his face is dirty and covered in sweat. Suddenly, his eye lids flutter to life and open up. Jermane looks groggy and for a second doesn't realize what has happened to him. His eyes dart back and forth in horror. INT. CHURCH Jermane has been cocooned to the wall in a chapel, along with several other people. The stange thing is, the place has not been coated with ALIEN resin as we have seen before. It is rather plain. What we do see is aliens in the corners, working at secreting resin to build their hive. The Aliens stand faced away from the wall as black goo oozes out of the four tubes on the Aliens' backs onto the walls. The Aliens then smear the goo across the wall and pack it into tight spots so it can dry. Jermane looks off to the side and recoils in horror to see Erving, unconscious, cocooned to the wall next to him, with a FACEHUGGER wrapped around his head. Jermane screams and starts to struggle to get out, but can't break his bonds. His screaming has apparently agitated the Aliens, for they now pace back and forth dstracted from their work. SHOT OF: As Jermane screams in the background, we see the QUEEN ALIENS, sitting like a goddess of the apocalypse on the altar of the church. Slowly her second mouth comes down, and she lets out a loud hiss. Jermane sees the queen and screams even louder now. JERMANE Where am I? The Queen bucks it's head to the side towards one of the Aliens, who stands still, listening to her mental commands. A second later, it springs into action. Where a group of eggs sit by the Queen's ovipostor, not yet moved by the drones, the Alien runs over and picks an egg up. It then turns and starts stalking towards Jermane. JERMANE Am I in hell? The Alien comes forth to Jermane and sets the egg down in front of him. it then stands back up, cotent that it has served the queen well, and goes back to working on the walls. Jermane hasn't noticed any of this. JERMANE Plase god just tell me where I am!!! Then Jermane looks down and to his horror the Alien egg begins to open. Like flower petals it folds back, exposed to the world. Something moves inside the egg as Jermane lets out one last scream of terror. CLOSE UP: Of Ripley's face, sound asleep. She twitches with uncertainty. He nose crinkles and her eye lids flutter. She is having a nightmare. Not a terribly horrible one, but a nightmare. Suddenly, her eyes snap open. She looks left and right. INT. RICHARD'S APARTMENT Ripley looks around herself. The room is dark as night. A faint snoring can be heard. Ripley looks down and sees Richard sound asleep, curled up on the floor with a blanket and pillow. Ripley gets up from the couch and walks towards the terrace, drawn to it by some unseen force. EXT. TERRACE Ripley slides the glass door open and steps out onto the terrace. the city is pitch black now, and there are no sounds of cars, or trains, or anything. Just silence. Ripley leans forward against the railing. VOICE Ripley. Ripley hears the voice and jerks around to see: EXT. CRANE/PLATFORM Ripley turns around to see where she is. She's reliving the events that transpired at the end of ALIEN3. She stands on a moving crane, MORSE curled down next to her. The place is lit up by the blazing inferno below them. Across the way BISHOP II and a group of WEYLAND&YUTANI commandos and scientists stand. BISHOP II Don't do this Ripley, we can still save you. Ripley puts her hands on the railing for support as she feels a lurching from the inside of her chest. She brings up all her strength and stands back up. RIPLEY It's too late for me. Ripley backs up to the very edge of the platform. Bishop II puts his fingers through the chained fence desperately. BISHOP II RIPLEY!!!! NOOO!!!!! Ripley had had a smile on her face, but now it changes to confusion. She barrels over forward as something jerks from her chest. A blotch of red appears on her shirt as she tries desperately to jump. Right before she gets to the edge, a QUEEN ALIEN CHESTBURSTER explodes from her chest. Blood spreads force through the air from her as she struggles to stand. The chestburster leaps from her chest, freeing Ripley of the weight, but also forcing her back. She falls to the edge of the platform and turns around in time to look down as she falls into the inferno. RIPLEY This wasn't the way it was supposed to end!!! Ripley's body bursts into flames as she falls into the blaze. The skin melts away from her bones and her bones turn to ash under it as she screams in pain. CLOSE UP: Of Ripley's face as she wakes up from the nightmare. She's covered with dried sweat and her hair has seen better days. She looks like she has a hangover. Ripleyhad been laying on the couch, but now she sits upright, clutching her chest. She almost cries from her pain, but then she notices someone else is in the room with her. CALL sits at the counter doing something on Richard's laptop. She had stopped though, and was watching Ripley with motherly care. Ripley gets up and walks towards Call. RIPLEY What are you up to? CALL Looks like you were having one hell of a nightmare Ripley. Want to talk about it? For a second, Ripley considers it, but then she hardens. RIPLEY No, I'm fine. What I want to know is what you're doing on the computer this late at night. Call turns back towards the small screen and begins to type again. CALL I'm contacting an olf friend of mine that may be able to help us get a ship. RIPLEY Really, and who is this person? CALL Crispus Attucks. Ripley stands there for a second while Call types, as if expecting more of an answer. RIPLEY Well? CALL Well what? RIPLEY Are you going to tell me who the hell Crispus Attucks is? CALL You mean you don't know who Crispus Attucks is? Ripley gives her a stern look. Call realizes her error. CALL Oh , wait a minute, how would you know? (uncomfortable pause) Well, Crispus Attucks is the richest man in the universe , you could say. He owns and created the biggest computer software company of ours and any time, VIVAWARE. It dominates the market. When VivaWare first premeired five years ago, it had the most technoligically advanced computer systems and software combined. Other companies were put out of business within months. RIPLEY Wow, sounds like a smart guy. CALL Yes, he's a genius. He's also an AUTON, like me. Ripley doesn't seem too surprised. She is curious though. RIPLEY So, how many of you are left? CALL As far as I know, we may be the ONLY left. RIPLEY I'm sorry Call. CALL Don't be. It's not like you went around destroying my kind. Ripley backs off now, fearing emotional retribution from her friend. Call keeps typing until she comes to a stop. She sighs and puts her hand on the roller ball( as opposed to a mouse). SHOT OF: The lap top screen. The mouse moves across the text message over to a button labled SEND. Call clicks on it. FADE OUT FADE IN: EXT. THE CITY The sun is low in the sky. The city has come to life again. Thousands of cars fill the airways. Buildings fill with men and women heading back to the ratrace. People stop for food at diners and food stands. EXT. LOWER CITY STREETS The lower grid though is a whole different story. The streets are empty of life all except for a dozen or so patrolling soldiers. They walk up and down the streets, rifles or cannons in hand , armor glinting from the mid-morning sun. INT. BUILDING LOBBEY Another building lobbey. This one is less spacious then the one in the Sin-Tech building, and much less luxurious. No one is around, except for two soldiers, not wearing armor but U.S.M. Uniforms, that stand on each side of the one elevator in the lobbey. They both looks nervous, but don't move. CUT TO: Richard's Apartment. Now that's it's morning, the place is more lively. Ripley is in the kitchen scrambling eggs. Richard has just woken up. He walks over to the counter to see what Ripley is doing. COOPER I didn't know you cooked. RIPLEY I could scramble up a mean egg in my day. COOPER(sarcasticly) Really? Ripley lifts up the pan full of eggs and scoops them off into a plate. She then sets it down in front of Richard. She takes a fork out of a drawer and hand it to the Richard. RIPLEY Really. Richard takes a bite of the eggs, and a smile comes across his worn face. COOPER These are really good! RIPLEY See. Told you I could cook. COOPER Where's Call? RIPLEY She's taking a shower. COOPER Oh. INT. BATHROOM The bathroom is very foggy, obscuring our vision. Through the glass door that leads into the shower, we see a nude figure(CONSERVATIVELY), but it's too foggy to make them out. A second later the water is turned off, and the shower comes to a low trickle of water. SHOT OF: The glass door opens and we see two wet feet step out onto a fuzzy blue rug. SHOT OF: A hand reaches out and takes a towel off a rack. Now we see that it was Call that had exited the shower. She wraps the towel around herself, and stuffs the end down in the towel to keep it tight. INT. KITCHEN COUNTER Richard has finished his eggs, and leaves the plate on the counter. Ripley frowns at it. She may be a good cook, but she doesn't clean up other people's messes. Richard walks towards the hall. COOPER If call is done taking a shower, then I' gonna take one. I need it. INT. HALLWAY Call steps out into the hallway just as Richard is coming. She sees him coming and becomes embarressed. She runs down the hallway, as fast as she can without the towel coming off, and slams the door to Richard's room. Richard smiles at this. INT. RICHARD'S ROOM Call leans against the door, still blushing from Richard seeing her in the towel. She shakes her head and walks over to Richard's dresser, opens the top drawer. She takes out a blue t-shirt and puts it on top of the dresser. Then she pulls out a lower drawer and removes some jeans. SHOT OF: From the back we see as Call drops the towel that she wears. SHOT OF: The towel hits the floor around Call's feet. Call's foot goes up and when it comes down it has a jean leg over it. Then Call does the same with the other leg. We hear the sound of a zipper. SHOT OF: We see Call's bear back as she reaches over and picks up the t- shirt, slips it over her head, and then pulls it down at the waste. INT. HALLWAY Call leaves Richard's room and closes the door behind her. As she is walking by the bathroom , she hears the noise of running water and of Richard singing in the shower. COOPER(V.O.) I'm in the mood for looooooooove, Simply because you're near me........... A school girlish grin fills Call's face as she walks on. INT. LIVING ROOM Call enters into the living room and sees Ripley on the couch watching TV. An old episode of JOHNNY QUEST plays. Call then sees another plate of eggs sitting on the counter. CALLyou make those for me? RIPLEY If you want them, you can have them. Call seems content with that and walks over to the eggs and begins to chow down on them. CLOSE UP.TV: The screen changes from Johnny Quest to an SPECIAL NEWS BULLETIN. ANNOUNCER We interrupt this program to bring you a special news bulletin. The screen changes to show KEVIN DAVIDSON sitting behind his news desk. He has some papers in his hands and sets them down. KEVIN Our top breaking news today; it appears that U.S.M. troops have been brought to the lower grid of New England City. Their purpose is yet undisclosed, but many are speculating that the escape of several dangerous biological organisms from Sin-Tech yesterday may be the source of this. Whatever their business may be, they are attempting to keep it as secret as they can. The picture switches from Kevin to a shot of the city streets, apparently through a grimy window, of the soldiers patrolling. KEVIN This was taken today by Special on seen reported Dan Johnson. As we see in these next few shots, the soldiers discover that he was taping them, and then order him to stop the tape. And it unfolds just as Kevin said. In the shot we see a soldier stop and look right towards the camera. He yells to some of his buddies and they all run into the building. For a second the camera still tapes outside the window, but then it turns around towards the doorway that breaks down. The soldiers barge in, and one of them puts his hand over the camera. It goes to static. KEVIN When the soldiers were questioned about their actions, they refused comment and requested that all cameras were removed from the scene. We assure you ladies and gentleman that Weekly World News will keep you up to date as these strange events unravel. Now back to your regularly scheduled program. The screen switches back from WEEKLY WORLD NEWS to Johnny Quest. Call has been watching the whole thing with a mouthful of eggs un-eaten, but now she gulps down the eggs like they were poison. Ripley notices. RIPLEY What, you don't like the eggs? CALL I think I just lost my appettite. Call pushes the plate of eggs away, looking disguisted in general. Richard walks out from the hallway, drying his hair with a towel, but fully dressed. He has jeans and a white button up dress shirt on. COOPER Hey ladies, I........... Just then the door buzzes. Everyone freezes up not knowing what to do. The door bell buzzes again, and this time Call walks to it. Richard reaches out to stop her, but then holds himself back. Call grabs the door knob and pulls it open. Two large men stand at the door. They are both dressed like they are secret service men, all the way down to the piece in their ears. One of them is black, the other white, faces expressionless. They tower above Call. BLACK MAN(emotionless) Are you Annalee-Call? CALL Um, yes. WHITE MAN We're gonna have to have you and your friends come with us. CALL(suspiciously) May I ask why? BLACKMAN We're representatives of Mr. Crispus Attucks. You contacted him last ngiht, and now he wishes for you to see him. Call's face lights up with relief and she smiles a huge smile. She looks back at the others and waves for them to come with. CALL It's okay guys, these men are here to help us. Richard, still rubbing a towel through his hair, looks over at Ripley, who shrugs her shoulders. CUT TO: The secret service type men turn and walk down the hallway as Call, then Richard, then Ripley exit. The white man pushes the down button on the elevator and it begins to rise up towards their floor. Ripley comes up right next to the black man and looks up at him. RIPLEY You boys sure take your vitamins don't you? The man doesn't even crack a smile. Ripley yawns and crosses her arms. Behind the white man Call and Richard quietly converse. Richard whispers out of the side of his mouth, but Call doesn't take any measures to hide what she is saying. COOPER Isn't this Attucks guy kinda protective to have such steroid driven body guards? CALL He's had death threats against him before. One time he even had an attempt on his life. COOPER Don't you think it's kinda rude that this guy wouldn't even come to see us himself. He has to send some goons to come get us to take us to him. CALL You're not jealous, are you Coop? COOPER(taken aback) Of course not, why would I be jealous? Call rolls her eyes and doesn't reply. The elevator opens and the body guards step in, along with Ripley. The black body guard pushes a button on the control panel as Call and Richard step in. Just as the elevator is closing Richard looks over at Call. COOPER(matter of factly) I'm not jealous. CALL Sure you're not. SHOT OF:The elevator doors close in front of them. SHOT OF: The Elevator doors open and Call steps out. Richard follows after. COOPER Really Call, I'm not jealous. CALL Whatever you say Richie. Now she's teasing him, and she enjoys it. Richard seems rather annoyed by it. The body guards step out of the elevator and walk down the hall. The others follow them to a door labled exit. The body guards walk through, as do the others. EXT. PARKING GARAGE They all step into the parking garage where right in front of the door sits parked a rather extravagent stretch limo. The three seem impressed by it, but the guards are still emotionless. The driver stands by the back doors and opens them for the people, who step inside. INT. LIMO Call steps inside and sees what it's like. It's your steriotypical back seat of a limo, large and spacious with a TV and phone. Nevertheless, it's impressive. Call sits down, and Richard next to her. Ripley steps inside and sits in the seat opposite Call and Richard. The Black body guard gets in, and sits on the same seat as Ripley, while the other body guard gets in the front seat with the driver. Call picks up the car phone just as the car begins to move. She looks at the phone for a second, but doesn't dial anything. Richard thinks it's funny, though he doesn't know why he's laughing. CALL If I actually knew anyone on Earth, I would call them. Ripley laughs too, the body guard doesn't. Richard looks at the TV, then at the body guard. COOPER That thing get cable? The Guard doesn't answer. Cooper seems angry at this, but tries not to show it. Ripley elbows the guard. RIPLEY Hey big fella, where exactly are we going? COOPER That's what I would like to know. BLACKGUARD We're going to Mr. Attucks building. He owns the penthouse there. COOPER Why just a penthouse? With the money he has, he could buy a whole planet. BLACKGUARD Who says he hasn't? Richard goes silent at this. Ripley smiles. Call sits alone with her thoughts. SHOT OF: The limo speeds by off into the city. EXT. BUILDING/LANDING PLATFORM The limo flies towards their destination. It's a large building, one of the largest in the city. The limo comes to a stop at a landing platform. It lands on it as it's wheels come down. Two body guards, one black, one white, oddly resembling the other two guards, stand guard on the platform. The doors open and Call steps out onto the platform. A gust of wind blows her short hair back, and she inhales it, enjoying the high altitude air. Richard steps out, then Ripley, and they also feel the gust. The two body guards do not get out of the car though. The two new guards come towards the group. BLACK GUARD Mr. Attucks is waiting for you. COOPER Lead us on gentleman. The two guards walk forwards towards an elevator door at the end of the platform. As they walk , Call looks down through the metal grating of the platform. POV SHOT: Call looks down through the fliter like metal grating down the building. Platforms just like the one they stand on with cars parked on them line the building all the way to the ground. Cumulous clouds rest against the sides of the building. The elevator opens up, and everyone piles into it. INT. SECRETARY AREA/ATTUCK'S APARTMENT The elevator opens, and Ripley, Call, and Richard step out. The elevator closes behind them with the body guards still in it. The group enters into a small area; expensively appolstered and decorated. A large painting of a European landscape takes up most of the left wall. A secretaries desk is on the right side. At the end of the room, large pine wood doors lead into the apartment. At the desk a kindly looking 50s something woman sits at the desk, tryping on her personal laptop. She sips from a cup of coffee, on it reads,"Your #1 Secretary". As she sets the cup down, she glances up and notices the group. She seems startled for a second, but then becomes formal and pert. SECRETARY And who might you be? Ripley gazes at the large painting, and Richard seems upset enough to be here, so he doesn't speak. Call sees that this is her cue, and approaches the desk. The kindly old woman sticks her hand under the desk, not threateningly, but Call understands what she means. SHOT OF: The secretaries hand grasps a pistol in a holster attached to the bottom of the desk. Her hand shakes, ready to draw the gun. So Call stops where she is, straightens herself up, and speaks. CALL We're here to see Mr. Attucks. SECRETARY(annoyed) Do you have an appointment? Call becomes enraged, but holds it back. How could this old bag be so clueless? CALL No, but I'm sure he wants to see us. We were brought here by his personal body guards for Christ's sake. SECRETARY I'm going to have to clear this up with Mr. Attucks. Call flings her hands up in the air and turns away from the lady cursing. Ripley sees Call's frustration, and looks towards the Secretary. SHOT OF: The Secretaries hand reaches for the phone, but another hand latches out and stops hers. The Secretary gasps. Ripley has a vice grip on her wrist, and looks very pissed off. Ripley leands in very close to the woman's face. RIPLEY I suggest that you open those doors right now, that is ,if you value your life. the Secretary looks scared out of her minds, and looks frantically back and forth between Ripley and Call. SECRETARY Are you people terrorists. CALL No, just some old friends of Mr. Attucks from out of town. The Secretary stares into Ripley's face, Ripley smiles back. The Secretary makes her decision. SECRETARY All right, I'll open the door. (pleadingly) Just, please don't make me lose my job. CALL We promise we will be on our best behavior. At least I do, Ripley? Ripley lets go of the Secretaries wrist. The old woman grabs it, rubbing it to try to make the pain go away. Ripley backs off and turns to Call. RIPLEY Guess you should have house-broken me before you brought me here. CALL I'll take that as a yes. The secretary pushes a button on the top of her desk, and the pine wood doors slowly open up. Call and the others walk towards the door and then through it. Ripley waves back at the Secretary, who recoils in fear. INT. CRISPUS'S APARTMENT The group enters into Crispus's apartment, and are struck with amazement. It is the most extravagent place they've ever seen. Call's feet step onto large Persian rug as she views the room. It's one large living room, dipping down a level where the furniture is. Shelves line the walls, and on each tiny statues, very ancient from every corner of the world sit. On the walls, some of the most famous paintings in history are hung up. As Call trots around the room, she steps by the MONA LISA. A spiral staircase leads upstairs where another large room is, and sun streams in from sky light. Ripley runs her hand along a glass case. Inside is three Japanese Samauri Swords. On the case it reads,"800B.C.". Ripley is generally inpressed. Call turns to see a Knight in shining armor, or at least the shell of him, propped up in the corner. She lifts up the face mask to look inside. It's black and hollow. Richard walks by a fire place that's kindled and burning bright. As he glances at the fire place, he accidently trips and falls face first into it. He screams in pain as the flames engulf him. Call screams and runs to Richard, pulling him from the fire and throwing him halfway across the room. Richard rolls across the floor , holding his face, screaming. Call runs up to him and notices something. He's not even burned a bit. CALL Get up Richard, you're not even burned. COOPER(amazed) I'm not? RIPLEY(indicating the fire place) It's a hologram. Call looks over at Ripley, and then back at the fire place. she pops up and walks over to it. Call kneels down, and swirls her hand out into the fire. Flames lick against her white hand and dance in unison. When she brings it back, her hand isn't burned a bit. CALL You're right Ripley. Pretty good illusion, huh Richard? COOPER Sure fooled me. Richard rubs his hands across his body, still unbelieving that he hadn't even acquired one burn from his experience. Suddenly, a gun shot rings out, startling the group. Each turn, looking for the source. It apparently didn't come from any place nearby. CALL What WAS that? RIPLEY Sounded like a gun shot, from outside. Call runs out of the room around a corner. She enters into a small room, basicly designed to lead out into back porch. A large sliding glass door reveals outside a small JUNGLE LANDSCAPE, taking up the whole expanse of the roof. Ripley runs into the room, followed by Richard. They both gawk at the site as Call slides the door open and steps outside. EXT. ROOF/JUNGLE Call becomes engulfed in the environment. The constant chatter of the jungle creatures fills her ears and embraces her. High folliage and plant life fill the view of the roof, covering it entirely except for several paths that lead out from the back porch. VOICE Pull!!! Call turns off to the side to see another body guard, tall , black in both clothing and skin, standing next to another man dressed in a black silken shirt, and cackee pants down one of the paths, standing at the egde of the roof. The man has silver grey hair, but we can't see his face, as he is looking off over the edge of the roof. The body guard pulls the rip cord on a small machine resembling a tennis ball shooter. A red disk shoots out of the machine and soars through the air. The man raises up a shot gun, following the disk. He takes perfect aim, concentrates, and pulls the trigger. A blast of lightning shoots out of the shot gun and the disk explodes in mid-air. BODYGUARD Nice shot Mr. Attucks. CRISPUS(speaks with a slight British accent) Thank you Beagsly. The body guard turns to see the group step out of the apartment , looking over at them. He reaches into his black jacket threateningly. Mr. Attucks notices the bodyguards suspicion, and turns around to see what he's looking at. His eyes light up when Call fills his view. CALL Don't shoot! We're unarmed! CRISPUS Call!! Is that you?!! BODYGUARD You know these people sir? CRISPUS I know one of them. The rest I've never seen before in my life. Call comes running up the path and jumps into Crispus's arms, who gingerly accepts. Crispus motions for the body guard to put his gun away as he swings Call in his arms. CALL Crispus, I'm so glad to see you! Crispus sets Call down; Call touching the ground is a good foot shorter than Crispus, which looks a humorous site. Crispus smiles at Call and rubs his hand through her hair. CRISPUS And I am very glad to see you Call. How long ha sit been, six months? A year? CALL A year and a half I think. Ripley and Richard come up the path and stop behind Call. the body guard looks very suspicious at the newcomers. Ripley becomes impatient with the lack of attention. RIPLEY Ahem. Call notices Ripley's impatience, and she becomes slightly ashamed of it. She looks up at Crispus, and then over at Ripley. CALL Crispus Attucks, this is Ellen Ripley, and Dr. Richard Cooper. CRISPUS Charmed. Crispus holds his hand out ro Ripley, who accepts it. RIPLEY The pleasure is all mine. CRISPUS Did I hear right, THE Ellen Ripley? RIPLEY The one and only. CRISPUS(jokingly) If that's true, then I guess Call didn't succeed on the mission that took her away from me for a year and a half. CALL Well, uh... RIPLEY(coldly) She didn't need to kill me, she needed my help. And I assure you that, even if she had tried, I wouldn't have let her kill me if she had the chance. CRISPUS I see. Richard steps forward intrusively and holds his hand in front of Ripley, pushing her out of the way. Ripley backs up, but not happy about it at all. Crispus seems intrigued by this man that wants to shake his hand so much. COOPER Richard Cooper. Nice to meet you. CRISPUS Nice to meet you Mr. Cooper. So, tell me, how did you come to be acquaitances with Call. I know the history of Ms. Ripley here. COOPER It's a long story. CRISPUS I have all the time in the world. Richard is reluctant to answer, and the situation becomes awkward. Finally, Call interjects. CALL Um, Crispus, why don't you show us around the place. CRISPUS That's a splendid idea Call. I've taken great pains to turn this place into a tropical ecosystem for my animals. Crispus begins to walk down the path into the jungle. Call catches up to him and takes his arm in her hands, holding onto him. Ripley and Richard take up the rear. Richard looks over at Ripley, and then at Call and Crispus. RIPLEY Don't even think about laying a hand on me Cooper. COOPER(revolted) I wasn't even thinking of anything of the sort. RIPLEY Then what's got your mind working so much? COOPER Him. And her. Him and her. Together. You know. RIPLEY Oh, I get it, you've got a crush on Call. COOPER I never said that!! RIPLEY Come on Richard, you're sending off so many pheremone waves towards her I can even smell them. Cooper gets a bewildered look on his face, not quite understanding Ripley, or just thinking she's weird. Up ahead, Crispus points out animals and rare plants to Call. Call obviously knows all this, but humors Crispus anyway, because he's rather proud of his collection. Two giraffes stand side by side eating leaves from a high tree branch. Their mouths move in strange directons as they chew. Call is rather amused with this. A mother duck and her ducklings run across the path in front of them , making Call and Crispus stop abruptly. Call coos at the baby ducks, thinking they are very cute. At the end of the path they come into a clearing where some animals are gathered around a small water hole. Two hippos drink from the pond, water dripping down from their long tusks. The pond is filled with many crocodiles, which bath in the sun, seemingly asleep. A flock of flamingos stand one legged at the end of the pond. CALL Wow. Richard comes from the path and surveys the area. He has a disbelieving look on his face, and doesn't try to hide it. COOPER Hold on a second, I've studied my history, and all the species here have been extinct for centuries. How did you possibly acquire them. CRISPUS A simple answer to a simple question Mr. Cooper. None of the animals here are even real. COOPER You mean...... CRISPUS Yes, they're constructs. Artificially created in a lab by my workers. Made of plastic and wires. (pauses) Kinda ruins the mood when you know the truth. CALL Well, I still think they're beautiful, and so life like. CRISPUS Yes, the behavior patterns and intelligence ratios of every creature here was programmed into the constructs. They are as life like as the real thing. Suddenly, a young deer, a fawn, comes running from the bush up to the pond. It bends down and takes a long sip from the water, and then glances up at Call. Call starts towards the fawn. CALL Come here little fella, I'm not going to hurt you. The fawn approaches Call, head down. Call pets the deer softly, and the fawn enjoys it greatly. Crispus comes over next to Call and also pets the deer. Even Richard joins the group in petting it. Ripley stands off by herself, but does not go to pet the small deer. she hears a sound behind her and turns around. Another fawn has come up behind her, heading for the pond. Ripley's heart melts and she walks towards the deer. While it's sipping from the pond, Ripley comes right up behind it to pet it. The deer tenses, it's head snaps up, it sees Ripley, and runs away as fast as it can. Ripley can't believe what just happened. She curses herself. Crispus stands close to Call, playing through his thoughts. As he watches the others, he learns their ways; their weakness, their strengths, their joys. But life can't all be play. CRISPUS So, anyone care to tell me why you guys happened to be on Earth? Last I heard, Ripley was aboard the Auriga in captivity, and you Call, were aboard the merc ship THE BETTY. What happened to change all that? The group throws eachother worried glances. Richard almost looks frantic. Ripley finds some consolation in her story finally being told. Call has been overwhelmed with the sights and sounds, but composes herself. CALL Where do you want us to start? CRISPUS The beginning would be nice. CUT TO: The group emerge from the jungle, deep in conversation, headed towards Crispus's suite. Call is doing most of the talking. Ripley has been too pre-occupied with nature. CALL .......and that's the whole story. Now the Aliens are loose on Earth, even with Ripley and my effort. We have to get away from here as fast as we possibly can. We thought you might be able to help us. Crispus opens up the sliding glass door, and shepards the group inside. They all shuffle into the living room , Crispus following close behind. Ripley sits down on the couch, Richard in a chair, but Call does not sit. She folds her arms and faces Crispus. CALL Well, you haven't said a word. Can you help us or not? CRISPUS As you know Call, space ferring craft are very hard to come by here on earth. At least sky further craft. To get a decent spave vessel flown in from some distant planet would take months. CALL There's always commercial transport. You could get us some fake ID's, we would be out of your hair. I hear their's still living in the Beta Zeta qudrant. CRISPUS No no no, not my Call. You will only get the best while in my company. I had a ship of my own built a few years ago, I named it the BOHOMME RICHARD. Right now I loaned it to some aquaintances of mine, but one transmit to them and they can be heading back to Earth in no time. I could get you off-world in a few weeks. CALL Really, you would do that for us? CRISPUS Anything for you Call. I'll go send that message right now, hold on right here. (in his best ARNOLD SCHWARZENNEGER impression) I'll be back. The group watches as Crispus walks up to a spiral staircase that leads to a new level. INT. OFFICE ROOM Crispus steps off the small stair case and enters into his office room. As extravagent as the rest of his home, the room has been filled to the brim with an industrious library. The walls have been covered with shelves and books. As Crispus walks to his desk, he passes by a strange object, about the size of a large potted plant, resembling a lava lamp. Inside there is a holo-vid of samarai's dueling. It quickly morphs to a dolphin swimming through the sea. Crispus sits down at his desk and begins to type on his lap top vigorously. INT. LIVING ROOM - SOMETIME LATER Crispus is coming down the stair case and notices Ripley and Call examining his collection. Richard still sits pouting in a chair. CRISPUS Call, I sent the message to my ship. I should get a reply soon, and you'll be heading off to some exotic colonized world. Or space orbitter, whichever you prefer. CALL Crispus that's wonderful! Thank you so much! CRISPUS I would ask you to stay, but I myself am leaving. Tonight I am attending a charity dinner for the warn torn people of Lustavania. I donated a substantial bounty to them, and I seem to be the man of the hour. COOPER Woopteedoo. CALL That's great Crispus. CRISPUS Would you three like to come with. I would very much enjoy the company. CALL I'd love to come!! What about you guys? COOPER I'm not up for any parties tonight. Think I'll just hang out here , if it's okay? CRISPUS(jokingly) Long as you don't steal anything. CALL Oh, Richard wants to be a party pooper. What about you Ripley, you're not gonna bail on me are you? RIPLEY Sure, I'll come, why not? Only thing is.... CALL What? RIPLEY We're not exactly dressed for the occasion. CALL(dissapointed) She's right Crispus, we've got nothing to wear. The only clothes I have are what I have on right now. CRISPUS I can fix that. CALL I hope you're not implying that you're a transvestite, are you? CRISPUS No, that's only on wednesdays . What I am saying is that I'm going to take you ladies out on a shopping spree like you've never seen before. Cripus takes out his wallet, opens it, and a row of over twenty credit cards flap down. Call's face lights up. Ripley is mildly amused. CRISPUS Come on ladies, I'm gonna buy you two the most expensive dresses we can find. And if we have time, I'll take you to the most stylish beauty salon for a makeover. CALL What's wrong with my look?! CRISPUS Nothing darling, you just look like some sort of tomboy. No offense. CALL Hrmph. Call turns her head away in her best impression of a disguisted queen. She knows she has a boyish hair cut, but doesn't appreciate it being pointed out. Crispus laughs , maybe out of line, but still he laughs. Ripley stands behind Richard, hunched over in the chair. RIPLEY(whispering) This oughtta be fun. COOPER Have a good time Ripley. Crispus, Call, and Ripley walk out through the pine doors into the elevator area. Richard sneers as Call has her arm over Crispus's shoulder, snuggling against his chest. The secretary still looks threatened by Ripley and Call even though her boss is clearly fraternizing with them. CUT TO: We move out and away from the city and it's giant sky scrapers , into a clearing where a bridge, resembling the brooklyn bridge of older times, but much much bigger, sits. Instead of making a path across water, it instead makes a way across a sea of circuitry; a wire mesh ansemble pieced together and spanning together for miles like a river. Electricity flows through this river, sparking off the circuits every now and then. This river of electricity is the power source for an energy barrier that surrounds the outside of the city, causing the bridge to be the only means of exit from it. EXT. BRIDGE Cars land and comes into formation as we pass by a large sign, marked, "NEW ENGLAND CITY LIMITS: NO FLYING BEYOND THIS POINT" Though these words have almost been covered up by a cascade of grafiti. The bridge is packed to the brim with cars, a traffic jam for the history books. Some cars onto the off-ramp and go to the lower level of the bridge, others to the middle level, some stay on the straight forward path across the top. The bridge is three layers of steel pathways combined into one, held together by strained wires and mountains of metal pillars. This bridge looks like it's seen years of abuse, and still has held up to the stress. EXT. BRIDGE - LOWER LEVEL The lower level of the bridge is shrouded by darkness, light only let in between the large pillars that hold the bridge together. The place is so full of cars that there is barely any room to move, and when the cars do move, it's only about a centimeter or two an hour. We move along down the dark bridge, seeing several different cars, with multi-raced accupants. A long pink cadillac bounces up and down along to some futuristic "gangsta rap" song. The windows are cracked slightly open, and a cloud of smoke billows out from it. Behind the caddy a young couple sit on a small motorcycle, barely larger than a scooter, facing eachother sucking some serious face. We move away from them past a min- van and stop on a small but lavish car. Four people sit in the car, upper class workers car pooling together. Three are men and one is a woman. INT. BUSINESS CAR The driver of the car recoils as a rubber dart with a suction cup tip hits the windowshield. The man was slightly alarmed, but he looks up to see a small boy leaning out the back of the min-van in front of them. The boy holds a NERF GUN, laughing away at what he just accomplished. The man driving the car smirks and turns on the wipers, and the small dart falls away. The man smirks as the small boy cries his eyes out and closes the back window of the van. STAN/DRIVER Phillis, what time is it? We're not gonna be late are we? PHILLIS/WOMAN IN BACK SEAT Stan, it's five minutes later than the last time you asked me. Do the math. We're not gonna be late. BILL/PASSENGER SIDE We are if this traffic doesn't ease up. In the back seat, the last passenger is reading a newspaper. He laughs out loud at something that he read. The others become interested. PHILLIS What's so funny Steve? STEVE I was just reading DILBERT, very funny stuff. Steve still snickers at the comic strip. Phillis grabs at the paper, but Steve pulls it away. PHILLIS Let me see that. STEVE I'm still reading it! BILL For christ's sake Steve, just let her read it! The group still bickers amongst themselves as we move back and away from them. behind them is a large mud encrusted, shabby, beat up FORD TRUCK, jury rigged and looking like it's been rebuilt from scratch several times. Inside a middle aged man, as mud encrusted and beat up as his truck, sits smoking a burly cigar, whiskey in one hand. He looks as foreign as can be in this city, maybe here on vacation, and is very annoyed by the hold up. He honks his horn at the car in front of him, then leans out the window and begins to shout obscenities. Stan sticks his hand out the window and gives the man the finger. The grimy man gets pissed and throws his whiskey bottle at the roof of the car. GRIMY MAN Fucking pricks. Stan steps out of the car and approaches the large truck, way out of his league. Phillis comes out and runs after him, trying to stop him. PHILLIS Stan! What are you doing?! STAN I'm gonna teach this jerk a lesson. PHILLIS You're gonna get yourself killed! Phillis grabs his arm, but Stan pulls free. The grimy man sees Stan comnig, and reaches into the backseat. He withdrawls a large rifle and steps out of the truck, a good two feet to the ground from the car door. Steve and Bill coming running after Stan and Phillis, wondering what's going on. Stan keeps on walking towards the truck. STEVE What the hell is he doing? PHILLIS He's going to get himself killed, that's what he's doing. The grimy man steps out of the truck, one hand holding the rifle behind his back. Stan doesn't know this, and looks pretty confident even if the odds are stacked against him a million to one. STAN What do you think you're doing throwing your cheap liquor at the roof of my lexus for? GRIMY MAN You want to make somethig of it little man? Stan comes right up to the grimy man, who is at least a meter tall, considerably taller than Stan. Stan looks up into his eyes, no fear at all. STAN I want you to apologize to the lady right now, before I have to drop you like a sack of potatoes. The grimy man pushes Stan away hard with one hand. Stan goes down on his ass , and it looks like it hurt. Nevertheless, he gets up and looks like he's determined to kill this grimy man no matter what his odds. The grimy man sees this coming, and brings the barrel of the rifle right up to Stan's temple. Stan freezes. GRIMY MAN I've killed better men than you city slicker, you willing to die for your lady? STAN No need to be so drastic mister, jst put the gun down okay? The grimy man looks like he's not even considering to put the rifle down when he's jolted forward all of the sudden. Stan is suddenly sprayed in blood, covering his entire suit, as some spiked object bursts from the grimy man's chest. The rifle drops down to the ground as the grimy man goes limp on the spike, blooding spilling out over his lips. The spike pulls out of the grimy man, letting him fall to the ground, and we see what the spike came from. Several ALIEN WARRIORS, jaws protruding outward, some crouched down ready for attacked, others upright, examining their prey. For a second the ALIENS are torn between options, then they attack. Some Aliens spread outward by twos, tearing into nearby cars and pulling helpless people from them. Stan grabs the rifle dropped by the grimy man and runs back towards his companions. STAN Get in the car!! Get in the car!! Stan waves them towards the car as he turns around and fires off some shots at the closest Aliens. Stan is a very bad shot, and the Aliens easily dodge his fire, but become wary and catious of this human, and proceed slower and less bravely. Stan opens up the door, reaches into his pocket and throws in the keys to Bill. STAN Start the car!! Bill grabs the keys up from the seat, sticks them in the ignition and starts the car. Stan shoots back a couple of rounds, and goes empty. He drops the rifle, very pissed off. BILL Get in!! Stan nods and jumps in the car, slamming the door behind him. He grabs the steering wheel and slams down the gas, racing forward. What they didn't notice though was the van in front of them. The car slams hard into it; like dominoes the row of cars are nudged a little bit forward. Stan opens up his door and jumps out, ready to go. STAN We can't go by car, we gotta make a run for it! The others nod and begin to get out when an Alien leaps from far down the way and lands atop Stans back, burrowing into him. Phillis screams, but is silenced when an Alien standing on the roof wraps it's tail around her and lifts her high up in the air. In mid-air it snaps her back in two. Bill and Steve are running now, past the wrecked mini-van, past the bikers sucking face, even past the rocking caddy. People look out their cars at them, confused at what's happening as they run screaming by. Some people get out of their cars to see what's going on, but are quickly overtaken by the rampaging Aliens, who have over come the bridge now by the hundreds. Some cars start up and drive forward, causing several fender benders, but not getting anywhere. A man runs out of his cars just as three Aliens tear into it. With nowhere to go, he runs to the edge of the bridge and jumps off. SHOT OF: A tiny figure dropping thousands of feet down until he slams into the circuitry mesh, disintegrating in one nan-second. Others , unaware of the man's fate, also jump off the edge of the bridge in fits of stupidity. Some who have wised up attempt to climb down under the bridge or even upwards, but are snatched up by Aliens and taken back up. EXT. LOWER LEVEL - FARTHER DOWN Farther down the bridge the cars are still acting out their normal everyday routines. The Aliens have not yet made their way down, and no one notices the panic over taking their neighbors miles down the bridge. Like a tidle wave, a quiet roar becomes ever louder. People get out of their cars to see what's going on. Some stand atop their roof for a better view. What they see is the remainder of the people from the bridge making a run for their life towards the end, being chased by black demons from hell. A frightened man dressed in casual atire jumps back into his car and grabs his car phone. He picks it and dials a familiar three digit phone number. INT. 911 OPERATORING OFFICE A crowd of table tops covered in computer terminals fill the view, woman sitting at the desks , talking into their mikes and listening through their ear phones. A young blonde woman sits at her terminal typing when a call comes in. BLONDE WOMAN 911, what is your emergency? EXT. LOWER LEVEL - FRIGHTENED MAN'S CAR The man sighs as his call goes through and speaks frantically into the phone. FRIGHTENED MAN I'm on the New Englad bridge and their are thousands of big black monsters killing everyone. Send everything you have! The police, the S.W.A.T. team, the marines, the navy , the army! Just get them here qucik or we're all gonna die!! INT. 911 OFFICE The young blonde looks confused at what she has just been told. BLONDE Is this some kind of joke? IT's illegal to call 911 without an emergency sir. FRIGHTENED MAN(V.O.) This isn't a fucking joke lady!!! Get the police down here now!! Aghhrhhh!!! Gurgling sounds, screaming, and an imhuman screech can be heard over the phone. The woman pulls the set away from her ears in pain from the high pitch sound. EXT. LOWER LEVEL - FRIGHTENED MAN'S CAR The phone hangs freely off the seat of the car, the frightened man no where in sight. EXT. FRONT OF THE BRIDGE/BACK OF THE BRIDGE Dozens of police cars skid to a stop, blocking off the bridge. A large SWAT van pulls up behind the police cars. Cops spring from their cars, shot guns ready, some with side arms drawn. Last time the cops were massacred, but this time they're ready. SHOT OF: A police HOVER-COPTER flies past the camera, high over the bridge. A man dressed in police uniform , wearing black glasses and holding a sniper rifle, leans out the side of the hover-copter door, surveying the bridge. INT. HOVER-COPTER The man comes back from the door and leans in close to the single pilot. He yells loud over the sound of the engines. SNIPER Bring us in low, so I can see what's going on. PILOT Right. The hover-copter aims it's nose at an angle and flies down fast towards the lower level of the bridge. As it moves down, flames emit from the twin engines on the back of the chopper. The copter goes into hover mode and begins to fly sideways outside the lower level of the bridge. POV SHOT: From the POV of the sniper, we see through the poles and wires into the runway of the bridge. People run screaming past, chased by the ALIENS. Some leap over cars, others tackles the humans from under the automobiles. SNIPER Bring us in closer! Closer! PILOT Right!! The chopper moves in as close as it can to the bridge without bumping into it. The sniper leans out of the side door and brings his rifle up. He fires off a round, and an Alien running down the bridge suddenly loses it's head to the bullet. The sniper nods in triumph, and cocks the rifle. A lone bullet flies out of the side, smoke trailing from it. The sniper brings his rifle up again, aims , fires, and another Alien goes down , spewing acid everywhere. The sniper may be hitting the ALIENS, but at a slow pace. Hundreds are swarming the place, and he can't get them all. He blows another away, but when he tries to cock the rifle, it gets jammed. He struggles with the rifle, but to no avail, it won't budge. SNIPER My rifles jammed goddamn it! An Alien stops and comes up to the side of the bridge , watching the struggling sniper that had just been so cocky when he took out so many of his friends. It mysteriously backs up a bit, leans down in a runner's stance, and dashes towards the edge of the bridge. Right when it gets to the edge, it leaps off, flying full speed at the helicopter. It's quite a sight, and if the Alien was not such a vicious predator, it might even seem beautiful and peaceful in flight. The sniper gasps as he sees the oncoming Alien. The pilot attempts to steer the chopper away, but does not succeed. The Alien grasps onto the edge of the front of the copter, claws deeply imbedded. The Alien pulls itself up, and comes face to face with the pilot. It stares down it's prey for a second, and then slams it's elongated skull through the glass windshield. It shatters and the pilot tries to get out of his seat to run, but is grabbed by the Alien, who pulls him back and launches him off the front of the chopper through the air. Now the hover-copter has lost control, and begins to tumble downward. The Alien crawls inside of the cockpit , and jerks it's eyeless face towards the sniper. The sniper yelps in joy when he finally gets the rifle unjammed. He brings it up to fire, but the Alien charges at him. He is knocked back and only succeeds in blowing apart the controls of the hover-copter with the round shot of. The Alien pins him down, and knocks his arm holding the rifle down against the railing on the bottom of the chopper. The rifle discharges and hits the left side engine, igniting it. Now the hover-copter is going down in flames. The Alien makes short work of the sniper, tearing through his skull. As it brings up it's blooded face, it has time to see the onrushing ground as the copter slams into the electric mesh, blowing the hover-copter to oblivion, and the Alien with it. EXT. FRONT OF BRIDGE Through the crowd of police cars one unit drives past, making it's way to the front. It comes to a stop at the base of the ramp, and out steps a large black man, mid-fourties, with an over bearing leader ship attitude. Obviously the police captain, his name is JAMES VILMER. He surveys the scenes, ready for anything. A young officer runs up to him and frantically tries to spit something out. This young man has gone over the edge trying to contain some huge bit of information. As the young officer struggles to utter a word, the captain becomes angered and impatient. VILMER What is it Lieutenant?! Tell me what you have to say! The young lieutenant stops, takes a deep breath, and then speaks at one million miles per hour. LIEUTENANT(jumbled together) CaptainVilmerthehovercopterthatwassentouttomonitorthebridgewentdown.Itwa sattacked byoneofthosethings,oneofthosemonsters! VILMER Can you repeat that son? The lieutenant takes three long gasps and then flails his arms in the air. LIEUTENANT Monsters!!!!! Vilmer sees his lieutenant can't handle the pressure, and smacks him across the face. The lieutenant seems dazed but less hazy now. VILMER Are you with me now son? LIEUTENANT(not too sure) I....I'm calm sir. VILMER Are you sure? If you're not, I suggest you take a moment to compose yourself. I need everyone to stay calm and collective. This is a very delicated situation we have here, and we can't let it get out of hand. I need all my men in stable condition, and if you lose control, then suddenly Walters is gonna lose control, and then Parker, just like a dominoe rally son. We need to set an example, the men are already stressed as it is. Now, are you with me? LIEUTENANT(more sure of himself) I'm with you sir, I'm calm. VILMER All right then. Now, the best thing we can do right now is send in the S.W.A.T. team and hope they can handle it. At least until the marines get here. SHOT OF: The back of the S.W.A.T. van springs open and the squad comes running out in a well trained single file formation. Each officer is fully armored and weapons equipped. They look like they could take on the world. CUT TO: The lower level of the bridge, a husk of it's former self. The place is completely devoid of life now. The cars that forever will be stuck in traffic sit alone. Some windows have been broken in, signs of struggle can be seen along the way, cars have been tipped over on their sides. Somewhere off in the distance a car alarm goes off, then is suddenly silenced. In moves the S.W.A.T. team squad. Gliding down the bridge as quietly as they can, they hold their assault rifles high, ready for action. Some soldiers have trouble fitting in between the cars because of the tight spaces. Others climb right over top and walk across the roof of the cars. The leader holds his hand up, and the squad gathers around him like he was their kindergarden teacher, ready to read them a story. LEAD SWAT(muffled by his com) We spread out in the buddy system. Find any survivors you can, and if you encounter any bags, splash 'em. The squad grunts with satisfaction as they randomly spread into pairs. Silently they move between the cars down the bridge. No survivors are encountered though. Not even dead bodies. Two soldiers move by a large four door truck, minding it but not stopping to check it. Just as they pass a sound is heard, like the crumbling of glass on the other side of the truck. The lead officer moves on, but his partner stops to investigate. The officer moves around to the back of the truck. He jumps around to the other side, his rifle ready to fire upon anything that moves. The light from his rifle shines down to reveal a small yellow cat, curiously walking across the glass. The officer sighs, relieved, and turns to leave the truck. Just as he passes around the back of the truck, suddenly the BACK DOORS OPEN UP, and an ALIEN BURSTS OUT. The officer screams as he is brutally pulled into the truck. The doors shut as his legs dissapear inside. Screaming and gunshots can be heard. The truck shakes back and forth , a massive struggle inside. Bullets scatter across the roof of the truck, leaving huge holes . Then silence. The other officers become alerted to the situation, and run back towards the truck. As they all reach it, one officer opens fire on the truck. The others get the idea and also open fire. As the last of the officers show up, they are now all shooting up this small truck, filling it with holes. Finally, most of them run out of ammo, and stop firing. The truck is on fire now, green and black acrid smoke leaking upwards from it. Acid burns through the bottom of the truck and hits the ground, dissolving a large hole. One of the tires pops and explodes as acid leaks on it. The officers back away from the truck now, unsure of what is going on. Some jerk back and forth , confused at what is happening. Something is happening in the air. A low hiss can be heard. A fog seems to be expending from the truck. OFFICER#1 Is it hot in here or is it just me? Right as he says this, an Alien leaps over one of the cars and tackles him, ripping through his armor into his back. The others attempt to help him, but now more Aliens are coming, crawling out from their hiding places under cars and leaping over the vehicles. The remaining officers make a run for it, heading back towards the ramp. Their armor is too bulky though, and getting between the cars is a problem. One officer jumps on the hood of a car and runs over top of it, but as he is going across the roof, it collapses, and he falls through. He gets stuck between the seats inside the car and can't get out. OFFICER#2 Somebody help me!!!! I'm stuck!!! Help!!! Two officers, obviously very brave or very suicidal, run back towards the car. As they get to it, one of the officers starts to fire at an oncoming Alien. It blows apart from the brunt of his assault rifle blast. The officer inside the car sees his friends come to save him. OFFICER#2 Get me out of here guys!! help!! OFFICER#3 Don't worry buddy, we're coming! The third officer smashes in the back window, and both of the officers try to pull the one in the car out. Just as they are about to get him out, an Alien leaps through the air, coming down on one of the officers. He brings his rifle up and blasts the Alien apart, but it was too close, and the acid spews across his chest plate and helmet. He falls to the gorund screaming. The third officer tries again to get the officer stuck in the car out, but two Aliens rush towards the front of the car. The third officer backs off to blow them away, but can't get a shot from his side. The Aliens are about to leap over the car when they stop, look around and see their fallen brothers nearby. Something triggers in their head, and they duck down in the front of the car, hidden from sight. For a second the third officer doesn't know what's happening. He ducks down and looks under the car. POV SHOT: Nothing is under the car, and there is no sign of any Aliens. The officer comes back up to see an Alien quietly crawling across the top of the car. He brings his rifle up to fire and lets out a quick burst , but the Alien is too fast, and leaps backwards to the front of the car. The soldier lets loose through the shattered back window, not hitting anything, but hoping he scared the Alien away. Running from side to side, the officer steps to the right and sees another Alien ducked down low crawling across the side. Before he can shoot it, it leaps to the roof of the car. He turns and shoots at the roof, but the Alien leaps off and lands on the left side, ducked down. The officer runs to the left side and fires but the Alien leaps on the roof again, and then does a back flip, landing ducked down behind the front of the car. Totally wigged out, the officer swerves back and forth from each side of the car, checking to see if any Aliens are sneaking up on him. Suddenly, a creaking sound can be heard. The officer stops to listen, and right then the car flips up in the air and lands on top of him. The officer in the car lets out a shriek before being crushed by the weight of the car. And at the front of the car, the two Aliens smirk at their handy work. they had lifted up the front of the car, and turned it upside down, crushing the soldiers. EXT. FRONT OF BRIDGE The Police still wait by their cars expectantly, waiting for word from the SWAT team. Something catches their attention now. A car is rolling up the ramp, right towards the crowd of police cars. It doesn't appear to be running on any fuel though. Two Aliens leap up from the back of the car, where they had been pushing the car and running with it, and ontop of the roof. VILMER Goddamn it! It's those things!! Fire!!! The crowd of police fire upon the car. The aliens see it coming and duck down through a hole torn in the roof. The car gets blown through with hundreds of holes, but slams into the core of the crowd, knocking some police cars aside. The two Aliens leap out of the hole in the roof, and run surpentine through the crowd. The police try to shoot them but the Aliens keep jumping around, avoiding fire. One officer turns around to see HUNDREDS OF ALIENS RUNNING UP THE RAMP. The two Aliens and the car had just been a distraction. Before most of the crowd realizes it, they are overtaken by the onslaught. CUT TO: CLOTHING/DEPARTMENT STORE A very swanky clothing store indeed. Oddly posed manequins wear dresses that would cost most peoples yearly salary. Snobs and rich folk prance through the area, admiring themselves in the mirror while check out clerks tell them how good they look. We pass by a wall with the words,"Women's section,". CALL(V.O.) You really like it? We move down to show Call holding a slinky black dress, sleeveless with a low neck in front of her. She holds her leg out far, and the floor length dress barely stays above her toes. Crispus stands by her, looing her up and down. CRISPUS I think you look fabulous Call. CALL What do you think Ripley? Ripley also stands by, looking way out of her environment. She even seems to be staying close by Crispus and Call, as if for protection. She snaps back to reality and looks at Call. RIPLEY(unsatisfied) Eh. Crispus seems outraged at Ripley's comment, but Call seems more and more eager to get Crispus's approval. CALL(to Crispus) Tell me the truth . CRISPUS I told you the truth. i think it looks absolutely wonderful. Especially on you. Call lights up, easily flattered by Crispus. Ripley becomes disinterested and meanders off , away from the two. As she walks along, something catches her eye. She steps up to a mannequin, dressed in a beautiful red dress; long sleeves, and fluffy cuffs at the wrist, and the red material has a strange foil look going on. Ripley reaches her hand out and feels the material when a smiling woman walks up behind her. WOMAN You like that one Ms.? Ripley turns around, uncertain of what to say. WOMAN That is our very last one. It's the newest Nicole Miller. They've been selling out every time we get more in stock. If you would like to have it, it would be best to purchase it now, before it catches someone elses eye. Ripley nods to the clerk, who then walks away. Ripley turns around, looks over the dress one more time. CUT TO: CHECK OUT DESK The same clerk scans off the red dress for Ripley, and then the black for Call. She puts them in a large plastic bag, and Crispus hands her a credit card. INT. SWANKY RESTAURANT A swanky restaurant, filled with the richest snobs you could ever find. A small band plays on stage , and a pretty you woman sings to the beat. More people enter through the front doors, and our greeted by a small man, obviously wearing a bad toupee, with a twisted mustahce. Ripley, Call, and Crispus sit at a table in the middle of the room conversing with one another when a waiter comes towards the table and lays down a platter. He takes off three salad filled bowls and sets one down in front of each person. Crispus hands him a tip, and the waiter smiles brightly as he walks away. Crispus begins to eat his salad, and so does Call, but Ripley stares down at her utensils, stumped at which one to use. Call notices and holds up her fork, and then points at the identical one in front of Ripley. CALL Salad fork. RIPLEY Ohhh. INT. BEAUTY SALON We enter a stylish hair care salon. A man dressed in very fashionable casual wear stands behind the desk, writing something down. The phone rings and he picks it up. We move past him down the aisle. People are having their hair cut along the way by young beautiful woman. The walls are posted with framed photos of movie stars that had been there. As we near the back we stop where the hair dryers are. Call sits under one, reading a magazine. Ripley sits in front of her debating with a hair stylist on what they should do with her hair. The woman pulls Ripley's hair up and twists it around into several different looks for Ripley to see. She doesn't like any of them. Call looks up from her magazinge and snickers at Ripley. EXT. FRONT OF BEAUTY SALON Call and Ripley exit the Beauty Salon, shopping bags in each hand, their hair worked up and pretty. Call's short tomboy cut has been smoothed down into waves across the front of her head, while Ripley's long hair has been permed into a million curls. Crispus meets them out front by the limo and smiles at their new look. CUT TO: An expansive shot of the New England metropolis. We move along fast through the city, past speeding cars and titanic sky scrapers. We come into a clearing and see an party going on at one of the buildings, a large opening in the middle of the building lit up by the media. News Vans are gathered around the front, and crowds of reporters snap photos as a limo pulls up. A young woman steps out dressed in the finest gown, and behind her a man twenty years her senior steps out dressed in a tuxedo. They walk down a red carpet that leads to two doors. The crowd snaps photos and fans holding signs cheer as the two walk by. They get to the door and two bell boys open it wide for them to enter. POV SHOT: The two bellboys smile as we walk past them into a lobbey. the place is luxuriously decorated. Two giant spiral stair cases lead off on both sides of the room. A large water fountain with a cupid baby playing the harp and spitting a string of water from it's mouth sits in the middle of the room. We move past the fountain towards two large doors. A sign sits next to the door, on it a picture of a war torn planet, and a fragile little girl crying. Below the picture it reads,"Charity ball for the children of Lustavania". The doors open and we walk into a large ball room. Dozens of tables spread across the room, lavishly dressed people sitting at each one. A large stage at the end of the room with a podium in the middle. Two large buffet tables line each side of the room, where people walk in line to get champagne and collect small appetizers on their plates. We move through out the room seeing this until we turn drasticly, aimed towards another doorway, where a large man dressed in black is walking towards it. We follow the man until he opens the door and steps into a hallway. INT. HALLWAY The body guard steps into the hallway and we see Call, now dressed in the slinky black dress and looking very beautiful, and Crispus, in his best James Bond Tuxedo. BODY GUARD Two minutes sir. CRISPUS Thank you Jenkins. The guard nods and backs off, standing nearby. Call smiles at Crispus anxiously. CALL So, are you nervous? CRISPUS No. I never get nervous. CALL I'm nervous. CRISPUS Why do you have reason to be nervous? CALL I don't know, I just always get nervous at times like this. Crispus takes Call's hands in his own and kisses them, then looks into her eyes. Crispus's comforting gaze just melts Call's synthetic heart. Cripus then reaches into his pocket and takes out a small box. CRISPUS I was meaning to give this to you when you got back. Well, now you're back. CALL(curious) What is it? Crispus pulls off the lid of the box. Inside is a long diamond necklace, sparkling with a thousand points of light. Call's eyes shine up with wonder, and she smiles up at Crispus. CALL It's....it's beautiful. It must have cost you a fortune. CRISPUS A small one. CALL I don't know what to say. CRISPUS You don't have to say anything...... Behind Crispus the body guard becomes alert and puts his hand on his ear, listening through his microphone. He nods and taps Crispus's shoulder. BODY GUARD It's time sir. Crispus nods to him and then turns to Call. CRISPUS Guess this is my cue. CALL Good luck. CRISPUS I make my own luck. Crispus grabs Call by the back and kisses Call passionately and fully, catching Call by surprise. She likes it though, and kisses him back. Then he lets go of her, smiles, and turns around walking through the doors to the stage. Call smiles, rather flushed at what just happened. INT. DINING ROOM Crispus enters the room, straightening his tie out, and walks towards the stage. A man on stage waves his hand at Crispus to hurry up, and then he smiles into the mike. SPEAKER And here's our man of the hour, Mr. Crispus Attucks! Crispus walks up the steps onto the stage and towards the podium. He smiles and gives a small wave at the crowd as he centers himself behind the podium. The speaker man silently walks off stage and sits down at one of the tables as Crispus begins to speak into the microphone. CRISPUS Thank you everyone for being here tonight. Mr. Chamberlin just said that I was the man of the hour. I do admit I'm here for a noble cause, and that I'm no hero. The real heroes are the brave young men and woman that have been struggling to survie on Lustavania for the past ten years........ As Crispus has been speaking, Call has entered the room and moves her way through the crowd towards her table. As she nears it we see that Ripley sits at the table, dressed in the red gown. She leans back in her chair drinking from a glass of champagne. She doesn't like she is having a good time at all. Call sits down and looks up towards Crispus. Ripley leans forward and across the table. RIPLEY What are you so happy about? CALL Oh nothing. RIPLEY No no, I know that look. CALL And what look is that? RIPLEY The look of a horny teenager. Ripley says this rather matter of factly, and it catches Call off guard. Nevertheless, it doesn't offend her, much. CALL Does it show that much? RIPLEY Mmmhhmm. You're smitten like a newborn kitten. CALL What does that even mean? RIPLEY(stumped) Um, I'm not really sure. Call glances back up at the stage, and then towards Ripley. CALL(whispering) Lets just listen to Crispus speak , okay? Ripley smiles, but stays quiet. INT. HALLWAY One of the body guards stays outside the door, his post. His face shows no emotion, only the need to fullfil the job given him; guard his post . A turn of the head, back and forth, scanning the hallway for any type of movement. Radio chatter can be heard over his radio. A sound pierces the quiet hallway. Something from down the hallway. Two doors lead into another room at the end. The body guard eyes the door suspiciously. The guard leaves his post now. Walking down the hall to the noise. Standard security check right? The guard taps his finger to his ear, the cord dangling from it shaken. More radio chatter emits from it, the guard taking a moment to listen, then speak. GUARD(via mike) This is Murphy at Post#5. There seems to be a disturbance in the ballroom down the hall. I'm checking it out. As he walks Murphy slips his hand into his jacket, removing a small black object. His side arm. About the size of a WALTER PPK, saturday night special. Murphy's hands fall back into formation by his side. INT. DINING HALL An exact duplicate of it's next door neighbor, this dining hall has been shut down for the night. There are no people to occupy the tables. No bands to play their music. The entire place is dark as night, the over head lights having been turned off. A creek from the doorway. It moves, making a slight open. A sliver of light creeps in through the crack. Murphy sticks his head in, gets a good look around, and then opens the door all the way. As he steps in, the first thing he does is reach out to switch on the lights. The switch flips up, but nothing happens, to Murphy's complete surprise. Murphy tries the switch a couple of times, and then leaves it. He moves in on the room, bringing his PPK up to bear, in perfect combat stance. His patrol of the room is professional and by the book, but drawn out rather stiffly. Manuevering through-out the tables, he completes his search. Nothing. Zip. Natta. MURPHY(Via mike) Uh, this is Murphy again. I did a sweep of the dining hall. This place is dead. I must be hearing things. (more static over the mike) Yeah , copy that. Over. Murphy somewhat relaxes , losing that stiffness, and prepares to exit when a soft chattering draws his attention. He turns , looking around, finally settling on one of the tables. A lone champagne glass stands on it, filled with some foreign liquid. Most notable about it is that it's shaking rather sparodically. Murphy starts towards it, but it tips over on it's side, spilling across the table. Drained of fluid, it turns on it's side and rolls off the table, shattering with a light crash on the ground. Murphy's gaze follows the glass all the way to the ground. He is visibly shaken by it's shatter. Why? For a second he was relieved he hadn't found something. Now, the threat was back. Murphy kneels down by the table, reaching down to the floor, and taking hold of the table cloth. Taking in a deep breath, he pulls up the sheet. The last we see of him is his startled face as he is pulled under. His screams fill our ears. Gun shots ring out, and apparent bullet holes pop up on the top of the table. Then, silence. Silence, all except for the quiet trickling. Trickling that goes to our very soul. Something is staining across the carpet, some thick liquid spreading out from under the table. CUT TO: THE DINING ROOM as the guests that occupy it react to the gunshots. A roar shifts through the crowd, becoming louder as it moves along. People frantically scream nervously look of in every direction. On stage, Crispus tries to calm the crowd. CRISPUS Everyone calm down. I'm sure it's nothing.... But the crowd isn't listening to him. Crispus notes this, and moves to walk off stage. As he goes down the stairs, he is met by one of his body guards. They both talk leaned in close to hear over the crowd as they walk towards Call's and Ripley's table. CRISPUS What the hell is going on?! GUARD Muprhy went off to investigate a disturbence. We think he was the one that fired the shots. CRISPUS Find him. GUARD Yes sir. The guard runs off towards the door and as he goes he signals for another guard to come with him. They both run out the doorway into the hall. INT. HALL As the two soldiers enter the hall, they are taken aback as the doors to the dining hall explode outward from the force of two approaching ALIENS. Pure refelx action and good instincts promp the soldiers to remove their side arms and open fire on the Aliens. Pure stupidity stops them from running away as the bullets have no affect. The guards don't live long enough to realize their mistake. INT. DINING ROOM As Crispus joins Call and Ripley at their table the doors to the dining room are knocked down by the two Aliens, who quickly make their way inside and through the crowd. Crispus's expression tells all; he's shocked, and angered as well. How could these creatures ruin his party ike this? Crispus turns to Call and speaks with urgency in his voice. CRISPUS We have to get out of here, now! CALL Right, come on Ripley. But Ripley doesn't hear Call's voice. To her it's far away, muffled by distance. All Ripley sees is the Aliens that tear into the guests of the party. She starts off towards the Aliens like a woman possessed, or on a mission. Call sees her go, tries to stop her. She loses Crispus's hand as she runs off to Ripley. Crispus tries to run after her, but is overcome by a mob of people running for the door. The last we see of him is he head slamming to the ground, and onrushing feet stomping over his back. CALL Ripley, what the hell are you doing?! RIPLEY(Looking straight ahead) You have to leave now Call. CALL Why?! What are you planning on doing?! RIPLEY I have a score to settle. Ripley comes out of her trance like state, and with pure animal celerity, strikes out, grabbing Call by the collar and hurtling her halfway across the room. Call lands atop a table, breaking the legs and causing it to smash to the floor. Call comes back up, baffled at what just happened. Then she sees Crispus being pounded upon, and rushing to help him. One of the Aliens takes notice of the onproaching Ripley. It had been holding the collar of a lifeless man, his brains draining out of a gapping hole in the back and front of his head. Now it drops the body and goes to crouch position. The other Alien, as if sensing it's brother's find, also strays away from the guests to ponder over this new wonder. Ripley comes about ten yeards within range of the Aliens, and then stops. Last stand, she's ready for them. The Aliens walk to her side by side, but then careen off. One Alien takes the right, the other the left. They are circling in for the kill. Ripley turns from left to right, watching the so-called predators. RIPLEY Come on. I have what you want. Come and get me! The Aliens don't take a step further though. They appear to be studying Ripley. An act of defiance, Ripley steps forward towards the Alien on the right. It doesn't back up, but hisses and spits with anxiety. The second Alien creeps closer to Ripley from behind now. Ripley twists her head behind, staring the Alien down, who freezes in it's tracks. Without hesitation, Ripley backhands the Alien in front of her. Clearly caught off guard, it roars with confusion. RIPLEY Kill me! Do it now!! The Aliens refuse though. Ripley becomes the disciplinary teacher, slapping the Aliens across the face several times. For some reason, the Aliens take it. They look reluctant to, but some instinct, maternal? Holds them back. Then the Alien behind Ripley peers over her shoulder. The remainder of the guests have retreated out the doors and into the lobbey. The Alien shrieks with outrage, Ripley's plan finally becoming obvious. It peers up at Ripley, and then with two hands reaches out and shoves her down. Not a lethal attack, but some what of a concussionary. Ripley goes down hard. Call makes her way to Crispus and tries to help him up. Crispus moans in pain, and pulls himself together, brushing his shoulders off and trying to straighten out his hair. His suit is torn up badly, and his face has several bruises and lacerations. CRISPUS Did anyone get the number of that bus...? CALL We have to go Crispus. CRISPUS(dazed) What about Ripley? CALL She's busy. The Aliens step over Ripley , very pissed at being distracted from their prey. Ripley lashes out, and grabs the ankle of one of the Aliens. The Alien , clearly alarmed, pulls it's leg away from Ripley and moves on. Ripley gets up and jumps on the back of the Alien, rather awkwardly because of the tubes. The Alien begins to buck and weave to try to get her off. It's partner notices the trouble the Alien is having, and attempts to help. The Alien grabs Ripley and pulls her off, throwing her to the ground. Ripley isn't discouraged though. She kicks one of the Alien's feet out from under it, forcing it to fall to the ground. The other Alien runs at Ripley, in hopes of helping it's partner. Ripley holds one hand out, and the Alien runs right into it. Then Ripley grabs the ALien by the neck, wraps both her hands around it with a good grip, and flips it over in the air. The Alien comes slamming down to the ground with the full force of Ripley's might. Before it can react, Ripley grabs the Alien on the back and the front of it's head, and with all her strength, twists the Aliens head 180* around. The Alien lets out one last death shriek as it's neck snaps in half. Just to make sure, Ripley twists the Alien's head all the way around, and then drops the lifeless body. The other Alien gets up, and sees it's fallen partner. It had been holding back before, but now it was angry. The Alien jumps on top of Ripley knocking her down. Ripley screams as it's claws dig deep into her shoulders. Then she knees the ALien in the stomach, knocking it back. Ripley jumps up and right hooks the Alien, then uppercuts it. The Alien becomes disorientated from the beating it's taking, and doesn't even see it coming when Ripley kicks it right in the head. As soon as the Alien goes down, it's head snaps back up, glaring at Ripley. Letting out a horrendous roar of anger it charges her. INT. LOBBEY Call and Crispus stumble into the lobbey to find the media and guests of the party overtaken by the Aliens too. An Alien dashes across the second floor knocking people off. Some land on the stairs and roll down, some fall all the way to the floor, cracking their skulls. People rush for the entrance where a crowd has gathered around the valet parker. He looks like he's about to crack from all the people screaming in his ears for him to get their car. CALL Can't go that way. CRISPUS This way....lets go this way... Crispus points towards a doorway next to the staircase that leads out into the hallway. Call and Crispus make a run for it. INT. HALLWAY Call and Crispus slam the door open and enter into the hallway. They look right to see the last of Crispus's body guards making a stand against opposing Aliens. They look left and the hall is clear. They chose the latter. As they run past the dining room entrance Ripley appears, dragging the bodies of two dead Aliens by the head. A trail of acid blood lay behind the bodies, creating acid pockets here and there. Ripley looks like the survivor of a nuclear holocaust. Her clothes are ripped to shreds, her hair is in a mess. Bruises and lacerations cover her body, which has been marred by loose Alien slime. CALL Ripley? Are you....all right? Ripley drops the bodies of the Aliens and their heads thump to the ground. RIPLEY I'm fine. Do you two have any idea of how we're going to get out of here. Crispus lets go of Call and almost hits the ground. He orientates himself just as he slams into two doors that lead out to the balcony. He exits out. Call and Ripley follow closely after. EXT. BALCONY Crispus reaches his hand into his jacket and removes his cell-phone. He flips the bottom out and hits a button. We hear the ominous sound of dialing. CALL Who are you calling at a time like this? Crispus holds his index finger to his lips and shushes her. Then his attention shifts to the phone. CRISPUS uh, Francis, we're in a bit of a jam here. Would you mind picking up my acquaitances and I on the eastern balcony? (pauses listening to response) Thank you Francis. Crispus slaps the phone closed and turns to the ladies. Call gives him an inquisitive look. Even Ripley seems interested. Crispus slips his phone back into his jacket. CRISPUS That was my driver. He's bringing the limo around. RIPLEY Well he better damn well hurry! CRISPUS Here he comes now. They all turn to see the limo turning around the corner. It stays close to the side of the building and pulls up right next to the balcony. The drivers side window rolls down and Francis sticks his head out the window. FRANCIS Good evening sir. CRISPUS No time to talk now Francis. FRANCIS Very good sir. Crispus leans off the balcony and opens up the passenger door. He then backs away and holds his hands out for Call and Ripley. CRISPUS Ladies first. CALL Why thank you. Call steps up over the balcony and stretches her leg out, getting a good hold on the door frame. Then she thrusts forward and grabs hold of the door, and pulls herself inside. Then Ripley does the same. Both Call and Ripley settle in on the seats as Crispus tries to get on. As he gets ahold of the door an Alien barges through the balcony doorway and jups at the limo. CRISPUS FRancis get us out of here!! The limo swerves to the right and the Alien misses the car by a good half foot. Crispus loses his footing and almost falls out, but Call grabs his pants leg and pulls him in. Crispus closes the door behind him and takes a seat. CALL You sure do know how to show a lady a good time. CRISPUS(sighing) I try my best. EXT. LOWER CITY STREETS The streets are vacant. The few that lived here have long been evacuated. The signs on the windows of stores read closed. The few people that are here stay behind closed, and locked, doors. A rat scurries by, the only sign of life, until we here something. Footsteps, thundering footsteps, lots of them. Getting closer and closer. An soldier in white combat armor passes by, then another, then another. Soon more than twenty have passed. Two of the soldiers hold a large barrel like object, grey and cylinderic. A small device is strapped to it's belly. Wires protrude from the device, and enter into the barrel on the top. A dial on the devide reads 00:00:00. Small buttons are under the dial. The two soldiers that were carrying the barrel set it down gently next to a manhole, and stand beside it. The lead soldier steps out from the group and stands in front of them. On the right side of his chest plate there are four stars, maybe a symbol of rank. On the left side of his chest plate , stenciled in, is MAJOR VINCENT PRICE. PRICE This is the drill men, so you better listen hard and fast, because I'm only gonna say this once. We are earth's last line of defense against the xenomorphs that have infested New England. In two days they killed off or captured an entire sector of people. In a week the whole town will be gone. In a month, who knows. What we've learned from the intelligence people is that these things are smart. They can adapt to any environment or threat. They're fast, agile, and in some situations suicidal. They don't even show up on infra-red. We believe from past encounters that there is one dominant Alien that leads the rest. It has also been speculated that their social structure is similar to insect cultures of earth, such as ants, bees, wasps, etc. Price stops for a moment to let all this sink in. His troops think it over, digest it. Some whispers run through the group. One soldier raises his hand, and Price acknowledges him. PRICE What is it private? PRIVATE(indicating barrel) Sir, what is that thing? PRICE This(grabs ahold of it with two hands) is a thermal detonator. Enough of a charge to take out an entire city block. We believe the opposition is so high that, if push comes to shove, we'll have to use this to blow the creatures' whole lair. We don't believe it will come to that though. Our primary mission objective is to take out the dominant Alien being. We don't know exactly what it looks like, the best I could get from the heads upstairs was that,"You'll know it when you see it." We think that if this being is taken out of the equation, it's minians will become confused, and most likely angered. This will hender their judgement, making our job just a little bit easier. Price is a good speaker, and his men hang on his every word. He gives them a moment to compose themselves, think over what he has just told them. He always believed that "Silence was golden." Then he takes action. PRICE All right men, lets move it out!! Price removes the manhole cover and sets it aside and shepards his soldiers down into the sewers. It's a tight fit for the bulky armor, but they can make it. When the last man is in, Price picks up the thermal detonator and hands it down to unseen hands in the tunnel. With a final glance to the world above, Price enters the sewers, sealing the manhole behind him. SHOT OF: Crispus's limo flies past going at a pretty good pace. Off in the distance Crispus's building can be seen, towering over the buildings around it. EXT. LANDING PLATFORM The limo pulls up next to the landing platform of the building. Two guards who had been standing by open the doors to the limo, and Call steps out. Ripley comes out behind her, then Crispus. Crispus leans back into the limo and says something to the driver, and then follows after Call and Ripley. As the trio head towards the elevators, Ripley suddenly tips over and falls to the ground. She holds her hands out to stop her fall, and breathes in with quick breathes. She brings one hand to her forehead and closes her eyes, in intense pain. Call runs to her side and tries to help Ripley up. CALL Ripley, what's wrong? RIPLEY(delusional) The queen....the queen..... CALL What? What queen? RIPLEY She's....she's in pain.....her children......dying across the city.......so much pain....... CALL You're talking crazy Ripley, lets get you inside. RIPLEY No...she needs me......the sewers.....she's in the sewers.... (Ripley stands up straight and pushes Call away) I must go to her! Shock is the greatest emotion Call feels as Ripley reaches into the coat of one of the near by guards, pulls out his gun, and shoots him in the leg. Ripley starts to back away, holding the gun on the confused guard, and Call and Crispus. CALL Why are you doing this Ripley? RIPLEY You wouldn't understand. And frankly, I don't even understand myself. Ripley gets to the limo and pulls the passenger side door open. She points the gun inward and screams inside. RIPLEY Get the hell out now!! Francis, looking thoroughly perplexed, hops out of the car. Ripley pushes him away from the limo, and he falls to the deck. Closing the door behind her, Ripley gets in the limo. Call and Crispus come back to life now and spring for the car. As it drives away, Call and Crispus bang on the windows, to no effect. They watch hopelessly as it heads off into the distance. EXT. THE CITY-PLAZA AREA A large plaza of buildings, all making a circle high up in the city. Shopping centers and clothing stores, food shops, diners, video stores, business offices. All of these disturbed beyond repair. Aliens scale the sky scrapers heading towards this plaza. Hundreds of Aliens, gathered in packs on each building. They climb with ease, not needing hand holds, and with great spead. The plaza doesn't know what hit it as the Aliens make hit and run raids on each building. Windows shatter as the Aliens force their way inside. People scream as they are snatched up, and taken back down the side of the building, miles from the ground. A news van pulls up to the plaza and hovers in mid air. The side door opens up, and a small extension platform slides out. A young woman, obviously a reporter, steps out onto the platform. The wind knocks her hair around, and she holds her coat tight to her. A camera-man leans out from the van with camera in hand, ready to film the woman. REPORTER This is Trish Tilby, reporting live from Calvin Klein's square. As you can see , hundreds of creatures are loose in this city. It was only yesterday that these things were first seen escaping from Sin-Tech, how long have they been here? Howrrrrahahhgggheeh!!!! An Alien makes a kamikaze jump from one of the buldings and slams hard into Trish Tilby, crushing her into the van along with the camera man. The van is shaken badly and rocks to one side as the Alien makes short work of the reporter and crewman. The van nudges forward, it's nose aiming downward. It loses power and shuts off, falling straight down. It falls past the buildings and screaming people, past the onlooking Alien figures, and down. We see what it's about to hit; A GRID STATION. INT. GRID STATION-BOOTH A boothman looks up from ID passes and slips a man in the car outside the booth just handed to him. He sees the falling van. The man in the car looks up too. SHOT OF: The van slams head on into the Grid Station, causing one whole side of the station to light up. The energy grid flickers and then shuts down. The station loses power and begins to fall down, another explosion hitting it hard. As it falls it runs into cars, igniting more explosions. SHOT OF: The falling grid station slams down onto the grid station directly below it. They both go up in a fireball, charring the buildings around it. The inferno of the two stations begin to fall ever downward. FADE OUT FADE IN: SHOT OF: A blue screen. In the middle of the screen is the United States Seal; changed over time, but still the basic Eagle with stars and stripes around it. VOICE And now the President of the Free American Union. The blue screen fades away to show an office; the OVAL office, with a desk in the middle. The President enters; a steriotypical president. Silver hair, average height, late fourties. He looks like he's feeling rather grim. The President sits down at the desk, and looks at the camera. PRESIDENT My fellow Americans. I don't need to tell you about the grave occurances that have come to pass in these past two days. Something monstrous has invaded our city, something ALIEN in nature and form. I'm not one to place blame here, but Sin-Tech was indeed at fault when they violated the illegal biological life forms act. We aren't here to discuss that today though. Today is the time to take action. I have declared New England City a disaster Area, and it is to be evacuated immediately. F.M.A. shuttles at this moment are being sent in to help in the evacuation, and I urge everyone to leave the city as fast as you can. CUT TO: On the lower city streets, hundreds of people run through the streets towards a group of Millitary shuttles. Soldiers , armed with assault rifles, stand guard around the shuttles and herd the people onto them. CUT BACK: THE PRESIDENT PRESIDENT Some may be asking how we will be handling this? Well, rest assured that the proper precautions have been acted upon. Bio-Hazard squads have been sent to the hot zones of the city, and are eliminating the threat as we speak. INT. SEWER TUNNELS The squad of white armored soldiers make their way through the sewer system. Two soldiers taking up the rear carry the thermal detonator. As they walk in calm, a dark shadow appears behind them. A massive intrusion. As it approaches the soldiers holding the thermal detonator, we see it's more distinguishing features; As large as a QUEEN if not larger, it seems to have taken arachnid like traits. It's fore legs arch out of it's back like spider legs , it's back legs set on enormous haunches, thick and powerful. Two more sets of arms rest on the chest of the thing, but they curl back like octopus tentacles. Jagged spikes protrude from it's long skull, making for a twisted version of the Queen's crown. The front of the things face comes to a point, bending down to form a long crook; a diamond hard beak. It's tail , nearly four meters long, comes to a curved blade on the end, and bony ridges line the tail on each side. The beast, THE ROYAL GUARD, lets out a roar and rears it's tail around. The curved blade on the end of the tail runs through the soldier farthest back. The soldier next to him drops the thermal detonator, and it rolls away towards the other soldiers. He tries to fire his rifle, but the GUARD grabs him with it's chest tentacles, bringing him closer to it's face. The soldier cries out to the others as the Guard's ramrod appears. But it's different than the normal ramrod; instead of a seperate mouth on the end, it resembles a cross bow. The ramrod shoots out into the soldiers head, causing his face to collapse. Inside of the soldiers head, the ramrod pulls apart, seperating down the middle. It tears the soldiers head into two pieces, the pieces sagging across the dead soldiers shoulders. Confidently, the squad fires upon the Guard hoping to destroy it. Their rounds ricochet off it's armored chest plate and shoulders, not even slowing the beast down. They squad, who had flaunted their power so ruthlessly a minute ago, now see that they're doomed. PRICE Fall back!!! The soldiers run down the tunnel as the creature tears into one of the soldiers, bringing it's beak down on his head, crushing it. The Guard lashes it's tail out and hits another soldiers, slashing his legs off at the knee caps. The soldier howls as he is picked up, blood gushing from his stumps, and torn apart in mid-air. The Guard drops the dead soldier and turns to see the rest of the squad rounding a corner. Around the corner, Price stops and lets the rest of the group move on past him. He claws at his chest and pulls off two grenades. In one fluid motion , Price pulls the pins on both grenades, pops the handles, and throws the grenades at the wall just by the turn. As the guard rushes to round the corner, it stops when two grenades bounce off the wall in front of it. The grenades hit the ground and roll to a stop at the feet of the beast. The Guard rears it's head at the grenades as they EXPLODE, ripping the beast apart and launching it back down the tunnel. Acid flies everywhere, melting the walls down to nothing. The ground begins to collapse in as molecular acid eats through it. CUT TO: A hand slaps a clip into a rifle hard. We follow the hands as the rifle is set down on a table, and then the hands reach up to a rack of rifles and grab another one. The hands belong to Call, wearing a grey tank top and jeans now. She slams another clip into the new rifle, and then slings it over her shoulder. She grabs two pistols , one in each hand, and puts them in the back of her pants. Then she reaches down and grabs the rifle on the table. PULL BACK away from Call to show that the group is in the cock-pit of a shuttle,Crispus sitting in a pilot's chair. Richard leans against the wall opposite Call, an uneasy look in his eyes. COOPER I'm going down with you. CALL We already discussed this Richard. I'm an android, they can't cocoon me and put one of their babies in me. Plus, I'm faster, stronger, and more accurate with a rifle than you. Richard leans back again, obviously at a loss for words. He can't give it up though. COOPER I just don't want you to be alone down there. CRISPUS He's right Call. How about I go with you? CALL You have to stay here in case I don't come back and you need to lift the shuttle off. Richard can't fly. CRISPUS She's got you there bud. Richard gives up, leaning back and pouting to himself. Call comes up behind Crispus and looks over at one of the monitors. She points at it. CALL Are you sure this will work? CRISPUS I had a tracking device put in all of my possessions, in case they're ever stolen. The only problem is when we find the limo, I doubt Ripley will be there. CALL It's a good bet she's heading into the sewers. She was rambling on about a queen in the sewers before she freaked. CRISPUS(discouraged) The sewers go on for miles Call. CALL(confident) We know that wherever Ripley is going, it must be the main hive. I'm guessing these things aren't going to have their hive spread out through the tunnels. They're going to be looking for a large chamber of some sort, to house the eggs. Call looks like she's thinking hard for a second, and then she sits down in the pilot's chair next to Crispus. She works her lightning fast fingers, reminiscent of BISHOP in ALIENS, across the keyboard. Then she pulls out a cable from the side of the computer. She reaches down to her arm and pulls out a white string from what looks like a mole. Then she inserts the cable into her arm. Crispus watches her expectantly from his chair as she works. Call looks like she has gone into a trance. CLOSE UP: Of Call's eyes. Data scrols across her retinas. CALL Got it. CRISPUS What did you find? CALL I analyzed the blue prints for the sewer system, and determine the most likely place for where the Aliens would likely be. CRISPUS You just made it too. CALL What.....? Call jacks out, pulling the cable from her arm. It swings freely from the computer as Call looks out the windshield. POV SHOT OF: From inside the shuttle we see the limo, parked near a manhole. The shuttle begins to lower down. Call hefts the rifles over her shoulders, ready for action. She brings her fingers to her lips , and then touches them to Crispus's. As she walks by Richard, she throws him a glance, but doesn't say anything. Call opens the air lock door. EXT. OUTSIDE THE SHUTTLE We see what the shuttle looks like now. Resembling the small shuttles from STAR TREK, it's box like, the size of a small luxury jet. A ramp lowers down from the airlock door, and Call walks down it. As she touches the ground, Richard calls out to her. COOPER Hey Call. CALL Yeah? COOPER Don't be gone long. Call smiles , and Richard smiles back as he seals the airlock. Call has no time to waste though, and turns towards the manhole. Call hefts the second rifle over her shoulder, and pulls the manhole cover off, quickly starting down the ladder. INT. SEWERS-LADDER Call lands in the water and looks around in the darkness. She lights the lamp on her rifle up, and starts off down the tunnel. INT. SEWERS The soldiers aren't sparing too well. Only five of the squad are left, and they're running for their lives as Alien Warriors quickly pursue them. The soldier in the back fires his rifle back , obviosuly trying to be a hero by trying to make a diversion while his friends get away. Just as the Aliens are starting to fall back, his rifle stops firing. The soldier looks down at it perplexed. He looks at the dial on the side. It reads 55. He has ammo, so what's up. SOLDIER Jammed!! Damn it!! The Aliens that had been backing off now hurry in on the soldier. He drops the useless rifle and pulls out his side arm to fire just as the Aliens make it to him. The four remaining soldiers, including Price, are stopped in their tracks as the death cry of their team mate echos off the walls of the tunnels. INT. TUNNEL-CHAMBER Now we see RIPLEY again, trudging along through the sewage tunnels. She still wears the red dress, now drenched in muck. She too stops dead as the scream fills her ears. She doesn't care enough to investigate, she simply moves on. She sees a light up ahead, the ending of the tunnel. She triumphantly, though she doesn't know why she is proud of it, walks towards the light. As she makes it to the end, her feet slightly hang over the edge. Ripley's view is filled with wonder at what she has found. INT. THE CHAMBER A huge chamber, the core of the sewers sytem where all the main lines meet. It goes down for hundreds of feet, and in the middle there is a grand pond. Here the ALIENS have made it their home; The sewage has changed from it's usual murk to a yellowish green. The walls surrounding the pond have been coated with Alien resin. Dozens of pillars are scattered about in the water, not randomly, but in rows. The pillars are composed entirely of Alien resin, and are four sided, appearing to be the same texture as the DERELICT SHIP from ALIEN. On each side of the pillars a HUMAN lay cocooned, ready for implantation. Floating above the water are hundreds of lilly pad like patches where three to four to five eggs sit. And in the middle of the pond is the most frightening thing of all. A titanic mound of HUMAN BODIES, all cocooned together to form an organic hill. And in the middle of the hill; a SUPER QUEEN Alien. Ten times the size of a normal queen, she lies dormant, her gargantuan crown covering her chest. Her body is cut off at the waste, covered by the mound. At the bottom of the mound, from a large opening in the hill, protrudes a giant EGG SAC, it leads over to the wall, where it wraps all the way around the chamber, stuck on by Alien goo. At the end of the Egg sac, it veers off into five smaller egg sacs. Where the end of the small egg sacs hang, five lilly pads are moved into place by Alien drones. An egg falls out of one of the sacs, and lands on the pad, causing a moderate splash. With only it's head visable above water, the Alien drone pushes the lilly pad towards the closest pillar. The Drone sets the pad right in front of the pillar, and then sub-merges. The eggs fluctuate, and come to life. The tops open up with a blossoming effect. The facehuggers inside don't spare a moment's notice. They spring out , four of them onto the pillar. The face huggers spread off from eachother and pick a host, then slowly crawl up the unsuspecting human's chest. Just as one of the facehuggers is about to clamp down on a host, the man's eyes dart open, realize what is about to happen, and let out a muffled scream. It only lasts a second, and is then silenced. INT. TUNNEL-CHAMBER Ripley's face is riddled with conflicting emotion. She feels as if she should be here, but the sight she has just saw tells her other wise. Behind her the shadows come alive, and overwhelm her. Ripley turns around in time to see two Aliens coming towards her. The Aliens surround her, hostile intentions apparent. Ripley holds out her hands, backs up to the ledge, and falls back. As Ripley goes over, the Aliens look dumbfounded at her jumping. As Ripley falls, she feels that she has gone through this before. She closes her eyes, absorbing it in, and then clasps her hands together. In olympic athlete form, she forms a dive. When she hits the water, she doesn't even make a splash. She cuts deep into it, diving at least twelve feet down from her momentum. As Ripley comes back to her senses, she takes in her surroundings. The floor of the pond is covered in human bodies, their chest cavities exploded outward. The bodies lay atop of eachother, getting denser in humans leading to the mound. Ripley propels herself at an incredible rate, shooting off towards the mound. She flies through the water and to the surface. When she breaks it, she shoots through the air like a dolphin, body straight, and lands on her feet at the base of the mound. Now the Queen lay before her. Ripley struggles up the hill, but the climb is a struggle. The bodies have been so crushed together, that a smooth surface has actually been formed, a pulp of rotting flesh. Ripley tredges up with all her might, until she is right in front of the QUEENS CROWN. As if sensing her presence, the queen awakens from her slumber. she brings her eyeless face up to look upon Ripley, that soulless gaze that tears deep down into you. Ripley is not backing down though, she's fighting her, in their minds, a struggle goes on. They both sway, in a dance, a tango for dominance. A loud splash is heard, breaking the Queen's concentration. Ripley notices it too. They both turn around. Several Aliens are breaking the surface, wanting to get a better view of the battle. They start to crawl onto the mound, and slowly make their way up to Ripley, ready to defend their queen. Now we see that they have changed quite a bit from their brothers of the past movie. The two Aliens look like a cross between GEIGER's original vision, and the CREATURE FROM THE BLACK LAGOON. Along their skull are deep ridges, but instead of only being grooves, they are actually openings. Openings that ripple with movement. They seem to work as gills for the Aliens. For hands the Aliens have foot long talons, talons that are webbed together , making it much easier to swim. They're feet are long and wide, webbed, serving as flippers like the hands. These Aliens have no tubes arching out from their back, maybe so there won't be any resistance when swimming. On the end of their long tails is a wide diamond shaped fin. Ripley turns to the Queen, looking for any shred of remorse from her kind. The Queen doesn't make a move, except to open up her sealed mouth, and to reveal another set of jaws that lower down slowly, as if laughing at Ripley. Ripley turns back to see the Aliens, ready to strike. She can't fight all of them. Better to just give in. Ripley closes her eyes, ready for the end. Off to the side of the chamber, Call comes to the edge of a tunnel level with the ground. She takes a second to assess her situation, and then with an assault rifle in each hand, she opens fire on the Aliens that are planning to attack Ripley. The Aliens explode in a cloud of acid rain. The Aliens in the water turn to see Call, and start swimming towards her. CALL Ripley!! Ripley opens her eyes, a glimmer of hope in them. She takes one last scournful look at the Queen, and then takes a flying leap off the mound. Now, the mound is pretty high up from where she was standing, and Ripley goes soaring over the Alien bodies, and makes a splash in the water. Call continues firing at the Aliens in the water, who duck down to avoid her fire. INT. UNDER WATER As soon as Ripley hits the water she's off, making the swim of her life towards Call. It's actually quite majestic, if only the Aliens did not surround her. First they're caught off guard as she passes them, but then they spring into action. Some grab at Ripley, but she manuevers her way around them. Ripley sees the surface, and makes a break for it away from the Aliens that follow. Just as she is about to break the surface, an Alien grabs her ankle , holding on tight. INT. CHAMBER-TUNNEL-UNDER WATER Call stops firing and looks down to see Ripley a foot from the surface, fighting for her life. Air bubbles spill out of her mouth as the Alien tries to pull her down. Call drops her rifle and reaches her hand into the water, grasping for Ripley's. Ripley sees the hand and reaches out for it, grabbing a solid hold. The Alien is still pulling down on her though. She kicks it squarely in the head, and it lets go, sinking downward. Call pulls Ripley out of the water and onto the edge of the tunnel. Ripley gasps for air, and is surprised when Call shoves something in her face. A rifle. Ripley smiles and takes the rifle. She pulls her self up, and both woman, android and Alien, fire a horrendous wave of bullets back at the Aliens. Call runs out of bullets, and then so does Ripley. She pulls another clip from her battle harness, throws it to Ripley. Ripley slams the clip home, cocks the rifle, and fires again as Call reloads herself. Call begins to back up, down the tunnel as she fires. CALL Come on lets get out of here! Ripley nods and stops firing. They both turn and run down the tunnel. INT. HIGH TUNNEL-CHAMBER The last remaining soldiers, Price and his Corporal, carrying the thermal detonator, finally make it to the chamber. Price crouches down next to the detonator and works the controls. He sets the timer to ten minutes, presses s few buttons, and then hefts the bomb up. The Corporal helps him, and they both launch the detonator through the air, where it lands , throwing up a ton of water. INT. UNDERWATER As the thermal detonator slowly sinks to the bottom, air bubbles leaking out from ever nook and cranny, a swimming Alien warrior eyes it curiously and propels itself towards it. The Alien catches the detonator, brings it close to it's face, examining the foreign object, when it DETONATES! INT. TUNNEL Call and Ripley run like the damn blazes, being pursued closely by some Aliens. Ripley turns a corner when the they both hear the explosion. Call stops and looks back. Even the Aliens have stopped now, confused, something is missing. Then the blast wave hits them. A wall of fire heading down the tunnel. Call can't even move as it comes towards her. Ripley grabs her by the shoulders and hoists her up, and away. They both watch as the firewall passes them by, engulfing the nearest Aliens. CALL Fuck me! RIPLEY We don't have much time before the survivors will be on our tail. CALL Right, lets move. They both run down the tunnel at full speed, Ripley slowing down for Call at the turns. They come into an area where the explosion has rocked the most. The walls have been sterilized by fire, charred to the core. They ground steams from the evaporating water. A few fried rats lie here and there. They both move past paying it no mind, back into the tunnels. INT. TUNNEL-WATERFALL Call and Ripley move through the tunnels and make it into a clearing. It's a well, a five foot puddle at the bottom. Water streams down from the top, slithering down the wall. Call stops, not sure what to do. CALL Now what are we supposed to do? RIPLEY We climb! Ripley slings her rifle over her shoulder and walks through the semi- deep water. She comes to the muddy wall of the water fall, stops for a second to think, and then jams her hand deep into the mud-wall. Her finger nails dig in deep giving her hand holds. Ripley moves up the wall, at quite a quick pace. Call tries to do the same, jamming her hand into the muddy wall. She can do it, but has more trouble than Ripley, not picking up as much speed. Ripley makes it to the top, peers over the edge. Nothing in sight. Ripley hoists her self up, un-slings her rifle and surveys the area. Clear. Ripley goes back to the egde and looks down on Call. RIPLEY You gonna take all day?! CALL I'm working on it! Call sees the alarm in Ripleys face as she spoke, and looks back down to see ALIENS; in the puddle, crawling up all sides of the wall. She pulls her rifle off and fires, but she doesn't have the angle. The Aliens leap off from wall to wall, avoiding her random fire. Ripley fires down too, but Call blocks most of her view. Call makes it to the top, pulls herself up with the help of Ripley's hand. They both are off running as the Aliens also make it to the top. The Aliens creep down into a crouch and are racing down the tunnel after Ripley and Call. Some crawl on the ceiling, some on the floor, some on the walls. Call and Ripley are faster than normal humans, and with the head start keep one step ahead of the aliens. As they twist and turn through out the tunnels, the Aliens retreat back and dissapear from apparent sight. Call and Ripley become more relaxed, and don't run at such a random rate now. As they turn a corner, suddenly COOPER pops out, nearly knocking over Call. Both Call and Ripley jump back in surprise, but quickly realize they have nothing to fear. Cooper uneasily cradles a rifle in both hands, sweating profusely. RIPLEY Jesus christ Richard, you nearly gave me a heart attack! COOPER Sorry. CALL Richard, I told you to stay on the ship! You could get hurt down here! COOPER Well, when you were gone so long, we got worried. I just had to come...to see if you were all right. Call tries not to be so harsh now, so she backs off. Ripley is ready to go, and doesn't try to hide it. CALL Fine, whatever, lets get the hell out of here. Richard nods his head in agreement, and turns around to lead when an Alien drops down in front of him. It hisses and lashes out it's long tail. It flies out, impaling Richard all the way through. Blood splashes across Call's face, like war paint, as she was standing right behind him. Richard lets out a high pitched scream, blood launching from his throat out of his mouth. Before anyone can think, Ripley blows the alien away. As it falls, so does the tail, Coopers body rejecting it. Call runs to Cooper's side as he falls. She tries to help, but Ripley knows his fate. To both their surprised, his eyes flash open, but with the last bit of hope drained. COOPER Leave me here... CALL Richard, you're okay! RIPLEY He's already dead Call, leave him. CALL No we can't leave him! He'll be okay, we just gotta get him to AUTODOC..... Richard pulls himself up, and fires his rifle into the air. Call jumps back alarmed, taking to Ripley's side. Richard nearly keels over, clutching at his sucking chest wound. Call holds her hands out. CALL We can still help you Richard, just come with us. Behind them a quiet rumbling becuns. The Aliens are coming. All three hear it. Richard knows what he has to do. He shoots his rifle up in the air threateningly, and screams. COOPER Go! Save yourself! Call is torn apart by the decision , but Ripley grabs her arm and pulls her along with her, running down the tunnel. Richard turns around. Not only is there a rumbling now, but the Aliens come into view, lots of them, filling up the walls and ceiling. Richard cocks his rifle one handed(eat your heart out Sarah Conner) and brings his rifle up, fires. The recoil knocks his arm way up. The crowd of aliens are blown apart, knocked to the floor. Richard cosk the rifle one handed, fires another grenade. The remainder are blown to shreds. Another wave comes around the corner, sees their fallen brothers, and approach with uncertainty now. COOPER Come on! What's a matter?! Afraid of a human! Richard cocks the rifle threatengly, the Aliens charge, he fires. The blast was too close range though, and Richard gets blown back. His clothes chard, his hair smoking, Richard struggles to get up. He can't do it, his wounds are too intense. The Aliens walk over the bodies of their brothers, creeping closer. Richard fires full auto as the Aliens STIKE! INT. TUNNEL-MANHOLE Call and Ripley make it to the top finally and see a manhole. Ripley practially jumps on it and climbs as fast as she can to the top. Call stands at the bottom of the ladder, not moving a muscle. Ripley looks down on her. RIPLEY Call, come on!! CALL(ignoring her) We gotta go back, we gotta...we gotta do something....we can still svae him....we gotta..... Ripley slides down the ladder and lands in front of Call. She grabs her shoulders, looks like she's about to bitch slap her, but then wraps her arms around her, hugging her tight. RIPLEY It's okay Call, you did all you could. CALL No, I should've, I could've saved him, I could.... RIPLEY He's gone Call, and we're here. And we gotta go. CALL(sniffling) All right.....you're right....lets get out of this place. Call grabs hold of the ladder and starts to climb up it. Ripley follows after, aiming her rifle down the tunnel, ready for anything. EXT. CITY STREETS The manhole cover lifts up, and is pushed aside. Call pulls herself up, places her rifle down in front of her, and crawls out. She stands up, grabs the rifle, and is distraught at what she finds. The shuttle is GONE! The limo that Ripley drove is completely shredded apart, and three Aliens stand atop of it, tearing it up piece by piece. Call screams and runs at the Aliens firing. Ripley pulls herself up and sees Call rushing the Aliens. The Aliens don't even see it coming, and are knocked back by the rifle fire like rag dolls. They explode in a shower of acid, further damaging the shell of the limo. Ripley sees the limo, sees there's no shuttle to pick them up, and curses herself and the world. RIPLEY Crispus!! Goddamn you!! CALL Now what the fuck are we gonna do?!! RIPLEY I don't know, but I can tell you this: That shuttle was our only ticket off this shithole, and now it's gone! Just as Ripley says this, an army of Aliens out pour from the manhole they came from. Ripley brings her rifle up to fire, sees how many there are, sees the hopeless odds. Call isn't ready to give up yet. CALL Ripley, what are you doing?! RIPLEY It's hopeless Call, let it go. CALL What do you mean let it go?! As they speak, the Crispus's shuttle emerges from behind a building, engines flaring, bearing at an angle to land. The army of Aliens look up , distracted, and Call fires, bringing down a good deal of them. Ripley shrugs her shoulders and opens fire also. The two woman make a good wall of defense, and the Aliens begin to back away. The shuttle lands , and the two begin to back towards it while firing. The airlock door opens, Crispus standing there with a rifle. Firing off a few sporadic rounds, he shouts to the ladies. CRISPUS Ripley, Call, lets go!! Call gets to the door and stops firing. She ducks under Crispus's arm and runs inside the shuttle. Crispus yells out to Ripley, but she's having too much fun. This may be the last time she gets to kill what she hates most, and she's enjoying it. Crispus grabs her shoulder and pulls her inside. As Ripley falls through the doorway, she fires off a few more rounds, and then stops as Crispus enters. INT. SHUTTLE Crispus shuts the airlock and runs for the pilots chair. Call sits in the passengers seat as Crispus works the controls. RIPLEY Floor it Crispus!! Crispus grabs the stick and takes them up, the thrust knocking them back a bit. SHOT OF: As the engines fire up, a few dozen Aliens get fried to a crisp. The shuttle takes off, clean of Aliens, and flies off past the buildings, into the night sky. It's engulfed by the stars, and as it becomes a tiny dot in on the plain of stars, it twinkles. FADE OUT: CALL(V.O.) And that was how Humanity was finally beaten out by mother nature, in a manner of speaking. No one really knows the exact date of when the Aliens took the Earth as their own, but us few survivors, Ripley, Crispus, and I, we know why it happened. For all the Weyland Yutanis, all the Greedy Corporations, and the clueless governments, we know why they failed..... FADE IN: EXT. SPACE Crispus's shuttle speeds away from Earth at high octane, and flies off into the distance. Earth sits alone in the Universe, in more ways then one. (CONTINUED) CALL We floated through space for a few days , listening to the reports from earth as we waited. The Millitary had failed. The hive in the sewer may have been destroyed, but others flourished. The quarantine didn't work, the Aliens spread, soon there was nothing left...... EXT. SPACE-JUPITER The shuttle passes by the orbit of Jupiter, heading towards a point of light. As it gets closer and closer, we see the point was another space craft. A large one, richly preserved and not as ancient as the millitary and merc ships. The best way it could be described is as a long cylinderic craft, perfectly smooth in appearance. As we move closer up we see giant antennaes and communication towers branching out along the perimeter. The giant ship comes to settle over the shuttle, dwarfing it ten-fold. The huge docking bay doors open on the bottom, and the shuttle flies upward into it. (CONTINUED) CALL On the fifth day , we were picked up by Crispus's ship, the BOHOMME RICHARD........ INT. DOCKING BAY The shuttle lands in a docking bay similar to the SULACO'S from ALIENS, and Call, Ripley, and Crispus step out. They're greeted by two men, one black, bald headed, stern and tall, the other medium sized, middle aged, grey haired. Crispus extends his hand to them. He also motions to the two men towards Call and Ripley, obviously introducing the group. They all exchange greetings. (CONTINUED) CALL There we met two men, acquaitances of Crispus's. They introduced themselves as John Adams and Roger Sherman........... EXT. SPACE The large ship turns silently, and then zips off into hyper space, heading out to the stars. (CONTINUED) CALL WE headed off onto an unknown destination. Crispus refused to tell Ripley and I. He insisted it was a secret....... EXT. SPACE-UNKNOWN PLANET The ship emerges from hyper space, the hulking mass of the ship struggling to come to a stop. The ship has appeared in front of a small blue planet. EXT. ATMOSPHERE-PLANET The ship flies through the atmosphere of the strange planet, not with the ease with which is sailed through space. Past the clouds it finally comes into VIEW: The planet bears an intriguing resemblance to earth, greens and blues heading off for miles at a time. Below the ship a strange complex sits, metal in orgin, surrounded by a metal wall, buildings spread apart within a small area. A COLONY. (CONTINUED) CALL And then, we saw it...... EXT. COLONY-LANDING PLATFORM The ship slows to almost a hault, and comes to land on a huge platform in the middle of the colony. Out of the side of the ship, the group, Ripley, Crispus, Call, and the two men, exit out an airlock, and onto the platform. They step onto an elevator , and begin to go down. INT. ELEVATOR Call smiles at Crispus, who returns the smiles. Then she looks out the filter wire of the elevator, and out onto the colony. A crowd of hundreds of people begin to exit the buildings, and come towards the platform. (CONTINUED) CALL This had been all Crispus's doing, the scoundrel. After the recall, Crispus organized a network to help get the AUTONS to some place safe. He sent them on his private ship out into the galaxy to find a new home, and they found this place. Here they built a colony to live in harmony, away from the hard ships of man kind....... EXT. ELEVATOR DOORS The elevator doors open, and the group steps out. Crispus first. As the crowd of Autons approach, a lone man comes forward, the superintendent of this colony. He and Crispus hug like brothers, old friend, colleagues. Then the introductions start again. The crowd looks over joyed, and Call even sees a few familiar faces in it. Over come with happiness, Call almost forgets about Ripley, who stands alone by herself. (CONTINUED) CALL I never really knew if Ripley wanted it this way. There was a moment when I thought she really wanted to die, back when Crispus barely saved us in time. Who could blame her. She had lost her friends, her family....her daughter, maybe even her humanity. But, if I learned anything from Ripley in the time that I knew her, I learned that she was a survivor, and even through the worst of times, that's what she would always do.....survive. A little girl steps out from the crowd, walks to Ripley. Ripley doesn't notice her until the little girl tugs on her shit, forcing her to look down. The little girl asks her something. Ripley thinks for a second, and then takes the little girl's hand. They both walk towards the crowd together. THE END