Alien Resurrection Final Draft Script
TERRY BISSON
To be used for educational and review purposes only
EXT. DEEP SPACE SILENT BLACK.
We sweep slowly across an endless tapestry of stars. Finally she comes into view:
the U.S.S. AURIGA. A massive research vessel that sits majestically just beyond Pluto's orbit.
We TRACK ALONG the side of the ship, and
INT. AURIGA
along the silent, empty corridors, coming at last to a door with two guards standing rigid in
front of it. Full armour, powerful shockrifles, expressions empty and cold.
INT. MEDLAB
Along a row of screens, where we see the first signs of life readouts, lights, data -- all
shifting and collating on the blinking screens.
As we move ALONG them, a figure-in a labcoat passes through the frame, then another,
leading us along the lab to settle on what looks like a Cryogenic tube, not big enough
for a human.
Still TRACKING around it, we glimpse inside some vague, fetal mass encased in a clear,
aspic-like gel.
Tubes and cables a attached to the mass, running out of the machine.
As we still CIRCLE, the shape begins to be more coherent, till we can see what might even
be a face.
Eyes, shut tight. Sleeping.
Dreaming.
ANGLE: WHEAT.
A birds eyes view of a field, the soft golden waves filling the screen. Sharp contrast to
what we have seen before.
There is a woman wandering through the field. Beside her a girl, seven or eight, in dingey
sundress. Both have black, tousled hair.
GIRL'S VOICE
My mom always said there were no monsters -- no,real ones -- but there are.
The girl stops, looks around her. The wheat comes all the up to her chest, and nothing
else is visible as far as she see.
She looks back at the woman but the woman is already more than fifty yards away.
The girl's expression becomes perplexed.
She slaps a bug on the back of her neck. Pulls it off and is HUGE, wriggling fleshily in
her hand. Her expression becomes even more distraught, but she cannot muster forth a shout.
The sound of insects-fills the air. Another bug lands on her, another. She looks down in
growing horror and sees:
Blood. At her feet, rising, filling the field, rising above the wheat, a sea of blood now,
dark, thick.
The girl tries again to scream, raises her arms. She is completely covered in insects,
a skittering black shroud of them, and when she finally does SCREAM they flood into her mouth.
CUT TO:
INT. LAB
Instruments show a jolt in heart rate, blood pressure.
Scientists note it down, look over at the thing in aspic.
We can tell that time has passed because it is much bigger, nearly
the size of a man, and in a new case.
The camera moves in on the cardiograph, then moves down, to
show a second one. Tracking a smaller, much faster heartbeat.
CUT TO:
INT. HALLLWAY
Tiny. dark, and we are moving through it at impossible speed turning into
another without slowing, up into an air vent, still moving, moving
until we reach a chamber, some place where all we can see is a mass of dark,
moving, inhuman fle it welcomes us in, envelops us...
ANGLE: RIPLEY
Lying somewhere, maybe the dark-chamber -- in the dream it keeps shifting.
She opens her eyes, but they are dark, whiteless.
She reaches for her chest and begins scratching . Hard.
Tearing at it, as blood wells up, spilling over her sides.
CUT TO:
INT. OPERATING CHAMBER
And the cause of this dream becomes apparant:
ANGLE: RIPLEY'S CHEST
being cut open with a lasersaw.
We see her body still has a layer of the aspic-slime clinging to it. And her skin is
unnaturally blue. But as we PAN from her chest to her face her identity is unmistakable.
Around her are several men in operating masks. Cutting her GEDIMAN, a young and enthusiastic
scientist. One man, seemingly in charge, stands a bit off, watching. This, by tag on
his coat, is DR WREN.
WREN
Careful ... ready with the amnio...
Gediman finishes cutting. Another man steps in with a clamp. Sets it. Pulls apart the chest.
GEDIMAN
There she is ...
He says it like he's found a lost kitten. He reaches in an pulls out a sleeping, fetal
but nearly ready to burst ALIEN. Others work at severing umbilical threads that tie it
to Ripley's chest.
GEDIMAN
Here we go.
He holds it up and others step in with the amnio, a sort of incubator filled with amniotic
fluid.
The alien SCREAMS, its tiny mouth full with teeth, and wriggles out of his grasp.
WREN
Watch it!
Everybody panics -- but before the thing can get completely away from him, Gediman grabs it
and sticks it in the amnio. Someone shuts the top rapidly.
Everybody looks at each other for a moment.
GEDIMAN
Well ...
WREN
A surgeon looks at Ripley's readings.
SURGEON
Doing fine.
Gediman looks at Wren, hopefully. Wren nods.
WREN
Sew her back up.
Gediman and the surgeon get to work, as the others carefully remove the alien.
GEDIMAN
Well, that went as well as could be expected--
Ripley's hand LASHES OUT, GRABS the surgeon's forearm. He yells in pain as her fingers
dig into him, the others scramble knocking things over and we HEAR HIS BONE CRACKING.
SMASH CUT TO:
INT. RIPLEY'S CELL
Sudden stillness.
Ripley crouches in the middle of a small, dark chamber. She's wide eyed, staring straight
ahead in a state of near catatonia. Hair tangled and wild. But at least she's not so blue
as before.
The only light on her comes from directly above, from a thick pane of glass in the center
of the ceiling.
ANGLE: ABOVE THE CELL
A guard stands on the floor above, looking into the cell through the square of glass in
the floor, directly above Ripley.
(We see other panes of glass lining the floor, indicating more cells below.)
ANGLE: RIPLEY
She is still for a long while. Then she lifts her hands, looking at them.
Touches her face, her skin.
She fingers her tunic, pulls down the neck. There is a scar running along her chest.
She fingers it thoughtfully. -
She looks at her forearm. Tattooed near the crook of her elbow is the number 8.
She looks up, her face unreadable.
CUT TO':
INT. LAB
Ripley is sitting on a table as Gediman draws blood from her.
He deposits it in a test beaker, studies her eyes.
Wren enters, looking at a chart.
WREN
How's our number Eight today?
GEDIMAN.
Appears to be in good health...
WREN
(noticing his to
ne)
How good?
GEDIMAN
Extraordinary . As in, completely off our projected charts.
(shows him some photos) Look at the scar tissue. See the recession?
WREN
This is from --
GEDIMAN
Yesterday!
WREN
This is good. This is very good.
GEDIMAN
I'd like to run some tests: strength, coordination... We're not looking at a
normal cloning arc.
WREN
Approved.
Wren goes up to Ripley, studies her face with satisfaction.
WREN
Well, it looks like you're going to make us all very proud.
She grabs his throat with dazzling speed, applying deadly pressure as she
brings his face to hers. Her eyes are burn but lost.
RIPLEY
Why?
GEDIMAN
Oh my god...
He is as wide eyed as WREN , and he isn't having his windpipe crushed.
After a moment the shock wears off and he slams his hand into the alarm.
Klaxons, red light fire up.
A guard rushes in, levels his weapon at Ripley. After a moment of staring him down,
she opens her hand. Wren falls to his knees gasping.
The guard FIRES his rifle at her -- a powerful electrical charge lashes out
and sends her flying back into the corner.
WREN
No! No! I'm all right!
The guards keep their weapons -- 'burners' , these shockrifles are called -- leveled
at Ripley. She has recovered from the shock quickly, sits crumpled in the corner,
looking at nothing in particular.
RIPLEY (wearily)
Why... ?
CUT TO:
INT. OBSERVATION ROOM
Wren and Gediman watch through a one way mirror as a scientist tests Ripley.
With them is General PEREZ, the man in charge this boat. Ramrod straight and about
as gruff as you would expect, he stares at Ripley suspiciously.
ANGLE: RIPLEY
The scientist is holding up cards with pictures on them: house, dog, boat.
Ripley gives answers we can't hear through the glass, looking pissed off and bored.
WREN
It's unprecedented.
GEDIMAN
Totally! She's operating at a completely adult capacity.
And her memories?
WREN
There are gaps. And there's some degree of cognitive dissonance.
GEDIMAN
She's freaked.
Wren shoots Gediman a stern look at his unscientific parlance.
WREN
"It" has some connective difficulties. A kind of low level emotional autism.
Certain reactions....
Perez looks at Ripley through the glass, then exits into the hall.
TO:
INT HALL - CONTINUOUS
The two scientists follow, pace him as he strides down towards a second observation room.
GEDIMAN
But the thing is, we can't terminate her. It.
PEREZ
You haven't told me what you think has caused this.
Cloned genes don't contain memory cells, not even when they're brought
to adult term. I'm right?
GEDIMAN
There's been cases
PEREZ
Not like this.
WREN
Well, we don't have nearly enough data... but in some cases there is a collective
memory passed down generationally . At a genetic level. Like instinct,
only more complex structurally.
PEREZ
In some cases . You're talking about the alien.
WREN
Yes.
PEREZ
You promised me there wasn't going to be any crossing.
WREN
It's not like the other ones..
Perez punches code, puts his hand on the scanner and the second observation
room door opens.. He steps in, the other two right behi nd him.
CUT TO:
INT. OBSERVATION ROOM TWO
Darker than the first one, and with two of the heavily armoured guards by the door.
Apart from-that, identical. Perez turns to the others.
PEREZ
But there is some genetic mix.
WREN
Yes.
PEREZ
Will there be further mutation?
GEDIMAN
Mutation isn't exactly... I don't think so.
WREN
That's one of the things we need to study.
PEREZ
All right. You can keep it. But secure, under obso , and for God's
sake keep it away from here. I don't want any more surprises.
And as he speaks the ALIEN RISES RIGHT BEHIND HIM -- it's big, the ridges on
its head indicating a young queen -- it hisses and LUNGES at the back of his head.
The reinforced plastic window between them, which we couldn't see, stops it.
As it hits, a thin laser grid buzzes to life, sparks crackling on the alien's face.
Its bile trails darkly on the glass as it backs off.
Perez turns to look at it with the others.
PEREZ
It took a hell of a lot to get us here.
GEDIMAN
No shit.
Wren shoots him another look.
PEREZ
How soon before this one's ovulating?
WREN
Days.
PEREZ
Is that normal?
WREN
No way of knowing for sure, but I'd say it's accelerated.
(After a moment) We're going to need the supplies.
PEREZ
They're coming. Soon.
CUT TO:
INT. MESS HALL
Ripley sits across from Gediman. He is eating at a good pace - Ripley, however, has
stopped. She is staring at her fork, her brows furrowed. Turns it over in her hand,
in her mind.
GEDIMAN
"Fork".
The memory comes, and she shakes her head wearily.
RIPLEY (softly)
Fuck....
GEDIMAN (pretending to correct her)
"Fork".
Ever so slightly, she smiles. The smile fades, and after a moment:
RIPLEY
How did you...
GEDIMAN
How did we get you? Blood samples from Fiori 16. On ice.
Do you remember that place?
RIPLEY
Does it grow?
GEDIMAN
Does it.....Yeah. Rapidly.
RIPLEY
It's a queen.
GEDIMAN
How did you know that?
RIPLEY
It'll breed. You'll die. Everyone in the ... fucking....
(searches for the word, then spits it out) ... company. Will die.
GEDIMAN
Company?
WREN (O.S.)
Weyland Yutani.
He has entered behind her, comes up to the table.
WREN
Our Ripley's former employers. Terran Growth conglom, had some defense contracts
under the military. Before your time, Gediman -- they went under decades ago, bought
out by Walmart. Fortunes of war.
(to Ripley)
You'll find things have changed a good deal since your time.
RIPLEY
1 doubt that.
WREN
We're not flying blind here, you know. This is United Systems military, not some
greedy corporation. The potential benefits of this race go way beyond urban pacification.
New alloys, new vaccines ... there's nothing like this in any world we've seen.
You should be v
ery proud.
She laughs, bitterly.
RIPLEY
Oh, I am.
WREN
And the animal itself is wonderous. They'll be invaluable once we've harnessed them.
RIPLEY
It's a cancer. You can't teach it tricks.
This stops Wren, and he retreats silently. Ripley repeats word to herself, thinking.
RIPLEY
"Them" ...
CUT TO:
INT. HALL CONTINUOUS
As Wren is leaving the mess, he is accosted by an ensign.
ENSIGN
Doctor, General Perez is asking for you. We've been hailed.
CUT TO:
EXT. DEEP SPACE
we see the Auriga far in the distance Suddenly A SHIP ROARS INTO FRAME, heading for it.
A small vessel, it is every bit dirty and jerry-rigged as the Auriga is pristine.
To accentuate the difference, the sudden roar of its engines is accompanied by
HEAVY, THRASHING ROCK MUSIC.
CUT TO:
INT. COCKPIT CONTINUOUS
The music is coming from nearby. Piloting the ship toward the Auriga is HILLARD,
a roughskinned woman in her forties, along with RANE, a slight and quiet fellow.
Behind them stands ELGYN, the leader of the group.
Has the kind of authority that doesn't need to flaunt itself.
Maybe fifty, by the silver in his hair. He speaks into the vidcom
ELGYN
(good naturedly)
My authorization code is 'fuck you' , son. Now open the goddamn bay or General Perez
is gonna do a Wichita stomp on your virgin ass.
He switches off.
RANE
Wichita stomp?
ELGYN
I guarantee that boy's. never seen the inside of a woman.
(to Hillard)
Bring us in on three-oh descent, ride the parallel.
HILLARD
Darlin', it's done.
ELGYN
Don't cut thrust till six hundred meters. Give em a little fright.
He puts his hand on her shoulder, runs it up along her cheek as he exits.
They're more than friends.
He moves through a hallway, sticks his head in a cubicle.
ELGYN
Christie! St Just! Rise and shine. We're docking.
He proceeds into:
INT. CARGO BAY - CONTINUOUS
It's the largest space in this boat, two stories high. Taking up most of the space
are two HARVESTERS, big rusty hovering threshers roughly the size of winnebagos.
As Elgyn enters, we CRANE UP to reveal ANNALEE-CALL working atop one of them.
She's young, tough -- at home with this motley bunch despite her youth and prettiness.
ELGYN
Call! CALL!
The music is louder here -- it's blasting from a box in the corner.
Elgyn switches it off.
ELGYN