Alien: Resurrection Page #2

Synopsis: Two hundred years have passed since Ellen Ripley (Sigourney Weaver) died on Fiorina 161. Aboard the medical research vessel USM Auriga, a team of scientists clone Ripley from her extracted DNA and removes the alien Queen embryo which was growing inside her at the time of her death.
Genre: Action, Horror, Sci-Fi
Production: Twentieth Century Fox Home Entertainment
  6 wins & 18 nominations.
 
IMDB:
6.2
Metacritic:
63
Rotten Tomatoes:
55%
R
Year:
1997
109 min
660 Views


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.

PEREZ:

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 behind 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 obsorvation, 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 sh*t.

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)

F***....

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 ... f***ing.... (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 very 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 'f*** 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.

Rate this script:0.0 / 0 votes

Joss Whedon

Joseph Hill "Joss" Whedon (born June 23, 1964) is an American screenwriter, film and television director, film and television producer, comic book author, and composer. He is the founder of Mutant Enemy Productions and co-founder of Bellwether Pictures, and is best known as the creator of the television series Buffy the Vampire Slayer (1997–2003), Angel (1999–2004), Firefly (2002), Dollhouse (2009–10) and Agents of S.H.I.E.L.D. (2013–present). more…

All Joss Whedon scripts | Joss Whedon Scripts

0 fans

Submitted by shilobe on November 16, 2016

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Alien: Resurrection" Scripts.com. STANDS4 LLC, 2024. Web. 18 Nov. 2024. <https://www.scripts.com/script/alien:_resurrection_648>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Alien: Resurrection

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is a "cold open" in screenwriting?
    A The opening credits of a film
    B A scene set in a cold location
    C A montage sequence
    D An opening scene that jumps directly into the story