Alien Nation Page #16

Synopsis: A few years from now, Earth will have the first contact with an alien civilisation. These aliens, known as Newcomers, slowly begin to be integrated into human society after years of quarantine but are victims of a new type of discrimination. When the first Newcomer police officer, Sam Francisco is assigned his new partner, he is given Matthew Sykes , a mildly racist veteran, the animosity between them soon gives way to respect as they investigate the Newcomer underworld, and especially Newcomer leader William Harcourt.
Genre: Action, Sci-Fi
Director(s): Graham Baker
Production: Twentieth Century Fox Home Entertainment
  1 win & 4 nominations.
 
IMDB:
6.3
Metacritic:
45
Rotten Tomatoes:
54%
R
Year:
1988
91 min
533 Views


He indicates the drug. The first alien Dealer sways

gently, enjoying the sensation. The second alien Dealer

takes his hit... shudders as the first rush washes over

him. The human Dealer is no fool... he grabs the

dispenser.

HUMAN DEALER:

Let me try some.

(he does,

immediately spits

it out)

Jesus! Tastes like detergent!

HARCOURT:

And that's all the effect it will

have on you. But when my fellow

Newcomers learn they can obtain it

here, they will work very hard... to

make as much money as they can... to

give it to me.

Suddenly, a voice from the shadows near the open door to

the other office:

VOICE:

You haven't told him all of it.

Harcourt and the others react. Quint leaps to his feet,

caught off guard. Kipling reaches for his shoulder

holster. A silhouette beside the open door to the outer

office nudges Cassandra into the light of the room, then

steps out himself. It is Jetson.

Quint gets his gun out, is about to aim... when his eyes

go wide at the sight of something Jetson holds.

It is the plastic explosive charge that Quint was wiring

to the slug-mobile. The wires are connected and Jetson's

finger squeezes down hard on the detonation push-switch.

QUINT:

He's got the C-4 charge!

Jetson moves forward slowly, holding the bomb in front of

him. He is sweating rivers. The others quickly join him.

He nudges Cassandra ahead of himself, keeping her where he

can see her.

QUINT:

(continuing)

Just take it real casual, buddy.

Keep your finger on that button and

don't do nothing squirrely.

HARCOURT:

If you release that button, you not

only kill us, but yourself.

JETSON:

To get you and that--

(indicates drug in

suitcase)

-- I would do it.

He says it with such straightforward eye contact, that

Harcourt (and we) know he isn't bluffing.

JETSON:

Everyone up against that wall.

Very slowly.

(to Harcourt)

Except you.

Harcourt remains behind the desk. Cassandra stays where

she is, near Jetson. The others move to the wall.

Kipling in particular is going nuts, letting this happen.

Jetson takes the "sample" dispenser from the table, tosses

it into the suitcase, then closes the lid and locks it.

All the while keeping his eye on Harcourt and the others.

HARCOURT:

One small matter seems to have

escaped your attention. That--

(indicates suitcase)

-- is not on any books as a

controlled substance. Legally it

might as well be fifty kilos of...

grape jelly.

JETSON:

The charge is murder... and

conspiracy to commit murder.

Hubley, Porter, Strader... probably

others.

There's a flicker of concern behind Harcourt's icy blue

eyes.

Cassandra stares at Harcourt.

CASSANDRA:

You... you killed Strader?

Cassandra runs to Harcourt grabbing his jacket.

CASSANDRA:

Where's Todd?! Did you do something

to Todd?!

Harcourt looks down at her, totally uninvolved.

HARCOURT:

Todd? Who is Todd.

(then remembers;

smiles)

Ah, poor Mr. Watson.

Cassandra's eyes go wide as the horror of what he said

sinks in. Jetson nudges Harcourt with the suitcase. They

start out. Cassandra, wild with rage, grabs Quint's .357

and with a KEENING WAIL, brings it up toward Harcourt's

face.

JETSON:

NOOO!

Jetson drops the suitcase as he lunges for the gun. He

manages to knock it away just as she fires -- the bullet

going into the wall behind Harcourt. Striking like a

mongoose, Kipling leaps forward, grabbing the two lead

wires on the bomb in Jetson's hand and jerking them apart.

Jetson reacts an instant late... releasing the switch...

and nothing happens.

KIPLING:

I got it!

Kipling tackles Jetson and they both go crashing to the

floor. Quint grabs the gun from Cassandra and hammers her

with it, hard. She drops to her knees and Quint viciously

hits her again.

Meanwhile, Jetson struggles to regain his feet. Kipling

rears back and delivers a crushing blow under Jetson's arm

-- to the nerve plexus. Jetson instantly folds over

forward and Kipling savagely brings up his knee into

Jetson's face, flipping him back. Kipling slams him into

the wall face-first, pinning him there.

HARCOURT:

Kill them both.

KIPLING:

Here?

HARCOURT:

(raging)

Do it!

Quint brings the gun up, places the muzzle against the

base of Cassandra's skull, starts to squeeze the trigger.

There's a loud BLAM! and Cassandra flinches... then looks

up.

Quint is blown backward away from her.

Sykes stand in the doorway from the private office, the

Casull smoking in his hand.

Quint hits the wall behind him -- only it's not a solid

wall, but the huge window overlooking the club. He

crashes through it.

ANGLE FROM DANCE FLOOR

as the wall of mirror explodes IN SLOW MOTION and Quint

cartwheels to the floor in a shower of diamonds.

ANGLE - IN THE OFFICE

Kipling shoves Jetson aside, draws his gun and fires at

Sykes.

Sykes dodges into the private office for cover.

The three Dealers dive behind any available furniture.

Harcourt snatches up the suitcase and rushes to the door

leading into the adjoining outer office.

Sykes swings around the edge of the private office door,

straight-arms the Casull into the office and fires.

Kipling fires back, crossing toward the outer office door,

covering Harcourt's back. Sykes ducks back down.

An unsteady Jetson rises from the floor, sees Harcourt and

Kipling escaping, and takes off after them.

Sykes straight-arms the gun into the room again... sees

Jetson disappearing through the adjoining office door. He

moves into the room as the three drug Dealers, arms up in

surrender, rise from behind the furniture.

ALIEN DEALER:

Don't shoot, man -- we're unarmed --

look!

Sykes looks at these harmless wimps... then at Cassandra.

SYKES:

You okay?

CASSANDRA:

(dazed, but all

right)

Yeah...

And he charges out the adjoining office door.

EXT. FIRE ESCAPE - ENCOUNTERS - NIGHT

Harcourt and Kipling bang down the metal stairs. Jetson

is ten feet above them. Sykes flies out onto the fire

escape, a few steps behind Jetson. A POLICE CAR SIREN is

HEARD arriving O.S.

EXT. ALLEY - BEHIND ENCOUNTER - NIGHT

Two UNIFORMED OFFICERS bound from their unit and run into

the back entrance of the club, leaving the unit running.

Two seconds later, Harcourt and Kipling leap down from the

fire escape, find themselves near the unit.

HARCOURT:

Here!

He throws the suitcase into the passenger side door, jumps

in. Kipling dives in behind the wheel, slams it into gear

and floors it.

Jetson and Sykes hit the ground just as the unit peels

out. Sykes raises the Casull and fires at the fleeing

car. One slug shatters a tail light, others pepper the

rear of the trunk, but the car keeps going.

JETSON:

This way!

He indicates the slug-mobile parked nearby. They race to

it, jump in... Sykes driving. He burns rubber as he pulls

out.

A second arriving police unit pulls into the alley,

heading straight for the slug-mobile. Sykes has to grate

between the alley wall and the arriving police unit to get

past.

Rate this script:5.0 / 1 vote

Rockne S. O'Bannon

Rockne S. O'Bannon was born on January 12, 1955 in Los Angeles, California, USA. He is a writer and producer, known for Defiance (2013), Farscape (1999) and Cult (2013). more…

All Rockne S. O'Bannon scripts | Rockne S. O'Bannon Scripts

1 fan

Submitted by aviv on November 03, 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 Nation" Scripts.com. STANDS4 LLC, 2024. Web. 22 Dec. 2024. <https://www.scripts.com/script/alien_nation_460>.

    We need you!

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

    Watch the movie trailer

    Alien Nation

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What is the purpose of a "beat sheet" in screenwriting?
    A To provide camera directions
    B To write character dialogues
    C To outline major plot points
    D To describe the setting in detail