Alien Nation Page #18

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's still dragging Jetson away when he spots Harcourt

pulling himself through the smashed police unit window.

Bruised and bleeding, Harcourt reaches in for the

suitcase, then starts to run with it.

With Jetson a safe distance away from the cars, Sykes

clambers to his feet, draws the Casull, and starts off

after Harcourt.

Harcourt reaches the chain link fence leading to the

closed drawbridge. He heaves the suitcase over, then

starts to climb.

Sykes lumbers past the burning police unit. Kipling is

still behind the wheel, his head slumped forward. Sykes

is just past the cars when they explode -- sending hoods

and door panels and glass flying in all directions.

Harcourt, on the other side of the fence, grabs the

suitcase and limps off into the shadowy world of the

abandoned drawbridge.

Sykes reaches the fence. Instead of climbing, he simply

blows the lock to hell with the Casull, and kicks open the

gate.

EXT. ABANDONED DRAWBRIDGE - NIGHT

The end of the bridge is in the "up" position... a huge

asphalt slab stabbing up into the night sky. Harcourt

runs along the pools of light and dark at the edge of the

bridge, the black seawater drifting past beside him. His

foot slips once and he almost goes over the side.

Sykes -- backlit by the burning cars, the big Casull a

prominent part of the silhouette -- just keeps coming.

Harcourt reaches the shadows at the end of the bridge --

and has nowhere to go. He is backed into a corner, with

seawater on two side of him. Harcourt pivots frantically,

sees Sykes coming this way. Harcourt is a trapped animal.

His chest heaves in panic. Then his gaze falls on the

suitcase behind him... and slowly... finally... a look of

resolve comes into his eye.

ON SYKES:

He eases cautiously toward the shadows where he knows

Harcourt is. There's some movement among the shadows, and

Sykes straight-arms the Casull, his finger white against

the trigger.

Perspiration drips into Sykes' eye, but he doesn't blink.

A long moment then--

ANGLE - THE SHADOWS

Harcourt emerges from the darkness. His face is composed,

the superior glint is back in his eye. His arms are held

away from his sides at 30 degree angles, clearly in

surrender.

Sykes cat-steps forward slowly. Harcourt stares at Sykes'

eyes, and the desire there that Harcourt will give him an

excuse. Harcourt simply... smiles.

SYKES:

Move a finger, Harcourt, and you're

history...

HARCOURT:

No, Sergeant -- not history...

(beat)

Eternity...

And now Sykes sees it -- Harcourt has been holding one of

the one-kilo glass cylinders of the drug concealed behind

his arm. He brings it up over his head, grins at Sykes,

then tilts back his head and cracks the cylinder open.

The blue gel pours into his mouth and down his chin. His

mouth fills.

He looks back at Sykes, making eye contact... his eyes

mad, defiant. And -- he swallows. Long hold -- then the

wallop of the overdose hits him... his face contorts in

agony as he begins to convulse. Sykes, wide-eyed, lowers

the Casull and watches as Harcourt drops to the ground and

goes into a massive violent seizure. His limbs hammer

against the deck... his back arches fiercely. It is a

brutal, agonizing ten seconds. Then, finally, his body

becomes still.

Sykes, stunned at what he's just witnessed slowly goes to

him and takes his pulse the way he saw Jetson do it.

HIGH ANGLE SHOT - THE ENTIRE AREA

Sykes stands. He notices the suitcase nearby, latches it,

and hefts it. He carries it with him back toward the

inferno of the wrecked cars, the Casull hanging heavy and

cold in his hand.

ANGLE FOLLOWING SYKES

He approaches the burning cars, heading for Jetson. As he

passes the burning cars, we have a half-second to register

that the driver's door of the police unit is now open

before--

-- a dark figure hurtles at Sykes' back from O.S.! Sykes

is thrown forward. The suitcase crashes to the ground,

and the Casull goes skittering off. Sykes looks up -- to

be met by the singed and bleeding nightmare visage of

Kipling! Kipling reaches down for the suitcase then Sykes

hears it -- the telltale CLINKING SOUND. He looks -- and

sees the exotic silver bracelet on Kipling's wrist. It

connects for him; this is the bandana alien -- the one who

killed Bill Tuggle!

Kipling brings the suitcase above his head. He is a half-

second from hurling it down on Sykes' skull when -- a GUN

ROARS. Kipling is thrown back by the chest wound. Sykes

looks.

ANGLE:

Jetson, half sitting up, holds the smoking Casull.

Kipling recovers enough to come at Sykes again with the

suitcase again. Jetson, shaking but determined, fires

again, and again, and again.

Kipling is driven backward by the fusillade, the suitcase

still over his head... until he is blasted at last and

forever, suitcase and all, into the molten core of the

inferno.

Sykes rises, makes his way to Jetson's side. Jetson has

let the weight of the gun carry his hand to the ground.

Sykes kneels beside him, gently taking the gun from the

alien's hand. The two partners remain like this, bathed

in the orange flickering glow of the fire.

HIGH WIDE SHOT:

of the drawbridge, the debris, the carnage, and our two

cops...

DISSOLVE TO:

EXT. HENRY FORD BOULEVARD - NIGHT

The police mop-up is winding down. Cop cars, coroner's

wagons, fire trucks. We MOVE through it all to find Sykes

and Jetson seated on the curb, away from the railing.

JETSON:

With Harcourt and Kipling dead, I

assume you will be requesting

reassignment now.

SYKES:

(cool)

It'd be for your own good. I think

you'd be better off with a partner

who's a little more... by the book.

(smiles)

... Still, I gotta tell you, George,

for a quiet guy, you're sure hell on

wheels once you get going. I'd

kinda hate to miss your next two

days as a detective.

Jetson smiles. He glances up as they are bathed in red

and blue light. A patrol car has pulled up next to them.

Inside is Wiltey, a uniformed cop.

WILTEY:

I'll give you guys a lift to the

station. They're waiting to take

your statements on the shootings.

SYKES:

(to Jetson)

Let's go, partner.

(then casually

correcting Wiltey

as he rises)

And it's shooting. Singular.

WILTEY:

They said two.

SYKES:

Nope. I didn't shoot Harcourt... he

o.d.'d.

SHOCK CUT - JETSON

We rapidly PUSH IN ON HIM as his head snaps around toward

Sykes. His expression tells us his blood has just turned

to ice.

CUT TO:

INT. CORONER'S WAGON - NIGHT

ANGLE FORWARD, shooting from the rear of the wagon, toward

the DRIVER and ATTENDANT up front.

DRIVER:

So it's just me and her left in the

hot tub, right?

ATTENDANT:

You and the blonde?

DRIVER:

No, man, the redhead. The blonde's

gone in the house with some other

guy. But a few minutes later she

comes back out, alone, when me and

the redhead are going at it fast and

furious in the tub, ya know... and

she sees us, and... she climbs right

in with us...

ATTENDANT:

You're full of sh*t!

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…

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