ALIEN REVELATION
Logline
After learning a stunning, centuries-spanning truth, the clone of Ellen Ripley fights – this time with Aliens by her side – against a second unearthly enemy intent on Earth’s enslavement.
ALIEN REVELATION
A Screenplay
by
Hugh Brownlie
Based on characters
created by
Dan O’Bannon and Ronald Shusett
and
Jim Thomas and John Thomas
Hugh Brownlie
Pg. 1
ALIEN REVELATION
FADE IN
EXT. OUTER SPACE – ON THE USM AURIGA, A SPACECRAFT
The massive aft boosters of the USM Auriga fill the screen, then race away directly towards the Earth dead ahead. (AURIGA crash scene from ALIEN RESSURECTION)
INT. THE AURIGA - CONTINUOUS
Intercuts of deserted passageways, flashing strobes, steam. We HEAR a repetitive, blaring siren.
INT. THE AURIGA. A DOCKING BAY – WIDE ANGLE - CONTINUOUS
A lone ALIEN WARRIOR rushes into the empty bay and SCREAMS.
Zooming ECU of his head as we plunge in, and into his confused memories.
We SEE this is the Warrior who carried ELLEN RIPLEY. We SEE their ‘embrace’. The dying Alien Queen. We SEE the Newborn. Ripley’s face. The Newborn – Ripley - Newborn – Ripley...
RESUME SCENE
The Warrior’s head tilts, looks side to side. He prowls to the side of the bay, sniffs at an escape pod, and vaults in. We SEE the top entry hatch automatically close. The pod’s locking clamps disengage.
AURIGA COMPUTER VOICE P.A.
USM Auriga will impact in five seconds.
The pod drops into its launch tube. Disappears.
AURIGA COMPUTER VOICE P.A.
Four. Three. Two. One. Thank you.
EXT. THE HIGH ATMOSPHERE OF EARTH - CONTINUOUS
The Auriga impacts the Earth. Massive explosion.
Pg. 2
TIME DISSOLVE TO:
EXT. ESTABLISH A BLAZING MIDDAY SUN
EXT. A SUBTROPICAL RIVERBANK - CONTINUOUS
The eyes and snout of a salt-water crocodile break the surface of the water. He glides forward, hauls his massive body up onto dry land, and waddles towards shady scrub.
The croc passes several large pieces of mangled, smoldering metal; blasted furrows in the ground.
One coiled shape jerks and moves, rolling into the croc’s path. It bumps into his snout. He hesitates for just a moment, then makes to move around this ‘thing.’
The shape convulses. Something whips out, slicing the croc on the head. The croc bellows. He thrusts at the lashing weapon, grabs it in his jaws, and lumbers backwards into the river. He submerges, dragging his challenger with him.
BENEATH THE SURFACE - CONTINUOUS
The croc waits for his prey to drown. Instead, it thrashes. We HEAR a burbling scream. Long legs and arms claw the murky water. Dorsal horns appear, an elongated head follows. The ‘prey’ stretches itself, then begins to double down its own length, towards the monster below it.
THE CROC’S POV
The Warrior’s huge head snakes closer...’smiling’.
EXT. ON THE SURFACE - CONTINUOUS
One dull, concussive blow breaks the surface. Blood.
CUT TO:
LIMBO: WE HEAR AN EXPLOSION
INT. COCKPIT OF THE BETTY, A SMUGGLERS’ SPACESHIP – DAY
JOHNER, a rough scar-faced man, is alone at the controls, struggling, panicking. The ship is pitching violently.
Pg. 3
Beyond the windows we SEE clouds scudding past.
JOHNER
FUCK!
He manages to flick the intercom.
JOHNER (cont’d)
Vriess! Vriess!
(a beat)
Ripley! Call! Any-fuckin’-body. Get
up here.
The ship pitches, threatening to throw Johner from his seat.
JOHNER (cont’d)
Holy shit!
He struggles impotently with the bucking yoke.
JOHNER (cont’d)
(to himself)
Just fly straight, he says. I’ll be back
in a minute, he says.
(a beat)
(screaming)
Anybody!!!
Ellen Ripley appears. Throws herself into the co-pilot’s chair, straps herself in. She grabs the yoke, quickly scans the control panel, starts flicking switches.
RIPLEY
We’ve lost both port stabilizers. One to
starboard.
JOHNER
That’s bad, right?
Ripley just looks at him. The ship pitches again.
JOHNER (cont’d)
Where’re the others?
RIPLEY
Patching the portal I blew out. Call
thought the whole panel might rupture.
Pg. 4
She reaches for the intercom.
RIPLEY (cont’d)
Call?
(a beat)
Dammit. It’s dead. OK. I’m going to kill
the last stabilizer. Going to manual. We’ll
glide this thing down.
JOHNER
What? Are you out of your mind? This
is a fuckin’ spaceship.
RIPLEY
She’s got wings, and we got air. She’s
designed to land.
JOHNER
Yeah, under power.
RIPLEY
Don’t worry, tough guy. I’m staying right
here with you. We’ll just keep her nose up.
Glide slope about five degrees.
JOHNER
But...
RIPLEY
(matter-of-factly)
Johner, we’re in the nose.
Johner’s eyes whip to the control panel.
JOHNER
Glide slope. Glide slope.
(a beat)
Hey. Six degrees.
RIPLEY
Good boy. Now just...
Something blows at the rear of the cockpit, ripping the overhead bulkheads away, revealing the sky.
Pg. 5
A flying metal canister takes Johner out at the base of his skull. He pitches forward, unconscious.
The Betty drops like a rock. Wind whips like a tornado around Ripley. She refuses to quit, pulling on the yoke with all her strength.
RIPLEY
(shouting)
Come on, you bitch. Don’t fall apart on
me now.
EXT. LONG SHOT OF THE BETTY – CONTINUOUS
Her nose is still up as she streaks earthward. In the far BG flashing landscape features tell us she is almost down.
SERIES OF DYNAMIC SHOTS: VARIOUS ANGLES
Additional, small external explosions.
Fires ignite.
Ripley’s POV as the ground rushes up.
A barely-controlled belly-flop impact. Hard.
The whole ship bounces, breaking apart.
It crashes hard again. A long, grinding, sliding skid.
Eventually, a twisting crumpled stop.
EXT. QUASI-DESERT SCRUB – LATER
High winds are whipping grainy dust into the air.
The Betty is dead. Small fires burn in and around her.
Suddenly a huge explosion shatters her aft sections, blowing them apart. A major conflagration erupts.
INT. THE BETTY’S COCKPIT - CONTINUOUS
The shockwave rouses a dazed Ripley to a serious fire raging at the rear of the cockpit. She releases her harness, shimmies frantically across the sloping deck, and grabs a groggy Johner. One-handed, she drags him to the shattered windows and looks down.
HER POV
of the drop to the ground below. It must be twenty feet.
Pg. 6
RESUME SCENE
Ripley looks frantically back into the wreckage. There’s no way to get to a hatch. She picks Johner up like a baby, and steps out the window.
EXT. THE BETTY – CONTINUOUS
Ripley lands feet first. She falls forward, dropping Johner into a sandy thud. He groans and moves his head.
Ripley gets up, favouring her right ankle. She drags Johner a good twenty yards away from the wreckage then looks back along the Betty’s to its blazing rear. She begins in that direction, then stops, listening.
We HEAR a low hissing, growing louder. Quickly.
CU RIPLEY’S FACE
She frowns, and her eyes open wide.
RESUME SCENE
Injured ankle forgotten, Ripley turns and sprints back to Johner. He is up on one elbow, and is rubbing the back of his neck. Ripley pulls him halfway to his feet.
JOHNER
What the . . . ?
RIPLEY
RUN!
Hearing her voice, Johner does his best, and staggers forward at best speed They have done no more than thirty yards when the Betty explodes, and they are both flung senseless to the ground.
INT. A HIGH-TECH COMMUNICATIONS CENTRE – TIME UNKNOWN
Pg. 7
outputs, scientific insights, medical breakthroughs, legal wranglings, Earth-orbital construction. Everything.
A half dozen ‘OPERATORS’, male and female, all uniformly attired, sit in a circle at ridiculously small consoles. Their heads show evidence of minor cybernetic implants. They are wirelessly “wired” to the computers. Direct linkage to and from the synapse. The operators never touch hardware.
One other OPERATOR, bespectacled and with a shock of gray hair, is standing between the two of the consoles, hands clasped behind his back, staring up at a monitor displaying a multi-coloured, detailed schematic of Australia.
A CONSOLE OPERATOR
The PacifiConFederation wants an answer. Now.
STANDING OPERATOR
A little pushy, are they not? Considering
that it fell in United waters. Anything
nuclear likely?
SECOND CONSOLE OPERATOR
That’s a negative. The Inhibitors performed.
Reaction nullified.
STANDING
Release that it was a System Cruiser
Pleasure Dome returning from its first
shakedown. A few Techs lost. Regrettable,
but nothing sinister. No threat to their
sovereignty.
FIRST OPERATOR
A pretty big Pleasure Dome.
SECOND OPERATOR
They know as well as we do what came down.
STANDING
Of course they know. The Release is for
their citizenry. We’ll leave additional
explanations to our capable politicians.
That’s what we pay them for. How goes the recovery?
Pg. 8
SECOND OPERATOR
Hobart AirWing has put two ocean carriers on
the surface and one submersible down. First
reports are of almost total vapourization.
A few physical landfalls along the northern continental mainland coast, though.
The standing operator steps in for clarification.
STANDING
So far?
SECOND
Several small nodules broke away from the
main hull just before impact. Came down
independently somewhere north of Cairns
STANDING
(to the fourth operator)
And our good friends, the pirates?
FOURTH
The Betty did detach from the station, but
came in pretty hard herself. Inland
Central. Detonated minutes after impact.
STANDING
Survivors?
FOURTH
The first WingRecon detected nothing. But
there is a blow in that sector. We’ll have
ground eyes out of Coober Pedy S.A.P.
The standing operator moves closer to the Australian schematic and looks up at it intently.
STANDING
Let’s leave nothing to chance, Ladies and Gentlemen. If we have to, we can begin
again: we still have samples. But we may
not have time. If there is an abomination
called Ripley, or even one of her bastard stepchildren, staggering around somewhere in
the Outback, I want them. As does The Lady.
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