(adapted from screenplay by Walter Hill and David Giler)
        FADE IN. SOMETIME IN THE FUTURE: (circa 2070 AD)
        INT. ENGINE ROOM - Empty, cavernous.
        INT. BRIDGE  Vacant. (roll opening credits)
        List of props

        Two space helmets resting on chairs. Electrical hum.
        Lights on the helmets begin to signal one another.
        Data mind bank (mother) in b.g.  Electronic hum.
        A green light goes on in front of one helmet.
        (*Electronic pulsing sounds*). 

SCENE 1: INT. BRIDGE Crew awakes from Hypersleep (Brian's Bedroom?) [All]

        Lights come on. Seven gowns hang from the wall. Vault door opens.
        Explosion of escaping gas (dry ice). The lid on a freezer pops open.
        Slowly, groggily, KANE sits up. Kane rubs the sleep from his eyes. Stands.
        Looks around. Stretches. Looks at the other freezer compartments. Scratches.

            KANE:    Rise and shine, Lambert.

        Another lid pops open. A young woman sits up.

            LAMBERT: I need some coffee.

SCENE 2: INT. MESS (Kitchen table)   [All]

        The crew of the United States commercial starship Nostromo
        seated around a table. Four men and two women: Lambert and Ripley.

                 Dallas.........Captain            (Brian)
                 Kane............Executive Officer  (Kennon)
                 Ripley.........Warrant Officer    (Vivian)
                 Ash.............Science Officer    (Jason)
                 Lambert........Navigator          (Huey Hung)
                 Parker.........Engineer           (Eric)
                 Jones...........Bear               (Tippy Tip)
                 Mother.........Computer synthesized voice

            LAMBERT:  I am so cold.

        They yawn, stretch, shiver. Dallas looks over at a flashing yellow light.

            KANE: I feel dead.

            PARKER: You look dead.

        Kane is not yet fully awake.
        Yawns. Crew drinking coffee and beer. 
        Tippy tip on table with bowl of food.

            ASH: Nice to be back.

SCENE 3: INT. BRIDGE   (Computer room) [Kane, Dallas, Lambert, Ripley]

        Above eye level the room is ringed by viewscreens. All of them blank.
        Kane, Dallas, Ripley, and Lambert enter.
        All of them now dressed; they find their way to individual consoles.
        Ripley puts down the bear, straps herself into the high-backed chair.
        Activates computer monitors.

            LAMBERT: Take a look at this. Where's Earth?
            RIPLEY: That's not our system.

        Lambert pores over charts. Consults her console. Puzzled.

            KANE:  Contact traffic control.

        Ripley switches on her transmission unit.

            RIPLEY: This is commercial vessel Nostromo. 
               Do you read me? Over. 
        Nothing but the hiss of *static*. 

            RIPLEY: Nothing.

        Kane Turns to Lambert. Ripley attempting transmission in b.g.

            KANE: You got a reading yet?
            LAMBERT:  We're way out in the boondocks here.... 
               Found it.  What the heck are we doing out here?

            KANE:  What are you talking about?
            RIPLEY: It's not our system.

SCENE 4: EXT. NOSTROMO (cg) [nobody]

        The Factory Starship lumbering with the depths of inter-stellar space.

        Function:           Petroleum tanker and Refinery.
        Capacity:           2000,000,000 tons.
        Length:             One and one half kilometers.
        Battered exterior encrusted with dark sludge.
SCENE 5: INT. ENGINE ROOM  (garage)  [Parker]

        Giant reactor system *purring* smoothly.

        PARKER in a glass cubicle having a beer. 
        Huge powerplant stretching before them.
        All units on automatic hyper-drive.
        Parker hits a switch above his desk. A green light goes on.
        (use red green flashlight toy)

            RIPLEY: (voice over)
                    Report to the mess.
            PARKER: Alright. Hold your horses...
SCENE 6:  INT. MESS  (Kitchen table) [All]

        Entire crew present.

            DALLAS: Mother is programmed to interrupt
              the course of out voyage if certain conditions arise.  
              They have...  (pause)
              We've received intermittent transmission from a nearby planet.  
              Somebody's gone down.

            PARKER: So what?

            KANE:  We're obligated under Section B2...
            PARKER:  Give me a break.  We're a commerical ship
               not some rescue team.  This kind of duty's not in our contract.
            ASH:  You better read your contract.             

        Dallas gives Parker a look.

            DALLAS: We're going in, that's it.                                                  


SCENE 8: INT. BRIDGE    (Computer room) [Dallas, Ash, Kane, Ripley, Lambert]

            DALLAS We're coming into range of the planet. 
              What kind of orbit do you plan for the cargo?

            ASH  Z local vertical mode.

        The crew strap themselves to their seats.

            DALLAS: Prepare for separation and orbital insertion of the cargo.

        Much preparation for separation, etc.

            DALLAS: Give me an EC Pressure reading.

            ASH: 3.45 n/c m^2 squared (5 psi)

            DALLAS:  activate the probe retract system and disengage.

        Kane *hits* appropriate switches. *disengage*

            KANE: Disengaged.

        Dallas punches buttons of his own.
        Dallas watches the refinery moving away on a viewscreen.

            DALLAS: Okay.  Our cargo safe.  Let's take it down.

        The viewscreen shimmers.

            RIPLEY:  Turbulence.  Better strap in.
SCENE 9: EXT. NOSTROMO  [nobody]

        Engines *coughing* to life. Nostromo begins its descent.
        Below night's tide rolls across the planet's surface.
        Ship hydroplanes on *turbulence*.


        Parker strapped in seat.
        Begin rocking from the sudden, extreme turbulence.

            PARKER: Shoot!  Overloading. 
              What thefrig are we going through!
                (*burst of steam*) nearby
              There goes the conversion stabilizer.

SCENE 11: INT. BRIDGE (Computer room)  [Dallas, Kane, Lambert]

        The turbulence continues unabated.
        Lambert's eyes follow cross-plot gauges.

            LAMBERT: Drop  Fifteen
               kilometers and descending... twelve...ten...eight 
               and slowing. (pause) 

            DALLAS: Lock tractor breams.

        (*a loud electrical hum*).

            KANE:  Locked.

            LAMBERT: Nine hundred meters and dropping.
              Eight hundred.  Seven hundred.

SCENE 12:   EXT. PLANET - NIGHT  (cg. outside at night) [nobody]

        Storm blowing across the night-shrouded surface.
        The Nostromo hovers on glowing beams of light.
        Landing struts *unfold* like insect legs. The ship *slams* down.
        Rocks heavily on massive shock absorbers.

SCENE 13: INT. BRIDGE - NIGHT  (Computer room)  [Kane, Ripley]

            RIPLEY:  We're down.

        An enormous vibration. The panels in the room flash simultaneously.
        Light go out. Emergency lights come on.

            KANE:  Engine room what's going on?
SCENE 14: INT. ENGINE ROOM (garage) [Parker]

        Another *huge vibration*.
        An electrical fire breaks out along three control panels.      
        Another conduit breaks loose.
        All lights go out. Emergency lighting comes on.
        He grabs hand light from wall.

            KANE: (voice over) 
             Parker? can you hear me?

            PARKER: Gosh darn electrical fire, that's what happened!

        Parker fighting an electrical fire on one of his panels.
            PARKER: The intakes are clogged.  We overheated and burned out
              a whole cell! Looks pretty bad.

            DALLAS: (voice over)
               How long before we're functional?

            PARKER: Ten to fifteen hours. Hard to say ...

            RIPLEY: (voice over) 
              Get started on the panel.  
              I'll be down in 5 minutes.
SCENE 15:  EXT. SHIP - NIGHT  (cg) [nobody]

        The wind sounds. Storm continues to blow around the craft.
        A few glittering lights distinguish the Nostromo from
        absolute darkness.
        Bridge lights come to life.
        Illuminate nothing but a patch of featureless ground.
        The wind and storm now at a higher pitch.

SCENE 16: INT. BRIDGE  (Computer room)  [Dallas, Kane, Lambert, and Ash]
        All Slouched around the bridge. Drinking coffee and beer.
        Occasionally staring at the opaque screens.
           DALLAS: How far from the source of the transmission?

           ASH:  Northeast... about 2000 meters.
           KANE:  Close enough to walk.

           DALLAS: Let's run an atmospheric.

        Ash punches buttons, starts to consult his panel.

           ASH:  10 percent agron, 85 precent nitrogen, 5 percent neon...
              I'm working on the trace elements.
           KANE: I volunteer for the first group going out.

           DALLAS: I hear you.  Lambert.  You too.

           LAMBERT: Swell.      

SCENE 17:  INT. ENGINE ROOM CUBICLE (Garage) [Parker, Ripley]

        Parker *laser welding* one of the ducts. Sweat steaming.
        Ripley rewiring one of the panels. (back of old refrigerator)        

            PARKER: Hey, Ripley, I got a question.

            RIPLEY: Yeah.

            PARKER: Do we get to go out on the
             expedition or are we stuck here until everything's fixed?

            RIPLEY: You know the answer to that.
        Parker looks at her. *Snaps* on the laser weld.
        Starts to join another section of the duct.

SCENE 18: INT. MAIN AIR LOCK  (Garage) [Dallas, Kane, Lambert]

        Dallas, Kane and Lambert enter the lock holding lights.
        Standing facing external airlock door (garage door)
        All wear gloves, boots, jackets, headsets, backpacks.
        Carry laser pistols and/or rifles. *Servo whine*. 
        Then the inner door slides quietly shut.
        The trio pull on their helmets.

            DALLAS: (voice over) Alright. Keep away from the
               weapons unless I say otherwise.
               OK.  Open the hatch.
        External airlock (garage) door *begins opening* to reveal 
        ramp leading down to planets surface.
        *Clouds of dust and steam swirl* before the three crew members.       

SCENE 19: EXT. PLANET  (outside on street) [Dallas, Lambert, Kane]

        The trio walk down the gangplank. Arrive at surface level.
        Their feet striking onto a thick layer of lava rock.
        The *wind at gale force*.

            DALLAS: Which way?
            LAMBERT: Over here.
            DALLAS:  You lead.
        Lambert walks into the storm. Followed closely by the others.
            ASH: (voice over) 
                 Turn on the finder.
            DALLAS: It's on...Ash are you receiving?
SCENE 20:  INT. BRIDGE  (computer room)  [Ash]

        Ash leaning over his console. (see video on TV)
        Watches them beneath him.
        Corresponding images on the screen in front of him.

            ASH: See you.  Read you.
            DALLAS: (voice over)
              Getting you clear and free.  Let's keep the line open.
SCENE 21:  INT. BRIDGE   [Ripley, Ash]
        Ripley enters. 
        (covered with grease. she just came from working in the engine room).        

            RIPLEY: Have you tried analyzing the transmission?
            ASH:    Mother hasn't identified it as yet. It's not a language.
            RIPLEY: I'll give it a shot.
            ASH:    Be my guest.
        She pushes some button.
        The noise is now heard on her speaker.  (*alien signal noise*) 

SCENE 22:  EXT. PLANET   (Play ground) [Kane, Lambert, Dallas]   
        Kane comes up over a rise (hill before playground) startled by what he sees.
        (*hurricane noise*)
        Suddenly the transmission is deafening.
        (*load alien signal noise*)

            KANE: Holy Guacamole...
        Dallas and Lambert join him equally startled.
        Noise still at shrill pitch.
        All members of the party shouting into their voice-amps.

            KANE: Its some kind of spaceship.

            LAMBERT: Are you sure.  It's weird...   

        They move toward the ship.
            KANE: Looks like an entrance.
            DALLAS: Yeah... Let's move inside...
        They climb up to one of the apertures and enter.
        Go up playground stairs. Cross bridge warily.
        Come to entrance of yellow playground pod.
        Shine flashlights on it.
            DALLAS: Over here.

        They approach. Train their lights along the floor.
        A pulsing machine. On the mechanism, a small bar moves steadily 
        back and forth (build device from lego mindstorms).
            KANE: Its still functioning.

        Lambert looks down at her direction finder.           

            DALLAS: Now for a look at that 

        Indicates yellow pod. Looks at Kane.
            DALLAS: This is your big chance.

            KANE: Okay.

            DALLAS: Be out in less than ten minutes. OK?

            KANE: Aye aye.

        Kane climbs ladder. Enters pod.  
        Switches on his light, points it into the depths.
            KANE: Hotter in here. 

            DALLAS: (voice over) You okay in there?            

SCENE 23: INT. BRIDGE  (computer room) [Ripley, Ash]

        Ripley at her console, still working on transmission.
        Gets a readout. Looks worried. Speaks into communicator.
            RIPLEY: Ash, tell Dallas Mother speculates
               that the noise is some kind of warning.

            ASH:  I can't tell him anything.  I've
             lost contact.  The transmission
             around the ship is killing all communications.
SCENE 24:  INT. STRUCTURE   (playground yellow pod) [Kane]

        Kane taking Deep breaths due to his exertion.

            DALLAS: (voice over) See anything?

            KANE: Its a Cave or something. 
             Feels like the tropics...          
        His beam reveals that he is in a hold.
        Row after row of alien extrusions stretch from floor to ceiling.

            KANE: This is weird.

            DALLAS: (voice over) What do you mean?

        On the floor are rows of leathery ovoid shapes.
        Shines his light on one. (papaer mache eggs and silly string/slime)

            KANE: It's like some kind of storagearea.                   
             The place is full of leathery things.

            DALLAS: (voice over) Can you see what's in them?

            KANE: I'll give it a look.

        He tries to open one of them.  It won't open.

            KANE: Strange feeling to it.

            DALLAS (voice over) 
             Don't open it.  You don't know what's in it.

        Kane peers closely at the leathery ovoids.       
        Raised areas begin to appear where he touched it.
        He is mesmerized by the movement. Mouth open in surprise.
        Object becoming visible within.
        Kane shines his light on the floor at the base of it.
        He studies it.

            KANE: incredible...

            DALLAS: (voice over) What?

        Viscera and mandible now visible.
        The interior surface spongy and irregular.
        Kane shines the light inside.
        With shocking violence, a small creature smashes outward.
        Fixes itself to his mask. (*Sizzling sound*)
        The creature melts through the mask.
        Attaches itself to Kane's face.
        Kane tears at the thing with his hands.
        His mouth forced open. He falls backward.
SCENE 25: INT. OUTER CHAMBER  (platform before yellow pod)  [Dallas, Lambert]

            DALLAS: Kane...Kane can you hear me?

            LAMBERT: What's the matter?

            DALLAS: We better haul him out.

        Dallas climbs up and hauls Kane out by his head and shoulders.
        Lambert assists. They lay him down on the platform,
        and recoil in horror at the sight of the alien thing 
        attached to his face.        

            DALLAS: What's that on his face?     

        Kane appears to be completely unconscious.
        The life form is still wrapped motionless around his face.

            LAMBERT: Oh Jeez...

            DALLAS: Don't touch it.

        They grapple with Kane's limp body.
        Carry him out of the alien ship.
        Each has one of Kane's arms over their shoulder.   

SCENE 26: INT. STORAGE ROOM (Eungene's bathroom)

        Jones the bear staring through a port opening at the storm.
        (*hurricane sound*)
SCENE 27: INT. BRIDGE   (Computer room) [Ash, Ripley, Tippy Tip]
        Ripley waiting on the bridge.
        Ash stares at his inactive monitors. Suddenly:

            ASH:  We've got them.  They're back on the screens.
        Ripley presses transmitter.

            RIPLEY: Dallas, Lambert.  Can you read me?

            DALLAS: (voice over)
              We hear you.  We're coming back... Kane's injured... 
              We'll need some help getting him in.

        Ripley stares at the screen.

            ASH:  I'll go.

        Ash moves from the room. Ripley remains seated at her console.

SCENE 28: INT. PASSAGEWAY NEAR AIR LOCK (garage) [Ash, Parker]

        Ash comes down the steps. Hurries to the inner door lock.
        Presses the wall voice-amp. (the house speaker in Eugene's room)

            ASH:  Ripley, I'm by the inner lock hatch.
            RIPLEY: (voice over) Okay.      

        Parker comes running up.

            PARKER: What's going on?

            ASH:  Kane got hurt somehow.

            PARKER: How bad?

        Ash shrugs.      

SCENE 29:  INT. BRIDGE   (computer room) [Ripley]

        Ripley seated alone in the room.
        Dallas appears as a huge image on all screens.
        Lambert behind him. Kane between them.
        (pre-record outside, then show on TV)

            DALLAS:  (voice over) We're coming up.  Open the lock.
            RIPLEY: What happened to Kane?  
               I need a clear description.

            DALLAS: (voice over)
               Some kind of organism.  It's attached itself to him.  
               Let us in.  (pause)
            RIPLEY: If we let it in, the ship could be infected.
            DALLAS: (voice over)
               Gosh darn it!  Open the hatch!

            RIPLEY: If we bring an organism on board, we won't have
               a single layer of defense left.

            LAMBERT: (voice over)
               Open the frigging hatch!  We have to get him inside.
SCENE 30: INT. PASSAGEWAY NEAR AIR LOCK  (garage) [Ash, Parker]

            RIPLEY: (voice over) I can't.  If you were in my
               position you'd do the same.

        Ash hits the emergency switch (label "override"). A red light goes on.
        Servo whine. Followed by a solid metallic chunk.
        (garage door opens)

            ASH: airlock hatch open.

SCENE 31: INT. BRIDGE - NIGHT  (computer room) [Ripley]

        Ripley staring at the console. She can't believe what she sees.
        Turns to the viewscreens.
        Watches Dallas, Kane and Lambert enter.

SCENE 32: INT. PASSAGEWAY NEAR AIR LOCK (garage, laundry room) 
          [Ash, Parker, Dalls, Lambert, Kane]

        The servo again turns over. Another clunk.
        The outer door has closed. Red light off.
        The inner (garage) door opens.
        Dallas and Lambert stagger into passageway (laundry room).
        Carry Kane's body between them.
        Dallas pulls off his helmet.

            DALLAS: Stay clear.

        Ash and Parker move back.
            PARKER: Is it alive?
            LAMBERT: We don't know. Don't touch it.

            DALLAS: Take him to the infirmary.

            PARKER: Right.

        Ash and Parker move in carefully to help with the limp burden.

SCENE 33: INT. INFIRMARY (kitchen island) [Dallas, Ash, Kane, Ripley]

        Kane's helmet. Hands begin to open it with a laser cutter.
        The helmet separates easily. (use keychain laser light)
        The two halves part...
        ...The life form slowly pulsing on Kane's face.
        Dallas hesitates, then puts his hand on the small Creature.
        Tries to pull it free. Unsuccessful.
        The Alien remains anchored to Kane's tissue.

            ASH:  Let me try.

        Ash takes a pair of pliers from a rack.
        Carefully grasps the tip of the Creature.
        Squeezes tightly. Leans back.

            DALLAS: You're tearing his face.

        A trickle of blood appears on Kane's cheek.

            PARKER: It's not going to come off without
              pulling his whole face off at the same time.

            DALLAS: Let the machine work on him.

        The Ash presses a switch. The machine lights up.
        Kane is sucked into a slot on the wall.
        Visible inside through the glass layer.
        A blinding colored light performs antisepsis.
        Two video monitors pop on.
        (cardboard box over head. Computer monitor turn on)  

        --- Ripley enters ---
        Dallas turns and looks at her. A long moment.

            DALLAS: When I give an order, I expect
              it to be obeyed.

            RIPLEY: Even if it's against the law?

            DALLAS: Yes.

        Lambert steps forward and slaps Ripley across the face.
        Ripley slowly puts her hand to her cheek.

            LAMBERT: You were going to leave us out there.

            PARKER: Maybe she should have.  
              Who knows what that is.
        Ripley looks at Lambert. 

            RIPLEY: Let's call it settled.

        Lambert gives her a curt nod.
        ----  SCENE break --- 
        Ash turns attention to the instrumentation (laptop).

           PARKER: How the heck is he breathing?

        They study the monitors.

           ASH: His blood is throughly oxygenated.

           DALLAS: How?  His nose and mouth seem to be blocked.

           ASH:  We better look inside his head.

        Ash punches three buttons. An X-ray image appears.
        A color depiction of Kane's head and upper torso.
        The Alien is clearly visible. (drawing? or cg image?)
        A maze of complicated biology. Kane's jaws are forced open.
        The creature has extruded a long tube down his mouth and
        throat. The appendage ending at the base of the esophagus.

           PARKER:  It's got something down his frigging throat.

           ASH: That must be how it's getting oxygen to him.

           RIPLEY: It doesn't make sense.  It paralyzes
              him, puts him into a coma, then
              keeps him alive...

           PARKER: Let's kill it.  We can't leave the
              darn thing on him.

           ASH:    I don't know.  At the moment the
              Creature is keeping him alive.
              If we remove it we might kill him.

           DALLAS: I don't think so.  Let's take the
              chance and cut it off him.

        Dallas and Ash slip on surgical gloves. (rubber gloves)
        Presses a switch, Kane slides back out of the booth.

           DALLAS: Give me the knife.
        Ripley takes a surgical laser blade from the case (glowstick).
        Carefully passes it to Dallas.
        He manipulates the knife until he has a comfortable grip.
        Flicks a small button with his thumb.
        The blade begins to hum. Dallas advances on Kane's prostrate form.
        Touches the scalpel to the Creature.
        The electronic blade slices effortlessly downward.
        Suddenly a urine-like fluid (apple juice) 
        begins to drip from the wound.

            DALLAS: Its starting to bleed.

        The liquid flows onto the bedding next to Kane's head.
        Starts to (* hiss *).
        Smoke curls up from the stain.
        Next the yellow fluid eats a hole through the bunk bed.
        Then drips onto the deck below.
        Metal (* bubbling and sizzling *).
        More smoke rising, sending the crew into a coughing jag.
        The crew jostle their way out of the cabin.
        Huddle in the passageway outside, still coughing.
        Dallas frantically applies pressure to the wound.
        In the process, smoke of the fluid gets on Dallas's gloves.
        They begin to smoke. Dallas leaps back, pulls them off.
        Then runs out into the corridor.

SCENE 34:  INT. PASSAGEWAY OUTSIDE INFIRMARY  (foyer) [Parker, Ripley, Ash, Dallas]

            PARKER: Shoot!  I hope it doesn't burn through the hull...
        He starts to run for the companionway. Ash goes with him.      
        Ripley and Parker move cautiously down the passageway.
        Look up to the ceiling bulkhead.

            RIPLEY: What's happening?

            ASH: (voice over)  
              The acid made to C level.
              I think it's lost steam now. No longer active.   
              I've never seen anything like it,
              except molecular acid...

            PARKER: (voice over) and this thing uses it for blood.
            DALLAS: Wonderful defense mechanism.
                   You don't dare kill it.

            RIPLEY: Let's go back and check on Kane?
SCENE 35:  INT. INFIRMARY  (kithen island) [Dallas, Ash, Ripley]

        They return. Kane still motionless on the bunk.
        However, the Alien is no longer on his face.        
        Dallas approaches, peers at Kane's head.

            DALLAS:  It's gone.

        Kane's prone form.
        The Alien is no longer on his face.
        Kane still unconscious, but continues to breathe.
        Face covered with sucker marks (use lipstick).

            RIPLEY:  The door was closed.  It must still
              be in here.
            DALLAS:  Maybe we can catch it.        
            RIPLEY: Yeah, I remember.  We can't grab
             it.  We can't kill it...
        Dallas begins moving slowly around the room.
        Picking up a stainless steel tray. Looking.
        Ash and Ripley do the same.
        Ripley bends down and peers under the bunk. Nothing.
        She stands. Doesn't see the Alien on a ledge above her.
        Her shoulder brushes against the Creature.
        It drops on her. She screams.  Twists.
        The Alien drops to the floor. Then lies motionless.
        Its skin faded to a dead-looking grey.
        Ripley doesn't raise her eyes from the Creature.
        Ash prods the Alien. No response.

            ASH: It's dead. (looks to Ripley) You okay?

            RIPLEY: Yeah.

        She carefully touches the Creature with a metal probe.
        Fishes the motionless life-form into the tray.
        Quickly closes the lid.
        Lifts it onto a stainless steel table.
        Bright light trained on the Alien.
        The Creature in a supine position.
        Ash touches the Alien with a surgical instrument.
            RIPLEY: Let's get rid of it.
            ASH:   This has to go back.  This is our first contact with a
              specimen like this.  All kinds of tests need to be run.

            DALLAS: You're the science officer.  It's your decision.

            ASH:    Then it's made... I'll seal it in a stasis tube.
            RIPLEY: What about Kane?

        Ash turns back to the bunk.
        Studies the life support gauges.
        Kane continues to breathe steadily.

            ASH: He's Running a fever.  And still unconscious.  
              Mother will bring his temperature down.
              Who knows, he may make it.

        Ash begins to seal the Alien in a large vacuum tube.
        (large tuperware container)

           RIPLEY: I need some coffee.

        She turns and walks away.

SCENE 36: INT. COMPUTER ANNEX (computer room)  [Ripley, Dallas]

           RIPLEY: How could you leave that kind
             of decision to him?

           DALLAS: I just run the ship.  Anything
             that has to do with science division, Ash has the final word.

           RIPLEY: How does that happen?

           DALLAS: Same way everything else happens.
                   Orders from the Company.
           RIPLEY: I don't trust him.

           DALLAS: I don't trust anybody...What's holding up repairs.

           RIPLEY: We're pretty much finished now.  
             except that we're still blind on B and C decks.
           DALLAS: We can take off without them.
             I want to get out of here.                  


        The Nostromo's engines roaring.
        Belching out streams of superheated air.
        The starship vibrates. Begins to surge forward.

SCENE 38: INT. BRIDGE - SUNRISE  (computer room) [Ripley, Dallas, Lambert]

        The crew at their posts.
        An (*electrical hum*) permeates the air.

            RIPLEY: Lock tractor beams.

        The pitch of the hum changes.
        The ship levels itself.

            RIPLEY: Retract leading struts. 
            DALLAS: Take us up Lambert.

            LAMBERT: One kilometer on ascension.


        The Nostromo begins to levitate skyward.
        Seemingly pushing upward on the beams of light.
SCENE 40: INT. BRIDGE - DAY  (computer room) [Ripley, Dallas, Lambert]
        The ship continues vibrating.
        A powerful, (*deep throbbing*) begins.
        The vibrations increase.  

           DALLAS: Engage artificial gravity.

        Lambert throws a switch.
        The ship lurches.

           LAMBERT: Engaged.

        A huge tremor runs throughout the ship.

           PARKER: (voice over) 
             Dust is clogging the darn intakes again.  
             We're overloading.

           DALLAS: Just hold us together until
             we're beyond G1...

        The (*pitch of the engines changes... deepens*).
        Outside the screens, clouds, clouds, clouds.
        Another tremor runs through the ship.
        The crew's eyes riveted to their instruments.

           DALLAS: Let's pick up the cargo and go home.
SCENE 41:  EXT. NOSTROMO [nobody]

        The ship clears the top of the cloud layer.
        Bursts out into star-sprinkled space.
        Trailing a wake of glimmering dust flecks.
        Attaches itself to the hovering refinery.

        The Nostromo now at light speed.
        Preceptible movement in the surrounding universe.
        A corona effect emerges.
        Stars approaching the Nostromo appear blue.
        Receding stars going to amber.
        Redshift, made visible because of the craft's velocity.

SCENE 42: INT. MESS   (kitchen table)  [Parker, Ripley, Dallas, Lambert]

        Parker, Dallas and Ripley around the table.
        Drinking coffee.

           PARKER: The best thing to do is just to
             freeze him. He can get a doctor when we get back home.
           DALLAS: Kane will have to go into quarantine.

           RIPLEY: Yeah.  And so will we.

        Lambert enters.

           LAMBERT:  How about a little something to
              lower your spirits.

           DALLAS: Thrill me.

           LAMBERT: According to my calculations             
              It'll take us six weeks to get
              back on course.

            DALLAS: How far to Earth.

            LAMBERT: Four months.

            RIPLEY: Crud...

        (* Beep *).

            DALLAS: Dallas.

            ASH:  (voice over) 
                  Come and see Kane right away...

        Dallas, Ripley, Lambert exit headed toward infirmary.

SCENE 43:  INT. INFIRMARY   [Lambert, Kane, Ash, Dallas, Parker]

        What they see is...Not what they expect.
        Kane is sitting up in bed...wide awake.
        They enter...

            LAMBERT: Kane...Are you all right?

            KANE: Mouth's dry...can I have some water.

        Instantly, Ash brings him a plastic cup and water.
        Kane gulps it down in a swallow.

            DALLAS: How do you feel?

            KANE: Terrible.  What happened to me?

            ASH: You don't remember?

            KANE: Don't remember anything.  I can barely remember my name.

            PARKER: Do you hurt?

            KANE: All over.  Feel like somebody's 
             been beaten me with a stick. (smiles) I'm so hungry.

            PARKER: We're Getting ready to go back into the freezers.

            KANE: I'm starving.  I want some food first.

            DALLAS: One meal before bed.

SCENE 44: INT. MESS  [All]

        The entire crew is seated.
        Hungrily swallowing huge portions of artificial food.
        (colord mashed potatoes, gasses of water in plastic cups, etc)
        The bear eats from a dish on the table.

            KANE:   First thing I'm going to do when
               we get back is eat some decent food.

            LAMBERT: Jeez, you're pounding down this
               stuff like there's no tomorrow.

        Pause. Suddenly Kane grimaces.

            RIPLEY: What's wrong?

        Kane's voice strains.

            LAMBERT: What's the matter?

            KANE: I don't know... I'm getting cramps.
        The others stare at him in alarm.
        Suddenly he makes a loud groaning noise.
        Clutches the edge of the table with his hands.
        Knuckles whitening.

            ASH:  Breathe deeply.

        Kane screams.

            KANE: Oh God, it hurts so bad.
             It hurts.  It hurts.
                   (stands up)

            PARKER: What is it?  What hurts?

        Kane's face screws into a mask of agony.
        He falls back into his chair.

            KANE: Ohmygooaaaahh!

        A red stain. Then a smear of blood blossoms on his chest.
        The fabric of his shirt is ripped apart.
        A small head the size of a man's fist pushes out.
        The crew shouts in panic. Leap back from the table.
        The cat spits, bolts away. The tiny head lunges forward.
        Comes spurting out of Kane's chest trailing a thick body.
        Splatters fluids and blood in its wake.
        Lands in the middle of the dishes and food.
        Wriggles away while the crew scatters.
        Then the Alien being disappears from sight.
        Kane lies slumped in his chair. Very dead.
        A huge hole in his chest.
        The dishes are scattered.
        Food covered with blood.

           LAMBERT: No! ... no, no, no.

           PARKER: What was that?  What the frig was that?

           RIPLEY: It was growing in him the whole
              time and he didn't even know it.

           ASH:  It used him for an incubator.
           DALLAS: Looks like we've got another one...
              And it's loose on the ship.

        Slowly they gather around Kane's gutted corpse.
        Then they all look at one another.
        Then at Kane. Dead on the table.

SCENE 45: INT. CORRIDOR - "A" DECK  (foyer) [Dallas, Ripley, Ash, Lambert, Parker]

        Empty.   Parker descends companioway.
        He joins Ash, Lambert, Ripley and Dallas.

           DALLAS: Any signs?

           LAMBERT: Nothing.
           RIPLEY: We can't go into hypersleep with that thing running loose.  
              We'd be sitting ducks in the freezers.
              We have to kill it first.

           LAMBERT: We can't kill it.  If we do, it
               will spill its body acids right through the hull...

           RIPLEY: We have to catch it and eject it from the ship.

           ASH:   Our supplies are based on us spending a limited 
             amount of time out of suspended animation.
           RIPLEY: First we have to find it.

           DALLAS:  No.  First we've got dispose of Kane's body.

        He looks at Kane's body through mess doorway.

SCENE 46: INT. AIR LOCK (garage) [Kane]

        Kane's body wrapped in a makeshift shroud.      

SCENE 47: INT. BRIDGE    [All]

        The crew looking at Kane's body on view screens.
        (show on TV) Silent. Depressed. 

            DALLAS: Anybody want to say anything?

        Nothing to say. He nods to Ripley.
        She presses a button. The outer hatch opens.
        Yawning space outside.
        Kane's body shoots out into eternity.
        (animate acceleration with stop motion photography)
        The hatch closes.

SCENE 48: INT. MESS  (kitchen table)  [All but Kane]

        The crew is assembled. Mess is clean again.

            RIPLEY: I've checked on the supplies.
               We can stay out of hypersleep for about a week.

            LAMBERT: Then We run out oxygen.

            DALLAS: All right, that's what we've got.
               A week.  It's enough.
            RIPLEY: How do we find it?  There's no visual 
               communication on B and C decks. 

            DALLAS: We're going to have to flush it out.
               Room by room, corridor by corridor.
SCENE 49: INT. INFIRMARY   [Dallas, Ash]

        Dallas enters.
        Ash working at a read-out section (on laptop).

            DALLAS: I want to talk.
            ASH:    Im a little busy...
            DALLAS: Why did you let the Alien survive
              inside Kane?

            ASH:    What do you mean?

            DALLAS: Mother was monitoring his body.
               You were monitoring Mother.  
               You must have had some idea of what was going on.

            ASH:    What are you trying to say?   

            DALLAS: You want the Alien to stay alive
               ...I figure you have a reason.
            ASH:   I don't know what you're talking about.  
              The Alien is a dangerous form of life...
              I don't want it to stay alive any more than you do.

            DALLAS: You're sure?

            ASH:    Yeah, I'm sure.

        Dallas walks out. Ash watches him go.
        Stares in his direction a long while...   
SCENE 50:   INT. BRIDGE   (computer room)  [All but Kane] 

        The crew has assembled.
        Brett unfolds several yards of asbestos netting.
        Hands out five thin rods.
        Each of them like metal broom handles (light sabers).

            PARKER: I put portable generators in each of these.  
              They're insulated down here.  
              Just be dang careful not to get your hand on the end.

        He touches the tip to a metal object. A blue (*spark*) leaps.

            LAMBERT: Great. Now if we could only find it.

        Ash picks up a portable unit.

            ASH:   I've taken care of that. This is a tracking device.  
              It hasn't much range but when you get within
              a certain distance it starts beeping.

        Ripley takes the tracker (laser tag gun) from Ash's hand.
            DALLAS: We'll break into two teams.
               Whoever finds it first catches it in the net and ejects
               it from the nearest air lock.
               For starters, let's make sure the bridge is safe.

        Parker turns on his unit.  Scans it around the room.

SCENE 51:  INT. PASSAGEWAY - "A" LEVEL  [Lambert, Dallas, Ash]

        Lambert and Dallas carry the net.
        Ash walks directly behind, carrying the tracking device.
        He continually scans from side to side.
        Lambert stops by a stairwell.

            LAMBERT: Anything down there?


        Parker and Ripley move silently along.
        Ripley ahead of them with the tracker by the stairwell.

            RIPLEY: Nothing.

        They move on. A small light flashes.

            RIPLEY: Hold it.  I've got something.

        Parker grows tense.
        Start looking around.

            PARKER: Where's it coming from?

        Ripley peers closely at the tracker.
            RIPLEY: Over there.

        Looks at the tracker.
        Nods down the passageway. 
        They begin to walk in that direction.
        Entering drab section of the ship.
        Surrounded by deep shadows.
        Footsteps clanging on the metal deck.
            RIPLEY: Wait.

        They stop quickly, almost stumbling.

            RIPLEY: It's within two meters.

        Parker hefts the net.
        Ripley has the prod in one hand, tracker in the other.
        Moves with great care.
        Almost in a half-crouch, ready to leap back.
        Prod extended, Ripley constantly glances at her tracker.
        The device leads her up to a small hatch in the bulkhead.
        Perspiration rivers down her face. She sets aside the tracker.
        Raises the prod, grasps the hatch handle. Yanks it open.
        Jams the electric prod inside. A nerve-shattering squall.
        Then a small creature comes flying out of the locker.
        Eyes glaring, claws flashing.
        Instinctively, they throw the net over it.
        They open the net and release the captive.
        Which happens to be the bear (Tippy Tip).
        Hissing and scampers away.

           PARKER: Darn. We should have boxed it...Now
               we might pick it up on the tracker again.

           RIPLEY: Go get it. I'll go on.
        Ripley moves down the passageway.
        Parker follows the direction taken by the cat.
        Moves across passageway into equipment maintenance area.
        Parker walking between rows of shadowed equipment.
        Looking for the cat. Nervous.

            PARKER: Jones...Here bear...Jones...
              Gosh darn it Jones.

        Scratching noises. A reassuring bear yowl.
        Parker enters storage room. Still looking for Jones.
        Another yowl followed by a hiss.
        Two eyes shining in the dark. Jones.
        Relieved, Parker moves toward the bear.

            PARKER: Here bear...Come on Jones.
        Parker reaches for Jones. Jones growls.
        An **Alien** arm reaches for Parker. The Alien.
        Now seven feet tall.
        Hanging from the undercarriage strut in reverse position.
        Grabs Parker and swings up into darkness.
        Parker screams. To no avail...
        In the doorway Ripley. She witnesses the horror.

SCENE 54: INT. MESS  (kitchen table) [Lambert, Ripley, Dallas, Ash]

        The remaining crew assemble. Long faces.

            LAMBERT: Now what?
            RIPLEY:  We can't shoot it.
                At its present size it's holding enough acid to 
                tear a hole in this ship as big as this room.

            ASH:     According to Mother, he's a primitive form of encephalopod...
            LAMBERT: How come it's a he?

            ASH:     As a matter of fact he's both, bisexual or
                hermaphrodite to be precise.
            DALLAS:  Skip its sex life.  How do we kill it?

            ASH:    It seems to have adapted to this environment.
               The only thing we don't know about is temperature.

            RIPLEY: All right.  What about fire?

            ASH:   Let's give it a try.  Most animals retreat from fire.
              I will hook up a couple of incinerating units.
            DALLAS: Anybody got any better ideas?

        Nobody does.
SCENE 55:  EXT. OUTER SPACE  [nobody]

        Nostromo at light plus four.

SCENE 56: INT. PASSAGEWAY - "B" LEVEL  [Dallas, Lambert]

        Dallas and Lambert lead. Armed with flamethrowers.
        They descend from companionway.
        Suddenly both tracking devices beep frantically.
        (*Sound of rending metal*) up ahead. They move forward cautiously.
           DALLAS: It's in that food locker.

        outside FOOD LOCKER NUMBER 7 More (*rending noises*).

           LAMBERT:  Jeez. It must be huge.

           DALLAS: It's got to be using the airshafts to move around...

        Dallas raises flamethrower. Dallas indicates door handle.
        Lambert reluctantly takes it.

           DALLAS: Now!

        Lambert wrenches open door. Dallas fires a long blast.  Another.
        Another and another...Silence. They move inside...

SCENE 57: INT. FOOD STORAGE LOCKER NUMBER 7 - "B" LEVEL  [Ripley, Dallas, Lambert]

        Charred wreckage. Packages have been ripped to shreds.
        Foodstuffs scattered over the floor.
        Carefully, they poke through the smouldering garbage.
           RIPLEY: We didn't get him.
           DALLAS: This is where he went.

        On the wall, a ventilator grill has been ripped open.
        They move to the shredded ventilator.
        Shine their lights inside the shaft.

            DALLAS: This could work for us.  
               The duct comes out at the air lock.  
               There's an exit on the way, but we can close that off.  
               Then we drive it into the air lock and blast it into space.

            LAMBERT:  Yeah.  All you have to do is
               crawl in the vent with it, and hope it's afraid of fire.                      
            DALLAS: Ripley, you take the air lock.  
               Ash and Lambert cover the exit.


        Ripley stands in vestibule. Looks through the Bulkhead door to air lock.
        She throws a switch.
        Watches airshaft entrance into air lock open. The trap is ready.
            RIPLEY: Air lock open.


        Ash and Lambert get set. A large rectangular duct in one wall.
        Ash hefts his flamethrower.

            ASH:  That's where it's got to come
              out, if it leaves the main shaft.
            DALLAS:  (voice over)
               Ash, if it tries to come out by you, make sure you drive
               it back in.  I'll push it forward.

            ASH: Right.

        Dallas fires a couple of short bursts.

           DALLAS: It's still working.

        Dallas turns and climbs into the ventilator opening.
        Just large enough to crawl through.

SCENE 61: INT. AIR SHAFT           [Dallas]

        Dallas begins to crawl forward. The tunnel is narrow...
        Only a foot or two wider than his shoulders.
           DALLAS: I'm under way.

        Turns a corner. Several more tight turns.
        Ahead the shaft takes an abrupt downward turn.
        He moves toward the corner.
        Fires another blast from the flamethrower.
        Then starts crawling down, head first.


        Lambert sees something on the tracker.
           LAMBERT: Beginning to get a reading on you.                                           

SCENE 63:  INT. AIR SHAFT   [Dallas]

        Dallas against a wall of the shaft.
        Clutching his flamethrower.
        Whispers into his throat mike.

            DALLAS: I don't think this shaft goes
               much farther... It's getting hot in here.

        Moves forward.  Reaches a repair junction. Sits.
        His feet dangle beneath the catwalk floor to the next level.
            DALLAS: Lambert, what kind of reading
               are you getting?

            LAMBERT: (voice over) 
               I'm not sure.  There seems to be some kind of double image.


        Dallas sitting.
        His feet still dangling in the dark beneath the catwalk.

            DALLAS: It may be interference.  I'll push on ahead.

        Dallas begins to rise.
        From below, a gentle movement toward the hanging feet.
        A hand reaches up. Misses his leg as Dallas moves ahead.

            DALLAS: Lambert, am I coming in any clearer?

            LAMBERT: (voice over)  
              It's clear all right, but I'm
              still getting two blips.
              I'm not sure which one is you.

        Dallas stops. Turns around. Looks back down through the catwalk.
        Lowers the nose of the flamethrower, his finger on the trigger.
        From behind him, the hand reaches up. The Alien was the front signal.


        Ripley bends forward. Hears the sounds of the struggle...
        And Dallas' screams. She cries out.

          RIPLEY: (voice over)
              Dallas... Dallas...

SCENE 66: INT. MESS  (kitcehn table)    [Ripley, Ash, Lambert]

        Dallas' flamethrower on the table surface.

            LAMBERT: (voice over) 
                We just found it laying there. No sign of him.  
                Only a hole torn through to the central cooling complex.

        The remaining crew standing at the table.

            RIPLEY: This puts me in command.
        Ripley turns to Ash.

           RIPLEY: Any ideas?  From you or Mother?

           ASH:   Nothing new. 

           RIPLEY:  You mean to tell me with everything we've got,
               we're still powerless against the Beast?

           ASH:    That's the way it looks.

           RIPLEY: OK. Go refuel the weapons.         
        Ash nods and leaves.

           RIPLEY: I think Ash is Lying. He knows more.

           LAMBERT: Why should he lie?

           RIPLEY: Just a feeling I have.

        Lambert shrugs. They start to leave.

SCENE 67:  INT. COMPUTER ANNEX  (Computer room)  [Ripley, Ash, Lambert]

        (private voice dialog between Ripley and mother)        
        Data banks come to life. She sits at a console.
        Thinks for a moment. Then punches up a code.
        Nothing happens. Punches another combination.
        Nothing happens. Frustration.
        Another combination. One screen comes to life.    
            MOTHER: Hello Captain.
            RIPLEY:  Is Ash protecting the Alien?
            MOTHER:  Yes
            RIPLEY:  Why?
        Ripley starts a new code.  
        A hand slams down next to Ripley's arm.
        She whips around in her chair. Faces Ash.
        Ripley lashes out with her foot.
        Kicks him in the middle. No effect. Ripley twists away.
        Ash throws a punch at her. Misses. She pushes a chair at him.
        Overturns the desk...
        And runs through bridge into Mess hall.

        He moves after her. Gets her.     
        Lambert bursts into the Mess hall.
        Lambert falls on Ash's back. Ash turns to Lambert.
        Tosses her across the room. Returns to Ripley.
        Again choking her. Lambert lifts the tracker.
        Steps behind Ash. Swings the tracker...Wallop.
        Tears his head off...
        Wires ascending from Ash's trunk.
        Where his head used to be.
        Ash's hands release Ripley.
        Search above his neck for his missing head. He walks backward.
        All eyes on Ash's headless body. He walks the room.
        Still feeling for his missing head.
           LAMBERT: A robot, a frigging Droid...

        Ash turns on him. Starts to advance.
        Lambert hits him again with the tracker...
        Again. Again. No avail.
        Ash begins choking Lambert.
        Ripley picks up one of the prod sticks.
        Closes on Ash's back. Tears away the fabric.
        Ripley tears at the controls buried in the cavity once
        covered by his head.
        Lamberts's eyes bulge in pain.
        Ash, headless, choking, choking, choking...
        Ripley finds the wires, stabs the prod home...
        Ash's grip lessens. Another stab...electrical flash...
        The grip lessens...
        Another stab...flash of circuits.
        The headless body collapses.
        Lambert trying to regain his breath.
           LAMBERT: Darn you.

        Kicks the headless body. Lambert looks at Ripley.

           LAMBERT: Tell me...What the heck's going on?

           RIPLEY: Let's find out.  Wire him back up.

           LAMBERT: Are you kidding?

           RIPLEY:  Do it.

        They set to work.
        Begin to reassemble the wiring in Ash's head.
SCENE 68:  MESS  (Kitchen table)  [Ripley, Ash, Lambert]
        Ash's head is placed on the table.
        (Head through hole in cardboard in middle of table)
        His eyes flicker into consciousness.
            RIPLEY: What is Special Order 937?

            ASH:  You know I can't tell you that.

            RIPLEY:  Then there's not point in talking
                     to you.  Pull the plug.

            ASH:   Special Order 937 asked me to direct the ship
                   to the planet, investigate a life form, 
                   and bring it back for observation.  

            RIPLEY: Why not tell us?

            ASH:     Would you have gone?

            LAMBERT: It wasn't in the contract.

            ASH:     My very point.

            LAMBERT: Those jerks.

            RIPLEY:  How do we kill it?

            ASH:  I don't think you can.  But I might be able to.

            RIPLEY: How?

            ASH:  I don't know quite yet.  
                  I'm not exactly at my best at the moment.
                  If you would reconnect...

            RIPLEY: No way. We've had enough of your help.
        Ripley pulls the plug and exits to the bridge.

SCENE 69:  INT. BRIDGE  (computer room)  [Ripley, Lambert]

        Ripley in the Computer Annex.
        Lambert enters.

           RIPLEY:  We've got less than twelve hours oxygen left.

           LAMBERT: It's all over.              

           RIPLEY: I think we should leave in the shuttle 
                   and then blow up the ship.


        Ripley, and Lambert loading oxygen tanks onto 
        the Narcissus (shuttle).

            RIPLEY:  That's all the oxygen.
                     Now let's get the food, shut off the engines and get out...
                     Jones.  Where's Jones?

            LAMBERT: Who knows.
                     Last I saw him was in the mess.

            RIPLEY: I'll Go look.  We don't want to leave him.

            LAMBERT: Hurry I don't want to be alone here.

        They move out.

SCENE 72: INT. BRIDGE  [Ripley]

        Jones lying on Dallas' computer console.
        Ripley comes in. Smiles.

            RIPLEY:  Jones.  You're in luck.

        As she reaches for him, Jones jumps off the console.
        Moves away.

            RIPLEY:  Come on, Jones.

        She moves after the bear.
        We hear Lambert over the communicator
        from the coolant locker.

            RIPLEY: Here little bear...come here now...
        Jones moves away.

        Lambert loading food.
        A faint light on the tracker. Unnoticed.  
        In the locker Lambert gathers food.
        The tracker flashes faster. Now it's noticed.
        Lamber drops the food and picks up the flamethrower.
           LAMBERT: Ripley, get back here.
        The Alien appears out of the air shaft ventilator.
        Lambert turns. Screams. Unfolding, the Alien grabs for her.

SCENE 74:  INT. BRIDGE        [Ripley]

        Ripley freezes as she hears Lambert's screams
        Ripley listening on the communicator.
        Lambert's dying shrieks.
        Then the voice-amp goes dead. Silence.

           RIPLEY: Lambert?...

        She waits for a response.
        But her expression shows that she expects none.
        A long moment. Expectation fulfilled.     
        Ripley descends, cautiously, holding flamethrower
        and Jones in pressurized box.

        Ripley moving warily, carrying flamethrower.
        Nears entrance to food locker, looks in.
        Sees carnage. Leaves in a rush.
SCENE 76: INT. ENGINE ROOM - CUBICLE (Master bath) [Ripley]

        Ripley enters the power center.
        Stares at the massive light-plus engines.
        Approaches the main control board.
        Begins closing the switches, one by one.
        (turn of light switches in master bath hallway)
        Sirens begin to honk.
        Mother speaks.

            MOTHER:  Attention.  The cooling units for
                     the light-plus engines are not
                     functioning.  Engines will over-
                     load in four minutes, fifty seconds...


        Ripley running toward the "B" deck companionway.

        Ripley starts toward Narcissus. Remembers Jones.
        Jones howling In his box. Ripley reaches up and grabs him.

        Ripley carrying Jones, holding flamethrower.
        Ripley stops, and stares down corridor toward Narcissus.     

        Ripley staggers towards the air lock.
        The Narcissus berthed beyond.
        She drags Jones and raises the flamethrower.
        Turns to see if the Creature is behind her.
        Then advances down the passageway.
        Goaded on by the computer.

            MOTHER:  Attention.  Engines will explode
                     in two minutes, ten seconds.

        Looks into the shuttle. (Avalon)
SCENE 77:  INT. NARCISSUS   [Ripley]

        Ripley enters on the run.
        Hurls the bear box toward the front.
        She dives into the control chair.
        Hits the "launch" button.

            MOTHER: Attention. The engines will explode in ninety seconds.

        Ripley frantically straps herself in.
        G-forces from the shuttles acceleration pulling against her.

        Ripley finishes strapping herself in.
        Reaches and grabs the bear box. The bear yowling within.
        Ripley hugs the box to her chest.
        Hunches her head down over the container.

SCENE 78: EXT. SPACE   [nobody]

        The Nostromo drifts farther away from the shuttle-craft.
        Finally becomes a small point of light. Then it blows up.
        Transforms into expanding orange fireball.
        Pieces of metal flying in all directions.
        And then the refinery explodes.
        200,000,000 tons of fuel blasting silently into the cosmos.

SCENE 79: INT. NARCISSUS  (Avalon) [Ripley]

        The shockwave hits the shuttle craft.
        Jolting and rattling everything within. Then all is quiet.        
        She looks out the side window. Face bathed in orange light.
        Then, behind her, the lethal hand emerges from deep shadow.  
        The Alien has been in the shuttle-craft all along.
        The bear yowls. Ripley whirls.
        Finding herself facing the **Alien**.
        Ripley's smashes the alien on the head with the flamethrower. 
        Stuns it momentarily.      
        Ripley pulls on the helmet, latches it into place.
        Presses the button to open the hatch.
        Hatch opens, air whooshes out.
        Alien sucked out into space screaming.
        Ripley presses another button. 
        Hatch (Avalon door) closes - shutting out noise. 
        Ripley stumbles forward to the controls.
        Pushes the ram jet lever.

        The Creature struggling.
        Jet exhaust located at the rear of the craft.
        The engines belch flame for a few seconds. Then shut off.
        Incinerating, the Alien tumbles slowly away into space.


        Now repressurized.
        Ripley is seated in the control chair.
        Calm and composed, almost cheerful. Jone in her lap.
        She dictates into a recorder.

             RIPLEY:  I should reach the frontier in another three weeks.  
                       This is Ripley, executive officer,
                       last survivor of the commercial
                       starship Nostromo signing off.                   

        She switches off the recorder. Stares into space.