PRINTED BROCHURE THAT READS...
LOOKING FOR MONEY?
YOUVE COME TO THE RIGHT PLACE.
We then PULL BACK TO REVEAL that were now...
INSIDE THE BANK
as Foley stands at a counter holding the above CREDIT APPLICATION
while he studies the bank layout.
Foley watches a MAN IN A SUIT, carrying an attache-case, enter
the bank and move through the gate into the fenced-off business
area at the front. An EXECUTIV
metal as the stall door bangs open. He
reacts...
INT. LADIES ROOM - CONTINUED
The RED-HEADED MAN is struggling to secure the rope around a
hook inside his own stall. KNOCKING (o.s.)
COP (o.s.)
Doctor Hudson? Are you okay in
there?
The MAN lets slip a little slack.
HELENS fingers, thrusting between the rope and her neck,
get just enough air for HELEN to let out a strangled little
scream.
CORRIDOR:
. to a large factory building, park and go up a flight of metal stairs on the side of the building. Jeffrey steps into the shadows and watches them. At a metal landing they stop. He sees them standing on their tip toes in order to see something in the distance. The man with the alligator briefcase is laughing with the Yellow Man at what he sees. He grips the Yellow Man on the shoulder. Jeffrey ca
metal rise into the sky covering the view of the Las Vegas casinos and their signs.
Music in: J.S. Bach - St Matthew Passion.
Aces body comes flying in - extreme slow motion. His body twists and turns through the frame like a soul about to tumble into the flames of damnation.)
MAIN TITLE SEQUENCE.
INT. TANGIERS CASINO FLOOR - NIGHT
Vignette of ACE: through rippling flames, we move in on ACE ROT
metal forms can BE SEEN descending around the shuttle. Like the tolling of a bell, a BASSO PROFUNDO CLANG reverberates through the hull.
CLOSE ON THE AIRLOCK DOOR
Light glares as a cutting torch bursts through the metal. Sparks shower into the room.
A second torch cuts through. They move with machine precision, cutting a rectangular path, converging. The torches meet. Cut off. The door falls inwa
A disheveled young man in a gaily colored Hawaiian shirt is launched into frame by someone offscreen.
He holds a printed paddle that reads "NO. 1468-6 NOV. 29 79."
The hatch marks on the wall behind him are apparently height markers.
VOICE OVER
... The first time I met Ed was in the county lock-up in Tempe, Arizona...
FLASH
As his picture is taken.
CLOSEUP
On the paddle: "NOV. 29 79."
VOICE OVER
metal detectors...
...cells are searched,
extra guards are called up...
...and Alcatraz goes on full alert
to forestall any additional trouble.
As public interest reached a frenzy...
...Warden Humson
and Associate Warden Glenn...
...left the island in the bay
for a press conference...
...headed for the San Francisco City Hall...
...which was inundated with a plethora
of reporters from around the
METALLIC SHAFT
as it begins to reconfigure, taking the shape of an arm. We see
the same happen to other parts of his "body" -- hands, legs,
facial features.
EXT. SPACE
The craft the Skull Ship holds then goes dark, the energy being
sucked from it having run dry.
INT. SKULL SHIP - OPERATING THEATRE
The "patient" stops convulsing, as the cable attached to its head
ceases to glow.
BRAINIAC
That was
metal
detectors by white gloved security staffers.
The walled perimeter of the house runs along the lake, forming
a kind of rampart. There is an opening, to a kind of waterway
or canal, which connects to the private docks inside the
grounds. There is a steel grating across the opening. The
bars disappear down into the thin ice of early winter.
With the house visible BG, we CRANE DOWN below the pa
ALIEN NATION
??
Original Screenplay by Rockne S. OBannon
Rewrite by James Cameron
??
October 1987
FADE IN:
EXT. MOJAVE DESERT - DAY (TELEVISION IMAGE)
A LONG LENS SHOT of a far distant metallic object hovering
just above the ground -- maybe two or three miles away.
The heat waves and the light refraction off the desert-
scape make the object undulate rhythmically, keeping its
true shape and appea