Grey Suit touches his control pad again. The screen fades 
into a new one. This time the monster is larger, shaped 
slightly different, with a massive cranial plate that 
branched antler like. There is an extra set of smaller arms 
coming from the chest area. The QUEEN ALIEN. 

There is a scale built into the edge of the screen showing 
meters by dozens. The walls of the room now covered with 
convoluted loops of shining black material, and the floor 
dotted with garbage-can sized eggs.

 ORONA
 My God. Is that the queen?

 GREY SUIT #1
 We think so.

The Queen Alien looks up into the direction of the 
observation camera, bares giant teeth. The image fades and 
goes blank.

 GREY SUIT #1
 That's all there is of the stolen 
 recording we were able to recover.

 ORONA
 Please tell me this is all down in Peru.

 GREY SUIT #1
 No. This was taken from their deep space 
 Bionational Facility.

 ORONA
 Excellent. Bionational just bought 
 themselves murder one along with global 
 conspiracy. I want this cleared up, 
 cleaned up, and looking good for display. 
 We must have those specimens. We'll 
 seize this facility in the interests of 
 Terran Security.

The group all nods in agreement.

 GREY SUIT #1
 There is something else I want to show 
 you while we're all here. A potential 
 hazardous situation.

 ORONA
 What do you mean?

Grey Suit #2 hands a disc over to Grey Suit #1. He gestures 
it to Orona, then pops it into the console. 

 GREY SUIT #1
 These were taken from various medical 
 institutions around Earth, mostly from 
 Psych division. Medicomp has loaded up 
 hundreds of these cases. Watch.

THEIR POV: The screen fades into a meeting in progress with a 
young Hispanic woman, obviously been missing a few nights 
sleep with the puffy eyes, and a doctor. We see her 
fidgeting in her seat continuously, busy crumpling and 
folding a tissue she has in her hands.

 DOCTOR #1 (V.O.)
 Maria, what else do you remember about 
 the dream?

 MARIA (V.O.)
 So all of a sudden there is this loud 
 noise, like something hits the roof of 
 the subway. Then a scraping sound.

 DOCTOR #1 (V.O.)
 Scraping?

Maria plays with her tissue in a more frenetic pace.

 MARIA (V.O.)
 Yeah, like fingernails on metal.
 (bites on a fingernail)
 Anyway, then the train stops and um, I 
 realize that something is trying to get 
 in. Something bad. So I say to my 
 mother, Mama, come on, we have to get out 
 of here! But Mama, she just sits there 
 and smiles at me, you know?

 DOCTOR #1 (V.O.)
 It's all right, Maria. You're safe here. 
 Tell us what happened next.

 MARIA (V.O.)
 Um, then, um, all of sudden the roof 
 tears open like it's paper and these 
 things claw right into the car. Like 
 nothing I've ever seen, they are bestia, 
 come se dice? Monsters, with teeth and 
 big heads like bananas. I reach for Mama 
 to pull her with me, only she turns into 
 one of the things, her face stretches! 
 It is too horrible! 

The screen goes to static. Then a new one, another 
conference, between two men now. Another doctor with 
patient. They are speaking French over the b.g.

 GREY SUIT #1
 Old Paris, France. The conversation was 
 translated.

 FRENCHMAN (V.O.)
 Well, the screen looked distorted, 
 twisted, somehow.
 (beat)
 Then something came out of the set, but 
 it stretched the usual stopping place of 
 the holograms. Like a fist shoving 
 through a sheet of flexiplast. And then 
 the thing, some kind of monster, it 
 grabbed me. I couldn't move a muscle! 
 It opened its mouth, had teeth as long as 
 my fingers, and inside was another mouth, 
 smaller, and it opened! And... 

Cuts to static. Fade into another conference. 

 GREY SUIT #1
 Dallas, USA.

 RED NECK (V.O.)
 ...then all of a sudden, her chest tore 
 open and this thing looked like some 
 giant dick with a lot of teeth comes out, 
 spewing blood and all and flew, fucking 
 flew out of her right at my face! 

Orona pushes the button to stop. The tape cuts to static 
again. 

 GREY SUIT #1
 The former Slavic Provinces, Brazil, the 
 Eastern Coalition. The list goes on.

 ORONA
 What have the patients in common?

The watcher in the lab coat picks up an electronic board, 
reads off it.

 LAB AGENT
 High ratings on the Cryer Scale and at 
 least double digits on the Emerson 
 Emphatic.

 ORONA
 And the descriptions are identical?
 
 GREY SUIT #1
 Virtually identical.

 ORONA
 Etiology?

 LAB AGENT
 Unknown. Best guess the medicomp can 
 come up with is some kind of telepathic 
 or emphatic projection. Perhaps it is 
 how the things communicate among 
 themselves and perhaps they are trying to 
 communicate with us.

Orona stares down at the screen, daunted. 

 ORONA
 Our data so far do not indicate that the 
 aliens are particularly intelligent, per 
 se. Could this be Morse's doing? Could 
 he have provoked this wave of spontaneous 
 connections?

 GREY SUIT #1
 Possibly, but we need to also take into 
 careful consideration another scenario.

 ORONA
 Here on Earth? That's impossible. There 
 aren't any aliens here.

The group stares at each other, no clue.

 ORONA
 Could Morse have in his possession an 
 alien? Could Bionational have brought an 
 alien here?

More stares and some shrugs.

 ORONA
 Find him and I want you to dig up the 
 files from LV-426 and LV-230. Track down 
 this inside help of his. I want his ass 
 in court.

The group all nods, scatter. Grey Suit #1 waits when they 
clear some, leans close to Orona.

 GREY SUIT #1
 Wilks reported in from the Base. The 
 unit is assembled, and checks out okay.

 ORONA
 Good. We're moving right along.

 GREY SUIT #1
 And we think Jason Colbert is aware of 
 the situation.
 (off Orona's look)
 I think it would only be a matter of time 
 before he finds out. We don't know of 
 his intentions. I advise immediate 
 action needed.

INT. OFFICERS' LOUNGE - NIGHT

CHAMBER MUSIC and the ambiance of wealth soak the room as we 
watch officers and their families wine and dine.

 COLBERT (O.S.)
 So, about this I and I we have together.

We CUT TO Colbert, seated in officer's white, watching 
Brooks, who's exchanged her combat harness with a backless 
silk dress, stab a cube of steak with a fork. Once drop-dead 
gorgeous marine now just drop-dead gorgeous. She pops the 
meat in her mouth, savors the taste. Her chewing alone 
provides wanton imagination.

 COLBERT
 Jess must be feeding you good.

He watches her cut another piece.

 COLBERT
 Want some of mine?

 BROOKS
 You try six weeks of his food.

 COLBERT
 He can do wonders with a real kitchen. 
 Remember Laurelis Prime?

 BROOKS
 Mmmm...I remember two bunnies in heat.

Colbert nods appreciatively. Brooks picks up a white card 
from her side.

 BROOKS
 Concert later, then what? Get funky 
 with the monkey?

 COLBERT
 It's on our to-do list.

A stiff looking, fu-manchu maitre d' shows up, interrupting. 

 HEAD WAITER
 Forgive my intrusion. Colonel Colbert?

 COLBERT
 Yes?

 HEAD WAITER
 There is a man who wishes to speak with 
 you. He claims to be TIA.

Colbert rolls it in his mind.

 COLBERT
 Thank you. 

 HEAD WAITER
 We have a room arranged for your 
 conference, sir.

Colbert tosses down in his napkin, and gets up.

 COLBERT
 I'll be back.

Brooks nods, gets busy again with her food. Colbert follows 
the man off. Immediately, another waiter shows up with a 
silver tray of extremely enticing chocolate mousse, offers it 
to her.

 SERVING WAITER 
 Madam? Some dessert?

Off Brooks' wide eyes --

INT. CORRIDOR - NIGHT

The maitre d' leads Colbert to a door. TWO TIA AGENTS 
complete with sunglasses even in the night, stand guard. 
They also have on small Secret Service earphones in one ear, 
the cord coiling back into their shirt collars.

One of them pushes open the door.

INT. SIDE ROOM - NIGHT

The TIA Agent enters, behind him Colbert.

 TIA AGENT #1
 Colonel Colbert is here, sir.

 ORONA
 Yes, show him in.

Colbert enters the room, the door clicking shut behind him.

 ORONA
 Please have a seat, Colonel.

 COLBERT
 Thank you.

 ORONA
 Would you care for a beverage before we 
 begin?

 COLBERT
 No, thank you. I have a dinner to attend 
 to.

 ORONA
 Ah yes. That's right.

Orona grins. For a moment, he takes stock of Colbert, sizing 
him up like a fighter would do from across the ring.

 COLBERT
 What can I do for you, Mr..?

 ORONA
 Oh, pardon my manners. I am Special 
 Agent Waidslaw Orona.

 COLBERT
 (nodding)
 What can I do for you then, Mr. Orona.

 ORONA
 Well, let's talk about changing 
 realities, Colonel.

Orona sits across from Colbert at the desk.

 COLBERT
 You mean Rigel Six.

 ORONA
 Closer to home actually. Colonel, we are 
 both officers of a certain law, we both 
 share an oath to protect our Colonial 
 citizens. At times it is necessary to 
 adapt to new procedures in order to 
 secure that oath. Don't you agree?

 COLBERT
 Whatever means within conduct structured 
 by our Constitution. That I agree.

More stock-taking. Orona drops his amiable face.

 ORONA
 Colonel, I know you are aware of Wilks' 
 transfer from your command. Further, I 
 know you are aware of the nature of the 
 transfer. I can understand a certain 
 anxiety.

Colbert loses it. It's come down to this point now of no 
return.

 COLBERT
 A certain anxiety? You're bringing a 
 species that has killed hundreds and 
 thousands of our people.

 ORONA
 In uncontrolled circumstances.

Colbert stares at him if he were insane.

 COLBERT
 I bet our colonists would love to hear 
 that. 

 ORONA
 If you would try to understand from our 
 position, Colonel.

 COLBERT
 I recognize your position, Mr. Orona. 
 The same position Weyland-Yutani tried 
 taking when they sent us to our deaths.
 How much longer are you going to keep 
 running around under the President until 
 he hears about the colonies?

 ORONA
 We are acting on orders from the 
 President.

 COLBERT
 How could he disregard the Commerce Code 
 and let a dangerous organism into our 
 space?

 ORONA
 For the same reasons why we need to study 
 new weaponry advances and develop 
 countermeasures. We have rumors that the 
 U.P.P. have already gained possession of 
 the alien.

Colbert considers the ramifications of that. He gets up from 
his chair, moving to a window. He doesn't let Orona see in 
fact he's horrified.

 ORONA
 Now you can see our position.

 COLBERT
 You are certain they have an alien?

 ORONA
 We're not taking any chances here, 
 Colonel. We have the facilities to 
 handle the matter and the top personnel.

 COLBERT
 You have no idea what they are capable of 
 doing until you've seen them with your 
 own eyes.

He turns back to Orona.

 COLBERT (CONT'D)
 They can't be controlled. They can't be 
 contained. They always find a way, and 
 when they do, they breed, and every 
 living thing on this planet dies.

A slight flicker of doubt on Orona. Maybe he's thinking 
twice? He turns in his chair.

 ORONA
 Thank you for sharing your concerns. I 
 will keep that in mind. Have a good 
 evening and enjoy your dinner.

 COLBERT
 You are going to go through with this.

 ORONA
 Colonel, let me make this clear. You 
 will not interfere with this project. 
 Furthermore, you will remain here on 
 Earth where you will continue duty and 
 you are forbidden to leave until further 
 noted.

 COLBERT
 Is that an order?

 ORONA
 It will be. Any action taken to disrupt 
 this project will warrant an immediate 
 federal arrest, after your court martial. 
 I hope you realize the consequences of 
 your choice affects others more so than 
 yourself.

 COLBERT
 I don't appreciate ultimatums, Mr. Orona.

 ORONA
 See it how you want. Good evening.

Colbert and Orona stare each other down. Colbert leaves.

INT. OFFICERS' LOUNGE - NIGHT

Colbert slides into his seat in front of Brooks. He picks up 
his glass, drains it down. 
 
 BROOKS
 What was all that about?

 COLBERT
 Just a reminder from home.

We check Brooks, working on her third cup of the mousse. 
Back on Colbert, looking into his glass, mind making 
decisions. The haunting strings of Ase's Death in the b.g. 
grow in a gradual crescendo as we --

 CUT TO:

INT. CONCERT HALL - NIGHT

We're in what seems to be a replica of the Garnier Opera in 
Paris. Dim lights. The orchestra playing the MUSIC in full. 
We PAN AROUND the opera hall, over the audience, to a couple 
seated high up, Colbert and Brooks.

As Ase's Death rises in momentum, so does Colbert's emotions. 

Colbert whispers something into Brooks' ear, and leaves.

INT. OUTSIDE CONCERT HALL - BALCONY - NIGHT

Nightscape: The Washington Monument standing tall and proud 
in the night, illuminated by the lights.

PAN BACK to Colbert watching impassive. Someone else joins 
his side. Barely a glimpse. He glances over, surprised to 
see --

 COLBERT
 Massey. 

 MASSEY
 Been a long time, Colbert. 
 (staring at the brass)
 Colonel Colbert, now.

They stare at each other. Colbert unsure how to react.

 COLBERT
 You sent me the message.
 (off Massey's nod)
 What happened to you?

Massey turns back to the view, a twisted sneer forming on his 
face.

 MASSEY
 Running...mostly, around the world. You 
 know about Wilks, and Billie. Some of us 
 didn't make it far like you have.

Colbert looks out with him.

 COLBERT
 I didn't make it far, Massey.

 MASSEY
 The dreams haunt me, too. They didn't 
 forget about us. They told us what we 
 wanted to hear, but for years they've 
 been doing the opposite.

 COLBERT
 How did you get all that info?

A wry smile across Massey's face now.

 MASSEY
 You think I live a normal life right now? 
 I went underground since Rim. You get to 
 meet a lot of interesting people there.
 (beat)
 Colbert, we got to stop them. 

 COLBERT
 (shakes head)
 The government's been keeping close tabs 
 on me.

 MASSEY
 I know. They have people on you 24-7.

He nods down below to a particular spot. Colbert looks.

DOWN ON THE STREET LEVEL

Focusing on a black four-door SEDAN, there are two FIGURES 
inside. At the angle, their faces concealed but the suits 
give them away.

 COLBERT (O.S.)
 TIA?

BACK UP TOP,

 MASSEY
 (nodding)
 We both know, you'll be a wanted man if 
 you go but I will take the risks with 
 you. I've got nothing else to lose.
 
Colbert moves away, wrestling with heart and mind. 

 MASSEY
 Think about it. I'll be right in front 
 of the theatre after the play.

With that, he leaves Colbert alone on the balcony.
 
INT. CONCERT HALL - NIGHT

Colbert appears, sits down next to Brooks. She grabs his 
hand, and smiles warmly. They both watch the rest of the 
play. Colbert won't remember any of it.

EXT. CONCERT HALL - ENTRANCE - NIGHT

The crowd slowly dispersing from the theatre with Playbills 
in hand. A respectable bunch, all uniforms of the highest 
levels from all military branches.

A line of limousines, and other VEHICLES parked in front, gas 
running. Among them is Massey's car.