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.
