Alien 3 Workprint - Blu Ray DVD Artwork by Dave Simkiss

FOLLOWING its troubled production and controversial release, ALIEN3 slowly became something of a curiosity among serious enthusiasts of the ALIEN series. Not only would its first time director, David Fincher, go on to become one of Hollywood’s most sought after filmmakers, but the film itself would generate quite a mystique thanks to heated rumours of creative indifference, lost scenes and even a completely different cut of the film that supposedly restored Fincher’s original vision of what many believe to be a seriously compromised work. RUMOUR control, here are the facts: There is no wondrous lost “directors cut” of ALIEN3. It doesn’t exist. Indeed for such a dream to be realised, first time director David Fincher would have to be allowed to remake the film from scratch with complete creative control. What does exist is something perhaps equally fascinating. PRESENTED here for the first time on DVD is the ‘Workprint’ cut of Alien 3, a cut that predates even the 2004 released assembly cut. With a running time increased by 30 minutes, this cut contains several never before seen sequences that offer fascinating insight into the film’s difficult editing process. THE ALIEN3 workprint offers fans a unique chance to witness the lost work of a remarkable director.

TIMES THE STUDIO INTERFERENCE TIMES THE PRODUCTION PROBLEMS TIMES THE UNREALISED VISION

“We all sat there and decided to make a china cup, a beautiful, delicate china cup. You can’t tell me we should have made a beer mug.” - David Fincher on making Alien 3

W O R K P R I N T

W O R K P R I N T W O R K P R I N T

Design and Layout - pineapples101@gmail.com

TIMES THE STUDIO INTERFERENCE TIMES THE PRODUCTION PROBLEMS TIMES THE UNREALISED VISION

“We all sat there and decided to make a china cup, a beautiful, delicate china cup. You can’t tell me we should have made a beer mug.” - David Fincher on making Alien 3

W O R K P R I N T

W O R K P R I N T W O R K P R I N T

Design and Layout - pineapples101@gmail.com

NOTES User: SM June 11, 2013 www.avpgalaxy.net

W O R K P R I N T be temp tracked from the sound effects of the Alien on the shuttle in the first film. Dillon’s death is edited slightly differently (but only very slightly). Once the lead has been poured there’s a lot more cursing from Morse on the gantry from the lead fumes and steam. Morse doesn’t say anything about the sprinklers to Ripley when Ripley is trying to escape the molten Alien. Just before Ripley turns the sprinklers on she says “For the last time”. There’s a couple of short extra shots of the Company guys entering the foundry. Ripley’s death scene is quite a bit longer than what we see in the final film, as well as being cut differently. Here it is in entireity… Ripley – Don’t come any closer! Aaron - Wait. They’re here to help. Ripley - Stay where you are. Bishop - Ripley. Ripley - Bishop. Bishop - I’m here to help you. Ripley - No more bullshit. I just felt it move. Bishop - You know who I am? Ripley - You’re a droid. Same model as Bishop. Sent by the f**king Company. Bishop - No. I’m not the Bishop android. I designed it. I’m very human. The Company sent me here to show you a friendly face. To demonstrate how important you are to us. To me. Ripley - You just want to take it back. Bishop - We want to kill it and take you home. We know what you’ve been through. You’ve shown great courage. Ripley - Bullshit. Bishop - You’re wrong. We want to help. Ripley - What does that mean? Bishop - We’re going to take that out of you. Ripley - And keep it. Bishop - We can’t allow it to live. Everything we know would be in jeopardy. Ripley - You don’t want to take it back? Bishop - Ripley time is important. Let us deal with the malignancy. We’ve got a surgical bay set up on the rescue ship. Come with me. Company Man – It’s very quick. Painless. A couple of incisions. You’ll be out for two hours. Bishop - And then it’s over. You still can have a life. Children. And most important you’ll know it’s dead. Let me help you. Ripley - What guarantee do I have once you’ve taken it out, that

you’ll destroy it. Bishop - You’ll have to trust me. Please. Trust me. Let me help you. Mmm? (A 40 second wait – as opposed to Ripley’s immediate decision in the final film – where Ripley agonises. We cut from Ripley to Bishop to Ripley to Aaron and the Company Man to Ripley to Morse and finally back to Ripley) Ripley - No. (Morse activates the gantry) Bishop - Ripley! What’s this gonna achieve? (Morse is shot) Bishop - Stop! Morse – God! Jesus! Oh! Ah! Ow! Bishop - It was a mistake! There was no need for any of this! Aaron – f**king droid! WHACK (Aaron is shot) Morse – Shit! Christ! Aaron! Ripley - Morse. You help me? Morse – What do you want me to do? Tell me? Ripley - You’ll know. Bishop - I’m not a droid! Ripley! Think of all we could learn from it. You must let me have it. It’s a magnificent specimen! (Morse stops gantry) Bishop - What are you doing? (Pause) Bishop - What are you doing? (Ripley falls) Bishop - NOOOOOOO!!!!! There is no chestburster popping out of Ripley during the fall (this was shot just a few weeks prior to the film’s general release). Morse crawls to the edge and watches her fall. The very end is also edited differently. Instead of ending on the ‘Transmission ends’, we get the following… - Morse looks over the edge of the gantry. - Sunrise from space. - Transmission about prison shutting down. - Empty infirmary. - Empty mess hall. - Empty meeting area. - Morse escorted out. Door closes. - Dippy bird with glass of water (bookending with the start of the first Alien film) - EEV with Ripley’s ‘Signing off’ transmission.

There are no closing titles.

As many Alien fans are aware, Alien3 was something of a nightmare for all concerned. It left a sour taste in many a mouth including but not limited to David Fincher, David Giler, Walter Hill, David Twohy, Vincent Ward, H.R. Giger, Alan Dean Foster, some of the cast, and a large chunk of the crew. Not to mention many fans. Scripts were written by: - William Gibson (the alleged Anchorpoint script starring Hicks and Bishop) - Eric Red (different take on Anchorpoint involving Alien mutations and a 20th century mid western US town on a huge space station (no, I don’t know why either) – no characters from Aliens) - David Twohy (orbital prison sans any characters from Aliens) - Vincent Ward (monks, wooden planetoid, and chameleon Alien) - John Fasano (worked with Ward) - Greg Press (replaced Fasano working with Ward) - Larry Ferguson (more monks with Snow White & the Seven Dwarfs-like ending) - David Giler & Walter Hill (re-worked Twohy’s prison concept) - Rex Pickett (more work on the prison concept with Ward’s religious overtones) - David Giler & Walter Hill (again – provided shooting script at Sigourney Weaver’s behest) The Alien3 workprint is pretty close to the final draft script by Giler & Hill (revised April 10 1991), but there’s still quite a few differences between it, the Workprint and the final film. This piece will detail the differences between the workprint and the final cut. If you want to compare the various scripts please visit the Alien Movie Resource Page. The piece assumes you are fairly well versed in the Alien3 or have ready access to the film. There is no music throughout the film. It is in widescreen format with a timecode in the lower ‘black bar’ of the screen. At 9:16 into the film there is a break and we are presented with the first title card that carries the Weyland Yutani logo, the number ‘2.35-1’ and ‘ALIEN III’. This is a break between film reels and occurs at regular intervals of between 7 to 11 minutes throughout the film. There are 13 reels all up, and a total running time of 2 hours 5 minutes 15 seconds (including the 20th Century Fox logo). Each reel break takes up about 15 seconds, so the actual film time is about 2 hours 2 minutes 15 seconds. Compare this to the final cut of 1 hour 50 minutes which includes 5 minutes 21 seconds of credits. The Workprint has no closing titles. The 2.35-1 is more than likely the widescreen aspect ratio of the

film. The credit sequence has some changes and runs as follows: - Fox Logo - Space with title card ‘Twentieth Century Fox Presents’ - ‘A Phoenix Company/ Gordon Carroll Production’ - ‘Sigourney Weaver’ - ‘Alien3’ - Cryotubes. - ‘Charles S. Dutton’ - ECG monitor. - ‘Charles Dance’ - Four facehugger digitals unfolding into the bottom of frame. - ‘Paul McGann’ - ‘Brian Glover’ - Facehugger climbing the side of Newt’s cryotube. - ‘Ralph Brown’ - The glass on Newt’s cryotube cracks. - ‘Danny Webb’ - ‘Christopher John Fields / Holt McCallany’ - ‘And Lance Henriksen’ - Alien acid starts eating into floor. Sparks from sub-flooring. - ‘UK Casting Priscilla John / US Casting Billy Hopkins’ - ‘Costumes designed by Bob Ringwood and David Perry’ - Blood on white cloth. - ‘Music by Elliot Goldenthal’ - Wisps of smoke drift towards some sort of sensor/ smoke detector. - ‘Visual Effects produced by Richard Edlund, A.S.C’ - ‘Original Alien Design H.R. Giger’ - Ripley stirs in her tube - ‘Alien Effects designed and created by Alec Gillis and Tom Woodruff, Jr.’ - ‘Special Effects Supervisor George Gibbs’ - Static screen/ flashing red light/ ECG with “Stasis interrupted…” voice over - ‘Edited by Terry Rawlings’ - Ripley stirring in cracked tube - ‘Production Designer Norman Reynolds’ - Red flashing light; some sort of cylinders with fluid; red flashing light again; Ripley eyes closed head having a spasm; computer screen with graphic profile of someone’s head and brain flashing. - ‘Director of Photography Alex Thomson, B.S.C’ - ‘Co-producer Sigourney Weaver’ - Some hexagonal piece of equipment of the walls explodes / explosion across roof. - ‘Executive Producer Ezra Swerdlow’ - Ripley’s cryotube drops out of frame, cryotube slides down another tube. - ‘Based on characters created by Dan O’Bannon and Ronald

- - - - - - -

Shusett’ Newt slides into EEV. ‘Story by Vincent Ward and David Giler & Walter Hill’ ‘Screenplay by David Giler & Walter Hill and Larry Ferguson’ A large cog on the wall turns, as smoke drifts past. ‘Produced by Gordon Carroll, David Giler and Walter Hill’ ‘Directed by David Fincher’ Ripley stirring in hypersleep crossfades into EEV dropping out of the Sulaco, to right of frame.

Compare this to the finished film: - Fox logo - Space with title card ‘Twentieth Century Fox Presents’ - ‘A Brandywine Production’ - ‘Sigourney Weaver’ - ‘Alien3’ - Slow zoom on sleeping Ripley and Newt in darkened hypersleep chamber. - ‘Charles Dance’ - Exterior shot of Sulaco tracking right to left. - ‘Charles S. Dutton’ - Interior shot somewhere on Sulaco (according to a name plate) panning left to reveal an Alien egg attached to some sort of support strut. The egg is upside down and open. - ‘Paul McGann’ - Four facehugger digitals unfolding into the bottom of frame. - ‘Brian Glover’ - Facehugger climbing the side of Newt’s cryotube. - ‘Ralph Brown’ - The glass on Newt’s cryotube cracks. - ‘Danny Webb’ - ‘Christopher John Fields / Holt McCallany’ - Alien acid starts eating into floor. Sparks from sub-flooring. - ‘And Lance Henriksen’ - Wisps of smoke drift towards some sort of sensor/ smoke detector. - ‘UK Casting Priscilla John / US Casting Billy Hopkins’ - ‘Costumes designed by Bob Ringwood and David Perry’ - Screen with an ECG wave. Top right it says ‘NP-02311’. Bottom left is ‘BK-977076’. ‘Stasis interrupted’ flashes on the screen bottom right accompanied by an automated voice saying “Stasis interrupted. Fire in cryogenic compartment.” Following the first screen is a red flashing emergency light and a neuroscan of someone with the facehugger on them. - ‘Music by Elliot Goldenthal’ - The voice continues “Repeat. Fire in cryogenic compartment. All personnel report to emergency escape vehicle.” We see a closer neuroscan of the hugger on someone’s face, which turns to it’s left then back again. - ‘Visual Effects produced by Richard Edlund, A.S.C’ - Blood spreading across a white piece of material, accompanied by a screeching noise and the voice continuing. - ‘Alien3 Creature Design H.R. Giger’ - ‘Alien Effects designed and created by Alec Gillis and Tom Woodruff, Jr.’ - ‘Special Effects Supervisor George Gibbs’ - Red flashing light; some sort of cylinders with fluid; red flashing light again; Ripley eyes closed head having a spasm; computer screen with graphic profile of someone’s head and brain flashing; accompanied by a warning klaxon. - ‘Edited by Terry Rawlings’ - Some hexagonal piece of equipment of the walls explodes, followed by Ripley stirring in hypersleep – her crytotube now

broken. Mixed with the explosion is the sound of breaking glass. - ‘Production Designer Norman Reynolds’ - A large plume of fire explodes across the roof. No explosion sound, but sound of fire. - ‘Director of Photography Alex Thomson, B.S.C’ - ‘Co-producer Sigourney Weaver’ - Ripley’s cryotube drops out of frame, cryotube slides down another tube. - ‘Executive Producer Ezra Swerdlow’ - Tube slides into another darkened chamber; Newt’s tube drops into frame, door slides closed behind it. - ‘Based on characters created by Dan O’Bannon and Ronald Shusett’ - ‘Story by Vincent Ward’ - ‘Screenplay by David Giler & Walter Hill and Larry Ferguson’ - A large cog on the wall turns, as smoke drifts past. - ‘Produced by Gordon Carroll, David Giler and Walter Hill’ - ‘Directed by David Fincher’ - Ripley stirring in hypersleep crossfades into EEV dropping out of the Sulaco, to right of frame then pan right to reveal Fiorina and EEV tumbling towards it.

(Ripley’s dialogue here is from an alternate take of the scene) Ripley – Because they won’t kill it. They might kill you for just having seen it, but they won’t kill it. Aaron – That is crazy! That is horseshit! They will not kill us! Ripley – When they first heard about this thing it was ‘crew expendable’. Next time they sent marines. They were expendable too. What makes you think they’re gonna care about a bunch of lifers who found God at the ass-end of space? You think they’re going to let you interfere with their weapons research? They think we’re crud. And they don’t give a damn about one mate of yours that died. Not one.

Instead of ‘A BRANDYWINE PRODUCTION’ we have ‘A PHOENIX COMPANY/ GORDON CARROLL PRODUCTION’. Due to the many conflicts during production possibly Giler and Hill temporarily split from Carroll, or another party teamed with Carroll without Giler and Hill. All sorts of legal shennanigans goes on in film production so the reason maybe more complex. Either way in the end it was a Brandywine Production. (Brandywine is Giler, Hill and Carroll and they’ve have produced three of the four Alien films – they are credited on Alien Resurrection for contractual reasons, even though they no hand in it).

When Dillon and Ripley are talking in the piston chamber, Dillon doesn’t mention anything about the Alien going “through you”.

Some sound effects are present in the title sequence. Others were overdubbed in post-production. The computer’s voice is more audible in the Workprint, as it isn’t faded down, nor is there any soundtrack to drown it out. “Stasis interrupted. Fire in cryogenic compartment. Repeat. Fire in cryogenic compartment. All personnel report to emergency escape vehicle.” This much is audible in the final cut. The rest is difficult to pick up, but actually says this: “Launch of deep space lifeboat will commence in t-minus 20 seconds.” The story credit is changed to “STORY BY VINCENT WARD AND DAVID GILER & WALTER HILL”. No doubt more legal wrangles here, with Ward getting sole story credit in the final cut. Much the same way Dan O’Bannon got sole screenplay credit for Alien even though Giler & Hill had made substantial changes. Some odd notes about the cast billing order. Dance and Dutton are swapped for the final film, yet Dutton has much more screen time. Same deal with McGann and Glover. While Ralph Brown had a lot of stuff cut, he probably was third in terms of screen time behind Weaver and Dutton. McGann’s credit could be a concession to the fact that a huge chunk of his stuff was cut. After the EEV departs some of the effects haven’t been completed and we can see a boom arm attached to the EEV model as the composited shot heads towards Fiorina.

Dillons final speech is also a little longer… Dillon – You’re all gonna die. This is as good a place as any to take your first steps to heaven. Only question is how you check out… (continues rest of speech as normal) The bait and chase has lots of changes but most are pretty minor and generally to do with shot order. I’m not going to outline every single shot, but the following events take place in order…

Morse’s dialogue was looped for final film. When Kevin slams the door in the Alien’s face, his line is extended. Kevin – Section C-9 closed. This thing is really pissed off!! David’s dialogue looped for final film. There’s no shot of the Alien chasing Jude through a door, nor David closing it behind them. Slightly extended sequence after Jude closes the C-7 door… Jude – Over to E. Everybody! Kevin – Where the f**k is ‘E’? Jude – This way! Get a f**king move on! (In the piston chamber) Dillon – Troy! Troy! Help ‘em! Help ‘em! What the hell is going on? Get back to the doors everybody! Morse – How did I get here? Ripley – Dillon! What the hell are they doing? What about the plan? Dillon – Look, you’re immune! They’re not! Ripley – So what are we doing? (Pause) Dillon – Improvising! Instead of the shot of the rescue ship hovering over the prison, we again see the satellite dish matte. David’s lines again looped in ADR. David – Here kitty, kitty. Oh my God! (throws torch) Bastard! (Alien gives chase) David – It’s coming! It’s coming! It’s coming! Jesus Christ! Shut the f**king doors! It’s after me! Dillon! Shut it down! (Tries to close recalcitrant door) David – Come on! Come on! It won’t come down! Work! Work! Son of a biiiiiitch!!!

(It closes) The ‘correct way to hold scissors’ scene has dialogue by Morse and Jude looped for the final film. There’s a couple of extra shots of the Alien getting around David’s door through the air ducts. Extra footage of Dillon finding (and identifying for the sake of the audience) Troy’s body. Extra footage of Morse and Jude running through a corridor and Jude slipping in a big pool of blood. He screams as he looks at the blood all over his hands. The scenes where Dillon rescues Kevin from the Alien, and drags him to the piston chamber has dialogue from Dillon and Ripley looped in the final film. After Eric starts the piston, Dillon’s dialogue was changed in ADR for the final film. Ripley – Shit! How much time! Dillon – We got 3 minutes. We got 3 minutes. We gotta stop it before it gets behind the piston! (Dillon heads into the tunnels) Dillon – Morse! Jude! Gregor! Anybody!! When Jude is being chased there’s a little bit more at the start, where he ducks around a corner sees the Alien then bolts. In the final film we cut to the sequence when the chase has already begun. Jude is screaming in what seems to be Spanish or Italian. Ripley finds Eric much later in the Workprint, and says his name upon finding him. In the final film Ripley finds him about 10 seconds after we last see him. The Workprint gives him much more time to be killed and to end up in the position and location he’s in. When the Company personnel arrive, Aaron’s dialogue has been looped in the final film. Aaron - … She’s in the leadworks with the beast. Wouldn’t wait! I tried to tell herCompany Man – Have you seen the beast? Aaron – Yes, sir. Horrible. Unbelievable. She’s got one inside of her. Bishop – We know that. (Aaron looks at the cage the Bioweapons guys are carrying) Aaron – You’re gunna need a bigger cage than that. The scene where Morse and Gregor smash into each other has looped dialogue for the final film. There’s more dialogue when Ripley grabs the Alien’s tail. Ripley – Kill me! Kill me! Come on! Dillon’s lines here looped in post for the final film. When Morse shuts the door on the Alien, he doesn’t say “Going to pour the lead!” Instead… Dillon – Morse, go up and get the lead ready! Do it now! The sounds of the Alien going crazy in the leadmould seem to

The legend as the EEV heads towards Fiorina is also different. In the Workprint it reads: FIORINA ‘FURY’ 161 OUTER VEIL MAXIMUM SECURITY MINERAL ORE REFINERY WORK CORRECTIONAL FACILITY In the final film it reads: FIORINA ‘FURY’ 161 OUTERVEIL MINERAL ORE REFINERY DOUBLE Y CHROMOSOME WORK CORRECTIONAL FACILITY (Fade in just after) MAXIMUM SECURITY No Fiorina coastline can be seen in the background as the EEV tumbles towards our point of view. There is no shot of the EEV crashing into the sea. After the screen giving Newt’s details, we see a very basic still matte painting of the EEV on a crane being hoisted into the prison. We see the same shot again (indicating an effects shot is still to be inserted) after a close up of Ripley’s face being wiped clean in the infirmary. The shot of Spike barking inside the EEV is there, but there is no reverse angle of the facehugger. Following this is another basic matte still of the ‘crucifix’ set. In the final film this has a large piece of metal in the shape of a cross with the sun setting in the background. The dialogue is looped and remixed during the scene where Clemens and Ripley first visit the EEV wreckage to add sound effects and music in the final cut. Also Clemens line about Hicks being impaled by a “safety support” in the final cut, was originally “support beam”. It made more sense originally, but maybe they were trying to be ironic. Murphy’s dialogue when he talks to Spike was looped in the final cut. The autopsy scene plays out longer in the Workprint. In the final cut it starts with Clemens opening Newt’s morgue freezer. In the Workprint it starts with Clemens, Ripley and Kevin walking down the spiral staircase into the morgue. Clemens – Is there any particular reason…[inaudible] Ripley – Yes. I have to be sure how she died. Clemens – Look. I hate to be repetitious about such a sensitive subject, but it’s perfectly clear she drowned. Was she your daughter? Ripley – No. She wasn’t. The scene then plays out as per the final cut. Still during the autopsy scene as Andrews exits there is no line from Andrews about using the furnace to cremate Hicks and Newt, nor about the prisoners back in lockup by 2200 hours, as he and Aaron head back towards the stairs.

The funeral is significantly shorter in the workprint. Andrews speech is over the pan down from the gantry. Then Dillon’s

speech is adjusted slightly in that he only makes reference to Newt. “This body” becomes “These bodies” in the final film. The montage of Ripley, Clemens, Andrews, Golic, Rains and Boggs is not present during Andrews speech in the workprint. There is NO intercutting between the funeral and the birth of the Alien inside Spike in the Workprint. The scene where Ripley goes to the Mess Hall and talks with Dillon has extra footage prior to Ripley’s entrance. (Pan through Mess Hall) Rains (voice over) – I’m tellin’ ya, somone’s gotta do something about this. You or me. (On Boggs and Rains. Dillon approaches and sits.) Dillon – Ooookay. There’s a lotta talk going around that we got some disharmony here. You guys wanna tell what the problem is? (taps on table) Hey. Come on. Speak to me. Rains – Well alright. I don’t mind the dark. I don’t mind the bugs. I don’t mind wandering around some cold wet tunnel for a week at a time. I don’t mind anything. But I mind Golic. (Golic looks up in surprise) Dillon (to Boggs) – Is that the way you feel about it? Boggs – Yeah. The guys crazy and he smells bad. (Rains laughs) Boggs – I ain’t going out with him anymore. Dillon (to Golic) – You got anything to say for yourself? (Golic pauses then smiles inanely) Dillon – Golic’s going with you. Golic’s just another poor miserable suffering son of a bitch like you and me. Rains – ‘Cept he smells worse. Boggs – And he’s crazy. Dillon – And knock off the shit! You got a job to do. I don’t wanna hear another word about Golic. Okay? Okay? (Ripley enters as Dillon goes and sits next to David) When Clemens is filling Ripley in regarding Dillon’s religion, Dillon can be heard yelling out “Lights out! Lights out! D section secured.” Ripley doesn’t say “I’ve been out here a long time.” During Murphy’s death scene he is singing the Rolling Stones’ ‘Paint It Black’ (as scripted), rather than ‘In the Year 2525 (Exordium & Terminus)’ as he does in the final film. Possibly rights to use the song could be be secured from the publisher. The only shot we see Murphy’s mouth moving to sing the song is when he notices something in the vent. The final film features a great bit of lip syncing. In the Workprint he sings (badly) “I want a-“. In the final film he sings (just as badly) “In the year-“. This entire scene had the vocal track looped in post-production, with the added lines of Murphy calling out to Spike. When the Alien attacks Murphy it seems to be a different take and indeed different creature. Instead of the Alien’s ‘face’ whipping from right to centre, it appears to go from bottom to centre. Some reports indicate the the shots from Murphy’s POV of the Alien were originally a puppet, but later replaced by shots of Alex Gillas in the Alien suit he used throughout the film. The scene is extremely dark in both the grainy Workprint and the final film (even on DVD), so this is difficult to confirm, but what is certain is the shots are different. Fox’s Alien website has pictures of an acid spitting puppet, which also confirms a puppet was used at some point.

Aaron – See? That’s all they ever tell us. Treat us like shit. Screen: PERMISSION TO TERMINATE XENOMORPH DENIED RESCUE TEAM ARRIVING IN EIGHTEEN HOURS WITH MEDIVAC BIOLOGICAL MANAGEMENT TEAM RECOMMEND LOCKDOWN PRODCEDURES FOR INMATES’ PROTECTION REPEAT – PERMISSION TO TERMINATE XENOMORPH DENIED REPEAT – PERMISSION TO TERMINATE XENOMORPH DENIED At the door to the Toxic Waste Dump. Arthur is on guard while Golic approaches… Golic – Off and on. Me now. Arthur – What the hell you talkin’ about? Golic – Talk to me... [inaudible] Arthur – You can’t go in there dickhead. The big motherf**ker will eat you alive. (Golic looks away. Arthur follows his gaze. Golic slashes Arthur’s throat with a knife and giggles with insane glee. He opens the door.) Golic – Tell me what to do next. (He wanders into the dump.) HISS THWACK SCREAM In Dillon’s cell… Ripley – They don’t wanna kill it. We gotta figure out a way to do it before they come her. Dillon – Why do we have to kill it? You just said the Company’s coming for it. Ripley – That’s right. They want to take it back. Some sort of weapon. Dillon – What’s wrong with that? Ripley – They can’t control it. They don’t understand. It’ll kill them all. Dillon – Like I said, what’s wrong with that? Ripley – Well nothing’s wrong with that. Except a lot of innocent people will die. I thought you were a religious man. Dillon – You don’t understand do you sister? That place out there doesn’t exist for us anymore. Now we got our own little world here. It ain’t much but it’s ours. Ripley – So f**k everybody else? Dillon – Yeah. f**k them. (Morse enters) Morse – Hey, Dillon! Dillon – Yeah? Morse – I don’t mean, uh. Got a teeny weeny problem. Ripley, Dillon, Aaron and Morse find Arthur’s body and the door to the dump open. Aaron – f**king great! Miserable, crazy son of a bitch let it loose. Got what he f**king deserved. Now what are we going to do? Andrews was right, we should have kept the shithead chained up. (to Ripley) You okay? Morse – Oh piss on her! The f**king thing’s loose out there.

What are we going to do? Aaron – I said that! You’re the dumb prick that let Golic out. Dillon – Come on, cut that shit out. Aaron – Tell your f**king bozo to shape up. All this shit is his fault. The remainder of the scene plays out as per the film, except for a couple of changes. Morse’s line about “What about outside?” was originally “What about the beach?”. Originally there were a couple of scenes set on the beach outside the prison at the start of the film. Clemens was walking on the beach and saw the EEV crash and found Ripley washed up (amongst others). It seems any reference to it was dropped along with the scenes. At the very end of the scene the Workprint has Dillon saying “ Where’d she go?”. During Ripley’s bioscan there are no on-screen messages about ‘Tissue Type’, though the scan of the embryo is the same as the final film. Rather than a model shot of the prison’s satellite dish aligning, we have a crude static matte shot. Slightly different dialogue after Aaron refuses to give Ripley the communicator code… Ripley – It’s just down there. In the basement. Aaron – We don’t have a basement. (In the final film he says “This whole place is a basement”) There’s no scene with Ripley in the Basement, this was filmed very late in the production. This was to replace a scene that was aborted due to cost where Dillon and others find a bunch of prisoners cocooned (including Andrews) in the cone of silence. Dillon then starts a fire, fights the Alien and gets killed. This was all aborted at script level due to cost, but does explain why ADI were at one point building cocoons and taking moulds of Charles S Duttons face. (Cheers to James ‘F161’ for this info) The approach shot of the rescue ship is not complete (no Fiorina in background). The scene in the foundry where Dillon and Ripley rally the prisoners before the bait and chase sequence has some different and extended dialogue… Dillon - …We owe it one! It’s f**ked us up. Maybe we can get even for the others. Now, how do you want it? Morse – What the f**k are you talking about? Dillon – I’m talking about killing that big motherf**ker. Aaron – Hold it. Hold it. The rescue team’s on it’s way. We could just sit this out. Ripley – The rescue team for whom? Aaron – For us. Ripley – They just want the beast. You know that. Aaron – I don’t give a damn what they want. They’re not gunna pick us off one by one are they? Ripley – I wouldn’t be so sure. Aaron – Come on, they’re gunna take us home. Dillon – They’re not gonna take US home. Morse – Doesn’t mean we should go out and fight it! Scene continues as per film until… Morse – …Why do we have to go on some f**king suicide run? Aaron – Right!

During Ripley and Clemens post coital discussion, Ripley doesn’t tell Clemens he’s spoiling the mood. Also, Aaron’s line has been overdubbed in post production. Originally there was no “Mr Clemens” when the intercom buzzes, and he then says “Superintendent Andrews wants you to report to vent shaft 17 in the fourth quadrant, ASAP. There’s been an accident.” Responding to Clemens question he then says “You could say that. One of the prisoners got diced.” When Murphy’s death is being investigated, Andrews final line to Clemens is the same, but has been looped. After Ripley gets the flight recorder, there’s a short scene where Dillon dispatches Boggs, Rains and Golic on their foraging mission. Dillon – Golic. You light a candle for Murphy will you? Golic – I’ll light a thousand! Boggs, Rains and Golic depart. Golic - Into the dark and the machines company stores. What are you looking for? Underwear, cigarettes, deoderant. Dillon (out of earshot of the others) – Deoderant? That’s a good idea. The three close a door behind them. The scene where Andrews talks to Clemens about Ripley is quite different.

different voice from the final film. After Ripley’s line “…prior to seperation.” we cut back to the Mess Hall as Eric approaches Golic from behind. After Bishop’s line “It was with us all the way.” Golic, covered in blood, turns and grins at Eric who drops all his plates. After Ripley’s line “And they want it.” we see Clemens, Andrews, Aaron and Dillon grab Golic. One extra line from Ripley when Bishops asks her to turn him off. Ripley – You’re sure? Bishop – Do it for me. Aaron’s voice over to request everyone meet in the Mess Hall was looped and filtered for the final film. Shortly before Clemens’ death in the Infirmary, there’s a couple of minor changes to dialogue. One of Golic’s lines is extended to “They used to like me… for a while. You’re gonna die too.” One of Clemens’ lines is changed to “A boiler had blown on a fuel plant and there were 30 casualties.” When the Alien approaches Ripley in the Infirmary is nudges a trolley out of the way, while Golic’s whimpering was looped for the final film. After the Alien departs, and Ripley bolts, Golic says “Magnificent. Magnificent.”

Andrews – Is there anything I should know? [NOTE: At this point in the final cut, we cut to Ripley retrieving Bishop from the junk pile. The Workprint continues as follows.] Clemens – About what? Andrews – About the woman. Don’t play with me Mr Clemens. You spend every second you can with her. And I have my suspicions not all of your concerns are medical. Has she said anything to you? Anything about where she’s from? What her mission is? What the hell she was doing in an EEV? Clemens – She said she was part of a combat unit that came to grief. Beyond that I assume it’s all classified. I haven’t pressed her for more. Andrews – That’s all? Clemens – That’s all. Andrews – You’re sure? Clemens – Yes. Andrews – Nothing more. Clemens – No. Andrews – Get out of here.

During rumour control, one of Andrews lines is extended in regards to Boggs and Rains. “…on a routine foraging mission into the underground network.” Also there are no cuts to Ripley running to the Mess Hall during Andrews speech.

Some minor differences in the scene where Boggs and Rains are killed. The build up to Rains death is shorter in the Workprint. There is no shot of a shadow passing over barrels being knocked over, nor is there the slow tracking shot down the corridor towards a heavy set of doors with glowing red windows. After Rains is attacked his moans of “Help me! Help me!” have been overdubbed for the final cut, and after Boggs is killed there is no shot of the bloodied Alien leering at Golic before the cut.

More dialogue is audible during the set up for the plan. The voices aren’t immediately recognisable. Prisoner 1 – Come on then. For Christ’s sake don’t drop anything on this stuff. Prisoner 2 – It’s dark up here. Hand me one of those things. Prisoner 3 – Easy does it. Prisoner 4 – Easy, easy, right I’ve got it.

The scene of Ripley rewiring Bishop is intercut with scenes in the Mess Hall. Ripley presses some buttons to activate the flight recorder and we cut to Golic seated in the Mess Hall eating. After Ripley says “Why were out cryotubes ejected” we again cut to the Mess Hall and see Eric walking in from the kitchen carrying a load of plates. When Bishop repeats the Sulaco’s computer voice, it’s a

During the meeting after Andrews death, there’s some extra dialogue. Morse - …shove her head through the f**king wall! Ripley – Sounds good to me. Ripley is also seen smoking in this exchange. Aaron’s lines were looped while he’s showing Ripley the toxic waste dump. Ditto for David’s lines while they’re getting the Quinitricetyline. Ditto for Ripley and Dillon’s lines when they talk about flushing the Alien out of the air ducts and trapping it.

When Frank drops the flare into the bucket that starts the fire, Arthur is singing something before he looks up and says “buh?”, but it’s not clear what he’s saying. The explosion and fire are markedly extended in the Workprint. During shots of explosions and fire and screaming there’s the following dialogue. Dillon – Move! Move!

Ripley – Get ‘em out! Dillon – Come on, let’s go! Come on, let’s go! Move! Move it! We gotta get out of here! Come on, let’s go! Move it! Come on! (Ripley and Junior attend to one of the screaming wounded – most likely Gregor) Ripley – It’s alright! It’s alright. You’re gonna be alright. Lower him down. (Ripley and her would be rapist exchange a look) Dillon – Junior! Junior, get the sprinklers and turn them on. Ripley – Get him out of here. We gotta get him out of here. (Junior departs, stumbling in a daze of sorts) Ripley – We’re walking you out of here. (Junior continues stumbling along) Troy – Junior! Behind you! (The Alien scuttles down the wall seperating Junior from everyone else. The others are awestruck by the Alien) (Ripley grabs a flaming mop and waves it at the Alien) Ripley – Come on! Come on! (Note this short bit of Ripley was in the trailer) Junior – Come and get me, f**ker! (He runs into the dump. The others follow and Ripley closes the doors) (Pause as they listen to Junior and the Alien scream) (Previous scene continues) Dillon – Ah, shit! (He hits the sprinklers) The scene then continues as it did in the final film with the prisoners wandering through the carnage in slow mo. However at this point in the final film, Morse, Dillon, Ripley and Aaron find Arthur dead in front of an open waste dump. In the Workprint, there’s five rather lengthy scenes between the end of the fire and the finding of Arthur’s body. Here they are in order. In the prisons large multi storey meeting area… Dillon – Even for those who have fallen, this is a time of rejoicing. We salute their courage. They will live forever. Those who are dead, are not dead. They have moved up. They have moved to a higher place. (Aaron and Ripley watch from a upper storey) Aaron – Crazy bastards. Andrews used to call them Dillon’s God Squad. Keeps them out of mischief. Ripley – You’re not the religious type. Aaron – Me? Shit, no. I got a job. I think the rescue team gets here in four…five days. Six tops. They open the door. Go in there with smart guns. And kill it, right? Ripley – What have you heard from them? Aaron – Nothing much. We got a ‘Message Received’. Wait, we had something that said you were top priority. They don’t cut us in on much. We’re at the arse end of the totem pole out here. Ripley – What if they don’t want to kill it? What if they want to take it back? Aaron – Take it back? Ripley – Yeah. Aaron – You’re kidding. They’re not lunatics you know. They gotta kill it. Right? (Pause) Ripley – Right. In the Infirmary… Golic is still chained up while Morse is shaving his own head…

Golic – Please, what did I do? Just tell me what’d I do? Morse – I tell you what I’m gunna do. I’m gunna sit here and guard your arse like I’m supposed to. I don’t need f**ken trouble from Dillon. Golic – All I did was tell them about the Dragon. What it did to Boggs and Rains. I wasn’t lying. You saw it! Morse – f**kin’-A I saw it. Golic – If that thing comes in here I can’t run. I’m dead meat! Morse – It’s not gunna get in here. We got it trapped. (Pause) Golic – Then what’s the big deal. Now come on now. Please let me loose. Please? Don’t I always give you cigarettes, Morse? Morse – Yeah, yeah… Golic – Aren’t I your friend, Morse? Morse, I love you. Morse (sick of the whining) – Alright, why not. (He releases Golic) Morse – Now behave yourself. No f**king around or I’ll get nothing but shit. Golic – So where they got it? Morse – In the waste tank. They got that sucker nailed, I mean tight. (Golic picks up a fire extinguisher) Golic – I’ve got to see it again. Morse – What are you f**king talking about? (Golic whacks Morse over the head) Golic – No more cigarettes for you. In Andrews’ office… Aaron and Ripley are using the communications console… Screen: FURY 161 CLASS C PRISON UNIT 12097154 REPORT DEATH OF SUPT. ANDREWS MEDICAL OFFICER CLEMENS ELEVEN INMATES Aaron – Right, we got the first part. Now what do we say? Ripley – Tell them we trapped it. Aaron – Right. What do we call it? Ripley – A xenomorph. Aaron – Right. How do you spell it? (Ripley takes over on the keyboard) Screen: FURY 161 CLASS C PRISON UNIT 12097154 FROM NETWORK COMCON DISC WEYLAND-YUTANI – MESSAGE RECEIVED (Screen blanks) HAVE TRAPPED XENOMORPH PERMISSION TO TERMINATE Aaron – Wait a minute. We can’t kill it. We don’t have any weapons right? Ripley – Right. Screen: FURY 161 CLASS C PRISON UNIT 12097154 FROM NETWORK COMCON DISC WEYLAND-YUTANI – MESSAGE RECEIVED

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