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the unoccupied bed, and the scene ends looking ACROSS the sleeping profile of THE PATIENT in the other bed as Schaefer and his girl thump away at each other with much creaking of springs, moans, groans, giggles and the white-limbed patterns of fornication. Schaefer smiles, grunts, sleeps on. NURSE'S P.O.V.: Intern Dr. Schaefer is lying on this bed, rigid, eyes dilated, pupils staring unseeing. An I.V. tube sticks out of his naked right arm. Nurse Perez doesn't quite know what to make of the fact that Dr. Schaefer is lying on that bed with an I.V. tube sticking out of him looking dead. Frowning, she reaches out a tentative hand to shake his naked shoulder. There is, of course, no response. A terrible suspicion enters Nurse Perez's mind, and she closes her eyes and sighs a long shuddering sigh. Then she opens her eyes and, with a second and briefer sigh, reaches for Schaefer's neck to take his pulse. Clearly, the result is not encouraging. She sighs another short sigh and regards Schaefer's unblinking, dilated pupils. It's all a bit too much for her; she shuffles to the window and stares out into the gray morning where things are a little more comprehensible. Once again, she returns to the bed, regards Schaefer's death mask. She raises the bedsheet and, for one short but appreciative moment, considers Schaefer's naked body. She lets the bedsheet carefully down. She sighs again. She sighs, turns and leaves the room. With a short, irritable sigh, Mrs. Reardon abandons her paperwork and heads down the west corridor, followed by Nurses Perez and Rivers. CAMERA TRACKS as Mrs. Reardon turns to Nurse Rivers. DR. HERBERT BOCK, 53 years old, a large man, bulky, disheveled, apparently fell asleep in a chair while watching television the night before. The the airway and the ambu tube into Welbeck's mouth and pumps in air by hand. Bock massages away. She follows Morse in as, from the lobby corner, two technicians come racing a max cart and an I.V. stand before them. Behind them, a bewildered Hitchcock moves into view, trying to determine what's going on. Hitchcock looks down at the sheeted figure hunched on the bed parked in the hallway and slowly pulls the sheet off his head. William Mead stares up at him like a hunted animal. Hitchcock covers Mead's head again. If we can see anything of Welbeck through other bodies, we notice almost all his clothes have been ripped off his body. Dr. Loomis replaces Barbara. The two nursing supervisors have been getting the max cart ready, snapping up the gateleg-footrest and attaching the I.V. tube to the oxygen jar, and that to the ambu bag. Drs. Loomis, Bock and Morse struggle to lift the the nearly naked dead weight of Dr. Welbeck up from the floor and onto the max cart. Dr. Morse has picked up Drummond's chart from the bed where Welbeck had left it. CLOSE-UP of Bock trying to hoist Welbeck and looking up slowly. Bock cocks his head to him. Bock looks across to Barbara, now helping out at the max cart. She looks back at Bock. She shrugs. He shrugs. They exchange a smile. Straining under the effort, the three doctors get Welbeck off the floor. Mrs. Donovan exits into... Hitchcock silently thanks God. Welbeck's body is finally on the max cart. Nurses and doctors converge on him. Dr. Loomis sets about intubating Welbeck, and the Nursing Supervisor begins clamping the metal bands of the E.K.G. machine on each of Welbeck's extremities. While all this goes on, Bock and Barbara have picked up storms over to Miss Lebow. He strides, followed by Dr. Lagerman, into... The phone RINGS. Bock seizes it. This gives Bock pause. He blinks at Lagerman. Schaefer's naked white cadaver is stretched out on an operating table. He has been opened up and all his vital organs are being excised. It's bloody. The autopsy is being performed by DR. BREWSTER, the Resident in Pathology, dressed in surgical scrub. He knocks on the glass window of the door separating the laboratory from the operating room. Dr. Brewster turns from his gory chore. Bock makes a gesture saying, "How much longer?" Brewster raises ten blood-drenched rubber-gloved fingers. Bock turns and shuffles across the lab for the door out. He goes down... Mrs. Dunne nods. Nurse Devine makes her way silently down the sleeping doors to... Mead sleeps on. Expressionlessly, Nurse Devine extracts Mead's right arm from under the sheets, wets a swab with alcohol and rubs down the vein. The needle slides into Mead's vein. OVER THIS, we begin to hear a distant sibilant HISSING, indistinct like the leakage of a bad heart. There is also an occasional distinctly human but not quite civilized sound. CAMERA PULLS BACK SLOWLY to Nurse Devine withdrawing the needle, looking up, for she too has heard the soft, strange sounds. They emanate from behind the curtains of the other bed. Nurse Devine returns the syringe to the tray, gathers her things and pads silently around Mead's bed to Drummond's bed. With her free hand, she opens the curtains a little and stares in. When Nurse Devine draws the curtains, Barbara frowns at Nurse Devine, holds a cautioning finger to her lips and draws the curtains closed again. Nurse Devine, carrying her porcelain tray, exits. He heads for the Nurses' Station as Nurse Devine comes down the on the phones. The triage nurse takes the history of the first in a line of five people seeking admission even as she answers her phone. We watch Miss Aronovici and the other nurse and Dr. Spezio and his two interns, the two attendants -- all busy with one patient or another. ACROSS Drummond, white-uniformed, standing in the back against the filing cabinets and linens, watching the the new patients trickle and crowd in. At the Admitting Desk, a MAN in his forties is being signed in by a uniformed cop. CAMERA JUST STARES at the pageant of pain. They hurry into the Admitting Room past a nurse and into the... On screen we continue watching the scene of the overdose case treatment, as the live-action sound in the room fades behind Drummond's tale. REACTION SHOT of Drummond staring at this ceaseless panorama of pain, tears streaking down his cheeks. Drummond turns to the voice. CAMERA PULLS BACK to include the man who had been brought into the E.R. by a uniformed cop. PAN SLOWLY to Drummond who stares at the Nameless Man. In BACKGROUND the door opens and Mrs. Cushing, the lady from accounting, enters. She calls out in her annoying voice from a chart. Bock holds Drummond's coat and hat and crosses to take his arm. He finds the entranced Drummond as rigid as a statue. They both hurry out of the room. Drummond remains enmarbled in his trance. CAMERA SUDDENLY MOVES DOWN to William Mead, whose eyes now open; he has heard it all. In background, Drummond, suddenly released from his catatonic trance, heads for the armoire and extracts the white trousers of Dr. Schaefer's uniform. He puts them on, tucking in the tails of his hospital shift. He notices William Mead staring at him. William Mead onto the bed. Carefully, he twists out from under his sheet, swings his legs over the side of the bed and sits up. REVERSE ACROSS Bock at the window, pondering. With a swift lash of movement, the double tubes of a stethoscope are whipped over his head and tightened around his throat. CLOSE TWO SHOT of Bock being strangled, Drummond's face frozen in bland dementia behind him. Drummond pauses in his strangling and, releasing the poor man altogether, turns to his daughter in the doorway. CAMERA DOLLIES to include all three -- Bock recuperating; Drummond staring madly; and Barbara infuriated with her father. Drummond, abashed, stands there, a scolded schoolboy, a rawboned figure in a hospital shift, a stethoscope dangling from his right hand. The old man is slipping out of his clothes to expose a thin little body in a torn nightshirt. The old man sits back, wheezing a little. Nurse Chile smiles nicely at him and takes her leave. For a moment, Drummond lies rigidly on his bed, staring dully into the air and the old man sits with his hunched back to us. The room is silent except for his rheumy wheeze. After a moment, the old man rises and goes to the washbasin and, with some wheezing, spits into it. He shuffles back to bed. Dr. Schaefer comes into the room with a professional smile and the patient Guernsey's chart. Schaefer perches on the bed beside Guernsey and begins to take his history. CLOSE-UP of Drummond in deep shadow shows him sleeping. Drummond's eyes open and roll to the direction of the voice. DRUMMOND'S P.O.V.: Guernsey, dressed only in his hospital shift, is shuffling up and down the aisle of the room, hands clasped behind his back like a Mittel-European intellectual, head hunched forward -- a

WHAT MEDICAL CONDITION DID DR BOCK COMPLAIN OF?

IMPOTENCE

the unoccupied bed, and the scene ends looking ACROSS the sleeping profile of THE PATIENT in the other bed as Schaefer and his girl thump away at each other with much creaking of springs, moans, groans, giggles and the white-limbed patterns of fornication. Schaefer smiles, grunts, sleeps on. NURSE'S P.O.V.: Intern Dr. Schaefer is lying on this bed, rigid, eyes dilated, pupils staring unseeing. An I.V. tube sticks out of his naked right arm. Nurse Perez doesn't quite know what to make of the fact that Dr. Schaefer is lying on that bed with an I.V. tube sticking out of him looking dead. Frowning, she reaches out a tentative hand to shake his naked shoulder. There is, of course, no response. A terrible suspicion enters Nurse Perez's mind, and she closes her eyes and sighs a long shuddering sigh. Then she opens her eyes and, with a second and briefer sigh, reaches for Schaefer's neck to take his pulse. Clearly, the result is not encouraging. She sighs another short sigh and regards Schaefer's unblinking, dilated pupils. It's all a bit too much for her; she shuffles to the window and stares out into the gray morning where things are a little more comprehensible. Once again, she returns to the bed, regards Schaefer's death mask. She raises the bedsheet and, for one short but appreciative moment, considers Schaefer's naked body. She lets the bedsheet carefully down. She sighs again. She sighs, turns and leaves the room. With a short, irritable sigh, Mrs. Reardon abandons her paperwork and heads down the west corridor, followed by Nurses Perez and Rivers. CAMERA TRACKS as Mrs. Reardon turns to Nurse Rivers. DR. HERBERT BOCK, 53 years old, a large man, bulky, disheveled, apparently fell asleep in a chair while watching television the night before. The The Hospital was founded in the late 19th century, and there are still a few begrimed Victorian Bedlams and Bastilles among the buildings. Mostly though, it is Medical Modern 1971, white and chrome and lots of glass and concrete shafts and rotundas. A spanking new Community Mental Health Clinic towers among the tenements at the northern end of the complex. On the far side of First Avenue, a twenty-story apartment house with recessed balconies and picture windows to house the resident staff has just recently been completed, and next to it, eight ghetto buildings are being demolished to make way -- according to the construction company's sign -- for a new Drug Rehabilitation Center, to be completed in 1973, we should all live so long. This is where the shattering SOUNDS OF CONSTRUCTION are coming from. A block length of generators and cement and demolition machines are POUNDING, CRASHING, SCREAMING. Traffic HONKS and BRAYS up First Avenue. It is a cold spring morning -- 10:00 A.M. A 1966 station wagon pulls up to the Holly Pavilion. A tiny, fragile, white-bearded OLD MAN, almost lost in his overcoat, is helped from the rear of a station wagon and slowly led to the entrance doors by a middle-aged nurse. The shrouded body of the old man is wheeled out of the room. CAMERA STAYS on the vacated bed. PAN from bed to Schaefer, now alone in the room and regarding the empty bed with frowning interest. Schaefer is a scraggly young fellow, bespectacled, with a contemporary mess of hair and a swinging unkempt moustachio. HOLD on Schaefer. Dr. Schaefer moves for the phone on the table between the two beds. Schaefer speaks softly into the phone. FREEZE on CLOSE-UP of the beaming, lubricious Schaefer on phone as They eventually wind up on on the phones. The triage nurse takes the history of the first in a line of five people seeking admission even as she answers her phone. We watch Miss Aronovici and the other nurse and Dr. Spezio and his two interns, the two attendants -- all busy with one patient or another. ACROSS Drummond, white-uniformed, standing in the back against the filing cabinets and linens, watching the the new patients trickle and crowd in. At the Admitting Desk, a MAN in his forties is being signed in by a uniformed cop. CAMERA JUST STARES at the pageant of pain. They hurry into the Admitting Room past a nurse and into the... On screen we continue watching the scene of the overdose case treatment, as the live-action sound in the room fades behind Drummond's tale. REACTION SHOT of Drummond staring at this ceaseless panorama of pain, tears streaking down his cheeks. Drummond turns to the voice. CAMERA PULLS BACK to include the man who had been brought into the E.R. by a uniformed cop. PAN SLOWLY to Drummond who stares at the Nameless Man. In BACKGROUND the door opens and Mrs. Cushing, the lady from accounting, enters. She calls out in her annoying voice from a chart. Bock holds Drummond's coat and hat and crosses to take his arm. He finds the entranced Drummond as rigid as a statue. They both hurry out of the room. Drummond remains enmarbled in his trance. CAMERA SUDDENLY MOVES DOWN to William Mead, whose eyes now open; he has heard it all. In background, Drummond, suddenly released from his catatonic trance, heads for the armoire and extracts the white trousers of Dr. Schaefer's uniform. He puts them on, tucking in the tails of his hospital shift. He notices William Mead staring at him. William Mead the airway and the ambu tube into Welbeck's mouth and pumps in air by hand. Bock massages away. She follows Morse in as, from the lobby corner, two technicians come racing a max cart and an I.V. stand before them. Behind them, a bewildered Hitchcock moves into view, trying to determine what's going on. Hitchcock looks down at the sheeted figure hunched on the bed parked in the hallway and slowly pulls the sheet off his head. William Mead stares up at him like a hunted animal. Hitchcock covers Mead's head again. If we can see anything of Welbeck through other bodies, we notice almost all his clothes have been ripped off his body. Dr. Loomis replaces Barbara. The two nursing supervisors have been getting the max cart ready, snapping up the gateleg-footrest and attaching the I.V. tube to the oxygen jar, and that to the ambu bag. Drs. Loomis, Bock and Morse struggle to lift the the nearly naked dead weight of Dr. Welbeck up from the floor and onto the max cart. Dr. Morse has picked up Drummond's chart from the bed where Welbeck had left it. CLOSE-UP of Bock trying to hoist Welbeck and looking up slowly. Bock cocks his head to him. Bock looks across to Barbara, now helping out at the max cart. She looks back at Bock. She shrugs. He shrugs. They exchange a smile. Straining under the effort, the three doctors get Welbeck off the floor. Mrs. Donovan exits into... Hitchcock silently thanks God. Welbeck's body is finally on the max cart. Nurses and doctors converge on him. Dr. Loomis sets about intubating Welbeck, and the Nursing Supervisor begins clamping the metal bands of the E.K.G. machine on each of Welbeck's extremities. While all this goes on, Bock and Barbara have picked up trying to persuade the young woman of something. The young woman and the Indian stand absolutely still, silent, impassive. The minister is more fidgety. Bock and Brubaker, trailed by young doctors, move into the TV room. Her phone RINGS. She picks it up. To a man on line at her desk, thrusting his chart out to her. She makes her way to the door and goes out into... Facing the desk are six curtained treatment rooms, mostly open to view. Behind the desk are a supply room and another treatment room. Both are occupied, the former by a PARANOID LADY wringing her hands in a paranoid rush and listened to by a very patient young intern. ...and in the other room, a man in his thirties is being treated for some sort of head lacerations. In one treatment room, the Chief of Emergency Service, DR. SPEZIO, a man in his late thirties, along with an intern, an anesthesiologist and a nurse, is bent over a naked and comatose young black woman of eighteen, covered somewhat with a sheet. She's a junkie, being intubated, i.e. a small endotracheal tube has been inserted into her mouth. This is the most melodramatic of the varied activity here. A middle-aged man complaining of chest pains is lying clothed in another treatment room; a nurse attends him. An asthmatic middle-aged woman sits in still another room being administered her 500 mg. of amenophylene subcutaneously. The curtains on another room are drawn for privacy. On chairs in the corner sit a teenage boy with a badly sprained ankle and an elderly man bathing his hand in an enamel basin held in his lap. A young mother with a five-year-old daughter with a badly cut arm is being attended to by the back wall. The Emergency Room

WHAT AIRPORT DID BARBARA DRUMMOND BRING HER FATHER TO ESCAPE BACK TO MEXICO?

JFK

Room area to lean into the Supervisor's Office. The THIRD NURSE leans back into the Supervisor's Office to relay this information. This is apparently good news, for we hear someone saying An orderly rumbles by with an E.K.G. machine. O.R. Nursing Supervisor DOROTHY KIMBALL, a pleasant lady in her late thirties, leans out of her office to speak to one of the lounging orderlies. The orderly detaches himself from his cronies and exits. It is into this atmosphere of subdued febrility that William Mead is wheeled. Indeed, a stretcher is being wheeled out of the Holding Room. The patient is sedated and covered. As the orderly wheels her past CAMERA, we may recognize the pale, sleeping profile of Miss Campanella, the nurse who had been coshed with a sandbag not many scenes ago. A CIRCULATING NURSE comes through the glass doors, examines the chart dangling from the stretcher. The orderly wheels the silent Miss Campanella off to Operating Room Three, as Dr. Welbeck, in his natty blue suit, carrying his camel coat, turns in from the outer corridor and examines the blackboard. He goes back to... The anesthesiologist, DR. CHU, injects pentathol in the I.V. tube. The RESIDENT ANESTHESIOLOGIST trundles over the oxygen tank, takes the hypodermic syringe from Dr. Chu, who now applies the oxygen mask to the enmarbled profile of the patient. He studies the gauges and equipment around him at the head of the operating table. The room galvanizes into the swift, silent activity of a chest massage. Dr. Mallory, standing and stretching in the back of the room, turns and moves toward the off-screen patient. He begins a vigorous rhythmic massage of the patient's rib cage over the heart. Dr. Mallory thumps the patient's chest hard with his fist, and the others, likewise, go to work. The scrub nurse is applying electrode paste to the defibrillators. Dr. Mallory yanks the sheets and hospital shirt off the patient and begins very rigorous massage of the exposed ribs; we can hear one rib crack. Dr. Chu, who has been inserting some suprel and bicarbonate into the tube of the patient's I.V., is frowning at her rigid, white-capped face. He leans over to check the E.K.G. readings. Mallory straddles the patient. He's doing heavy heart massage. Dr. Chu pushes back, the operating cap on the patient's head, revealing jet-black hair. Mallory starts to massage again. Dr. Chu stares blankly at the patient's face, then looks up at the sweating surgeon, perched on the operating table, rhythmically crushing away at the patient's rib cage. Dr. Mallory, now pausing for a moment, looks up. He is beaded with sweat. He massages away. Another rib cracks. Mrs. Christie's electric pocket-pager BEEPS. Miss McGuire leans in from the secretaries' office. She hangs up, stands, goes out into... Apparently, none of these three. Mrs. Christie turns in from the outer corridor. Normal Operating Room activity flows by: patients wheeled to and from their various surgeries, surgeons checking the blackboard, staff doctors, orderlies keeping the noise level low but steady. Hitchcock shrugs helplessly. Mrs. Kimball, Mrs. Christie, Hitchcock and Sloan push through the glass doors to the crossroads of the operating rooms. Through each window, we see operating crews hacking away. They gather in anticipation outside O.R. Three and peer over each other's shoulders into the room where the operating crew is hunched over the open-heart massage. The masked circulating nurse looks up, notices the audience at the door, and gives a hopeless shrug. During this maelstrom, the phone at Mead's elbow RINGS. Mead answers it, listens, nods, returns the receiver, stand and slips out the airway and the ambu tube into Welbeck's mouth and pumps in air by hand. Bock massages away. She follows Morse in as, from the lobby corner, two technicians come racing a max cart and an I.V. stand before them. Behind them, a bewildered Hitchcock moves into view, trying to determine what's going on. Hitchcock looks down at the sheeted figure hunched on the bed parked in the hallway and slowly pulls the sheet off his head. William Mead stares up at him like a hunted animal. Hitchcock covers Mead's head again. If we can see anything of Welbeck through other bodies, we notice almost all his clothes have been ripped off his body. Dr. Loomis replaces Barbara. The two nursing supervisors have been getting the max cart ready, snapping up the gateleg-footrest and attaching the I.V. tube to the oxygen jar, and that to the ambu bag. Drs. Loomis, Bock and Morse struggle to lift the the nearly naked dead weight of Dr. Welbeck up from the floor and onto the max cart. Dr. Morse has picked up Drummond's chart from the bed where Welbeck had left it. CLOSE-UP of Bock trying to hoist Welbeck and looking up slowly. Bock cocks his head to him. Bock looks across to Barbara, now helping out at the max cart. She looks back at Bock. She shrugs. He shrugs. They exchange a smile. Straining under the effort, the three doctors get Welbeck off the floor. Mrs. Donovan exits into... Hitchcock silently thanks God. Welbeck's body is finally on the max cart. Nurses and doctors converge on him. Dr. Loomis sets about intubating Welbeck, and the Nursing Supervisor begins clamping the metal bands of the E.K.G. machine on each of Welbeck's extremities. While all this goes on, Bock and Barbara have picked up trying to persuade the young woman of something. The young woman and the Indian stand absolutely still, silent, impassive. The minister is more fidgety. Bock and Brubaker, trailed by young doctors, move into the TV room. Her phone RINGS. She picks it up. To a man on line at her desk, thrusting his chart out to her. She makes her way to the door and goes out into... Facing the desk are six curtained treatment rooms, mostly open to view. Behind the desk are a supply room and another treatment room. Both are occupied, the former by a PARANOID LADY wringing her hands in a paranoid rush and listened to by a very patient young intern. ...and in the other room, a man in his thirties is being treated for some sort of head lacerations. In one treatment room, the Chief of Emergency Service, DR. SPEZIO, a man in his late thirties, along with an intern, an anesthesiologist and a nurse, is bent over a naked and comatose young black woman of eighteen, covered somewhat with a sheet. She's a junkie, being intubated, i.e. a small endotracheal tube has been inserted into her mouth. This is the most melodramatic of the varied activity here. A middle-aged man complaining of chest pains is lying clothed in another treatment room; a nurse attends him. An asthmatic middle-aged woman sits in still another room being administered her 500 mg. of amenophylene subcutaneously. The curtains on another room are drawn for privacy. On chairs in the corner sit a teenage boy with a badly sprained ankle and an elderly man bathing his hand in an enamel basin held in his lap. A young mother with a five-year-old daughter with a badly cut arm is being attended to by the back wall. The Emergency Room on the phones. The triage nurse takes the history of the first in a line of five people seeking admission even as she answers her phone. We watch Miss Aronovici and the other nurse and Dr. Spezio and his two interns, the two attendants -- all busy with one patient or another. ACROSS Drummond, white-uniformed, standing in the back against the filing cabinets and linens, watching the the new patients trickle and crowd in. At the Admitting Desk, a MAN in his forties is being signed in by a uniformed cop. CAMERA JUST STARES at the pageant of pain. They hurry into the Admitting Room past a nurse and into the... On screen we continue watching the scene of the overdose case treatment, as the live-action sound in the room fades behind Drummond's tale. REACTION SHOT of Drummond staring at this ceaseless panorama of pain, tears streaking down his cheeks. Drummond turns to the voice. CAMERA PULLS BACK to include the man who had been brought into the E.R. by a uniformed cop. PAN SLOWLY to Drummond who stares at the Nameless Man. In BACKGROUND the door opens and Mrs. Cushing, the lady from accounting, enters. She calls out in her annoying voice from a chart. Bock holds Drummond's coat and hat and crosses to take his arm. He finds the entranced Drummond as rigid as a statue. They both hurry out of the room. Drummond remains enmarbled in his trance. CAMERA SUDDENLY MOVES DOWN to William Mead, whose eyes now open; he has heard it all. In background, Drummond, suddenly released from his catatonic trance, heads for the armoire and extracts the white trousers of Dr. Schaefer's uniform. He puts them on, tucking in the tails of his hospital shift. He notices William Mead staring at him. William Mead

HOW COULD DRUMMOND'S VICTIMS HAVE BEEN SAVED?

IF THEY RECEIVED PROMPT ACCURATE TREATMENT

the airway and the ambu tube into Welbeck's mouth and pumps in air by hand. Bock massages away. She follows Morse in as, from the lobby corner, two technicians come racing a max cart and an I.V. stand before them. Behind them, a bewildered Hitchcock moves into view, trying to determine what's going on. Hitchcock looks down at the sheeted figure hunched on the bed parked in the hallway and slowly pulls the sheet off his head. William Mead stares up at him like a hunted animal. Hitchcock covers Mead's head again. If we can see anything of Welbeck through other bodies, we notice almost all his clothes have been ripped off his body. Dr. Loomis replaces Barbara. The two nursing supervisors have been getting the max cart ready, snapping up the gateleg-footrest and attaching the I.V. tube to the oxygen jar, and that to the ambu bag. Drs. Loomis, Bock and Morse struggle to lift the the nearly naked dead weight of Dr. Welbeck up from the floor and onto the max cart. Dr. Morse has picked up Drummond's chart from the bed where Welbeck had left it. CLOSE-UP of Bock trying to hoist Welbeck and looking up slowly. Bock cocks his head to him. Bock looks across to Barbara, now helping out at the max cart. She looks back at Bock. She shrugs. He shrugs. They exchange a smile. Straining under the effort, the three doctors get Welbeck off the floor. Mrs. Donovan exits into... Hitchcock silently thanks God. Welbeck's body is finally on the max cart. Nurses and doctors converge on him. Dr. Loomis sets about intubating Welbeck, and the Nursing Supervisor begins clamping the metal bands of the E.K.G. machine on each of Welbeck's extremities. While all this goes on, Bock and Barbara have picked up the unoccupied bed, and the scene ends looking ACROSS the sleeping profile of THE PATIENT in the other bed as Schaefer and his girl thump away at each other with much creaking of springs, moans, groans, giggles and the white-limbed patterns of fornication. Schaefer smiles, grunts, sleeps on. NURSE'S P.O.V.: Intern Dr. Schaefer is lying on this bed, rigid, eyes dilated, pupils staring unseeing. An I.V. tube sticks out of his naked right arm. Nurse Perez doesn't quite know what to make of the fact that Dr. Schaefer is lying on that bed with an I.V. tube sticking out of him looking dead. Frowning, she reaches out a tentative hand to shake his naked shoulder. There is, of course, no response. A terrible suspicion enters Nurse Perez's mind, and she closes her eyes and sighs a long shuddering sigh. Then she opens her eyes and, with a second and briefer sigh, reaches for Schaefer's neck to take his pulse. Clearly, the result is not encouraging. She sighs another short sigh and regards Schaefer's unblinking, dilated pupils. It's all a bit too much for her; she shuffles to the window and stares out into the gray morning where things are a little more comprehensible. Once again, she returns to the bed, regards Schaefer's death mask. She raises the bedsheet and, for one short but appreciative moment, considers Schaefer's naked body. She lets the bedsheet carefully down. She sighs again. She sighs, turns and leaves the room. With a short, irritable sigh, Mrs. Reardon abandons her paperwork and heads down the west corridor, followed by Nurses Perez and Rivers. CAMERA TRACKS as Mrs. Reardon turns to Nurse Rivers. DR. HERBERT BOCK, 53 years old, a large man, bulky, disheveled, apparently fell asleep in a chair while watching television the night before. The of the room into the delicious silence of the... Dr. Mallory can only stare at her numbly. He turns and stares numbly at Mr. Sloan. Dr. Mallory finally explodes. Mrs. Christie stares down at the face of the dead patient on the table, who has had her chest spread wide open so that the organs are exposed. He picks up the suit lying on the bed. His eyes are caught by a white doctor's uniform hanging in the armoire along with the suits and overcoats of the two patients in the room. He bends over to peer at the nameplate over the breast pocket. He turns to her again. They both look away. She gathers her raincoat and goes. Bock follows her out into the... Barbara has continued walking. Bock starts to follow her. Bock turns back to Lagerman. Barbara is disappearing into an elevator. Bock starts after her, then turns back to Lagerman. They hurry down the corridor to the elevators. Elevator doors open. A nurse and visitor get out. Bock and Lagerman go into... The elevator stops at the seventh floor. The doors open and Bock and Lagerman stroll into... In the background, the orderly and aid finish tucking in William Mead and exit, wheeling their creaking stretcher out. The room is shockingly silent. Bock goes to the window and frowns in thought. HOLD ACROSS the patient Drummond, on Bock in the background at the window with his back to us. Suddenly, Drummond's eyes open. He lies rigid, his eyes staring dementedly into the air above him. Slowly, his left hand reaches out and carefully withdraws the catheter from his bladder, lays it on the white sheet beside him, and silently reaches over to withdraw the I.V. needle from his right arm. He lets the needle dangle, dripping exits into... A guttural noise indicates yes. Miss Lebow pulls up a chair, opens her folder. She places a sheet of paper on the desk in front of Bock. He tries to give his attention to it. Bock obviously isn't up to all this. He waves a limp hand to stop Miss Lebow's morning report. He lumbers across the room and out into... The doctor is obviously in. He can be seen through the open door sitting at his desk writing in a notebook. Bock leans in. Bock goes in, closes the door behind himself. Indeed, he does not. He is horrified by the fact his eyes are wet and he is verging on tears. He turns away quickly. He starts for the door. Before Einhorn can say a word, he slips away and disappears into his own office. A door CLICKS open behind him, and without looking up, he waves briefly to whoever has entered. CAMERA DOLLIES to FULL SHOT of Ives frowning over his notes. We are suddenly conscious of a white-uniformed presence behind him. We know it's medical personnel, but we can't see the face. Ives starts to turn to the presence behind him, when suddenly a small hospital sandbag is whipped down on his head, and he slumps forward, his forehead thumping against the black surface of the lab table. The doctors move off toward the solarium on the east corridor overlooking the river. They pass a curious quartet of people consisting of a very handsome YOUNG WOMAN in her late twenties in an out-of-fashion miniskirt (She has great legs, long and tanned.); an ELDERLY MAN, uncomfortable in city clothes and unmistakably an INDIAN; a tall overcoated man in his forties wearing a MINISTER's white collar; and a DISTINGUISHED MAN dressed in fashionable gray who is storms over to Miss Lebow. He strides, followed by Dr. Lagerman, into... The phone RINGS. Bock seizes it. This gives Bock pause. He blinks at Lagerman. Schaefer's naked white cadaver is stretched out on an operating table. He has been opened up and all his vital organs are being excised. It's bloody. The autopsy is being performed by DR. BREWSTER, the Resident in Pathology, dressed in surgical scrub. He knocks on the glass window of the door separating the laboratory from the operating room. Dr. Brewster turns from his gory chore. Bock makes a gesture saying, "How much longer?" Brewster raises ten blood-drenched rubber-gloved fingers. Bock turns and shuffles across the lab for the door out. He goes down... Mrs. Dunne nods. Nurse Devine makes her way silently down the sleeping doors to... Mead sleeps on. Expressionlessly, Nurse Devine extracts Mead's right arm from under the sheets, wets a swab with alcohol and rubs down the vein. The needle slides into Mead's vein. OVER THIS, we begin to hear a distant sibilant HISSING, indistinct like the leakage of a bad heart. There is also an occasional distinctly human but not quite civilized sound. CAMERA PULLS BACK SLOWLY to Nurse Devine withdrawing the needle, looking up, for she too has heard the soft, strange sounds. They emanate from behind the curtains of the other bed. Nurse Devine returns the syringe to the tray, gathers her things and pads silently around Mead's bed to Drummond's bed. With her free hand, she opens the curtains a little and stares in. When Nurse Devine draws the curtains, Barbara frowns at Nurse Devine, holds a cautioning finger to her lips and draws the curtains closed again. Nurse Devine, carrying her porcelain tray, exits. He heads for the Nurses' Station as Nurse Devine comes down the

What was Dr Bock position?

Chief of Medicine

the unoccupied bed, and the scene ends looking ACROSS the sleeping profile of THE PATIENT in the other bed as Schaefer and his girl thump away at each other with much creaking of springs, moans, groans, giggles and the white-limbed patterns of fornication. Schaefer smiles, grunts, sleeps on. NURSE'S P.O.V.: Intern Dr. Schaefer is lying on this bed, rigid, eyes dilated, pupils staring unseeing. An I.V. tube sticks out of his naked right arm. Nurse Perez doesn't quite know what to make of the fact that Dr. Schaefer is lying on that bed with an I.V. tube sticking out of him looking dead. Frowning, she reaches out a tentative hand to shake his naked shoulder. There is, of course, no response. A terrible suspicion enters Nurse Perez's mind, and she closes her eyes and sighs a long shuddering sigh. Then she opens her eyes and, with a second and briefer sigh, reaches for Schaefer's neck to take his pulse. Clearly, the result is not encouraging. She sighs another short sigh and regards Schaefer's unblinking, dilated pupils. It's all a bit too much for her; she shuffles to the window and stares out into the gray morning where things are a little more comprehensible. Once again, she returns to the bed, regards Schaefer's death mask. She raises the bedsheet and, for one short but appreciative moment, considers Schaefer's naked body. She lets the bedsheet carefully down. She sighs again. She sighs, turns and leaves the room. With a short, irritable sigh, Mrs. Reardon abandons her paperwork and heads down the west corridor, followed by Nurses Perez and Rivers. CAMERA TRACKS as Mrs. Reardon turns to Nurse Rivers. DR. HERBERT BOCK, 53 years old, a large man, bulky, disheveled, apparently fell asleep in a chair while watching television the night before. The the airway and the ambu tube into Welbeck's mouth and pumps in air by hand. Bock massages away. She follows Morse in as, from the lobby corner, two technicians come racing a max cart and an I.V. stand before them. Behind them, a bewildered Hitchcock moves into view, trying to determine what's going on. Hitchcock looks down at the sheeted figure hunched on the bed parked in the hallway and slowly pulls the sheet off his head. William Mead stares up at him like a hunted animal. Hitchcock covers Mead's head again. If we can see anything of Welbeck through other bodies, we notice almost all his clothes have been ripped off his body. Dr. Loomis replaces Barbara. The two nursing supervisors have been getting the max cart ready, snapping up the gateleg-footrest and attaching the I.V. tube to the oxygen jar, and that to the ambu bag. Drs. Loomis, Bock and Morse struggle to lift the the nearly naked dead weight of Dr. Welbeck up from the floor and onto the max cart. Dr. Morse has picked up Drummond's chart from the bed where Welbeck had left it. CLOSE-UP of Bock trying to hoist Welbeck and looking up slowly. Bock cocks his head to him. Bock looks across to Barbara, now helping out at the max cart. She looks back at Bock. She shrugs. He shrugs. They exchange a smile. Straining under the effort, the three doctors get Welbeck off the floor. Mrs. Donovan exits into... Hitchcock silently thanks God. Welbeck's body is finally on the max cart. Nurses and doctors converge on him. Dr. Loomis sets about intubating Welbeck, and the Nursing Supervisor begins clamping the metal bands of the E.K.G. machine on each of Welbeck's extremities. While all this goes on, Bock and Barbara have picked up exits into... A guttural noise indicates yes. Miss Lebow pulls up a chair, opens her folder. She places a sheet of paper on the desk in front of Bock. He tries to give his attention to it. Bock obviously isn't up to all this. He waves a limp hand to stop Miss Lebow's morning report. He lumbers across the room and out into... The doctor is obviously in. He can be seen through the open door sitting at his desk writing in a notebook. Bock leans in. Bock goes in, closes the door behind himself. Indeed, he does not. He is horrified by the fact his eyes are wet and he is verging on tears. He turns away quickly. He starts for the door. Before Einhorn can say a word, he slips away and disappears into his own office. A door CLICKS open behind him, and without looking up, he waves briefly to whoever has entered. CAMERA DOLLIES to FULL SHOT of Ives frowning over his notes. We are suddenly conscious of a white-uniformed presence behind him. We know it's medical personnel, but we can't see the face. Ives starts to turn to the presence behind him, when suddenly a small hospital sandbag is whipped down on his head, and he slumps forward, his forehead thumping against the black surface of the lab table. The doctors move off toward the solarium on the east corridor overlooking the river. They pass a curious quartet of people consisting of a very handsome YOUNG WOMAN in her late twenties in an out-of-fashion miniskirt (She has great legs, long and tanned.); an ELDERLY MAN, uncomfortable in city clothes and unmistakably an INDIAN; a tall overcoated man in his forties wearing a MINISTER's white collar; and a DISTINGUISHED MAN dressed in fashionable gray who is of the room into the delicious silence of the... Dr. Mallory can only stare at her numbly. He turns and stares numbly at Mr. Sloan. Dr. Mallory finally explodes. Mrs. Christie stares down at the face of the dead patient on the table, who has had her chest spread wide open so that the organs are exposed. He picks up the suit lying on the bed. His eyes are caught by a white doctor's uniform hanging in the armoire along with the suits and overcoats of the two patients in the room. He bends over to peer at the nameplate over the breast pocket. He turns to her again. They both look away. She gathers her raincoat and goes. Bock follows her out into the... Barbara has continued walking. Bock starts to follow her. Bock turns back to Lagerman. Barbara is disappearing into an elevator. Bock starts after her, then turns back to Lagerman. They hurry down the corridor to the elevators. Elevator doors open. A nurse and visitor get out. Bock and Lagerman go into... The elevator stops at the seventh floor. The doors open and Bock and Lagerman stroll into... In the background, the orderly and aid finish tucking in William Mead and exit, wheeling their creaking stretcher out. The room is shockingly silent. Bock goes to the window and frowns in thought. HOLD ACROSS the patient Drummond, on Bock in the background at the window with his back to us. Suddenly, Drummond's eyes open. He lies rigid, his eyes staring dementedly into the air above him. Slowly, his left hand reaches out and carefully withdraws the catheter from his bladder, lays it on the white sheet beside him, and silently reaches over to withdraw the I.V. needle from his right arm. He lets the needle dangle, dripping trying to persuade the young woman of something. The young woman and the Indian stand absolutely still, silent, impassive. The minister is more fidgety. Bock and Brubaker, trailed by young doctors, move into the TV room. Her phone RINGS. She picks it up. To a man on line at her desk, thrusting his chart out to her. She makes her way to the door and goes out into... Facing the desk are six curtained treatment rooms, mostly open to view. Behind the desk are a supply room and another treatment room. Both are occupied, the former by a PARANOID LADY wringing her hands in a paranoid rush and listened to by a very patient young intern. ...and in the other room, a man in his thirties is being treated for some sort of head lacerations. In one treatment room, the Chief of Emergency Service, DR. SPEZIO, a man in his late thirties, along with an intern, an anesthesiologist and a nurse, is bent over a naked and comatose young black woman of eighteen, covered somewhat with a sheet. She's a junkie, being intubated, i.e. a small endotracheal tube has been inserted into her mouth. This is the most melodramatic of the varied activity here. A middle-aged man complaining of chest pains is lying clothed in another treatment room; a nurse attends him. An asthmatic middle-aged woman sits in still another room being administered her 500 mg. of amenophylene subcutaneously. The curtains on another room are drawn for privacy. On chairs in the corner sit a teenage boy with a badly sprained ankle and an elderly man bathing his hand in an enamel basin held in his lap. A young mother with a five-year-old daughter with a badly cut arm is being attended to by the back wall. The Emergency Room

Where did Dr Bock worked?

Manhattan teaching hospital

Room area to lean into the Supervisor's Office. The THIRD NURSE leans back into the Supervisor's Office to relay this information. This is apparently good news, for we hear someone saying An orderly rumbles by with an E.K.G. machine. O.R. Nursing Supervisor DOROTHY KIMBALL, a pleasant lady in her late thirties, leans out of her office to speak to one of the lounging orderlies. The orderly detaches himself from his cronies and exits. It is into this atmosphere of subdued febrility that William Mead is wheeled. Indeed, a stretcher is being wheeled out of the Holding Room. The patient is sedated and covered. As the orderly wheels her past CAMERA, we may recognize the pale, sleeping profile of Miss Campanella, the nurse who had been coshed with a sandbag not many scenes ago. A CIRCULATING NURSE comes through the glass doors, examines the chart dangling from the stretcher. The orderly wheels the silent Miss Campanella off to Operating Room Three, as Dr. Welbeck, in his natty blue suit, carrying his camel coat, turns in from the outer corridor and examines the blackboard. He goes back to... The anesthesiologist, DR. CHU, injects pentathol in the I.V. tube. The RESIDENT ANESTHESIOLOGIST trundles over the oxygen tank, takes the hypodermic syringe from Dr. Chu, who now applies the oxygen mask to the enmarbled profile of the patient. He studies the gauges and equipment around him at the head of the operating table. The room galvanizes into the swift, silent activity of a chest massage. Dr. Mallory, standing and stretching in the back of the room, turns and moves toward the off-screen patient. He begins a vigorous rhythmic massage of the patient's rib cage over the heart. Dr. Mallory thumps the patient's chest hard with his fist, and the others, likewise, go to work. The scrub nurse is applying electrode paste to the defibrillators. Dr. Mallory yanks the sheets and hospital shirt off the patient and begins very rigorous massage of the exposed ribs; we can hear one rib crack. Dr. Chu, who has been inserting some suprel and bicarbonate into the tube of the patient's I.V., is frowning at her rigid, white-capped face. He leans over to check the E.K.G. readings. Mallory straddles the patient. He's doing heavy heart massage. Dr. Chu pushes back, the operating cap on the patient's head, revealing jet-black hair. Mallory starts to massage again. Dr. Chu stares blankly at the patient's face, then looks up at the sweating surgeon, perched on the operating table, rhythmically crushing away at the patient's rib cage. Dr. Mallory, now pausing for a moment, looks up. He is beaded with sweat. He massages away. Another rib cracks. Mrs. Christie's electric pocket-pager BEEPS. Miss McGuire leans in from the secretaries' office. She hangs up, stands, goes out into... Apparently, none of these three. Mrs. Christie turns in from the outer corridor. Normal Operating Room activity flows by: patients wheeled to and from their various surgeries, surgeons checking the blackboard, staff doctors, orderlies keeping the noise level low but steady. Hitchcock shrugs helplessly. Mrs. Kimball, Mrs. Christie, Hitchcock and Sloan push through the glass doors to the crossroads of the operating rooms. Through each window, we see operating crews hacking away. They gather in anticipation outside O.R. Three and peer over each other's shoulders into the room where the operating crew is hunched over the open-heart massage. The masked circulating nurse looks up, notices the audience at the door, and gives a hopeless shrug. During this maelstrom, the phone at Mead's elbow RINGS. Mead answers it, listens, nods, returns the receiver, stand and slips out on the phones. The triage nurse takes the history of the first in a line of five people seeking admission even as she answers her phone. We watch Miss Aronovici and the other nurse and Dr. Spezio and his two interns, the two attendants -- all busy with one patient or another. ACROSS Drummond, white-uniformed, standing in the back against the filing cabinets and linens, watching the the new patients trickle and crowd in. At the Admitting Desk, a MAN in his forties is being signed in by a uniformed cop. CAMERA JUST STARES at the pageant of pain. They hurry into the Admitting Room past a nurse and into the... On screen we continue watching the scene of the overdose case treatment, as the live-action sound in the room fades behind Drummond's tale. REACTION SHOT of Drummond staring at this ceaseless panorama of pain, tears streaking down his cheeks. Drummond turns to the voice. CAMERA PULLS BACK to include the man who had been brought into the E.R. by a uniformed cop. PAN SLOWLY to Drummond who stares at the Nameless Man. In BACKGROUND the door opens and Mrs. Cushing, the lady from accounting, enters. She calls out in her annoying voice from a chart. Bock holds Drummond's coat and hat and crosses to take his arm. He finds the entranced Drummond as rigid as a statue. They both hurry out of the room. Drummond remains enmarbled in his trance. CAMERA SUDDENLY MOVES DOWN to William Mead, whose eyes now open; he has heard it all. In background, Drummond, suddenly released from his catatonic trance, heads for the armoire and extracts the white trousers of Dr. Schaefer's uniform. He puts them on, tucking in the tails of his hospital shift. He notices William Mead staring at him. William Mead trying to persuade the young woman of something. The young woman and the Indian stand absolutely still, silent, impassive. The minister is more fidgety. Bock and Brubaker, trailed by young doctors, move into the TV room. Her phone RINGS. She picks it up. To a man on line at her desk, thrusting his chart out to her. She makes her way to the door and goes out into... Facing the desk are six curtained treatment rooms, mostly open to view. Behind the desk are a supply room and another treatment room. Both are occupied, the former by a PARANOID LADY wringing her hands in a paranoid rush and listened to by a very patient young intern. ...and in the other room, a man in his thirties is being treated for some sort of head lacerations. In one treatment room, the Chief of Emergency Service, DR. SPEZIO, a man in his late thirties, along with an intern, an anesthesiologist and a nurse, is bent over a naked and comatose young black woman of eighteen, covered somewhat with a sheet. She's a junkie, being intubated, i.e. a small endotracheal tube has been inserted into her mouth. This is the most melodramatic of the varied activity here. A middle-aged man complaining of chest pains is lying clothed in another treatment room; a nurse attends him. An asthmatic middle-aged woman sits in still another room being administered her 500 mg. of amenophylene subcutaneously. The curtains on another room are drawn for privacy. On chairs in the corner sit a teenage boy with a badly sprained ankle and an elderly man bathing his hand in an enamel basin held in his lap. A young mother with a five-year-old daughter with a badly cut arm is being attended to by the back wall. The Emergency Room the airway and the ambu tube into Welbeck's mouth and pumps in air by hand. Bock massages away. She follows Morse in as, from the lobby corner, two technicians come racing a max cart and an I.V. stand before them. Behind them, a bewildered Hitchcock moves into view, trying to determine what's going on. Hitchcock looks down at the sheeted figure hunched on the bed parked in the hallway and slowly pulls the sheet off his head. William Mead stares up at him like a hunted animal. Hitchcock covers Mead's head again. If we can see anything of Welbeck through other bodies, we notice almost all his clothes have been ripped off his body. Dr. Loomis replaces Barbara. The two nursing supervisors have been getting the max cart ready, snapping up the gateleg-footrest and attaching the I.V. tube to the oxygen jar, and that to the ambu bag. Drs. Loomis, Bock and Morse struggle to lift the the nearly naked dead weight of Dr. Welbeck up from the floor and onto the max cart. Dr. Morse has picked up Drummond's chart from the bed where Welbeck had left it. CLOSE-UP of Bock trying to hoist Welbeck and looking up slowly. Bock cocks his head to him. Bock looks across to Barbara, now helping out at the max cart. She looks back at Bock. She shrugs. He shrugs. They exchange a smile. Straining under the effort, the three doctors get Welbeck off the floor. Mrs. Donovan exits into... Hitchcock silently thanks God. Welbeck's body is finally on the max cart. Nurses and doctors converge on him. Dr. Loomis sets about intubating Welbeck, and the Nursing Supervisor begins clamping the metal bands of the E.K.G. machine on each of Welbeck's extremities. While all this goes on, Bock and Barbara have picked up

What was the incident the hospital was dealing with?

The unexplain deaths of two doctors and a nurse.

Room area to lean into the Supervisor's Office. The THIRD NURSE leans back into the Supervisor's Office to relay this information. This is apparently good news, for we hear someone saying An orderly rumbles by with an E.K.G. machine. O.R. Nursing Supervisor DOROTHY KIMBALL, a pleasant lady in her late thirties, leans out of her office to speak to one of the lounging orderlies. The orderly detaches himself from his cronies and exits. It is into this atmosphere of subdued febrility that William Mead is wheeled. Indeed, a stretcher is being wheeled out of the Holding Room. The patient is sedated and covered. As the orderly wheels her past CAMERA, we may recognize the pale, sleeping profile of Miss Campanella, the nurse who had been coshed with a sandbag not many scenes ago. A CIRCULATING NURSE comes through the glass doors, examines the chart dangling from the stretcher. The orderly wheels the silent Miss Campanella off to Operating Room Three, as Dr. Welbeck, in his natty blue suit, carrying his camel coat, turns in from the outer corridor and examines the blackboard. He goes back to... The anesthesiologist, DR. CHU, injects pentathol in the I.V. tube. The RESIDENT ANESTHESIOLOGIST trundles over the oxygen tank, takes the hypodermic syringe from Dr. Chu, who now applies the oxygen mask to the enmarbled profile of the patient. He studies the gauges and equipment around him at the head of the operating table. The room galvanizes into the swift, silent activity of a chest massage. Dr. Mallory, standing and stretching in the back of the room, turns and moves toward the off-screen patient. He begins a vigorous rhythmic massage of the patient's rib cage over the heart. Dr. Mallory thumps the patient's chest hard with his fist, and the others, likewise, go to work. The scrub nurse is applying electrode paste to the defibrillators. Dr. Mallory yanks the sheets and hospital shirt off the patient and begins very rigorous massage of the exposed ribs; we can hear one rib crack. Dr. Chu, who has been inserting some suprel and bicarbonate into the tube of the patient's I.V., is frowning at her rigid, white-capped face. He leans over to check the E.K.G. readings. Mallory straddles the patient. He's doing heavy heart massage. Dr. Chu pushes back, the operating cap on the patient's head, revealing jet-black hair. Mallory starts to massage again. Dr. Chu stares blankly at the patient's face, then looks up at the sweating surgeon, perched on the operating table, rhythmically crushing away at the patient's rib cage. Dr. Mallory, now pausing for a moment, looks up. He is beaded with sweat. He massages away. Another rib cracks. Mrs. Christie's electric pocket-pager BEEPS. Miss McGuire leans in from the secretaries' office. She hangs up, stands, goes out into... Apparently, none of these three. Mrs. Christie turns in from the outer corridor. Normal Operating Room activity flows by: patients wheeled to and from their various surgeries, surgeons checking the blackboard, staff doctors, orderlies keeping the noise level low but steady. Hitchcock shrugs helplessly. Mrs. Kimball, Mrs. Christie, Hitchcock and Sloan push through the glass doors to the crossroads of the operating rooms. Through each window, we see operating crews hacking away. They gather in anticipation outside O.R. Three and peer over each other's shoulders into the room where the operating crew is hunched over the open-heart massage. The masked circulating nurse looks up, notices the audience at the door, and gives a hopeless shrug. During this maelstrom, the phone at Mead's elbow RINGS. Mead answers it, listens, nods, returns the receiver, stand and slips out on the phones. The triage nurse takes the history of the first in a line of five people seeking admission even as she answers her phone. We watch Miss Aronovici and the other nurse and Dr. Spezio and his two interns, the two attendants -- all busy with one patient or another. ACROSS Drummond, white-uniformed, standing in the back against the filing cabinets and linens, watching the the new patients trickle and crowd in. At the Admitting Desk, a MAN in his forties is being signed in by a uniformed cop. CAMERA JUST STARES at the pageant of pain. They hurry into the Admitting Room past a nurse and into the... On screen we continue watching the scene of the overdose case treatment, as the live-action sound in the room fades behind Drummond's tale. REACTION SHOT of Drummond staring at this ceaseless panorama of pain, tears streaking down his cheeks. Drummond turns to the voice. CAMERA PULLS BACK to include the man who had been brought into the E.R. by a uniformed cop. PAN SLOWLY to Drummond who stares at the Nameless Man. In BACKGROUND the door opens and Mrs. Cushing, the lady from accounting, enters. She calls out in her annoying voice from a chart. Bock holds Drummond's coat and hat and crosses to take his arm. He finds the entranced Drummond as rigid as a statue. They both hurry out of the room. Drummond remains enmarbled in his trance. CAMERA SUDDENLY MOVES DOWN to William Mead, whose eyes now open; he has heard it all. In background, Drummond, suddenly released from his catatonic trance, heads for the armoire and extracts the white trousers of Dr. Schaefer's uniform. He puts them on, tucking in the tails of his hospital shift. He notices William Mead staring at him. William Mead the airway and the ambu tube into Welbeck's mouth and pumps in air by hand. Bock massages away. She follows Morse in as, from the lobby corner, two technicians come racing a max cart and an I.V. stand before them. Behind them, a bewildered Hitchcock moves into view, trying to determine what's going on. Hitchcock looks down at the sheeted figure hunched on the bed parked in the hallway and slowly pulls the sheet off his head. William Mead stares up at him like a hunted animal. Hitchcock covers Mead's head again. If we can see anything of Welbeck through other bodies, we notice almost all his clothes have been ripped off his body. Dr. Loomis replaces Barbara. The two nursing supervisors have been getting the max cart ready, snapping up the gateleg-footrest and attaching the I.V. tube to the oxygen jar, and that to the ambu bag. Drs. Loomis, Bock and Morse struggle to lift the the nearly naked dead weight of Dr. Welbeck up from the floor and onto the max cart. Dr. Morse has picked up Drummond's chart from the bed where Welbeck had left it. CLOSE-UP of Bock trying to hoist Welbeck and looking up slowly. Bock cocks his head to him. Bock looks across to Barbara, now helping out at the max cart. She looks back at Bock. She shrugs. He shrugs. They exchange a smile. Straining under the effort, the three doctors get Welbeck off the floor. Mrs. Donovan exits into... Hitchcock silently thanks God. Welbeck's body is finally on the max cart. Nurses and doctors converge on him. Dr. Loomis sets about intubating Welbeck, and the Nursing Supervisor begins clamping the metal bands of the E.K.G. machine on each of Welbeck's extremities. While all this goes on, Bock and Barbara have picked up trying to persuade the young woman of something. The young woman and the Indian stand absolutely still, silent, impassive. The minister is more fidgety. Bock and Brubaker, trailed by young doctors, move into the TV room. Her phone RINGS. She picks it up. To a man on line at her desk, thrusting his chart out to her. She makes her way to the door and goes out into... Facing the desk are six curtained treatment rooms, mostly open to view. Behind the desk are a supply room and another treatment room. Both are occupied, the former by a PARANOID LADY wringing her hands in a paranoid rush and listened to by a very patient young intern. ...and in the other room, a man in his thirties is being treated for some sort of head lacerations. In one treatment room, the Chief of Emergency Service, DR. SPEZIO, a man in his late thirties, along with an intern, an anesthesiologist and a nurse, is bent over a naked and comatose young black woman of eighteen, covered somewhat with a sheet. She's a junkie, being intubated, i.e. a small endotracheal tube has been inserted into her mouth. This is the most melodramatic of the varied activity here. A middle-aged man complaining of chest pains is lying clothed in another treatment room; a nurse attends him. An asthmatic middle-aged woman sits in still another room being administered her 500 mg. of amenophylene subcutaneously. The curtains on another room are drawn for privacy. On chairs in the corner sit a teenage boy with a badly sprained ankle and an elderly man bathing his hand in an enamel basin held in his lap. A young mother with a five-year-old daughter with a badly cut arm is being attended to by the back wall. The Emergency Room

What did the occupants of the building next to the hospital demanded?

They wanted a replacement housing

the unoccupied bed, and the scene ends looking ACROSS the sleeping profile of THE PATIENT in the other bed as Schaefer and his girl thump away at each other with much creaking of springs, moans, groans, giggles and the white-limbed patterns of fornication. Schaefer smiles, grunts, sleeps on. NURSE'S P.O.V.: Intern Dr. Schaefer is lying on this bed, rigid, eyes dilated, pupils staring unseeing. An I.V. tube sticks out of his naked right arm. Nurse Perez doesn't quite know what to make of the fact that Dr. Schaefer is lying on that bed with an I.V. tube sticking out of him looking dead. Frowning, she reaches out a tentative hand to shake his naked shoulder. There is, of course, no response. A terrible suspicion enters Nurse Perez's mind, and she closes her eyes and sighs a long shuddering sigh. Then she opens her eyes and, with a second and briefer sigh, reaches for Schaefer's neck to take his pulse. Clearly, the result is not encouraging. She sighs another short sigh and regards Schaefer's unblinking, dilated pupils. It's all a bit too much for her; she shuffles to the window and stares out into the gray morning where things are a little more comprehensible. Once again, she returns to the bed, regards Schaefer's death mask. She raises the bedsheet and, for one short but appreciative moment, considers Schaefer's naked body. She lets the bedsheet carefully down. She sighs again. She sighs, turns and leaves the room. With a short, irritable sigh, Mrs. Reardon abandons her paperwork and heads down the west corridor, followed by Nurses Perez and Rivers. CAMERA TRACKS as Mrs. Reardon turns to Nurse Rivers. DR. HERBERT BOCK, 53 years old, a large man, bulky, disheveled, apparently fell asleep in a chair while watching television the night before. The the airway and the ambu tube into Welbeck's mouth and pumps in air by hand. Bock massages away. She follows Morse in as, from the lobby corner, two technicians come racing a max cart and an I.V. stand before them. Behind them, a bewildered Hitchcock moves into view, trying to determine what's going on. Hitchcock looks down at the sheeted figure hunched on the bed parked in the hallway and slowly pulls the sheet off his head. William Mead stares up at him like a hunted animal. Hitchcock covers Mead's head again. If we can see anything of Welbeck through other bodies, we notice almost all his clothes have been ripped off his body. Dr. Loomis replaces Barbara. The two nursing supervisors have been getting the max cart ready, snapping up the gateleg-footrest and attaching the I.V. tube to the oxygen jar, and that to the ambu bag. Drs. Loomis, Bock and Morse struggle to lift the the nearly naked dead weight of Dr. Welbeck up from the floor and onto the max cart. Dr. Morse has picked up Drummond's chart from the bed where Welbeck had left it. CLOSE-UP of Bock trying to hoist Welbeck and looking up slowly. Bock cocks his head to him. Bock looks across to Barbara, now helping out at the max cart. She looks back at Bock. She shrugs. He shrugs. They exchange a smile. Straining under the effort, the three doctors get Welbeck off the floor. Mrs. Donovan exits into... Hitchcock silently thanks God. Welbeck's body is finally on the max cart. Nurses and doctors converge on him. Dr. Loomis sets about intubating Welbeck, and the Nursing Supervisor begins clamping the metal bands of the E.K.G. machine on each of Welbeck's extremities. While all this goes on, Bock and Barbara have picked up storms over to Miss Lebow. He strides, followed by Dr. Lagerman, into... The phone RINGS. Bock seizes it. This gives Bock pause. He blinks at Lagerman. Schaefer's naked white cadaver is stretched out on an operating table. He has been opened up and all his vital organs are being excised. It's bloody. The autopsy is being performed by DR. BREWSTER, the Resident in Pathology, dressed in surgical scrub. He knocks on the glass window of the door separating the laboratory from the operating room. Dr. Brewster turns from his gory chore. Bock makes a gesture saying, "How much longer?" Brewster raises ten blood-drenched rubber-gloved fingers. Bock turns and shuffles across the lab for the door out. He goes down... Mrs. Dunne nods. Nurse Devine makes her way silently down the sleeping doors to... Mead sleeps on. Expressionlessly, Nurse Devine extracts Mead's right arm from under the sheets, wets a swab with alcohol and rubs down the vein. The needle slides into Mead's vein. OVER THIS, we begin to hear a distant sibilant HISSING, indistinct like the leakage of a bad heart. There is also an occasional distinctly human but not quite civilized sound. CAMERA PULLS BACK SLOWLY to Nurse Devine withdrawing the needle, looking up, for she too has heard the soft, strange sounds. They emanate from behind the curtains of the other bed. Nurse Devine returns the syringe to the tray, gathers her things and pads silently around Mead's bed to Drummond's bed. With her free hand, she opens the curtains a little and stares in. When Nurse Devine draws the curtains, Barbara frowns at Nurse Devine, holds a cautioning finger to her lips and draws the curtains closed again. Nurse Devine, carrying her porcelain tray, exits. He heads for the Nurses' Station as Nurse Devine comes down the The Hospital was founded in the late 19th century, and there are still a few begrimed Victorian Bedlams and Bastilles among the buildings. Mostly though, it is Medical Modern 1971, white and chrome and lots of glass and concrete shafts and rotundas. A spanking new Community Mental Health Clinic towers among the tenements at the northern end of the complex. On the far side of First Avenue, a twenty-story apartment house with recessed balconies and picture windows to house the resident staff has just recently been completed, and next to it, eight ghetto buildings are being demolished to make way -- according to the construction company's sign -- for a new Drug Rehabilitation Center, to be completed in 1973, we should all live so long. This is where the shattering SOUNDS OF CONSTRUCTION are coming from. A block length of generators and cement and demolition machines are POUNDING, CRASHING, SCREAMING. Traffic HONKS and BRAYS up First Avenue. It is a cold spring morning -- 10:00 A.M. A 1966 station wagon pulls up to the Holly Pavilion. A tiny, fragile, white-bearded OLD MAN, almost lost in his overcoat, is helped from the rear of a station wagon and slowly led to the entrance doors by a middle-aged nurse. The shrouded body of the old man is wheeled out of the room. CAMERA STAYS on the vacated bed. PAN from bed to Schaefer, now alone in the room and regarding the empty bed with frowning interest. Schaefer is a scraggly young fellow, bespectacled, with a contemporary mess of hair and a swinging unkempt moustachio. HOLD on Schaefer. Dr. Schaefer moves for the phone on the table between the two beds. Schaefer speaks softly into the phone. FREEZE on CLOSE-UP of the beaming, lubricious Schaefer on phone as They eventually wind up on of the room into the delicious silence of the... Dr. Mallory can only stare at her numbly. He turns and stares numbly at Mr. Sloan. Dr. Mallory finally explodes. Mrs. Christie stares down at the face of the dead patient on the table, who has had her chest spread wide open so that the organs are exposed. He picks up the suit lying on the bed. His eyes are caught by a white doctor's uniform hanging in the armoire along with the suits and overcoats of the two patients in the room. He bends over to peer at the nameplate over the breast pocket. He turns to her again. They both look away. She gathers her raincoat and goes. Bock follows her out into the... Barbara has continued walking. Bock starts to follow her. Bock turns back to Lagerman. Barbara is disappearing into an elevator. Bock starts after her, then turns back to Lagerman. They hurry down the corridor to the elevators. Elevator doors open. A nurse and visitor get out. Bock and Lagerman go into... The elevator stops at the seventh floor. The doors open and Bock and Lagerman stroll into... In the background, the orderly and aid finish tucking in William Mead and exit, wheeling their creaking stretcher out. The room is shockingly silent. Bock goes to the window and frowns in thought. HOLD ACROSS the patient Drummond, on Bock in the background at the window with his back to us. Suddenly, Drummond's eyes open. He lies rigid, his eyes staring dementedly into the air above him. Slowly, his left hand reaches out and carefully withdraws the catheter from his bladder, lays it on the white sheet beside him, and silently reaches over to withdraw the I.V. needle from his right arm. He lets the needle dangle, dripping

Who did Dr Bock fell in love with?

Barbara Drummond

the unoccupied bed, and the scene ends looking ACROSS the sleeping profile of THE PATIENT in the other bed as Schaefer and his girl thump away at each other with much creaking of springs, moans, groans, giggles and the white-limbed patterns of fornication. Schaefer smiles, grunts, sleeps on. NURSE'S P.O.V.: Intern Dr. Schaefer is lying on this bed, rigid, eyes dilated, pupils staring unseeing. An I.V. tube sticks out of his naked right arm. Nurse Perez doesn't quite know what to make of the fact that Dr. Schaefer is lying on that bed with an I.V. tube sticking out of him looking dead. Frowning, she reaches out a tentative hand to shake his naked shoulder. There is, of course, no response. A terrible suspicion enters Nurse Perez's mind, and she closes her eyes and sighs a long shuddering sigh. Then she opens her eyes and, with a second and briefer sigh, reaches for Schaefer's neck to take his pulse. Clearly, the result is not encouraging. She sighs another short sigh and regards Schaefer's unblinking, dilated pupils. It's all a bit too much for her; she shuffles to the window and stares out into the gray morning where things are a little more comprehensible. Once again, she returns to the bed, regards Schaefer's death mask. She raises the bedsheet and, for one short but appreciative moment, considers Schaefer's naked body. She lets the bedsheet carefully down. She sighs again. She sighs, turns and leaves the room. With a short, irritable sigh, Mrs. Reardon abandons her paperwork and heads down the west corridor, followed by Nurses Perez and Rivers. CAMERA TRACKS as Mrs. Reardon turns to Nurse Rivers. DR. HERBERT BOCK, 53 years old, a large man, bulky, disheveled, apparently fell asleep in a chair while watching television the night before. The the airway and the ambu tube into Welbeck's mouth and pumps in air by hand. Bock massages away. She follows Morse in as, from the lobby corner, two technicians come racing a max cart and an I.V. stand before them. Behind them, a bewildered Hitchcock moves into view, trying to determine what's going on. Hitchcock looks down at the sheeted figure hunched on the bed parked in the hallway and slowly pulls the sheet off his head. William Mead stares up at him like a hunted animal. Hitchcock covers Mead's head again. If we can see anything of Welbeck through other bodies, we notice almost all his clothes have been ripped off his body. Dr. Loomis replaces Barbara. The two nursing supervisors have been getting the max cart ready, snapping up the gateleg-footrest and attaching the I.V. tube to the oxygen jar, and that to the ambu bag. Drs. Loomis, Bock and Morse struggle to lift the the nearly naked dead weight of Dr. Welbeck up from the floor and onto the max cart. Dr. Morse has picked up Drummond's chart from the bed where Welbeck had left it. CLOSE-UP of Bock trying to hoist Welbeck and looking up slowly. Bock cocks his head to him. Bock looks across to Barbara, now helping out at the max cart. She looks back at Bock. She shrugs. He shrugs. They exchange a smile. Straining under the effort, the three doctors get Welbeck off the floor. Mrs. Donovan exits into... Hitchcock silently thanks God. Welbeck's body is finally on the max cart. Nurses and doctors converge on him. Dr. Loomis sets about intubating Welbeck, and the Nursing Supervisor begins clamping the metal bands of the E.K.G. machine on each of Welbeck's extremities. While all this goes on, Bock and Barbara have picked up storms over to Miss Lebow. He strides, followed by Dr. Lagerman, into... The phone RINGS. Bock seizes it. This gives Bock pause. He blinks at Lagerman. Schaefer's naked white cadaver is stretched out on an operating table. He has been opened up and all his vital organs are being excised. It's bloody. The autopsy is being performed by DR. BREWSTER, the Resident in Pathology, dressed in surgical scrub. He knocks on the glass window of the door separating the laboratory from the operating room. Dr. Brewster turns from his gory chore. Bock makes a gesture saying, "How much longer?" Brewster raises ten blood-drenched rubber-gloved fingers. Bock turns and shuffles across the lab for the door out. He goes down... Mrs. Dunne nods. Nurse Devine makes her way silently down the sleeping doors to... Mead sleeps on. Expressionlessly, Nurse Devine extracts Mead's right arm from under the sheets, wets a swab with alcohol and rubs down the vein. The needle slides into Mead's vein. OVER THIS, we begin to hear a distant sibilant HISSING, indistinct like the leakage of a bad heart. There is also an occasional distinctly human but not quite civilized sound. CAMERA PULLS BACK SLOWLY to Nurse Devine withdrawing the needle, looking up, for she too has heard the soft, strange sounds. They emanate from behind the curtains of the other bed. Nurse Devine returns the syringe to the tray, gathers her things and pads silently around Mead's bed to Drummond's bed. With her free hand, she opens the curtains a little and stares in. When Nurse Devine draws the curtains, Barbara frowns at Nurse Devine, holds a cautioning finger to her lips and draws the curtains closed again. Nurse Devine, carrying her porcelain tray, exits. He heads for the Nurses' Station as Nurse Devine comes down the exits into... A guttural noise indicates yes. Miss Lebow pulls up a chair, opens her folder. She places a sheet of paper on the desk in front of Bock. He tries to give his attention to it. Bock obviously isn't up to all this. He waves a limp hand to stop Miss Lebow's morning report. He lumbers across the room and out into... The doctor is obviously in. He can be seen through the open door sitting at his desk writing in a notebook. Bock leans in. Bock goes in, closes the door behind himself. Indeed, he does not. He is horrified by the fact his eyes are wet and he is verging on tears. He turns away quickly. He starts for the door. Before Einhorn can say a word, he slips away and disappears into his own office. A door CLICKS open behind him, and without looking up, he waves briefly to whoever has entered. CAMERA DOLLIES to FULL SHOT of Ives frowning over his notes. We are suddenly conscious of a white-uniformed presence behind him. We know it's medical personnel, but we can't see the face. Ives starts to turn to the presence behind him, when suddenly a small hospital sandbag is whipped down on his head, and he slumps forward, his forehead thumping against the black surface of the lab table. The doctors move off toward the solarium on the east corridor overlooking the river. They pass a curious quartet of people consisting of a very handsome YOUNG WOMAN in her late twenties in an out-of-fashion miniskirt (She has great legs, long and tanned.); an ELDERLY MAN, uncomfortable in city clothes and unmistakably an INDIAN; a tall overcoated man in his forties wearing a MINISTER's white collar; and a DISTINGUISHED MAN dressed in fashionable gray who is of the room into the delicious silence of the... Dr. Mallory can only stare at her numbly. He turns and stares numbly at Mr. Sloan. Dr. Mallory finally explodes. Mrs. Christie stares down at the face of the dead patient on the table, who has had her chest spread wide open so that the organs are exposed. He picks up the suit lying on the bed. His eyes are caught by a white doctor's uniform hanging in the armoire along with the suits and overcoats of the two patients in the room. He bends over to peer at the nameplate over the breast pocket. He turns to her again. They both look away. She gathers her raincoat and goes. Bock follows her out into the... Barbara has continued walking. Bock starts to follow her. Bock turns back to Lagerman. Barbara is disappearing into an elevator. Bock starts after her, then turns back to Lagerman. They hurry down the corridor to the elevators. Elevator doors open. A nurse and visitor get out. Bock and Lagerman go into... The elevator stops at the seventh floor. The doors open and Bock and Lagerman stroll into... In the background, the orderly and aid finish tucking in William Mead and exit, wheeling their creaking stretcher out. The room is shockingly silent. Bock goes to the window and frowns in thought. HOLD ACROSS the patient Drummond, on Bock in the background at the window with his back to us. Suddenly, Drummond's eyes open. He lies rigid, his eyes staring dementedly into the air above him. Slowly, his left hand reaches out and carefully withdraws the catheter from his bladder, lays it on the white sheet beside him, and silently reaches over to withdraw the I.V. needle from his right arm. He lets the needle dangle, dripping

Who was Barbara Drummond?

Barbara Drummond was a patient's daughter

the unoccupied bed, and the scene ends looking ACROSS the sleeping profile of THE PATIENT in the other bed as Schaefer and his girl thump away at each other with much creaking of springs, moans, groans, giggles and the white-limbed patterns of fornication. Schaefer smiles, grunts, sleeps on. NURSE'S P.O.V.: Intern Dr. Schaefer is lying on this bed, rigid, eyes dilated, pupils staring unseeing. An I.V. tube sticks out of his naked right arm. Nurse Perez doesn't quite know what to make of the fact that Dr. Schaefer is lying on that bed with an I.V. tube sticking out of him looking dead. Frowning, she reaches out a tentative hand to shake his naked shoulder. There is, of course, no response. A terrible suspicion enters Nurse Perez's mind, and she closes her eyes and sighs a long shuddering sigh. Then she opens her eyes and, with a second and briefer sigh, reaches for Schaefer's neck to take his pulse. Clearly, the result is not encouraging. She sighs another short sigh and regards Schaefer's unblinking, dilated pupils. It's all a bit too much for her; she shuffles to the window and stares out into the gray morning where things are a little more comprehensible. Once again, she returns to the bed, regards Schaefer's death mask. She raises the bedsheet and, for one short but appreciative moment, considers Schaefer's naked body. She lets the bedsheet carefully down. She sighs again. She sighs, turns and leaves the room. With a short, irritable sigh, Mrs. Reardon abandons her paperwork and heads down the west corridor, followed by Nurses Perez and Rivers. CAMERA TRACKS as Mrs. Reardon turns to Nurse Rivers. DR. HERBERT BOCK, 53 years old, a large man, bulky, disheveled, apparently fell asleep in a chair while watching television the night before. The the airway and the ambu tube into Welbeck's mouth and pumps in air by hand. Bock massages away. She follows Morse in as, from the lobby corner, two technicians come racing a max cart and an I.V. stand before them. Behind them, a bewildered Hitchcock moves into view, trying to determine what's going on. Hitchcock looks down at the sheeted figure hunched on the bed parked in the hallway and slowly pulls the sheet off his head. William Mead stares up at him like a hunted animal. Hitchcock covers Mead's head again. If we can see anything of Welbeck through other bodies, we notice almost all his clothes have been ripped off his body. Dr. Loomis replaces Barbara. The two nursing supervisors have been getting the max cart ready, snapping up the gateleg-footrest and attaching the I.V. tube to the oxygen jar, and that to the ambu bag. Drs. Loomis, Bock and Morse struggle to lift the the nearly naked dead weight of Dr. Welbeck up from the floor and onto the max cart. Dr. Morse has picked up Drummond's chart from the bed where Welbeck had left it. CLOSE-UP of Bock trying to hoist Welbeck and looking up slowly. Bock cocks his head to him. Bock looks across to Barbara, now helping out at the max cart. She looks back at Bock. She shrugs. He shrugs. They exchange a smile. Straining under the effort, the three doctors get Welbeck off the floor. Mrs. Donovan exits into... Hitchcock silently thanks God. Welbeck's body is finally on the max cart. Nurses and doctors converge on him. Dr. Loomis sets about intubating Welbeck, and the Nursing Supervisor begins clamping the metal bands of the E.K.G. machine on each of Welbeck's extremities. While all this goes on, Bock and Barbara have picked up storms over to Miss Lebow. He strides, followed by Dr. Lagerman, into... The phone RINGS. Bock seizes it. This gives Bock pause. He blinks at Lagerman. Schaefer's naked white cadaver is stretched out on an operating table. He has been opened up and all his vital organs are being excised. It's bloody. The autopsy is being performed by DR. BREWSTER, the Resident in Pathology, dressed in surgical scrub. He knocks on the glass window of the door separating the laboratory from the operating room. Dr. Brewster turns from his gory chore. Bock makes a gesture saying, "How much longer?" Brewster raises ten blood-drenched rubber-gloved fingers. Bock turns and shuffles across the lab for the door out. He goes down... Mrs. Dunne nods. Nurse Devine makes her way silently down the sleeping doors to... Mead sleeps on. Expressionlessly, Nurse Devine extracts Mead's right arm from under the sheets, wets a swab with alcohol and rubs down the vein. The needle slides into Mead's vein. OVER THIS, we begin to hear a distant sibilant HISSING, indistinct like the leakage of a bad heart. There is also an occasional distinctly human but not quite civilized sound. CAMERA PULLS BACK SLOWLY to Nurse Devine withdrawing the needle, looking up, for she too has heard the soft, strange sounds. They emanate from behind the curtains of the other bed. Nurse Devine returns the syringe to the tray, gathers her things and pads silently around Mead's bed to Drummond's bed. With her free hand, she opens the curtains a little and stares in. When Nurse Devine draws the curtains, Barbara frowns at Nurse Devine, holds a cautioning finger to her lips and draws the curtains closed again. Nurse Devine, carrying her porcelain tray, exits. He heads for the Nurses' Station as Nurse Devine comes down the of the room into the delicious silence of the... Dr. Mallory can only stare at her numbly. He turns and stares numbly at Mr. Sloan. Dr. Mallory finally explodes. Mrs. Christie stares down at the face of the dead patient on the table, who has had her chest spread wide open so that the organs are exposed. He picks up the suit lying on the bed. His eyes are caught by a white doctor's uniform hanging in the armoire along with the suits and overcoats of the two patients in the room. He bends over to peer at the nameplate over the breast pocket. He turns to her again. They both look away. She gathers her raincoat and goes. Bock follows her out into the... Barbara has continued walking. Bock starts to follow her. Bock turns back to Lagerman. Barbara is disappearing into an elevator. Bock starts after her, then turns back to Lagerman. They hurry down the corridor to the elevators. Elevator doors open. A nurse and visitor get out. Bock and Lagerman go into... The elevator stops at the seventh floor. The doors open and Bock and Lagerman stroll into... In the background, the orderly and aid finish tucking in William Mead and exit, wheeling their creaking stretcher out. The room is shockingly silent. Bock goes to the window and frowns in thought. HOLD ACROSS the patient Drummond, on Bock in the background at the window with his back to us. Suddenly, Drummond's eyes open. He lies rigid, his eyes staring dementedly into the air above him. Slowly, his left hand reaches out and carefully withdraws the catheter from his bladder, lays it on the white sheet beside him, and silently reaches over to withdraw the I.V. needle from his right arm. He lets the needle dangle, dripping trying to persuade the young woman of something. The young woman and the Indian stand absolutely still, silent, impassive. The minister is more fidgety. Bock and Brubaker, trailed by young doctors, move into the TV room. Her phone RINGS. She picks it up. To a man on line at her desk, thrusting his chart out to her. She makes her way to the door and goes out into... Facing the desk are six curtained treatment rooms, mostly open to view. Behind the desk are a supply room and another treatment room. Both are occupied, the former by a PARANOID LADY wringing her hands in a paranoid rush and listened to by a very patient young intern. ...and in the other room, a man in his thirties is being treated for some sort of head lacerations. In one treatment room, the Chief of Emergency Service, DR. SPEZIO, a man in his late thirties, along with an intern, an anesthesiologist and a nurse, is bent over a naked and comatose young black woman of eighteen, covered somewhat with a sheet. She's a junkie, being intubated, i.e. a small endotracheal tube has been inserted into her mouth. This is the most melodramatic of the varied activity here. A middle-aged man complaining of chest pains is lying clothed in another treatment room; a nurse attends him. An asthmatic middle-aged woman sits in still another room being administered her 500 mg. of amenophylene subcutaneously. The curtains on another room are drawn for privacy. On chairs in the corner sit a teenage boy with a badly sprained ankle and an elderly man bathing his hand in an enamel basin held in his lap. A young mother with a five-year-old daughter with a badly cut arm is being attended to by the back wall. The Emergency Room

Where was Barbara Drummond came from?

Mexico

the unoccupied bed, and the scene ends looking ACROSS the sleeping profile of THE PATIENT in the other bed as Schaefer and his girl thump away at each other with much creaking of springs, moans, groans, giggles and the white-limbed patterns of fornication. Schaefer smiles, grunts, sleeps on. NURSE'S P.O.V.: Intern Dr. Schaefer is lying on this bed, rigid, eyes dilated, pupils staring unseeing. An I.V. tube sticks out of his naked right arm. Nurse Perez doesn't quite know what to make of the fact that Dr. Schaefer is lying on that bed with an I.V. tube sticking out of him looking dead. Frowning, she reaches out a tentative hand to shake his naked shoulder. There is, of course, no response. A terrible suspicion enters Nurse Perez's mind, and she closes her eyes and sighs a long shuddering sigh. Then she opens her eyes and, with a second and briefer sigh, reaches for Schaefer's neck to take his pulse. Clearly, the result is not encouraging. She sighs another short sigh and regards Schaefer's unblinking, dilated pupils. It's all a bit too much for her; she shuffles to the window and stares out into the gray morning where things are a little more comprehensible. Once again, she returns to the bed, regards Schaefer's death mask. She raises the bedsheet and, for one short but appreciative moment, considers Schaefer's naked body. She lets the bedsheet carefully down. She sighs again. She sighs, turns and leaves the room. With a short, irritable sigh, Mrs. Reardon abandons her paperwork and heads down the west corridor, followed by Nurses Perez and Rivers. CAMERA TRACKS as Mrs. Reardon turns to Nurse Rivers. DR. HERBERT BOCK, 53 years old, a large man, bulky, disheveled, apparently fell asleep in a chair while watching television the night before. The The scrub nurse is applying electrode paste to the defibrillators. Dr. Mallory yanks the sheets and hospital shirt off the patient and begins very rigorous massage of the exposed ribs; we can hear one rib crack. Dr. Chu, who has been inserting some suprel and bicarbonate into the tube of the patient's I.V., is frowning at her rigid, white-capped face. He leans over to check the E.K.G. readings. Mallory straddles the patient. He's doing heavy heart massage. Dr. Chu pushes back, the operating cap on the patient's head, revealing jet-black hair. Mallory starts to massage again. Dr. Chu stares blankly at the patient's face, then looks up at the sweating surgeon, perched on the operating table, rhythmically crushing away at the patient's rib cage. Dr. Mallory, now pausing for a moment, looks up. He is beaded with sweat. He massages away. Another rib cracks. Mrs. Christie's electric pocket-pager BEEPS. Miss McGuire leans in from the secretaries' office. She hangs up, stands, goes out into... Apparently, none of these three. Mrs. Christie turns in from the outer corridor. Normal Operating Room activity flows by: patients wheeled to and from their various surgeries, surgeons checking the blackboard, staff doctors, orderlies keeping the noise level low but steady. Hitchcock shrugs helplessly. Mrs. Kimball, Mrs. Christie, Hitchcock and Sloan push through the glass doors to the crossroads of the operating rooms. Through each window, we see operating crews hacking away. They gather in anticipation outside O.R. Three and peer over each other's shoulders into the room where the operating crew is hunched over the open-heart massage. The masked circulating nurse looks up, notices the audience at the door, and gives a hopeless shrug. During this maelstrom, the phone at Mead's elbow RINGS. Mead answers it, listens, nods, returns the receiver, stand and slips out on the phones. The triage nurse takes the history of the first in a line of five people seeking admission even as she answers her phone. We watch Miss Aronovici and the other nurse and Dr. Spezio and his two interns, the two attendants -- all busy with one patient or another. ACROSS Drummond, white-uniformed, standing in the back against the filing cabinets and linens, watching the the new patients trickle and crowd in. At the Admitting Desk, a MAN in his forties is being signed in by a uniformed cop. CAMERA JUST STARES at the pageant of pain. They hurry into the Admitting Room past a nurse and into the... On screen we continue watching the scene of the overdose case treatment, as the live-action sound in the room fades behind Drummond's tale. REACTION SHOT of Drummond staring at this ceaseless panorama of pain, tears streaking down his cheeks. Drummond turns to the voice. CAMERA PULLS BACK to include the man who had been brought into the E.R. by a uniformed cop. PAN SLOWLY to Drummond who stares at the Nameless Man. In BACKGROUND the door opens and Mrs. Cushing, the lady from accounting, enters. She calls out in her annoying voice from a chart. Bock holds Drummond's coat and hat and crosses to take his arm. He finds the entranced Drummond as rigid as a statue. They both hurry out of the room. Drummond remains enmarbled in his trance. CAMERA SUDDENLY MOVES DOWN to William Mead, whose eyes now open; he has heard it all. In background, Drummond, suddenly released from his catatonic trance, heads for the armoire and extracts the white trousers of Dr. Schaefer's uniform. He puts them on, tucking in the tails of his hospital shift. He notices William Mead staring at him. William Mead storms over to Miss Lebow. He strides, followed by Dr. Lagerman, into... The phone RINGS. Bock seizes it. This gives Bock pause. He blinks at Lagerman. Schaefer's naked white cadaver is stretched out on an operating table. He has been opened up and all his vital organs are being excised. It's bloody. The autopsy is being performed by DR. BREWSTER, the Resident in Pathology, dressed in surgical scrub. He knocks on the glass window of the door separating the laboratory from the operating room. Dr. Brewster turns from his gory chore. Bock makes a gesture saying, "How much longer?" Brewster raises ten blood-drenched rubber-gloved fingers. Bock turns and shuffles across the lab for the door out. He goes down... Mrs. Dunne nods. Nurse Devine makes her way silently down the sleeping doors to... Mead sleeps on. Expressionlessly, Nurse Devine extracts Mead's right arm from under the sheets, wets a swab with alcohol and rubs down the vein. The needle slides into Mead's vein. OVER THIS, we begin to hear a distant sibilant HISSING, indistinct like the leakage of a bad heart. There is also an occasional distinctly human but not quite civilized sound. CAMERA PULLS BACK SLOWLY to Nurse Devine withdrawing the needle, looking up, for she too has heard the soft, strange sounds. They emanate from behind the curtains of the other bed. Nurse Devine returns the syringe to the tray, gathers her things and pads silently around Mead's bed to Drummond's bed. With her free hand, she opens the curtains a little and stares in. When Nurse Devine draws the curtains, Barbara frowns at Nurse Devine, holds a cautioning finger to her lips and draws the curtains closed again. Nurse Devine, carrying her porcelain tray, exits. He heads for the Nurses' Station as Nurse Devine comes down the the airway and the ambu tube into Welbeck's mouth and pumps in air by hand. Bock massages away. She follows Morse in as, from the lobby corner, two technicians come racing a max cart and an I.V. stand before them. Behind them, a bewildered Hitchcock moves into view, trying to determine what's going on. Hitchcock looks down at the sheeted figure hunched on the bed parked in the hallway and slowly pulls the sheet off his head. William Mead stares up at him like a hunted animal. Hitchcock covers Mead's head again. If we can see anything of Welbeck through other bodies, we notice almost all his clothes have been ripped off his body. Dr. Loomis replaces Barbara. The two nursing supervisors have been getting the max cart ready, snapping up the gateleg-footrest and attaching the I.V. tube to the oxygen jar, and that to the ambu bag. Drs. Loomis, Bock and Morse struggle to lift the the nearly naked dead weight of Dr. Welbeck up from the floor and onto the max cart. Dr. Morse has picked up Drummond's chart from the bed where Welbeck had left it. CLOSE-UP of Bock trying to hoist Welbeck and looking up slowly. Bock cocks his head to him. Bock looks across to Barbara, now helping out at the max cart. She looks back at Bock. She shrugs. He shrugs. They exchange a smile. Straining under the effort, the three doctors get Welbeck off the floor. Mrs. Donovan exits into... Hitchcock silently thanks God. Welbeck's body is finally on the max cart. Nurses and doctors converge on him. Dr. Loomis sets about intubating Welbeck, and the Nursing Supervisor begins clamping the metal bands of the E.K.G. machine on each of Welbeck's extremities. While all this goes on, Bock and Barbara have picked up

How did Dr Bock and Barbara covered up the deaths in the hospital?

They used an accidental death of a doctor to covered Drummond tracks.

the unoccupied bed, and the scene ends looking ACROSS the sleeping profile of THE PATIENT in the other bed as Schaefer and his girl thump away at each other with much creaking of springs, moans, groans, giggles and the white-limbed patterns of fornication. Schaefer smiles, grunts, sleeps on. NURSE'S P.O.V.: Intern Dr. Schaefer is lying on this bed, rigid, eyes dilated, pupils staring unseeing. An I.V. tube sticks out of his naked right arm. Nurse Perez doesn't quite know what to make of the fact that Dr. Schaefer is lying on that bed with an I.V. tube sticking out of him looking dead. Frowning, she reaches out a tentative hand to shake his naked shoulder. There is, of course, no response. A terrible suspicion enters Nurse Perez's mind, and she closes her eyes and sighs a long shuddering sigh. Then she opens her eyes and, with a second and briefer sigh, reaches for Schaefer's neck to take his pulse. Clearly, the result is not encouraging. She sighs another short sigh and regards Schaefer's unblinking, dilated pupils. It's all a bit too much for her; she shuffles to the window and stares out into the gray morning where things are a little more comprehensible. Once again, she returns to the bed, regards Schaefer's death mask. She raises the bedsheet and, for one short but appreciative moment, considers Schaefer's naked body. She lets the bedsheet carefully down. She sighs again. She sighs, turns and leaves the room. With a short, irritable sigh, Mrs. Reardon abandons her paperwork and heads down the west corridor, followed by Nurses Perez and Rivers. CAMERA TRACKS as Mrs. Reardon turns to Nurse Rivers. DR. HERBERT BOCK, 53 years old, a large man, bulky, disheveled, apparently fell asleep in a chair while watching television the night before. The storms over to Miss Lebow. He strides, followed by Dr. Lagerman, into... The phone RINGS. Bock seizes it. This gives Bock pause. He blinks at Lagerman. Schaefer's naked white cadaver is stretched out on an operating table. He has been opened up and all his vital organs are being excised. It's bloody. The autopsy is being performed by DR. BREWSTER, the Resident in Pathology, dressed in surgical scrub. He knocks on the glass window of the door separating the laboratory from the operating room. Dr. Brewster turns from his gory chore. Bock makes a gesture saying, "How much longer?" Brewster raises ten blood-drenched rubber-gloved fingers. Bock turns and shuffles across the lab for the door out. He goes down... Mrs. Dunne nods. Nurse Devine makes her way silently down the sleeping doors to... Mead sleeps on. Expressionlessly, Nurse Devine extracts Mead's right arm from under the sheets, wets a swab with alcohol and rubs down the vein. The needle slides into Mead's vein. OVER THIS, we begin to hear a distant sibilant HISSING, indistinct like the leakage of a bad heart. There is also an occasional distinctly human but not quite civilized sound. CAMERA PULLS BACK SLOWLY to Nurse Devine withdrawing the needle, looking up, for she too has heard the soft, strange sounds. They emanate from behind the curtains of the other bed. Nurse Devine returns the syringe to the tray, gathers her things and pads silently around Mead's bed to Drummond's bed. With her free hand, she opens the curtains a little and stares in. When Nurse Devine draws the curtains, Barbara frowns at Nurse Devine, holds a cautioning finger to her lips and draws the curtains closed again. Nurse Devine, carrying her porcelain tray, exits. He heads for the Nurses' Station as Nurse Devine comes down the the airway and the ambu tube into Welbeck's mouth and pumps in air by hand. Bock massages away. She follows Morse in as, from the lobby corner, two technicians come racing a max cart and an I.V. stand before them. Behind them, a bewildered Hitchcock moves into view, trying to determine what's going on. Hitchcock looks down at the sheeted figure hunched on the bed parked in the hallway and slowly pulls the sheet off his head. William Mead stares up at him like a hunted animal. Hitchcock covers Mead's head again. If we can see anything of Welbeck through other bodies, we notice almost all his clothes have been ripped off his body. Dr. Loomis replaces Barbara. The two nursing supervisors have been getting the max cart ready, snapping up the gateleg-footrest and attaching the I.V. tube to the oxygen jar, and that to the ambu bag. Drs. Loomis, Bock and Morse struggle to lift the the nearly naked dead weight of Dr. Welbeck up from the floor and onto the max cart. Dr. Morse has picked up Drummond's chart from the bed where Welbeck had left it. CLOSE-UP of Bock trying to hoist Welbeck and looking up slowly. Bock cocks his head to him. Bock looks across to Barbara, now helping out at the max cart. She looks back at Bock. She shrugs. He shrugs. They exchange a smile. Straining under the effort, the three doctors get Welbeck off the floor. Mrs. Donovan exits into... Hitchcock silently thanks God. Welbeck's body is finally on the max cart. Nurses and doctors converge on him. Dr. Loomis sets about intubating Welbeck, and the Nursing Supervisor begins clamping the metal bands of the E.K.G. machine on each of Welbeck's extremities. While all this goes on, Bock and Barbara have picked up onto the bed. Carefully, he twists out from under his sheet, swings his legs over the side of the bed and sits up. REVERSE ACROSS Bock at the window, pondering. With a swift lash of movement, the double tubes of a stethoscope are whipped over his head and tightened around his throat. CLOSE TWO SHOT of Bock being strangled, Drummond's face frozen in bland dementia behind him. Drummond pauses in his strangling and, releasing the poor man altogether, turns to his daughter in the doorway. CAMERA DOLLIES to include all three -- Bock recuperating; Drummond staring madly; and Barbara infuriated with her father. Drummond, abashed, stands there, a scolded schoolboy, a rawboned figure in a hospital shift, a stethoscope dangling from his right hand. The old man is slipping out of his clothes to expose a thin little body in a torn nightshirt. The old man sits back, wheezing a little. Nurse Chile smiles nicely at him and takes her leave. For a moment, Drummond lies rigidly on his bed, staring dully into the air and the old man sits with his hunched back to us. The room is silent except for his rheumy wheeze. After a moment, the old man rises and goes to the washbasin and, with some wheezing, spits into it. He shuffles back to bed. Dr. Schaefer comes into the room with a professional smile and the patient Guernsey's chart. Schaefer perches on the bed beside Guernsey and begins to take his history. CLOSE-UP of Drummond in deep shadow shows him sleeping. Drummond's eyes open and roll to the direction of the voice. DRUMMOND'S P.O.V.: Guernsey, dressed only in his hospital shift, is shuffling up and down the aisle of the room, hands clasped behind his back like a Mittel-European intellectual, head hunched forward -- a of the room into the delicious silence of the... Dr. Mallory can only stare at her numbly. He turns and stares numbly at Mr. Sloan. Dr. Mallory finally explodes. Mrs. Christie stares down at the face of the dead patient on the table, who has had her chest spread wide open so that the organs are exposed. He picks up the suit lying on the bed. His eyes are caught by a white doctor's uniform hanging in the armoire along with the suits and overcoats of the two patients in the room. He bends over to peer at the nameplate over the breast pocket. He turns to her again. They both look away. She gathers her raincoat and goes. Bock follows her out into the... Barbara has continued walking. Bock starts to follow her. Bock turns back to Lagerman. Barbara is disappearing into an elevator. Bock starts after her, then turns back to Lagerman. They hurry down the corridor to the elevators. Elevator doors open. A nurse and visitor get out. Bock and Lagerman go into... The elevator stops at the seventh floor. The doors open and Bock and Lagerman stroll into... In the background, the orderly and aid finish tucking in William Mead and exit, wheeling their creaking stretcher out. The room is shockingly silent. Bock goes to the window and frowns in thought. HOLD ACROSS the patient Drummond, on Bock in the background at the window with his back to us. Suddenly, Drummond's eyes open. He lies rigid, his eyes staring dementedly into the air above him. Slowly, his left hand reaches out and carefully withdraws the catheter from his bladder, lays it on the white sheet beside him, and silently reaches over to withdraw the I.V. needle from his right arm. He lets the needle dangle, dripping

What is Dr. Bock's job titile?

He is the Chief of Medicine.

the unoccupied bed, and the scene ends looking ACROSS the sleeping profile of THE PATIENT in the other bed as Schaefer and his girl thump away at each other with much creaking of springs, moans, groans, giggles and the white-limbed patterns of fornication. Schaefer smiles, grunts, sleeps on. NURSE'S P.O.V.: Intern Dr. Schaefer is lying on this bed, rigid, eyes dilated, pupils staring unseeing. An I.V. tube sticks out of his naked right arm. Nurse Perez doesn't quite know what to make of the fact that Dr. Schaefer is lying on that bed with an I.V. tube sticking out of him looking dead. Frowning, she reaches out a tentative hand to shake his naked shoulder. There is, of course, no response. A terrible suspicion enters Nurse Perez's mind, and she closes her eyes and sighs a long shuddering sigh. Then she opens her eyes and, with a second and briefer sigh, reaches for Schaefer's neck to take his pulse. Clearly, the result is not encouraging. She sighs another short sigh and regards Schaefer's unblinking, dilated pupils. It's all a bit too much for her; she shuffles to the window and stares out into the gray morning where things are a little more comprehensible. Once again, she returns to the bed, regards Schaefer's death mask. She raises the bedsheet and, for one short but appreciative moment, considers Schaefer's naked body. She lets the bedsheet carefully down. She sighs again. She sighs, turns and leaves the room. With a short, irritable sigh, Mrs. Reardon abandons her paperwork and heads down the west corridor, followed by Nurses Perez and Rivers. CAMERA TRACKS as Mrs. Reardon turns to Nurse Rivers. DR. HERBERT BOCK, 53 years old, a large man, bulky, disheveled, apparently fell asleep in a chair while watching television the night before. The storms over to Miss Lebow. He strides, followed by Dr. Lagerman, into... The phone RINGS. Bock seizes it. This gives Bock pause. He blinks at Lagerman. Schaefer's naked white cadaver is stretched out on an operating table. He has been opened up and all his vital organs are being excised. It's bloody. The autopsy is being performed by DR. BREWSTER, the Resident in Pathology, dressed in surgical scrub. He knocks on the glass window of the door separating the laboratory from the operating room. Dr. Brewster turns from his gory chore. Bock makes a gesture saying, "How much longer?" Brewster raises ten blood-drenched rubber-gloved fingers. Bock turns and shuffles across the lab for the door out. He goes down... Mrs. Dunne nods. Nurse Devine makes her way silently down the sleeping doors to... Mead sleeps on. Expressionlessly, Nurse Devine extracts Mead's right arm from under the sheets, wets a swab with alcohol and rubs down the vein. The needle slides into Mead's vein. OVER THIS, we begin to hear a distant sibilant HISSING, indistinct like the leakage of a bad heart. There is also an occasional distinctly human but not quite civilized sound. CAMERA PULLS BACK SLOWLY to Nurse Devine withdrawing the needle, looking up, for she too has heard the soft, strange sounds. They emanate from behind the curtains of the other bed. Nurse Devine returns the syringe to the tray, gathers her things and pads silently around Mead's bed to Drummond's bed. With her free hand, she opens the curtains a little and stares in. When Nurse Devine draws the curtains, Barbara frowns at Nurse Devine, holds a cautioning finger to her lips and draws the curtains closed again. Nurse Devine, carrying her porcelain tray, exits. He heads for the Nurses' Station as Nurse Devine comes down the on the phones. The triage nurse takes the history of the first in a line of five people seeking admission even as she answers her phone. We watch Miss Aronovici and the other nurse and Dr. Spezio and his two interns, the two attendants -- all busy with one patient or another. ACROSS Drummond, white-uniformed, standing in the back against the filing cabinets and linens, watching the the new patients trickle and crowd in. At the Admitting Desk, a MAN in his forties is being signed in by a uniformed cop. CAMERA JUST STARES at the pageant of pain. They hurry into the Admitting Room past a nurse and into the... On screen we continue watching the scene of the overdose case treatment, as the live-action sound in the room fades behind Drummond's tale. REACTION SHOT of Drummond staring at this ceaseless panorama of pain, tears streaking down his cheeks. Drummond turns to the voice. CAMERA PULLS BACK to include the man who had been brought into the E.R. by a uniformed cop. PAN SLOWLY to Drummond who stares at the Nameless Man. In BACKGROUND the door opens and Mrs. Cushing, the lady from accounting, enters. She calls out in her annoying voice from a chart. Bock holds Drummond's coat and hat and crosses to take his arm. He finds the entranced Drummond as rigid as a statue. They both hurry out of the room. Drummond remains enmarbled in his trance. CAMERA SUDDENLY MOVES DOWN to William Mead, whose eyes now open; he has heard it all. In background, Drummond, suddenly released from his catatonic trance, heads for the armoire and extracts the white trousers of Dr. Schaefer's uniform. He puts them on, tucking in the tails of his hospital shift. He notices William Mead staring at him. William Mead exits into... A guttural noise indicates yes. Miss Lebow pulls up a chair, opens her folder. She places a sheet of paper on the desk in front of Bock. He tries to give his attention to it. Bock obviously isn't up to all this. He waves a limp hand to stop Miss Lebow's morning report. He lumbers across the room and out into... The doctor is obviously in. He can be seen through the open door sitting at his desk writing in a notebook. Bock leans in. Bock goes in, closes the door behind himself. Indeed, he does not. He is horrified by the fact his eyes are wet and he is verging on tears. He turns away quickly. He starts for the door. Before Einhorn can say a word, he slips away and disappears into his own office. A door CLICKS open behind him, and without looking up, he waves briefly to whoever has entered. CAMERA DOLLIES to FULL SHOT of Ives frowning over his notes. We are suddenly conscious of a white-uniformed presence behind him. We know it's medical personnel, but we can't see the face. Ives starts to turn to the presence behind him, when suddenly a small hospital sandbag is whipped down on his head, and he slumps forward, his forehead thumping against the black surface of the lab table. The doctors move off toward the solarium on the east corridor overlooking the river. They pass a curious quartet of people consisting of a very handsome YOUNG WOMAN in her late twenties in an out-of-fashion miniskirt (She has great legs, long and tanned.); an ELDERLY MAN, uncomfortable in city clothes and unmistakably an INDIAN; a tall overcoated man in his forties wearing a MINISTER's white collar; and a DISTINGUISHED MAN dressed in fashionable gray who is the airway and the ambu tube into Welbeck's mouth and pumps in air by hand. Bock massages away. She follows Morse in as, from the lobby corner, two technicians come racing a max cart and an I.V. stand before them. Behind them, a bewildered Hitchcock moves into view, trying to determine what's going on. Hitchcock looks down at the sheeted figure hunched on the bed parked in the hallway and slowly pulls the sheet off his head. William Mead stares up at him like a hunted animal. Hitchcock covers Mead's head again. If we can see anything of Welbeck through other bodies, we notice almost all his clothes have been ripped off his body. Dr. Loomis replaces Barbara. The two nursing supervisors have been getting the max cart ready, snapping up the gateleg-footrest and attaching the I.V. tube to the oxygen jar, and that to the ambu bag. Drs. Loomis, Bock and Morse struggle to lift the the nearly naked dead weight of Dr. Welbeck up from the floor and onto the max cart. Dr. Morse has picked up Drummond's chart from the bed where Welbeck had left it. CLOSE-UP of Bock trying to hoist Welbeck and looking up slowly. Bock cocks his head to him. Bock looks across to Barbara, now helping out at the max cart. She looks back at Bock. She shrugs. He shrugs. They exchange a smile. Straining under the effort, the three doctors get Welbeck off the floor. Mrs. Donovan exits into... Hitchcock silently thanks God. Welbeck's body is finally on the max cart. Nurses and doctors converge on him. Dr. Loomis sets about intubating Welbeck, and the Nursing Supervisor begins clamping the metal bands of the E.K.G. machine on each of Welbeck's extremities. While all this goes on, Bock and Barbara have picked up

Where is the hospital where Dr. Bock works located?

In Manhattan.

Room area to lean into the Supervisor's Office. The THIRD NURSE leans back into the Supervisor's Office to relay this information. This is apparently good news, for we hear someone saying An orderly rumbles by with an E.K.G. machine. O.R. Nursing Supervisor DOROTHY KIMBALL, a pleasant lady in her late thirties, leans out of her office to speak to one of the lounging orderlies. The orderly detaches himself from his cronies and exits. It is into this atmosphere of subdued febrility that William Mead is wheeled. Indeed, a stretcher is being wheeled out of the Holding Room. The patient is sedated and covered. As the orderly wheels her past CAMERA, we may recognize the pale, sleeping profile of Miss Campanella, the nurse who had been coshed with a sandbag not many scenes ago. A CIRCULATING NURSE comes through the glass doors, examines the chart dangling from the stretcher. The orderly wheels the silent Miss Campanella off to Operating Room Three, as Dr. Welbeck, in his natty blue suit, carrying his camel coat, turns in from the outer corridor and examines the blackboard. He goes back to... The anesthesiologist, DR. CHU, injects pentathol in the I.V. tube. The RESIDENT ANESTHESIOLOGIST trundles over the oxygen tank, takes the hypodermic syringe from Dr. Chu, who now applies the oxygen mask to the enmarbled profile of the patient. He studies the gauges and equipment around him at the head of the operating table. The room galvanizes into the swift, silent activity of a chest massage. Dr. Mallory, standing and stretching in the back of the room, turns and moves toward the off-screen patient. He begins a vigorous rhythmic massage of the patient's rib cage over the heart. Dr. Mallory thumps the patient's chest hard with his fist, and the others, likewise, go to work. on the phones. The triage nurse takes the history of the first in a line of five people seeking admission even as she answers her phone. We watch Miss Aronovici and the other nurse and Dr. Spezio and his two interns, the two attendants -- all busy with one patient or another. ACROSS Drummond, white-uniformed, standing in the back against the filing cabinets and linens, watching the the new patients trickle and crowd in. At the Admitting Desk, a MAN in his forties is being signed in by a uniformed cop. CAMERA JUST STARES at the pageant of pain. They hurry into the Admitting Room past a nurse and into the... On screen we continue watching the scene of the overdose case treatment, as the live-action sound in the room fades behind Drummond's tale. REACTION SHOT of Drummond staring at this ceaseless panorama of pain, tears streaking down his cheeks. Drummond turns to the voice. CAMERA PULLS BACK to include the man who had been brought into the E.R. by a uniformed cop. PAN SLOWLY to Drummond who stares at the Nameless Man. In BACKGROUND the door opens and Mrs. Cushing, the lady from accounting, enters. She calls out in her annoying voice from a chart. Bock holds Drummond's coat and hat and crosses to take his arm. He finds the entranced Drummond as rigid as a statue. They both hurry out of the room. Drummond remains enmarbled in his trance. CAMERA SUDDENLY MOVES DOWN to William Mead, whose eyes now open; he has heard it all. In background, Drummond, suddenly released from his catatonic trance, heads for the armoire and extracts the white trousers of Dr. Schaefer's uniform. He puts them on, tucking in the tails of his hospital shift. He notices William Mead staring at him. William Mead The Hospital was founded in the late 19th century, and there are still a few begrimed Victorian Bedlams and Bastilles among the buildings. Mostly though, it is Medical Modern 1971, white and chrome and lots of glass and concrete shafts and rotundas. A spanking new Community Mental Health Clinic towers among the tenements at the northern end of the complex. On the far side of First Avenue, a twenty-story apartment house with recessed balconies and picture windows to house the resident staff has just recently been completed, and next to it, eight ghetto buildings are being demolished to make way -- according to the construction company's sign -- for a new Drug Rehabilitation Center, to be completed in 1973, we should all live so long. This is where the shattering SOUNDS OF CONSTRUCTION are coming from. A block length of generators and cement and demolition machines are POUNDING, CRASHING, SCREAMING. Traffic HONKS and BRAYS up First Avenue. It is a cold spring morning -- 10:00 A.M. A 1966 station wagon pulls up to the Holly Pavilion. A tiny, fragile, white-bearded OLD MAN, almost lost in his overcoat, is helped from the rear of a station wagon and slowly led to the entrance doors by a middle-aged nurse. The shrouded body of the old man is wheeled out of the room. CAMERA STAYS on the vacated bed. PAN from bed to Schaefer, now alone in the room and regarding the empty bed with frowning interest. Schaefer is a scraggly young fellow, bespectacled, with a contemporary mess of hair and a swinging unkempt moustachio. HOLD on Schaefer. Dr. Schaefer moves for the phone on the table between the two beds. Schaefer speaks softly into the phone. FREEZE on CLOSE-UP of the beaming, lubricious Schaefer on phone as They eventually wind up on The scrub nurse is applying electrode paste to the defibrillators. Dr. Mallory yanks the sheets and hospital shirt off the patient and begins very rigorous massage of the exposed ribs; we can hear one rib crack. Dr. Chu, who has been inserting some suprel and bicarbonate into the tube of the patient's I.V., is frowning at her rigid, white-capped face. He leans over to check the E.K.G. readings. Mallory straddles the patient. He's doing heavy heart massage. Dr. Chu pushes back, the operating cap on the patient's head, revealing jet-black hair. Mallory starts to massage again. Dr. Chu stares blankly at the patient's face, then looks up at the sweating surgeon, perched on the operating table, rhythmically crushing away at the patient's rib cage. Dr. Mallory, now pausing for a moment, looks up. He is beaded with sweat. He massages away. Another rib cracks. Mrs. Christie's electric pocket-pager BEEPS. Miss McGuire leans in from the secretaries' office. She hangs up, stands, goes out into... Apparently, none of these three. Mrs. Christie turns in from the outer corridor. Normal Operating Room activity flows by: patients wheeled to and from their various surgeries, surgeons checking the blackboard, staff doctors, orderlies keeping the noise level low but steady. Hitchcock shrugs helplessly. Mrs. Kimball, Mrs. Christie, Hitchcock and Sloan push through the glass doors to the crossroads of the operating rooms. Through each window, we see operating crews hacking away. They gather in anticipation outside O.R. Three and peer over each other's shoulders into the room where the operating crew is hunched over the open-heart massage. The masked circulating nurse looks up, notices the audience at the door, and gives a hopeless shrug. During this maelstrom, the phone at Mead's elbow RINGS. Mead answers it, listens, nods, returns the receiver, stand and slips out storms over to Miss Lebow. He strides, followed by Dr. Lagerman, into... The phone RINGS. Bock seizes it. This gives Bock pause. He blinks at Lagerman. Schaefer's naked white cadaver is stretched out on an operating table. He has been opened up and all his vital organs are being excised. It's bloody. The autopsy is being performed by DR. BREWSTER, the Resident in Pathology, dressed in surgical scrub. He knocks on the glass window of the door separating the laboratory from the operating room. Dr. Brewster turns from his gory chore. Bock makes a gesture saying, "How much longer?" Brewster raises ten blood-drenched rubber-gloved fingers. Bock turns and shuffles across the lab for the door out. He goes down... Mrs. Dunne nods. Nurse Devine makes her way silently down the sleeping doors to... Mead sleeps on. Expressionlessly, Nurse Devine extracts Mead's right arm from under the sheets, wets a swab with alcohol and rubs down the vein. The needle slides into Mead's vein. OVER THIS, we begin to hear a distant sibilant HISSING, indistinct like the leakage of a bad heart. There is also an occasional distinctly human but not quite civilized sound. CAMERA PULLS BACK SLOWLY to Nurse Devine withdrawing the needle, looking up, for she too has heard the soft, strange sounds. They emanate from behind the curtains of the other bed. Nurse Devine returns the syringe to the tray, gathers her things and pads silently around Mead's bed to Drummond's bed. With her free hand, she opens the curtains a little and stares in. When Nurse Devine draws the curtains, Barbara frowns at Nurse Devine, holds a cautioning finger to her lips and draws the curtains closed again. Nurse Devine, carrying her porcelain tray, exits. He heads for the Nurses' Station as Nurse Devine comes down the

Why does the hospital want to annex the condemned building next door?

To use the space for a drug rehabilitation center.

The Hospital was founded in the late 19th century, and there are still a few begrimed Victorian Bedlams and Bastilles among the buildings. Mostly though, it is Medical Modern 1971, white and chrome and lots of glass and concrete shafts and rotundas. A spanking new Community Mental Health Clinic towers among the tenements at the northern end of the complex. On the far side of First Avenue, a twenty-story apartment house with recessed balconies and picture windows to house the resident staff has just recently been completed, and next to it, eight ghetto buildings are being demolished to make way -- according to the construction company's sign -- for a new Drug Rehabilitation Center, to be completed in 1973, we should all live so long. This is where the shattering SOUNDS OF CONSTRUCTION are coming from. A block length of generators and cement and demolition machines are POUNDING, CRASHING, SCREAMING. Traffic HONKS and BRAYS up First Avenue. It is a cold spring morning -- 10:00 A.M. A 1966 station wagon pulls up to the Holly Pavilion. A tiny, fragile, white-bearded OLD MAN, almost lost in his overcoat, is helped from the rear of a station wagon and slowly led to the entrance doors by a middle-aged nurse. The shrouded body of the old man is wheeled out of the room. CAMERA STAYS on the vacated bed. PAN from bed to Schaefer, now alone in the room and regarding the empty bed with frowning interest. Schaefer is a scraggly young fellow, bespectacled, with a contemporary mess of hair and a swinging unkempt moustachio. HOLD on Schaefer. Dr. Schaefer moves for the phone on the table between the two beds. Schaefer speaks softly into the phone. FREEZE on CLOSE-UP of the beaming, lubricious Schaefer on phone as They eventually wind up on the unoccupied bed, and the scene ends looking ACROSS the sleeping profile of THE PATIENT in the other bed as Schaefer and his girl thump away at each other with much creaking of springs, moans, groans, giggles and the white-limbed patterns of fornication. Schaefer smiles, grunts, sleeps on. NURSE'S P.O.V.: Intern Dr. Schaefer is lying on this bed, rigid, eyes dilated, pupils staring unseeing. An I.V. tube sticks out of his naked right arm. Nurse Perez doesn't quite know what to make of the fact that Dr. Schaefer is lying on that bed with an I.V. tube sticking out of him looking dead. Frowning, she reaches out a tentative hand to shake his naked shoulder. There is, of course, no response. A terrible suspicion enters Nurse Perez's mind, and she closes her eyes and sighs a long shuddering sigh. Then she opens her eyes and, with a second and briefer sigh, reaches for Schaefer's neck to take his pulse. Clearly, the result is not encouraging. She sighs another short sigh and regards Schaefer's unblinking, dilated pupils. It's all a bit too much for her; she shuffles to the window and stares out into the gray morning where things are a little more comprehensible. Once again, she returns to the bed, regards Schaefer's death mask. She raises the bedsheet and, for one short but appreciative moment, considers Schaefer's naked body. She lets the bedsheet carefully down. She sighs again. She sighs, turns and leaves the room. With a short, irritable sigh, Mrs. Reardon abandons her paperwork and heads down the west corridor, followed by Nurses Perez and Rivers. CAMERA TRACKS as Mrs. Reardon turns to Nurse Rivers. DR. HERBERT BOCK, 53 years old, a large man, bulky, disheveled, apparently fell asleep in a chair while watching television the night before. The storms over to Miss Lebow. He strides, followed by Dr. Lagerman, into... The phone RINGS. Bock seizes it. This gives Bock pause. He blinks at Lagerman. Schaefer's naked white cadaver is stretched out on an operating table. He has been opened up and all his vital organs are being excised. It's bloody. The autopsy is being performed by DR. BREWSTER, the Resident in Pathology, dressed in surgical scrub. He knocks on the glass window of the door separating the laboratory from the operating room. Dr. Brewster turns from his gory chore. Bock makes a gesture saying, "How much longer?" Brewster raises ten blood-drenched rubber-gloved fingers. Bock turns and shuffles across the lab for the door out. He goes down... Mrs. Dunne nods. Nurse Devine makes her way silently down the sleeping doors to... Mead sleeps on. Expressionlessly, Nurse Devine extracts Mead's right arm from under the sheets, wets a swab with alcohol and rubs down the vein. The needle slides into Mead's vein. OVER THIS, we begin to hear a distant sibilant HISSING, indistinct like the leakage of a bad heart. There is also an occasional distinctly human but not quite civilized sound. CAMERA PULLS BACK SLOWLY to Nurse Devine withdrawing the needle, looking up, for she too has heard the soft, strange sounds. They emanate from behind the curtains of the other bed. Nurse Devine returns the syringe to the tray, gathers her things and pads silently around Mead's bed to Drummond's bed. With her free hand, she opens the curtains a little and stares in. When Nurse Devine draws the curtains, Barbara frowns at Nurse Devine, holds a cautioning finger to her lips and draws the curtains closed again. Nurse Devine, carrying her porcelain tray, exits. He heads for the Nurses' Station as Nurse Devine comes down the the airway and the ambu tube into Welbeck's mouth and pumps in air by hand. Bock massages away. She follows Morse in as, from the lobby corner, two technicians come racing a max cart and an I.V. stand before them. Behind them, a bewildered Hitchcock moves into view, trying to determine what's going on. Hitchcock looks down at the sheeted figure hunched on the bed parked in the hallway and slowly pulls the sheet off his head. William Mead stares up at him like a hunted animal. Hitchcock covers Mead's head again. If we can see anything of Welbeck through other bodies, we notice almost all his clothes have been ripped off his body. Dr. Loomis replaces Barbara. The two nursing supervisors have been getting the max cart ready, snapping up the gateleg-footrest and attaching the I.V. tube to the oxygen jar, and that to the ambu bag. Drs. Loomis, Bock and Morse struggle to lift the the nearly naked dead weight of Dr. Welbeck up from the floor and onto the max cart. Dr. Morse has picked up Drummond's chart from the bed where Welbeck had left it. CLOSE-UP of Bock trying to hoist Welbeck and looking up slowly. Bock cocks his head to him. Bock looks across to Barbara, now helping out at the max cart. She looks back at Bock. She shrugs. He shrugs. They exchange a smile. Straining under the effort, the three doctors get Welbeck off the floor. Mrs. Donovan exits into... Hitchcock silently thanks God. Welbeck's body is finally on the max cart. Nurses and doctors converge on him. Dr. Loomis sets about intubating Welbeck, and the Nursing Supervisor begins clamping the metal bands of the E.K.G. machine on each of Welbeck's extremities. While all this goes on, Bock and Barbara have picked up on the phones. The triage nurse takes the history of the first in a line of five people seeking admission even as she answers her phone. We watch Miss Aronovici and the other nurse and Dr. Spezio and his two interns, the two attendants -- all busy with one patient or another. ACROSS Drummond, white-uniformed, standing in the back against the filing cabinets and linens, watching the the new patients trickle and crowd in. At the Admitting Desk, a MAN in his forties is being signed in by a uniformed cop. CAMERA JUST STARES at the pageant of pain. They hurry into the Admitting Room past a nurse and into the... On screen we continue watching the scene of the overdose case treatment, as the live-action sound in the room fades behind Drummond's tale. REACTION SHOT of Drummond staring at this ceaseless panorama of pain, tears streaking down his cheeks. Drummond turns to the voice. CAMERA PULLS BACK to include the man who had been brought into the E.R. by a uniformed cop. PAN SLOWLY to Drummond who stares at the Nameless Man. In BACKGROUND the door opens and Mrs. Cushing, the lady from accounting, enters. She calls out in her annoying voice from a chart. Bock holds Drummond's coat and hat and crosses to take his arm. He finds the entranced Drummond as rigid as a statue. They both hurry out of the room. Drummond remains enmarbled in his trance. CAMERA SUDDENLY MOVES DOWN to William Mead, whose eyes now open; he has heard it all. In background, Drummond, suddenly released from his catatonic trance, heads for the armoire and extracts the white trousers of Dr. Schaefer's uniform. He puts them on, tucking in the tails of his hospital shift. He notices William Mead staring at him. William Mead

From where did Barbara Drummond and her father travel to the hospital?

Mexico.

the unoccupied bed, and the scene ends looking ACROSS the sleeping profile of THE PATIENT in the other bed as Schaefer and his girl thump away at each other with much creaking of springs, moans, groans, giggles and the white-limbed patterns of fornication. Schaefer smiles, grunts, sleeps on. NURSE'S P.O.V.: Intern Dr. Schaefer is lying on this bed, rigid, eyes dilated, pupils staring unseeing. An I.V. tube sticks out of his naked right arm. Nurse Perez doesn't quite know what to make of the fact that Dr. Schaefer is lying on that bed with an I.V. tube sticking out of him looking dead. Frowning, she reaches out a tentative hand to shake his naked shoulder. There is, of course, no response. A terrible suspicion enters Nurse Perez's mind, and she closes her eyes and sighs a long shuddering sigh. Then she opens her eyes and, with a second and briefer sigh, reaches for Schaefer's neck to take his pulse. Clearly, the result is not encouraging. She sighs another short sigh and regards Schaefer's unblinking, dilated pupils. It's all a bit too much for her; she shuffles to the window and stares out into the gray morning where things are a little more comprehensible. Once again, she returns to the bed, regards Schaefer's death mask. She raises the bedsheet and, for one short but appreciative moment, considers Schaefer's naked body. She lets the bedsheet carefully down. She sighs again. She sighs, turns and leaves the room. With a short, irritable sigh, Mrs. Reardon abandons her paperwork and heads down the west corridor, followed by Nurses Perez and Rivers. CAMERA TRACKS as Mrs. Reardon turns to Nurse Rivers. DR. HERBERT BOCK, 53 years old, a large man, bulky, disheveled, apparently fell asleep in a chair while watching television the night before. The the airway and the ambu tube into Welbeck's mouth and pumps in air by hand. Bock massages away. She follows Morse in as, from the lobby corner, two technicians come racing a max cart and an I.V. stand before them. Behind them, a bewildered Hitchcock moves into view, trying to determine what's going on. Hitchcock looks down at the sheeted figure hunched on the bed parked in the hallway and slowly pulls the sheet off his head. William Mead stares up at him like a hunted animal. Hitchcock covers Mead's head again. If we can see anything of Welbeck through other bodies, we notice almost all his clothes have been ripped off his body. Dr. Loomis replaces Barbara. The two nursing supervisors have been getting the max cart ready, snapping up the gateleg-footrest and attaching the I.V. tube to the oxygen jar, and that to the ambu bag. Drs. Loomis, Bock and Morse struggle to lift the the nearly naked dead weight of Dr. Welbeck up from the floor and onto the max cart. Dr. Morse has picked up Drummond's chart from the bed where Welbeck had left it. CLOSE-UP of Bock trying to hoist Welbeck and looking up slowly. Bock cocks his head to him. Bock looks across to Barbara, now helping out at the max cart. She looks back at Bock. She shrugs. He shrugs. They exchange a smile. Straining under the effort, the three doctors get Welbeck off the floor. Mrs. Donovan exits into... Hitchcock silently thanks God. Welbeck's body is finally on the max cart. Nurses and doctors converge on him. Dr. Loomis sets about intubating Welbeck, and the Nursing Supervisor begins clamping the metal bands of the E.K.G. machine on each of Welbeck's extremities. While all this goes on, Bock and Barbara have picked up storms over to Miss Lebow. He strides, followed by Dr. Lagerman, into... The phone RINGS. Bock seizes it. This gives Bock pause. He blinks at Lagerman. Schaefer's naked white cadaver is stretched out on an operating table. He has been opened up and all his vital organs are being excised. It's bloody. The autopsy is being performed by DR. BREWSTER, the Resident in Pathology, dressed in surgical scrub. He knocks on the glass window of the door separating the laboratory from the operating room. Dr. Brewster turns from his gory chore. Bock makes a gesture saying, "How much longer?" Brewster raises ten blood-drenched rubber-gloved fingers. Bock turns and shuffles across the lab for the door out. He goes down... Mrs. Dunne nods. Nurse Devine makes her way silently down the sleeping doors to... Mead sleeps on. Expressionlessly, Nurse Devine extracts Mead's right arm from under the sheets, wets a swab with alcohol and rubs down the vein. The needle slides into Mead's vein. OVER THIS, we begin to hear a distant sibilant HISSING, indistinct like the leakage of a bad heart. There is also an occasional distinctly human but not quite civilized sound. CAMERA PULLS BACK SLOWLY to Nurse Devine withdrawing the needle, looking up, for she too has heard the soft, strange sounds. They emanate from behind the curtains of the other bed. Nurse Devine returns the syringe to the tray, gathers her things and pads silently around Mead's bed to Drummond's bed. With her free hand, she opens the curtains a little and stares in. When Nurse Devine draws the curtains, Barbara frowns at Nurse Devine, holds a cautioning finger to her lips and draws the curtains closed again. Nurse Devine, carrying her porcelain tray, exits. He heads for the Nurses' Station as Nurse Devine comes down the exits into... A guttural noise indicates yes. Miss Lebow pulls up a chair, opens her folder. She places a sheet of paper on the desk in front of Bock. He tries to give his attention to it. Bock obviously isn't up to all this. He waves a limp hand to stop Miss Lebow's morning report. He lumbers across the room and out into... The doctor is obviously in. He can be seen through the open door sitting at his desk writing in a notebook. Bock leans in. Bock goes in, closes the door behind himself. Indeed, he does not. He is horrified by the fact his eyes are wet and he is verging on tears. He turns away quickly. He starts for the door. Before Einhorn can say a word, he slips away and disappears into his own office. A door CLICKS open behind him, and without looking up, he waves briefly to whoever has entered. CAMERA DOLLIES to FULL SHOT of Ives frowning over his notes. We are suddenly conscious of a white-uniformed presence behind him. We know it's medical personnel, but we can't see the face. Ives starts to turn to the presence behind him, when suddenly a small hospital sandbag is whipped down on his head, and he slumps forward, his forehead thumping against the black surface of the lab table. The doctors move off toward the solarium on the east corridor overlooking the river. They pass a curious quartet of people consisting of a very handsome YOUNG WOMAN in her late twenties in an out-of-fashion miniskirt (She has great legs, long and tanned.); an ELDERLY MAN, uncomfortable in city clothes and unmistakably an INDIAN; a tall overcoated man in his forties wearing a MINISTER's white collar; and a DISTINGUISHED MAN dressed in fashionable gray who is onto the bed. Carefully, he twists out from under his sheet, swings his legs over the side of the bed and sits up. REVERSE ACROSS Bock at the window, pondering. With a swift lash of movement, the double tubes of a stethoscope are whipped over his head and tightened around his throat. CLOSE TWO SHOT of Bock being strangled, Drummond's face frozen in bland dementia behind him. Drummond pauses in his strangling and, releasing the poor man altogether, turns to his daughter in the doorway. CAMERA DOLLIES to include all three -- Bock recuperating; Drummond staring madly; and Barbara infuriated with her father. Drummond, abashed, stands there, a scolded schoolboy, a rawboned figure in a hospital shift, a stethoscope dangling from his right hand. The old man is slipping out of his clothes to expose a thin little body in a torn nightshirt. The old man sits back, wheezing a little. Nurse Chile smiles nicely at him and takes her leave. For a moment, Drummond lies rigidly on his bed, staring dully into the air and the old man sits with his hunched back to us. The room is silent except for his rheumy wheeze. After a moment, the old man rises and goes to the washbasin and, with some wheezing, spits into it. He shuffles back to bed. Dr. Schaefer comes into the room with a professional smile and the patient Guernsey's chart. Schaefer perches on the bed beside Guernsey and begins to take his history. CLOSE-UP of Drummond in deep shadow shows him sleeping. Drummond's eyes open and roll to the direction of the voice. DRUMMOND'S P.O.V.: Guernsey, dressed only in his hospital shift, is shuffling up and down the aisle of the room, hands clasped behind his back like a Mittel-European intellectual, head hunched forward -- a

Where is Dr. Bock's wife?

She left him.

the unoccupied bed, and the scene ends looking ACROSS the sleeping profile of THE PATIENT in the other bed as Schaefer and his girl thump away at each other with much creaking of springs, moans, groans, giggles and the white-limbed patterns of fornication. Schaefer smiles, grunts, sleeps on. NURSE'S P.O.V.: Intern Dr. Schaefer is lying on this bed, rigid, eyes dilated, pupils staring unseeing. An I.V. tube sticks out of his naked right arm. Nurse Perez doesn't quite know what to make of the fact that Dr. Schaefer is lying on that bed with an I.V. tube sticking out of him looking dead. Frowning, she reaches out a tentative hand to shake his naked shoulder. There is, of course, no response. A terrible suspicion enters Nurse Perez's mind, and she closes her eyes and sighs a long shuddering sigh. Then she opens her eyes and, with a second and briefer sigh, reaches for Schaefer's neck to take his pulse. Clearly, the result is not encouraging. She sighs another short sigh and regards Schaefer's unblinking, dilated pupils. It's all a bit too much for her; she shuffles to the window and stares out into the gray morning where things are a little more comprehensible. Once again, she returns to the bed, regards Schaefer's death mask. She raises the bedsheet and, for one short but appreciative moment, considers Schaefer's naked body. She lets the bedsheet carefully down. She sighs again. She sighs, turns and leaves the room. With a short, irritable sigh, Mrs. Reardon abandons her paperwork and heads down the west corridor, followed by Nurses Perez and Rivers. CAMERA TRACKS as Mrs. Reardon turns to Nurse Rivers. DR. HERBERT BOCK, 53 years old, a large man, bulky, disheveled, apparently fell asleep in a chair while watching television the night before. The Room area to lean into the Supervisor's Office. The THIRD NURSE leans back into the Supervisor's Office to relay this information. This is apparently good news, for we hear someone saying An orderly rumbles by with an E.K.G. machine. O.R. Nursing Supervisor DOROTHY KIMBALL, a pleasant lady in her late thirties, leans out of her office to speak to one of the lounging orderlies. The orderly detaches himself from his cronies and exits. It is into this atmosphere of subdued febrility that William Mead is wheeled. Indeed, a stretcher is being wheeled out of the Holding Room. The patient is sedated and covered. As the orderly wheels her past CAMERA, we may recognize the pale, sleeping profile of Miss Campanella, the nurse who had been coshed with a sandbag not many scenes ago. A CIRCULATING NURSE comes through the glass doors, examines the chart dangling from the stretcher. The orderly wheels the silent Miss Campanella off to Operating Room Three, as Dr. Welbeck, in his natty blue suit, carrying his camel coat, turns in from the outer corridor and examines the blackboard. He goes back to... The anesthesiologist, DR. CHU, injects pentathol in the I.V. tube. The RESIDENT ANESTHESIOLOGIST trundles over the oxygen tank, takes the hypodermic syringe from Dr. Chu, who now applies the oxygen mask to the enmarbled profile of the patient. He studies the gauges and equipment around him at the head of the operating table. The room galvanizes into the swift, silent activity of a chest massage. Dr. Mallory, standing and stretching in the back of the room, turns and moves toward the off-screen patient. He begins a vigorous rhythmic massage of the patient's rib cage over the heart. Dr. Mallory thumps the patient's chest hard with his fist, and the others, likewise, go to work. The scrub nurse is applying electrode paste to the defibrillators. Dr. Mallory yanks the sheets and hospital shirt off the patient and begins very rigorous massage of the exposed ribs; we can hear one rib crack. Dr. Chu, who has been inserting some suprel and bicarbonate into the tube of the patient's I.V., is frowning at her rigid, white-capped face. He leans over to check the E.K.G. readings. Mallory straddles the patient. He's doing heavy heart massage. Dr. Chu pushes back, the operating cap on the patient's head, revealing jet-black hair. Mallory starts to massage again. Dr. Chu stares blankly at the patient's face, then looks up at the sweating surgeon, perched on the operating table, rhythmically crushing away at the patient's rib cage. Dr. Mallory, now pausing for a moment, looks up. He is beaded with sweat. He massages away. Another rib cracks. Mrs. Christie's electric pocket-pager BEEPS. Miss McGuire leans in from the secretaries' office. She hangs up, stands, goes out into... Apparently, none of these three. Mrs. Christie turns in from the outer corridor. Normal Operating Room activity flows by: patients wheeled to and from their various surgeries, surgeons checking the blackboard, staff doctors, orderlies keeping the noise level low but steady. Hitchcock shrugs helplessly. Mrs. Kimball, Mrs. Christie, Hitchcock and Sloan push through the glass doors to the crossroads of the operating rooms. Through each window, we see operating crews hacking away. They gather in anticipation outside O.R. Three and peer over each other's shoulders into the room where the operating crew is hunched over the open-heart massage. The masked circulating nurse looks up, notices the audience at the door, and gives a hopeless shrug. During this maelstrom, the phone at Mead's elbow RINGS. Mead answers it, listens, nods, returns the receiver, stand and slips out The Hospital was founded in the late 19th century, and there are still a few begrimed Victorian Bedlams and Bastilles among the buildings. Mostly though, it is Medical Modern 1971, white and chrome and lots of glass and concrete shafts and rotundas. A spanking new Community Mental Health Clinic towers among the tenements at the northern end of the complex. On the far side of First Avenue, a twenty-story apartment house with recessed balconies and picture windows to house the resident staff has just recently been completed, and next to it, eight ghetto buildings are being demolished to make way -- according to the construction company's sign -- for a new Drug Rehabilitation Center, to be completed in 1973, we should all live so long. This is where the shattering SOUNDS OF CONSTRUCTION are coming from. A block length of generators and cement and demolition machines are POUNDING, CRASHING, SCREAMING. Traffic HONKS and BRAYS up First Avenue. It is a cold spring morning -- 10:00 A.M. A 1966 station wagon pulls up to the Holly Pavilion. A tiny, fragile, white-bearded OLD MAN, almost lost in his overcoat, is helped from the rear of a station wagon and slowly led to the entrance doors by a middle-aged nurse. The shrouded body of the old man is wheeled out of the room. CAMERA STAYS on the vacated bed. PAN from bed to Schaefer, now alone in the room and regarding the empty bed with frowning interest. Schaefer is a scraggly young fellow, bespectacled, with a contemporary mess of hair and a swinging unkempt moustachio. HOLD on Schaefer. Dr. Schaefer moves for the phone on the table between the two beds. Schaefer speaks softly into the phone. FREEZE on CLOSE-UP of the beaming, lubricious Schaefer on phone as They eventually wind up on on the phones. The triage nurse takes the history of the first in a line of five people seeking admission even as she answers her phone. We watch Miss Aronovici and the other nurse and Dr. Spezio and his two interns, the two attendants -- all busy with one patient or another. ACROSS Drummond, white-uniformed, standing in the back against the filing cabinets and linens, watching the the new patients trickle and crowd in. At the Admitting Desk, a MAN in his forties is being signed in by a uniformed cop. CAMERA JUST STARES at the pageant of pain. They hurry into the Admitting Room past a nurse and into the... On screen we continue watching the scene of the overdose case treatment, as the live-action sound in the room fades behind Drummond's tale. REACTION SHOT of Drummond staring at this ceaseless panorama of pain, tears streaking down his cheeks. Drummond turns to the voice. CAMERA PULLS BACK to include the man who had been brought into the E.R. by a uniformed cop. PAN SLOWLY to Drummond who stares at the Nameless Man. In BACKGROUND the door opens and Mrs. Cushing, the lady from accounting, enters. She calls out in her annoying voice from a chart. Bock holds Drummond's coat and hat and crosses to take his arm. He finds the entranced Drummond as rigid as a statue. They both hurry out of the room. Drummond remains enmarbled in his trance. CAMERA SUDDENLY MOVES DOWN to William Mead, whose eyes now open; he has heard it all. In background, Drummond, suddenly released from his catatonic trance, heads for the armoire and extracts the white trousers of Dr. Schaefer's uniform. He puts them on, tucking in the tails of his hospital shift. He notices William Mead staring at him. William Mead

To what are the recent deaths of two doctors and a nurse at the hospital attributed?

Failure to provide the correct treatment.

Room area to lean into the Supervisor's Office. The THIRD NURSE leans back into the Supervisor's Office to relay this information. This is apparently good news, for we hear someone saying An orderly rumbles by with an E.K.G. machine. O.R. Nursing Supervisor DOROTHY KIMBALL, a pleasant lady in her late thirties, leans out of her office to speak to one of the lounging orderlies. The orderly detaches himself from his cronies and exits. It is into this atmosphere of subdued febrility that William Mead is wheeled. Indeed, a stretcher is being wheeled out of the Holding Room. The patient is sedated and covered. As the orderly wheels her past CAMERA, we may recognize the pale, sleeping profile of Miss Campanella, the nurse who had been coshed with a sandbag not many scenes ago. A CIRCULATING NURSE comes through the glass doors, examines the chart dangling from the stretcher. The orderly wheels the silent Miss Campanella off to Operating Room Three, as Dr. Welbeck, in his natty blue suit, carrying his camel coat, turns in from the outer corridor and examines the blackboard. He goes back to... The anesthesiologist, DR. CHU, injects pentathol in the I.V. tube. The RESIDENT ANESTHESIOLOGIST trundles over the oxygen tank, takes the hypodermic syringe from Dr. Chu, who now applies the oxygen mask to the enmarbled profile of the patient. He studies the gauges and equipment around him at the head of the operating table. The room galvanizes into the swift, silent activity of a chest massage. Dr. Mallory, standing and stretching in the back of the room, turns and moves toward the off-screen patient. He begins a vigorous rhythmic massage of the patient's rib cage over the heart. Dr. Mallory thumps the patient's chest hard with his fist, and the others, likewise, go to work. The Hospital was founded in the late 19th century, and there are still a few begrimed Victorian Bedlams and Bastilles among the buildings. Mostly though, it is Medical Modern 1971, white and chrome and lots of glass and concrete shafts and rotundas. A spanking new Community Mental Health Clinic towers among the tenements at the northern end of the complex. On the far side of First Avenue, a twenty-story apartment house with recessed balconies and picture windows to house the resident staff has just recently been completed, and next to it, eight ghetto buildings are being demolished to make way -- according to the construction company's sign -- for a new Drug Rehabilitation Center, to be completed in 1973, we should all live so long. This is where the shattering SOUNDS OF CONSTRUCTION are coming from. A block length of generators and cement and demolition machines are POUNDING, CRASHING, SCREAMING. Traffic HONKS and BRAYS up First Avenue. It is a cold spring morning -- 10:00 A.M. A 1966 station wagon pulls up to the Holly Pavilion. A tiny, fragile, white-bearded OLD MAN, almost lost in his overcoat, is helped from the rear of a station wagon and slowly led to the entrance doors by a middle-aged nurse. The shrouded body of the old man is wheeled out of the room. CAMERA STAYS on the vacated bed. PAN from bed to Schaefer, now alone in the room and regarding the empty bed with frowning interest. Schaefer is a scraggly young fellow, bespectacled, with a contemporary mess of hair and a swinging unkempt moustachio. HOLD on Schaefer. Dr. Schaefer moves for the phone on the table between the two beds. Schaefer speaks softly into the phone. FREEZE on CLOSE-UP of the beaming, lubricious Schaefer on phone as They eventually wind up on on the phones. The triage nurse takes the history of the first in a line of five people seeking admission even as she answers her phone. We watch Miss Aronovici and the other nurse and Dr. Spezio and his two interns, the two attendants -- all busy with one patient or another. ACROSS Drummond, white-uniformed, standing in the back against the filing cabinets and linens, watching the the new patients trickle and crowd in. At the Admitting Desk, a MAN in his forties is being signed in by a uniformed cop. CAMERA JUST STARES at the pageant of pain. They hurry into the Admitting Room past a nurse and into the... On screen we continue watching the scene of the overdose case treatment, as the live-action sound in the room fades behind Drummond's tale. REACTION SHOT of Drummond staring at this ceaseless panorama of pain, tears streaking down his cheeks. Drummond turns to the voice. CAMERA PULLS BACK to include the man who had been brought into the E.R. by a uniformed cop. PAN SLOWLY to Drummond who stares at the Nameless Man. In BACKGROUND the door opens and Mrs. Cushing, the lady from accounting, enters. She calls out in her annoying voice from a chart. Bock holds Drummond's coat and hat and crosses to take his arm. He finds the entranced Drummond as rigid as a statue. They both hurry out of the room. Drummond remains enmarbled in his trance. CAMERA SUDDENLY MOVES DOWN to William Mead, whose eyes now open; he has heard it all. In background, Drummond, suddenly released from his catatonic trance, heads for the armoire and extracts the white trousers of Dr. Schaefer's uniform. He puts them on, tucking in the tails of his hospital shift. He notices William Mead staring at him. William Mead The scrub nurse is applying electrode paste to the defibrillators. Dr. Mallory yanks the sheets and hospital shirt off the patient and begins very rigorous massage of the exposed ribs; we can hear one rib crack. Dr. Chu, who has been inserting some suprel and bicarbonate into the tube of the patient's I.V., is frowning at her rigid, white-capped face. He leans over to check the E.K.G. readings. Mallory straddles the patient. He's doing heavy heart massage. Dr. Chu pushes back, the operating cap on the patient's head, revealing jet-black hair. Mallory starts to massage again. Dr. Chu stares blankly at the patient's face, then looks up at the sweating surgeon, perched on the operating table, rhythmically crushing away at the patient's rib cage. Dr. Mallory, now pausing for a moment, looks up. He is beaded with sweat. He massages away. Another rib cracks. Mrs. Christie's electric pocket-pager BEEPS. Miss McGuire leans in from the secretaries' office. She hangs up, stands, goes out into... Apparently, none of these three. Mrs. Christie turns in from the outer corridor. Normal Operating Room activity flows by: patients wheeled to and from their various surgeries, surgeons checking the blackboard, staff doctors, orderlies keeping the noise level low but steady. Hitchcock shrugs helplessly. Mrs. Kimball, Mrs. Christie, Hitchcock and Sloan push through the glass doors to the crossroads of the operating rooms. Through each window, we see operating crews hacking away. They gather in anticipation outside O.R. Three and peer over each other's shoulders into the room where the operating crew is hunched over the open-heart massage. The masked circulating nurse looks up, notices the audience at the door, and gives a hopeless shrug. During this maelstrom, the phone at Mead's elbow RINGS. Mead answers it, listens, nods, returns the receiver, stand and slips out the airway and the ambu tube into Welbeck's mouth and pumps in air by hand. Bock massages away. She follows Morse in as, from the lobby corner, two technicians come racing a max cart and an I.V. stand before them. Behind them, a bewildered Hitchcock moves into view, trying to determine what's going on. Hitchcock looks down at the sheeted figure hunched on the bed parked in the hallway and slowly pulls the sheet off his head. William Mead stares up at him like a hunted animal. Hitchcock covers Mead's head again. If we can see anything of Welbeck through other bodies, we notice almost all his clothes have been ripped off his body. Dr. Loomis replaces Barbara. The two nursing supervisors have been getting the max cart ready, snapping up the gateleg-footrest and attaching the I.V. tube to the oxygen jar, and that to the ambu bag. Drs. Loomis, Bock and Morse struggle to lift the the nearly naked dead weight of Dr. Welbeck up from the floor and onto the max cart. Dr. Morse has picked up Drummond's chart from the bed where Welbeck had left it. CLOSE-UP of Bock trying to hoist Welbeck and looking up slowly. Bock cocks his head to him. Bock looks across to Barbara, now helping out at the max cart. She looks back at Bock. She shrugs. He shrugs. They exchange a smile. Straining under the effort, the three doctors get Welbeck off the floor. Mrs. Donovan exits into... Hitchcock silently thanks God. Welbeck's body is finally on the max cart. Nurses and doctors converge on him. Dr. Loomis sets about intubating Welbeck, and the Nursing Supervisor begins clamping the metal bands of the E.K.G. machine on each of Welbeck's extremities. While all this goes on, Bock and Barbara have picked up

What do the occupants of the condemned building want from the hospital?

They demand to be provided with replacement housing.

the unoccupied bed, and the scene ends looking ACROSS the sleeping profile of THE PATIENT in the other bed as Schaefer and his girl thump away at each other with much creaking of springs, moans, groans, giggles and the white-limbed patterns of fornication. Schaefer smiles, grunts, sleeps on. NURSE'S P.O.V.: Intern Dr. Schaefer is lying on this bed, rigid, eyes dilated, pupils staring unseeing. An I.V. tube sticks out of his naked right arm. Nurse Perez doesn't quite know what to make of the fact that Dr. Schaefer is lying on that bed with an I.V. tube sticking out of him looking dead. Frowning, she reaches out a tentative hand to shake his naked shoulder. There is, of course, no response. A terrible suspicion enters Nurse Perez's mind, and she closes her eyes and sighs a long shuddering sigh. Then she opens her eyes and, with a second and briefer sigh, reaches for Schaefer's neck to take his pulse. Clearly, the result is not encouraging. She sighs another short sigh and regards Schaefer's unblinking, dilated pupils. It's all a bit too much for her; she shuffles to the window and stares out into the gray morning where things are a little more comprehensible. Once again, she returns to the bed, regards Schaefer's death mask. She raises the bedsheet and, for one short but appreciative moment, considers Schaefer's naked body. She lets the bedsheet carefully down. She sighs again. She sighs, turns and leaves the room. With a short, irritable sigh, Mrs. Reardon abandons her paperwork and heads down the west corridor, followed by Nurses Perez and Rivers. CAMERA TRACKS as Mrs. Reardon turns to Nurse Rivers. DR. HERBERT BOCK, 53 years old, a large man, bulky, disheveled, apparently fell asleep in a chair while watching television the night before. The The scrub nurse is applying electrode paste to the defibrillators. Dr. Mallory yanks the sheets and hospital shirt off the patient and begins very rigorous massage of the exposed ribs; we can hear one rib crack. Dr. Chu, who has been inserting some suprel and bicarbonate into the tube of the patient's I.V., is frowning at her rigid, white-capped face. He leans over to check the E.K.G. readings. Mallory straddles the patient. He's doing heavy heart massage. Dr. Chu pushes back, the operating cap on the patient's head, revealing jet-black hair. Mallory starts to massage again. Dr. Chu stares blankly at the patient's face, then looks up at the sweating surgeon, perched on the operating table, rhythmically crushing away at the patient's rib cage. Dr. Mallory, now pausing for a moment, looks up. He is beaded with sweat. He massages away. Another rib cracks. Mrs. Christie's electric pocket-pager BEEPS. Miss McGuire leans in from the secretaries' office. She hangs up, stands, goes out into... Apparently, none of these three. Mrs. Christie turns in from the outer corridor. Normal Operating Room activity flows by: patients wheeled to and from their various surgeries, surgeons checking the blackboard, staff doctors, orderlies keeping the noise level low but steady. Hitchcock shrugs helplessly. Mrs. Kimball, Mrs. Christie, Hitchcock and Sloan push through the glass doors to the crossroads of the operating rooms. Through each window, we see operating crews hacking away. They gather in anticipation outside O.R. Three and peer over each other's shoulders into the room where the operating crew is hunched over the open-heart massage. The masked circulating nurse looks up, notices the audience at the door, and gives a hopeless shrug. During this maelstrom, the phone at Mead's elbow RINGS. Mead answers it, listens, nods, returns the receiver, stand and slips out Room area to lean into the Supervisor's Office. The THIRD NURSE leans back into the Supervisor's Office to relay this information. This is apparently good news, for we hear someone saying An orderly rumbles by with an E.K.G. machine. O.R. Nursing Supervisor DOROTHY KIMBALL, a pleasant lady in her late thirties, leans out of her office to speak to one of the lounging orderlies. The orderly detaches himself from his cronies and exits. It is into this atmosphere of subdued febrility that William Mead is wheeled. Indeed, a stretcher is being wheeled out of the Holding Room. The patient is sedated and covered. As the orderly wheels her past CAMERA, we may recognize the pale, sleeping profile of Miss Campanella, the nurse who had been coshed with a sandbag not many scenes ago. A CIRCULATING NURSE comes through the glass doors, examines the chart dangling from the stretcher. The orderly wheels the silent Miss Campanella off to Operating Room Three, as Dr. Welbeck, in his natty blue suit, carrying his camel coat, turns in from the outer corridor and examines the blackboard. He goes back to... The anesthesiologist, DR. CHU, injects pentathol in the I.V. tube. The RESIDENT ANESTHESIOLOGIST trundles over the oxygen tank, takes the hypodermic syringe from Dr. Chu, who now applies the oxygen mask to the enmarbled profile of the patient. He studies the gauges and equipment around him at the head of the operating table. The room galvanizes into the swift, silent activity of a chest massage. Dr. Mallory, standing and stretching in the back of the room, turns and moves toward the off-screen patient. He begins a vigorous rhythmic massage of the patient's rib cage over the heart. Dr. Mallory thumps the patient's chest hard with his fist, and the others, likewise, go to work. trying to persuade the young woman of something. The young woman and the Indian stand absolutely still, silent, impassive. The minister is more fidgety. Bock and Brubaker, trailed by young doctors, move into the TV room. Her phone RINGS. She picks it up. To a man on line at her desk, thrusting his chart out to her. She makes her way to the door and goes out into... Facing the desk are six curtained treatment rooms, mostly open to view. Behind the desk are a supply room and another treatment room. Both are occupied, the former by a PARANOID LADY wringing her hands in a paranoid rush and listened to by a very patient young intern. ...and in the other room, a man in his thirties is being treated for some sort of head lacerations. In one treatment room, the Chief of Emergency Service, DR. SPEZIO, a man in his late thirties, along with an intern, an anesthesiologist and a nurse, is bent over a naked and comatose young black woman of eighteen, covered somewhat with a sheet. She's a junkie, being intubated, i.e. a small endotracheal tube has been inserted into her mouth. This is the most melodramatic of the varied activity here. A middle-aged man complaining of chest pains is lying clothed in another treatment room; a nurse attends him. An asthmatic middle-aged woman sits in still another room being administered her 500 mg. of amenophylene subcutaneously. The curtains on another room are drawn for privacy. On chairs in the corner sit a teenage boy with a badly sprained ankle and an elderly man bathing his hand in an enamel basin held in his lap. A young mother with a five-year-old daughter with a badly cut arm is being attended to by the back wall. The Emergency Room storms over to Miss Lebow. He strides, followed by Dr. Lagerman, into... The phone RINGS. Bock seizes it. This gives Bock pause. He blinks at Lagerman. Schaefer's naked white cadaver is stretched out on an operating table. He has been opened up and all his vital organs are being excised. It's bloody. The autopsy is being performed by DR. BREWSTER, the Resident in Pathology, dressed in surgical scrub. He knocks on the glass window of the door separating the laboratory from the operating room. Dr. Brewster turns from his gory chore. Bock makes a gesture saying, "How much longer?" Brewster raises ten blood-drenched rubber-gloved fingers. Bock turns and shuffles across the lab for the door out. He goes down... Mrs. Dunne nods. Nurse Devine makes her way silently down the sleeping doors to... Mead sleeps on. Expressionlessly, Nurse Devine extracts Mead's right arm from under the sheets, wets a swab with alcohol and rubs down the vein. The needle slides into Mead's vein. OVER THIS, we begin to hear a distant sibilant HISSING, indistinct like the leakage of a bad heart. There is also an occasional distinctly human but not quite civilized sound. CAMERA PULLS BACK SLOWLY to Nurse Devine withdrawing the needle, looking up, for she too has heard the soft, strange sounds. They emanate from behind the curtains of the other bed. Nurse Devine returns the syringe to the tray, gathers her things and pads silently around Mead's bed to Drummond's bed. With her free hand, she opens the curtains a little and stares in. When Nurse Devine draws the curtains, Barbara frowns at Nurse Devine, holds a cautioning finger to her lips and draws the curtains closed again. Nurse Devine, carrying her porcelain tray, exits. He heads for the Nurses' Station as Nurse Devine comes down the

Who initiates the death of two doctors and a nurse?

Barbara Drummond's father.

Room area to lean into the Supervisor's Office. The THIRD NURSE leans back into the Supervisor's Office to relay this information. This is apparently good news, for we hear someone saying An orderly rumbles by with an E.K.G. machine. O.R. Nursing Supervisor DOROTHY KIMBALL, a pleasant lady in her late thirties, leans out of her office to speak to one of the lounging orderlies. The orderly detaches himself from his cronies and exits. It is into this atmosphere of subdued febrility that William Mead is wheeled. Indeed, a stretcher is being wheeled out of the Holding Room. The patient is sedated and covered. As the orderly wheels her past CAMERA, we may recognize the pale, sleeping profile of Miss Campanella, the nurse who had been coshed with a sandbag not many scenes ago. A CIRCULATING NURSE comes through the glass doors, examines the chart dangling from the stretcher. The orderly wheels the silent Miss Campanella off to Operating Room Three, as Dr. Welbeck, in his natty blue suit, carrying his camel coat, turns in from the outer corridor and examines the blackboard. He goes back to... The anesthesiologist, DR. CHU, injects pentathol in the I.V. tube. The RESIDENT ANESTHESIOLOGIST trundles over the oxygen tank, takes the hypodermic syringe from Dr. Chu, who now applies the oxygen mask to the enmarbled profile of the patient. He studies the gauges and equipment around him at the head of the operating table. The room galvanizes into the swift, silent activity of a chest massage. Dr. Mallory, standing and stretching in the back of the room, turns and moves toward the off-screen patient. He begins a vigorous rhythmic massage of the patient's rib cage over the heart. Dr. Mallory thumps the patient's chest hard with his fist, and the others, likewise, go to work. The scrub nurse is applying electrode paste to the defibrillators. Dr. Mallory yanks the sheets and hospital shirt off the patient and begins very rigorous massage of the exposed ribs; we can hear one rib crack. Dr. Chu, who has been inserting some suprel and bicarbonate into the tube of the patient's I.V., is frowning at her rigid, white-capped face. He leans over to check the E.K.G. readings. Mallory straddles the patient. He's doing heavy heart massage. Dr. Chu pushes back, the operating cap on the patient's head, revealing jet-black hair. Mallory starts to massage again. Dr. Chu stares blankly at the patient's face, then looks up at the sweating surgeon, perched on the operating table, rhythmically crushing away at the patient's rib cage. Dr. Mallory, now pausing for a moment, looks up. He is beaded with sweat. He massages away. Another rib cracks. Mrs. Christie's electric pocket-pager BEEPS. Miss McGuire leans in from the secretaries' office. She hangs up, stands, goes out into... Apparently, none of these three. Mrs. Christie turns in from the outer corridor. Normal Operating Room activity flows by: patients wheeled to and from their various surgeries, surgeons checking the blackboard, staff doctors, orderlies keeping the noise level low but steady. Hitchcock shrugs helplessly. Mrs. Kimball, Mrs. Christie, Hitchcock and Sloan push through the glass doors to the crossroads of the operating rooms. Through each window, we see operating crews hacking away. They gather in anticipation outside O.R. Three and peer over each other's shoulders into the room where the operating crew is hunched over the open-heart massage. The masked circulating nurse looks up, notices the audience at the door, and gives a hopeless shrug. During this maelstrom, the phone at Mead's elbow RINGS. Mead answers it, listens, nods, returns the receiver, stand and slips out the unoccupied bed, and the scene ends looking ACROSS the sleeping profile of THE PATIENT in the other bed as Schaefer and his girl thump away at each other with much creaking of springs, moans, groans, giggles and the white-limbed patterns of fornication. Schaefer smiles, grunts, sleeps on. NURSE'S P.O.V.: Intern Dr. Schaefer is lying on this bed, rigid, eyes dilated, pupils staring unseeing. An I.V. tube sticks out of his naked right arm. Nurse Perez doesn't quite know what to make of the fact that Dr. Schaefer is lying on that bed with an I.V. tube sticking out of him looking dead. Frowning, she reaches out a tentative hand to shake his naked shoulder. There is, of course, no response. A terrible suspicion enters Nurse Perez's mind, and she closes her eyes and sighs a long shuddering sigh. Then she opens her eyes and, with a second and briefer sigh, reaches for Schaefer's neck to take his pulse. Clearly, the result is not encouraging. She sighs another short sigh and regards Schaefer's unblinking, dilated pupils. It's all a bit too much for her; she shuffles to the window and stares out into the gray morning where things are a little more comprehensible. Once again, she returns to the bed, regards Schaefer's death mask. She raises the bedsheet and, for one short but appreciative moment, considers Schaefer's naked body. She lets the bedsheet carefully down. She sighs again. She sighs, turns and leaves the room. With a short, irritable sigh, Mrs. Reardon abandons her paperwork and heads down the west corridor, followed by Nurses Perez and Rivers. CAMERA TRACKS as Mrs. Reardon turns to Nurse Rivers. DR. HERBERT BOCK, 53 years old, a large man, bulky, disheveled, apparently fell asleep in a chair while watching television the night before. The on the phones. The triage nurse takes the history of the first in a line of five people seeking admission even as she answers her phone. We watch Miss Aronovici and the other nurse and Dr. Spezio and his two interns, the two attendants -- all busy with one patient or another. ACROSS Drummond, white-uniformed, standing in the back against the filing cabinets and linens, watching the the new patients trickle and crowd in. At the Admitting Desk, a MAN in his forties is being signed in by a uniformed cop. CAMERA JUST STARES at the pageant of pain. They hurry into the Admitting Room past a nurse and into the... On screen we continue watching the scene of the overdose case treatment, as the live-action sound in the room fades behind Drummond's tale. REACTION SHOT of Drummond staring at this ceaseless panorama of pain, tears streaking down his cheeks. Drummond turns to the voice. CAMERA PULLS BACK to include the man who had been brought into the E.R. by a uniformed cop. PAN SLOWLY to Drummond who stares at the Nameless Man. In BACKGROUND the door opens and Mrs. Cushing, the lady from accounting, enters. She calls out in her annoying voice from a chart. Bock holds Drummond's coat and hat and crosses to take his arm. He finds the entranced Drummond as rigid as a statue. They both hurry out of the room. Drummond remains enmarbled in his trance. CAMERA SUDDENLY MOVES DOWN to William Mead, whose eyes now open; he has heard it all. In background, Drummond, suddenly released from his catatonic trance, heads for the armoire and extracts the white trousers of Dr. Schaefer's uniform. He puts them on, tucking in the tails of his hospital shift. He notices William Mead staring at him. William Mead storms over to Miss Lebow. He strides, followed by Dr. Lagerman, into... The phone RINGS. Bock seizes it. This gives Bock pause. He blinks at Lagerman. Schaefer's naked white cadaver is stretched out on an operating table. He has been opened up and all his vital organs are being excised. It's bloody. The autopsy is being performed by DR. BREWSTER, the Resident in Pathology, dressed in surgical scrub. He knocks on the glass window of the door separating the laboratory from the operating room. Dr. Brewster turns from his gory chore. Bock makes a gesture saying, "How much longer?" Brewster raises ten blood-drenched rubber-gloved fingers. Bock turns and shuffles across the lab for the door out. He goes down... Mrs. Dunne nods. Nurse Devine makes her way silently down the sleeping doors to... Mead sleeps on. Expressionlessly, Nurse Devine extracts Mead's right arm from under the sheets, wets a swab with alcohol and rubs down the vein. The needle slides into Mead's vein. OVER THIS, we begin to hear a distant sibilant HISSING, indistinct like the leakage of a bad heart. There is also an occasional distinctly human but not quite civilized sound. CAMERA PULLS BACK SLOWLY to Nurse Devine withdrawing the needle, looking up, for she too has heard the soft, strange sounds. They emanate from behind the curtains of the other bed. Nurse Devine returns the syringe to the tray, gathers her things and pads silently around Mead's bed to Drummond's bed. With her free hand, she opens the curtains a little and stares in. When Nurse Devine draws the curtains, Barbara frowns at Nurse Devine, holds a cautioning finger to her lips and draws the curtains closed again. Nurse Devine, carrying her porcelain tray, exits. He heads for the Nurses' Station as Nurse Devine comes down the

What is the type of hospital where Dr. Bock works?

It is a teaching hospital.

Room area to lean into the Supervisor's Office. The THIRD NURSE leans back into the Supervisor's Office to relay this information. This is apparently good news, for we hear someone saying An orderly rumbles by with an E.K.G. machine. O.R. Nursing Supervisor DOROTHY KIMBALL, a pleasant lady in her late thirties, leans out of her office to speak to one of the lounging orderlies. The orderly detaches himself from his cronies and exits. It is into this atmosphere of subdued febrility that William Mead is wheeled. Indeed, a stretcher is being wheeled out of the Holding Room. The patient is sedated and covered. As the orderly wheels her past CAMERA, we may recognize the pale, sleeping profile of Miss Campanella, the nurse who had been coshed with a sandbag not many scenes ago. A CIRCULATING NURSE comes through the glass doors, examines the chart dangling from the stretcher. The orderly wheels the silent Miss Campanella off to Operating Room Three, as Dr. Welbeck, in his natty blue suit, carrying his camel coat, turns in from the outer corridor and examines the blackboard. He goes back to... The anesthesiologist, DR. CHU, injects pentathol in the I.V. tube. The RESIDENT ANESTHESIOLOGIST trundles over the oxygen tank, takes the hypodermic syringe from Dr. Chu, who now applies the oxygen mask to the enmarbled profile of the patient. He studies the gauges and equipment around him at the head of the operating table. The room galvanizes into the swift, silent activity of a chest massage. Dr. Mallory, standing and stretching in the back of the room, turns and moves toward the off-screen patient. He begins a vigorous rhythmic massage of the patient's rib cage over the heart. Dr. Mallory thumps the patient's chest hard with his fist, and the others, likewise, go to work. The scrub nurse is applying electrode paste to the defibrillators. Dr. Mallory yanks the sheets and hospital shirt off the patient and begins very rigorous massage of the exposed ribs; we can hear one rib crack. Dr. Chu, who has been inserting some suprel and bicarbonate into the tube of the patient's I.V., is frowning at her rigid, white-capped face. He leans over to check the E.K.G. readings. Mallory straddles the patient. He's doing heavy heart massage. Dr. Chu pushes back, the operating cap on the patient's head, revealing jet-black hair. Mallory starts to massage again. Dr. Chu stares blankly at the patient's face, then looks up at the sweating surgeon, perched on the operating table, rhythmically crushing away at the patient's rib cage. Dr. Mallory, now pausing for a moment, looks up. He is beaded with sweat. He massages away. Another rib cracks. Mrs. Christie's electric pocket-pager BEEPS. Miss McGuire leans in from the secretaries' office. She hangs up, stands, goes out into... Apparently, none of these three. Mrs. Christie turns in from the outer corridor. Normal Operating Room activity flows by: patients wheeled to and from their various surgeries, surgeons checking the blackboard, staff doctors, orderlies keeping the noise level low but steady. Hitchcock shrugs helplessly. Mrs. Kimball, Mrs. Christie, Hitchcock and Sloan push through the glass doors to the crossroads of the operating rooms. Through each window, we see operating crews hacking away. They gather in anticipation outside O.R. Three and peer over each other's shoulders into the room where the operating crew is hunched over the open-heart massage. The masked circulating nurse looks up, notices the audience at the door, and gives a hopeless shrug. During this maelstrom, the phone at Mead's elbow RINGS. Mead answers it, listens, nods, returns the receiver, stand and slips out the airway and the ambu tube into Welbeck's mouth and pumps in air by hand. Bock massages away. She follows Morse in as, from the lobby corner, two technicians come racing a max cart and an I.V. stand before them. Behind them, a bewildered Hitchcock moves into view, trying to determine what's going on. Hitchcock looks down at the sheeted figure hunched on the bed parked in the hallway and slowly pulls the sheet off his head. William Mead stares up at him like a hunted animal. Hitchcock covers Mead's head again. If we can see anything of Welbeck through other bodies, we notice almost all his clothes have been ripped off his body. Dr. Loomis replaces Barbara. The two nursing supervisors have been getting the max cart ready, snapping up the gateleg-footrest and attaching the I.V. tube to the oxygen jar, and that to the ambu bag. Drs. Loomis, Bock and Morse struggle to lift the the nearly naked dead weight of Dr. Welbeck up from the floor and onto the max cart. Dr. Morse has picked up Drummond's chart from the bed where Welbeck had left it. CLOSE-UP of Bock trying to hoist Welbeck and looking up slowly. Bock cocks his head to him. Bock looks across to Barbara, now helping out at the max cart. She looks back at Bock. She shrugs. He shrugs. They exchange a smile. Straining under the effort, the three doctors get Welbeck off the floor. Mrs. Donovan exits into... Hitchcock silently thanks God. Welbeck's body is finally on the max cart. Nurses and doctors converge on him. Dr. Loomis sets about intubating Welbeck, and the Nursing Supervisor begins clamping the metal bands of the E.K.G. machine on each of Welbeck's extremities. While all this goes on, Bock and Barbara have picked up trying to persuade the young woman of something. The young woman and the Indian stand absolutely still, silent, impassive. The minister is more fidgety. Bock and Brubaker, trailed by young doctors, move into the TV room. Her phone RINGS. She picks it up. To a man on line at her desk, thrusting his chart out to her. She makes her way to the door and goes out into... Facing the desk are six curtained treatment rooms, mostly open to view. Behind the desk are a supply room and another treatment room. Both are occupied, the former by a PARANOID LADY wringing her hands in a paranoid rush and listened to by a very patient young intern. ...and in the other room, a man in his thirties is being treated for some sort of head lacerations. In one treatment room, the Chief of Emergency Service, DR. SPEZIO, a man in his late thirties, along with an intern, an anesthesiologist and a nurse, is bent over a naked and comatose young black woman of eighteen, covered somewhat with a sheet. She's a junkie, being intubated, i.e. a small endotracheal tube has been inserted into her mouth. This is the most melodramatic of the varied activity here. A middle-aged man complaining of chest pains is lying clothed in another treatment room; a nurse attends him. An asthmatic middle-aged woman sits in still another room being administered her 500 mg. of amenophylene subcutaneously. The curtains on another room are drawn for privacy. On chairs in the corner sit a teenage boy with a badly sprained ankle and an elderly man bathing his hand in an enamel basin held in his lap. A young mother with a five-year-old daughter with a badly cut arm is being attended to by the back wall. The Emergency Room on the phones. The triage nurse takes the history of the first in a line of five people seeking admission even as she answers her phone. We watch Miss Aronovici and the other nurse and Dr. Spezio and his two interns, the two attendants -- all busy with one patient or another. ACROSS Drummond, white-uniformed, standing in the back against the filing cabinets and linens, watching the the new patients trickle and crowd in. At the Admitting Desk, a MAN in his forties is being signed in by a uniformed cop. CAMERA JUST STARES at the pageant of pain. They hurry into the Admitting Room past a nurse and into the... On screen we continue watching the scene of the overdose case treatment, as the live-action sound in the room fades behind Drummond's tale. REACTION SHOT of Drummond staring at this ceaseless panorama of pain, tears streaking down his cheeks. Drummond turns to the voice. CAMERA PULLS BACK to include the man who had been brought into the E.R. by a uniformed cop. PAN SLOWLY to Drummond who stares at the Nameless Man. In BACKGROUND the door opens and Mrs. Cushing, the lady from accounting, enters. She calls out in her annoying voice from a chart. Bock holds Drummond's coat and hat and crosses to take his arm. He finds the entranced Drummond as rigid as a statue. They both hurry out of the room. Drummond remains enmarbled in his trance. CAMERA SUDDENLY MOVES DOWN to William Mead, whose eyes now open; he has heard it all. In background, Drummond, suddenly released from his catatonic trance, heads for the armoire and extracts the white trousers of Dr. Schaefer's uniform. He puts them on, tucking in the tails of his hospital shift. He notices William Mead staring at him. William Mead

How could Drummond's victims have been saved?

If they had received the correct mediacal treatment in a timely manner.

forward and knock over the pot of congee and the cook behind it. The men look to the back of the line and spy Mulan who has emerged from the tent. They angrily start walking towards her. Mulan has a look of horror on her face as if trouble is about to brew] Mulan: Hey guys. General Li [motioning with his pointer to a map of the region]: The Huns have struck here, here and here. I will take the main troops up to the Tung Shao Pass and stop Shan-Yu before he destroys this village. Chi Fu: Excellent strategy, Sir. I do love surprises, Ha ha, ha, ha. General Li: You will stay here and train the new recruits. When Chi Fu believes you're ready, you will join us...Captain. [General Li hands a sword to Shang] Shang: Captain? Chi Fu: Oh, this is an enormous responsibility, General. Uh, perhaps a soldier with more experience-- General Li: Number one in his class, extensive knowledge of training techniques, [leaning back smugly stroking his chin] an impressive military lineage. I believe Li Shang will do an excellent job. Shang [excitedly]: Oh, I will. I wont let you down. This is, I mean, I...[somberly] yes sir. General Li [gets up and starts walking out of the tent]: Very good then. We'll toast China's victory at the Imperial City. [to Chi Fu] I'll expect a full report in three weeks. Chi Fu [to Shang]: And I wont leave anything out. [exits through the tent] Shang [while tying his sword to his uniform]: Captain Li Shang, Hmmm, leader of China's finest troops. No, the greatest troops of all time. Heh, many of his troops begin to be swallowed up by the snow] Shan-Yu [recollecting himself and focusing in on Mulan]: Yrrrrrrraah. [Shan-Yu swipes at Mulan with his sword hitting her in the right side. Mulan falls back grabbing her right side. Shan-Yu's horse stumbles. Mulan uses this break to bolt away from the avalanche. Shan-Yu gains his composure and starts to gallop away from the avalanche on his horse. Shang looks with shock as hee sees the avalanche coming toward him. Mulan grabs Shang as she passes by him, turning him around and helping him run away from the avalanche] Yao, Chien-Po and Ling [running towards the oncoming avalanche]: Yeeahhhhhh! [they stop. noticing the oncoming avalanche they turn around and run back to where they came from] Waaaaaaaaaa! [Khan jumps away from the troops position and starts to run towards Mulan passing Ling, Yao and Chien-Po. The avalanche swallows up Shan-Yu and his horse. Khan arrives at Mulan's position just ahead of the avalanche. Mulan jumps onto Khan and reaches for Shang. She grabs his hand, then the avalanche rushes forth breaking their grip, turning Khan around facing the oncoming avalanche of snow] [Cut to Ling, Yao and Chien-Po standing behind a rock. They see the snow approaching close and run to larger shelter where the rest of Shang's army is positioned just as the avalance reaches their posision] Mushu [calling out]: Mulan! Mulan! [seeing hair sticking up from the snow] Mulan? [Mushu picks up the Hun by the hair] Hun Soldier: Arrrrr. Mushu [pushing the hun soldier back under the snow]: Nope. Mulan! [Mushu picks up Cri-Kee out of the snow] Man, you are to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the explain. Chi Fu [stepping into the tent]: Huh? So it's true. Mulan [calling after Shang as he steps out of the tent]: Shang! Chi Fu: I knew there was something wrong with you. [Chi Fu takes off Mulan's hair tie and throws her to the ground] A woman. Chi Fu [to the troops]: Trecherous snake. Mulan [on the ground kneeling and hunched over, speaking to Shang]: My name is Mulan. I did it to save my father. Chi Fu [to the troops]: High treason! Mulan: I didn't mean for it to go this far. Chi Fu [getting in Mulan's face and speaking to her while she whinces]: Ultimate dishonor. Mulan: It was the only way. Please believe me. Chi Fu [to Shang]: Hmph, Captain? Chi Fu [to the soldier by Khan]: Restrain him. Yao, Ling and Chien-Po [rushing toward Mulan]: Noooooo! Chi Fu [putting his hand to stop Ling, Yao, and Chien-Po from proceeding further]: You know the law. [Shang stands over Mulan. Mulan looks at Shang then bows her head in anticipation. Shang lifts the sword high above his head and throws it down in front of Mulan] Shang: A life for a life. My debt is repaid. [turns and walks towards the Imperial City] Move out! Chi Fu [coming up to Shang's face]: But you can't just... Shang [getting in Chi Fu's face]: I said, "Move out!" [The troops walk off toward the Imperial City leaving Mulan behind with Khan, Cri-Kee, and Mushu. Mulan is sitting, shivering. Khan takes his blanket and wraps it around Mulan with his mouth and sits behind her. Cri-Kee lights a fire with twigs. get off the roof, get off the roof. [The rocket rides Shan-Yu into the fireworks tower causing masses of explosions and fireworks to fly everywhere. Mulan jumps near the edge of the roof. Propelled by the explosion, she grabs onto a lantern that is hanging on a taught rope and starts to slide down. She looks down and releases her grip so that she lands on the back of Shang causing the two of them to fall to the ground. Shan-Yu's sword follows and lands on the ground near by] Mushu [landing and flying backwards on his butt a couple of times pointing at the fireworks]: Ah ha ha ha ha. [Mushu's catches Cri-Kee with antenna on fire as Cri-Kee falls toward him] [to Cri-Kee] You are a lucky bug. [Mushu pinches out the fire on Cri-Kee's antenna] Chi Fu [walking down the stairs in a tattered outfit and slightly burned]: That was a deliberate attempt on my life. Where is she? Now she's done it. What a mess. [Shang and troops push Mulan behind them to protect her] [to Shang] Stand aside, that creature's not worth protecting. Shang [in Chi Fu's face]: She's a hero. Chi Fu: 'Tis a woman. She will never be worth anything. Shang [grabbing Chi Fu by the shirt collar]: Listen, you pompous-- Emperor [walking down the steps]: That is enough! Shang: Your Majesty, I can explain. [The Emperor motions for Shang to stand aside. Shang and his men part giving the Emperor a clear path to Mulan. Mulan steps forward and bows before the Emperor. Chi Fu with a sinister look waits to write down the words of the Emperor] Emperor: I've

Who invade Han China?

The Huns, led by Shan Yu.

heard a great deal about you, Fa Mulan. You stole your father's armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army, destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan] [Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believing what she sees as the entire Chinese population within the palace grounds fall prostrate on the ground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back] Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue? Emperor: Chi Fu, Chi Fu: Your Excellency? Emperor: See to it that this woman is made a member of my council. Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said] what? [stutters] But there are no council positions open, your Majesty. Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu]. Chi Fu [wobbling to and fro]: What?...My...[faints] Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. I have been away from home long enough. Emperor [taking off his pendant]: Then take this, so your family will know what you have done for me. And this [handing her the sword of Shan-Yu] so the world will know what you have done for China. Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug] [Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and for us. Hun Archer: We can avoid them easily. Shan-Yu [shaking his head]: No, the quickest way to the Emperor is through that pass. Besides, the little girl will be missing her doll. We should return it to her. Mushu: Hey, oh, ah, no, this is not a good idea. What if somebody sees you? Mulan [from behind the reeds]: Just because I look like a man doesn't mean I have to smell like one. Mushu [holding a towel covering his eyes with his ears]: So a couple of guys don't rinse out their socks, picky, picky, picky. Well myself I kinda like that corn chip's smell. Mulan [running by Mushu and jumps into the lake splashing water on Mushu]: Ahhhhhhh. Mushu: Okay, all right, all right, that's enough. Now, c'mon, get out before you get all pruny and stuff [holding out a towel towards Mulan keeping his eyes covered]. Mulan: Mushu, if you're so worried, go stand watch. Mushu: Yeah, yeah, [walking in a womanly fashion speaking in woman's voice] stand watch Mushu while I blow our secret with my stupid girly habits. [back to normal] Humph, hygiene. Cri-Kee [alarmed, tugging on Mushu's whiskers]: Chirp, Chirp. Yao: Me first! Me first! Me First! [Yao, Ling and Chien-Po run by Mushu smacking him in the face with colored boxers] Mushu [gasps]: Ah. We're doomed! There a couple of things I know they're bound to notice! [Yao and Ling jump into the water. Chien-Po dips in his toe to check temperature then jumps in causing a large wave. Yao and Ling ride the wave towards Mulan. Mulan sees them and hides her face behind a lily pad] soldiers. He lifts them all up and pulls backward hauling Mulan, Shang, Khan, Mushu and Cri-Kee to safety] Mushu: I knew we could to it. You da man. [Mulan looks pleased] Well sorta. [Mulan grimaces] Ling: Step back guys, give 'em some air. Shang [catching his breath]: Ping, you are the craziest man I've ever met. And for that I owe you my life. From now on, you have my trust. [Mulan smiles big] Ling: Let's hear it for Ping! The bravest of us all. Yao [lifting his arm high]: You're king of the mountain! Chien-Po [jumping up and down]: Yes, yes, yes! Mulan [beginning to stand up]: Ahhh, [she clutches her right side] Shang: Ping, what's wrong? [Mulan removes her hand slightly to show the blood on her hand and seeping through the armour] [loudly] He's wounded, get help! [Ping starts to pass out. The images of Shang, Yao, Ling, and Chien-Po begin to fade as she loses consciousness] Ping, hold on. Hold on. [Cut to outside of the medic tent. Mulan and Medic are inside. Shang stands by the entrance. Yao, Ling and Chien-Po look quite concerned. Ling drums his fingers on his knees. The medic comes out from the tent and whispers to Shang. Shang looks astonished and goes into the tent. Mulan is lying down. She opens her eyes, sees Shang and smiles at the sight of him. She sits up allowing the blanket to fall to her waist revealing her form fitting bandages on her chest. She sees Shang's surprised look and realizes her feminine form is noticeable] Mulan [gasping as she covers up]: Huh, I can lifts all three of them off the ground in a big bear hug. Chien-Po lets them all back to the ground again. Mulan walks toward Shang and stops in front of him. As Shang begins to speak Mulan starts to smile anticipating something good] Shang: Um...[Mulan grins] You... [Mulan smiles] You fight good. Mulan [smile turning into disappointment]: Oh, thank you. [Mulan walks toward Khan] Shang: [turning toward Mulan and grunts with disappointment in himself]: Hmm. Mulan: Khan, let's go home. [Khan jumps down the steps and gallops on the flat parts of the stair case back down to ground level. The crowd cheers al the while. The Emperor approaches Shang and clears his throat] Emperor [to Shang]: The flower that blooms in adversity is the most rare and beautiful of all. Shang [dumbfounded]: Sir? Emperor: You don't meet a girl like that ev'ry dynasty. [The emperor puts on his hat and walks back up the steps to his palace] [Cut to Mulan's home, her father is sitting beneath the blossom tree. A blossom falls and lands on his leg. Mulan appears at the threshold and moves toward her father. Fa Zhou sees her approaching and starts to stand] Fa Zhou: Mulan. Mulan: Father, I brought you the sword of Shan-Yu [hands the sword to Fa Zhou] and the crest of the Emperor [hands the crest to Fa Zhou]. [with head bowed] They're gifts to honor the Fa Family. [Fa Zhou takes the gifts and throws them down to the ground beside him to the surprise of Mulan. He bends down and holds her arms outstretched] Fa Zhou: The greatest gift and honor, is having you for She finishes putting on the armor and ties it in the front. She takes the sword and places it in the scabbard to her left. Cut to Mulan in the stable doorway. Khan rears back in fright at the sight of Mulan. Mulan goes forward and comforts Khan letting him know her identity. Mulan walks Khan out of the stable, Cri-Kee watches from the ground as she passes by. Mulan takes one sorrowful glance back at her parents bedroom and rides Khan through the gate and off to camp.] [Cut to the face of a statue in the Fa Family Temple. The eyes glow. Cut to Grandma Fa. She wakes up with a start rising in bed. Cut to Grandma Fa walking into Fa Li and Fa Zhou's bedroom, both are in bed] Grandma Fa: Mulan is gone. Fa Zhou [waking up]: What? It can't be. [Fa Zhou looks at his night stand and notices the hair comb in place of his conscription notice. He checks the cabinet and sees his armor is gone. He hurries outside] [calling out] Mulan! [He stumbles while walking because of his leg injury] No. Fa Li [kneeling down beside the fallen Fa Zhou]: You must go after her. She could be killed! Fa Zhou [sadly]: If I reveal her, she will be. [Fa Zhou embraces Fa Li] Grandma Fa: Ancestors, hear our prayer: Watch over Mulan. [Cut to the Fa Family Temple. A wind blows out the incense at the base of the center stone. The center stone begins to glow as First Ancestor comes to life] First Ancestor [motioning to a bronze dragon]: Mushu, awaken! [Mushu comes to

What does Fa Mulan discover?

That her elderly, injured father must fight in the war.

heard a great deal about you, Fa Mulan. You stole your father's armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army, destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan] [Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believing what she sees as the entire Chinese population within the palace grounds fall prostrate on the ground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back] Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue? Emperor: Chi Fu, Chi Fu: Your Excellency? Emperor: See to it that this woman is made a member of my council. Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said] what? [stutters] But there are no council positions open, your Majesty. Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu]. Chi Fu [wobbling to and fro]: What?...My...[faints] Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. I have been away from home long enough. Emperor [taking off his pendant]: Then take this, so your family will know what you have done for me. And this [handing her the sword of Shan-Yu] so the world will know what you have done for China. Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug] [Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and many of his troops begin to be swallowed up by the snow] Shan-Yu [recollecting himself and focusing in on Mulan]: Yrrrrrrraah. [Shan-Yu swipes at Mulan with his sword hitting her in the right side. Mulan falls back grabbing her right side. Shan-Yu's horse stumbles. Mulan uses this break to bolt away from the avalanche. Shan-Yu gains his composure and starts to gallop away from the avalanche on his horse. Shang looks with shock as hee sees the avalanche coming toward him. Mulan grabs Shang as she passes by him, turning him around and helping him run away from the avalanche] Yao, Chien-Po and Ling [running towards the oncoming avalanche]: Yeeahhhhhh! [they stop. noticing the oncoming avalanche they turn around and run back to where they came from] Waaaaaaaaaa! [Khan jumps away from the troops position and starts to run towards Mulan passing Ling, Yao and Chien-Po. The avalanche swallows up Shan-Yu and his horse. Khan arrives at Mulan's position just ahead of the avalanche. Mulan jumps onto Khan and reaches for Shang. She grabs his hand, then the avalanche rushes forth breaking their grip, turning Khan around facing the oncoming avalanche of snow] [Cut to Ling, Yao and Chien-Po standing behind a rock. They see the snow approaching close and run to larger shelter where the rest of Shang's army is positioned just as the avalance reaches their posision] Mushu [calling out]: Mulan! Mulan! [seeing hair sticking up from the snow] Mulan? [Mushu picks up the Hun by the hair] Hun Soldier: Arrrrr. Mushu [pushing the hun soldier back under the snow]: Nope. Mulan! [Mushu picks up Cri-Kee out of the snow] Man, you are to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the 8 [grabbing Mushu and bringing him next to a guardian]: Yeah, awaken the most cunning. Ancestor 4 [taking Mushu and holding him next to the stone rabbit guardian]: No, the swiftest. Ancestor 9 [grabbing Mushu and holding him next to the stone monkey guardian]: No, send the wisest. First Ancestor: Silence! We must send the most powerful of all [Motioning to the Great Stone Dragon as it is seen through the window] Mushu [climbs up the empty guardian post laughing]: Ho, ho, heh, heh. Okay, okay, I get the drift, I'll go. [All Ancestors give a quick look of surprise and laugh uncontrollably] You all don't think I can do it. Watch this here. [Mushu produces a small flame from his mouth] Ah, ha, Jump back, I'm pretty hot huh. Don't make me have to singe nobody to prove no point. First Ancestor [grabbing Mushu and pulling away from the post]: You had your chance to protect the Fa family. Ancestor 6: Your mis-guidance led Fa Deng to disaster. Fa Deng [with his decapitated head on his lap]: Yeah, thanks a lot. Mushu: And your point is? First Ancestor: The point is we will be sending a real dragon to retrieve Mulan. Mushu: What? But I'm a real dragon. First Ancestor [grabbing Mushu and pulling him away from the guardian post as Mushu fights to hold on]: You are not worthy of this spot. Now, awaken the Great Stone Dragon. [First Ancestor throws Mushu out of the temple] Mushu [looking back into the temple]: So you'll get back to me on the job thing. Mushu [walking with a slouch and banging the gong on the ground]: Just one chance is that explain. Chi Fu [stepping into the tent]: Huh? So it's true. Mulan [calling after Shang as he steps out of the tent]: Shang! Chi Fu: I knew there was something wrong with you. [Chi Fu takes off Mulan's hair tie and throws her to the ground] A woman. Chi Fu [to the troops]: Trecherous snake. Mulan [on the ground kneeling and hunched over, speaking to Shang]: My name is Mulan. I did it to save my father. Chi Fu [to the troops]: High treason! Mulan: I didn't mean for it to go this far. Chi Fu [getting in Mulan's face and speaking to her while she whinces]: Ultimate dishonor. Mulan: It was the only way. Please believe me. Chi Fu [to Shang]: Hmph, Captain? Chi Fu [to the soldier by Khan]: Restrain him. Yao, Ling and Chien-Po [rushing toward Mulan]: Noooooo! Chi Fu [putting his hand to stop Ling, Yao, and Chien-Po from proceeding further]: You know the law. [Shang stands over Mulan. Mulan looks at Shang then bows her head in anticipation. Shang lifts the sword high above his head and throws it down in front of Mulan] Shang: A life for a life. My debt is repaid. [turns and walks towards the Imperial City] Move out! Chi Fu [coming up to Shang's face]: But you can't just... Shang [getting in Chi Fu's face]: I said, "Move out!" [The troops walk off toward the Imperial City leaving Mulan behind with Khan, Cri-Kee, and Mushu. Mulan is sitting, shivering. Khan takes his blanket and wraps it around Mulan with his mouth and sits behind her. Cri-Kee lights a fire with twigs.

What do the ancestors order after Mulan escapes to fight in her father's place?

the Great Stone Dragon

to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the lifts all three of them off the ground in a big bear hug. Chien-Po lets them all back to the ground again. Mulan walks toward Shang and stops in front of him. As Shang begins to speak Mulan starts to smile anticipating something good] Shang: Um...[Mulan grins] You... [Mulan smiles] You fight good. Mulan [smile turning into disappointment]: Oh, thank you. [Mulan walks toward Khan] Shang: [turning toward Mulan and grunts with disappointment in himself]: Hmm. Mulan: Khan, let's go home. [Khan jumps down the steps and gallops on the flat parts of the stair case back down to ground level. The crowd cheers al the while. The Emperor approaches Shang and clears his throat] Emperor [to Shang]: The flower that blooms in adversity is the most rare and beautiful of all. Shang [dumbfounded]: Sir? Emperor: You don't meet a girl like that ev'ry dynasty. [The emperor puts on his hat and walks back up the steps to his palace] [Cut to Mulan's home, her father is sitting beneath the blossom tree. A blossom falls and lands on his leg. Mulan appears at the threshold and moves toward her father. Fa Zhou sees her approaching and starts to stand] Fa Zhou: Mulan. Mulan: Father, I brought you the sword of Shan-Yu [hands the sword to Fa Zhou] and the crest of the Emperor [hands the crest to Fa Zhou]. [with head bowed] They're gifts to honor the Fa Family. [Fa Zhou takes the gifts and throws them down to the ground beside him to the surprise of Mulan. He bends down and holds her arms outstretched] Fa Zhou: The greatest gift and honor, is having you for heard a great deal about you, Fa Mulan. You stole your father's armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army, destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan] [Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believing what she sees as the entire Chinese population within the palace grounds fall prostrate on the ground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back] Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue? Emperor: Chi Fu, Chi Fu: Your Excellency? Emperor: See to it that this woman is made a member of my council. Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said] what? [stutters] But there are no council positions open, your Majesty. Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu]. Chi Fu [wobbling to and fro]: What?...My...[faints] Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. I have been away from home long enough. Emperor [taking off his pendant]: Then take this, so your family will know what you have done for me. And this [handing her the sword of Shan-Yu] so the world will know what you have done for China. Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug] [Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and many of his troops begin to be swallowed up by the snow] Shan-Yu [recollecting himself and focusing in on Mulan]: Yrrrrrrraah. [Shan-Yu swipes at Mulan with his sword hitting her in the right side. Mulan falls back grabbing her right side. Shan-Yu's horse stumbles. Mulan uses this break to bolt away from the avalanche. Shan-Yu gains his composure and starts to gallop away from the avalanche on his horse. Shang looks with shock as hee sees the avalanche coming toward him. Mulan grabs Shang as she passes by him, turning him around and helping him run away from the avalanche] Yao, Chien-Po and Ling [running towards the oncoming avalanche]: Yeeahhhhhh! [they stop. noticing the oncoming avalanche they turn around and run back to where they came from] Waaaaaaaaaa! [Khan jumps away from the troops position and starts to run towards Mulan passing Ling, Yao and Chien-Po. The avalanche swallows up Shan-Yu and his horse. Khan arrives at Mulan's position just ahead of the avalanche. Mulan jumps onto Khan and reaches for Shang. She grabs his hand, then the avalanche rushes forth breaking their grip, turning Khan around facing the oncoming avalanche of snow] [Cut to Ling, Yao and Chien-Po standing behind a rock. They see the snow approaching close and run to larger shelter where the rest of Shang's army is positioned just as the avalance reaches their posision] Mushu [calling out]: Mulan! Mulan! [seeing hair sticking up from the snow] Mulan? [Mushu picks up the Hun by the hair] Hun Soldier: Arrrrr. Mushu [pushing the hun soldier back under the snow]: Nope. Mulan! [Mushu picks up Cri-Kee out of the snow] Man, you are soldiers. He lifts them all up and pulls backward hauling Mulan, Shang, Khan, Mushu and Cri-Kee to safety] Mushu: I knew we could to it. You da man. [Mulan looks pleased] Well sorta. [Mulan grimaces] Ling: Step back guys, give 'em some air. Shang [catching his breath]: Ping, you are the craziest man I've ever met. And for that I owe you my life. From now on, you have my trust. [Mulan smiles big] Ling: Let's hear it for Ping! The bravest of us all. Yao [lifting his arm high]: You're king of the mountain! Chien-Po [jumping up and down]: Yes, yes, yes! Mulan [beginning to stand up]: Ahhh, [she clutches her right side] Shang: Ping, what's wrong? [Mulan removes her hand slightly to show the blood on her hand and seeping through the armour] [loudly] He's wounded, get help! [Ping starts to pass out. The images of Shang, Yao, Ling, and Chien-Po begin to fade as she loses consciousness] Ping, hold on. Hold on. [Cut to outside of the medic tent. Mulan and Medic are inside. Shang stands by the entrance. Yao, Ling and Chien-Po look quite concerned. Ling drums his fingers on his knees. The medic comes out from the tent and whispers to Shang. Shang looks astonished and goes into the tent. Mulan is lying down. She opens her eyes, sees Shang and smiles at the sight of him. She sits up allowing the blanket to fall to her waist revealing her form fitting bandages on her chest. She sees Shang's surprised look and realizes her feminine form is noticeable] Mulan [gasping as she covers up]: Huh, I can

Who goes after Mulan to protect her instead?

Mushu.

heard a great deal about you, Fa Mulan. You stole your father's armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army, destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan] [Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believing what she sees as the entire Chinese population within the palace grounds fall prostrate on the ground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back] Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue? Emperor: Chi Fu, Chi Fu: Your Excellency? Emperor: See to it that this woman is made a member of my council. Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said] what? [stutters] But there are no council positions open, your Majesty. Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu]. Chi Fu [wobbling to and fro]: What?...My...[faints] Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. I have been away from home long enough. Emperor [taking off his pendant]: Then take this, so your family will know what you have done for me. And this [handing her the sword of Shan-Yu] so the world will know what you have done for China. Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug] [Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and soldiers. He lifts them all up and pulls backward hauling Mulan, Shang, Khan, Mushu and Cri-Kee to safety] Mushu: I knew we could to it. You da man. [Mulan looks pleased] Well sorta. [Mulan grimaces] Ling: Step back guys, give 'em some air. Shang [catching his breath]: Ping, you are the craziest man I've ever met. And for that I owe you my life. From now on, you have my trust. [Mulan smiles big] Ling: Let's hear it for Ping! The bravest of us all. Yao [lifting his arm high]: You're king of the mountain! Chien-Po [jumping up and down]: Yes, yes, yes! Mulan [beginning to stand up]: Ahhh, [she clutches her right side] Shang: Ping, what's wrong? [Mulan removes her hand slightly to show the blood on her hand and seeping through the armour] [loudly] He's wounded, get help! [Ping starts to pass out. The images of Shang, Yao, Ling, and Chien-Po begin to fade as she loses consciousness] Ping, hold on. Hold on. [Cut to outside of the medic tent. Mulan and Medic are inside. Shang stands by the entrance. Yao, Ling and Chien-Po look quite concerned. Ling drums his fingers on his knees. The medic comes out from the tent and whispers to Shang. Shang looks astonished and goes into the tent. Mulan is lying down. She opens her eyes, sees Shang and smiles at the sight of him. She sits up allowing the blanket to fall to her waist revealing her form fitting bandages on her chest. She sees Shang's surprised look and realizes her feminine form is noticeable] Mulan [gasping as she covers up]: Huh, I can get off the roof, get off the roof. [The rocket rides Shan-Yu into the fireworks tower causing masses of explosions and fireworks to fly everywhere. Mulan jumps near the edge of the roof. Propelled by the explosion, she grabs onto a lantern that is hanging on a taught rope and starts to slide down. She looks down and releases her grip so that she lands on the back of Shang causing the two of them to fall to the ground. Shan-Yu's sword follows and lands on the ground near by] Mushu [landing and flying backwards on his butt a couple of times pointing at the fireworks]: Ah ha ha ha ha. [Mushu's catches Cri-Kee with antenna on fire as Cri-Kee falls toward him] [to Cri-Kee] You are a lucky bug. [Mushu pinches out the fire on Cri-Kee's antenna] Chi Fu [walking down the stairs in a tattered outfit and slightly burned]: That was a deliberate attempt on my life. Where is she? Now she's done it. What a mess. [Shang and troops push Mulan behind them to protect her] [to Shang] Stand aside, that creature's not worth protecting. Shang [in Chi Fu's face]: She's a hero. Chi Fu: 'Tis a woman. She will never be worth anything. Shang [grabbing Chi Fu by the shirt collar]: Listen, you pompous-- Emperor [walking down the steps]: That is enough! Shang: Your Majesty, I can explain. [The Emperor motions for Shang to stand aside. Shang and his men part giving the Emperor a clear path to Mulan. Mulan steps forward and bows before the Emperor. Chi Fu with a sinister look waits to write down the words of the Emperor] Emperor: I've to Man #2] Please, you have to help me. [Man #2 walks away from Mulan] [turning to Mushu who is standing near her in the yard] No one will listen! Mushu: Huh? Oh, I'm sorry, did you say something? Mulan [irritatedly]: Mushu! Mushu: Hey, you're a girl again, remember? Shang [kneeling down giving the sword to the Emperor]: Your Majesty, I present to you the sword of Shan-Yu. Emperor: I know what this means to you, Captain Li. Your father would have been very proud. [Shan-Yu's falcon swoops down and takes the sword as Shang is giving it to the Emperor. The falcon rises above the roof and drops the sword to Shan-Yu who was sitting next to the gargoyles in the shadows blending in. He rises out of the shadows to catch the sword so that all the people can see his face. The masses of people gasp at the sight of Shan-Yu. Shang begins to draw his sword. All 5 of Shan-Yu's men jump out from behind the dragon knocking down Shang and grab the Emperor knocking off his hat. Hun Bald Man #1 and #2 carry the Emperor into the Palace. Long-Haired Hun Man and Hun Strong Guy close the palace doors as Hun archer knocks his arrow retreating into the Palace to threaten would be rescue attempts] Shang [getting up and running toward the closing doors]: No. Yao [beckoning to the other soldiers]: C'mon. Shan-Yu [laughs evily]: Ha, Ha, Ha, Ha, Ha, Ha. [Shang and his soldiers pick up a big stone statue and use it as a battering ram. They are unsuccessful at opening the door. Mulan sees what's going on and arrives She finishes putting on the armor and ties it in the front. She takes the sword and places it in the scabbard to her left. Cut to Mulan in the stable doorway. Khan rears back in fright at the sight of Mulan. Mulan goes forward and comforts Khan letting him know her identity. Mulan walks Khan out of the stable, Cri-Kee watches from the ground as she passes by. Mulan takes one sorrowful glance back at her parents bedroom and rides Khan through the gate and off to camp.] [Cut to the face of a statue in the Fa Family Temple. The eyes glow. Cut to Grandma Fa. She wakes up with a start rising in bed. Cut to Grandma Fa walking into Fa Li and Fa Zhou's bedroom, both are in bed] Grandma Fa: Mulan is gone. Fa Zhou [waking up]: What? It can't be. [Fa Zhou looks at his night stand and notices the hair comb in place of his conscription notice. He checks the cabinet and sees his armor is gone. He hurries outside] [calling out] Mulan! [He stumbles while walking because of his leg injury] No. Fa Li [kneeling down beside the fallen Fa Zhou]: You must go after her. She could be killed! Fa Zhou [sadly]: If I reveal her, she will be. [Fa Zhou embraces Fa Li] Grandma Fa: Ancestors, hear our prayer: Watch over Mulan. [Cut to the Fa Family Temple. A wind blows out the incense at the base of the center stone. The center stone begins to glow as First Ancestor comes to life] First Ancestor [motioning to a bronze dragon]: Mushu, awaken! [Mushu comes to

Under whose orders does Mulan and her cohorts become skilled warriors?

Shang Li.

soldiers. He lifts them all up and pulls backward hauling Mulan, Shang, Khan, Mushu and Cri-Kee to safety] Mushu: I knew we could to it. You da man. [Mulan looks pleased] Well sorta. [Mulan grimaces] Ling: Step back guys, give 'em some air. Shang [catching his breath]: Ping, you are the craziest man I've ever met. And for that I owe you my life. From now on, you have my trust. [Mulan smiles big] Ling: Let's hear it for Ping! The bravest of us all. Yao [lifting his arm high]: You're king of the mountain! Chien-Po [jumping up and down]: Yes, yes, yes! Mulan [beginning to stand up]: Ahhh, [she clutches her right side] Shang: Ping, what's wrong? [Mulan removes her hand slightly to show the blood on her hand and seeping through the armour] [loudly] He's wounded, get help! [Ping starts to pass out. The images of Shang, Yao, Ling, and Chien-Po begin to fade as she loses consciousness] Ping, hold on. Hold on. [Cut to outside of the medic tent. Mulan and Medic are inside. Shang stands by the entrance. Yao, Ling and Chien-Po look quite concerned. Ling drums his fingers on his knees. The medic comes out from the tent and whispers to Shang. Shang looks astonished and goes into the tent. Mulan is lying down. She opens her eyes, sees Shang and smiles at the sight of him. She sits up allowing the blanket to fall to her waist revealing her form fitting bandages on her chest. She sees Shang's surprised look and realizes her feminine form is noticeable] Mulan [gasping as she covers up]: Huh, I can 8 [grabbing Mushu and bringing him next to a guardian]: Yeah, awaken the most cunning. Ancestor 4 [taking Mushu and holding him next to the stone rabbit guardian]: No, the swiftest. Ancestor 9 [grabbing Mushu and holding him next to the stone monkey guardian]: No, send the wisest. First Ancestor: Silence! We must send the most powerful of all [Motioning to the Great Stone Dragon as it is seen through the window] Mushu [climbs up the empty guardian post laughing]: Ho, ho, heh, heh. Okay, okay, I get the drift, I'll go. [All Ancestors give a quick look of surprise and laugh uncontrollably] You all don't think I can do it. Watch this here. [Mushu produces a small flame from his mouth] Ah, ha, Jump back, I'm pretty hot huh. Don't make me have to singe nobody to prove no point. First Ancestor [grabbing Mushu and pulling away from the post]: You had your chance to protect the Fa family. Ancestor 6: Your mis-guidance led Fa Deng to disaster. Fa Deng [with his decapitated head on his lap]: Yeah, thanks a lot. Mushu: And your point is? First Ancestor: The point is we will be sending a real dragon to retrieve Mulan. Mushu: What? But I'm a real dragon. First Ancestor [grabbing Mushu and pulling him away from the guardian post as Mushu fights to hold on]: You are not worthy of this spot. Now, awaken the Great Stone Dragon. [First Ancestor throws Mushu out of the temple] Mushu [looking back into the temple]: So you'll get back to me on the job thing. Mushu [walking with a slouch and banging the gong on the ground]: Just one chance is that remains of General Li's army can be seen. Flags poking up out of the snow, armor lying face down, broken cannon carts. Ling, Yao, Mulan, and a soldier have the look of horror on their faces as they look into the valley. Chien-Po walks up from the valley carrying a helmet] Chien-po [handing the helmet to Shang]: ...the General. [Shang takes the helmet and walks to the edge of the hill. He draws his sword and stabs it into the snow upright. He kneels down and places the helmet on top of the sword. Mulan approaches him from behind] Mulan [softly]: I'm sorry. [Shang gets up, turns around and puts his hand on Mulan's shoulder and he walks by. Shang walks to the center of the troops. He grabs his horse by the saddle, takes one quick look of grief then mounts his horse] Shang: The Huns are moving quickly. We'll make better time to the Imperial City through the Tung Shao Pass. We're the only hope for the Emperor now. Move out! [Mulan looks at the sword, takes out the doll she found and places the doll at the base of the sword. She turns around and joins the rest of the troops marching on] [Cut to Mulan standing next to Khan saddled to the cart with cannons. A cannon blast shoots out of the cart and explodes in the air. The troops look surprised. Mulan glances back with a scowl into the hole in the canopy of the cart to see Mushu with a sorrowful face. Mushu points at Cri-Kee. Shang charges up to Mulan on his horse, Chi Fu right behind] Shang [angrily]: What happened?! Mulan [stumbling]: Yao [calling]: Hey, Ping. Mulan [speaking nervously and unnaturally in a manly voice]: Oh hi guys, I didn't know you were *here*. [Yao, Ling and Chien-Po share "this boy is strange" looks] I was just washing, so now I'm clean and I'm gonna go. Bye, bye. [Mulan hides behind a rock keeping her front facing the rock] Ling [from behind Mulan]: Come back here. I know we were jerks to you before so lets start over. [extending his hand to shake hands with Mulan] Hi, I'm Ling! Mulan [covering her chest with her left arm, she turns and shakes his hand with an outstretched right arm, smiling]: Heh, heh. [Mulan turns and wades away from Ling and runs into Chien-Po] Chien-Po [taking a lily pad off his head]: And I'm Chien-Po. Mulan [waving slightly and smiling]: Hello Chien-Po. Yao: And I am Yao, king of the rock. And there's nothin' you girls can do about it. Ling [taking a fighting stance]: Oh, yeah? Well, I think Ping [elbowing Mulan] and I could take you. Mulan [wading away]: I really don't want to take him anywhere. Ling [following Mulan]: Ping, we have to fight! Mulan: No we don't. [unnaturally] We could just close our eyes and swim around. Ling: C'mon don't be such a g--Ouch! Something bit me. Mushu [popping out of the water between Mulan and Ling]: What a nasty flavor. Ling [with fear and gusto]: Snake! Chien-Po [while all three of them climb up the rock and on each other]: Snake, snake. [Mulan whistles for Khan and wades back to shore. Khan comes close enough to shore and Mulan hides behind Khan as she wraps lifts all three of them off the ground in a big bear hug. Chien-Po lets them all back to the ground again. Mulan walks toward Shang and stops in front of him. As Shang begins to speak Mulan starts to smile anticipating something good] Shang: Um...[Mulan grins] You... [Mulan smiles] You fight good. Mulan [smile turning into disappointment]: Oh, thank you. [Mulan walks toward Khan] Shang: [turning toward Mulan and grunts with disappointment in himself]: Hmm. Mulan: Khan, let's go home. [Khan jumps down the steps and gallops on the flat parts of the stair case back down to ground level. The crowd cheers al the while. The Emperor approaches Shang and clears his throat] Emperor [to Shang]: The flower that blooms in adversity is the most rare and beautiful of all. Shang [dumbfounded]: Sir? Emperor: You don't meet a girl like that ev'ry dynasty. [The emperor puts on his hat and walks back up the steps to his palace] [Cut to Mulan's home, her father is sitting beneath the blossom tree. A blossom falls and lands on his leg. Mulan appears at the threshold and moves toward her father. Fa Zhou sees her approaching and starts to stand] Fa Zhou: Mulan. Mulan: Father, I brought you the sword of Shan-Yu [hands the sword to Fa Zhou] and the crest of the Emperor [hands the crest to Fa Zhou]. [with head bowed] They're gifts to honor the Fa Family. [Fa Zhou takes the gifts and throws them down to the ground beside him to the surprise of Mulan. He bends down and holds her arms outstretched] Fa Zhou: The greatest gift and honor, is having you for

What do they find on their way to meet Shang Li's father?

A burnt-out encampment where General Li and his troops have been killed.

Yao [calling]: Hey, Ping. Mulan [speaking nervously and unnaturally in a manly voice]: Oh hi guys, I didn't know you were *here*. [Yao, Ling and Chien-Po share "this boy is strange" looks] I was just washing, so now I'm clean and I'm gonna go. Bye, bye. [Mulan hides behind a rock keeping her front facing the rock] Ling [from behind Mulan]: Come back here. I know we were jerks to you before so lets start over. [extending his hand to shake hands with Mulan] Hi, I'm Ling! Mulan [covering her chest with her left arm, she turns and shakes his hand with an outstretched right arm, smiling]: Heh, heh. [Mulan turns and wades away from Ling and runs into Chien-Po] Chien-Po [taking a lily pad off his head]: And I'm Chien-Po. Mulan [waving slightly and smiling]: Hello Chien-Po. Yao: And I am Yao, king of the rock. And there's nothin' you girls can do about it. Ling [taking a fighting stance]: Oh, yeah? Well, I think Ping [elbowing Mulan] and I could take you. Mulan [wading away]: I really don't want to take him anywhere. Ling [following Mulan]: Ping, we have to fight! Mulan: No we don't. [unnaturally] We could just close our eyes and swim around. Ling: C'mon don't be such a g--Ouch! Something bit me. Mushu [popping out of the water between Mulan and Ling]: What a nasty flavor. Ling [with fear and gusto]: Snake! Chien-Po [while all three of them climb up the rock and on each other]: Snake, snake. [Mulan whistles for Khan and wades back to shore. Khan comes close enough to shore and Mulan hides behind Khan as she wraps to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the soldiers. He lifts them all up and pulls backward hauling Mulan, Shang, Khan, Mushu and Cri-Kee to safety] Mushu: I knew we could to it. You da man. [Mulan looks pleased] Well sorta. [Mulan grimaces] Ling: Step back guys, give 'em some air. Shang [catching his breath]: Ping, you are the craziest man I've ever met. And for that I owe you my life. From now on, you have my trust. [Mulan smiles big] Ling: Let's hear it for Ping! The bravest of us all. Yao [lifting his arm high]: You're king of the mountain! Chien-Po [jumping up and down]: Yes, yes, yes! Mulan [beginning to stand up]: Ahhh, [she clutches her right side] Shang: Ping, what's wrong? [Mulan removes her hand slightly to show the blood on her hand and seeping through the armour] [loudly] He's wounded, get help! [Ping starts to pass out. The images of Shang, Yao, Ling, and Chien-Po begin to fade as she loses consciousness] Ping, hold on. Hold on. [Cut to outside of the medic tent. Mulan and Medic are inside. Shang stands by the entrance. Yao, Ling and Chien-Po look quite concerned. Ling drums his fingers on his knees. The medic comes out from the tent and whispers to Shang. Shang looks astonished and goes into the tent. Mulan is lying down. She opens her eyes, sees Shang and smiles at the sight of him. She sits up allowing the blanket to fall to her waist revealing her form fitting bandages on her chest. She sees Shang's surprised look and realizes her feminine form is noticeable] Mulan [gasping as she covers up]: Huh, I can get off the roof, get off the roof. [The rocket rides Shan-Yu into the fireworks tower causing masses of explosions and fireworks to fly everywhere. Mulan jumps near the edge of the roof. Propelled by the explosion, she grabs onto a lantern that is hanging on a taught rope and starts to slide down. She looks down and releases her grip so that she lands on the back of Shang causing the two of them to fall to the ground. Shan-Yu's sword follows and lands on the ground near by] Mushu [landing and flying backwards on his butt a couple of times pointing at the fireworks]: Ah ha ha ha ha. [Mushu's catches Cri-Kee with antenna on fire as Cri-Kee falls toward him] [to Cri-Kee] You are a lucky bug. [Mushu pinches out the fire on Cri-Kee's antenna] Chi Fu [walking down the stairs in a tattered outfit and slightly burned]: That was a deliberate attempt on my life. Where is she? Now she's done it. What a mess. [Shang and troops push Mulan behind them to protect her] [to Shang] Stand aside, that creature's not worth protecting. Shang [in Chi Fu's face]: She's a hero. Chi Fu: 'Tis a woman. She will never be worth anything. Shang [grabbing Chi Fu by the shirt collar]: Listen, you pompous-- Emperor [walking down the steps]: That is enough! Shang: Your Majesty, I can explain. [The Emperor motions for Shang to stand aside. Shang and his men part giving the Emperor a clear path to Mulan. Mulan steps forward and bows before the Emperor. Chi Fu with a sinister look waits to write down the words of the Emperor] Emperor: I've to Man #2] Please, you have to help me. [Man #2 walks away from Mulan] [turning to Mushu who is standing near her in the yard] No one will listen! Mushu: Huh? Oh, I'm sorry, did you say something? Mulan [irritatedly]: Mushu! Mushu: Hey, you're a girl again, remember? Shang [kneeling down giving the sword to the Emperor]: Your Majesty, I present to you the sword of Shan-Yu. Emperor: I know what this means to you, Captain Li. Your father would have been very proud. [Shan-Yu's falcon swoops down and takes the sword as Shang is giving it to the Emperor. The falcon rises above the roof and drops the sword to Shan-Yu who was sitting next to the gargoyles in the shadows blending in. He rises out of the shadows to catch the sword so that all the people can see his face. The masses of people gasp at the sight of Shan-Yu. Shang begins to draw his sword. All 5 of Shan-Yu's men jump out from behind the dragon knocking down Shang and grab the Emperor knocking off his hat. Hun Bald Man #1 and #2 carry the Emperor into the Palace. Long-Haired Hun Man and Hun Strong Guy close the palace doors as Hun archer knocks his arrow retreating into the Palace to threaten would be rescue attempts] Shang [getting up and running toward the closing doors]: No. Yao [beckoning to the other soldiers]: C'mon. Shan-Yu [laughs evily]: Ha, Ha, Ha, Ha, Ha, Ha. [Shang and his soldiers pick up a big stone statue and use it as a battering ram. They are unsuccessful at opening the door. Mulan sees what's going on and arrives

What does Shang Li do after he discovers Mulan is a woman?

He sets her free because she saved his life fighting Shan Yu.

soldiers. He lifts them all up and pulls backward hauling Mulan, Shang, Khan, Mushu and Cri-Kee to safety] Mushu: I knew we could to it. You da man. [Mulan looks pleased] Well sorta. [Mulan grimaces] Ling: Step back guys, give 'em some air. Shang [catching his breath]: Ping, you are the craziest man I've ever met. And for that I owe you my life. From now on, you have my trust. [Mulan smiles big] Ling: Let's hear it for Ping! The bravest of us all. Yao [lifting his arm high]: You're king of the mountain! Chien-Po [jumping up and down]: Yes, yes, yes! Mulan [beginning to stand up]: Ahhh, [she clutches her right side] Shang: Ping, what's wrong? [Mulan removes her hand slightly to show the blood on her hand and seeping through the armour] [loudly] He's wounded, get help! [Ping starts to pass out. The images of Shang, Yao, Ling, and Chien-Po begin to fade as she loses consciousness] Ping, hold on. Hold on. [Cut to outside of the medic tent. Mulan and Medic are inside. Shang stands by the entrance. Yao, Ling and Chien-Po look quite concerned. Ling drums his fingers on his knees. The medic comes out from the tent and whispers to Shang. Shang looks astonished and goes into the tent. Mulan is lying down. She opens her eyes, sees Shang and smiles at the sight of him. She sits up allowing the blanket to fall to her waist revealing her form fitting bandages on her chest. She sees Shang's surprised look and realizes her feminine form is noticeable] Mulan [gasping as she covers up]: Huh, I can heard a great deal about you, Fa Mulan. You stole your father's armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army, destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan] [Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believing what she sees as the entire Chinese population within the palace grounds fall prostrate on the ground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back] Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue? Emperor: Chi Fu, Chi Fu: Your Excellency? Emperor: See to it that this woman is made a member of my council. Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said] what? [stutters] But there are no council positions open, your Majesty. Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu]. Chi Fu [wobbling to and fro]: What?...My...[faints] Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. I have been away from home long enough. Emperor [taking off his pendant]: Then take this, so your family will know what you have done for me. And this [handing her the sword of Shan-Yu] so the world will know what you have done for China. Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug] [Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and to Man #2] Please, you have to help me. [Man #2 walks away from Mulan] [turning to Mushu who is standing near her in the yard] No one will listen! Mushu: Huh? Oh, I'm sorry, did you say something? Mulan [irritatedly]: Mushu! Mushu: Hey, you're a girl again, remember? Shang [kneeling down giving the sword to the Emperor]: Your Majesty, I present to you the sword of Shan-Yu. Emperor: I know what this means to you, Captain Li. Your father would have been very proud. [Shan-Yu's falcon swoops down and takes the sword as Shang is giving it to the Emperor. The falcon rises above the roof and drops the sword to Shan-Yu who was sitting next to the gargoyles in the shadows blending in. He rises out of the shadows to catch the sword so that all the people can see his face. The masses of people gasp at the sight of Shan-Yu. Shang begins to draw his sword. All 5 of Shan-Yu's men jump out from behind the dragon knocking down Shang and grab the Emperor knocking off his hat. Hun Bald Man #1 and #2 carry the Emperor into the Palace. Long-Haired Hun Man and Hun Strong Guy close the palace doors as Hun archer knocks his arrow retreating into the Palace to threaten would be rescue attempts] Shang [getting up and running toward the closing doors]: No. Yao [beckoning to the other soldiers]: C'mon. Shan-Yu [laughs evily]: Ha, Ha, Ha, Ha, Ha, Ha. [Shang and his soldiers pick up a big stone statue and use it as a battering ram. They are unsuccessful at opening the door. Mulan sees what's going on and arrives doomed! And all 'cause miss man decides to take her little drag show on the road. Cri-Kee: Chirp, Chirp. Mushu: Go get her? What's the matter with you? After this great stone Humpty Dumpty mess, I'd have to bring her home with a medal to get back in the temple. Wait a minute, that's it! I make Mulan a war hero, then they'll be begging me to come back to work. That's the master plan. Oh, you've gone and done it now. [Mushu runs off stage right] Cri-Kee [hopping along side of Mushu]: Chirp. Chirp Chirp Chirp. Mushu [pushing Cri-Kee away]: Hey, what makes you think you're coming? Cri-Kee: Chirp, Chirp. Mushu: You're lucky? Ho, ho, heh. Do I look like a sucker to you? Cri-Kee: Chirp. Chirp. Mushu: Whach' you mean loser? How 'bout I pop one of your antenna's off and throw it across the yard. Then who's a loser, me or you? [Cut to Shan-Yu leading his army at a charge on horseback through a forest. He stops and motions stage right. Hun Archer, Hun Strong Guy, Hun Long-Hair Guy dismount and walk into the forest. They throw down two Imperial scouts before the rest of the army] Hun Long-Hair Guy: Imperial scouts. Scout #1: Shan-Yu. Shan-Yu [adjusting Scout #1's collar]: Nice work, gentlemen. You found the Hun army. [motioning to the soldiers on horseback. The Hun army laughs] Scout #2: The Emperor will stop you. Shan-Yu [grabs Scout #2 by the shirt collar and lifts him up to his face]: Stop me? He invited me. By building his wall, he challenged my strength. Well to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the

What does Mulan discover after it's revealed Shan Yu is alive?

He is intent on capturing the Emperor.

heard a great deal about you, Fa Mulan. You stole your father's armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army, destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan] [Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believing what she sees as the entire Chinese population within the palace grounds fall prostrate on the ground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back] Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue? Emperor: Chi Fu, Chi Fu: Your Excellency? Emperor: See to it that this woman is made a member of my council. Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said] what? [stutters] But there are no council positions open, your Majesty. Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu]. Chi Fu [wobbling to and fro]: What?...My...[faints] Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. I have been away from home long enough. Emperor [taking off his pendant]: Then take this, so your family will know what you have done for me. And this [handing her the sword of Shan-Yu] so the world will know what you have done for China. Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug] [Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and soldiers. He lifts them all up and pulls backward hauling Mulan, Shang, Khan, Mushu and Cri-Kee to safety] Mushu: I knew we could to it. You da man. [Mulan looks pleased] Well sorta. [Mulan grimaces] Ling: Step back guys, give 'em some air. Shang [catching his breath]: Ping, you are the craziest man I've ever met. And for that I owe you my life. From now on, you have my trust. [Mulan smiles big] Ling: Let's hear it for Ping! The bravest of us all. Yao [lifting his arm high]: You're king of the mountain! Chien-Po [jumping up and down]: Yes, yes, yes! Mulan [beginning to stand up]: Ahhh, [she clutches her right side] Shang: Ping, what's wrong? [Mulan removes her hand slightly to show the blood on her hand and seeping through the armour] [loudly] He's wounded, get help! [Ping starts to pass out. The images of Shang, Yao, Ling, and Chien-Po begin to fade as she loses consciousness] Ping, hold on. Hold on. [Cut to outside of the medic tent. Mulan and Medic are inside. Shang stands by the entrance. Yao, Ling and Chien-Po look quite concerned. Ling drums his fingers on his knees. The medic comes out from the tent and whispers to Shang. Shang looks astonished and goes into the tent. Mulan is lying down. She opens her eyes, sees Shang and smiles at the sight of him. She sits up allowing the blanket to fall to her waist revealing her form fitting bandages on her chest. She sees Shang's surprised look and realizes her feminine form is noticeable] Mulan [gasping as she covers up]: Huh, I can Yao [calling]: Hey, Ping. Mulan [speaking nervously and unnaturally in a manly voice]: Oh hi guys, I didn't know you were *here*. [Yao, Ling and Chien-Po share "this boy is strange" looks] I was just washing, so now I'm clean and I'm gonna go. Bye, bye. [Mulan hides behind a rock keeping her front facing the rock] Ling [from behind Mulan]: Come back here. I know we were jerks to you before so lets start over. [extending his hand to shake hands with Mulan] Hi, I'm Ling! Mulan [covering her chest with her left arm, she turns and shakes his hand with an outstretched right arm, smiling]: Heh, heh. [Mulan turns and wades away from Ling and runs into Chien-Po] Chien-Po [taking a lily pad off his head]: And I'm Chien-Po. Mulan [waving slightly and smiling]: Hello Chien-Po. Yao: And I am Yao, king of the rock. And there's nothin' you girls can do about it. Ling [taking a fighting stance]: Oh, yeah? Well, I think Ping [elbowing Mulan] and I could take you. Mulan [wading away]: I really don't want to take him anywhere. Ling [following Mulan]: Ping, we have to fight! Mulan: No we don't. [unnaturally] We could just close our eyes and swim around. Ling: C'mon don't be such a g--Ouch! Something bit me. Mushu [popping out of the water between Mulan and Ling]: What a nasty flavor. Ling [with fear and gusto]: Snake! Chien-Po [while all three of them climb up the rock and on each other]: Snake, snake. [Mulan whistles for Khan and wades back to shore. Khan comes close enough to shore and Mulan hides behind Khan as she wraps get off the roof, get off the roof. [The rocket rides Shan-Yu into the fireworks tower causing masses of explosions and fireworks to fly everywhere. Mulan jumps near the edge of the roof. Propelled by the explosion, she grabs onto a lantern that is hanging on a taught rope and starts to slide down. She looks down and releases her grip so that she lands on the back of Shang causing the two of them to fall to the ground. Shan-Yu's sword follows and lands on the ground near by] Mushu [landing and flying backwards on his butt a couple of times pointing at the fireworks]: Ah ha ha ha ha. [Mushu's catches Cri-Kee with antenna on fire as Cri-Kee falls toward him] [to Cri-Kee] You are a lucky bug. [Mushu pinches out the fire on Cri-Kee's antenna] Chi Fu [walking down the stairs in a tattered outfit and slightly burned]: That was a deliberate attempt on my life. Where is she? Now she's done it. What a mess. [Shang and troops push Mulan behind them to protect her] [to Shang] Stand aside, that creature's not worth protecting. Shang [in Chi Fu's face]: She's a hero. Chi Fu: 'Tis a woman. She will never be worth anything. Shang [grabbing Chi Fu by the shirt collar]: Listen, you pompous-- Emperor [walking down the steps]: That is enough! Shang: Your Majesty, I can explain. [The Emperor motions for Shang to stand aside. Shang and his men part giving the Emperor a clear path to Mulan. Mulan steps forward and bows before the Emperor. Chi Fu with a sinister look waits to write down the words of the Emperor] Emperor: I've to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the

With Mulan's help what do Yao, Ling, and Chien-Po do to get into the castle to save the Emperor?

They dress as concubines.

many of his troops begin to be swallowed up by the snow] Shan-Yu [recollecting himself and focusing in on Mulan]: Yrrrrrrraah. [Shan-Yu swipes at Mulan with his sword hitting her in the right side. Mulan falls back grabbing her right side. Shan-Yu's horse stumbles. Mulan uses this break to bolt away from the avalanche. Shan-Yu gains his composure and starts to gallop away from the avalanche on his horse. Shang looks with shock as hee sees the avalanche coming toward him. Mulan grabs Shang as she passes by him, turning him around and helping him run away from the avalanche] Yao, Chien-Po and Ling [running towards the oncoming avalanche]: Yeeahhhhhh! [they stop. noticing the oncoming avalanche they turn around and run back to where they came from] Waaaaaaaaaa! [Khan jumps away from the troops position and starts to run towards Mulan passing Ling, Yao and Chien-Po. The avalanche swallows up Shan-Yu and his horse. Khan arrives at Mulan's position just ahead of the avalanche. Mulan jumps onto Khan and reaches for Shang. She grabs his hand, then the avalanche rushes forth breaking their grip, turning Khan around facing the oncoming avalanche of snow] [Cut to Ling, Yao and Chien-Po standing behind a rock. They see the snow approaching close and run to larger shelter where the rest of Shang's army is positioned just as the avalance reaches their posision] Mushu [calling out]: Mulan! Mulan! [seeing hair sticking up from the snow] Mulan? [Mushu picks up the Hun by the hair] Hun Soldier: Arrrrr. Mushu [pushing the hun soldier back under the snow]: Nope. Mulan! [Mushu picks up Cri-Kee out of the snow] Man, you are to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the to Man #2] Please, you have to help me. [Man #2 walks away from Mulan] [turning to Mushu who is standing near her in the yard] No one will listen! Mushu: Huh? Oh, I'm sorry, did you say something? Mulan [irritatedly]: Mushu! Mushu: Hey, you're a girl again, remember? Shang [kneeling down giving the sword to the Emperor]: Your Majesty, I present to you the sword of Shan-Yu. Emperor: I know what this means to you, Captain Li. Your father would have been very proud. [Shan-Yu's falcon swoops down and takes the sword as Shang is giving it to the Emperor. The falcon rises above the roof and drops the sword to Shan-Yu who was sitting next to the gargoyles in the shadows blending in. He rises out of the shadows to catch the sword so that all the people can see his face. The masses of people gasp at the sight of Shan-Yu. Shang begins to draw his sword. All 5 of Shan-Yu's men jump out from behind the dragon knocking down Shang and grab the Emperor knocking off his hat. Hun Bald Man #1 and #2 carry the Emperor into the Palace. Long-Haired Hun Man and Hun Strong Guy close the palace doors as Hun archer knocks his arrow retreating into the Palace to threaten would be rescue attempts] Shang [getting up and running toward the closing doors]: No. Yao [beckoning to the other soldiers]: C'mon. Shan-Yu [laughs evily]: Ha, Ha, Ha, Ha, Ha, Ha. [Shang and his soldiers pick up a big stone statue and use it as a battering ram. They are unsuccessful at opening the door. Mulan sees what's going on and arrives ground. Shang lies limp. Mulan watches Shang fall then she looks over the edge at Ling and Yao now on the ground. Chien-Po runs off the screen out of sight] Yao [motioning her to follow]: Come on! [Mulan looks down at Shang with a worried look. Shan-Yu begins to approach Mulan and the rope. Mulan looks at the approaching Shan-Yu and then down to spy his sword. Thinking quickly, Mulan grabs Shan-Yu's sword and cuts the taught rope. Shan-Yu reaches the edge and grabs for the falling rope unsuccessfully as Mulan leaves the sword embedded in the column and runs to Shang's position. The crowd cheers] Shan-Yu: No! [He looks down at the crowd and realizes he cannot find the Emperor among the throng of people] Yrraaaaahhhh! [Shan-Yu turns and looks back and sees Mulan looking concerned, holding up Shang. Shan-Yu pulls out his sword lodged in the column and heads toward them. As Shang sees Shan-Yu approaching, he puts his arm in front of Mulan to ask her to leave and takes out his knife. Mulan slides away. Shan-Yu comes up to Shang, knocks away his knife, slaps him in the face, and grabs Shang by the shirt collar] Shan-Yu [in Shang's face]: You, you took away my victory. Mulan: No! I did! [Mulan pulls her hair back to look like she did when she was a soldier] Shan-Yu [looking at Mulan]: The soldier from the mountains. [Shan-Yu drops Shang and starts after Mulan as she puts on her shoe and runs down the stairs and through the doors to the balcony. She closes the door with the latch falling in place right behind her. She leans against the too much to ask? I mean, it's not like it'll kill ya. Mushu [rings the gong and looks at the Great Stone Dragon]: Yo rocky, wake up! You gotta go fetch Mulan. [pauses as nothing happens. Mushu walks over to the side of the statue] C'mon boy, go get her, go on, [throws the gong stick off the screen and whistles] Come on. [Angrily while climbing up the Great Stone Dragon] Grrr, Grrrr. [speaking in his ear and banging the ear with the gong] Hello, helloooooo. [curtly] Hello [bangs the gong extra hard against the ear causing it to break off]. Uh oh. [The Great Stone Dragon crumbles to the ground, head intact minus the ear]. [knocks on the dragon's head] Uh, Stoney, Stooooneeey. Oh man, they're gonna kill me! First Ancestor [calling out through the temple window]: Great Stone Dragon, have you awaken? Mushu [holding the head of the Great Stone Dragon up to that First Ancestor can only see it's head and Mushu's body]: Uhhh, Yes, I just woke up. And I am the Great Stone Dragon, good morning [Mushu waves]. I will go forth and fetch Mulan. Did, did I mention that I was the Great Stone Dragon? First Ancestor: Go, The fate of the Fa Family rests in your claws. Mushu: Don't even worry about it, I will not lose face. [Mushu falls down the hill under the weight of the Great Stone Dragon's head and lands on the dragon's pedestal with the head falling on top of him] Mushu [muffled]: Ow, my elbow. Aw, aw, I know I twisted something. [Throwing the head off him] That's just great. Now what? I'm

How is Shan Yu killed?

Mushu shoots fireworks at him.

heard a great deal about you, Fa Mulan. You stole your father's armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army, destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan] [Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believing what she sees as the entire Chinese population within the palace grounds fall prostrate on the ground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back] Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue? Emperor: Chi Fu, Chi Fu: Your Excellency? Emperor: See to it that this woman is made a member of my council. Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said] what? [stutters] But there are no council positions open, your Majesty. Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu]. Chi Fu [wobbling to and fro]: What?...My...[faints] Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. I have been away from home long enough. Emperor [taking off his pendant]: Then take this, so your family will know what you have done for me. And this [handing her the sword of Shan-Yu] so the world will know what you have done for China. Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug] [Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and get off the roof, get off the roof. [The rocket rides Shan-Yu into the fireworks tower causing masses of explosions and fireworks to fly everywhere. Mulan jumps near the edge of the roof. Propelled by the explosion, she grabs onto a lantern that is hanging on a taught rope and starts to slide down. She looks down and releases her grip so that she lands on the back of Shang causing the two of them to fall to the ground. Shan-Yu's sword follows and lands on the ground near by] Mushu [landing and flying backwards on his butt a couple of times pointing at the fireworks]: Ah ha ha ha ha. [Mushu's catches Cri-Kee with antenna on fire as Cri-Kee falls toward him] [to Cri-Kee] You are a lucky bug. [Mushu pinches out the fire on Cri-Kee's antenna] Chi Fu [walking down the stairs in a tattered outfit and slightly burned]: That was a deliberate attempt on my life. Where is she? Now she's done it. What a mess. [Shang and troops push Mulan behind them to protect her] [to Shang] Stand aside, that creature's not worth protecting. Shang [in Chi Fu's face]: She's a hero. Chi Fu: 'Tis a woman. She will never be worth anything. Shang [grabbing Chi Fu by the shirt collar]: Listen, you pompous-- Emperor [walking down the steps]: That is enough! Shang: Your Majesty, I can explain. [The Emperor motions for Shang to stand aside. Shang and his men part giving the Emperor a clear path to Mulan. Mulan steps forward and bows before the Emperor. Chi Fu with a sinister look waits to write down the words of the Emperor] Emperor: I've to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the many of his troops begin to be swallowed up by the snow] Shan-Yu [recollecting himself and focusing in on Mulan]: Yrrrrrrraah. [Shan-Yu swipes at Mulan with his sword hitting her in the right side. Mulan falls back grabbing her right side. Shan-Yu's horse stumbles. Mulan uses this break to bolt away from the avalanche. Shan-Yu gains his composure and starts to gallop away from the avalanche on his horse. Shang looks with shock as hee sees the avalanche coming toward him. Mulan grabs Shang as she passes by him, turning him around and helping him run away from the avalanche] Yao, Chien-Po and Ling [running towards the oncoming avalanche]: Yeeahhhhhh! [they stop. noticing the oncoming avalanche they turn around and run back to where they came from] Waaaaaaaaaa! [Khan jumps away from the troops position and starts to run towards Mulan passing Ling, Yao and Chien-Po. The avalanche swallows up Shan-Yu and his horse. Khan arrives at Mulan's position just ahead of the avalanche. Mulan jumps onto Khan and reaches for Shang. She grabs his hand, then the avalanche rushes forth breaking their grip, turning Khan around facing the oncoming avalanche of snow] [Cut to Ling, Yao and Chien-Po standing behind a rock. They see the snow approaching close and run to larger shelter where the rest of Shang's army is positioned just as the avalance reaches their posision] Mushu [calling out]: Mulan! Mulan! [seeing hair sticking up from the snow] Mulan? [Mushu picks up the Hun by the hair] Hun Soldier: Arrrrr. Mushu [pushing the hun soldier back under the snow]: Nope. Mulan! [Mushu picks up Cri-Kee out of the snow] Man, you are 8 [grabbing Mushu and bringing him next to a guardian]: Yeah, awaken the most cunning. Ancestor 4 [taking Mushu and holding him next to the stone rabbit guardian]: No, the swiftest. Ancestor 9 [grabbing Mushu and holding him next to the stone monkey guardian]: No, send the wisest. First Ancestor: Silence! We must send the most powerful of all [Motioning to the Great Stone Dragon as it is seen through the window] Mushu [climbs up the empty guardian post laughing]: Ho, ho, heh, heh. Okay, okay, I get the drift, I'll go. [All Ancestors give a quick look of surprise and laugh uncontrollably] You all don't think I can do it. Watch this here. [Mushu produces a small flame from his mouth] Ah, ha, Jump back, I'm pretty hot huh. Don't make me have to singe nobody to prove no point. First Ancestor [grabbing Mushu and pulling away from the post]: You had your chance to protect the Fa family. Ancestor 6: Your mis-guidance led Fa Deng to disaster. Fa Deng [with his decapitated head on his lap]: Yeah, thanks a lot. Mushu: And your point is? First Ancestor: The point is we will be sending a real dragon to retrieve Mulan. Mushu: What? But I'm a real dragon. First Ancestor [grabbing Mushu and pulling him away from the guardian post as Mushu fights to hold on]: You are not worthy of this spot. Now, awaken the Great Stone Dragon. [First Ancestor throws Mushu out of the temple] Mushu [looking back into the temple]: So you'll get back to me on the job thing. Mushu [walking with a slouch and banging the gong on the ground]: Just one chance is that

Who is the leader of the huns?

Shan Yu

to help people you love. I risked your life to help myself. At least you had good intentions [Mulan smiles]. Cri-Kee [jumping on top of the helmet beginning to bawl]: Chirp, Chirp, Chirp. Bawl, Bawl. Mushu: What!? What do you mean you're not lucky? You lied to me? [Cri-Kee nods] [to Khan] And what are you? A sheep? Mulan [sadly]: I'll have to face my father sooner or later. Let's go home. Mushu: Yeah, this ain't gonna be pretty. But, don't you worry, 'kay? Things'll work out. We started this thing together and that's how we'll finish. [Mushu hugs Mulan. Mulan smiles] I promise. Shan-Yu [screaming]: Rrrrrrraaaaaaaaahhh! [Hun Archer, Long-Hair Hun Man, Hun Strong Guy, Hun Bald Man #1, and Hun Bald Man #2 each pop out of the snow and join Shan-Yu. They set off towards the Imperial City] Mulan [seeing them from behind, gasps]: Huh. [Mulan runs, grabs her sword, mounts Khan, and heads out following the Huns to the Imperial City] Mushu: Home is that way! [points to the opposite direction Mulan is heading] Mulan: I have to do something. Mushu: Did you see those Huns!? They popped out of the snow, like daisies! Mulan: Are we in this together or not? Cri-Kee [emphatically]: Chirp, Chirp. Mushu: Well, let's go kick some Huny buns! [Jumps onto Khan and utters fighting words as they ride off to the Imperial City] Wu Hu Ha Ga, Wu Hu Ha Ga [Cut to the victory parade in the Imperial City. Fireworks go off, kites are flying. The drummers march by, followed by the flutist, followed by the acrobats. 8 [grabbing Mushu and bringing him next to a guardian]: Yeah, awaken the most cunning. Ancestor 4 [taking Mushu and holding him next to the stone rabbit guardian]: No, the swiftest. Ancestor 9 [grabbing Mushu and holding him next to the stone monkey guardian]: No, send the wisest. First Ancestor: Silence! We must send the most powerful of all [Motioning to the Great Stone Dragon as it is seen through the window] Mushu [climbs up the empty guardian post laughing]: Ho, ho, heh, heh. Okay, okay, I get the drift, I'll go. [All Ancestors give a quick look of surprise and laugh uncontrollably] You all don't think I can do it. Watch this here. [Mushu produces a small flame from his mouth] Ah, ha, Jump back, I'm pretty hot huh. Don't make me have to singe nobody to prove no point. First Ancestor [grabbing Mushu and pulling away from the post]: You had your chance to protect the Fa family. Ancestor 6: Your mis-guidance led Fa Deng to disaster. Fa Deng [with his decapitated head on his lap]: Yeah, thanks a lot. Mushu: And your point is? First Ancestor: The point is we will be sending a real dragon to retrieve Mulan. Mushu: What? But I'm a real dragon. First Ancestor [grabbing Mushu and pulling him away from the guardian post as Mushu fights to hold on]: You are not worthy of this spot. Now, awaken the Great Stone Dragon. [First Ancestor throws Mushu out of the temple] Mushu [looking back into the temple]: So you'll get back to me on the job thing. Mushu [walking with a slouch and banging the gong on the ground]: Just one chance is that She finishes putting on the armor and ties it in the front. She takes the sword and places it in the scabbard to her left. Cut to Mulan in the stable doorway. Khan rears back in fright at the sight of Mulan. Mulan goes forward and comforts Khan letting him know her identity. Mulan walks Khan out of the stable, Cri-Kee watches from the ground as she passes by. Mulan takes one sorrowful glance back at her parents bedroom and rides Khan through the gate and off to camp.] [Cut to the face of a statue in the Fa Family Temple. The eyes glow. Cut to Grandma Fa. She wakes up with a start rising in bed. Cut to Grandma Fa walking into Fa Li and Fa Zhou's bedroom, both are in bed] Grandma Fa: Mulan is gone. Fa Zhou [waking up]: What? It can't be. [Fa Zhou looks at his night stand and notices the hair comb in place of his conscription notice. He checks the cabinet and sees his armor is gone. He hurries outside] [calling out] Mulan! [He stumbles while walking because of his leg injury] No. Fa Li [kneeling down beside the fallen Fa Zhou]: You must go after her. She could be killed! Fa Zhou [sadly]: If I reveal her, she will be. [Fa Zhou embraces Fa Li] Grandma Fa: Ancestors, hear our prayer: Watch over Mulan. [Cut to the Fa Family Temple. A wind blows out the incense at the base of the center stone. The center stone begins to glow as First Ancestor comes to life] First Ancestor [motioning to a bronze dragon]: Mushu, awaken! [Mushu comes to heard a great deal about you, Fa Mulan. You stole your father's armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army, destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan] [Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believing what she sees as the entire Chinese population within the palace grounds fall prostrate on the ground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back] Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue? Emperor: Chi Fu, Chi Fu: Your Excellency? Emperor: See to it that this woman is made a member of my council. Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said] what? [stutters] But there are no council positions open, your Majesty. Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu]. Chi Fu [wobbling to and fro]: What?...My...[faints] Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. I have been away from home long enough. Emperor [taking off his pendant]: Then take this, so your family will know what you have done for me. And this [handing her the sword of Shan-Yu] so the world will know what you have done for China. Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug] [Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and explain. Chi Fu [stepping into the tent]: Huh? So it's true. Mulan [calling after Shang as he steps out of the tent]: Shang! Chi Fu: I knew there was something wrong with you. [Chi Fu takes off Mulan's hair tie and throws her to the ground] A woman. Chi Fu [to the troops]: Trecherous snake. Mulan [on the ground kneeling and hunched over, speaking to Shang]: My name is Mulan. I did it to save my father. Chi Fu [to the troops]: High treason! Mulan: I didn't mean for it to go this far. Chi Fu [getting in Mulan's face and speaking to her while she whinces]: Ultimate dishonor. Mulan: It was the only way. Please believe me. Chi Fu [to Shang]: Hmph, Captain? Chi Fu [to the soldier by Khan]: Restrain him. Yao, Ling and Chien-Po [rushing toward Mulan]: Noooooo! Chi Fu [putting his hand to stop Ling, Yao, and Chien-Po from proceeding further]: You know the law. [Shang stands over Mulan. Mulan looks at Shang then bows her head in anticipation. Shang lifts the sword high above his head and throws it down in front of Mulan] Shang: A life for a life. My debt is repaid. [turns and walks towards the Imperial City] Move out! Chi Fu [coming up to Shang's face]: But you can't just... Shang [getting in Chi Fu's face]: I said, "Move out!" [The troops walk off toward the Imperial City leaving Mulan behind with Khan, Cri-Kee, and Mushu. Mulan is sitting, shivering. Khan takes his blanket and wraps it around Mulan with his mouth and sits behind her. Cri-Kee lights a fire with twigs.

What is required of each family by the emperor?

one male family member to join the army

heard a great deal about you, Fa Mulan. You stole your father's armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army, destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan] [Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believing what she sees as the entire Chinese population within the palace grounds fall prostrate on the ground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back] Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue? Emperor: Chi Fu, Chi Fu: Your Excellency? Emperor: See to it that this woman is made a member of my council. Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said] what? [stutters] But there are no council positions open, your Majesty. Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu]. Chi Fu [wobbling to and fro]: What?...My...[faints] Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. I have been away from home long enough. Emperor [taking off his pendant]: Then take this, so your family will know what you have done for me. And this [handing her the sword of Shan-Yu] so the world will know what you have done for China. Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug] [Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and soldiers. He lifts them all up and pulls backward hauling Mulan, Shang, Khan, Mushu and Cri-Kee to safety] Mushu: I knew we could to it. You da man. [Mulan looks pleased] Well sorta. [Mulan grimaces] Ling: Step back guys, give 'em some air. Shang [catching his breath]: Ping, you are the craziest man I've ever met. And for that I owe you my life. From now on, you have my trust. [Mulan smiles big] Ling: Let's hear it for Ping! The bravest of us all. Yao [lifting his arm high]: You're king of the mountain! Chien-Po [jumping up and down]: Yes, yes, yes! Mulan [beginning to stand up]: Ahhh, [she clutches her right side] Shang: Ping, what's wrong? [Mulan removes her hand slightly to show the blood on her hand and seeping through the armour] [loudly] He's wounded, get help! [Ping starts to pass out. The images of Shang, Yao, Ling, and Chien-Po begin to fade as she loses consciousness] Ping, hold on. Hold on. [Cut to outside of the medic tent. Mulan and Medic are inside. Shang stands by the entrance. Yao, Ling and Chien-Po look quite concerned. Ling drums his fingers on his knees. The medic comes out from the tent and whispers to Shang. Shang looks astonished and goes into the tent. Mulan is lying down. She opens her eyes, sees Shang and smiles at the sight of him. She sits up allowing the blanket to fall to her waist revealing her form fitting bandages on her chest. She sees Shang's surprised look and realizes her feminine form is noticeable] Mulan [gasping as she covers up]: Huh, I can many of his troops begin to be swallowed up by the snow] Shan-Yu [recollecting himself and focusing in on Mulan]: Yrrrrrrraah. [Shan-Yu swipes at Mulan with his sword hitting her in the right side. Mulan falls back grabbing her right side. Shan-Yu's horse stumbles. Mulan uses this break to bolt away from the avalanche. Shan-Yu gains his composure and starts to gallop away from the avalanche on his horse. Shang looks with shock as hee sees the avalanche coming toward him. Mulan grabs Shang as she passes by him, turning him around and helping him run away from the avalanche] Yao, Chien-Po and Ling [running towards the oncoming avalanche]: Yeeahhhhhh! [they stop. noticing the oncoming avalanche they turn around and run back to where they came from] Waaaaaaaaaa! [Khan jumps away from the troops position and starts to run towards Mulan passing Ling, Yao and Chien-Po. The avalanche swallows up Shan-Yu and his horse. Khan arrives at Mulan's position just ahead of the avalanche. Mulan jumps onto Khan and reaches for Shang. She grabs his hand, then the avalanche rushes forth breaking their grip, turning Khan around facing the oncoming avalanche of snow] [Cut to Ling, Yao and Chien-Po standing behind a rock. They see the snow approaching close and run to larger shelter where the rest of Shang's army is positioned just as the avalance reaches their posision] Mushu [calling out]: Mulan! Mulan! [seeing hair sticking up from the snow] Mulan? [Mushu picks up the Hun by the hair] Hun Soldier: Arrrrr. Mushu [pushing the hun soldier back under the snow]: Nope. Mulan! [Mushu picks up Cri-Kee out of the snow] Man, you are to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the She finishes putting on the armor and ties it in the front. She takes the sword and places it in the scabbard to her left. Cut to Mulan in the stable doorway. Khan rears back in fright at the sight of Mulan. Mulan goes forward and comforts Khan letting him know her identity. Mulan walks Khan out of the stable, Cri-Kee watches from the ground as she passes by. Mulan takes one sorrowful glance back at her parents bedroom and rides Khan through the gate and off to camp.] [Cut to the face of a statue in the Fa Family Temple. The eyes glow. Cut to Grandma Fa. She wakes up with a start rising in bed. Cut to Grandma Fa walking into Fa Li and Fa Zhou's bedroom, both are in bed] Grandma Fa: Mulan is gone. Fa Zhou [waking up]: What? It can't be. [Fa Zhou looks at his night stand and notices the hair comb in place of his conscription notice. He checks the cabinet and sees his armor is gone. He hurries outside] [calling out] Mulan! [He stumbles while walking because of his leg injury] No. Fa Li [kneeling down beside the fallen Fa Zhou]: You must go after her. She could be killed! Fa Zhou [sadly]: If I reveal her, she will be. [Fa Zhou embraces Fa Li] Grandma Fa: Ancestors, hear our prayer: Watch over Mulan. [Cut to the Fa Family Temple. A wind blows out the incense at the base of the center stone. The center stone begins to glow as First Ancestor comes to life] First Ancestor [motioning to a bronze dragon]: Mushu, awaken! [Mushu comes to

How does Mulan prevent her father from going to the war?

She disguises as a man

to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the heard a great deal about you, Fa Mulan. You stole your father's armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army, destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan] [Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believing what she sees as the entire Chinese population within the palace grounds fall prostrate on the ground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back] Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue? Emperor: Chi Fu, Chi Fu: Your Excellency? Emperor: See to it that this woman is made a member of my council. Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said] what? [stutters] But there are no council positions open, your Majesty. Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu]. Chi Fu [wobbling to and fro]: What?...My...[faints] Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. I have been away from home long enough. Emperor [taking off his pendant]: Then take this, so your family will know what you have done for me. And this [handing her the sword of Shan-Yu] so the world will know what you have done for China. Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug] [Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and too much to ask? I mean, it's not like it'll kill ya. Mushu [rings the gong and looks at the Great Stone Dragon]: Yo rocky, wake up! You gotta go fetch Mulan. [pauses as nothing happens. Mushu walks over to the side of the statue] C'mon boy, go get her, go on, [throws the gong stick off the screen and whistles] Come on. [Angrily while climbing up the Great Stone Dragon] Grrr, Grrrr. [speaking in his ear and banging the ear with the gong] Hello, helloooooo. [curtly] Hello [bangs the gong extra hard against the ear causing it to break off]. Uh oh. [The Great Stone Dragon crumbles to the ground, head intact minus the ear]. [knocks on the dragon's head] Uh, Stoney, Stooooneeey. Oh man, they're gonna kill me! First Ancestor [calling out through the temple window]: Great Stone Dragon, have you awaken? Mushu [holding the head of the Great Stone Dragon up to that First Ancestor can only see it's head and Mushu's body]: Uhhh, Yes, I just woke up. And I am the Great Stone Dragon, good morning [Mushu waves]. I will go forth and fetch Mulan. Did, did I mention that I was the Great Stone Dragon? First Ancestor: Go, The fate of the Fa Family rests in your claws. Mushu: Don't even worry about it, I will not lose face. [Mushu falls down the hill under the weight of the Great Stone Dragon's head and lands on the dragon's pedestal with the head falling on top of him] Mushu [muffled]: Ow, my elbow. Aw, aw, I know I twisted something. [Throwing the head off him] That's just great. Now what? I'm soldiers. He lifts them all up and pulls backward hauling Mulan, Shang, Khan, Mushu and Cri-Kee to safety] Mushu: I knew we could to it. You da man. [Mulan looks pleased] Well sorta. [Mulan grimaces] Ling: Step back guys, give 'em some air. Shang [catching his breath]: Ping, you are the craziest man I've ever met. And for that I owe you my life. From now on, you have my trust. [Mulan smiles big] Ling: Let's hear it for Ping! The bravest of us all. Yao [lifting his arm high]: You're king of the mountain! Chien-Po [jumping up and down]: Yes, yes, yes! Mulan [beginning to stand up]: Ahhh, [she clutches her right side] Shang: Ping, what's wrong? [Mulan removes her hand slightly to show the blood on her hand and seeping through the armour] [loudly] He's wounded, get help! [Ping starts to pass out. The images of Shang, Yao, Ling, and Chien-Po begin to fade as she loses consciousness] Ping, hold on. Hold on. [Cut to outside of the medic tent. Mulan and Medic are inside. Shang stands by the entrance. Yao, Ling and Chien-Po look quite concerned. Ling drums his fingers on his knees. The medic comes out from the tent and whispers to Shang. Shang looks astonished and goes into the tent. Mulan is lying down. She opens her eyes, sees Shang and smiles at the sight of him. She sits up allowing the blanket to fall to her waist revealing her form fitting bandages on her chest. She sees Shang's surprised look and realizes her feminine form is noticeable] Mulan [gasping as she covers up]: Huh, I can Yao [calling]: Hey, Ping. Mulan [speaking nervously and unnaturally in a manly voice]: Oh hi guys, I didn't know you were *here*. [Yao, Ling and Chien-Po share "this boy is strange" looks] I was just washing, so now I'm clean and I'm gonna go. Bye, bye. [Mulan hides behind a rock keeping her front facing the rock] Ling [from behind Mulan]: Come back here. I know we were jerks to you before so lets start over. [extending his hand to shake hands with Mulan] Hi, I'm Ling! Mulan [covering her chest with her left arm, she turns and shakes his hand with an outstretched right arm, smiling]: Heh, heh. [Mulan turns and wades away from Ling and runs into Chien-Po] Chien-Po [taking a lily pad off his head]: And I'm Chien-Po. Mulan [waving slightly and smiling]: Hello Chien-Po. Yao: And I am Yao, king of the rock. And there's nothin' you girls can do about it. Ling [taking a fighting stance]: Oh, yeah? Well, I think Ping [elbowing Mulan] and I could take you. Mulan [wading away]: I really don't want to take him anywhere. Ling [following Mulan]: Ping, we have to fight! Mulan: No we don't. [unnaturally] We could just close our eyes and swim around. Ling: C'mon don't be such a g--Ouch! Something bit me. Mushu [popping out of the water between Mulan and Ling]: What a nasty flavor. Ling [with fear and gusto]: Snake! Chien-Po [while all three of them climb up the rock and on each other]: Snake, snake. [Mulan whistles for Khan and wades back to shore. Khan comes close enough to shore and Mulan hides behind Khan as she wraps

What is the name of the small dragon to protect Mulan?

Mushu

to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the too much to ask? I mean, it's not like it'll kill ya. Mushu [rings the gong and looks at the Great Stone Dragon]: Yo rocky, wake up! You gotta go fetch Mulan. [pauses as nothing happens. Mushu walks over to the side of the statue] C'mon boy, go get her, go on, [throws the gong stick off the screen and whistles] Come on. [Angrily while climbing up the Great Stone Dragon] Grrr, Grrrr. [speaking in his ear and banging the ear with the gong] Hello, helloooooo. [curtly] Hello [bangs the gong extra hard against the ear causing it to break off]. Uh oh. [The Great Stone Dragon crumbles to the ground, head intact minus the ear]. [knocks on the dragon's head] Uh, Stoney, Stooooneeey. Oh man, they're gonna kill me! First Ancestor [calling out through the temple window]: Great Stone Dragon, have you awaken? Mushu [holding the head of the Great Stone Dragon up to that First Ancestor can only see it's head and Mushu's body]: Uhhh, Yes, I just woke up. And I am the Great Stone Dragon, good morning [Mushu waves]. I will go forth and fetch Mulan. Did, did I mention that I was the Great Stone Dragon? First Ancestor: Go, The fate of the Fa Family rests in your claws. Mushu: Don't even worry about it, I will not lose face. [Mushu falls down the hill under the weight of the Great Stone Dragon's head and lands on the dragon's pedestal with the head falling on top of him] Mushu [muffled]: Ow, my elbow. Aw, aw, I know I twisted something. [Throwing the head off him] That's just great. Now what? I'm to Man #2] Please, you have to help me. [Man #2 walks away from Mulan] [turning to Mushu who is standing near her in the yard] No one will listen! Mushu: Huh? Oh, I'm sorry, did you say something? Mulan [irritatedly]: Mushu! Mushu: Hey, you're a girl again, remember? Shang [kneeling down giving the sword to the Emperor]: Your Majesty, I present to you the sword of Shan-Yu. Emperor: I know what this means to you, Captain Li. Your father would have been very proud. [Shan-Yu's falcon swoops down and takes the sword as Shang is giving it to the Emperor. The falcon rises above the roof and drops the sword to Shan-Yu who was sitting next to the gargoyles in the shadows blending in. He rises out of the shadows to catch the sword so that all the people can see his face. The masses of people gasp at the sight of Shan-Yu. Shang begins to draw his sword. All 5 of Shan-Yu's men jump out from behind the dragon knocking down Shang and grab the Emperor knocking off his hat. Hun Bald Man #1 and #2 carry the Emperor into the Palace. Long-Haired Hun Man and Hun Strong Guy close the palace doors as Hun archer knocks his arrow retreating into the Palace to threaten would be rescue attempts] Shang [getting up and running toward the closing doors]: No. Yao [beckoning to the other soldiers]: C'mon. Shan-Yu [laughs evily]: Ha, Ha, Ha, Ha, Ha, Ha. [Shang and his soldiers pick up a big stone statue and use it as a battering ram. They are unsuccessful at opening the door. Mulan sees what's going on and arrives many of his troops begin to be swallowed up by the snow] Shan-Yu [recollecting himself and focusing in on Mulan]: Yrrrrrrraah. [Shan-Yu swipes at Mulan with his sword hitting her in the right side. Mulan falls back grabbing her right side. Shan-Yu's horse stumbles. Mulan uses this break to bolt away from the avalanche. Shan-Yu gains his composure and starts to gallop away from the avalanche on his horse. Shang looks with shock as hee sees the avalanche coming toward him. Mulan grabs Shang as she passes by him, turning him around and helping him run away from the avalanche] Yao, Chien-Po and Ling [running towards the oncoming avalanche]: Yeeahhhhhh! [they stop. noticing the oncoming avalanche they turn around and run back to where they came from] Waaaaaaaaaa! [Khan jumps away from the troops position and starts to run towards Mulan passing Ling, Yao and Chien-Po. The avalanche swallows up Shan-Yu and his horse. Khan arrives at Mulan's position just ahead of the avalanche. Mulan jumps onto Khan and reaches for Shang. She grabs his hand, then the avalanche rushes forth breaking their grip, turning Khan around facing the oncoming avalanche of snow] [Cut to Ling, Yao and Chien-Po standing behind a rock. They see the snow approaching close and run to larger shelter where the rest of Shang's army is positioned just as the avalance reaches their posision] Mushu [calling out]: Mulan! Mulan! [seeing hair sticking up from the snow] Mulan? [Mushu picks up the Hun by the hair] Hun Soldier: Arrrrr. Mushu [pushing the hun soldier back under the snow]: Nope. Mulan! [Mushu picks up Cri-Kee out of the snow] Man, you are remains of General Li's army can be seen. Flags poking up out of the snow, armor lying face down, broken cannon carts. Ling, Yao, Mulan, and a soldier have the look of horror on their faces as they look into the valley. Chien-Po walks up from the valley carrying a helmet] Chien-po [handing the helmet to Shang]: ...the General. [Shang takes the helmet and walks to the edge of the hill. He draws his sword and stabs it into the snow upright. He kneels down and places the helmet on top of the sword. Mulan approaches him from behind] Mulan [softly]: I'm sorry. [Shang gets up, turns around and puts his hand on Mulan's shoulder and he walks by. Shang walks to the center of the troops. He grabs his horse by the saddle, takes one quick look of grief then mounts his horse] Shang: The Huns are moving quickly. We'll make better time to the Imperial City through the Tung Shao Pass. We're the only hope for the Emperor now. Move out! [Mulan looks at the sword, takes out the doll she found and places the doll at the base of the sword. She turns around and joins the rest of the troops marching on] [Cut to Mulan standing next to Khan saddled to the cart with cannons. A cannon blast shoots out of the cart and explodes in the air. The troops look surprised. Mulan glances back with a scowl into the hole in the canopy of the cart to see Mushu with a sorrowful face. Mushu points at Cri-Kee. Shang charges up to Mulan on his horse, Chi Fu right behind] Shang [angrily]: What happened?! Mulan [stumbling]:

What is peculiar about Shangs order to go to the mountains?

It is fake

soldiers. He lifts them all up and pulls backward hauling Mulan, Shang, Khan, Mushu and Cri-Kee to safety] Mushu: I knew we could to it. You da man. [Mulan looks pleased] Well sorta. [Mulan grimaces] Ling: Step back guys, give 'em some air. Shang [catching his breath]: Ping, you are the craziest man I've ever met. And for that I owe you my life. From now on, you have my trust. [Mulan smiles big] Ling: Let's hear it for Ping! The bravest of us all. Yao [lifting his arm high]: You're king of the mountain! Chien-Po [jumping up and down]: Yes, yes, yes! Mulan [beginning to stand up]: Ahhh, [she clutches her right side] Shang: Ping, what's wrong? [Mulan removes her hand slightly to show the blood on her hand and seeping through the armour] [loudly] He's wounded, get help! [Ping starts to pass out. The images of Shang, Yao, Ling, and Chien-Po begin to fade as she loses consciousness] Ping, hold on. Hold on. [Cut to outside of the medic tent. Mulan and Medic are inside. Shang stands by the entrance. Yao, Ling and Chien-Po look quite concerned. Ling drums his fingers on his knees. The medic comes out from the tent and whispers to Shang. Shang looks astonished and goes into the tent. Mulan is lying down. She opens her eyes, sees Shang and smiles at the sight of him. She sits up allowing the blanket to fall to her waist revealing her form fitting bandages on her chest. She sees Shang's surprised look and realizes her feminine form is noticeable] Mulan [gasping as she covers up]: Huh, I can explain. Chi Fu [stepping into the tent]: Huh? So it's true. Mulan [calling after Shang as he steps out of the tent]: Shang! Chi Fu: I knew there was something wrong with you. [Chi Fu takes off Mulan's hair tie and throws her to the ground] A woman. Chi Fu [to the troops]: Trecherous snake. Mulan [on the ground kneeling and hunched over, speaking to Shang]: My name is Mulan. I did it to save my father. Chi Fu [to the troops]: High treason! Mulan: I didn't mean for it to go this far. Chi Fu [getting in Mulan's face and speaking to her while she whinces]: Ultimate dishonor. Mulan: It was the only way. Please believe me. Chi Fu [to Shang]: Hmph, Captain? Chi Fu [to the soldier by Khan]: Restrain him. Yao, Ling and Chien-Po [rushing toward Mulan]: Noooooo! Chi Fu [putting his hand to stop Ling, Yao, and Chien-Po from proceeding further]: You know the law. [Shang stands over Mulan. Mulan looks at Shang then bows her head in anticipation. Shang lifts the sword high above his head and throws it down in front of Mulan] Shang: A life for a life. My debt is repaid. [turns and walks towards the Imperial City] Move out! Chi Fu [coming up to Shang's face]: But you can't just... Shang [getting in Chi Fu's face]: I said, "Move out!" [The troops walk off toward the Imperial City leaving Mulan behind with Khan, Cri-Kee, and Mushu. Mulan is sitting, shivering. Khan takes his blanket and wraps it around Mulan with his mouth and sits behind her. Cri-Kee lights a fire with twigs. too much to ask? I mean, it's not like it'll kill ya. Mushu [rings the gong and looks at the Great Stone Dragon]: Yo rocky, wake up! You gotta go fetch Mulan. [pauses as nothing happens. Mushu walks over to the side of the statue] C'mon boy, go get her, go on, [throws the gong stick off the screen and whistles] Come on. [Angrily while climbing up the Great Stone Dragon] Grrr, Grrrr. [speaking in his ear and banging the ear with the gong] Hello, helloooooo. [curtly] Hello [bangs the gong extra hard against the ear causing it to break off]. Uh oh. [The Great Stone Dragon crumbles to the ground, head intact minus the ear]. [knocks on the dragon's head] Uh, Stoney, Stooooneeey. Oh man, they're gonna kill me! First Ancestor [calling out through the temple window]: Great Stone Dragon, have you awaken? Mushu [holding the head of the Great Stone Dragon up to that First Ancestor can only see it's head and Mushu's body]: Uhhh, Yes, I just woke up. And I am the Great Stone Dragon, good morning [Mushu waves]. I will go forth and fetch Mulan. Did, did I mention that I was the Great Stone Dragon? First Ancestor: Go, The fate of the Fa Family rests in your claws. Mushu: Don't even worry about it, I will not lose face. [Mushu falls down the hill under the weight of the Great Stone Dragon's head and lands on the dragon's pedestal with the head falling on top of him] Mushu [muffled]: Ow, my elbow. Aw, aw, I know I twisted something. [Throwing the head off him] That's just great. Now what? I'm many of his troops begin to be swallowed up by the snow] Shan-Yu [recollecting himself and focusing in on Mulan]: Yrrrrrrraah. [Shan-Yu swipes at Mulan with his sword hitting her in the right side. Mulan falls back grabbing her right side. Shan-Yu's horse stumbles. Mulan uses this break to bolt away from the avalanche. Shan-Yu gains his composure and starts to gallop away from the avalanche on his horse. Shang looks with shock as hee sees the avalanche coming toward him. Mulan grabs Shang as she passes by him, turning him around and helping him run away from the avalanche] Yao, Chien-Po and Ling [running towards the oncoming avalanche]: Yeeahhhhhh! [they stop. noticing the oncoming avalanche they turn around and run back to where they came from] Waaaaaaaaaa! [Khan jumps away from the troops position and starts to run towards Mulan passing Ling, Yao and Chien-Po. The avalanche swallows up Shan-Yu and his horse. Khan arrives at Mulan's position just ahead of the avalanche. Mulan jumps onto Khan and reaches for Shang. She grabs his hand, then the avalanche rushes forth breaking their grip, turning Khan around facing the oncoming avalanche of snow] [Cut to Ling, Yao and Chien-Po standing behind a rock. They see the snow approaching close and run to larger shelter where the rest of Shang's army is positioned just as the avalance reaches their posision] Mushu [calling out]: Mulan! Mulan! [seeing hair sticking up from the snow] Mulan? [Mushu picks up the Hun by the hair] Hun Soldier: Arrrrr. Mushu [pushing the hun soldier back under the snow]: Nope. Mulan! [Mushu picks up Cri-Kee out of the snow] Man, you are doomed! And all 'cause miss man decides to take her little drag show on the road. Cri-Kee: Chirp, Chirp. Mushu: Go get her? What's the matter with you? After this great stone Humpty Dumpty mess, I'd have to bring her home with a medal to get back in the temple. Wait a minute, that's it! I make Mulan a war hero, then they'll be begging me to come back to work. That's the master plan. Oh, you've gone and done it now. [Mushu runs off stage right] Cri-Kee [hopping along side of Mushu]: Chirp. Chirp Chirp Chirp. Mushu [pushing Cri-Kee away]: Hey, what makes you think you're coming? Cri-Kee: Chirp, Chirp. Mushu: You're lucky? Ho, ho, heh. Do I look like a sucker to you? Cri-Kee: Chirp. Chirp. Mushu: Whach' you mean loser? How 'bout I pop one of your antenna's off and throw it across the yard. Then who's a loser, me or you? [Cut to Shan-Yu leading his army at a charge on horseback through a forest. He stops and motions stage right. Hun Archer, Hun Strong Guy, Hun Long-Hair Guy dismount and walk into the forest. They throw down two Imperial scouts before the rest of the army] Hun Long-Hair Guy: Imperial scouts. Scout #1: Shan-Yu. Shan-Yu [adjusting Scout #1's collar]: Nice work, gentlemen. You found the Hun army. [motioning to the soldiers on horseback. The Hun army laughs] Scout #2: The Emperor will stop you. Shan-Yu [grabs Scout #2 by the shirt collar and lifts him up to his face]: Stop me? He invited me. By building his wall, he challenged my strength. Well

What happens to the crew in the mountains?

They are ambushed by the Huns

heard a great deal about you, Fa Mulan. You stole your father's armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army, destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan] [Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believing what she sees as the entire Chinese population within the palace grounds fall prostrate on the ground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back] Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue? Emperor: Chi Fu, Chi Fu: Your Excellency? Emperor: See to it that this woman is made a member of my council. Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said] what? [stutters] But there are no council positions open, your Majesty. Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu]. Chi Fu [wobbling to and fro]: What?...My...[faints] Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. I have been away from home long enough. Emperor [taking off his pendant]: Then take this, so your family will know what you have done for me. And this [handing her the sword of Shan-Yu] so the world will know what you have done for China. Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug] [Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and lifts all three of them off the ground in a big bear hug. Chien-Po lets them all back to the ground again. Mulan walks toward Shang and stops in front of him. As Shang begins to speak Mulan starts to smile anticipating something good] Shang: Um...[Mulan grins] You... [Mulan smiles] You fight good. Mulan [smile turning into disappointment]: Oh, thank you. [Mulan walks toward Khan] Shang: [turning toward Mulan and grunts with disappointment in himself]: Hmm. Mulan: Khan, let's go home. [Khan jumps down the steps and gallops on the flat parts of the stair case back down to ground level. The crowd cheers al the while. The Emperor approaches Shang and clears his throat] Emperor [to Shang]: The flower that blooms in adversity is the most rare and beautiful of all. Shang [dumbfounded]: Sir? Emperor: You don't meet a girl like that ev'ry dynasty. [The emperor puts on his hat and walks back up the steps to his palace] [Cut to Mulan's home, her father is sitting beneath the blossom tree. A blossom falls and lands on his leg. Mulan appears at the threshold and moves toward her father. Fa Zhou sees her approaching and starts to stand] Fa Zhou: Mulan. Mulan: Father, I brought you the sword of Shan-Yu [hands the sword to Fa Zhou] and the crest of the Emperor [hands the crest to Fa Zhou]. [with head bowed] They're gifts to honor the Fa Family. [Fa Zhou takes the gifts and throws them down to the ground beside him to the surprise of Mulan. He bends down and holds her arms outstretched] Fa Zhou: The greatest gift and honor, is having you for to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the She finishes putting on the armor and ties it in the front. She takes the sword and places it in the scabbard to her left. Cut to Mulan in the stable doorway. Khan rears back in fright at the sight of Mulan. Mulan goes forward and comforts Khan letting him know her identity. Mulan walks Khan out of the stable, Cri-Kee watches from the ground as she passes by. Mulan takes one sorrowful glance back at her parents bedroom and rides Khan through the gate and off to camp.] [Cut to the face of a statue in the Fa Family Temple. The eyes glow. Cut to Grandma Fa. She wakes up with a start rising in bed. Cut to Grandma Fa walking into Fa Li and Fa Zhou's bedroom, both are in bed] Grandma Fa: Mulan is gone. Fa Zhou [waking up]: What? It can't be. [Fa Zhou looks at his night stand and notices the hair comb in place of his conscription notice. He checks the cabinet and sees his armor is gone. He hurries outside] [calling out] Mulan! [He stumbles while walking because of his leg injury] No. Fa Li [kneeling down beside the fallen Fa Zhou]: You must go after her. She could be killed! Fa Zhou [sadly]: If I reveal her, she will be. [Fa Zhou embraces Fa Li] Grandma Fa: Ancestors, hear our prayer: Watch over Mulan. [Cut to the Fa Family Temple. A wind blows out the incense at the base of the center stone. The center stone begins to glow as First Ancestor comes to life] First Ancestor [motioning to a bronze dragon]: Mushu, awaken! [Mushu comes to ground. Shang lies limp. Mulan watches Shang fall then she looks over the edge at Ling and Yao now on the ground. Chien-Po runs off the screen out of sight] Yao [motioning her to follow]: Come on! [Mulan looks down at Shang with a worried look. Shan-Yu begins to approach Mulan and the rope. Mulan looks at the approaching Shan-Yu and then down to spy his sword. Thinking quickly, Mulan grabs Shan-Yu's sword and cuts the taught rope. Shan-Yu reaches the edge and grabs for the falling rope unsuccessfully as Mulan leaves the sword embedded in the column and runs to Shang's position. The crowd cheers] Shan-Yu: No! [He looks down at the crowd and realizes he cannot find the Emperor among the throng of people] Yrraaaaahhhh! [Shan-Yu turns and looks back and sees Mulan looking concerned, holding up Shang. Shan-Yu pulls out his sword lodged in the column and heads toward them. As Shang sees Shan-Yu approaching, he puts his arm in front of Mulan to ask her to leave and takes out his knife. Mulan slides away. Shan-Yu comes up to Shang, knocks away his knife, slaps him in the face, and grabs Shang by the shirt collar] Shan-Yu [in Shang's face]: You, you took away my victory. Mulan: No! I did! [Mulan pulls her hair back to look like she did when she was a soldier] Shan-Yu [looking at Mulan]: The soldier from the mountains. [Shan-Yu drops Shang and starts after Mulan as she puts on her shoe and runs down the stairs and through the doors to the balcony. She closes the door with the latch falling in place right behind her. She leans against the

Who captures the Emperor?

the Huns

many of his troops begin to be swallowed up by the snow] Shan-Yu [recollecting himself and focusing in on Mulan]: Yrrrrrrraah. [Shan-Yu swipes at Mulan with his sword hitting her in the right side. Mulan falls back grabbing her right side. Shan-Yu's horse stumbles. Mulan uses this break to bolt away from the avalanche. Shan-Yu gains his composure and starts to gallop away from the avalanche on his horse. Shang looks with shock as hee sees the avalanche coming toward him. Mulan grabs Shang as she passes by him, turning him around and helping him run away from the avalanche] Yao, Chien-Po and Ling [running towards the oncoming avalanche]: Yeeahhhhhh! [they stop. noticing the oncoming avalanche they turn around and run back to where they came from] Waaaaaaaaaa! [Khan jumps away from the troops position and starts to run towards Mulan passing Ling, Yao and Chien-Po. The avalanche swallows up Shan-Yu and his horse. Khan arrives at Mulan's position just ahead of the avalanche. Mulan jumps onto Khan and reaches for Shang. She grabs his hand, then the avalanche rushes forth breaking their grip, turning Khan around facing the oncoming avalanche of snow] [Cut to Ling, Yao and Chien-Po standing behind a rock. They see the snow approaching close and run to larger shelter where the rest of Shang's army is positioned just as the avalance reaches their posision] Mushu [calling out]: Mulan! Mulan! [seeing hair sticking up from the snow] Mulan? [Mushu picks up the Hun by the hair] Hun Soldier: Arrrrr. Mushu [pushing the hun soldier back under the snow]: Nope. Mulan! [Mushu picks up Cri-Kee out of the snow] Man, you are to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the 8 [grabbing Mushu and bringing him next to a guardian]: Yeah, awaken the most cunning. Ancestor 4 [taking Mushu and holding him next to the stone rabbit guardian]: No, the swiftest. Ancestor 9 [grabbing Mushu and holding him next to the stone monkey guardian]: No, send the wisest. First Ancestor: Silence! We must send the most powerful of all [Motioning to the Great Stone Dragon as it is seen through the window] Mushu [climbs up the empty guardian post laughing]: Ho, ho, heh, heh. Okay, okay, I get the drift, I'll go. [All Ancestors give a quick look of surprise and laugh uncontrollably] You all don't think I can do it. Watch this here. [Mushu produces a small flame from his mouth] Ah, ha, Jump back, I'm pretty hot huh. Don't make me have to singe nobody to prove no point. First Ancestor [grabbing Mushu and pulling away from the post]: You had your chance to protect the Fa family. Ancestor 6: Your mis-guidance led Fa Deng to disaster. Fa Deng [with his decapitated head on his lap]: Yeah, thanks a lot. Mushu: And your point is? First Ancestor: The point is we will be sending a real dragon to retrieve Mulan. Mushu: What? But I'm a real dragon. First Ancestor [grabbing Mushu and pulling him away from the guardian post as Mushu fights to hold on]: You are not worthy of this spot. Now, awaken the Great Stone Dragon. [First Ancestor throws Mushu out of the temple] Mushu [looking back into the temple]: So you'll get back to me on the job thing. Mushu [walking with a slouch and banging the gong on the ground]: Just one chance is that soldiers. He lifts them all up and pulls backward hauling Mulan, Shang, Khan, Mushu and Cri-Kee to safety] Mushu: I knew we could to it. You da man. [Mulan looks pleased] Well sorta. [Mulan grimaces] Ling: Step back guys, give 'em some air. Shang [catching his breath]: Ping, you are the craziest man I've ever met. And for that I owe you my life. From now on, you have my trust. [Mulan smiles big] Ling: Let's hear it for Ping! The bravest of us all. Yao [lifting his arm high]: You're king of the mountain! Chien-Po [jumping up and down]: Yes, yes, yes! Mulan [beginning to stand up]: Ahhh, [she clutches her right side] Shang: Ping, what's wrong? [Mulan removes her hand slightly to show the blood on her hand and seeping through the armour] [loudly] He's wounded, get help! [Ping starts to pass out. The images of Shang, Yao, Ling, and Chien-Po begin to fade as she loses consciousness] Ping, hold on. Hold on. [Cut to outside of the medic tent. Mulan and Medic are inside. Shang stands by the entrance. Yao, Ling and Chien-Po look quite concerned. Ling drums his fingers on his knees. The medic comes out from the tent and whispers to Shang. Shang looks astonished and goes into the tent. Mulan is lying down. She opens her eyes, sees Shang and smiles at the sight of him. She sits up allowing the blanket to fall to her waist revealing her form fitting bandages on her chest. She sees Shang's surprised look and realizes her feminine form is noticeable] Mulan [gasping as she covers up]: Huh, I can ground. Shang lies limp. Mulan watches Shang fall then she looks over the edge at Ling and Yao now on the ground. Chien-Po runs off the screen out of sight] Yao [motioning her to follow]: Come on! [Mulan looks down at Shang with a worried look. Shan-Yu begins to approach Mulan and the rope. Mulan looks at the approaching Shan-Yu and then down to spy his sword. Thinking quickly, Mulan grabs Shan-Yu's sword and cuts the taught rope. Shan-Yu reaches the edge and grabs for the falling rope unsuccessfully as Mulan leaves the sword embedded in the column and runs to Shang's position. The crowd cheers] Shan-Yu: No! [He looks down at the crowd and realizes he cannot find the Emperor among the throng of people] Yrraaaaahhhh! [Shan-Yu turns and looks back and sees Mulan looking concerned, holding up Shang. Shan-Yu pulls out his sword lodged in the column and heads toward them. As Shang sees Shan-Yu approaching, he puts his arm in front of Mulan to ask her to leave and takes out his knife. Mulan slides away. Shan-Yu comes up to Shang, knocks away his knife, slaps him in the face, and grabs Shang by the shirt collar] Shan-Yu [in Shang's face]: You, you took away my victory. Mulan: No! I did! [Mulan pulls her hair back to look like she did when she was a soldier] Shan-Yu [looking at Mulan]: The soldier from the mountains. [Shan-Yu drops Shang and starts after Mulan as she puts on her shoe and runs down the stairs and through the doors to the balcony. She closes the door with the latch falling in place right behind her. She leans against the

What kills Shan Yu?

Fireworks

heard a great deal about you, Fa Mulan. You stole your father's armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army, destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan] [Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believing what she sees as the entire Chinese population within the palace grounds fall prostrate on the ground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back] Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue? Emperor: Chi Fu, Chi Fu: Your Excellency? Emperor: See to it that this woman is made a member of my council. Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said] what? [stutters] But there are no council positions open, your Majesty. Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu]. Chi Fu [wobbling to and fro]: What?...My...[faints] Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. I have been away from home long enough. Emperor [taking off his pendant]: Then take this, so your family will know what you have done for me. And this [handing her the sword of Shan-Yu] so the world will know what you have done for China. Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug] [Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the Yao [calling]: Hey, Ping. Mulan [speaking nervously and unnaturally in a manly voice]: Oh hi guys, I didn't know you were *here*. [Yao, Ling and Chien-Po share "this boy is strange" looks] I was just washing, so now I'm clean and I'm gonna go. Bye, bye. [Mulan hides behind a rock keeping her front facing the rock] Ling [from behind Mulan]: Come back here. I know we were jerks to you before so lets start over. [extending his hand to shake hands with Mulan] Hi, I'm Ling! Mulan [covering her chest with her left arm, she turns and shakes his hand with an outstretched right arm, smiling]: Heh, heh. [Mulan turns and wades away from Ling and runs into Chien-Po] Chien-Po [taking a lily pad off his head]: And I'm Chien-Po. Mulan [waving slightly and smiling]: Hello Chien-Po. Yao: And I am Yao, king of the rock. And there's nothin' you girls can do about it. Ling [taking a fighting stance]: Oh, yeah? Well, I think Ping [elbowing Mulan] and I could take you. Mulan [wading away]: I really don't want to take him anywhere. Ling [following Mulan]: Ping, we have to fight! Mulan: No we don't. [unnaturally] We could just close our eyes and swim around. Ling: C'mon don't be such a g--Ouch! Something bit me. Mushu [popping out of the water between Mulan and Ling]: What a nasty flavor. Ling [with fear and gusto]: Snake! Chien-Po [while all three of them climb up the rock and on each other]: Snake, snake. [Mulan whistles for Khan and wades back to shore. Khan comes close enough to shore and Mulan hides behind Khan as she wraps explain. Chi Fu [stepping into the tent]: Huh? So it's true. Mulan [calling after Shang as he steps out of the tent]: Shang! Chi Fu: I knew there was something wrong with you. [Chi Fu takes off Mulan's hair tie and throws her to the ground] A woman. Chi Fu [to the troops]: Trecherous snake. Mulan [on the ground kneeling and hunched over, speaking to Shang]: My name is Mulan. I did it to save my father. Chi Fu [to the troops]: High treason! Mulan: I didn't mean for it to go this far. Chi Fu [getting in Mulan's face and speaking to her while she whinces]: Ultimate dishonor. Mulan: It was the only way. Please believe me. Chi Fu [to Shang]: Hmph, Captain? Chi Fu [to the soldier by Khan]: Restrain him. Yao, Ling and Chien-Po [rushing toward Mulan]: Noooooo! Chi Fu [putting his hand to stop Ling, Yao, and Chien-Po from proceeding further]: You know the law. [Shang stands over Mulan. Mulan looks at Shang then bows her head in anticipation. Shang lifts the sword high above his head and throws it down in front of Mulan] Shang: A life for a life. My debt is repaid. [turns and walks towards the Imperial City] Move out! Chi Fu [coming up to Shang's face]: But you can't just... Shang [getting in Chi Fu's face]: I said, "Move out!" [The troops walk off toward the Imperial City leaving Mulan behind with Khan, Cri-Kee, and Mushu. Mulan is sitting, shivering. Khan takes his blanket and wraps it around Mulan with his mouth and sits behind her. Cri-Kee lights a fire with twigs. get off the roof, get off the roof. [The rocket rides Shan-Yu into the fireworks tower causing masses of explosions and fireworks to fly everywhere. Mulan jumps near the edge of the roof. Propelled by the explosion, she grabs onto a lantern that is hanging on a taught rope and starts to slide down. She looks down and releases her grip so that she lands on the back of Shang causing the two of them to fall to the ground. Shan-Yu's sword follows and lands on the ground near by] Mushu [landing and flying backwards on his butt a couple of times pointing at the fireworks]: Ah ha ha ha ha. [Mushu's catches Cri-Kee with antenna on fire as Cri-Kee falls toward him] [to Cri-Kee] You are a lucky bug. [Mushu pinches out the fire on Cri-Kee's antenna] Chi Fu [walking down the stairs in a tattered outfit and slightly burned]: That was a deliberate attempt on my life. Where is she? Now she's done it. What a mess. [Shang and troops push Mulan behind them to protect her] [to Shang] Stand aside, that creature's not worth protecting. Shang [in Chi Fu's face]: She's a hero. Chi Fu: 'Tis a woman. She will never be worth anything. Shang [grabbing Chi Fu by the shirt collar]: Listen, you pompous-- Emperor [walking down the steps]: That is enough! Shang: Your Majesty, I can explain. [The Emperor motions for Shang to stand aside. Shang and his men part giving the Emperor a clear path to Mulan. Mulan steps forward and bows before the Emperor. Chi Fu with a sinister look waits to write down the words of the Emperor] Emperor: I've

Who does mulan give the sword and crest to?

Fa Zhou

to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the many of his troops begin to be swallowed up by the snow] Shan-Yu [recollecting himself and focusing in on Mulan]: Yrrrrrrraah. [Shan-Yu swipes at Mulan with his sword hitting her in the right side. Mulan falls back grabbing her right side. Shan-Yu's horse stumbles. Mulan uses this break to bolt away from the avalanche. Shan-Yu gains his composure and starts to gallop away from the avalanche on his horse. Shang looks with shock as hee sees the avalanche coming toward him. Mulan grabs Shang as she passes by him, turning him around and helping him run away from the avalanche] Yao, Chien-Po and Ling [running towards the oncoming avalanche]: Yeeahhhhhh! [they stop. noticing the oncoming avalanche they turn around and run back to where they came from] Waaaaaaaaaa! [Khan jumps away from the troops position and starts to run towards Mulan passing Ling, Yao and Chien-Po. The avalanche swallows up Shan-Yu and his horse. Khan arrives at Mulan's position just ahead of the avalanche. Mulan jumps onto Khan and reaches for Shang. She grabs his hand, then the avalanche rushes forth breaking their grip, turning Khan around facing the oncoming avalanche of snow] [Cut to Ling, Yao and Chien-Po standing behind a rock. They see the snow approaching close and run to larger shelter where the rest of Shang's army is positioned just as the avalance reaches their posision] Mushu [calling out]: Mulan! Mulan! [seeing hair sticking up from the snow] Mulan? [Mushu picks up the Hun by the hair] Hun Soldier: Arrrrr. Mushu [pushing the hun soldier back under the snow]: Nope. Mulan! [Mushu picks up Cri-Kee out of the snow] Man, you are for us. Hun Archer: We can avoid them easily. Shan-Yu [shaking his head]: No, the quickest way to the Emperor is through that pass. Besides, the little girl will be missing her doll. We should return it to her. Mushu: Hey, oh, ah, no, this is not a good idea. What if somebody sees you? Mulan [from behind the reeds]: Just because I look like a man doesn't mean I have to smell like one. Mushu [holding a towel covering his eyes with his ears]: So a couple of guys don't rinse out their socks, picky, picky, picky. Well myself I kinda like that corn chip's smell. Mulan [running by Mushu and jumps into the lake splashing water on Mushu]: Ahhhhhhh. Mushu: Okay, all right, all right, that's enough. Now, c'mon, get out before you get all pruny and stuff [holding out a towel towards Mulan keeping his eyes covered]. Mulan: Mushu, if you're so worried, go stand watch. Mushu: Yeah, yeah, [walking in a womanly fashion speaking in woman's voice] stand watch Mushu while I blow our secret with my stupid girly habits. [back to normal] Humph, hygiene. Cri-Kee [alarmed, tugging on Mushu's whiskers]: Chirp, Chirp. Yao: Me first! Me first! Me First! [Yao, Ling and Chien-Po run by Mushu smacking him in the face with colored boxers] Mushu [gasps]: Ah. We're doomed! There a couple of things I know they're bound to notice! [Yao and Ling jump into the water. Chien-Po dips in his toe to check temperature then jumps in causing a large wave. Yao and Ling ride the wave towards Mulan. Mulan sees them and hides her face behind a lily pad] explain. Chi Fu [stepping into the tent]: Huh? So it's true. Mulan [calling after Shang as he steps out of the tent]: Shang! Chi Fu: I knew there was something wrong with you. [Chi Fu takes off Mulan's hair tie and throws her to the ground] A woman. Chi Fu [to the troops]: Trecherous snake. Mulan [on the ground kneeling and hunched over, speaking to Shang]: My name is Mulan. I did it to save my father. Chi Fu [to the troops]: High treason! Mulan: I didn't mean for it to go this far. Chi Fu [getting in Mulan's face and speaking to her while she whinces]: Ultimate dishonor. Mulan: It was the only way. Please believe me. Chi Fu [to Shang]: Hmph, Captain? Chi Fu [to the soldier by Khan]: Restrain him. Yao, Ling and Chien-Po [rushing toward Mulan]: Noooooo! Chi Fu [putting his hand to stop Ling, Yao, and Chien-Po from proceeding further]: You know the law. [Shang stands over Mulan. Mulan looks at Shang then bows her head in anticipation. Shang lifts the sword high above his head and throws it down in front of Mulan] Shang: A life for a life. My debt is repaid. [turns and walks towards the Imperial City] Move out! Chi Fu [coming up to Shang's face]: But you can't just... Shang [getting in Chi Fu's face]: I said, "Move out!" [The troops walk off toward the Imperial City leaving Mulan behind with Khan, Cri-Kee, and Mushu. Mulan is sitting, shivering. Khan takes his blanket and wraps it around Mulan with his mouth and sits behind her. Cri-Kee lights a fire with twigs. 8 [grabbing Mushu and bringing him next to a guardian]: Yeah, awaken the most cunning. Ancestor 4 [taking Mushu and holding him next to the stone rabbit guardian]: No, the swiftest. Ancestor 9 [grabbing Mushu and holding him next to the stone monkey guardian]: No, send the wisest. First Ancestor: Silence! We must send the most powerful of all [Motioning to the Great Stone Dragon as it is seen through the window] Mushu [climbs up the empty guardian post laughing]: Ho, ho, heh, heh. Okay, okay, I get the drift, I'll go. [All Ancestors give a quick look of surprise and laugh uncontrollably] You all don't think I can do it. Watch this here. [Mushu produces a small flame from his mouth] Ah, ha, Jump back, I'm pretty hot huh. Don't make me have to singe nobody to prove no point. First Ancestor [grabbing Mushu and pulling away from the post]: You had your chance to protect the Fa family. Ancestor 6: Your mis-guidance led Fa Deng to disaster. Fa Deng [with his decapitated head on his lap]: Yeah, thanks a lot. Mushu: And your point is? First Ancestor: The point is we will be sending a real dragon to retrieve Mulan. Mushu: What? But I'm a real dragon. First Ancestor [grabbing Mushu and pulling him away from the guardian post as Mushu fights to hold on]: You are not worthy of this spot. Now, awaken the Great Stone Dragon. [First Ancestor throws Mushu out of the temple] Mushu [looking back into the temple]: So you'll get back to me on the job thing. Mushu [walking with a slouch and banging the gong on the ground]: Just one chance is that

What position does Mushu gain?

Fa family guardian

explain. Chi Fu [stepping into the tent]: Huh? So it's true. Mulan [calling after Shang as he steps out of the tent]: Shang! Chi Fu: I knew there was something wrong with you. [Chi Fu takes off Mulan's hair tie and throws her to the ground] A woman. Chi Fu [to the troops]: Trecherous snake. Mulan [on the ground kneeling and hunched over, speaking to Shang]: My name is Mulan. I did it to save my father. Chi Fu [to the troops]: High treason! Mulan: I didn't mean for it to go this far. Chi Fu [getting in Mulan's face and speaking to her while she whinces]: Ultimate dishonor. Mulan: It was the only way. Please believe me. Chi Fu [to Shang]: Hmph, Captain? Chi Fu [to the soldier by Khan]: Restrain him. Yao, Ling and Chien-Po [rushing toward Mulan]: Noooooo! Chi Fu [putting his hand to stop Ling, Yao, and Chien-Po from proceeding further]: You know the law. [Shang stands over Mulan. Mulan looks at Shang then bows her head in anticipation. Shang lifts the sword high above his head and throws it down in front of Mulan] Shang: A life for a life. My debt is repaid. [turns and walks towards the Imperial City] Move out! Chi Fu [coming up to Shang's face]: But you can't just... Shang [getting in Chi Fu's face]: I said, "Move out!" [The troops walk off toward the Imperial City leaving Mulan behind with Khan, Cri-Kee, and Mushu. Mulan is sitting, shivering. Khan takes his blanket and wraps it around Mulan with his mouth and sits behind her. Cri-Kee lights a fire with twigs. forward and knock over the pot of congee and the cook behind it. The men look to the back of the line and spy Mulan who has emerged from the tent. They angrily start walking towards her. Mulan has a look of horror on her face as if trouble is about to brew] Mulan: Hey guys. General Li [motioning with his pointer to a map of the region]: The Huns have struck here, here and here. I will take the main troops up to the Tung Shao Pass and stop Shan-Yu before he destroys this village. Chi Fu: Excellent strategy, Sir. I do love surprises, Ha ha, ha, ha. General Li: You will stay here and train the new recruits. When Chi Fu believes you're ready, you will join us...Captain. [General Li hands a sword to Shang] Shang: Captain? Chi Fu: Oh, this is an enormous responsibility, General. Uh, perhaps a soldier with more experience-- General Li: Number one in his class, extensive knowledge of training techniques, [leaning back smugly stroking his chin] an impressive military lineage. I believe Li Shang will do an excellent job. Shang [excitedly]: Oh, I will. I wont let you down. This is, I mean, I...[somberly] yes sir. General Li [gets up and starts walking out of the tent]: Very good then. We'll toast China's victory at the Imperial City. [to Chi Fu] I'll expect a full report in three weeks. Chi Fu [to Shang]: And I wont leave anything out. [exits through the tent] Shang [while tying his sword to his uniform]: Captain Li Shang, Hmmm, leader of China's finest troops. No, the greatest troops of all time. Heh, doomed! And all 'cause miss man decides to take her little drag show on the road. Cri-Kee: Chirp, Chirp. Mushu: Go get her? What's the matter with you? After this great stone Humpty Dumpty mess, I'd have to bring her home with a medal to get back in the temple. Wait a minute, that's it! I make Mulan a war hero, then they'll be begging me to come back to work. That's the master plan. Oh, you've gone and done it now. [Mushu runs off stage right] Cri-Kee [hopping along side of Mushu]: Chirp. Chirp Chirp Chirp. Mushu [pushing Cri-Kee away]: Hey, what makes you think you're coming? Cri-Kee: Chirp, Chirp. Mushu: You're lucky? Ho, ho, heh. Do I look like a sucker to you? Cri-Kee: Chirp. Chirp. Mushu: Whach' you mean loser? How 'bout I pop one of your antenna's off and throw it across the yard. Then who's a loser, me or you? [Cut to Shan-Yu leading his army at a charge on horseback through a forest. He stops and motions stage right. Hun Archer, Hun Strong Guy, Hun Long-Hair Guy dismount and walk into the forest. They throw down two Imperial scouts before the rest of the army] Hun Long-Hair Guy: Imperial scouts. Scout #1: Shan-Yu. Shan-Yu [adjusting Scout #1's collar]: Nice work, gentlemen. You found the Hun army. [motioning to the soldiers on horseback. The Hun army laughs] Scout #2: The Emperor will stop you. Shan-Yu [grabs Scout #2 by the shirt collar and lifts him up to his face]: Stop me? He invited me. By building his wall, he challenged my strength. Well uses chopsticks to push Cri-Kee out of the porridge] Mulan: Am I late? Mushu [while feeding Mulan]: No time to talk. Now remember, it's your first day of training so listen to your teacher and no fighting. Play nice with the other kids, unless of course one of the other kids wanna fight, then you have to kick the other kid's butt. Mulan [with her mouth full of food]: But I don't wanna kick the other kid's butt. Mushu: Don't talk with your mouth full. Now let's see your war face [Mulan looks at him with wide eyes and chipmunk cheeks full of food]. I think my bunny slippers just ran for cover. C'mon scare me, girl! Mulan [swallows the food]: Rrrrrrr! Mushu [rolling back into the half eaten bowl of porridge]: Oh, that's my tough looking warrior. That's what I'm talking about. Now get out there and make me proud. [Mushu ties up Mulan's hair] Mushu: What do you mean the troops just left? Mulan [acting surprised]: They what!? [Mulan hurriedly puts on her clothes and jumps out of the tent going off to join the other recruits] Mushu [running out from the tent calling after Mulan]: Wait, you forgot your sword. My little baby off to destroy people [sniffle]. Chi Fu [enters stage left]: Order people, order! Recruit #2: I'd like a pan fried noodle. Chien-Po: Oh, oh, sweet and pungent shrimp [Ling and others begin to laugh] Recruit #3: Moo goo gai pan Chi Fu: That's not funny. Ling [noticing Mulan's arrival]: Looks like our new friend slept in this morning. [Mulan stops between Ling and Yao] [to Ping] Hellooo Ping, Are you hungry? don't you? Mulan: No, I-- Mushu: Yeah right, Yeah sure. Look, [pointing to Mulan's tent] go to your tent. [Mulan walks away with a look of delight. Mushu talks to Cri-Kee] I think it's time we took this war into our own hands [rubbing hands together]. [Mushu and Cri-Kee wait outside Chi Fu's Tent. Chi Fu emerges with carrying a scrub brush and wrapped in a towel and with big showering slippers on his feet. He whistles as he walks off. Mushu and Cri-Kee enter his tent. Cri-Kee uses his legs to write up a letter. He finishes and Mushu takes the paper] Mushu: Okay, okay, let me see what you've got. From General Li, dear son, we're waiting for the huns at the pass and it would mean a lot if you'd come and back us up. [sarcastically] That's great except you forgot, "and since we're all out of potpourri, maybe you wouldn't mind bringing up some." Hellooooo, this is the army! Make it sound more urgent, please! You know what I'm talkin' about? [Cri-Kee starts writing the note again] That's better, much better. [taking the note] Okay, Let's go. Mushu: Khan-ie baby, hey, we need a ride. [Khan squirts Mushu off his back with water from his mouth] Chi Fu [muttering]: Insubordinate ruffians. [then calling to the troops] You men owe me a new pair of slippers. And I do not squeal like a girl. [a panda bear chomps down on the slipper Chi Fu is holding] Aaaaaahhhhhh! Mushu [sitting on top of the panda bear behind a dummy of a soldier using sticks to gesticulate with the dummy's arms

What is a conscription notice?

It requires one man from every family to join the Chinese Army.

heard a great deal about you, Fa Mulan. You stole your father's armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army, destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan] [Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believing what she sees as the entire Chinese population within the palace grounds fall prostrate on the ground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back] Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue? Emperor: Chi Fu, Chi Fu: Your Excellency? Emperor: See to it that this woman is made a member of my council. Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said] what? [stutters] But there are no council positions open, your Majesty. Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu]. Chi Fu [wobbling to and fro]: What?...My...[faints] Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. I have been away from home long enough. Emperor [taking off his pendant]: Then take this, so your family will know what you have done for me. And this [handing her the sword of Shan-Yu] so the world will know what you have done for China. Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug] [Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and soldiers. He lifts them all up and pulls backward hauling Mulan, Shang, Khan, Mushu and Cri-Kee to safety] Mushu: I knew we could to it. You da man. [Mulan looks pleased] Well sorta. [Mulan grimaces] Ling: Step back guys, give 'em some air. Shang [catching his breath]: Ping, you are the craziest man I've ever met. And for that I owe you my life. From now on, you have my trust. [Mulan smiles big] Ling: Let's hear it for Ping! The bravest of us all. Yao [lifting his arm high]: You're king of the mountain! Chien-Po [jumping up and down]: Yes, yes, yes! Mulan [beginning to stand up]: Ahhh, [she clutches her right side] Shang: Ping, what's wrong? [Mulan removes her hand slightly to show the blood on her hand and seeping through the armour] [loudly] He's wounded, get help! [Ping starts to pass out. The images of Shang, Yao, Ling, and Chien-Po begin to fade as she loses consciousness] Ping, hold on. Hold on. [Cut to outside of the medic tent. Mulan and Medic are inside. Shang stands by the entrance. Yao, Ling and Chien-Po look quite concerned. Ling drums his fingers on his knees. The medic comes out from the tent and whispers to Shang. Shang looks astonished and goes into the tent. Mulan is lying down. She opens her eyes, sees Shang and smiles at the sight of him. She sits up allowing the blanket to fall to her waist revealing her form fitting bandages on her chest. She sees Shang's surprised look and realizes her feminine form is noticeable] Mulan [gasping as she covers up]: Huh, I can He, I kill myself. Mulan [whispering over her shoulder]: Mushu. Shang: Mushu? Mulan: No. Shang: Then what is it! Mushu: Ping! Ping was my best friend growing up! Mulan: It's Ping. Shang: Ping. Mushu: Of course Ping DID steal my gir-[Mulan reaches back and grabs holds Mushu's mouth together] Mulan: Yes, my name is Ping. Shang: Let me see your conscription notice. [Takes the notice from Mulan] Fa Zhou, *the* Fa Zhou? Chi Fu: I didn't know Fa Zhou had a son. Mulan: Um, he...doesn't talk about me much. [Mulan tries to hawk up a loogie and spit but the saliva just runs from her mouth. The recruits laugh] Chi Fu: I can see why, the boy's an absolute lunatic. Shang [to the recruits]: Okay gentlemen, thanks to your new friend Ping, you'll spend tonight picking up every single grain of rice. And tomorrow, the real work begins. Mushu [Popping out the front of Mulan's armor]: You know, we have to work on your people skills. Mushu: All right, rise and shine sleeping beauty. [Mulan rises and blinks] C'mon [rapping on Mulan's head with each syllable] hup, hup, hup. [Mulan groans, lies back down and pulls the covers over her head. Mushu pulls the covers off Mulan entirely] Get your clothes on. Get ready. Got breakfast for ya. [Mushu jumps onto Mulan's knee with a bowl of porridge] Look, you get porridge, and it's happy to see you. [Mushu shows her the bowl with two eggs and bacon looking like a smiley face. Cri-Kee pops up out from the bowl of porridge] Hey, get outta there, you gonna make people sick! [Mushu to Man #2] Please, you have to help me. [Man #2 walks away from Mulan] [turning to Mushu who is standing near her in the yard] No one will listen! Mushu: Huh? Oh, I'm sorry, did you say something? Mulan [irritatedly]: Mushu! Mushu: Hey, you're a girl again, remember? Shang [kneeling down giving the sword to the Emperor]: Your Majesty, I present to you the sword of Shan-Yu. Emperor: I know what this means to you, Captain Li. Your father would have been very proud. [Shan-Yu's falcon swoops down and takes the sword as Shang is giving it to the Emperor. The falcon rises above the roof and drops the sword to Shan-Yu who was sitting next to the gargoyles in the shadows blending in. He rises out of the shadows to catch the sword so that all the people can see his face. The masses of people gasp at the sight of Shan-Yu. Shang begins to draw his sword. All 5 of Shan-Yu's men jump out from behind the dragon knocking down Shang and grab the Emperor knocking off his hat. Hun Bald Man #1 and #2 carry the Emperor into the Palace. Long-Haired Hun Man and Hun Strong Guy close the palace doors as Hun archer knocks his arrow retreating into the Palace to threaten would be rescue attempts] Shang [getting up and running toward the closing doors]: No. Yao [beckoning to the other soldiers]: C'mon. Shan-Yu [laughs evily]: Ha, Ha, Ha, Ha, Ha, Ha. [Shang and his soldiers pick up a big stone statue and use it as a battering ram. They are unsuccessful at opening the door. Mulan sees what's going on and arrives She finishes putting on the armor and ties it in the front. She takes the sword and places it in the scabbard to her left. Cut to Mulan in the stable doorway. Khan rears back in fright at the sight of Mulan. Mulan goes forward and comforts Khan letting him know her identity. Mulan walks Khan out of the stable, Cri-Kee watches from the ground as she passes by. Mulan takes one sorrowful glance back at her parents bedroom and rides Khan through the gate and off to camp.] [Cut to the face of a statue in the Fa Family Temple. The eyes glow. Cut to Grandma Fa. She wakes up with a start rising in bed. Cut to Grandma Fa walking into Fa Li and Fa Zhou's bedroom, both are in bed] Grandma Fa: Mulan is gone. Fa Zhou [waking up]: What? It can't be. [Fa Zhou looks at his night stand and notices the hair comb in place of his conscription notice. He checks the cabinet and sees his armor is gone. He hurries outside] [calling out] Mulan! [He stumbles while walking because of his leg injury] No. Fa Li [kneeling down beside the fallen Fa Zhou]: You must go after her. She could be killed! Fa Zhou [sadly]: If I reveal her, she will be. [Fa Zhou embraces Fa Li] Grandma Fa: Ancestors, hear our prayer: Watch over Mulan. [Cut to the Fa Family Temple. A wind blows out the incense at the base of the center stone. The center stone begins to glow as First Ancestor comes to life] First Ancestor [motioning to a bronze dragon]: Mushu, awaken! [Mushu comes to

In Mulan's family, who would fulfill the conscription notice?

Her grandfather (Fa Zhou)

heard a great deal about you, Fa Mulan. You stole your father's armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army, destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan] [Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believing what she sees as the entire Chinese population within the palace grounds fall prostrate on the ground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back] Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue? Emperor: Chi Fu, Chi Fu: Your Excellency? Emperor: See to it that this woman is made a member of my council. Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said] what? [stutters] But there are no council positions open, your Majesty. Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu]. Chi Fu [wobbling to and fro]: What?...My...[faints] Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. I have been away from home long enough. Emperor [taking off his pendant]: Then take this, so your family will know what you have done for me. And this [handing her the sword of Shan-Yu] so the world will know what you have done for China. Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug] [Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and soldiers. He lifts them all up and pulls backward hauling Mulan, Shang, Khan, Mushu and Cri-Kee to safety] Mushu: I knew we could to it. You da man. [Mulan looks pleased] Well sorta. [Mulan grimaces] Ling: Step back guys, give 'em some air. Shang [catching his breath]: Ping, you are the craziest man I've ever met. And for that I owe you my life. From now on, you have my trust. [Mulan smiles big] Ling: Let's hear it for Ping! The bravest of us all. Yao [lifting his arm high]: You're king of the mountain! Chien-Po [jumping up and down]: Yes, yes, yes! Mulan [beginning to stand up]: Ahhh, [she clutches her right side] Shang: Ping, what's wrong? [Mulan removes her hand slightly to show the blood on her hand and seeping through the armour] [loudly] He's wounded, get help! [Ping starts to pass out. The images of Shang, Yao, Ling, and Chien-Po begin to fade as she loses consciousness] Ping, hold on. Hold on. [Cut to outside of the medic tent. Mulan and Medic are inside. Shang stands by the entrance. Yao, Ling and Chien-Po look quite concerned. Ling drums his fingers on his knees. The medic comes out from the tent and whispers to Shang. Shang looks astonished and goes into the tent. Mulan is lying down. She opens her eyes, sees Shang and smiles at the sight of him. She sits up allowing the blanket to fall to her waist revealing her form fitting bandages on her chest. She sees Shang's surprised look and realizes her feminine form is noticeable] Mulan [gasping as she covers up]: Huh, I can She finishes putting on the armor and ties it in the front. She takes the sword and places it in the scabbard to her left. Cut to Mulan in the stable doorway. Khan rears back in fright at the sight of Mulan. Mulan goes forward and comforts Khan letting him know her identity. Mulan walks Khan out of the stable, Cri-Kee watches from the ground as she passes by. Mulan takes one sorrowful glance back at her parents bedroom and rides Khan through the gate and off to camp.] [Cut to the face of a statue in the Fa Family Temple. The eyes glow. Cut to Grandma Fa. She wakes up with a start rising in bed. Cut to Grandma Fa walking into Fa Li and Fa Zhou's bedroom, both are in bed] Grandma Fa: Mulan is gone. Fa Zhou [waking up]: What? It can't be. [Fa Zhou looks at his night stand and notices the hair comb in place of his conscription notice. He checks the cabinet and sees his armor is gone. He hurries outside] [calling out] Mulan! [He stumbles while walking because of his leg injury] No. Fa Li [kneeling down beside the fallen Fa Zhou]: You must go after her. She could be killed! Fa Zhou [sadly]: If I reveal her, she will be. [Fa Zhou embraces Fa Li] Grandma Fa: Ancestors, hear our prayer: Watch over Mulan. [Cut to the Fa Family Temple. A wind blows out the incense at the base of the center stone. The center stone begins to glow as First Ancestor comes to life] First Ancestor [motioning to a bronze dragon]: Mushu, awaken! [Mushu comes to remains of General Li's army can be seen. Flags poking up out of the snow, armor lying face down, broken cannon carts. Ling, Yao, Mulan, and a soldier have the look of horror on their faces as they look into the valley. Chien-Po walks up from the valley carrying a helmet] Chien-po [handing the helmet to Shang]: ...the General. [Shang takes the helmet and walks to the edge of the hill. He draws his sword and stabs it into the snow upright. He kneels down and places the helmet on top of the sword. Mulan approaches him from behind] Mulan [softly]: I'm sorry. [Shang gets up, turns around and puts his hand on Mulan's shoulder and he walks by. Shang walks to the center of the troops. He grabs his horse by the saddle, takes one quick look of grief then mounts his horse] Shang: The Huns are moving quickly. We'll make better time to the Imperial City through the Tung Shao Pass. We're the only hope for the Emperor now. Move out! [Mulan looks at the sword, takes out the doll she found and places the doll at the base of the sword. She turns around and joins the rest of the troops marching on] [Cut to Mulan standing next to Khan saddled to the cart with cannons. A cannon blast shoots out of the cart and explodes in the air. The troops look surprised. Mulan glances back with a scowl into the hole in the canopy of the cart to see Mushu with a sorrowful face. Mushu points at Cri-Kee. Shang charges up to Mulan on his horse, Chi Fu right behind] Shang [angrily]: What happened?! Mulan [stumbling]: explain. Chi Fu [stepping into the tent]: Huh? So it's true. Mulan [calling after Shang as he steps out of the tent]: Shang! Chi Fu: I knew there was something wrong with you. [Chi Fu takes off Mulan's hair tie and throws her to the ground] A woman. Chi Fu [to the troops]: Trecherous snake. Mulan [on the ground kneeling and hunched over, speaking to Shang]: My name is Mulan. I did it to save my father. Chi Fu [to the troops]: High treason! Mulan: I didn't mean for it to go this far. Chi Fu [getting in Mulan's face and speaking to her while she whinces]: Ultimate dishonor. Mulan: It was the only way. Please believe me. Chi Fu [to Shang]: Hmph, Captain? Chi Fu [to the soldier by Khan]: Restrain him. Yao, Ling and Chien-Po [rushing toward Mulan]: Noooooo! Chi Fu [putting his hand to stop Ling, Yao, and Chien-Po from proceeding further]: You know the law. [Shang stands over Mulan. Mulan looks at Shang then bows her head in anticipation. Shang lifts the sword high above his head and throws it down in front of Mulan] Shang: A life for a life. My debt is repaid. [turns and walks towards the Imperial City] Move out! Chi Fu [coming up to Shang's face]: But you can't just... Shang [getting in Chi Fu's face]: I said, "Move out!" [The troops walk off toward the Imperial City leaving Mulan behind with Khan, Cri-Kee, and Mushu. Mulan is sitting, shivering. Khan takes his blanket and wraps it around Mulan with his mouth and sits behind her. Cri-Kee lights a fire with twigs.

How does Mulan deal with the conscription notice?

She disguises herself as a man to join the army.

heard a great deal about you, Fa Mulan. You stole your father's armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army, destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan] [Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believing what she sees as the entire Chinese population within the palace grounds fall prostrate on the ground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back] Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue? Emperor: Chi Fu, Chi Fu: Your Excellency? Emperor: See to it that this woman is made a member of my council. Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said] what? [stutters] But there are no council positions open, your Majesty. Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu]. Chi Fu [wobbling to and fro]: What?...My...[faints] Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. I have been away from home long enough. Emperor [taking off his pendant]: Then take this, so your family will know what you have done for me. And this [handing her the sword of Shan-Yu] so the world will know what you have done for China. Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug] [Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and many of his troops begin to be swallowed up by the snow] Shan-Yu [recollecting himself and focusing in on Mulan]: Yrrrrrrraah. [Shan-Yu swipes at Mulan with his sword hitting her in the right side. Mulan falls back grabbing her right side. Shan-Yu's horse stumbles. Mulan uses this break to bolt away from the avalanche. Shan-Yu gains his composure and starts to gallop away from the avalanche on his horse. Shang looks with shock as hee sees the avalanche coming toward him. Mulan grabs Shang as she passes by him, turning him around and helping him run away from the avalanche] Yao, Chien-Po and Ling [running towards the oncoming avalanche]: Yeeahhhhhh! [they stop. noticing the oncoming avalanche they turn around and run back to where they came from] Waaaaaaaaaa! [Khan jumps away from the troops position and starts to run towards Mulan passing Ling, Yao and Chien-Po. The avalanche swallows up Shan-Yu and his horse. Khan arrives at Mulan's position just ahead of the avalanche. Mulan jumps onto Khan and reaches for Shang. She grabs his hand, then the avalanche rushes forth breaking their grip, turning Khan around facing the oncoming avalanche of snow] [Cut to Ling, Yao and Chien-Po standing behind a rock. They see the snow approaching close and run to larger shelter where the rest of Shang's army is positioned just as the avalance reaches their posision] Mushu [calling out]: Mulan! Mulan! [seeing hair sticking up from the snow] Mulan? [Mushu picks up the Hun by the hair] Hun Soldier: Arrrrr. Mushu [pushing the hun soldier back under the snow]: Nope. Mulan! [Mushu picks up Cri-Kee out of the snow] Man, you are to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the soldiers. He lifts them all up and pulls backward hauling Mulan, Shang, Khan, Mushu and Cri-Kee to safety] Mushu: I knew we could to it. You da man. [Mulan looks pleased] Well sorta. [Mulan grimaces] Ling: Step back guys, give 'em some air. Shang [catching his breath]: Ping, you are the craziest man I've ever met. And for that I owe you my life. From now on, you have my trust. [Mulan smiles big] Ling: Let's hear it for Ping! The bravest of us all. Yao [lifting his arm high]: You're king of the mountain! Chien-Po [jumping up and down]: Yes, yes, yes! Mulan [beginning to stand up]: Ahhh, [she clutches her right side] Shang: Ping, what's wrong? [Mulan removes her hand slightly to show the blood on her hand and seeping through the armour] [loudly] He's wounded, get help! [Ping starts to pass out. The images of Shang, Yao, Ling, and Chien-Po begin to fade as she loses consciousness] Ping, hold on. Hold on. [Cut to outside of the medic tent. Mulan and Medic are inside. Shang stands by the entrance. Yao, Ling and Chien-Po look quite concerned. Ling drums his fingers on his knees. The medic comes out from the tent and whispers to Shang. Shang looks astonished and goes into the tent. Mulan is lying down. She opens her eyes, sees Shang and smiles at the sight of him. She sits up allowing the blanket to fall to her waist revealing her form fitting bandages on her chest. She sees Shang's surprised look and realizes her feminine form is noticeable] Mulan [gasping as she covers up]: Huh, I can Yao [calling]: Hey, Ping. Mulan [speaking nervously and unnaturally in a manly voice]: Oh hi guys, I didn't know you were *here*. [Yao, Ling and Chien-Po share "this boy is strange" looks] I was just washing, so now I'm clean and I'm gonna go. Bye, bye. [Mulan hides behind a rock keeping her front facing the rock] Ling [from behind Mulan]: Come back here. I know we were jerks to you before so lets start over. [extending his hand to shake hands with Mulan] Hi, I'm Ling! Mulan [covering her chest with her left arm, she turns and shakes his hand with an outstretched right arm, smiling]: Heh, heh. [Mulan turns and wades away from Ling and runs into Chien-Po] Chien-Po [taking a lily pad off his head]: And I'm Chien-Po. Mulan [waving slightly and smiling]: Hello Chien-Po. Yao: And I am Yao, king of the rock. And there's nothin' you girls can do about it. Ling [taking a fighting stance]: Oh, yeah? Well, I think Ping [elbowing Mulan] and I could take you. Mulan [wading away]: I really don't want to take him anywhere. Ling [following Mulan]: Ping, we have to fight! Mulan: No we don't. [unnaturally] We could just close our eyes and swim around. Ling: C'mon don't be such a g--Ouch! Something bit me. Mushu [popping out of the water between Mulan and Ling]: What a nasty flavor. Ling [with fear and gusto]: Snake! Chien-Po [while all three of them climb up the rock and on each other]: Snake, snake. [Mulan whistles for Khan and wades back to shore. Khan comes close enough to shore and Mulan hides behind Khan as she wraps

Mulan's family ancestors order what to protect her?

Great Stone Dragon

to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the heard a great deal about you, Fa Mulan. You stole your father's armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army, destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan] [Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believing what she sees as the entire Chinese population within the palace grounds fall prostrate on the ground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back] Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue? Emperor: Chi Fu, Chi Fu: Your Excellency? Emperor: See to it that this woman is made a member of my council. Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said] what? [stutters] But there are no council positions open, your Majesty. Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu]. Chi Fu [wobbling to and fro]: What?...My...[faints] Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. I have been away from home long enough. Emperor [taking off his pendant]: Then take this, so your family will know what you have done for me. And this [handing her the sword of Shan-Yu] so the world will know what you have done for China. Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug] [Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and soldiers. He lifts them all up and pulls backward hauling Mulan, Shang, Khan, Mushu and Cri-Kee to safety] Mushu: I knew we could to it. You da man. [Mulan looks pleased] Well sorta. [Mulan grimaces] Ling: Step back guys, give 'em some air. Shang [catching his breath]: Ping, you are the craziest man I've ever met. And for that I owe you my life. From now on, you have my trust. [Mulan smiles big] Ling: Let's hear it for Ping! The bravest of us all. Yao [lifting his arm high]: You're king of the mountain! Chien-Po [jumping up and down]: Yes, yes, yes! Mulan [beginning to stand up]: Ahhh, [she clutches her right side] Shang: Ping, what's wrong? [Mulan removes her hand slightly to show the blood on her hand and seeping through the armour] [loudly] He's wounded, get help! [Ping starts to pass out. The images of Shang, Yao, Ling, and Chien-Po begin to fade as she loses consciousness] Ping, hold on. Hold on. [Cut to outside of the medic tent. Mulan and Medic are inside. Shang stands by the entrance. Yao, Ling and Chien-Po look quite concerned. Ling drums his fingers on his knees. The medic comes out from the tent and whispers to Shang. Shang looks astonished and goes into the tent. Mulan is lying down. She opens her eyes, sees Shang and smiles at the sight of him. She sits up allowing the blanket to fall to her waist revealing her form fitting bandages on her chest. She sees Shang's surprised look and realizes her feminine form is noticeable] Mulan [gasping as she covers up]: Huh, I can to Man #2] Please, you have to help me. [Man #2 walks away from Mulan] [turning to Mushu who is standing near her in the yard] No one will listen! Mushu: Huh? Oh, I'm sorry, did you say something? Mulan [irritatedly]: Mushu! Mushu: Hey, you're a girl again, remember? Shang [kneeling down giving the sword to the Emperor]: Your Majesty, I present to you the sword of Shan-Yu. Emperor: I know what this means to you, Captain Li. Your father would have been very proud. [Shan-Yu's falcon swoops down and takes the sword as Shang is giving it to the Emperor. The falcon rises above the roof and drops the sword to Shan-Yu who was sitting next to the gargoyles in the shadows blending in. He rises out of the shadows to catch the sword so that all the people can see his face. The masses of people gasp at the sight of Shan-Yu. Shang begins to draw his sword. All 5 of Shan-Yu's men jump out from behind the dragon knocking down Shang and grab the Emperor knocking off his hat. Hun Bald Man #1 and #2 carry the Emperor into the Palace. Long-Haired Hun Man and Hun Strong Guy close the palace doors as Hun archer knocks his arrow retreating into the Palace to threaten would be rescue attempts] Shang [getting up and running toward the closing doors]: No. Yao [beckoning to the other soldiers]: C'mon. Shan-Yu [laughs evily]: Ha, Ha, Ha, Ha, Ha, Ha. [Shang and his soldiers pick up a big stone statue and use it as a battering ram. They are unsuccessful at opening the door. Mulan sees what's going on and arrives too much to ask? I mean, it's not like it'll kill ya. Mushu [rings the gong and looks at the Great Stone Dragon]: Yo rocky, wake up! You gotta go fetch Mulan. [pauses as nothing happens. Mushu walks over to the side of the statue] C'mon boy, go get her, go on, [throws the gong stick off the screen and whistles] Come on. [Angrily while climbing up the Great Stone Dragon] Grrr, Grrrr. [speaking in his ear and banging the ear with the gong] Hello, helloooooo. [curtly] Hello [bangs the gong extra hard against the ear causing it to break off]. Uh oh. [The Great Stone Dragon crumbles to the ground, head intact minus the ear]. [knocks on the dragon's head] Uh, Stoney, Stooooneeey. Oh man, they're gonna kill me! First Ancestor [calling out through the temple window]: Great Stone Dragon, have you awaken? Mushu [holding the head of the Great Stone Dragon up to that First Ancestor can only see it's head and Mushu's body]: Uhhh, Yes, I just woke up. And I am the Great Stone Dragon, good morning [Mushu waves]. I will go forth and fetch Mulan. Did, did I mention that I was the Great Stone Dragon? First Ancestor: Go, The fate of the Fa Family rests in your claws. Mushu: Don't even worry about it, I will not lose face. [Mushu falls down the hill under the weight of the Great Stone Dragon's head and lands on the dragon's pedestal with the head falling on top of him] Mushu [muffled]: Ow, my elbow. Aw, aw, I know I twisted something. [Throwing the head off him] That's just great. Now what? I'm

What ends up protecting Mulan when the Great Stone Dragon does not return?

Mushu, a smaller dragon

get off the roof, get off the roof. [The rocket rides Shan-Yu into the fireworks tower causing masses of explosions and fireworks to fly everywhere. Mulan jumps near the edge of the roof. Propelled by the explosion, she grabs onto a lantern that is hanging on a taught rope and starts to slide down. She looks down and releases her grip so that she lands on the back of Shang causing the two of them to fall to the ground. Shan-Yu's sword follows and lands on the ground near by] Mushu [landing and flying backwards on his butt a couple of times pointing at the fireworks]: Ah ha ha ha ha. [Mushu's catches Cri-Kee with antenna on fire as Cri-Kee falls toward him] [to Cri-Kee] You are a lucky bug. [Mushu pinches out the fire on Cri-Kee's antenna] Chi Fu [walking down the stairs in a tattered outfit and slightly burned]: That was a deliberate attempt on my life. Where is she? Now she's done it. What a mess. [Shang and troops push Mulan behind them to protect her] [to Shang] Stand aside, that creature's not worth protecting. Shang [in Chi Fu's face]: She's a hero. Chi Fu: 'Tis a woman. She will never be worth anything. Shang [grabbing Chi Fu by the shirt collar]: Listen, you pompous-- Emperor [walking down the steps]: That is enough! Shang: Your Majesty, I can explain. [The Emperor motions for Shang to stand aside. Shang and his men part giving the Emperor a clear path to Mulan. Mulan steps forward and bows before the Emperor. Chi Fu with a sinister look waits to write down the words of the Emperor] Emperor: I've She finishes putting on the armor and ties it in the front. She takes the sword and places it in the scabbard to her left. Cut to Mulan in the stable doorway. Khan rears back in fright at the sight of Mulan. Mulan goes forward and comforts Khan letting him know her identity. Mulan walks Khan out of the stable, Cri-Kee watches from the ground as she passes by. Mulan takes one sorrowful glance back at her parents bedroom and rides Khan through the gate and off to camp.] [Cut to the face of a statue in the Fa Family Temple. The eyes glow. Cut to Grandma Fa. She wakes up with a start rising in bed. Cut to Grandma Fa walking into Fa Li and Fa Zhou's bedroom, both are in bed] Grandma Fa: Mulan is gone. Fa Zhou [waking up]: What? It can't be. [Fa Zhou looks at his night stand and notices the hair comb in place of his conscription notice. He checks the cabinet and sees his armor is gone. He hurries outside] [calling out] Mulan! [He stumbles while walking because of his leg injury] No. Fa Li [kneeling down beside the fallen Fa Zhou]: You must go after her. She could be killed! Fa Zhou [sadly]: If I reveal her, she will be. [Fa Zhou embraces Fa Li] Grandma Fa: Ancestors, hear our prayer: Watch over Mulan. [Cut to the Fa Family Temple. A wind blows out the incense at the base of the center stone. The center stone begins to glow as First Ancestor comes to life] First Ancestor [motioning to a bronze dragon]: Mushu, awaken! [Mushu comes to ground. Shang lies limp. Mulan watches Shang fall then she looks over the edge at Ling and Yao now on the ground. Chien-Po runs off the screen out of sight] Yao [motioning her to follow]: Come on! [Mulan looks down at Shang with a worried look. Shan-Yu begins to approach Mulan and the rope. Mulan looks at the approaching Shan-Yu and then down to spy his sword. Thinking quickly, Mulan grabs Shan-Yu's sword and cuts the taught rope. Shan-Yu reaches the edge and grabs for the falling rope unsuccessfully as Mulan leaves the sword embedded in the column and runs to Shang's position. The crowd cheers] Shan-Yu: No! [He looks down at the crowd and realizes he cannot find the Emperor among the throng of people] Yrraaaaahhhh! [Shan-Yu turns and looks back and sees Mulan looking concerned, holding up Shang. Shan-Yu pulls out his sword lodged in the column and heads toward them. As Shang sees Shan-Yu approaching, he puts his arm in front of Mulan to ask her to leave and takes out his knife. Mulan slides away. Shan-Yu comes up to Shang, knocks away his knife, slaps him in the face, and grabs Shang by the shirt collar] Shan-Yu [in Shang's face]: You, you took away my victory. Mulan: No! I did! [Mulan pulls her hair back to look like she did when she was a soldier] Shan-Yu [looking at Mulan]: The soldier from the mountains. [Shan-Yu drops Shang and starts after Mulan as she puts on her shoe and runs down the stairs and through the doors to the balcony. She closes the door with the latch falling in place right behind her. She leans against the Yao [calling]: Hey, Ping. Mulan [speaking nervously and unnaturally in a manly voice]: Oh hi guys, I didn't know you were *here*. [Yao, Ling and Chien-Po share "this boy is strange" looks] I was just washing, so now I'm clean and I'm gonna go. Bye, bye. [Mulan hides behind a rock keeping her front facing the rock] Ling [from behind Mulan]: Come back here. I know we were jerks to you before so lets start over. [extending his hand to shake hands with Mulan] Hi, I'm Ling! Mulan [covering her chest with her left arm, she turns and shakes his hand with an outstretched right arm, smiling]: Heh, heh. [Mulan turns and wades away from Ling and runs into Chien-Po] Chien-Po [taking a lily pad off his head]: And I'm Chien-Po. Mulan [waving slightly and smiling]: Hello Chien-Po. Yao: And I am Yao, king of the rock. And there's nothin' you girls can do about it. Ling [taking a fighting stance]: Oh, yeah? Well, I think Ping [elbowing Mulan] and I could take you. Mulan [wading away]: I really don't want to take him anywhere. Ling [following Mulan]: Ping, we have to fight! Mulan: No we don't. [unnaturally] We could just close our eyes and swim around. Ling: C'mon don't be such a g--Ouch! Something bit me. Mushu [popping out of the water between Mulan and Ling]: What a nasty flavor. Ling [with fear and gusto]: Snake! Chien-Po [while all three of them climb up the rock and on each other]: Snake, snake. [Mulan whistles for Khan and wades back to shore. Khan comes close enough to shore and Mulan hides behind Khan as she wraps soldiers. He lifts them all up and pulls backward hauling Mulan, Shang, Khan, Mushu and Cri-Kee to safety] Mushu: I knew we could to it. You da man. [Mulan looks pleased] Well sorta. [Mulan grimaces] Ling: Step back guys, give 'em some air. Shang [catching his breath]: Ping, you are the craziest man I've ever met. And for that I owe you my life. From now on, you have my trust. [Mulan smiles big] Ling: Let's hear it for Ping! The bravest of us all. Yao [lifting his arm high]: You're king of the mountain! Chien-Po [jumping up and down]: Yes, yes, yes! Mulan [beginning to stand up]: Ahhh, [she clutches her right side] Shang: Ping, what's wrong? [Mulan removes her hand slightly to show the blood on her hand and seeping through the armour] [loudly] He's wounded, get help! [Ping starts to pass out. The images of Shang, Yao, Ling, and Chien-Po begin to fade as she loses consciousness] Ping, hold on. Hold on. [Cut to outside of the medic tent. Mulan and Medic are inside. Shang stands by the entrance. Yao, Ling and Chien-Po look quite concerned. Ling drums his fingers on his knees. The medic comes out from the tent and whispers to Shang. Shang looks astonished and goes into the tent. Mulan is lying down. She opens her eyes, sees Shang and smiles at the sight of him. She sits up allowing the blanket to fall to her waist revealing her form fitting bandages on her chest. She sees Shang's surprised look and realizes her feminine form is noticeable] Mulan [gasping as she covers up]: Huh, I can

Who runs Mulan's training camp?

Lu Shang

for us. Hun Archer: We can avoid them easily. Shan-Yu [shaking his head]: No, the quickest way to the Emperor is through that pass. Besides, the little girl will be missing her doll. We should return it to her. Mushu: Hey, oh, ah, no, this is not a good idea. What if somebody sees you? Mulan [from behind the reeds]: Just because I look like a man doesn't mean I have to smell like one. Mushu [holding a towel covering his eyes with his ears]: So a couple of guys don't rinse out their socks, picky, picky, picky. Well myself I kinda like that corn chip's smell. Mulan [running by Mushu and jumps into the lake splashing water on Mushu]: Ahhhhhhh. Mushu: Okay, all right, all right, that's enough. Now, c'mon, get out before you get all pruny and stuff [holding out a towel towards Mulan keeping his eyes covered]. Mulan: Mushu, if you're so worried, go stand watch. Mushu: Yeah, yeah, [walking in a womanly fashion speaking in woman's voice] stand watch Mushu while I blow our secret with my stupid girly habits. [back to normal] Humph, hygiene. Cri-Kee [alarmed, tugging on Mushu's whiskers]: Chirp, Chirp. Yao: Me first! Me first! Me First! [Yao, Ling and Chien-Po run by Mushu smacking him in the face with colored boxers] Mushu [gasps]: Ah. We're doomed! There a couple of things I know they're bound to notice! [Yao and Ling jump into the water. Chien-Po dips in his toe to check temperature then jumps in causing a large wave. Yao and Ling ride the wave towards Mulan. Mulan sees them and hides her face behind a lily pad] to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the heard a great deal about you, Fa Mulan. You stole your father's armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army, destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan] [Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believing what she sees as the entire Chinese population within the palace grounds fall prostrate on the ground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back] Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue? Emperor: Chi Fu, Chi Fu: Your Excellency? Emperor: See to it that this woman is made a member of my council. Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said] what? [stutters] But there are no council positions open, your Majesty. Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu]. Chi Fu [wobbling to and fro]: What?...My...[faints] Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. I have been away from home long enough. Emperor [taking off his pendant]: Then take this, so your family will know what you have done for me. And this [handing her the sword of Shan-Yu] so the world will know what you have done for China. Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug] [Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and to Man #2] Please, you have to help me. [Man #2 walks away from Mulan] [turning to Mushu who is standing near her in the yard] No one will listen! Mushu: Huh? Oh, I'm sorry, did you say something? Mulan [irritatedly]: Mushu! Mushu: Hey, you're a girl again, remember? Shang [kneeling down giving the sword to the Emperor]: Your Majesty, I present to you the sword of Shan-Yu. Emperor: I know what this means to you, Captain Li. Your father would have been very proud. [Shan-Yu's falcon swoops down and takes the sword as Shang is giving it to the Emperor. The falcon rises above the roof and drops the sword to Shan-Yu who was sitting next to the gargoyles in the shadows blending in. He rises out of the shadows to catch the sword so that all the people can see his face. The masses of people gasp at the sight of Shan-Yu. Shang begins to draw his sword. All 5 of Shan-Yu's men jump out from behind the dragon knocking down Shang and grab the Emperor knocking off his hat. Hun Bald Man #1 and #2 carry the Emperor into the Palace. Long-Haired Hun Man and Hun Strong Guy close the palace doors as Hun archer knocks his arrow retreating into the Palace to threaten would be rescue attempts] Shang [getting up and running toward the closing doors]: No. Yao [beckoning to the other soldiers]: C'mon. Shan-Yu [laughs evily]: Ha, Ha, Ha, Ha, Ha, Ha. [Shang and his soldiers pick up a big stone statue and use it as a battering ram. They are unsuccessful at opening the door. Mulan sees what's going on and arrives lifts all three of them off the ground in a big bear hug. Chien-Po lets them all back to the ground again. Mulan walks toward Shang and stops in front of him. As Shang begins to speak Mulan starts to smile anticipating something good] Shang: Um...[Mulan grins] You... [Mulan smiles] You fight good. Mulan [smile turning into disappointment]: Oh, thank you. [Mulan walks toward Khan] Shang: [turning toward Mulan and grunts with disappointment in himself]: Hmm. Mulan: Khan, let's go home. [Khan jumps down the steps and gallops on the flat parts of the stair case back down to ground level. The crowd cheers al the while. The Emperor approaches Shang and clears his throat] Emperor [to Shang]: The flower that blooms in adversity is the most rare and beautiful of all. Shang [dumbfounded]: Sir? Emperor: You don't meet a girl like that ev'ry dynasty. [The emperor puts on his hat and walks back up the steps to his palace] [Cut to Mulan's home, her father is sitting beneath the blossom tree. A blossom falls and lands on his leg. Mulan appears at the threshold and moves toward her father. Fa Zhou sees her approaching and starts to stand] Fa Zhou: Mulan. Mulan: Father, I brought you the sword of Shan-Yu [hands the sword to Fa Zhou] and the crest of the Emperor [hands the crest to Fa Zhou]. [with head bowed] They're gifts to honor the Fa Family. [Fa Zhou takes the gifts and throws them down to the ground beside him to the surprise of Mulan. He bends down and holds her arms outstretched] Fa Zhou: The greatest gift and honor, is having you for

How is Mulan's ruse discovered?

When a battle wound to the chest is dressed.

many of his troops begin to be swallowed up by the snow] Shan-Yu [recollecting himself and focusing in on Mulan]: Yrrrrrrraah. [Shan-Yu swipes at Mulan with his sword hitting her in the right side. Mulan falls back grabbing her right side. Shan-Yu's horse stumbles. Mulan uses this break to bolt away from the avalanche. Shan-Yu gains his composure and starts to gallop away from the avalanche on his horse. Shang looks with shock as hee sees the avalanche coming toward him. Mulan grabs Shang as she passes by him, turning him around and helping him run away from the avalanche] Yao, Chien-Po and Ling [running towards the oncoming avalanche]: Yeeahhhhhh! [they stop. noticing the oncoming avalanche they turn around and run back to where they came from] Waaaaaaaaaa! [Khan jumps away from the troops position and starts to run towards Mulan passing Ling, Yao and Chien-Po. The avalanche swallows up Shan-Yu and his horse. Khan arrives at Mulan's position just ahead of the avalanche. Mulan jumps onto Khan and reaches for Shang. She grabs his hand, then the avalanche rushes forth breaking their grip, turning Khan around facing the oncoming avalanche of snow] [Cut to Ling, Yao and Chien-Po standing behind a rock. They see the snow approaching close and run to larger shelter where the rest of Shang's army is positioned just as the avalance reaches their posision] Mushu [calling out]: Mulan! Mulan! [seeing hair sticking up from the snow] Mulan? [Mushu picks up the Hun by the hair] Hun Soldier: Arrrrr. Mushu [pushing the hun soldier back under the snow]: Nope. Mulan! [Mushu picks up Cri-Kee out of the snow] Man, you are to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the soldiers. He lifts them all up and pulls backward hauling Mulan, Shang, Khan, Mushu and Cri-Kee to safety] Mushu: I knew we could to it. You da man. [Mulan looks pleased] Well sorta. [Mulan grimaces] Ling: Step back guys, give 'em some air. Shang [catching his breath]: Ping, you are the craziest man I've ever met. And for that I owe you my life. From now on, you have my trust. [Mulan smiles big] Ling: Let's hear it for Ping! The bravest of us all. Yao [lifting his arm high]: You're king of the mountain! Chien-Po [jumping up and down]: Yes, yes, yes! Mulan [beginning to stand up]: Ahhh, [she clutches her right side] Shang: Ping, what's wrong? [Mulan removes her hand slightly to show the blood on her hand and seeping through the armour] [loudly] He's wounded, get help! [Ping starts to pass out. The images of Shang, Yao, Ling, and Chien-Po begin to fade as she loses consciousness] Ping, hold on. Hold on. [Cut to outside of the medic tent. Mulan and Medic are inside. Shang stands by the entrance. Yao, Ling and Chien-Po look quite concerned. Ling drums his fingers on his knees. The medic comes out from the tent and whispers to Shang. Shang looks astonished and goes into the tent. Mulan is lying down. She opens her eyes, sees Shang and smiles at the sight of him. She sits up allowing the blanket to fall to her waist revealing her form fitting bandages on her chest. She sees Shang's surprised look and realizes her feminine form is noticeable] Mulan [gasping as she covers up]: Huh, I can to Man #2] Please, you have to help me. [Man #2 walks away from Mulan] [turning to Mushu who is standing near her in the yard] No one will listen! Mushu: Huh? Oh, I'm sorry, did you say something? Mulan [irritatedly]: Mushu! Mushu: Hey, you're a girl again, remember? Shang [kneeling down giving the sword to the Emperor]: Your Majesty, I present to you the sword of Shan-Yu. Emperor: I know what this means to you, Captain Li. Your father would have been very proud. [Shan-Yu's falcon swoops down and takes the sword as Shang is giving it to the Emperor. The falcon rises above the roof and drops the sword to Shan-Yu who was sitting next to the gargoyles in the shadows blending in. He rises out of the shadows to catch the sword so that all the people can see his face. The masses of people gasp at the sight of Shan-Yu. Shang begins to draw his sword. All 5 of Shan-Yu's men jump out from behind the dragon knocking down Shang and grab the Emperor knocking off his hat. Hun Bald Man #1 and #2 carry the Emperor into the Palace. Long-Haired Hun Man and Hun Strong Guy close the palace doors as Hun archer knocks his arrow retreating into the Palace to threaten would be rescue attempts] Shang [getting up and running toward the closing doors]: No. Yao [beckoning to the other soldiers]: C'mon. Shan-Yu [laughs evily]: Ha, Ha, Ha, Ha, Ha, Ha. [Shang and his soldiers pick up a big stone statue and use it as a battering ram. They are unsuccessful at opening the door. Mulan sees what's going on and arrives get off the roof, get off the roof. [The rocket rides Shan-Yu into the fireworks tower causing masses of explosions and fireworks to fly everywhere. Mulan jumps near the edge of the roof. Propelled by the explosion, she grabs onto a lantern that is hanging on a taught rope and starts to slide down. She looks down and releases her grip so that she lands on the back of Shang causing the two of them to fall to the ground. Shan-Yu's sword follows and lands on the ground near by] Mushu [landing and flying backwards on his butt a couple of times pointing at the fireworks]: Ah ha ha ha ha. [Mushu's catches Cri-Kee with antenna on fire as Cri-Kee falls toward him] [to Cri-Kee] You are a lucky bug. [Mushu pinches out the fire on Cri-Kee's antenna] Chi Fu [walking down the stairs in a tattered outfit and slightly burned]: That was a deliberate attempt on my life. Where is she? Now she's done it. What a mess. [Shang and troops push Mulan behind them to protect her] [to Shang] Stand aside, that creature's not worth protecting. Shang [in Chi Fu's face]: She's a hero. Chi Fu: 'Tis a woman. She will never be worth anything. Shang [grabbing Chi Fu by the shirt collar]: Listen, you pompous-- Emperor [walking down the steps]: That is enough! Shang: Your Majesty, I can explain. [The Emperor motions for Shang to stand aside. Shang and his men part giving the Emperor a clear path to Mulan. Mulan steps forward and bows before the Emperor. Chi Fu with a sinister look waits to write down the words of the Emperor] Emperor: I've

Where does Mulan lure the lead Hun to battle him one-on-one?

The roof of the palace.

heard a great deal about you, Fa Mulan. You stole your father's armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army, destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan] [Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believing what she sees as the entire Chinese population within the palace grounds fall prostrate on the ground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back] Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue? Emperor: Chi Fu, Chi Fu: Your Excellency? Emperor: See to it that this woman is made a member of my council. Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said] what? [stutters] But there are no council positions open, your Majesty. Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu]. Chi Fu [wobbling to and fro]: What?...My...[faints] Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. I have been away from home long enough. Emperor [taking off his pendant]: Then take this, so your family will know what you have done for me. And this [handing her the sword of Shan-Yu] so the world will know what you have done for China. Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug] [Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and explain. Chi Fu [stepping into the tent]: Huh? So it's true. Mulan [calling after Shang as he steps out of the tent]: Shang! Chi Fu: I knew there was something wrong with you. [Chi Fu takes off Mulan's hair tie and throws her to the ground] A woman. Chi Fu [to the troops]: Trecherous snake. Mulan [on the ground kneeling and hunched over, speaking to Shang]: My name is Mulan. I did it to save my father. Chi Fu [to the troops]: High treason! Mulan: I didn't mean for it to go this far. Chi Fu [getting in Mulan's face and speaking to her while she whinces]: Ultimate dishonor. Mulan: It was the only way. Please believe me. Chi Fu [to Shang]: Hmph, Captain? Chi Fu [to the soldier by Khan]: Restrain him. Yao, Ling and Chien-Po [rushing toward Mulan]: Noooooo! Chi Fu [putting his hand to stop Ling, Yao, and Chien-Po from proceeding further]: You know the law. [Shang stands over Mulan. Mulan looks at Shang then bows her head in anticipation. Shang lifts the sword high above his head and throws it down in front of Mulan] Shang: A life for a life. My debt is repaid. [turns and walks towards the Imperial City] Move out! Chi Fu [coming up to Shang's face]: But you can't just... Shang [getting in Chi Fu's face]: I said, "Move out!" [The troops walk off toward the Imperial City leaving Mulan behind with Khan, Cri-Kee, and Mushu. Mulan is sitting, shivering. Khan takes his blanket and wraps it around Mulan with his mouth and sits behind her. Cri-Kee lights a fire with twigs. She finishes putting on the armor and ties it in the front. She takes the sword and places it in the scabbard to her left. Cut to Mulan in the stable doorway. Khan rears back in fright at the sight of Mulan. Mulan goes forward and comforts Khan letting him know her identity. Mulan walks Khan out of the stable, Cri-Kee watches from the ground as she passes by. Mulan takes one sorrowful glance back at her parents bedroom and rides Khan through the gate and off to camp.] [Cut to the face of a statue in the Fa Family Temple. The eyes glow. Cut to Grandma Fa. She wakes up with a start rising in bed. Cut to Grandma Fa walking into Fa Li and Fa Zhou's bedroom, both are in bed] Grandma Fa: Mulan is gone. Fa Zhou [waking up]: What? It can't be. [Fa Zhou looks at his night stand and notices the hair comb in place of his conscription notice. He checks the cabinet and sees his armor is gone. He hurries outside] [calling out] Mulan! [He stumbles while walking because of his leg injury] No. Fa Li [kneeling down beside the fallen Fa Zhou]: You must go after her. She could be killed! Fa Zhou [sadly]: If I reveal her, she will be. [Fa Zhou embraces Fa Li] Grandma Fa: Ancestors, hear our prayer: Watch over Mulan. [Cut to the Fa Family Temple. A wind blows out the incense at the base of the center stone. The center stone begins to glow as First Ancestor comes to life] First Ancestor [motioning to a bronze dragon]: Mushu, awaken! [Mushu comes to to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the to Man #2] Please, you have to help me. [Man #2 walks away from Mulan] [turning to Mushu who is standing near her in the yard] No one will listen! Mushu: Huh? Oh, I'm sorry, did you say something? Mulan [irritatedly]: Mushu! Mushu: Hey, you're a girl again, remember? Shang [kneeling down giving the sword to the Emperor]: Your Majesty, I present to you the sword of Shan-Yu. Emperor: I know what this means to you, Captain Li. Your father would have been very proud. [Shan-Yu's falcon swoops down and takes the sword as Shang is giving it to the Emperor. The falcon rises above the roof and drops the sword to Shan-Yu who was sitting next to the gargoyles in the shadows blending in. He rises out of the shadows to catch the sword so that all the people can see his face. The masses of people gasp at the sight of Shan-Yu. Shang begins to draw his sword. All 5 of Shan-Yu's men jump out from behind the dragon knocking down Shang and grab the Emperor knocking off his hat. Hun Bald Man #1 and #2 carry the Emperor into the Palace. Long-Haired Hun Man and Hun Strong Guy close the palace doors as Hun archer knocks his arrow retreating into the Palace to threaten would be rescue attempts] Shang [getting up and running toward the closing doors]: No. Yao [beckoning to the other soldiers]: C'mon. Shan-Yu [laughs evily]: Ha, Ha, Ha, Ha, Ha, Ha. [Shang and his soldiers pick up a big stone statue and use it as a battering ram. They are unsuccessful at opening the door. Mulan sees what's going on and arrives

What honor, unprecedented for women, do the people of China and the Emporer give to Mulan?

She is given the Emperor's crest and Shan Yu' sword

to help people you love. I risked your life to help myself. At least you had good intentions [Mulan smiles]. Cri-Kee [jumping on top of the helmet beginning to bawl]: Chirp, Chirp, Chirp. Bawl, Bawl. Mushu: What!? What do you mean you're not lucky? You lied to me? [Cri-Kee nods] [to Khan] And what are you? A sheep? Mulan [sadly]: I'll have to face my father sooner or later. Let's go home. Mushu: Yeah, this ain't gonna be pretty. But, don't you worry, 'kay? Things'll work out. We started this thing together and that's how we'll finish. [Mushu hugs Mulan. Mulan smiles] I promise. Shan-Yu [screaming]: Rrrrrrraaaaaaaaahhh! [Hun Archer, Long-Hair Hun Man, Hun Strong Guy, Hun Bald Man #1, and Hun Bald Man #2 each pop out of the snow and join Shan-Yu. They set off towards the Imperial City] Mulan [seeing them from behind, gasps]: Huh. [Mulan runs, grabs her sword, mounts Khan, and heads out following the Huns to the Imperial City] Mushu: Home is that way! [points to the opposite direction Mulan is heading] Mulan: I have to do something. Mushu: Did you see those Huns!? They popped out of the snow, like daisies! Mulan: Are we in this together or not? Cri-Kee [emphatically]: Chirp, Chirp. Mushu: Well, let's go kick some Huny buns! [Jumps onto Khan and utters fighting words as they ride off to the Imperial City] Wu Hu Ha Ga, Wu Hu Ha Ga [Cut to the victory parade in the Imperial City. Fireworks go off, kites are flying. The drummers march by, followed by the flutist, followed by the acrobats. heard a great deal about you, Fa Mulan. You stole your father's armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army, destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan] [Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believing what she sees as the entire Chinese population within the palace grounds fall prostrate on the ground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back] Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue? Emperor: Chi Fu, Chi Fu: Your Excellency? Emperor: See to it that this woman is made a member of my council. Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said] what? [stutters] But there are no council positions open, your Majesty. Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu]. Chi Fu [wobbling to and fro]: What?...My...[faints] Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. I have been away from home long enough. Emperor [taking off his pendant]: Then take this, so your family will know what you have done for me. And this [handing her the sword of Shan-Yu] so the world will know what you have done for China. Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug] [Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and to the ground. She sits on his back and uses the bow to pull his head back] Mulan [calling out]: Shang, GO! Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor's throat] Bow to me! Emperor: No matter how the wind howls, the mountain cannot bow to it. Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor] [Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes with his sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a column and he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu falls to the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls over forcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behind as he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his arm pulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from the stairs] Mulan: Chien-Po, get the Emperor. Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column in the balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yu watches the Emperor leave] Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang and throws him to the She finishes putting on the armor and ties it in the front. She takes the sword and places it in the scabbard to her left. Cut to Mulan in the stable doorway. Khan rears back in fright at the sight of Mulan. Mulan goes forward and comforts Khan letting him know her identity. Mulan walks Khan out of the stable, Cri-Kee watches from the ground as she passes by. Mulan takes one sorrowful glance back at her parents bedroom and rides Khan through the gate and off to camp.] [Cut to the face of a statue in the Fa Family Temple. The eyes glow. Cut to Grandma Fa. She wakes up with a start rising in bed. Cut to Grandma Fa walking into Fa Li and Fa Zhou's bedroom, both are in bed] Grandma Fa: Mulan is gone. Fa Zhou [waking up]: What? It can't be. [Fa Zhou looks at his night stand and notices the hair comb in place of his conscription notice. He checks the cabinet and sees his armor is gone. He hurries outside] [calling out] Mulan! [He stumbles while walking because of his leg injury] No. Fa Li [kneeling down beside the fallen Fa Zhou]: You must go after her. She could be killed! Fa Zhou [sadly]: If I reveal her, she will be. [Fa Zhou embraces Fa Li] Grandma Fa: Ancestors, hear our prayer: Watch over Mulan. [Cut to the Fa Family Temple. A wind blows out the incense at the base of the center stone. The center stone begins to glow as First Ancestor comes to life] First Ancestor [motioning to a bronze dragon]: Mushu, awaken! [Mushu comes to get off the roof, get off the roof. [The rocket rides Shan-Yu into the fireworks tower causing masses of explosions and fireworks to fly everywhere. Mulan jumps near the edge of the roof. Propelled by the explosion, she grabs onto a lantern that is hanging on a taught rope and starts to slide down. She looks down and releases her grip so that she lands on the back of Shang causing the two of them to fall to the ground. Shan-Yu's sword follows and lands on the ground near by] Mushu [landing and flying backwards on his butt a couple of times pointing at the fireworks]: Ah ha ha ha ha. [Mushu's catches Cri-Kee with antenna on fire as Cri-Kee falls toward him] [to Cri-Kee] You are a lucky bug. [Mushu pinches out the fire on Cri-Kee's antenna] Chi Fu [walking down the stairs in a tattered outfit and slightly burned]: That was a deliberate attempt on my life. Where is she? Now she's done it. What a mess. [Shang and troops push Mulan behind them to protect her] [to Shang] Stand aside, that creature's not worth protecting. Shang [in Chi Fu's face]: She's a hero. Chi Fu: 'Tis a woman. She will never be worth anything. Shang [grabbing Chi Fu by the shirt collar]: Listen, you pompous-- Emperor [walking down the steps]: That is enough! Shang: Your Majesty, I can explain. [The Emperor motions for Shang to stand aside. Shang and his men part giving the Emperor a clear path to Mulan. Mulan steps forward and bows before the Emperor. Chi Fu with a sinister look waits to write down the words of the Emperor] Emperor: I've

What gifts does Mulan accept from the Emperor?

Emporer's Crest and Shan Yu's Sword

looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons battle is joined. Claws swipe, tail lashes. Ripley parries with radical swipes of the steel forks. They circle in a whirling blur, demolishing everything in their path. The cavernous chamber echoes with nightmarish sounds...WHINE, CRASH, <b> CLANG, SCREECH. </b> They lock in a death embrace. Ripley closes the forks, crushing two of the creature's limbs. It lashes and writhes with incredible fury, coming within inches of her exposed body. She lifts it off the ground. The hind legs rip at her, slamming against the safety cage, denting it in. The striking teeth extend almost a meter from inside its fanged maw, shooting between the crash-bars. She ducks and the teeth slam into the seat cushion behind her dead in a spray of drool. Yellow acid foams down the hydraulic arms toward her. The creature rips at high-pressure hoses. Purple hydraulic fluid sprays ...machine blood mixing with alien blood. They topple, off balance. The Queen pins her. Ripley hits a switch. The power loader's CUTTING TORCH flares on, directly in the thing's face. They roll together, over the lip of a RECTANGULAR PIT, A VERTICAL LOADING AIRLOCK. Ripley pulls her arm out of the controls of the loader and claws toward a panel of airlock actuating buttons. She slaps the red "INNER DOOR OVERRIDE" and latches the "HOLD" locking-key down. A KLAXON begins to sound. She hits "OUTER DOOR OPEN" and there is a hurricane shriek of air as the doors on which they are lying separate, REVEALING the infinite pit of stars, below. All this time the Alien has been lashing at her in a frenzy and she has been parrying desperately in the confined space. CLOSER SHOT It is the NARCISSUS, lifeboat of the ill-fated star-freighter Nostromo. Without interior or running lights it seems devoid of life. The PING of a RANGING RADAR grows louder, closer. A shadow engulfs the Narcissus. Searchlights flash on, playing over the tiny ship, as a MASSIVE DARK HULL descends toward it. 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 inward REVEALING a bizarre multi-armed figure. A ROBOT WELDER. FIGURES ENTER, backlit and ominous. THREE MEN in bio-isolation suits, carrying lights and equipment. They approach a sarcophaguslike HYPERSLEEP CAPSULE, f.g. His gloved hand wipes at on opaque layer of dust on the canopy. ANGLE INSIDE CAPSULE as light stabs in where the dust is wiped away, illuminating a WOMAN, her face in peaceful repose. WARRANT OFFICER RIPLEY, sole survivor of the Nostromo. Nestled next to her is JONES, the ship's wayward cat. Harsh light floods in as a motorized shield slides into the ceiling, REVEALING a breathtaking vista. Beyond the sprawling complex of modular habitats, collectively called GATEWAY STATION, is the curve of EARTH as seen from high orbit. Blue and serene. Ripley shrugs, not caring. The door opens and a MAN enters, although Ripley sees only what he is carrying. A familiar large, orange TOMCAT. She grabs the cat like a life preserver. Jones patiently endures Ripley's embarrassing display, seeming none the worse for wear. The visitor sits beside the bed and Ripley finally notices him. He is thirtyish and handsome, in a suit In sinks slowly, distorting, vanishing in darkness. Hicks pulls Ripley away from the hole. She struggles furiously, trying to tear out of his grip. He drags her back. It takes all of his strength. He sees something moving toward them through a lattice of pipes. Ripley is irrational. Hysterical. He drags her toward an ELEVATOR not far away at the end of the tunnel. Gets her inside, slamming her against the back wall. Hits the button to go to surface level. An alien warrior leaps into the tunnel, starts toward them. The doors are closing. Not fast enough. The creature gets one arm through, the doors closing on it. THEY OPEN AGAIN, an automatic safety feature. THE WARRIOR HISSES, LUNGING. Hicks FIRES, POINT-BLANK. It spins away, SCREECHING. Acid sluices between the closing doors, across Hicks' armored chest plate, as he shields Ripley with his body. The lift starts upward. Hicks' fingers race with the clasps as the stuff eats its way toward his skin. Galvanized out of her hysteria, Ripley claws at his armor, helping him as much as she can. He screams as the acid contacts his chest and arm. He shucks out of the combat armor like a madman, dropping the smoking pieces to the floor. Acrid fumes fill the air, searing eyes and lungs. The elevator stops. The doors part and they stumble out, Ripley supporting Hicks who is doubled over in agony. We APPROACH, hypnotically. The drop-ship ENTERS FRAME, moving toward the station. It pivots, hovering in the blasting turbulence, and settles onto a NARROW LANDING PLATFORM ten levels above the ground, or about a third of the way up the enormous structure. rage. Still smoking where Ripley half-fried it. The Queen is huge, powerful...and very pissed off. It descends slowly, its six limbs unfolding in inhuman geometries. Ripley moves with nightmarish slowness herself, staring hypnotized...terrified to break and run. She lowers Newt to the deck, never taking her eyes off the creature. Newt runs for cover. The Alien drops to the deck, pivoting toward the motion. Ripley waves her arms, decoying. Without warning it moves like lightning, straight at her. Ripley spins, sprinting, as the creature leaps for her. Its feet slam, echoing, on the deck behind her. She clears a door. Hits the switch. It WHIRRS closed. BOOM. The Alien hits a moment later. VARIOUS ANGLES VERY TIGHT ON what she is doing...her feet going into stirruplike mechanisms. Velcro straps fastened over them. Fingers stabbing buttons in a sequence. Her hand closing on a complex grip-control. The HUM of powerful motors. The WHINE of hydraulics. Ripley steps out, WEARING TWO TONS OF HARDENED STEEL. THE POWER LOADER. Like medieval armor with the power of a bulldozer. She takes a step...the massive foot CRASH-CLANGS to the deck. She takes another, advancing. Ripley's expression is one you hope you'll never see... Hell hath no fury like that of a mother protecting her child and that primal, murderous rage surges through her now, banishing all fear. The Queen SCREECHES pure lethality and leaps. WALLOP! A roundhouse from one great hydraulic arm catches it on its hideous skull and slams it into a wall. It rebounds into a massive backhand. CRASH! It goes backward into heavy loading equipment. The Queen emerges as a blur of rage, lashing with unbelievable fury. The

How long was Ellen drifting through space?

57 years.

the wall. Point-blank. Acid and smoke. Gorman appears at Ripley's side and grabs the tail, unwinding its writhing length like a boa constrictor coil from her throat. All of them grip the struggling, SHRIEKING creature. Hicks hurls the thing into the corner. It scrabbles upright in an instant and leaps back toward them. WHAM! Hudson gets it clean. Ripley collapses, gagging. The alarm and sprinklers shut off automatically. Hicks sees the stasis cylinders. THE GROUP is gathered around Burke who sits in a chair, maintaining an icy calm although beads of sweat betray intense concealed tension. Only a few minutes have passes and everyone is still buzzed on adrenaline, as if the whole group is charged with high voltage. Ripley stands in front of Burke, every fiber of her being accusing him with absolute outrage. Burke tries to break Ripley's stare, which is like a diamond drill. He can't. Ripley glances at the little girl, a frail figure sitting nearby, hugging her knees and watching the proceedings with somber eyes. She is all but lost in an adult jacket someone has found for her, and her still damp hair is plastered to her forehead and cheeks. Ripley shakes her head, the rage giving way to a sickened emptiness. THE LIGHTS GO OUT. Everyone stops in the sudden darkness, realizing instinctively it is a new escalation in the struggle. Hicks looks at the board. Everything is out. Doors. Video screens. Ripley picks up her rifle and thumbs off the safety. Hudson and Vasquez pick up their scanners and move to the door. Vasquez has to slide it open manually on its track. DOLLYING WITH VASQUEZ as she moves forward with feral steps in the darkness. like a child, still shattered by the nightmare. Shivering. Sleep is far off. But at what price? EXTREME F.G. Jones stalks toward a bird hopping among fallen leaves. He leaps. And smack into A WALL. WIDER ANGLE as Jones steps back confused from the HIGH-RESOLUTION ENVIRONMENTAL WALL SCREEN, a sort of cinerama video-loop. Ripley sits on a bench in what we now SEE is an ATRIUM off the medical center, still somewhere in the bowels of Gateway Station. Benches. Some unenthusiastic potted trees. The sterile corridors VISIBLE beyond glass doors b.g. Burke ENTERS in his usual mode, casual haste. Ripley seems healthier now, but still a bit brittle. He opens his briefcase, removing a sheet of printer hard copy, including a telestat photo. Ripley studies the PHOTOGRAPH, stunned. The face of a woman in her mid-sixties. It could be anybody. She tries to reconcile the face with the little girl she once knew. Ripley gazes off, into the pseudo-landscape, into the past. Burke nods, a simpatico presence. Let's get one thing straight...Ripley can be one tough lady. But the terror, the loss, the emptiness are, in this moment, overwhelming. She cries silently. Burke puts a reassuring hand on her arm. She faces the EIGHT MEMBERS of the board of inquiry at a long conference table. Gray suits and grim faces. They aren't buying. Behind Ripley on a large VIDEO SCREEN, PARKER grins like a goon from his personnel mugshot. His file prints out next to it. BRETT's face and dossier replace it, and then the others as the SCENE continues... KANE, LAMBERT, ASH the android traitor, DALLAS. VAN LEUWEN, the ICC representative, steeples his fingers and frowns. Ripley sense the noose tightening. that looks executive or legal, the tie loosened with studied casualness. A smile referred to as "winning." Ripley grabs his arm, surprising him. Burke gazes at her, thoughtful. Ripley is stunned. She seems to deflate, her expression passing through amazement and shock to realization of all she has lost. Friends. Family. Her world. Ripley coughs suddenly as if choking and her expression becomes one of dawning horror. Burke hands her a glass of water from the nightstand. She slaps it away. It shatters with a SMASH. Jones dives, yowling. Ripley grabs her chest, struggling as if she is strangling. The Med-Tech hits a console button. They try to restrain her as she thrashes, knocking over equipment. Her EKG races like mad. Jones, under a cabinet, hisses wide-eyed. AN EXPLOSION OF BLOOD beneath the sheet covering her chest! Ripley stares at the SHAPE RISING UNDER THE SHEET. Tearing itself out of her. HER P.O.V. as the sheet rises. A GLIMPSE OF the <b> CHITTERING HORROR...IT SCREECHES. </b> TIGHT ON RIPLEY screaming, snapping up INTO FRAME. Alone in the darkened hospital room. She gasps for breath, clutching pathetically at her chest. There is no demented horror rigging itself out of her. Her eyes snap about wildly, slowly focusing on the reality of her safety. Shuddering, bathed in sweat, she kneads her breastbone with the heel of her hand and sobs. A VIDEO MONITOR beside the bed snaps on. A MED-TECH's face. The Med-Tech shrugs and switches off. Touching a button on the nightstand she opens the viewport, REVEALING Gateway and the turquoise Earth. She hugs Jones to her and rocks with him console. Hicks is talking via headset with Bishop and hasn't noticed Ripley's plight or Burke's action. REVERSE ANGLE from the med lab side, showing her futile efforts, the chair hitting with a dull THWACK barely audible through the double thickness pressure port. Ripley turns, studying the room. She fumbles through a clutter of equipment on a counter next to her and finds a SMALL EXAMINATION LIGHT. Snapping it on she plays the beam over the walls. Tall assemblies of surgical and anaethesiology equipment loom in the dark. She hears, ot thinks she hears, movements. The light spins across the room, swiveling and bobbing frantically. Like an indicator of her growing panic. Newt starts a thin, high wailing. Ripley steadies herself, realizing Newt's terror and the child's dependence on her. She plays the beam across the ceiling. Holds on something. Gets an idea. She removes her lighter from a jacket pocket and picks up some papers from the counter. Moving cautiously she boosts Newt up onto the SURGICAL TABLE in the center of the room and clambers up after her. Ripley lights the papers and holds the flaming mass under the temperature sensor of a fire control system SPRINKLER HEAD. It triggers, spraying the room from several sources with water. An ALARM sounds throughout the complex. She tears at it, but it is incredibly powerful for its size. It moves like lightning toward her head, avoiding her fumbling hands. Newt screams abjectly, backing away, until she is pressed up against a desk in one corner. Ripley has both hands up, forcing the pulsing body back from her face. The thing's tail whips around her throat and begins to tighten, forcing the underside of its hands around the cup. Raises it to her lips for her. The girl drinks mechanically, spilling down her chin. She sets the cup down and wipes the child's chin clean. She pours water from a squeeze bottle onto a small cloth and gently washes the little girl's face. Newt's eyes seem to focus on her for the first time. Newt gazes at her. Ripley smiles. TIGHT ON MONITOR SCREEN as an abstract of the main colony ground plan drifts across the screen. Searching. Hudson bashes at the keyboard, his fingers dancing expertly. Newt's voice is almost inaudible. Ripley leans closer. Feels like she's breathing on coals. The sound was incomprehensible. Ripley grins inanely, not wanting to move or speak... or break the spell. Ripley picks up her tiny limp hand, shaking it formally. Newt glances at the disembodied doll, still clutched in one filthy hand. Newt's reply is flat, neutral. Ripley gazes at her, chilled both by the ominous statement and by the situation which could have produced this outlook in a child. Ripley smiles grimly at the inadvertently macabre expression. And because she's a child, the darkest terrors, even the ones seen and not imagined, can still be banished by a smile and a single promise. Newt's eyes brim as she gazes at Ripley. Her lower lip starts to tremble, and her face slowly deforms into an abject mask. She sobs as she clamps her arms around Ripley's neck. The sobs come in waves as Ripley rocks her, tears of suppresses terror and grief and hurt rolling down her face. It is a breakthrough. Ripley closes her eyes, hoping that this promise can be kept. TIGHT ON SCREEN showing an amoebalike cluster of flashing blue dots clumped tightly

Why did Ellen change her mind, and choose to accompany Burke and Gorman to investigate the disturbance?

She had nightmares about the aliens.

looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons rage. Still smoking where Ripley half-fried it. The Queen is huge, powerful...and very pissed off. It descends slowly, its six limbs unfolding in inhuman geometries. Ripley moves with nightmarish slowness herself, staring hypnotized...terrified to break and run. She lowers Newt to the deck, never taking her eyes off the creature. Newt runs for cover. The Alien drops to the deck, pivoting toward the motion. Ripley waves her arms, decoying. Without warning it moves like lightning, straight at her. Ripley spins, sprinting, as the creature leaps for her. Its feet slam, echoing, on the deck behind her. She clears a door. Hits the switch. It WHIRRS closed. BOOM. The Alien hits a moment later. VARIOUS ANGLES VERY TIGHT ON what she is doing...her feet going into stirruplike mechanisms. Velcro straps fastened over them. Fingers stabbing buttons in a sequence. Her hand closing on a complex grip-control. The HUM of powerful motors. The WHINE of hydraulics. Ripley steps out, WEARING TWO TONS OF HARDENED STEEL. THE POWER LOADER. Like medieval armor with the power of a bulldozer. She takes a step...the massive foot CRASH-CLANGS to the deck. She takes another, advancing. Ripley's expression is one you hope you'll never see... Hell hath no fury like that of a mother protecting her child and that primal, murderous rage surges through her now, banishing all fear. The Queen SCREECHES pure lethality and leaps. WALLOP! A roundhouse from one great hydraulic arm catches it on its hideous skull and slams it into a wall. It rebounds into a massive backhand. CRASH! It goes backward into heavy loading equipment. The Queen emerges as a blur of rage, lashing with unbelievable fury. The She fires again, emptying the pistol, kicking the thrashing shape away. Acid cuts through her chickenplate armor, searing into her thigh. She cries out, gritting her teeth against the white-hot pain. Gorman sees Vasquez hit, unable to move. Sees the creatures coming the other way...and turns away from the escape hole. He crawls back to her, grabs her battle harness and starts dragging her towards safety. Too late. The approaching alien warriors have reached and passed the opening. Vasquez sees him, barely conscious. She seizes his hand in a deadly drip, but we RECOGNIZE it as the "power greeting" she shared with Drake... something for the chosen few. Gorman returns the grip. He hands her two grenades and arms two himself as the creatures are upon them. The kid moves like lightning, diving and dodging around obstacles. If it wasn't clear before it's clear now that we are on her turf, and she's the ace. Running on and on, their breathing loud and echoing...the walls a directionless blur. Newt never hesitates. They reach a junction with a narrow ANGLED CHUTE which runs upward at a steep 45 degrees. Ripley enters, bracing her feet on perilously narrow side ribs in the shaft. She looks down. The chute descends far into the depths, lost in shadow. She starts to climb with Next behind/below her, and Hicks, just emerging from the side duct. Newt slips, a rusted rib collapsing under her foot. She slides...catches herself with one hand. Ripley reaches for her, dropping her light. The hand-light goes skittering and bumping down the chute, around a bend, and disappears. Ripley strains, reaching, her hand groping for Newt's. They miss, inches apart. She slips. Hicks lunges, grabbing her oversized jacket. AND SHE SLIPS OUT OF IT. With an echoing scream Newt plummets, sliding down the chute into darkness. MOVING WITH HER, the walls racing by in a dizzy blur like a bobsled ride. THe shaft pitches left. Newt bounces, sliding halfway up the wall. The chute forks ahead. Newt tumbles into the right shaft, which drops at a steeper angle into the depths. Just disappearing down the LEFT SHAFT we SEE Ripley's light. Ripley looks Hicks in the eye. And kicks free...sliding down the chute after Newt. Ripley slams her feet into the side-ribs, bracing herself in a controlled descent. Ripley reaches the "V." Sees the glow of the light in the left fork. She goes left. She hears a plaintive reply, so echoey and distorted it has no direction. Ripley reaches the bottom of the chute where it intersects with a HORIZONTAL SERVICE TUNNEL. The light is lying there, but no Newt. The echoing wail comes again. Ripley starts down the tunnel, answering. Newt's call comes again. Fainter? She can't tell. She spins in a growing panic, starts the other way. Newt climbs some pipes, straining to reach the grating. Following the signal they come to a grating set in the floor. Ripley runs to the grating. Looking down she sees Newt's tearstreaked face. Newt reaches up. Her tiny fingers wriggle up through the bars of the grate. Ripley squeezes the child's precious fingertips. Newt backs away, climbing down the pipe as Hicks cuts into the bars with his hand-torch. The surface of the water reflects the beam placidly. Newt is gone. Bobbing in the water, eyes staring, is "Casey" the doll head. ON HUDSON scanning the med lab and the nearby barrier. BEEP. Hudson's tracker lights up, a faint signal. He pans it around. Back down the corridor. It beep again, louder. ANGLE ON VASQUEZ swinging her tracker and rifle together. She aims it behind her. BEEP. Hudson reaches the door to operations at a run, a moment before Vasquez. They pull the door shut and lock it. He pans the scanner. Stops. The range display reads out, counting down. Vasquez picks up a hand-welder and moves to comply. He hands one flamethrower to RIpley and begins priming the other himself. It lights with a muffled POP. Ripley's lights a moment later. Sparks shower around Vasquez as she begins welding the door. Hudson's tracker is beeping like mad now, as fast as their hearts. She picks up Vasquez' scanner and aims it the same direction as Hudson's. Vasquez is heedlessly showering herself with molten metal as she welds the door shut. Working like a demon. Ripley fiddles with her tracker, adjusting the tuning. He looks at Ripley. It dawns on both of them at the same time. She feels a cold premonitory dread as she angles her tracker upward to the ceiling, almost overhead. The tone gets louder. Hicks climbs onto a file cabinet and raises a panel of acoustic drop-ceiling. He shines his light inside. Something moves...he snaps the light around. It's a meter behind him. IT LUNGES! He drops reflexively, the claws raking across his armor. Hicks falls into the room just as the creatures detach en masse from the handholds. THE CEILING EXPLODES, raining debris. Nightmare shapes drop into the room. Newt screams. Hudson opens fire.

How did Newt survive the attack on the colony?

She used the ventilation system.

CLOSER SHOT It is the NARCISSUS, lifeboat of the ill-fated star-freighter Nostromo. Without interior or running lights it seems devoid of life. The PING of a RANGING RADAR grows louder, closer. A shadow engulfs the Narcissus. Searchlights flash on, playing over the tiny ship, as a MASSIVE DARK HULL descends toward it. 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 inward REVEALING a bizarre multi-armed figure. A ROBOT WELDER. FIGURES ENTER, backlit and ominous. THREE MEN in bio-isolation suits, carrying lights and equipment. They approach a sarcophaguslike HYPERSLEEP CAPSULE, f.g. His gloved hand wipes at on opaque layer of dust on the canopy. ANGLE INSIDE CAPSULE as light stabs in where the dust is wiped away, illuminating a WOMAN, her face in peaceful repose. WARRANT OFFICER RIPLEY, sole survivor of the Nostromo. Nestled next to her is JONES, the ship's wayward cat. Harsh light floods in as a motorized shield slides into the ceiling, REVEALING a breathtaking vista. Beyond the sprawling complex of modular habitats, collectively called GATEWAY STATION, is the curve of EARTH as seen from high orbit. Blue and serene. Ripley shrugs, not caring. The door opens and a MAN enters, although Ripley sees only what he is carrying. A familiar large, orange TOMCAT. She grabs the cat like a life preserver. Jones patiently endures Ripley's embarrassing display, seeming none the worse for wear. The visitor sits beside the bed and Ripley finally notices him. He is thirtyish and handsome, in a suit looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons battle is joined. Claws swipe, tail lashes. Ripley parries with radical swipes of the steel forks. They circle in a whirling blur, demolishing everything in their path. The cavernous chamber echoes with nightmarish sounds...WHINE, CRASH, <b> CLANG, SCREECH. </b> They lock in a death embrace. Ripley closes the forks, crushing two of the creature's limbs. It lashes and writhes with incredible fury, coming within inches of her exposed body. She lifts it off the ground. The hind legs rip at her, slamming against the safety cage, denting it in. The striking teeth extend almost a meter from inside its fanged maw, shooting between the crash-bars. She ducks and the teeth slam into the seat cushion behind her dead in a spray of drool. Yellow acid foams down the hydraulic arms toward her. The creature rips at high-pressure hoses. Purple hydraulic fluid sprays ...machine blood mixing with alien blood. They topple, off balance. The Queen pins her. Ripley hits a switch. The power loader's CUTTING TORCH flares on, directly in the thing's face. They roll together, over the lip of a RECTANGULAR PIT, A VERTICAL LOADING AIRLOCK. Ripley pulls her arm out of the controls of the loader and claws toward a panel of airlock actuating buttons. She slaps the red "INNER DOOR OVERRIDE" and latches the "HOLD" locking-key down. A KLAXON begins to sound. She hits "OUTER DOOR OPEN" and there is a hurricane shriek of air as the doors on which they are lying separate, REVEALING the infinite pit of stars, below. All this time the Alien has been lashing at her in a frenzy and she has been parrying desperately in the confined space. In sinks slowly, distorting, vanishing in darkness. Hicks pulls Ripley away from the hole. She struggles furiously, trying to tear out of his grip. He drags her back. It takes all of his strength. He sees something moving toward them through a lattice of pipes. Ripley is irrational. Hysterical. He drags her toward an ELEVATOR not far away at the end of the tunnel. Gets her inside, slamming her against the back wall. Hits the button to go to surface level. An alien warrior leaps into the tunnel, starts toward them. The doors are closing. Not fast enough. The creature gets one arm through, the doors closing on it. THEY OPEN AGAIN, an automatic safety feature. THE WARRIOR HISSES, LUNGING. Hicks FIRES, POINT-BLANK. It spins away, SCREECHING. Acid sluices between the closing doors, across Hicks' armored chest plate, as he shields Ripley with his body. The lift starts upward. Hicks' fingers race with the clasps as the stuff eats its way toward his skin. Galvanized out of her hysteria, Ripley claws at his armor, helping him as much as she can. He screams as the acid contacts his chest and arm. He shucks out of the combat armor like a madman, dropping the smoking pieces to the floor. Acrid fumes fill the air, searing eyes and lungs. The elevator stops. The doors part and they stumble out, Ripley supporting Hicks who is doubled over in agony. We APPROACH, hypnotically. The drop-ship ENTERS FRAME, moving toward the station. It pivots, hovering in the blasting turbulence, and settles onto a NARROW LANDING PLATFORM ten levels above the ground, or about a third of the way up the enormous structure. wind. She hits another button. The door-motors come to life and she relaxes a little. Glances behind her. AND SCREAMS! There's a face right there! Right at her shoulder. She jumps back, gasping for breath. He gestures for her to precede him inside. ON RIPLEY as they move along the corridor...reacting to the fact that she is back in alien country. She sees the ravaged administration complex. Fire-gutted offices. Hicks notices her looking around nervously. He motions to big Wierzbowski with his eyes and the trooper casually falls in beside her on the other side, rifle at ready. a two-man protective cordon. She glances at Hicks. He winks, but so fast maybe it's something in his eye. Trooper Frost emerges from a side corridor ahead. He leads the way into the corridor. They approach a barricade blocking the corridor, a hastily welded wall of pipes, steel-plate, outer-door panels. Acid holes have slashed through the floor and walls in several places. The metal is scratched and twisted by hideously powerful forces, peeled back like a soup can on one side. They squeeze through the opening. TIGHT ON RIPLEY transfixed by something. The others turn and approach, seeing what she sees. She has entered a second room, part of the med lab area. In a storage alcove at near eye level stand seven transparent cylinders. STASIS TUBES. They glow faintly with an eerie violet light given off by the field which preserves the specimens inside. They look like jars containing SEVERED ARTHRITIC HANDS, the palsied fingers curled in a death-rictus. Structurally they are more like spiders with sickening translucent skin, a flacid scrotal body, gill-like organs underneath drifting in the suspension

How did Ellen locate the colonists beneath the fusion powered atmosphere processing station?

The colonies computer.

ON HUDSON scanning the med lab and the nearby barrier. BEEP. Hudson's tracker lights up, a faint signal. He pans it around. Back down the corridor. It beep again, louder. ANGLE ON VASQUEZ swinging her tracker and rifle together. She aims it behind her. BEEP. Hudson reaches the door to operations at a run, a moment before Vasquez. They pull the door shut and lock it. He pans the scanner. Stops. The range display reads out, counting down. Vasquez picks up a hand-welder and moves to comply. He hands one flamethrower to RIpley and begins priming the other himself. It lights with a muffled POP. Ripley's lights a moment later. Sparks shower around Vasquez as she begins welding the door. Hudson's tracker is beeping like mad now, as fast as their hearts. She picks up Vasquez' scanner and aims it the same direction as Hudson's. Vasquez is heedlessly showering herself with molten metal as she welds the door shut. Working like a demon. Ripley fiddles with her tracker, adjusting the tuning. He looks at Ripley. It dawns on both of them at the same time. She feels a cold premonitory dread as she angles her tracker upward to the ceiling, almost overhead. The tone gets louder. Hicks climbs onto a file cabinet and raises a panel of acoustic drop-ceiling. He shines his light inside. Something moves...he snaps the light around. It's a meter behind him. IT LUNGES! He drops reflexively, the claws raking across his armor. Hicks falls into the room just as the creatures detach en masse from the handholds. THE CEILING EXPLODES, raining debris. Nightmare shapes drop into the room. Newt screams. Hudson opens fire. lunges, grabbing her oversized jacket. AND SHE SLIPS OUT OF IT. With an echoing scream Newt plummets, sliding down the chute into darkness. MOVING WITH HER, the walls racing by in a dizzy blur like a bobsled ride. THe shaft pitches left. Newt bounces, sliding halfway up the wall. The chute forks ahead. Newt tumbles into the right shaft, which drops at a steeper angle into the depths. Just disappearing down the LEFT SHAFT we SEE Ripley's light. Ripley looks Hicks in the eye. And kicks free...sliding down the chute after Newt. Ripley slams her feet into the side-ribs, bracing herself in a controlled descent. Ripley reaches the "V." Sees the glow of the light in the left fork. She goes left. She hears a plaintive reply, so echoey and distorted it has no direction. Ripley reaches the bottom of the chute where it intersects with a HORIZONTAL SERVICE TUNNEL. The light is lying there, but no Newt. The echoing wail comes again. Ripley starts down the tunnel, answering. Newt's call comes again. Fainter? She can't tell. She spins in a growing panic, starts the other way. Newt climbs some pipes, straining to reach the grating. Following the signal they come to a grating set in the floor. Ripley runs to the grating. Looking down she sees Newt's tearstreaked face. Newt reaches up. Her tiny fingers wriggle up through the bars of the grate. Ripley squeezes the child's precious fingertips. Newt backs away, climbing down the pipe as Hicks cuts into the bars with his hand-torch. The surface of the water reflects the beam placidly. Newt is gone. Bobbing in the water, eyes staring, is "Casey" the doll head. the wall. Point-blank. Acid and smoke. Gorman appears at Ripley's side and grabs the tail, unwinding its writhing length like a boa constrictor coil from her throat. All of them grip the struggling, SHRIEKING creature. Hicks hurls the thing into the corner. It scrabbles upright in an instant and leaps back toward them. WHAM! Hudson gets it clean. Ripley collapses, gagging. The alarm and sprinklers shut off automatically. Hicks sees the stasis cylinders. THE GROUP is gathered around Burke who sits in a chair, maintaining an icy calm although beads of sweat betray intense concealed tension. Only a few minutes have passes and everyone is still buzzed on adrenaline, as if the whole group is charged with high voltage. Ripley stands in front of Burke, every fiber of her being accusing him with absolute outrage. Burke tries to break Ripley's stare, which is like a diamond drill. He can't. Ripley glances at the little girl, a frail figure sitting nearby, hugging her knees and watching the proceedings with somber eyes. She is all but lost in an adult jacket someone has found for her, and her still damp hair is plastered to her forehead and cheeks. Ripley shakes her head, the rage giving way to a sickened emptiness. THE LIGHTS GO OUT. Everyone stops in the sudden darkness, realizing instinctively it is a new escalation in the struggle. Hicks looks at the board. Everything is out. Doors. Video screens. Ripley picks up her rifle and thumbs off the safety. Hudson and Vasquez pick up their scanners and move to the door. Vasquez has to slide it open manually on its track. DOLLYING WITH VASQUEZ as she moves forward with feral steps in the darkness. like a child, still shattered by the nightmare. Shivering. Sleep is far off. But at what price? EXTREME F.G. Jones stalks toward a bird hopping among fallen leaves. He leaps. And smack into A WALL. WIDER ANGLE as Jones steps back confused from the HIGH-RESOLUTION ENVIRONMENTAL WALL SCREEN, a sort of cinerama video-loop. Ripley sits on a bench in what we now SEE is an ATRIUM off the medical center, still somewhere in the bowels of Gateway Station. Benches. Some unenthusiastic potted trees. The sterile corridors VISIBLE beyond glass doors b.g. Burke ENTERS in his usual mode, casual haste. Ripley seems healthier now, but still a bit brittle. He opens his briefcase, removing a sheet of printer hard copy, including a telestat photo. Ripley studies the PHOTOGRAPH, stunned. The face of a woman in her mid-sixties. It could be anybody. She tries to reconcile the face with the little girl she once knew. Ripley gazes off, into the pseudo-landscape, into the past. Burke nods, a simpatico presence. Let's get one thing straight...Ripley can be one tough lady. But the terror, the loss, the emptiness are, in this moment, overwhelming. She cries silently. Burke puts a reassuring hand on her arm. She faces the EIGHT MEMBERS of the board of inquiry at a long conference table. Gray suits and grim faces. They aren't buying. Behind Ripley on a large VIDEO SCREEN, PARKER grins like a goon from his personnel mugshot. His file prints out next to it. BRETT's face and dossier replace it, and then the others as the SCENE continues... KANE, LAMBERT, ASH the android traitor, DALLAS. VAN LEUWEN, the ICC representative, steeples his fingers and frowns. Ripley sense the noose tightening. She fires again, emptying the pistol, kicking the thrashing shape away. Acid cuts through her chickenplate armor, searing into her thigh. She cries out, gritting her teeth against the white-hot pain. Gorman sees Vasquez hit, unable to move. Sees the creatures coming the other way...and turns away from the escape hole. He crawls back to her, grabs her battle harness and starts dragging her towards safety. Too late. The approaching alien warriors have reached and passed the opening. Vasquez sees him, barely conscious. She seizes his hand in a deadly drip, but we RECOGNIZE it as the "power greeting" she shared with Drake... something for the chosen few. Gorman returns the grip. He hands her two grenades and arms two himself as the creatures are upon them. The kid moves like lightning, diving and dodging around obstacles. If it wasn't clear before it's clear now that we are on her turf, and she's the ace. Running on and on, their breathing loud and echoing...the walls a directionless blur. Newt never hesitates. They reach a junction with a narrow ANGLED CHUTE which runs upward at a steep 45 degrees. Ripley enters, bracing her feet on perilously narrow side ribs in the shaft. She looks down. The chute descends far into the depths, lost in shadow. She starts to climb with Next behind/below her, and Hicks, just emerging from the side duct. Newt slips, a rusted rib collapsing under her foot. She slides...catches herself with one hand. Ripley reaches for her, dropping her light. The hand-light goes skittering and bumping down the chute, around a bend, and disappears. Ripley strains, reaching, her hand groping for Newt's. They miss, inches apart. She slips. Hicks

Why did Burke release the face huggers on Newt and Ellen?

To reproduce with them, and smuggle the embryos into Earth's quarantine.

looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons battle is joined. Claws swipe, tail lashes. Ripley parries with radical swipes of the steel forks. They circle in a whirling blur, demolishing everything in their path. The cavernous chamber echoes with nightmarish sounds...WHINE, CRASH, <b> CLANG, SCREECH. </b> They lock in a death embrace. Ripley closes the forks, crushing two of the creature's limbs. It lashes and writhes with incredible fury, coming within inches of her exposed body. She lifts it off the ground. The hind legs rip at her, slamming against the safety cage, denting it in. The striking teeth extend almost a meter from inside its fanged maw, shooting between the crash-bars. She ducks and the teeth slam into the seat cushion behind her dead in a spray of drool. Yellow acid foams down the hydraulic arms toward her. The creature rips at high-pressure hoses. Purple hydraulic fluid sprays ...machine blood mixing with alien blood. They topple, off balance. The Queen pins her. Ripley hits a switch. The power loader's CUTTING TORCH flares on, directly in the thing's face. They roll together, over the lip of a RECTANGULAR PIT, A VERTICAL LOADING AIRLOCK. Ripley pulls her arm out of the controls of the loader and claws toward a panel of airlock actuating buttons. She slaps the red "INNER DOOR OVERRIDE" and latches the "HOLD" locking-key down. A KLAXON begins to sound. She hits "OUTER DOOR OPEN" and there is a hurricane shriek of air as the doors on which they are lying separate, REVEALING the infinite pit of stars, below. All this time the Alien has been lashing at her in a frenzy and she has been parrying desperately in the confined space. In sinks slowly, distorting, vanishing in darkness. Hicks pulls Ripley away from the hole. She struggles furiously, trying to tear out of his grip. He drags her back. It takes all of his strength. He sees something moving toward them through a lattice of pipes. Ripley is irrational. Hysterical. He drags her toward an ELEVATOR not far away at the end of the tunnel. Gets her inside, slamming her against the back wall. Hits the button to go to surface level. An alien warrior leaps into the tunnel, starts toward them. The doors are closing. Not fast enough. The creature gets one arm through, the doors closing on it. THEY OPEN AGAIN, an automatic safety feature. THE WARRIOR HISSES, LUNGING. Hicks FIRES, POINT-BLANK. It spins away, SCREECHING. Acid sluices between the closing doors, across Hicks' armored chest plate, as he shields Ripley with his body. The lift starts upward. Hicks' fingers race with the clasps as the stuff eats its way toward his skin. Galvanized out of her hysteria, Ripley claws at his armor, helping him as much as she can. He screams as the acid contacts his chest and arm. He shucks out of the combat armor like a madman, dropping the smoking pieces to the floor. Acrid fumes fill the air, searing eyes and lungs. The elevator stops. The doors part and they stumble out, Ripley supporting Hicks who is doubled over in agony. We APPROACH, hypnotically. The drop-ship ENTERS FRAME, moving toward the station. It pivots, hovering in the blasting turbulence, and settles onto a NARROW LANDING PLATFORM ten levels above the ground, or about a third of the way up the enormous structure. rage. Still smoking where Ripley half-fried it. The Queen is huge, powerful...and very pissed off. It descends slowly, its six limbs unfolding in inhuman geometries. Ripley moves with nightmarish slowness herself, staring hypnotized...terrified to break and run. She lowers Newt to the deck, never taking her eyes off the creature. Newt runs for cover. The Alien drops to the deck, pivoting toward the motion. Ripley waves her arms, decoying. Without warning it moves like lightning, straight at her. Ripley spins, sprinting, as the creature leaps for her. Its feet slam, echoing, on the deck behind her. She clears a door. Hits the switch. It WHIRRS closed. BOOM. The Alien hits a moment later. VARIOUS ANGLES VERY TIGHT ON what she is doing...her feet going into stirruplike mechanisms. Velcro straps fastened over them. Fingers stabbing buttons in a sequence. Her hand closing on a complex grip-control. The HUM of powerful motors. The WHINE of hydraulics. Ripley steps out, WEARING TWO TONS OF HARDENED STEEL. THE POWER LOADER. Like medieval armor with the power of a bulldozer. She takes a step...the massive foot CRASH-CLANGS to the deck. She takes another, advancing. Ripley's expression is one you hope you'll never see... Hell hath no fury like that of a mother protecting her child and that primal, murderous rage surges through her now, banishing all fear. The Queen SCREECHES pure lethality and leaps. WALLOP! A roundhouse from one great hydraulic arm catches it on its hideous skull and slams it into a wall. It rebounds into a massive backhand. CRASH! It goes backward into heavy loading equipment. The Queen emerges as a blur of rage, lashing with unbelievable fury. The Vasquez grabs Hicks, pulls him up, firing one handed with her flamethrower. Ripley scoops up Newt and staggers back. Gorman turns to fire and Burke bolts for the only remaining exit, the corridor connecting to the med lab. In the strobelike glare of the pulse-rifles we SEE flashes of aliens, moving forward in the smoke from the flamethrower fires. They move like nothing human... leaping quick as insects at times or gliding with powerful, balletic grace. She dashes for the corridor. Behind her an alien is moving down the corridor like a locomotive, a graceful skeleton shape as lethal and inhuman as you can imagine. Strobe flashes backlight the demented silhouette. Shaking, Ripley raises her rifle. She squeezes the trigger. NOTHING HAPPENS. The creature HISSES, baring its teeth as it advances. Ripley checks the SAFETY. The safety is off. The DIGITAL COUNTER. The magazine is full. Newt begins to wail. Ripley's hands, slick with sweat, are trembling so much she almost drops the rifle. Panic screams in her brain. The thing is almost on her, filling the corridor, when she remembers. She snaps the bolt back, chambering a round. Whips the stock to her shoulder. FIRES. FLASH-CRACK! A FLASHBULB GLIMPSE OF shrieking jaws as the silhouette is hurled back, screeching insanely. Ripley is slammed against the door by the recoil, blinded by the flash and deafened by the concussion. Hudson screams as floor panels lift under him, and clawed arms seize him lightning fast, dragging him down. Another skeletal shape leaps on him from above. He disappears into the subfloor crawlway. Hicks, Vasquez and Gorman make it to the med lab access corridor. The troopers seem to materialize out

Why did the alien queen attack Ellen?

Ellen destroyed her eggs.

looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons rage. Still smoking where Ripley half-fried it. The Queen is huge, powerful...and very pissed off. It descends slowly, its six limbs unfolding in inhuman geometries. Ripley moves with nightmarish slowness herself, staring hypnotized...terrified to break and run. She lowers Newt to the deck, never taking her eyes off the creature. Newt runs for cover. The Alien drops to the deck, pivoting toward the motion. Ripley waves her arms, decoying. Without warning it moves like lightning, straight at her. Ripley spins, sprinting, as the creature leaps for her. Its feet slam, echoing, on the deck behind her. She clears a door. Hits the switch. It WHIRRS closed. BOOM. The Alien hits a moment later. VARIOUS ANGLES VERY TIGHT ON what she is doing...her feet going into stirruplike mechanisms. Velcro straps fastened over them. Fingers stabbing buttons in a sequence. Her hand closing on a complex grip-control. The HUM of powerful motors. The WHINE of hydraulics. Ripley steps out, WEARING TWO TONS OF HARDENED STEEL. THE POWER LOADER. Like medieval armor with the power of a bulldozer. She takes a step...the massive foot CRASH-CLANGS to the deck. She takes another, advancing. Ripley's expression is one you hope you'll never see... Hell hath no fury like that of a mother protecting her child and that primal, murderous rage surges through her now, banishing all fear. The Queen SCREECHES pure lethality and leaps. WALLOP! A roundhouse from one great hydraulic arm catches it on its hideous skull and slams it into a wall. It rebounds into a massive backhand. CRASH! It goes backward into heavy loading equipment. The Queen emerges as a blur of rage, lashing with unbelievable fury. The battle is joined. Claws swipe, tail lashes. Ripley parries with radical swipes of the steel forks. They circle in a whirling blur, demolishing everything in their path. The cavernous chamber echoes with nightmarish sounds...WHINE, CRASH, <b> CLANG, SCREECH. </b> They lock in a death embrace. Ripley closes the forks, crushing two of the creature's limbs. It lashes and writhes with incredible fury, coming within inches of her exposed body. She lifts it off the ground. The hind legs rip at her, slamming against the safety cage, denting it in. The striking teeth extend almost a meter from inside its fanged maw, shooting between the crash-bars. She ducks and the teeth slam into the seat cushion behind her dead in a spray of drool. Yellow acid foams down the hydraulic arms toward her. The creature rips at high-pressure hoses. Purple hydraulic fluid sprays ...machine blood mixing with alien blood. They topple, off balance. The Queen pins her. Ripley hits a switch. The power loader's CUTTING TORCH flares on, directly in the thing's face. They roll together, over the lip of a RECTANGULAR PIT, A VERTICAL LOADING AIRLOCK. Ripley pulls her arm out of the controls of the loader and claws toward a panel of airlock actuating buttons. She slaps the red "INNER DOOR OVERRIDE" and latches the "HOLD" locking-key down. A KLAXON begins to sound. She hits "OUTER DOOR OPEN" and there is a hurricane shriek of air as the doors on which they are lying separate, REVEALING the infinite pit of stars, below. All this time the Alien has been lashing at her in a frenzy and she has been parrying desperately in the confined space. Vasquez grabs Hicks, pulls him up, firing one handed with her flamethrower. Ripley scoops up Newt and staggers back. Gorman turns to fire and Burke bolts for the only remaining exit, the corridor connecting to the med lab. In the strobelike glare of the pulse-rifles we SEE flashes of aliens, moving forward in the smoke from the flamethrower fires. They move like nothing human... leaping quick as insects at times or gliding with powerful, balletic grace. She dashes for the corridor. Behind her an alien is moving down the corridor like a locomotive, a graceful skeleton shape as lethal and inhuman as you can imagine. Strobe flashes backlight the demented silhouette. Shaking, Ripley raises her rifle. She squeezes the trigger. NOTHING HAPPENS. The creature HISSES, baring its teeth as it advances. Ripley checks the SAFETY. The safety is off. The DIGITAL COUNTER. The magazine is full. Newt begins to wail. Ripley's hands, slick with sweat, are trembling so much she almost drops the rifle. Panic screams in her brain. The thing is almost on her, filling the corridor, when she remembers. She snaps the bolt back, chambering a round. Whips the stock to her shoulder. FIRES. FLASH-CRACK! A FLASHBULB GLIMPSE OF shrieking jaws as the silhouette is hurled back, screeching insanely. Ripley is slammed against the door by the recoil, blinded by the flash and deafened by the concussion. Hudson screams as floor panels lift under him, and clawed arms seize him lightning fast, dragging him down. Another skeletal shape leaps on him from above. He disappears into the subfloor crawlway. Hicks, Vasquez and Gorman make it to the med lab access corridor. The troopers seem to materialize out CLOSER SHOT It is the NARCISSUS, lifeboat of the ill-fated star-freighter Nostromo. Without interior or running lights it seems devoid of life. The PING of a RANGING RADAR grows louder, closer. A shadow engulfs the Narcissus. Searchlights flash on, playing over the tiny ship, as a MASSIVE DARK HULL descends toward it. 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 inward REVEALING a bizarre multi-armed figure. A ROBOT WELDER. FIGURES ENTER, backlit and ominous. THREE MEN in bio-isolation suits, carrying lights and equipment. They approach a sarcophaguslike HYPERSLEEP CAPSULE, f.g. His gloved hand wipes at on opaque layer of dust on the canopy. ANGLE INSIDE CAPSULE as light stabs in where the dust is wiped away, illuminating a WOMAN, her face in peaceful repose. WARRANT OFFICER RIPLEY, sole survivor of the Nostromo. Nestled next to her is JONES, the ship's wayward cat. Harsh light floods in as a motorized shield slides into the ceiling, REVEALING a breathtaking vista. Beyond the sprawling complex of modular habitats, collectively called GATEWAY STATION, is the curve of EARTH as seen from high orbit. Blue and serene. Ripley shrugs, not caring. The door opens and a MAN enters, although Ripley sees only what he is carrying. A familiar large, orange TOMCAT. She grabs the cat like a life preserver. Jones patiently endures Ripley's embarrassing display, seeming none the worse for wear. The visitor sits beside the bed and Ripley finally notices him. He is thirtyish and handsome, in a suit

How did the alien queen sneak onto the Sulaco?

She attached herself to the landing gear.

battle is joined. Claws swipe, tail lashes. Ripley parries with radical swipes of the steel forks. They circle in a whirling blur, demolishing everything in their path. The cavernous chamber echoes with nightmarish sounds...WHINE, CRASH, <b> CLANG, SCREECH. </b> They lock in a death embrace. Ripley closes the forks, crushing two of the creature's limbs. It lashes and writhes with incredible fury, coming within inches of her exposed body. She lifts it off the ground. The hind legs rip at her, slamming against the safety cage, denting it in. The striking teeth extend almost a meter from inside its fanged maw, shooting between the crash-bars. She ducks and the teeth slam into the seat cushion behind her dead in a spray of drool. Yellow acid foams down the hydraulic arms toward her. The creature rips at high-pressure hoses. Purple hydraulic fluid sprays ...machine blood mixing with alien blood. They topple, off balance. The Queen pins her. Ripley hits a switch. The power loader's CUTTING TORCH flares on, directly in the thing's face. They roll together, over the lip of a RECTANGULAR PIT, A VERTICAL LOADING AIRLOCK. Ripley pulls her arm out of the controls of the loader and claws toward a panel of airlock actuating buttons. She slaps the red "INNER DOOR OVERRIDE" and latches the "HOLD" locking-key down. A KLAXON begins to sound. She hits "OUTER DOOR OPEN" and there is a hurricane shriek of air as the doors on which they are lying separate, REVEALING the infinite pit of stars, below. All this time the Alien has been lashing at her in a frenzy and she has been parrying desperately in the confined space. She fires again, emptying the pistol, kicking the thrashing shape away. Acid cuts through her chickenplate armor, searing into her thigh. She cries out, gritting her teeth against the white-hot pain. Gorman sees Vasquez hit, unable to move. Sees the creatures coming the other way...and turns away from the escape hole. He crawls back to her, grabs her battle harness and starts dragging her towards safety. Too late. The approaching alien warriors have reached and passed the opening. Vasquez sees him, barely conscious. She seizes his hand in a deadly drip, but we RECOGNIZE it as the "power greeting" she shared with Drake... something for the chosen few. Gorman returns the grip. He hands her two grenades and arms two himself as the creatures are upon them. The kid moves like lightning, diving and dodging around obstacles. If it wasn't clear before it's clear now that we are on her turf, and she's the ace. Running on and on, their breathing loud and echoing...the walls a directionless blur. Newt never hesitates. They reach a junction with a narrow ANGLED CHUTE which runs upward at a steep 45 degrees. Ripley enters, bracing her feet on perilously narrow side ribs in the shaft. She looks down. The chute descends far into the depths, lost in shadow. She starts to climb with Next behind/below her, and Hicks, just emerging from the side duct. Newt slips, a rusted rib collapsing under her foot. She slides...catches herself with one hand. Ripley reaches for her, dropping her light. The hand-light goes skittering and bumping down the chute, around a bend, and disappears. Ripley strains, reaching, her hand groping for Newt's. They miss, inches apart. She slips. Hicks rage. Still smoking where Ripley half-fried it. The Queen is huge, powerful...and very pissed off. It descends slowly, its six limbs unfolding in inhuman geometries. Ripley moves with nightmarish slowness herself, staring hypnotized...terrified to break and run. She lowers Newt to the deck, never taking her eyes off the creature. Newt runs for cover. The Alien drops to the deck, pivoting toward the motion. Ripley waves her arms, decoying. Without warning it moves like lightning, straight at her. Ripley spins, sprinting, as the creature leaps for her. Its feet slam, echoing, on the deck behind her. She clears a door. Hits the switch. It WHIRRS closed. BOOM. The Alien hits a moment later. VARIOUS ANGLES VERY TIGHT ON what she is doing...her feet going into stirruplike mechanisms. Velcro straps fastened over them. Fingers stabbing buttons in a sequence. Her hand closing on a complex grip-control. The HUM of powerful motors. The WHINE of hydraulics. Ripley steps out, WEARING TWO TONS OF HARDENED STEEL. THE POWER LOADER. Like medieval armor with the power of a bulldozer. She takes a step...the massive foot CRASH-CLANGS to the deck. She takes another, advancing. Ripley's expression is one you hope you'll never see... Hell hath no fury like that of a mother protecting her child and that primal, murderous rage surges through her now, banishing all fear. The Queen SCREECHES pure lethality and leaps. WALLOP! A roundhouse from one great hydraulic arm catches it on its hideous skull and slams it into a wall. It rebounds into a massive backhand. CRASH! It goes backward into heavy loading equipment. The Queen emerges as a blur of rage, lashing with unbelievable fury. The looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons console. Hicks is talking via headset with Bishop and hasn't noticed Ripley's plight or Burke's action. REVERSE ANGLE from the med lab side, showing her futile efforts, the chair hitting with a dull THWACK barely audible through the double thickness pressure port. Ripley turns, studying the room. She fumbles through a clutter of equipment on a counter next to her and finds a SMALL EXAMINATION LIGHT. Snapping it on she plays the beam over the walls. Tall assemblies of surgical and anaethesiology equipment loom in the dark. She hears, ot thinks she hears, movements. The light spins across the room, swiveling and bobbing frantically. Like an indicator of her growing panic. Newt starts a thin, high wailing. Ripley steadies herself, realizing Newt's terror and the child's dependence on her. She plays the beam across the ceiling. Holds on something. Gets an idea. She removes her lighter from a jacket pocket and picks up some papers from the counter. Moving cautiously she boosts Newt up onto the SURGICAL TABLE in the center of the room and clambers up after her. Ripley lights the papers and holds the flaming mass under the temperature sensor of a fire control system SPRINKLER HEAD. It triggers, spraying the room from several sources with water. An ALARM sounds throughout the complex. She tears at it, but it is incredibly powerful for its size. It moves like lightning toward her head, avoiding her fumbling hands. Newt screams abjectly, backing away, until she is pressed up against a desk in one corner. Ripley has both hands up, forcing the pulsing body back from her face. The thing's tail whips around her throat and begins to tighten, forcing the underside of its

How did Ellen win the final showdown with the Alien Queen?

She used the exosuit ladder to expel the queen into an airlock in outer space.

ON HUDSON scanning the med lab and the nearby barrier. BEEP. Hudson's tracker lights up, a faint signal. He pans it around. Back down the corridor. It beep again, louder. ANGLE ON VASQUEZ swinging her tracker and rifle together. She aims it behind her. BEEP. Hudson reaches the door to operations at a run, a moment before Vasquez. They pull the door shut and lock it. He pans the scanner. Stops. The range display reads out, counting down. Vasquez picks up a hand-welder and moves to comply. He hands one flamethrower to RIpley and begins priming the other himself. It lights with a muffled POP. Ripley's lights a moment later. Sparks shower around Vasquez as she begins welding the door. Hudson's tracker is beeping like mad now, as fast as their hearts. She picks up Vasquez' scanner and aims it the same direction as Hudson's. Vasquez is heedlessly showering herself with molten metal as she welds the door shut. Working like a demon. Ripley fiddles with her tracker, adjusting the tuning. He looks at Ripley. It dawns on both of them at the same time. She feels a cold premonitory dread as she angles her tracker upward to the ceiling, almost overhead. The tone gets louder. Hicks climbs onto a file cabinet and raises a panel of acoustic drop-ceiling. He shines his light inside. Something moves...he snaps the light around. It's a meter behind him. IT LUNGES! He drops reflexively, the claws raking across his armor. Hicks falls into the room just as the creatures detach en masse from the handholds. THE CEILING EXPLODES, raining debris. Nightmare shapes drop into the room. Newt screams. Hudson opens fire. In sinks slowly, distorting, vanishing in darkness. Hicks pulls Ripley away from the hole. She struggles furiously, trying to tear out of his grip. He drags her back. It takes all of his strength. He sees something moving toward them through a lattice of pipes. Ripley is irrational. Hysterical. He drags her toward an ELEVATOR not far away at the end of the tunnel. Gets her inside, slamming her against the back wall. Hits the button to go to surface level. An alien warrior leaps into the tunnel, starts toward them. The doors are closing. Not fast enough. The creature gets one arm through, the doors closing on it. THEY OPEN AGAIN, an automatic safety feature. THE WARRIOR HISSES, LUNGING. Hicks FIRES, POINT-BLANK. It spins away, SCREECHING. Acid sluices between the closing doors, across Hicks' armored chest plate, as he shields Ripley with his body. The lift starts upward. Hicks' fingers race with the clasps as the stuff eats its way toward his skin. Galvanized out of her hysteria, Ripley claws at his armor, helping him as much as she can. He screams as the acid contacts his chest and arm. He shucks out of the combat armor like a madman, dropping the smoking pieces to the floor. Acrid fumes fill the air, searing eyes and lungs. The elevator stops. The doors part and they stumble out, Ripley supporting Hicks who is doubled over in agony. We APPROACH, hypnotically. The drop-ship ENTERS FRAME, moving toward the station. It pivots, hovering in the blasting turbulence, and settles onto a NARROW LANDING PLATFORM ten levels above the ground, or about a third of the way up the enormous structure. lunges, grabbing her oversized jacket. AND SHE SLIPS OUT OF IT. With an echoing scream Newt plummets, sliding down the chute into darkness. MOVING WITH HER, the walls racing by in a dizzy blur like a bobsled ride. THe shaft pitches left. Newt bounces, sliding halfway up the wall. The chute forks ahead. Newt tumbles into the right shaft, which drops at a steeper angle into the depths. Just disappearing down the LEFT SHAFT we SEE Ripley's light. Ripley looks Hicks in the eye. And kicks free...sliding down the chute after Newt. Ripley slams her feet into the side-ribs, bracing herself in a controlled descent. Ripley reaches the "V." Sees the glow of the light in the left fork. She goes left. She hears a plaintive reply, so echoey and distorted it has no direction. Ripley reaches the bottom of the chute where it intersects with a HORIZONTAL SERVICE TUNNEL. The light is lying there, but no Newt. The echoing wail comes again. Ripley starts down the tunnel, answering. Newt's call comes again. Fainter? She can't tell. She spins in a growing panic, starts the other way. Newt climbs some pipes, straining to reach the grating. Following the signal they come to a grating set in the floor. Ripley runs to the grating. Looking down she sees Newt's tearstreaked face. Newt reaches up. Her tiny fingers wriggle up through the bars of the grate. Ripley squeezes the child's precious fingertips. Newt backs away, climbing down the pipe as Hicks cuts into the bars with his hand-torch. The surface of the water reflects the beam placidly. Newt is gone. Bobbing in the water, eyes staring, is "Casey" the doll head. the wall. Point-blank. Acid and smoke. Gorman appears at Ripley's side and grabs the tail, unwinding its writhing length like a boa constrictor coil from her throat. All of them grip the struggling, SHRIEKING creature. Hicks hurls the thing into the corner. It scrabbles upright in an instant and leaps back toward them. WHAM! Hudson gets it clean. Ripley collapses, gagging. The alarm and sprinklers shut off automatically. Hicks sees the stasis cylinders. THE GROUP is gathered around Burke who sits in a chair, maintaining an icy calm although beads of sweat betray intense concealed tension. Only a few minutes have passes and everyone is still buzzed on adrenaline, as if the whole group is charged with high voltage. Ripley stands in front of Burke, every fiber of her being accusing him with absolute outrage. Burke tries to break Ripley's stare, which is like a diamond drill. He can't. Ripley glances at the little girl, a frail figure sitting nearby, hugging her knees and watching the proceedings with somber eyes. She is all but lost in an adult jacket someone has found for her, and her still damp hair is plastered to her forehead and cheeks. Ripley shakes her head, the rage giving way to a sickened emptiness. THE LIGHTS GO OUT. Everyone stops in the sudden darkness, realizing instinctively it is a new escalation in the struggle. Hicks looks at the board. Everything is out. Doors. Video screens. Ripley picks up her rifle and thumbs off the safety. Hudson and Vasquez pick up their scanners and move to the door. Vasquez has to slide it open manually on its track. DOLLYING WITH VASQUEZ as she moves forward with feral steps in the darkness. like a child, still shattered by the nightmare. Shivering. Sleep is far off. But at what price? EXTREME F.G. Jones stalks toward a bird hopping among fallen leaves. He leaps. And smack into A WALL. WIDER ANGLE as Jones steps back confused from the HIGH-RESOLUTION ENVIRONMENTAL WALL SCREEN, a sort of cinerama video-loop. Ripley sits on a bench in what we now SEE is an ATRIUM off the medical center, still somewhere in the bowels of Gateway Station. Benches. Some unenthusiastic potted trees. The sterile corridors VISIBLE beyond glass doors b.g. Burke ENTERS in his usual mode, casual haste. Ripley seems healthier now, but still a bit brittle. He opens his briefcase, removing a sheet of printer hard copy, including a telestat photo. Ripley studies the PHOTOGRAPH, stunned. The face of a woman in her mid-sixties. It could be anybody. She tries to reconcile the face with the little girl she once knew. Ripley gazes off, into the pseudo-landscape, into the past. Burke nods, a simpatico presence. Let's get one thing straight...Ripley can be one tough lady. But the terror, the loss, the emptiness are, in this moment, overwhelming. She cries silently. Burke puts a reassuring hand on her arm. She faces the EIGHT MEMBERS of the board of inquiry at a long conference table. Gray suits and grim faces. They aren't buying. Behind Ripley on a large VIDEO SCREEN, PARKER grins like a goon from his personnel mugshot. His file prints out next to it. BRETT's face and dossier replace it, and then the others as the SCENE continues... KANE, LAMBERT, ASH the android traitor, DALLAS. VAN LEUWEN, the ICC representative, steeples his fingers and frowns. Ripley sense the noose tightening.

How was Hadley's hope colony destroyed?

The nuclear blast from the damaged power plant.

She fires again, emptying the pistol, kicking the thrashing shape away. Acid cuts through her chickenplate armor, searing into her thigh. She cries out, gritting her teeth against the white-hot pain. Gorman sees Vasquez hit, unable to move. Sees the creatures coming the other way...and turns away from the escape hole. He crawls back to her, grabs her battle harness and starts dragging her towards safety. Too late. The approaching alien warriors have reached and passed the opening. Vasquez sees him, barely conscious. She seizes his hand in a deadly drip, but we RECOGNIZE it as the "power greeting" she shared with Drake... something for the chosen few. Gorman returns the grip. He hands her two grenades and arms two himself as the creatures are upon them. The kid moves like lightning, diving and dodging around obstacles. If it wasn't clear before it's clear now that we are on her turf, and she's the ace. Running on and on, their breathing loud and echoing...the walls a directionless blur. Newt never hesitates. They reach a junction with a narrow ANGLED CHUTE which runs upward at a steep 45 degrees. Ripley enters, bracing her feet on perilously narrow side ribs in the shaft. She looks down. The chute descends far into the depths, lost in shadow. She starts to climb with Next behind/below her, and Hicks, just emerging from the side duct. Newt slips, a rusted rib collapsing under her foot. She slides...catches herself with one hand. Ripley reaches for her, dropping her light. The hand-light goes skittering and bumping down the chute, around a bend, and disappears. Ripley strains, reaching, her hand groping for Newt's. They miss, inches apart. She slips. Hicks looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons rage. Still smoking where Ripley half-fried it. The Queen is huge, powerful...and very pissed off. It descends slowly, its six limbs unfolding in inhuman geometries. Ripley moves with nightmarish slowness herself, staring hypnotized...terrified to break and run. She lowers Newt to the deck, never taking her eyes off the creature. Newt runs for cover. The Alien drops to the deck, pivoting toward the motion. Ripley waves her arms, decoying. Without warning it moves like lightning, straight at her. Ripley spins, sprinting, as the creature leaps for her. Its feet slam, echoing, on the deck behind her. She clears a door. Hits the switch. It WHIRRS closed. BOOM. The Alien hits a moment later. VARIOUS ANGLES VERY TIGHT ON what she is doing...her feet going into stirruplike mechanisms. Velcro straps fastened over them. Fingers stabbing buttons in a sequence. Her hand closing on a complex grip-control. The HUM of powerful motors. The WHINE of hydraulics. Ripley steps out, WEARING TWO TONS OF HARDENED STEEL. THE POWER LOADER. Like medieval armor with the power of a bulldozer. She takes a step...the massive foot CRASH-CLANGS to the deck. She takes another, advancing. Ripley's expression is one you hope you'll never see... Hell hath no fury like that of a mother protecting her child and that primal, murderous rage surges through her now, banishing all fear. The Queen SCREECHES pure lethality and leaps. WALLOP! A roundhouse from one great hydraulic arm catches it on its hideous skull and slams it into a wall. It rebounds into a massive backhand. CRASH! It goes backward into heavy loading equipment. The Queen emerges as a blur of rage, lashing with unbelievable fury. The the wall. Point-blank. Acid and smoke. Gorman appears at Ripley's side and grabs the tail, unwinding its writhing length like a boa constrictor coil from her throat. All of them grip the struggling, SHRIEKING creature. Hicks hurls the thing into the corner. It scrabbles upright in an instant and leaps back toward them. WHAM! Hudson gets it clean. Ripley collapses, gagging. The alarm and sprinklers shut off automatically. Hicks sees the stasis cylinders. THE GROUP is gathered around Burke who sits in a chair, maintaining an icy calm although beads of sweat betray intense concealed tension. Only a few minutes have passes and everyone is still buzzed on adrenaline, as if the whole group is charged with high voltage. Ripley stands in front of Burke, every fiber of her being accusing him with absolute outrage. Burke tries to break Ripley's stare, which is like a diamond drill. He can't. Ripley glances at the little girl, a frail figure sitting nearby, hugging her knees and watching the proceedings with somber eyes. She is all but lost in an adult jacket someone has found for her, and her still damp hair is plastered to her forehead and cheeks. Ripley shakes her head, the rage giving way to a sickened emptiness. THE LIGHTS GO OUT. Everyone stops in the sudden darkness, realizing instinctively it is a new escalation in the struggle. Hicks looks at the board. Everything is out. Doors. Video screens. Ripley picks up her rifle and thumbs off the safety. Hudson and Vasquez pick up their scanners and move to the door. Vasquez has to slide it open manually on its track. DOLLYING WITH VASQUEZ as she moves forward with feral steps in the darkness. CLOSER SHOT It is the NARCISSUS, lifeboat of the ill-fated star-freighter Nostromo. Without interior or running lights it seems devoid of life. The PING of a RANGING RADAR grows louder, closer. A shadow engulfs the Narcissus. Searchlights flash on, playing over the tiny ship, as a MASSIVE DARK HULL descends toward it. 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 inward REVEALING a bizarre multi-armed figure. A ROBOT WELDER. FIGURES ENTER, backlit and ominous. THREE MEN in bio-isolation suits, carrying lights and equipment. They approach a sarcophaguslike HYPERSLEEP CAPSULE, f.g. His gloved hand wipes at on opaque layer of dust on the canopy. ANGLE INSIDE CAPSULE as light stabs in where the dust is wiped away, illuminating a WOMAN, her face in peaceful repose. WARRANT OFFICER RIPLEY, sole survivor of the Nostromo. Nestled next to her is JONES, the ship's wayward cat. Harsh light floods in as a motorized shield slides into the ceiling, REVEALING a breathtaking vista. Beyond the sprawling complex of modular habitats, collectively called GATEWAY STATION, is the curve of EARTH as seen from high orbit. Blue and serene. Ripley shrugs, not caring. The door opens and a MAN enters, although Ripley sees only what he is carrying. A familiar large, orange TOMCAT. She grabs the cat like a life preserver. Jones patiently endures Ripley's embarrassing display, seeming none the worse for wear. The visitor sits beside the bed and Ripley finally notices him. He is thirtyish and handsome, in a suit

Who rescued Ripley from the face huggers?

The marines after she pulled the fire alarm.

looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons battle is joined. Claws swipe, tail lashes. Ripley parries with radical swipes of the steel forks. They circle in a whirling blur, demolishing everything in their path. The cavernous chamber echoes with nightmarish sounds...WHINE, CRASH, <b> CLANG, SCREECH. </b> They lock in a death embrace. Ripley closes the forks, crushing two of the creature's limbs. It lashes and writhes with incredible fury, coming within inches of her exposed body. She lifts it off the ground. The hind legs rip at her, slamming against the safety cage, denting it in. The striking teeth extend almost a meter from inside its fanged maw, shooting between the crash-bars. She ducks and the teeth slam into the seat cushion behind her dead in a spray of drool. Yellow acid foams down the hydraulic arms toward her. The creature rips at high-pressure hoses. Purple hydraulic fluid sprays ...machine blood mixing with alien blood. They topple, off balance. The Queen pins her. Ripley hits a switch. The power loader's CUTTING TORCH flares on, directly in the thing's face. They roll together, over the lip of a RECTANGULAR PIT, A VERTICAL LOADING AIRLOCK. Ripley pulls her arm out of the controls of the loader and claws toward a panel of airlock actuating buttons. She slaps the red "INNER DOOR OVERRIDE" and latches the "HOLD" locking-key down. A KLAXON begins to sound. She hits "OUTER DOOR OPEN" and there is a hurricane shriek of air as the doors on which they are lying separate, REVEALING the infinite pit of stars, below. All this time the Alien has been lashing at her in a frenzy and she has been parrying desperately in the confined space. SCUTTLING SHAPE LEAPS TOWARD HER from the foot of the bed! She ducks with a startled cry. The obscene thing hits the wall above her, legs moving lightning fast. Reflexively she slams the bed against the wall, pinning the creature inches above her face. Its legs and tail writhe with incredible ferocity and it emits a demented, piercing <b> SQUEAL. </b> Ripley heaves Newt across the polished floor and in a frenzied scramble rolls from beneath the cot. She flips it over, trapping the creature underneath. They back away, gasping. Ripley's eyes flash around the shadowed room where every corner of space between equipment holds lethal promise. The creature scuttles from beneath the bed and disappears under a back of cabinets in a blur. Ripley hugs Newt close and heads toward the door, moving as if every object in the room had a million volts running through it. She reaches the door. Hits the wall switch. Nothing happens. Disabled from outside. She tries the lights. Nothing. She pounds on the door. The acoustically dampened door panel thunks dully. She moves to the observation window, glancing frantically over her shoulder. The bare floor behind her is like a screaming threat. She pounds on the window. Through the double thickness window we can SEE that the lab is dark and empty. Ripley whirls, hearing a loathsome scrabbling behind her. Newt starts to whimper, feeding off her fear. She steps in front of the video surveillance camera and waves her arms in a circle. A hand ENTERS FRAME and switches off the monitor. Ripley's image vanishes. WIDER ANGLE as Burke straightens casually from the CLOSER SHOT It is the NARCISSUS, lifeboat of the ill-fated star-freighter Nostromo. Without interior or running lights it seems devoid of life. The PING of a RANGING RADAR grows louder, closer. A shadow engulfs the Narcissus. Searchlights flash on, playing over the tiny ship, as a MASSIVE DARK HULL descends toward it. 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 inward REVEALING a bizarre multi-armed figure. A ROBOT WELDER. FIGURES ENTER, backlit and ominous. THREE MEN in bio-isolation suits, carrying lights and equipment. They approach a sarcophaguslike HYPERSLEEP CAPSULE, f.g. His gloved hand wipes at on opaque layer of dust on the canopy. ANGLE INSIDE CAPSULE as light stabs in where the dust is wiped away, illuminating a WOMAN, her face in peaceful repose. WARRANT OFFICER RIPLEY, sole survivor of the Nostromo. Nestled next to her is JONES, the ship's wayward cat. Harsh light floods in as a motorized shield slides into the ceiling, REVEALING a breathtaking vista. Beyond the sprawling complex of modular habitats, collectively called GATEWAY STATION, is the curve of EARTH as seen from high orbit. Blue and serene. Ripley shrugs, not caring. The door opens and a MAN enters, although Ripley sees only what he is carrying. A familiar large, orange TOMCAT. She grabs the cat like a life preserver. Jones patiently endures Ripley's embarrassing display, seeming none the worse for wear. The visitor sits beside the bed and Ripley finally notices him. He is thirtyish and handsome, in a suit Vasquez grabs Hicks, pulls him up, firing one handed with her flamethrower. Ripley scoops up Newt and staggers back. Gorman turns to fire and Burke bolts for the only remaining exit, the corridor connecting to the med lab. In the strobelike glare of the pulse-rifles we SEE flashes of aliens, moving forward in the smoke from the flamethrower fires. They move like nothing human... leaping quick as insects at times or gliding with powerful, balletic grace. She dashes for the corridor. Behind her an alien is moving down the corridor like a locomotive, a graceful skeleton shape as lethal and inhuman as you can imagine. Strobe flashes backlight the demented silhouette. Shaking, Ripley raises her rifle. She squeezes the trigger. NOTHING HAPPENS. The creature HISSES, baring its teeth as it advances. Ripley checks the SAFETY. The safety is off. The DIGITAL COUNTER. The magazine is full. Newt begins to wail. Ripley's hands, slick with sweat, are trembling so much she almost drops the rifle. Panic screams in her brain. The thing is almost on her, filling the corridor, when she remembers. She snaps the bolt back, chambering a round. Whips the stock to her shoulder. FIRES. FLASH-CRACK! A FLASHBULB GLIMPSE OF shrieking jaws as the silhouette is hurled back, screeching insanely. Ripley is slammed against the door by the recoil, blinded by the flash and deafened by the concussion. Hudson screams as floor panels lift under him, and clawed arms seize him lightning fast, dragging him down. Another skeletal shape leaps on him from above. He disappears into the subfloor crawlway. Hicks, Vasquez and Gorman make it to the med lab access corridor. The troopers seem to materialize out

How long was Ripley drifting through space?

57 years

the wall. Point-blank. Acid and smoke. Gorman appears at Ripley's side and grabs the tail, unwinding its writhing length like a boa constrictor coil from her throat. All of them grip the struggling, SHRIEKING creature. Hicks hurls the thing into the corner. It scrabbles upright in an instant and leaps back toward them. WHAM! Hudson gets it clean. Ripley collapses, gagging. The alarm and sprinklers shut off automatically. Hicks sees the stasis cylinders. THE GROUP is gathered around Burke who sits in a chair, maintaining an icy calm although beads of sweat betray intense concealed tension. Only a few minutes have passes and everyone is still buzzed on adrenaline, as if the whole group is charged with high voltage. Ripley stands in front of Burke, every fiber of her being accusing him with absolute outrage. Burke tries to break Ripley's stare, which is like a diamond drill. He can't. Ripley glances at the little girl, a frail figure sitting nearby, hugging her knees and watching the proceedings with somber eyes. She is all but lost in an adult jacket someone has found for her, and her still damp hair is plastered to her forehead and cheeks. Ripley shakes her head, the rage giving way to a sickened emptiness. THE LIGHTS GO OUT. Everyone stops in the sudden darkness, realizing instinctively it is a new escalation in the struggle. Hicks looks at the board. Everything is out. Doors. Video screens. Ripley picks up her rifle and thumbs off the safety. Hudson and Vasquez pick up their scanners and move to the door. Vasquez has to slide it open manually on its track. DOLLYING WITH VASQUEZ as she moves forward with feral steps in the darkness. battle is joined. Claws swipe, tail lashes. Ripley parries with radical swipes of the steel forks. They circle in a whirling blur, demolishing everything in their path. The cavernous chamber echoes with nightmarish sounds...WHINE, CRASH, <b> CLANG, SCREECH. </b> They lock in a death embrace. Ripley closes the forks, crushing two of the creature's limbs. It lashes and writhes with incredible fury, coming within inches of her exposed body. She lifts it off the ground. The hind legs rip at her, slamming against the safety cage, denting it in. The striking teeth extend almost a meter from inside its fanged maw, shooting between the crash-bars. She ducks and the teeth slam into the seat cushion behind her dead in a spray of drool. Yellow acid foams down the hydraulic arms toward her. The creature rips at high-pressure hoses. Purple hydraulic fluid sprays ...machine blood mixing with alien blood. They topple, off balance. The Queen pins her. Ripley hits a switch. The power loader's CUTTING TORCH flares on, directly in the thing's face. They roll together, over the lip of a RECTANGULAR PIT, A VERTICAL LOADING AIRLOCK. Ripley pulls her arm out of the controls of the loader and claws toward a panel of airlock actuating buttons. She slaps the red "INNER DOOR OVERRIDE" and latches the "HOLD" locking-key down. A KLAXON begins to sound. She hits "OUTER DOOR OPEN" and there is a hurricane shriek of air as the doors on which they are lying separate, REVEALING the infinite pit of stars, below. All this time the Alien has been lashing at her in a frenzy and she has been parrying desperately in the confined space. In sinks slowly, distorting, vanishing in darkness. Hicks pulls Ripley away from the hole. She struggles furiously, trying to tear out of his grip. He drags her back. It takes all of his strength. He sees something moving toward them through a lattice of pipes. Ripley is irrational. Hysterical. He drags her toward an ELEVATOR not far away at the end of the tunnel. Gets her inside, slamming her against the back wall. Hits the button to go to surface level. An alien warrior leaps into the tunnel, starts toward them. The doors are closing. Not fast enough. The creature gets one arm through, the doors closing on it. THEY OPEN AGAIN, an automatic safety feature. THE WARRIOR HISSES, LUNGING. Hicks FIRES, POINT-BLANK. It spins away, SCREECHING. Acid sluices between the closing doors, across Hicks' armored chest plate, as he shields Ripley with his body. The lift starts upward. Hicks' fingers race with the clasps as the stuff eats its way toward his skin. Galvanized out of her hysteria, Ripley claws at his armor, helping him as much as she can. He screams as the acid contacts his chest and arm. He shucks out of the combat armor like a madman, dropping the smoking pieces to the floor. Acrid fumes fill the air, searing eyes and lungs. The elevator stops. The doors part and they stumble out, Ripley supporting Hicks who is doubled over in agony. We APPROACH, hypnotically. The drop-ship ENTERS FRAME, moving toward the station. It pivots, hovering in the blasting turbulence, and settles onto a NARROW LANDING PLATFORM ten levels above the ground, or about a third of the way up the enormous structure. CLOSER SHOT It is the NARCISSUS, lifeboat of the ill-fated star-freighter Nostromo. Without interior or running lights it seems devoid of life. The PING of a RANGING RADAR grows louder, closer. A shadow engulfs the Narcissus. Searchlights flash on, playing over the tiny ship, as a MASSIVE DARK HULL descends toward it. 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 inward REVEALING a bizarre multi-armed figure. A ROBOT WELDER. FIGURES ENTER, backlit and ominous. THREE MEN in bio-isolation suits, carrying lights and equipment. They approach a sarcophaguslike HYPERSLEEP CAPSULE, f.g. His gloved hand wipes at on opaque layer of dust on the canopy. ANGLE INSIDE CAPSULE as light stabs in where the dust is wiped away, illuminating a WOMAN, her face in peaceful repose. WARRANT OFFICER RIPLEY, sole survivor of the Nostromo. Nestled next to her is JONES, the ship's wayward cat. Harsh light floods in as a motorized shield slides into the ceiling, REVEALING a breathtaking vista. Beyond the sprawling complex of modular habitats, collectively called GATEWAY STATION, is the curve of EARTH as seen from high orbit. Blue and serene. Ripley shrugs, not caring. The door opens and a MAN enters, although Ripley sees only what he is carrying. A familiar large, orange TOMCAT. She grabs the cat like a life preserver. Jones patiently endures Ripley's embarrassing display, seeming none the worse for wear. The visitor sits beside the bed and Ripley finally notices him. He is thirtyish and handsome, in a suit rage. Still smoking where Ripley half-fried it. The Queen is huge, powerful...and very pissed off. It descends slowly, its six limbs unfolding in inhuman geometries. Ripley moves with nightmarish slowness herself, staring hypnotized...terrified to break and run. She lowers Newt to the deck, never taking her eyes off the creature. Newt runs for cover. The Alien drops to the deck, pivoting toward the motion. Ripley waves her arms, decoying. Without warning it moves like lightning, straight at her. Ripley spins, sprinting, as the creature leaps for her. Its feet slam, echoing, on the deck behind her. She clears a door. Hits the switch. It WHIRRS closed. BOOM. The Alien hits a moment later. VARIOUS ANGLES VERY TIGHT ON what she is doing...her feet going into stirruplike mechanisms. Velcro straps fastened over them. Fingers stabbing buttons in a sequence. Her hand closing on a complex grip-control. The HUM of powerful motors. The WHINE of hydraulics. Ripley steps out, WEARING TWO TONS OF HARDENED STEEL. THE POWER LOADER. Like medieval armor with the power of a bulldozer. She takes a step...the massive foot CRASH-CLANGS to the deck. She takes another, advancing. Ripley's expression is one you hope you'll never see... Hell hath no fury like that of a mother protecting her child and that primal, murderous rage surges through her now, banishing all fear. The Queen SCREECHES pure lethality and leaps. WALLOP! A roundhouse from one great hydraulic arm catches it on its hideous skull and slams it into a wall. It rebounds into a massive backhand. CRASH! It goes backward into heavy loading equipment. The Queen emerges as a blur of rage, lashing with unbelievable fury. The

What was Ripley's request and one condition upon her returning to space with Gorman?

That the aliens be destroyed should they encounter any.

looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons ON HUDSON scanning the med lab and the nearby barrier. BEEP. Hudson's tracker lights up, a faint signal. He pans it around. Back down the corridor. It beep again, louder. ANGLE ON VASQUEZ swinging her tracker and rifle together. She aims it behind her. BEEP. Hudson reaches the door to operations at a run, a moment before Vasquez. They pull the door shut and lock it. He pans the scanner. Stops. The range display reads out, counting down. Vasquez picks up a hand-welder and moves to comply. He hands one flamethrower to RIpley and begins priming the other himself. It lights with a muffled POP. Ripley's lights a moment later. Sparks shower around Vasquez as she begins welding the door. Hudson's tracker is beeping like mad now, as fast as their hearts. She picks up Vasquez' scanner and aims it the same direction as Hudson's. Vasquez is heedlessly showering herself with molten metal as she welds the door shut. Working like a demon. Ripley fiddles with her tracker, adjusting the tuning. He looks at Ripley. It dawns on both of them at the same time. She feels a cold premonitory dread as she angles her tracker upward to the ceiling, almost overhead. The tone gets louder. Hicks climbs onto a file cabinet and raises a panel of acoustic drop-ceiling. He shines his light inside. Something moves...he snaps the light around. It's a meter behind him. IT LUNGES! He drops reflexively, the claws raking across his armor. Hicks falls into the room just as the creatures detach en masse from the handholds. THE CEILING EXPLODES, raining debris. Nightmare shapes drop into the room. Newt screams. Hudson opens fire. CLOSER SHOT It is the NARCISSUS, lifeboat of the ill-fated star-freighter Nostromo. Without interior or running lights it seems devoid of life. The PING of a RANGING RADAR grows louder, closer. A shadow engulfs the Narcissus. Searchlights flash on, playing over the tiny ship, as a MASSIVE DARK HULL descends toward it. 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 inward REVEALING a bizarre multi-armed figure. A ROBOT WELDER. FIGURES ENTER, backlit and ominous. THREE MEN in bio-isolation suits, carrying lights and equipment. They approach a sarcophaguslike HYPERSLEEP CAPSULE, f.g. His gloved hand wipes at on opaque layer of dust on the canopy. ANGLE INSIDE CAPSULE as light stabs in where the dust is wiped away, illuminating a WOMAN, her face in peaceful repose. WARRANT OFFICER RIPLEY, sole survivor of the Nostromo. Nestled next to her is JONES, the ship's wayward cat. Harsh light floods in as a motorized shield slides into the ceiling, REVEALING a breathtaking vista. Beyond the sprawling complex of modular habitats, collectively called GATEWAY STATION, is the curve of EARTH as seen from high orbit. Blue and serene. Ripley shrugs, not caring. The door opens and a MAN enters, although Ripley sees only what he is carrying. A familiar large, orange TOMCAT. She grabs the cat like a life preserver. Jones patiently endures Ripley's embarrassing display, seeming none the worse for wear. The visitor sits beside the bed and Ripley finally notices him. He is thirtyish and handsome, in a suit lunges, grabbing her oversized jacket. AND SHE SLIPS OUT OF IT. With an echoing scream Newt plummets, sliding down the chute into darkness. MOVING WITH HER, the walls racing by in a dizzy blur like a bobsled ride. THe shaft pitches left. Newt bounces, sliding halfway up the wall. The chute forks ahead. Newt tumbles into the right shaft, which drops at a steeper angle into the depths. Just disappearing down the LEFT SHAFT we SEE Ripley's light. Ripley looks Hicks in the eye. And kicks free...sliding down the chute after Newt. Ripley slams her feet into the side-ribs, bracing herself in a controlled descent. Ripley reaches the "V." Sees the glow of the light in the left fork. She goes left. She hears a plaintive reply, so echoey and distorted it has no direction. Ripley reaches the bottom of the chute where it intersects with a HORIZONTAL SERVICE TUNNEL. The light is lying there, but no Newt. The echoing wail comes again. Ripley starts down the tunnel, answering. Newt's call comes again. Fainter? She can't tell. She spins in a growing panic, starts the other way. Newt climbs some pipes, straining to reach the grating. Following the signal they come to a grating set in the floor. Ripley runs to the grating. Looking down she sees Newt's tearstreaked face. Newt reaches up. Her tiny fingers wriggle up through the bars of the grate. Ripley squeezes the child's precious fingertips. Newt backs away, climbing down the pipe as Hicks cuts into the bars with his hand-torch. The surface of the water reflects the beam placidly. Newt is gone. Bobbing in the water, eyes staring, is "Casey" the doll head. rage. Still smoking where Ripley half-fried it. The Queen is huge, powerful...and very pissed off. It descends slowly, its six limbs unfolding in inhuman geometries. Ripley moves with nightmarish slowness herself, staring hypnotized...terrified to break and run. She lowers Newt to the deck, never taking her eyes off the creature. Newt runs for cover. The Alien drops to the deck, pivoting toward the motion. Ripley waves her arms, decoying. Without warning it moves like lightning, straight at her. Ripley spins, sprinting, as the creature leaps for her. Its feet slam, echoing, on the deck behind her. She clears a door. Hits the switch. It WHIRRS closed. BOOM. The Alien hits a moment later. VARIOUS ANGLES VERY TIGHT ON what she is doing...her feet going into stirruplike mechanisms. Velcro straps fastened over them. Fingers stabbing buttons in a sequence. Her hand closing on a complex grip-control. The HUM of powerful motors. The WHINE of hydraulics. Ripley steps out, WEARING TWO TONS OF HARDENED STEEL. THE POWER LOADER. Like medieval armor with the power of a bulldozer. She takes a step...the massive foot CRASH-CLANGS to the deck. She takes another, advancing. Ripley's expression is one you hope you'll never see... Hell hath no fury like that of a mother protecting her child and that primal, murderous rage surges through her now, banishing all fear. The Queen SCREECHES pure lethality and leaps. WALLOP! A roundhouse from one great hydraulic arm catches it on its hideous skull and slams it into a wall. It rebounds into a massive backhand. CRASH! It goes backward into heavy loading equipment. The Queen emerges as a blur of rage, lashing with unbelievable fury. The

Who is Newt?

The only known survivor of the colony.

looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons In sinks slowly, distorting, vanishing in darkness. Hicks pulls Ripley away from the hole. She struggles furiously, trying to tear out of his grip. He drags her back. It takes all of his strength. He sees something moving toward them through a lattice of pipes. Ripley is irrational. Hysterical. He drags her toward an ELEVATOR not far away at the end of the tunnel. Gets her inside, slamming her against the back wall. Hits the button to go to surface level. An alien warrior leaps into the tunnel, starts toward them. The doors are closing. Not fast enough. The creature gets one arm through, the doors closing on it. THEY OPEN AGAIN, an automatic safety feature. THE WARRIOR HISSES, LUNGING. Hicks FIRES, POINT-BLANK. It spins away, SCREECHING. Acid sluices between the closing doors, across Hicks' armored chest plate, as he shields Ripley with his body. The lift starts upward. Hicks' fingers race with the clasps as the stuff eats its way toward his skin. Galvanized out of her hysteria, Ripley claws at his armor, helping him as much as she can. He screams as the acid contacts his chest and arm. He shucks out of the combat armor like a madman, dropping the smoking pieces to the floor. Acrid fumes fill the air, searing eyes and lungs. The elevator stops. The doors part and they stumble out, Ripley supporting Hicks who is doubled over in agony. We APPROACH, hypnotically. The drop-ship ENTERS FRAME, moving toward the station. It pivots, hovering in the blasting turbulence, and settles onto a NARROW LANDING PLATFORM ten levels above the ground, or about a third of the way up the enormous structure. She fires again, emptying the pistol, kicking the thrashing shape away. Acid cuts through her chickenplate armor, searing into her thigh. She cries out, gritting her teeth against the white-hot pain. Gorman sees Vasquez hit, unable to move. Sees the creatures coming the other way...and turns away from the escape hole. He crawls back to her, grabs her battle harness and starts dragging her towards safety. Too late. The approaching alien warriors have reached and passed the opening. Vasquez sees him, barely conscious. She seizes his hand in a deadly drip, but we RECOGNIZE it as the "power greeting" she shared with Drake... something for the chosen few. Gorman returns the grip. He hands her two grenades and arms two himself as the creatures are upon them. The kid moves like lightning, diving and dodging around obstacles. If it wasn't clear before it's clear now that we are on her turf, and she's the ace. Running on and on, their breathing loud and echoing...the walls a directionless blur. Newt never hesitates. They reach a junction with a narrow ANGLED CHUTE which runs upward at a steep 45 degrees. Ripley enters, bracing her feet on perilously narrow side ribs in the shaft. She looks down. The chute descends far into the depths, lost in shadow. She starts to climb with Next behind/below her, and Hicks, just emerging from the side duct. Newt slips, a rusted rib collapsing under her foot. She slides...catches herself with one hand. Ripley reaches for her, dropping her light. The hand-light goes skittering and bumping down the chute, around a bend, and disappears. Ripley strains, reaching, her hand groping for Newt's. They miss, inches apart. She slips. Hicks grin, blowing open the thing's thorax. A spray of BRIGHT YELLOW ACID slashes across Drake's face and chest, eating into him like a hot knife through butter. He drops in boiling smoke, reflexively triggering his flame thrower. The jet of liquid fire arcs around as he falls, engulfing the back half of the APC. Hicks screams right in her face. Burke and Hudson help him drag her from the door. Ripley jams reverse. Nails the throttle. The APC bellows backward up the ramp. Hudson disappears under a pile of equipment as a storage rack breaks free. Hicks gets the door almost closed. Suddenly CLAWS appear at the edge. Newt screams. Against the combined efforts of Hicks, Burke and Vasquez the door is being SLOWLY WRENCHED OPEN FROM OUTSIDE. Hicks yells at a paralyzed Gorman. Gorman backs away, eyes wide. Hicks jams his shoulder against the latching lever and frees one hand to raise his 12-gauge. An alien head wedges through the opening, its hideous mouth opening. And Hicks jams his SHOTGUN MUZZLE between its jaws and pulls the trigger! BLAM! The creature is flung backward, its shattered head fountaining acid blood. The spray eats into the door, the deck, hits Hudson on the arm. He shrieks. They slide the door home and dog it tight. Gorman has plastered himself against a wall, as far from the door as possible. A latch lever behind his head turns. The small hatch against which he was leaning is ripped away and SOMETHING snatches him out the opening He disappears to the waist with a shriek, legs kicking. The alien clings to the roof, pulling him out. Its tail whips over, scorpionlike, and Vasquez grabs Hicks, pulls him up, firing one handed with her flamethrower. Ripley scoops up Newt and staggers back. Gorman turns to fire and Burke bolts for the only remaining exit, the corridor connecting to the med lab. In the strobelike glare of the pulse-rifles we SEE flashes of aliens, moving forward in the smoke from the flamethrower fires. They move like nothing human... leaping quick as insects at times or gliding with powerful, balletic grace. She dashes for the corridor. Behind her an alien is moving down the corridor like a locomotive, a graceful skeleton shape as lethal and inhuman as you can imagine. Strobe flashes backlight the demented silhouette. Shaking, Ripley raises her rifle. She squeezes the trigger. NOTHING HAPPENS. The creature HISSES, baring its teeth as it advances. Ripley checks the SAFETY. The safety is off. The DIGITAL COUNTER. The magazine is full. Newt begins to wail. Ripley's hands, slick with sweat, are trembling so much she almost drops the rifle. Panic screams in her brain. The thing is almost on her, filling the corridor, when she remembers. She snaps the bolt back, chambering a round. Whips the stock to her shoulder. FIRES. FLASH-CRACK! A FLASHBULB GLIMPSE OF shrieking jaws as the silhouette is hurled back, screeching insanely. Ripley is slammed against the door by the recoil, blinded by the flash and deafened by the concussion. Hudson screams as floor panels lift under him, and clawed arms seize him lightning fast, dragging him down. Another skeletal shape leaps on him from above. He disappears into the subfloor crawlway. Hicks, Vasquez and Gorman make it to the med lab access corridor. The troopers seem to materialize out

In what condition were the marines found in the colony?

They were cocooned, serving as incubators for Alien offspring.

the wall. Point-blank. Acid and smoke. Gorman appears at Ripley's side and grabs the tail, unwinding its writhing length like a boa constrictor coil from her throat. All of them grip the struggling, SHRIEKING creature. Hicks hurls the thing into the corner. It scrabbles upright in an instant and leaps back toward them. WHAM! Hudson gets it clean. Ripley collapses, gagging. The alarm and sprinklers shut off automatically. Hicks sees the stasis cylinders. THE GROUP is gathered around Burke who sits in a chair, maintaining an icy calm although beads of sweat betray intense concealed tension. Only a few minutes have passes and everyone is still buzzed on adrenaline, as if the whole group is charged with high voltage. Ripley stands in front of Burke, every fiber of her being accusing him with absolute outrage. Burke tries to break Ripley's stare, which is like a diamond drill. He can't. Ripley glances at the little girl, a frail figure sitting nearby, hugging her knees and watching the proceedings with somber eyes. She is all but lost in an adult jacket someone has found for her, and her still damp hair is plastered to her forehead and cheeks. Ripley shakes her head, the rage giving way to a sickened emptiness. THE LIGHTS GO OUT. Everyone stops in the sudden darkness, realizing instinctively it is a new escalation in the struggle. Hicks looks at the board. Everything is out. Doors. Video screens. Ripley picks up her rifle and thumbs off the safety. Hudson and Vasquez pick up their scanners and move to the door. Vasquez has to slide it open manually on its track. DOLLYING WITH VASQUEZ as she moves forward with feral steps in the darkness. like a child, still shattered by the nightmare. Shivering. Sleep is far off. But at what price? EXTREME F.G. Jones stalks toward a bird hopping among fallen leaves. He leaps. And smack into A WALL. WIDER ANGLE as Jones steps back confused from the HIGH-RESOLUTION ENVIRONMENTAL WALL SCREEN, a sort of cinerama video-loop. Ripley sits on a bench in what we now SEE is an ATRIUM off the medical center, still somewhere in the bowels of Gateway Station. Benches. Some unenthusiastic potted trees. The sterile corridors VISIBLE beyond glass doors b.g. Burke ENTERS in his usual mode, casual haste. Ripley seems healthier now, but still a bit brittle. He opens his briefcase, removing a sheet of printer hard copy, including a telestat photo. Ripley studies the PHOTOGRAPH, stunned. The face of a woman in her mid-sixties. It could be anybody. She tries to reconcile the face with the little girl she once knew. Ripley gazes off, into the pseudo-landscape, into the past. Burke nods, a simpatico presence. Let's get one thing straight...Ripley can be one tough lady. But the terror, the loss, the emptiness are, in this moment, overwhelming. She cries silently. Burke puts a reassuring hand on her arm. She faces the EIGHT MEMBERS of the board of inquiry at a long conference table. Gray suits and grim faces. They aren't buying. Behind Ripley on a large VIDEO SCREEN, PARKER grins like a goon from his personnel mugshot. His file prints out next to it. BRETT's face and dossier replace it, and then the others as the SCENE continues... KANE, LAMBERT, ASH the android traitor, DALLAS. VAN LEUWEN, the ICC representative, steeples his fingers and frowns. Ripley sense the noose tightening. CLOSER SHOT It is the NARCISSUS, lifeboat of the ill-fated star-freighter Nostromo. Without interior or running lights it seems devoid of life. The PING of a RANGING RADAR grows louder, closer. A shadow engulfs the Narcissus. Searchlights flash on, playing over the tiny ship, as a MASSIVE DARK HULL descends toward it. 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 inward REVEALING a bizarre multi-armed figure. A ROBOT WELDER. FIGURES ENTER, backlit and ominous. THREE MEN in bio-isolation suits, carrying lights and equipment. They approach a sarcophaguslike HYPERSLEEP CAPSULE, f.g. His gloved hand wipes at on opaque layer of dust on the canopy. ANGLE INSIDE CAPSULE as light stabs in where the dust is wiped away, illuminating a WOMAN, her face in peaceful repose. WARRANT OFFICER RIPLEY, sole survivor of the Nostromo. Nestled next to her is JONES, the ship's wayward cat. Harsh light floods in as a motorized shield slides into the ceiling, REVEALING a breathtaking vista. Beyond the sprawling complex of modular habitats, collectively called GATEWAY STATION, is the curve of EARTH as seen from high orbit. Blue and serene. Ripley shrugs, not caring. The door opens and a MAN enters, although Ripley sees only what he is carrying. A familiar large, orange TOMCAT. She grabs the cat like a life preserver. Jones patiently endures Ripley's embarrassing display, seeming none the worse for wear. The visitor sits beside the bed and Ripley finally notices him. He is thirtyish and handsome, in a suit SCUTTLING SHAPE LEAPS TOWARD HER from the foot of the bed! She ducks with a startled cry. The obscene thing hits the wall above her, legs moving lightning fast. Reflexively she slams the bed against the wall, pinning the creature inches above her face. Its legs and tail writhe with incredible ferocity and it emits a demented, piercing <b> SQUEAL. </b> Ripley heaves Newt across the polished floor and in a frenzied scramble rolls from beneath the cot. She flips it over, trapping the creature underneath. They back away, gasping. Ripley's eyes flash around the shadowed room where every corner of space between equipment holds lethal promise. The creature scuttles from beneath the bed and disappears under a back of cabinets in a blur. Ripley hugs Newt close and heads toward the door, moving as if every object in the room had a million volts running through it. She reaches the door. Hits the wall switch. Nothing happens. Disabled from outside. She tries the lights. Nothing. She pounds on the door. The acoustically dampened door panel thunks dully. She moves to the observation window, glancing frantically over her shoulder. The bare floor behind her is like a screaming threat. She pounds on the window. Through the double thickness window we can SEE that the lab is dark and empty. Ripley whirls, hearing a loathsome scrabbling behind her. Newt starts to whimper, feeding off her fear. She steps in front of the video surveillance camera and waves her arms in a circle. A hand ENTERS FRAME and switches off the monitor. Ripley's image vanishes. WIDER ANGLE as Burke straightens casually from the fluid. Something you definitely do not want on your face, for example. Ripley nods, unable to speak. Burke leans closer in fascination. His face almost touching one cylinder, is lit by its glow. The creature inside lunges suddenly, slamming against the glass. Burke jumps back. From the palm of the thing's handlike body emerges a pearl-escent TUBULE. like a tapered piece of intestine, which slithers tonguelike over the inside of the glass. Then it retracts into a sheath between the "gills." Only two of the creatures seem to pulse with life. Burke taps the other stasis cylinders but the hand-things remain inertly clenched. On top of each cylinder is a file folder. Ripley takes a folder from above one of the live specimens. Inside is a medical chart printout with handwritten entries. They are startled by a LOUD BEEP. They turn. Hicks is intent on his motion tracker, aimed back toward the shattered barricade. BEEP. BEEP. He gestures at the corridor they just passed through. Vasquez swings the smart-gun to ready position on its support arm, locking it with an authoritative CLICK. She and Hicks head toward the source of the signal, the others following. Ripley hangs back. Then realizes there is nothing behind her but darkness. She catches up to the group. Vasquez is scanning, gaze intense. The other troops grip their weapons tightly. Hicks nods toward a complicated array of food processing equipment. They move forward, weapons leveled. Ripley shuffles forward in the dark. Wierzbowski trips over a metal cannister, sending it CLANGING. Ripley half climbs the wall. Hicks' tracker beeps steadily. The beeps merge. Become a solid tone. CRASH. Something moves in the dark, toppling a rack

What was Burke's real reason for sending the colonists to investigate the spaceship?

To obtain an alien specimen to take back to Earth to potentially use as biological weapons

lunges, grabbing her oversized jacket. AND SHE SLIPS OUT OF IT. With an echoing scream Newt plummets, sliding down the chute into darkness. MOVING WITH HER, the walls racing by in a dizzy blur like a bobsled ride. THe shaft pitches left. Newt bounces, sliding halfway up the wall. The chute forks ahead. Newt tumbles into the right shaft, which drops at a steeper angle into the depths. Just disappearing down the LEFT SHAFT we SEE Ripley's light. Ripley looks Hicks in the eye. And kicks free...sliding down the chute after Newt. Ripley slams her feet into the side-ribs, bracing herself in a controlled descent. Ripley reaches the "V." Sees the glow of the light in the left fork. She goes left. She hears a plaintive reply, so echoey and distorted it has no direction. Ripley reaches the bottom of the chute where it intersects with a HORIZONTAL SERVICE TUNNEL. The light is lying there, but no Newt. The echoing wail comes again. Ripley starts down the tunnel, answering. Newt's call comes again. Fainter? She can't tell. She spins in a growing panic, starts the other way. Newt climbs some pipes, straining to reach the grating. Following the signal they come to a grating set in the floor. Ripley runs to the grating. Looking down she sees Newt's tearstreaked face. Newt reaches up. Her tiny fingers wriggle up through the bars of the grate. Ripley squeezes the child's precious fingertips. Newt backs away, climbing down the pipe as Hicks cuts into the bars with his hand-torch. The surface of the water reflects the beam placidly. Newt is gone. Bobbing in the water, eyes staring, is "Casey" the doll head. She fires again, emptying the pistol, kicking the thrashing shape away. Acid cuts through her chickenplate armor, searing into her thigh. She cries out, gritting her teeth against the white-hot pain. Gorman sees Vasquez hit, unable to move. Sees the creatures coming the other way...and turns away from the escape hole. He crawls back to her, grabs her battle harness and starts dragging her towards safety. Too late. The approaching alien warriors have reached and passed the opening. Vasquez sees him, barely conscious. She seizes his hand in a deadly drip, but we RECOGNIZE it as the "power greeting" she shared with Drake... something for the chosen few. Gorman returns the grip. He hands her two grenades and arms two himself as the creatures are upon them. The kid moves like lightning, diving and dodging around obstacles. If it wasn't clear before it's clear now that we are on her turf, and she's the ace. Running on and on, their breathing loud and echoing...the walls a directionless blur. Newt never hesitates. They reach a junction with a narrow ANGLED CHUTE which runs upward at a steep 45 degrees. Ripley enters, bracing her feet on perilously narrow side ribs in the shaft. She looks down. The chute descends far into the depths, lost in shadow. She starts to climb with Next behind/below her, and Hicks, just emerging from the side duct. Newt slips, a rusted rib collapsing under her foot. She slides...catches herself with one hand. Ripley reaches for her, dropping her light. The hand-light goes skittering and bumping down the chute, around a bend, and disappears. Ripley strains, reaching, her hand groping for Newt's. They miss, inches apart. She slips. Hicks SCUTTLING SHAPE LEAPS TOWARD HER from the foot of the bed! She ducks with a startled cry. The obscene thing hits the wall above her, legs moving lightning fast. Reflexively she slams the bed against the wall, pinning the creature inches above her face. Its legs and tail writhe with incredible ferocity and it emits a demented, piercing <b> SQUEAL. </b> Ripley heaves Newt across the polished floor and in a frenzied scramble rolls from beneath the cot. She flips it over, trapping the creature underneath. They back away, gasping. Ripley's eyes flash around the shadowed room where every corner of space between equipment holds lethal promise. The creature scuttles from beneath the bed and disappears under a back of cabinets in a blur. Ripley hugs Newt close and heads toward the door, moving as if every object in the room had a million volts running through it. She reaches the door. Hits the wall switch. Nothing happens. Disabled from outside. She tries the lights. Nothing. She pounds on the door. The acoustically dampened door panel thunks dully. She moves to the observation window, glancing frantically over her shoulder. The bare floor behind her is like a screaming threat. She pounds on the window. Through the double thickness window we can SEE that the lab is dark and empty. Ripley whirls, hearing a loathsome scrabbling behind her. Newt starts to whimper, feeding off her fear. She steps in front of the video surveillance camera and waves her arms in a circle. A hand ENTERS FRAME and switches off the monitor. Ripley's image vanishes. WIDER ANGLE as Burke straightens casually from the the wall. Point-blank. Acid and smoke. Gorman appears at Ripley's side and grabs the tail, unwinding its writhing length like a boa constrictor coil from her throat. All of them grip the struggling, SHRIEKING creature. Hicks hurls the thing into the corner. It scrabbles upright in an instant and leaps back toward them. WHAM! Hudson gets it clean. Ripley collapses, gagging. The alarm and sprinklers shut off automatically. Hicks sees the stasis cylinders. THE GROUP is gathered around Burke who sits in a chair, maintaining an icy calm although beads of sweat betray intense concealed tension. Only a few minutes have passes and everyone is still buzzed on adrenaline, as if the whole group is charged with high voltage. Ripley stands in front of Burke, every fiber of her being accusing him with absolute outrage. Burke tries to break Ripley's stare, which is like a diamond drill. He can't. Ripley glances at the little girl, a frail figure sitting nearby, hugging her knees and watching the proceedings with somber eyes. She is all but lost in an adult jacket someone has found for her, and her still damp hair is plastered to her forehead and cheeks. Ripley shakes her head, the rage giving way to a sickened emptiness. THE LIGHTS GO OUT. Everyone stops in the sudden darkness, realizing instinctively it is a new escalation in the struggle. Hicks looks at the board. Everything is out. Doors. Video screens. Ripley picks up her rifle and thumbs off the safety. Hudson and Vasquez pick up their scanners and move to the door. Vasquez has to slide it open manually on its track. DOLLYING WITH VASQUEZ as she moves forward with feral steps in the darkness. rage. Still smoking where Ripley half-fried it. The Queen is huge, powerful...and very pissed off. It descends slowly, its six limbs unfolding in inhuman geometries. Ripley moves with nightmarish slowness herself, staring hypnotized...terrified to break and run. She lowers Newt to the deck, never taking her eyes off the creature. Newt runs for cover. The Alien drops to the deck, pivoting toward the motion. Ripley waves her arms, decoying. Without warning it moves like lightning, straight at her. Ripley spins, sprinting, as the creature leaps for her. Its feet slam, echoing, on the deck behind her. She clears a door. Hits the switch. It WHIRRS closed. BOOM. The Alien hits a moment later. VARIOUS ANGLES VERY TIGHT ON what she is doing...her feet going into stirruplike mechanisms. Velcro straps fastened over them. Fingers stabbing buttons in a sequence. Her hand closing on a complex grip-control. The HUM of powerful motors. The WHINE of hydraulics. Ripley steps out, WEARING TWO TONS OF HARDENED STEEL. THE POWER LOADER. Like medieval armor with the power of a bulldozer. She takes a step...the massive foot CRASH-CLANGS to the deck. She takes another, advancing. Ripley's expression is one you hope you'll never see... Hell hath no fury like that of a mother protecting her child and that primal, murderous rage surges through her now, banishing all fear. The Queen SCREECHES pure lethality and leaps. WALLOP! A roundhouse from one great hydraulic arm catches it on its hideous skull and slams it into a wall. It rebounds into a massive backhand. CRASH! It goes backward into heavy loading equipment. The Queen emerges as a blur of rage, lashing with unbelievable fury. The

Why does Ripley think she and Newt were locked in a room with facehuggers?

So they could be impregnated by aliens so Burke could smuggle the eggs to Earth undetected.

She fires again, emptying the pistol, kicking the thrashing shape away. Acid cuts through her chickenplate armor, searing into her thigh. She cries out, gritting her teeth against the white-hot pain. Gorman sees Vasquez hit, unable to move. Sees the creatures coming the other way...and turns away from the escape hole. He crawls back to her, grabs her battle harness and starts dragging her towards safety. Too late. The approaching alien warriors have reached and passed the opening. Vasquez sees him, barely conscious. She seizes his hand in a deadly drip, but we RECOGNIZE it as the "power greeting" she shared with Drake... something for the chosen few. Gorman returns the grip. He hands her two grenades and arms two himself as the creatures are upon them. The kid moves like lightning, diving and dodging around obstacles. If it wasn't clear before it's clear now that we are on her turf, and she's the ace. Running on and on, their breathing loud and echoing...the walls a directionless blur. Newt never hesitates. They reach a junction with a narrow ANGLED CHUTE which runs upward at a steep 45 degrees. Ripley enters, bracing her feet on perilously narrow side ribs in the shaft. She looks down. The chute descends far into the depths, lost in shadow. She starts to climb with Next behind/below her, and Hicks, just emerging from the side duct. Newt slips, a rusted rib collapsing under her foot. She slides...catches herself with one hand. Ripley reaches for her, dropping her light. The hand-light goes skittering and bumping down the chute, around a bend, and disappears. Ripley strains, reaching, her hand groping for Newt's. They miss, inches apart. She slips. Hicks looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons rage. Still smoking where Ripley half-fried it. The Queen is huge, powerful...and very pissed off. It descends slowly, its six limbs unfolding in inhuman geometries. Ripley moves with nightmarish slowness herself, staring hypnotized...terrified to break and run. She lowers Newt to the deck, never taking her eyes off the creature. Newt runs for cover. The Alien drops to the deck, pivoting toward the motion. Ripley waves her arms, decoying. Without warning it moves like lightning, straight at her. Ripley spins, sprinting, as the creature leaps for her. Its feet slam, echoing, on the deck behind her. She clears a door. Hits the switch. It WHIRRS closed. BOOM. The Alien hits a moment later. VARIOUS ANGLES VERY TIGHT ON what she is doing...her feet going into stirruplike mechanisms. Velcro straps fastened over them. Fingers stabbing buttons in a sequence. Her hand closing on a complex grip-control. The HUM of powerful motors. The WHINE of hydraulics. Ripley steps out, WEARING TWO TONS OF HARDENED STEEL. THE POWER LOADER. Like medieval armor with the power of a bulldozer. She takes a step...the massive foot CRASH-CLANGS to the deck. She takes another, advancing. Ripley's expression is one you hope you'll never see... Hell hath no fury like that of a mother protecting her child and that primal, murderous rage surges through her now, banishing all fear. The Queen SCREECHES pure lethality and leaps. WALLOP! A roundhouse from one great hydraulic arm catches it on its hideous skull and slams it into a wall. It rebounds into a massive backhand. CRASH! It goes backward into heavy loading equipment. The Queen emerges as a blur of rage, lashing with unbelievable fury. The In sinks slowly, distorting, vanishing in darkness. Hicks pulls Ripley away from the hole. She struggles furiously, trying to tear out of his grip. He drags her back. It takes all of his strength. He sees something moving toward them through a lattice of pipes. Ripley is irrational. Hysterical. He drags her toward an ELEVATOR not far away at the end of the tunnel. Gets her inside, slamming her against the back wall. Hits the button to go to surface level. An alien warrior leaps into the tunnel, starts toward them. The doors are closing. Not fast enough. The creature gets one arm through, the doors closing on it. THEY OPEN AGAIN, an automatic safety feature. THE WARRIOR HISSES, LUNGING. Hicks FIRES, POINT-BLANK. It spins away, SCREECHING. Acid sluices between the closing doors, across Hicks' armored chest plate, as he shields Ripley with his body. The lift starts upward. Hicks' fingers race with the clasps as the stuff eats its way toward his skin. Galvanized out of her hysteria, Ripley claws at his armor, helping him as much as she can. He screams as the acid contacts his chest and arm. He shucks out of the combat armor like a madman, dropping the smoking pieces to the floor. Acrid fumes fill the air, searing eyes and lungs. The elevator stops. The doors part and they stumble out, Ripley supporting Hicks who is doubled over in agony. We APPROACH, hypnotically. The drop-ship ENTERS FRAME, moving toward the station. It pivots, hovering in the blasting turbulence, and settles onto a NARROW LANDING PLATFORM ten levels above the ground, or about a third of the way up the enormous structure. console. Hicks is talking via headset with Bishop and hasn't noticed Ripley's plight or Burke's action. REVERSE ANGLE from the med lab side, showing her futile efforts, the chair hitting with a dull THWACK barely audible through the double thickness pressure port. Ripley turns, studying the room. She fumbles through a clutter of equipment on a counter next to her and finds a SMALL EXAMINATION LIGHT. Snapping it on she plays the beam over the walls. Tall assemblies of surgical and anaethesiology equipment loom in the dark. She hears, ot thinks she hears, movements. The light spins across the room, swiveling and bobbing frantically. Like an indicator of her growing panic. Newt starts a thin, high wailing. Ripley steadies herself, realizing Newt's terror and the child's dependence on her. She plays the beam across the ceiling. Holds on something. Gets an idea. She removes her lighter from a jacket pocket and picks up some papers from the counter. Moving cautiously she boosts Newt up onto the SURGICAL TABLE in the center of the room and clambers up after her. Ripley lights the papers and holds the flaming mass under the temperature sensor of a fire control system SPRINKLER HEAD. It triggers, spraying the room from several sources with water. An ALARM sounds throughout the complex. She tears at it, but it is incredibly powerful for its size. It moves like lightning toward her head, avoiding her fumbling hands. Newt screams abjectly, backing away, until she is pressed up against a desk in one corner. Ripley has both hands up, forcing the pulsing body back from her face. The thing's tail whips around her throat and begins to tighten, forcing the underside of its

What danger did Ripley face immediately after the colony was destroyed by the nuclear blast?

The alien queen atacked.

She fires again, emptying the pistol, kicking the thrashing shape away. Acid cuts through her chickenplate armor, searing into her thigh. She cries out, gritting her teeth against the white-hot pain. Gorman sees Vasquez hit, unable to move. Sees the creatures coming the other way...and turns away from the escape hole. He crawls back to her, grabs her battle harness and starts dragging her towards safety. Too late. The approaching alien warriors have reached and passed the opening. Vasquez sees him, barely conscious. She seizes his hand in a deadly drip, but we RECOGNIZE it as the "power greeting" she shared with Drake... something for the chosen few. Gorman returns the grip. He hands her two grenades and arms two himself as the creatures are upon them. The kid moves like lightning, diving and dodging around obstacles. If it wasn't clear before it's clear now that we are on her turf, and she's the ace. Running on and on, their breathing loud and echoing...the walls a directionless blur. Newt never hesitates. They reach a junction with a narrow ANGLED CHUTE which runs upward at a steep 45 degrees. Ripley enters, bracing her feet on perilously narrow side ribs in the shaft. She looks down. The chute descends far into the depths, lost in shadow. She starts to climb with Next behind/below her, and Hicks, just emerging from the side duct. Newt slips, a rusted rib collapsing under her foot. She slides...catches herself with one hand. Ripley reaches for her, dropping her light. The hand-light goes skittering and bumping down the chute, around a bend, and disappears. Ripley strains, reaching, her hand groping for Newt's. They miss, inches apart. She slips. Hicks battle is joined. Claws swipe, tail lashes. Ripley parries with radical swipes of the steel forks. They circle in a whirling blur, demolishing everything in their path. The cavernous chamber echoes with nightmarish sounds...WHINE, CRASH, <b> CLANG, SCREECH. </b> They lock in a death embrace. Ripley closes the forks, crushing two of the creature's limbs. It lashes and writhes with incredible fury, coming within inches of her exposed body. She lifts it off the ground. The hind legs rip at her, slamming against the safety cage, denting it in. The striking teeth extend almost a meter from inside its fanged maw, shooting between the crash-bars. She ducks and the teeth slam into the seat cushion behind her dead in a spray of drool. Yellow acid foams down the hydraulic arms toward her. The creature rips at high-pressure hoses. Purple hydraulic fluid sprays ...machine blood mixing with alien blood. They topple, off balance. The Queen pins her. Ripley hits a switch. The power loader's CUTTING TORCH flares on, directly in the thing's face. They roll together, over the lip of a RECTANGULAR PIT, A VERTICAL LOADING AIRLOCK. Ripley pulls her arm out of the controls of the loader and claws toward a panel of airlock actuating buttons. She slaps the red "INNER DOOR OVERRIDE" and latches the "HOLD" locking-key down. A KLAXON begins to sound. She hits "OUTER DOOR OPEN" and there is a hurricane shriek of air as the doors on which they are lying separate, REVEALING the infinite pit of stars, below. All this time the Alien has been lashing at her in a frenzy and she has been parrying desperately in the confined space. SCUTTLING SHAPE LEAPS TOWARD HER from the foot of the bed! She ducks with a startled cry. The obscene thing hits the wall above her, legs moving lightning fast. Reflexively she slams the bed against the wall, pinning the creature inches above her face. Its legs and tail writhe with incredible ferocity and it emits a demented, piercing <b> SQUEAL. </b> Ripley heaves Newt across the polished floor and in a frenzied scramble rolls from beneath the cot. She flips it over, trapping the creature underneath. They back away, gasping. Ripley's eyes flash around the shadowed room where every corner of space between equipment holds lethal promise. The creature scuttles from beneath the bed and disappears under a back of cabinets in a blur. Ripley hugs Newt close and heads toward the door, moving as if every object in the room had a million volts running through it. She reaches the door. Hits the wall switch. Nothing happens. Disabled from outside. She tries the lights. Nothing. She pounds on the door. The acoustically dampened door panel thunks dully. She moves to the observation window, glancing frantically over her shoulder. The bare floor behind her is like a screaming threat. She pounds on the window. Through the double thickness window we can SEE that the lab is dark and empty. Ripley whirls, hearing a loathsome scrabbling behind her. Newt starts to whimper, feeding off her fear. She steps in front of the video surveillance camera and waves her arms in a circle. A hand ENTERS FRAME and switches off the monitor. Ripley's image vanishes. WIDER ANGLE as Burke straightens casually from the looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons rage. Still smoking where Ripley half-fried it. The Queen is huge, powerful...and very pissed off. It descends slowly, its six limbs unfolding in inhuman geometries. Ripley moves with nightmarish slowness herself, staring hypnotized...terrified to break and run. She lowers Newt to the deck, never taking her eyes off the creature. Newt runs for cover. The Alien drops to the deck, pivoting toward the motion. Ripley waves her arms, decoying. Without warning it moves like lightning, straight at her. Ripley spins, sprinting, as the creature leaps for her. Its feet slam, echoing, on the deck behind her. She clears a door. Hits the switch. It WHIRRS closed. BOOM. The Alien hits a moment later. VARIOUS ANGLES VERY TIGHT ON what she is doing...her feet going into stirruplike mechanisms. Velcro straps fastened over them. Fingers stabbing buttons in a sequence. Her hand closing on a complex grip-control. The HUM of powerful motors. The WHINE of hydraulics. Ripley steps out, WEARING TWO TONS OF HARDENED STEEL. THE POWER LOADER. Like medieval armor with the power of a bulldozer. She takes a step...the massive foot CRASH-CLANGS to the deck. She takes another, advancing. Ripley's expression is one you hope you'll never see... Hell hath no fury like that of a mother protecting her child and that primal, murderous rage surges through her now, banishing all fear. The Queen SCREECHES pure lethality and leaps. WALLOP! A roundhouse from one great hydraulic arm catches it on its hideous skull and slams it into a wall. It rebounds into a massive backhand. CRASH! It goes backward into heavy loading equipment. The Queen emerges as a blur of rage, lashing with unbelievable fury. The

How did Ripley ultimately defeat the alien queen?

She expelled it into space through a hatch in the ship

CLOSER SHOT It is the NARCISSUS, lifeboat of the ill-fated star-freighter Nostromo. Without interior or running lights it seems devoid of life. The PING of a RANGING RADAR grows louder, closer. A shadow engulfs the Narcissus. Searchlights flash on, playing over the tiny ship, as a MASSIVE DARK HULL descends toward it. 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 inward REVEALING a bizarre multi-armed figure. A ROBOT WELDER. FIGURES ENTER, backlit and ominous. THREE MEN in bio-isolation suits, carrying lights and equipment. They approach a sarcophaguslike HYPERSLEEP CAPSULE, f.g. His gloved hand wipes at on opaque layer of dust on the canopy. ANGLE INSIDE CAPSULE as light stabs in where the dust is wiped away, illuminating a WOMAN, her face in peaceful repose. WARRANT OFFICER RIPLEY, sole survivor of the Nostromo. Nestled next to her is JONES, the ship's wayward cat. Harsh light floods in as a motorized shield slides into the ceiling, REVEALING a breathtaking vista. Beyond the sprawling complex of modular habitats, collectively called GATEWAY STATION, is the curve of EARTH as seen from high orbit. Blue and serene. Ripley shrugs, not caring. The door opens and a MAN enters, although Ripley sees only what he is carrying. A familiar large, orange TOMCAT. She grabs the cat like a life preserver. Jones patiently endures Ripley's embarrassing display, seeming none the worse for wear. The visitor sits beside the bed and Ripley finally notices him. He is thirtyish and handsome, in a suit lunges, grabbing her oversized jacket. AND SHE SLIPS OUT OF IT. With an echoing scream Newt plummets, sliding down the chute into darkness. MOVING WITH HER, the walls racing by in a dizzy blur like a bobsled ride. THe shaft pitches left. Newt bounces, sliding halfway up the wall. The chute forks ahead. Newt tumbles into the right shaft, which drops at a steeper angle into the depths. Just disappearing down the LEFT SHAFT we SEE Ripley's light. Ripley looks Hicks in the eye. And kicks free...sliding down the chute after Newt. Ripley slams her feet into the side-ribs, bracing herself in a controlled descent. Ripley reaches the "V." Sees the glow of the light in the left fork. She goes left. She hears a plaintive reply, so echoey and distorted it has no direction. Ripley reaches the bottom of the chute where it intersects with a HORIZONTAL SERVICE TUNNEL. The light is lying there, but no Newt. The echoing wail comes again. Ripley starts down the tunnel, answering. Newt's call comes again. Fainter? She can't tell. She spins in a growing panic, starts the other way. Newt climbs some pipes, straining to reach the grating. Following the signal they come to a grating set in the floor. Ripley runs to the grating. Looking down she sees Newt's tearstreaked face. Newt reaches up. Her tiny fingers wriggle up through the bars of the grate. Ripley squeezes the child's precious fingertips. Newt backs away, climbing down the pipe as Hicks cuts into the bars with his hand-torch. The surface of the water reflects the beam placidly. Newt is gone. Bobbing in the water, eyes staring, is "Casey" the doll head. In sinks slowly, distorting, vanishing in darkness. Hicks pulls Ripley away from the hole. She struggles furiously, trying to tear out of his grip. He drags her back. It takes all of his strength. He sees something moving toward them through a lattice of pipes. Ripley is irrational. Hysterical. He drags her toward an ELEVATOR not far away at the end of the tunnel. Gets her inside, slamming her against the back wall. Hits the button to go to surface level. An alien warrior leaps into the tunnel, starts toward them. The doors are closing. Not fast enough. The creature gets one arm through, the doors closing on it. THEY OPEN AGAIN, an automatic safety feature. THE WARRIOR HISSES, LUNGING. Hicks FIRES, POINT-BLANK. It spins away, SCREECHING. Acid sluices between the closing doors, across Hicks' armored chest plate, as he shields Ripley with his body. The lift starts upward. Hicks' fingers race with the clasps as the stuff eats its way toward his skin. Galvanized out of her hysteria, Ripley claws at his armor, helping him as much as she can. He screams as the acid contacts his chest and arm. He shucks out of the combat armor like a madman, dropping the smoking pieces to the floor. Acrid fumes fill the air, searing eyes and lungs. The elevator stops. The doors part and they stumble out, Ripley supporting Hicks who is doubled over in agony. We APPROACH, hypnotically. The drop-ship ENTERS FRAME, moving toward the station. It pivots, hovering in the blasting turbulence, and settles onto a NARROW LANDING PLATFORM ten levels above the ground, or about a third of the way up the enormous structure. wind. She hits another button. The door-motors come to life and she relaxes a little. Glances behind her. AND SCREAMS! There's a face right there! Right at her shoulder. She jumps back, gasping for breath. He gestures for her to precede him inside. ON RIPLEY as they move along the corridor...reacting to the fact that she is back in alien country. She sees the ravaged administration complex. Fire-gutted offices. Hicks notices her looking around nervously. He motions to big Wierzbowski with his eyes and the trooper casually falls in beside her on the other side, rifle at ready. a two-man protective cordon. She glances at Hicks. He winks, but so fast maybe it's something in his eye. Trooper Frost emerges from a side corridor ahead. He leads the way into the corridor. They approach a barricade blocking the corridor, a hastily welded wall of pipes, steel-plate, outer-door panels. Acid holes have slashed through the floor and walls in several places. The metal is scratched and twisted by hideously powerful forces, peeled back like a soup can on one side. They squeeze through the opening. TIGHT ON RIPLEY transfixed by something. The others turn and approach, seeing what she sees. She has entered a second room, part of the med lab area. In a storage alcove at near eye level stand seven transparent cylinders. STASIS TUBES. They glow faintly with an eerie violet light given off by the field which preserves the specimens inside. They look like jars containing SEVERED ARTHRITIC HANDS, the palsied fingers curled in a death-rictus. Structurally they are more like spiders with sickening translucent skin, a flacid scrotal body, gill-like organs underneath drifting in the suspension The airlock becomes a wind tunnel, blasting and buffetting her as she struggles to unstrap from the loader. The air of the vast ship howls past her into space as she claws her way up a service ladder. The door opens farther, all of space yawning below. The loader tumbles clear, falling away. It drags the Alien, still clutching one of Ripley's lucky hi-tops, into the depths of space. Its SHRIEK fades, it gone. With all her strength Ripley fights the blasting air, crawling over the lip of the inner doorway. She releases the OVERRIDE from a second panel. The inner doors close. The turbulent air eddies and settles. She lies on her back, drained of all strength. Gasping for breath. Weakly she turns her head, seeing Bishop still holding Newt by the arm. Encrusted with his own vanilla milkshake blood. Bishop gives her a small, grim smile. Ripley crosses to Newt. Ripley hugs her desperately. HOLD ON THEM AS they recede down the long straight corridor.

What was the name of the ship that brought the survivors home?

The USS Sulaco

looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons CLOSER SHOT It is the NARCISSUS, lifeboat of the ill-fated star-freighter Nostromo. Without interior or running lights it seems devoid of life. The PING of a RANGING RADAR grows louder, closer. A shadow engulfs the Narcissus. Searchlights flash on, playing over the tiny ship, as a MASSIVE DARK HULL descends toward it. 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 inward REVEALING a bizarre multi-armed figure. A ROBOT WELDER. FIGURES ENTER, backlit and ominous. THREE MEN in bio-isolation suits, carrying lights and equipment. They approach a sarcophaguslike HYPERSLEEP CAPSULE, f.g. His gloved hand wipes at on opaque layer of dust on the canopy. ANGLE INSIDE CAPSULE as light stabs in where the dust is wiped away, illuminating a WOMAN, her face in peaceful repose. WARRANT OFFICER RIPLEY, sole survivor of the Nostromo. Nestled next to her is JONES, the ship's wayward cat. Harsh light floods in as a motorized shield slides into the ceiling, REVEALING a breathtaking vista. Beyond the sprawling complex of modular habitats, collectively called GATEWAY STATION, is the curve of EARTH as seen from high orbit. Blue and serene. Ripley shrugs, not caring. The door opens and a MAN enters, although Ripley sees only what he is carrying. A familiar large, orange TOMCAT. She grabs the cat like a life preserver. Jones patiently endures Ripley's embarrassing display, seeming none the worse for wear. The visitor sits beside the bed and Ripley finally notices him. He is thirtyish and handsome, in a suit battle is joined. Claws swipe, tail lashes. Ripley parries with radical swipes of the steel forks. They circle in a whirling blur, demolishing everything in their path. The cavernous chamber echoes with nightmarish sounds...WHINE, CRASH, <b> CLANG, SCREECH. </b> They lock in a death embrace. Ripley closes the forks, crushing two of the creature's limbs. It lashes and writhes with incredible fury, coming within inches of her exposed body. She lifts it off the ground. The hind legs rip at her, slamming against the safety cage, denting it in. The striking teeth extend almost a meter from inside its fanged maw, shooting between the crash-bars. She ducks and the teeth slam into the seat cushion behind her dead in a spray of drool. Yellow acid foams down the hydraulic arms toward her. The creature rips at high-pressure hoses. Purple hydraulic fluid sprays ...machine blood mixing with alien blood. They topple, off balance. The Queen pins her. Ripley hits a switch. The power loader's CUTTING TORCH flares on, directly in the thing's face. They roll together, over the lip of a RECTANGULAR PIT, A VERTICAL LOADING AIRLOCK. Ripley pulls her arm out of the controls of the loader and claws toward a panel of airlock actuating buttons. She slaps the red "INNER DOOR OVERRIDE" and latches the "HOLD" locking-key down. A KLAXON begins to sound. She hits "OUTER DOOR OPEN" and there is a hurricane shriek of air as the doors on which they are lying separate, REVEALING the infinite pit of stars, below. All this time the Alien has been lashing at her in a frenzy and she has been parrying desperately in the confined space. rage. Still smoking where Ripley half-fried it. The Queen is huge, powerful...and very pissed off. It descends slowly, its six limbs unfolding in inhuman geometries. Ripley moves with nightmarish slowness herself, staring hypnotized...terrified to break and run. She lowers Newt to the deck, never taking her eyes off the creature. Newt runs for cover. The Alien drops to the deck, pivoting toward the motion. Ripley waves her arms, decoying. Without warning it moves like lightning, straight at her. Ripley spins, sprinting, as the creature leaps for her. Its feet slam, echoing, on the deck behind her. She clears a door. Hits the switch. It WHIRRS closed. BOOM. The Alien hits a moment later. VARIOUS ANGLES VERY TIGHT ON what she is doing...her feet going into stirruplike mechanisms. Velcro straps fastened over them. Fingers stabbing buttons in a sequence. Her hand closing on a complex grip-control. The HUM of powerful motors. The WHINE of hydraulics. Ripley steps out, WEARING TWO TONS OF HARDENED STEEL. THE POWER LOADER. Like medieval armor with the power of a bulldozer. She takes a step...the massive foot CRASH-CLANGS to the deck. She takes another, advancing. Ripley's expression is one you hope you'll never see... Hell hath no fury like that of a mother protecting her child and that primal, murderous rage surges through her now, banishing all fear. The Queen SCREECHES pure lethality and leaps. WALLOP! A roundhouse from one great hydraulic arm catches it on its hideous skull and slams it into a wall. It rebounds into a massive backhand. CRASH! It goes backward into heavy loading equipment. The Queen emerges as a blur of rage, lashing with unbelievable fury. The SCUTTLING SHAPE LEAPS TOWARD HER from the foot of the bed! She ducks with a startled cry. The obscene thing hits the wall above her, legs moving lightning fast. Reflexively she slams the bed against the wall, pinning the creature inches above her face. Its legs and tail writhe with incredible ferocity and it emits a demented, piercing <b> SQUEAL. </b> Ripley heaves Newt across the polished floor and in a frenzied scramble rolls from beneath the cot. She flips it over, trapping the creature underneath. They back away, gasping. Ripley's eyes flash around the shadowed room where every corner of space between equipment holds lethal promise. The creature scuttles from beneath the bed and disappears under a back of cabinets in a blur. Ripley hugs Newt close and heads toward the door, moving as if every object in the room had a million volts running through it. She reaches the door. Hits the wall switch. Nothing happens. Disabled from outside. She tries the lights. Nothing. She pounds on the door. The acoustically dampened door panel thunks dully. She moves to the observation window, glancing frantically over her shoulder. The bare floor behind her is like a screaming threat. She pounds on the window. Through the double thickness window we can SEE that the lab is dark and empty. Ripley whirls, hearing a loathsome scrabbling behind her. Newt starts to whimper, feeding off her fear. She steps in front of the video surveillance camera and waves her arms in a circle. A hand ENTERS FRAME and switches off the monitor. Ripley's image vanishes. WIDER ANGLE as Burke straightens casually from the

What was the name of Ripley's original ship that was destroyed?

The USCSS Nostromo

looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons ON HUDSON scanning the med lab and the nearby barrier. BEEP. Hudson's tracker lights up, a faint signal. He pans it around. Back down the corridor. It beep again, louder. ANGLE ON VASQUEZ swinging her tracker and rifle together. She aims it behind her. BEEP. Hudson reaches the door to operations at a run, a moment before Vasquez. They pull the door shut and lock it. He pans the scanner. Stops. The range display reads out, counting down. Vasquez picks up a hand-welder and moves to comply. He hands one flamethrower to RIpley and begins priming the other himself. It lights with a muffled POP. Ripley's lights a moment later. Sparks shower around Vasquez as she begins welding the door. Hudson's tracker is beeping like mad now, as fast as their hearts. She picks up Vasquez' scanner and aims it the same direction as Hudson's. Vasquez is heedlessly showering herself with molten metal as she welds the door shut. Working like a demon. Ripley fiddles with her tracker, adjusting the tuning. He looks at Ripley. It dawns on both of them at the same time. She feels a cold premonitory dread as she angles her tracker upward to the ceiling, almost overhead. The tone gets louder. Hicks climbs onto a file cabinet and raises a panel of acoustic drop-ceiling. He shines his light inside. Something moves...he snaps the light around. It's a meter behind him. IT LUNGES! He drops reflexively, the claws raking across his armor. Hicks falls into the room just as the creatures detach en masse from the handholds. THE CEILING EXPLODES, raining debris. Nightmare shapes drop into the room. Newt screams. Hudson opens fire. lunges, grabbing her oversized jacket. AND SHE SLIPS OUT OF IT. With an echoing scream Newt plummets, sliding down the chute into darkness. MOVING WITH HER, the walls racing by in a dizzy blur like a bobsled ride. THe shaft pitches left. Newt bounces, sliding halfway up the wall. The chute forks ahead. Newt tumbles into the right shaft, which drops at a steeper angle into the depths. Just disappearing down the LEFT SHAFT we SEE Ripley's light. Ripley looks Hicks in the eye. And kicks free...sliding down the chute after Newt. Ripley slams her feet into the side-ribs, bracing herself in a controlled descent. Ripley reaches the "V." Sees the glow of the light in the left fork. She goes left. She hears a plaintive reply, so echoey and distorted it has no direction. Ripley reaches the bottom of the chute where it intersects with a HORIZONTAL SERVICE TUNNEL. The light is lying there, but no Newt. The echoing wail comes again. Ripley starts down the tunnel, answering. Newt's call comes again. Fainter? She can't tell. She spins in a growing panic, starts the other way. Newt climbs some pipes, straining to reach the grating. Following the signal they come to a grating set in the floor. Ripley runs to the grating. Looking down she sees Newt's tearstreaked face. Newt reaches up. Her tiny fingers wriggle up through the bars of the grate. Ripley squeezes the child's precious fingertips. Newt backs away, climbing down the pipe as Hicks cuts into the bars with his hand-torch. The surface of the water reflects the beam placidly. Newt is gone. Bobbing in the water, eyes staring, is "Casey" the doll head. She fires again, emptying the pistol, kicking the thrashing shape away. Acid cuts through her chickenplate armor, searing into her thigh. She cries out, gritting her teeth against the white-hot pain. Gorman sees Vasquez hit, unable to move. Sees the creatures coming the other way...and turns away from the escape hole. He crawls back to her, grabs her battle harness and starts dragging her towards safety. Too late. The approaching alien warriors have reached and passed the opening. Vasquez sees him, barely conscious. She seizes his hand in a deadly drip, but we RECOGNIZE it as the "power greeting" she shared with Drake... something for the chosen few. Gorman returns the grip. He hands her two grenades and arms two himself as the creatures are upon them. The kid moves like lightning, diving and dodging around obstacles. If it wasn't clear before it's clear now that we are on her turf, and she's the ace. Running on and on, their breathing loud and echoing...the walls a directionless blur. Newt never hesitates. They reach a junction with a narrow ANGLED CHUTE which runs upward at a steep 45 degrees. Ripley enters, bracing her feet on perilously narrow side ribs in the shaft. She looks down. The chute descends far into the depths, lost in shadow. She starts to climb with Next behind/below her, and Hicks, just emerging from the side duct. Newt slips, a rusted rib collapsing under her foot. She slides...catches herself with one hand. Ripley reaches for her, dropping her light. The hand-light goes skittering and bumping down the chute, around a bend, and disappears. Ripley strains, reaching, her hand groping for Newt's. They miss, inches apart. She slips. Hicks console. Hicks is talking via headset with Bishop and hasn't noticed Ripley's plight or Burke's action. REVERSE ANGLE from the med lab side, showing her futile efforts, the chair hitting with a dull THWACK barely audible through the double thickness pressure port. Ripley turns, studying the room. She fumbles through a clutter of equipment on a counter next to her and finds a SMALL EXAMINATION LIGHT. Snapping it on she plays the beam over the walls. Tall assemblies of surgical and anaethesiology equipment loom in the dark. She hears, ot thinks she hears, movements. The light spins across the room, swiveling and bobbing frantically. Like an indicator of her growing panic. Newt starts a thin, high wailing. Ripley steadies herself, realizing Newt's terror and the child's dependence on her. She plays the beam across the ceiling. Holds on something. Gets an idea. She removes her lighter from a jacket pocket and picks up some papers from the counter. Moving cautiously she boosts Newt up onto the SURGICAL TABLE in the center of the room and clambers up after her. Ripley lights the papers and holds the flaming mass under the temperature sensor of a fire control system SPRINKLER HEAD. It triggers, spraying the room from several sources with water. An ALARM sounds throughout the complex. She tears at it, but it is incredibly powerful for its size. It moves like lightning toward her head, avoiding her fumbling hands. Newt screams abjectly, backing away, until she is pressed up against a desk in one corner. Ripley has both hands up, forcing the pulsing body back from her face. The thing's tail whips around her throat and begins to tighten, forcing the underside of its

How did Newt hide from everyone and so avoid being captured and killed?

She used the ventilation system.

looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons battle is joined. Claws swipe, tail lashes. Ripley parries with radical swipes of the steel forks. They circle in a whirling blur, demolishing everything in their path. The cavernous chamber echoes with nightmarish sounds...WHINE, CRASH, <b> CLANG, SCREECH. </b> They lock in a death embrace. Ripley closes the forks, crushing two of the creature's limbs. It lashes and writhes with incredible fury, coming within inches of her exposed body. She lifts it off the ground. The hind legs rip at her, slamming against the safety cage, denting it in. The striking teeth extend almost a meter from inside its fanged maw, shooting between the crash-bars. She ducks and the teeth slam into the seat cushion behind her dead in a spray of drool. Yellow acid foams down the hydraulic arms toward her. The creature rips at high-pressure hoses. Purple hydraulic fluid sprays ...machine blood mixing with alien blood. They topple, off balance. The Queen pins her. Ripley hits a switch. The power loader's CUTTING TORCH flares on, directly in the thing's face. They roll together, over the lip of a RECTANGULAR PIT, A VERTICAL LOADING AIRLOCK. Ripley pulls her arm out of the controls of the loader and claws toward a panel of airlock actuating buttons. She slaps the red "INNER DOOR OVERRIDE" and latches the "HOLD" locking-key down. A KLAXON begins to sound. She hits "OUTER DOOR OPEN" and there is a hurricane shriek of air as the doors on which they are lying separate, REVEALING the infinite pit of stars, below. All this time the Alien has been lashing at her in a frenzy and she has been parrying desperately in the confined space. In sinks slowly, distorting, vanishing in darkness. Hicks pulls Ripley away from the hole. She struggles furiously, trying to tear out of his grip. He drags her back. It takes all of his strength. He sees something moving toward them through a lattice of pipes. Ripley is irrational. Hysterical. He drags her toward an ELEVATOR not far away at the end of the tunnel. Gets her inside, slamming her against the back wall. Hits the button to go to surface level. An alien warrior leaps into the tunnel, starts toward them. The doors are closing. Not fast enough. The creature gets one arm through, the doors closing on it. THEY OPEN AGAIN, an automatic safety feature. THE WARRIOR HISSES, LUNGING. Hicks FIRES, POINT-BLANK. It spins away, SCREECHING. Acid sluices between the closing doors, across Hicks' armored chest plate, as he shields Ripley with his body. The lift starts upward. Hicks' fingers race with the clasps as the stuff eats its way toward his skin. Galvanized out of her hysteria, Ripley claws at his armor, helping him as much as she can. He screams as the acid contacts his chest and arm. He shucks out of the combat armor like a madman, dropping the smoking pieces to the floor. Acrid fumes fill the air, searing eyes and lungs. The elevator stops. The doors part and they stumble out, Ripley supporting Hicks who is doubled over in agony. We APPROACH, hypnotically. The drop-ship ENTERS FRAME, moving toward the station. It pivots, hovering in the blasting turbulence, and settles onto a NARROW LANDING PLATFORM ten levels above the ground, or about a third of the way up the enormous structure. CLOSER SHOT It is the NARCISSUS, lifeboat of the ill-fated star-freighter Nostromo. Without interior or running lights it seems devoid of life. The PING of a RANGING RADAR grows louder, closer. A shadow engulfs the Narcissus. Searchlights flash on, playing over the tiny ship, as a MASSIVE DARK HULL descends toward it. 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 inward REVEALING a bizarre multi-armed figure. A ROBOT WELDER. FIGURES ENTER, backlit and ominous. THREE MEN in bio-isolation suits, carrying lights and equipment. They approach a sarcophaguslike HYPERSLEEP CAPSULE, f.g. His gloved hand wipes at on opaque layer of dust on the canopy. ANGLE INSIDE CAPSULE as light stabs in where the dust is wiped away, illuminating a WOMAN, her face in peaceful repose. WARRANT OFFICER RIPLEY, sole survivor of the Nostromo. Nestled next to her is JONES, the ship's wayward cat. Harsh light floods in as a motorized shield slides into the ceiling, REVEALING a breathtaking vista. Beyond the sprawling complex of modular habitats, collectively called GATEWAY STATION, is the curve of EARTH as seen from high orbit. Blue and serene. Ripley shrugs, not caring. The door opens and a MAN enters, although Ripley sees only what he is carrying. A familiar large, orange TOMCAT. She grabs the cat like a life preserver. Jones patiently endures Ripley's embarrassing display, seeming none the worse for wear. The visitor sits beside the bed and Ripley finally notices him. He is thirtyish and handsome, in a suit rage. Still smoking where Ripley half-fried it. The Queen is huge, powerful...and very pissed off. It descends slowly, its six limbs unfolding in inhuman geometries. Ripley moves with nightmarish slowness herself, staring hypnotized...terrified to break and run. She lowers Newt to the deck, never taking her eyes off the creature. Newt runs for cover. The Alien drops to the deck, pivoting toward the motion. Ripley waves her arms, decoying. Without warning it moves like lightning, straight at her. Ripley spins, sprinting, as the creature leaps for her. Its feet slam, echoing, on the deck behind her. She clears a door. Hits the switch. It WHIRRS closed. BOOM. The Alien hits a moment later. VARIOUS ANGLES VERY TIGHT ON what she is doing...her feet going into stirruplike mechanisms. Velcro straps fastened over them. Fingers stabbing buttons in a sequence. Her hand closing on a complex grip-control. The HUM of powerful motors. The WHINE of hydraulics. Ripley steps out, WEARING TWO TONS OF HARDENED STEEL. THE POWER LOADER. Like medieval armor with the power of a bulldozer. She takes a step...the massive foot CRASH-CLANGS to the deck. She takes another, advancing. Ripley's expression is one you hope you'll never see... Hell hath no fury like that of a mother protecting her child and that primal, murderous rage surges through her now, banishing all fear. The Queen SCREECHES pure lethality and leaps. WALLOP! A roundhouse from one great hydraulic arm catches it on its hideous skull and slams it into a wall. It rebounds into a massive backhand. CRASH! It goes backward into heavy loading equipment. The Queen emerges as a blur of rage, lashing with unbelievable fury. The

What is the name of the exomoon that Ripley returns to?

LV-426

looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons rage. Still smoking where Ripley half-fried it. The Queen is huge, powerful...and very pissed off. It descends slowly, its six limbs unfolding in inhuman geometries. Ripley moves with nightmarish slowness herself, staring hypnotized...terrified to break and run. She lowers Newt to the deck, never taking her eyes off the creature. Newt runs for cover. The Alien drops to the deck, pivoting toward the motion. Ripley waves her arms, decoying. Without warning it moves like lightning, straight at her. Ripley spins, sprinting, as the creature leaps for her. Its feet slam, echoing, on the deck behind her. She clears a door. Hits the switch. It WHIRRS closed. BOOM. The Alien hits a moment later. VARIOUS ANGLES VERY TIGHT ON what she is doing...her feet going into stirruplike mechanisms. Velcro straps fastened over them. Fingers stabbing buttons in a sequence. Her hand closing on a complex grip-control. The HUM of powerful motors. The WHINE of hydraulics. Ripley steps out, WEARING TWO TONS OF HARDENED STEEL. THE POWER LOADER. Like medieval armor with the power of a bulldozer. She takes a step...the massive foot CRASH-CLANGS to the deck. She takes another, advancing. Ripley's expression is one you hope you'll never see... Hell hath no fury like that of a mother protecting her child and that primal, murderous rage surges through her now, banishing all fear. The Queen SCREECHES pure lethality and leaps. WALLOP! A roundhouse from one great hydraulic arm catches it on its hideous skull and slams it into a wall. It rebounds into a massive backhand. CRASH! It goes backward into heavy loading equipment. The Queen emerges as a blur of rage, lashing with unbelievable fury. The like a child, still shattered by the nightmare. Shivering. Sleep is far off. But at what price? EXTREME F.G. Jones stalks toward a bird hopping among fallen leaves. He leaps. And smack into A WALL. WIDER ANGLE as Jones steps back confused from the HIGH-RESOLUTION ENVIRONMENTAL WALL SCREEN, a sort of cinerama video-loop. Ripley sits on a bench in what we now SEE is an ATRIUM off the medical center, still somewhere in the bowels of Gateway Station. Benches. Some unenthusiastic potted trees. The sterile corridors VISIBLE beyond glass doors b.g. Burke ENTERS in his usual mode, casual haste. Ripley seems healthier now, but still a bit brittle. He opens his briefcase, removing a sheet of printer hard copy, including a telestat photo. Ripley studies the PHOTOGRAPH, stunned. The face of a woman in her mid-sixties. It could be anybody. She tries to reconcile the face with the little girl she once knew. Ripley gazes off, into the pseudo-landscape, into the past. Burke nods, a simpatico presence. Let's get one thing straight...Ripley can be one tough lady. But the terror, the loss, the emptiness are, in this moment, overwhelming. She cries silently. Burke puts a reassuring hand on her arm. She faces the EIGHT MEMBERS of the board of inquiry at a long conference table. Gray suits and grim faces. They aren't buying. Behind Ripley on a large VIDEO SCREEN, PARKER grins like a goon from his personnel mugshot. His file prints out next to it. BRETT's face and dossier replace it, and then the others as the SCENE continues... KANE, LAMBERT, ASH the android traitor, DALLAS. VAN LEUWEN, the ICC representative, steeples his fingers and frowns. Ripley sense the noose tightening. Vasquez grabs Hicks, pulls him up, firing one handed with her flamethrower. Ripley scoops up Newt and staggers back. Gorman turns to fire and Burke bolts for the only remaining exit, the corridor connecting to the med lab. In the strobelike glare of the pulse-rifles we SEE flashes of aliens, moving forward in the smoke from the flamethrower fires. They move like nothing human... leaping quick as insects at times or gliding with powerful, balletic grace. She dashes for the corridor. Behind her an alien is moving down the corridor like a locomotive, a graceful skeleton shape as lethal and inhuman as you can imagine. Strobe flashes backlight the demented silhouette. Shaking, Ripley raises her rifle. She squeezes the trigger. NOTHING HAPPENS. The creature HISSES, baring its teeth as it advances. Ripley checks the SAFETY. The safety is off. The DIGITAL COUNTER. The magazine is full. Newt begins to wail. Ripley's hands, slick with sweat, are trembling so much she almost drops the rifle. Panic screams in her brain. The thing is almost on her, filling the corridor, when she remembers. She snaps the bolt back, chambering a round. Whips the stock to her shoulder. FIRES. FLASH-CRACK! A FLASHBULB GLIMPSE OF shrieking jaws as the silhouette is hurled back, screeching insanely. Ripley is slammed against the door by the recoil, blinded by the flash and deafened by the concussion. Hudson screams as floor panels lift under him, and clawed arms seize him lightning fast, dragging him down. Another skeletal shape leaps on him from above. He disappears into the subfloor crawlway. Hicks, Vasquez and Gorman make it to the med lab access corridor. The troopers seem to materialize out In sinks slowly, distorting, vanishing in darkness. Hicks pulls Ripley away from the hole. She struggles furiously, trying to tear out of his grip. He drags her back. It takes all of his strength. He sees something moving toward them through a lattice of pipes. Ripley is irrational. Hysterical. He drags her toward an ELEVATOR not far away at the end of the tunnel. Gets her inside, slamming her against the back wall. Hits the button to go to surface level. An alien warrior leaps into the tunnel, starts toward them. The doors are closing. Not fast enough. The creature gets one arm through, the doors closing on it. THEY OPEN AGAIN, an automatic safety feature. THE WARRIOR HISSES, LUNGING. Hicks FIRES, POINT-BLANK. It spins away, SCREECHING. Acid sluices between the closing doors, across Hicks' armored chest plate, as he shields Ripley with his body. The lift starts upward. Hicks' fingers race with the clasps as the stuff eats its way toward his skin. Galvanized out of her hysteria, Ripley claws at his armor, helping him as much as she can. He screams as the acid contacts his chest and arm. He shucks out of the combat armor like a madman, dropping the smoking pieces to the floor. Acrid fumes fill the air, searing eyes and lungs. The elevator stops. The doors part and they stumble out, Ripley supporting Hicks who is doubled over in agony. We APPROACH, hypnotically. The drop-ship ENTERS FRAME, moving toward the station. It pivots, hovering in the blasting turbulence, and settles onto a NARROW LANDING PLATFORM ten levels above the ground, or about a third of the way up the enormous structure.

How does Ripley originally feel about the new expedition?

She is nervous and refuses to go.

ON HUDSON scanning the med lab and the nearby barrier. BEEP. Hudson's tracker lights up, a faint signal. He pans it around. Back down the corridor. It beep again, louder. ANGLE ON VASQUEZ swinging her tracker and rifle together. She aims it behind her. BEEP. Hudson reaches the door to operations at a run, a moment before Vasquez. They pull the door shut and lock it. He pans the scanner. Stops. The range display reads out, counting down. Vasquez picks up a hand-welder and moves to comply. He hands one flamethrower to RIpley and begins priming the other himself. It lights with a muffled POP. Ripley's lights a moment later. Sparks shower around Vasquez as she begins welding the door. Hudson's tracker is beeping like mad now, as fast as their hearts. She picks up Vasquez' scanner and aims it the same direction as Hudson's. Vasquez is heedlessly showering herself with molten metal as she welds the door shut. Working like a demon. Ripley fiddles with her tracker, adjusting the tuning. He looks at Ripley. It dawns on both of them at the same time. She feels a cold premonitory dread as she angles her tracker upward to the ceiling, almost overhead. The tone gets louder. Hicks climbs onto a file cabinet and raises a panel of acoustic drop-ceiling. He shines his light inside. Something moves...he snaps the light around. It's a meter behind him. IT LUNGES! He drops reflexively, the claws raking across his armor. Hicks falls into the room just as the creatures detach en masse from the handholds. THE CEILING EXPLODES, raining debris. Nightmare shapes drop into the room. Newt screams. Hudson opens fire. looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons rage. Still smoking where Ripley half-fried it. The Queen is huge, powerful...and very pissed off. It descends slowly, its six limbs unfolding in inhuman geometries. Ripley moves with nightmarish slowness herself, staring hypnotized...terrified to break and run. She lowers Newt to the deck, never taking her eyes off the creature. Newt runs for cover. The Alien drops to the deck, pivoting toward the motion. Ripley waves her arms, decoying. Without warning it moves like lightning, straight at her. Ripley spins, sprinting, as the creature leaps for her. Its feet slam, echoing, on the deck behind her. She clears a door. Hits the switch. It WHIRRS closed. BOOM. The Alien hits a moment later. VARIOUS ANGLES VERY TIGHT ON what she is doing...her feet going into stirruplike mechanisms. Velcro straps fastened over them. Fingers stabbing buttons in a sequence. Her hand closing on a complex grip-control. The HUM of powerful motors. The WHINE of hydraulics. Ripley steps out, WEARING TWO TONS OF HARDENED STEEL. THE POWER LOADER. Like medieval armor with the power of a bulldozer. She takes a step...the massive foot CRASH-CLANGS to the deck. She takes another, advancing. Ripley's expression is one you hope you'll never see... Hell hath no fury like that of a mother protecting her child and that primal, murderous rage surges through her now, banishing all fear. The Queen SCREECHES pure lethality and leaps. WALLOP! A roundhouse from one great hydraulic arm catches it on its hideous skull and slams it into a wall. It rebounds into a massive backhand. CRASH! It goes backward into heavy loading equipment. The Queen emerges as a blur of rage, lashing with unbelievable fury. The in volume and ferocity. Mixed with the echoing crash-clang is a nerve-wrecking SCREECH of claws on steel. The intercom buzzes, startling them. They watch as another gas jet lights up the fog-shrouded landscape. Ripley is wound up like a dynamo, her mind spinning out options, grim solutions. They listen. Nothing. An instant later comes the HIGH-PITCHED TRILLING of a motion-sensor alarm. Hicks looks at the tactical board. Ripley looks at her watch. She squirms into the shaft, pushing the equipment along ahead of him with a scraping rhythm. The diameter of the conduit is barely larger than the width of his shoulders. Vasquez slides a metal plate over the hole and begins spot welding it in place. Ripley jumps up, unslinging a FLAMETHROWER from her shoulder in one motion, and sprints for Operations with Vasquez. The sound of SENTRY GUNS opening up in staccato bursts echoes from close by. The digital readout whirl through descending numbers. An inhuman SHRILL SCREECHING is audible between bursts of fire. Then the firing from the remaining guns stop abruptly. The video image is a swirling wall of smoke. Small fires burn, dim glows in the mist. There are black and twisted shapes, and pieces of twisted shapes, scattered at the edge of visibility. However, nothing emerges from the wall of smoke. The motion sensor TONE shuts off. The moment stretches. Everyone exhales slowly. The digital counters for the two sentry guns read "0" and "10" respectively. Less than a second's worth of firing. The two troopers nod and head for the corridor. Ripley sighs and picks up a cup of cold coffee, draining it in one gulp. Ripley shrugs. She seems soul weary, drained by the nerve-wracking tension. She fires again, emptying the pistol, kicking the thrashing shape away. Acid cuts through her chickenplate armor, searing into her thigh. She cries out, gritting her teeth against the white-hot pain. Gorman sees Vasquez hit, unable to move. Sees the creatures coming the other way...and turns away from the escape hole. He crawls back to her, grabs her battle harness and starts dragging her towards safety. Too late. The approaching alien warriors have reached and passed the opening. Vasquez sees him, barely conscious. She seizes his hand in a deadly drip, but we RECOGNIZE it as the "power greeting" she shared with Drake... something for the chosen few. Gorman returns the grip. He hands her two grenades and arms two himself as the creatures are upon them. The kid moves like lightning, diving and dodging around obstacles. If it wasn't clear before it's clear now that we are on her turf, and she's the ace. Running on and on, their breathing loud and echoing...the walls a directionless blur. Newt never hesitates. They reach a junction with a narrow ANGLED CHUTE which runs upward at a steep 45 degrees. Ripley enters, bracing her feet on perilously narrow side ribs in the shaft. She looks down. The chute descends far into the depths, lost in shadow. She starts to climb with Next behind/below her, and Hicks, just emerging from the side duct. Newt slips, a rusted rib collapsing under her foot. She slides...catches herself with one hand. Ripley reaches for her, dropping her light. The hand-light goes skittering and bumping down the chute, around a bend, and disappears. Ripley strains, reaching, her hand groping for Newt's. They miss, inches apart. She slips. Hicks

What arouses the aliens to make them attack the marines?

The marines kill a newborn alien

ON HUDSON scanning the med lab and the nearby barrier. BEEP. Hudson's tracker lights up, a faint signal. He pans it around. Back down the corridor. It beep again, louder. ANGLE ON VASQUEZ swinging her tracker and rifle together. She aims it behind her. BEEP. Hudson reaches the door to operations at a run, a moment before Vasquez. They pull the door shut and lock it. He pans the scanner. Stops. The range display reads out, counting down. Vasquez picks up a hand-welder and moves to comply. He hands one flamethrower to RIpley and begins priming the other himself. It lights with a muffled POP. Ripley's lights a moment later. Sparks shower around Vasquez as she begins welding the door. Hudson's tracker is beeping like mad now, as fast as their hearts. She picks up Vasquez' scanner and aims it the same direction as Hudson's. Vasquez is heedlessly showering herself with molten metal as she welds the door shut. Working like a demon. Ripley fiddles with her tracker, adjusting the tuning. He looks at Ripley. It dawns on both of them at the same time. She feels a cold premonitory dread as she angles her tracker upward to the ceiling, almost overhead. The tone gets louder. Hicks climbs onto a file cabinet and raises a panel of acoustic drop-ceiling. He shines his light inside. Something moves...he snaps the light around. It's a meter behind him. IT LUNGES! He drops reflexively, the claws raking across his armor. Hicks falls into the room just as the creatures detach en masse from the handholds. THE CEILING EXPLODES, raining debris. Nightmare shapes drop into the room. Newt screams. Hudson opens fire. lunges, grabbing her oversized jacket. AND SHE SLIPS OUT OF IT. With an echoing scream Newt plummets, sliding down the chute into darkness. MOVING WITH HER, the walls racing by in a dizzy blur like a bobsled ride. THe shaft pitches left. Newt bounces, sliding halfway up the wall. The chute forks ahead. Newt tumbles into the right shaft, which drops at a steeper angle into the depths. Just disappearing down the LEFT SHAFT we SEE Ripley's light. Ripley looks Hicks in the eye. And kicks free...sliding down the chute after Newt. Ripley slams her feet into the side-ribs, bracing herself in a controlled descent. Ripley reaches the "V." Sees the glow of the light in the left fork. She goes left. She hears a plaintive reply, so echoey and distorted it has no direction. Ripley reaches the bottom of the chute where it intersects with a HORIZONTAL SERVICE TUNNEL. The light is lying there, but no Newt. The echoing wail comes again. Ripley starts down the tunnel, answering. Newt's call comes again. Fainter? She can't tell. She spins in a growing panic, starts the other way. Newt climbs some pipes, straining to reach the grating. Following the signal they come to a grating set in the floor. Ripley runs to the grating. Looking down she sees Newt's tearstreaked face. Newt reaches up. Her tiny fingers wriggle up through the bars of the grate. Ripley squeezes the child's precious fingertips. Newt backs away, climbing down the pipe as Hicks cuts into the bars with his hand-torch. The surface of the water reflects the beam placidly. Newt is gone. Bobbing in the water, eyes staring, is "Casey" the doll head. She fires again, emptying the pistol, kicking the thrashing shape away. Acid cuts through her chickenplate armor, searing into her thigh. She cries out, gritting her teeth against the white-hot pain. Gorman sees Vasquez hit, unable to move. Sees the creatures coming the other way...and turns away from the escape hole. He crawls back to her, grabs her battle harness and starts dragging her towards safety. Too late. The approaching alien warriors have reached and passed the opening. Vasquez sees him, barely conscious. She seizes his hand in a deadly drip, but we RECOGNIZE it as the "power greeting" she shared with Drake... something for the chosen few. Gorman returns the grip. He hands her two grenades and arms two himself as the creatures are upon them. The kid moves like lightning, diving and dodging around obstacles. If it wasn't clear before it's clear now that we are on her turf, and she's the ace. Running on and on, their breathing loud and echoing...the walls a directionless blur. Newt never hesitates. They reach a junction with a narrow ANGLED CHUTE which runs upward at a steep 45 degrees. Ripley enters, bracing her feet on perilously narrow side ribs in the shaft. She looks down. The chute descends far into the depths, lost in shadow. She starts to climb with Next behind/below her, and Hicks, just emerging from the side duct. Newt slips, a rusted rib collapsing under her foot. She slides...catches herself with one hand. Ripley reaches for her, dropping her light. The hand-light goes skittering and bumping down the chute, around a bend, and disappears. Ripley strains, reaching, her hand groping for Newt's. They miss, inches apart. She slips. Hicks looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons SCUTTLING SHAPE LEAPS TOWARD HER from the foot of the bed! She ducks with a startled cry. The obscene thing hits the wall above her, legs moving lightning fast. Reflexively she slams the bed against the wall, pinning the creature inches above her face. Its legs and tail writhe with incredible ferocity and it emits a demented, piercing <b> SQUEAL. </b> Ripley heaves Newt across the polished floor and in a frenzied scramble rolls from beneath the cot. She flips it over, trapping the creature underneath. They back away, gasping. Ripley's eyes flash around the shadowed room where every corner of space between equipment holds lethal promise. The creature scuttles from beneath the bed and disappears under a back of cabinets in a blur. Ripley hugs Newt close and heads toward the door, moving as if every object in the room had a million volts running through it. She reaches the door. Hits the wall switch. Nothing happens. Disabled from outside. She tries the lights. Nothing. She pounds on the door. The acoustically dampened door panel thunks dully. She moves to the observation window, glancing frantically over her shoulder. The bare floor behind her is like a screaming threat. She pounds on the window. Through the double thickness window we can SEE that the lab is dark and empty. Ripley whirls, hearing a loathsome scrabbling behind her. Newt starts to whimper, feeding off her fear. She steps in front of the video surveillance camera and waves her arms in a circle. A hand ENTERS FRAME and switches off the monitor. Ripley's image vanishes. WIDER ANGLE as Burke straightens casually from the

What is locked in the laboratory with Ripley and Newt?

Two facehuggers.

the wall. Point-blank. Acid and smoke. Gorman appears at Ripley's side and grabs the tail, unwinding its writhing length like a boa constrictor coil from her throat. All of them grip the struggling, SHRIEKING creature. Hicks hurls the thing into the corner. It scrabbles upright in an instant and leaps back toward them. WHAM! Hudson gets it clean. Ripley collapses, gagging. The alarm and sprinklers shut off automatically. Hicks sees the stasis cylinders. THE GROUP is gathered around Burke who sits in a chair, maintaining an icy calm although beads of sweat betray intense concealed tension. Only a few minutes have passes and everyone is still buzzed on adrenaline, as if the whole group is charged with high voltage. Ripley stands in front of Burke, every fiber of her being accusing him with absolute outrage. Burke tries to break Ripley's stare, which is like a diamond drill. He can't. Ripley glances at the little girl, a frail figure sitting nearby, hugging her knees and watching the proceedings with somber eyes. She is all but lost in an adult jacket someone has found for her, and her still damp hair is plastered to her forehead and cheeks. Ripley shakes her head, the rage giving way to a sickened emptiness. THE LIGHTS GO OUT. Everyone stops in the sudden darkness, realizing instinctively it is a new escalation in the struggle. Hicks looks at the board. Everything is out. Doors. Video screens. Ripley picks up her rifle and thumbs off the safety. Hudson and Vasquez pick up their scanners and move to the door. Vasquez has to slide it open manually on its track. DOLLYING WITH VASQUEZ as she moves forward with feral steps in the darkness. like a child, still shattered by the nightmare. Shivering. Sleep is far off. But at what price? EXTREME F.G. Jones stalks toward a bird hopping among fallen leaves. He leaps. And smack into A WALL. WIDER ANGLE as Jones steps back confused from the HIGH-RESOLUTION ENVIRONMENTAL WALL SCREEN, a sort of cinerama video-loop. Ripley sits on a bench in what we now SEE is an ATRIUM off the medical center, still somewhere in the bowels of Gateway Station. Benches. Some unenthusiastic potted trees. The sterile corridors VISIBLE beyond glass doors b.g. Burke ENTERS in his usual mode, casual haste. Ripley seems healthier now, but still a bit brittle. He opens his briefcase, removing a sheet of printer hard copy, including a telestat photo. Ripley studies the PHOTOGRAPH, stunned. The face of a woman in her mid-sixties. It could be anybody. She tries to reconcile the face with the little girl she once knew. Ripley gazes off, into the pseudo-landscape, into the past. Burke nods, a simpatico presence. Let's get one thing straight...Ripley can be one tough lady. But the terror, the loss, the emptiness are, in this moment, overwhelming. She cries silently. Burke puts a reassuring hand on her arm. She faces the EIGHT MEMBERS of the board of inquiry at a long conference table. Gray suits and grim faces. They aren't buying. Behind Ripley on a large VIDEO SCREEN, PARKER grins like a goon from his personnel mugshot. His file prints out next to it. BRETT's face and dossier replace it, and then the others as the SCENE continues... KANE, LAMBERT, ASH the android traitor, DALLAS. VAN LEUWEN, the ICC representative, steeples his fingers and frowns. Ripley sense the noose tightening. CLOSER SHOT It is the NARCISSUS, lifeboat of the ill-fated star-freighter Nostromo. Without interior or running lights it seems devoid of life. The PING of a RANGING RADAR grows louder, closer. A shadow engulfs the Narcissus. Searchlights flash on, playing over the tiny ship, as a MASSIVE DARK HULL descends toward it. 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 inward REVEALING a bizarre multi-armed figure. A ROBOT WELDER. FIGURES ENTER, backlit and ominous. THREE MEN in bio-isolation suits, carrying lights and equipment. They approach a sarcophaguslike HYPERSLEEP CAPSULE, f.g. His gloved hand wipes at on opaque layer of dust on the canopy. ANGLE INSIDE CAPSULE as light stabs in where the dust is wiped away, illuminating a WOMAN, her face in peaceful repose. WARRANT OFFICER RIPLEY, sole survivor of the Nostromo. Nestled next to her is JONES, the ship's wayward cat. Harsh light floods in as a motorized shield slides into the ceiling, REVEALING a breathtaking vista. Beyond the sprawling complex of modular habitats, collectively called GATEWAY STATION, is the curve of EARTH as seen from high orbit. Blue and serene. Ripley shrugs, not caring. The door opens and a MAN enters, although Ripley sees only what he is carrying. A familiar large, orange TOMCAT. She grabs the cat like a life preserver. Jones patiently endures Ripley's embarrassing display, seeming none the worse for wear. The visitor sits beside the bed and Ripley finally notices him. He is thirtyish and handsome, in a suit grin, blowing open the thing's thorax. A spray of BRIGHT YELLOW ACID slashes across Drake's face and chest, eating into him like a hot knife through butter. He drops in boiling smoke, reflexively triggering his flame thrower. The jet of liquid fire arcs around as he falls, engulfing the back half of the APC. Hicks screams right in her face. Burke and Hudson help him drag her from the door. Ripley jams reverse. Nails the throttle. The APC bellows backward up the ramp. Hudson disappears under a pile of equipment as a storage rack breaks free. Hicks gets the door almost closed. Suddenly CLAWS appear at the edge. Newt screams. Against the combined efforts of Hicks, Burke and Vasquez the door is being SLOWLY WRENCHED OPEN FROM OUTSIDE. Hicks yells at a paralyzed Gorman. Gorman backs away, eyes wide. Hicks jams his shoulder against the latching lever and frees one hand to raise his 12-gauge. An alien head wedges through the opening, its hideous mouth opening. And Hicks jams his SHOTGUN MUZZLE between its jaws and pulls the trigger! BLAM! The creature is flung backward, its shattered head fountaining acid blood. The spray eats into the door, the deck, hits Hudson on the arm. He shrieks. They slide the door home and dog it tight. Gorman has plastered himself against a wall, as far from the door as possible. A latch lever behind his head turns. The small hatch against which he was leaning is ripped away and SOMETHING snatches him out the opening He disappears to the waist with a shriek, legs kicking. The alien clings to the roof, pulling him out. Its tail whips over, scorpionlike, and video aiming monitor, looking down rather than ahead. Their footsteps echo. They pass rooms and offices. Through doors they see increasing signs of struggle. Furniture overturned. Papers scattered...floating sodden in the puddles. Vasquez whirls, cannon aimed. The BEEPING grows more frequent as Hudson advances toward a half open door. The door is splintered partway out of its frame. Holes caused by pulse-rifle rounds pepper the walls. Vasquez eases up to the door. Kicks it in. Tenses to fire. Inside, dangling from a piece of flex conduit, a junction-box swings like a pendulum in the wind from a broken window. It clanks against the rails of a child's bunkbed as it swings. TIGHT ON MONITOR as the image shifts, revealing a section of wall corroded almost through in an irregular pattern. TIGHT ON RIPLEY knowing what it is. Burke raises an eyebrow at Ripley. WIDER ANGLE showing the trooper standing beneath a gaping hole. Another hole, directly beneath, is at his feet. The acid has melted right down through two levels into the maintenance level. Revealing pipes, conduit, equipment...eaten away by the ferocious substance. Hicks emerges from the south lock just as the APC rolls up close to the entrance. The crew-door slides back. Gorman emerges, followed by Burke, Bishop, and Wierzbowski. Burke looks back to see Ripley stop in the APC doorway, eyeing the ominous colony structure. She meets his eyes. Shakes her head "no." Not ready. The wind snatches her words away. The crew door whines shut behind her. She walks to the exterior lock door-controls and studies them. She punches some unfamiliar buttons. Nothing happens. She looks really nervous, alone in the howling

Why did Burke send the colonists to the derelict spaceship?

he wanted to recover Alien specimens for use as biological weapons

battle is joined. Claws swipe, tail lashes. Ripley parries with radical swipes of the steel forks. They circle in a whirling blur, demolishing everything in their path. The cavernous chamber echoes with nightmarish sounds...WHINE, CRASH, <b> CLANG, SCREECH. </b> They lock in a death embrace. Ripley closes the forks, crushing two of the creature's limbs. It lashes and writhes with incredible fury, coming within inches of her exposed body. She lifts it off the ground. The hind legs rip at her, slamming against the safety cage, denting it in. The striking teeth extend almost a meter from inside its fanged maw, shooting between the crash-bars. She ducks and the teeth slam into the seat cushion behind her dead in a spray of drool. Yellow acid foams down the hydraulic arms toward her. The creature rips at high-pressure hoses. Purple hydraulic fluid sprays ...machine blood mixing with alien blood. They topple, off balance. The Queen pins her. Ripley hits a switch. The power loader's CUTTING TORCH flares on, directly in the thing's face. They roll together, over the lip of a RECTANGULAR PIT, A VERTICAL LOADING AIRLOCK. Ripley pulls her arm out of the controls of the loader and claws toward a panel of airlock actuating buttons. She slaps the red "INNER DOOR OVERRIDE" and latches the "HOLD" locking-key down. A KLAXON begins to sound. She hits "OUTER DOOR OPEN" and there is a hurricane shriek of air as the doors on which they are lying separate, REVEALING the infinite pit of stars, below. All this time the Alien has been lashing at her in a frenzy and she has been parrying desperately in the confined space. lunges, grabbing her oversized jacket. AND SHE SLIPS OUT OF IT. With an echoing scream Newt plummets, sliding down the chute into darkness. MOVING WITH HER, the walls racing by in a dizzy blur like a bobsled ride. THe shaft pitches left. Newt bounces, sliding halfway up the wall. The chute forks ahead. Newt tumbles into the right shaft, which drops at a steeper angle into the depths. Just disappearing down the LEFT SHAFT we SEE Ripley's light. Ripley looks Hicks in the eye. And kicks free...sliding down the chute after Newt. Ripley slams her feet into the side-ribs, bracing herself in a controlled descent. Ripley reaches the "V." Sees the glow of the light in the left fork. She goes left. She hears a plaintive reply, so echoey and distorted it has no direction. Ripley reaches the bottom of the chute where it intersects with a HORIZONTAL SERVICE TUNNEL. The light is lying there, but no Newt. The echoing wail comes again. Ripley starts down the tunnel, answering. Newt's call comes again. Fainter? She can't tell. She spins in a growing panic, starts the other way. Newt climbs some pipes, straining to reach the grating. Following the signal they come to a grating set in the floor. Ripley runs to the grating. Looking down she sees Newt's tearstreaked face. Newt reaches up. Her tiny fingers wriggle up through the bars of the grate. Ripley squeezes the child's precious fingertips. Newt backs away, climbing down the pipe as Hicks cuts into the bars with his hand-torch. The surface of the water reflects the beam placidly. Newt is gone. Bobbing in the water, eyes staring, is "Casey" the doll head. rage. Still smoking where Ripley half-fried it. The Queen is huge, powerful...and very pissed off. It descends slowly, its six limbs unfolding in inhuman geometries. Ripley moves with nightmarish slowness herself, staring hypnotized...terrified to break and run. She lowers Newt to the deck, never taking her eyes off the creature. Newt runs for cover. The Alien drops to the deck, pivoting toward the motion. Ripley waves her arms, decoying. Without warning it moves like lightning, straight at her. Ripley spins, sprinting, as the creature leaps for her. Its feet slam, echoing, on the deck behind her. She clears a door. Hits the switch. It WHIRRS closed. BOOM. The Alien hits a moment later. VARIOUS ANGLES VERY TIGHT ON what she is doing...her feet going into stirruplike mechanisms. Velcro straps fastened over them. Fingers stabbing buttons in a sequence. Her hand closing on a complex grip-control. The HUM of powerful motors. The WHINE of hydraulics. Ripley steps out, WEARING TWO TONS OF HARDENED STEEL. THE POWER LOADER. Like medieval armor with the power of a bulldozer. She takes a step...the massive foot CRASH-CLANGS to the deck. She takes another, advancing. Ripley's expression is one you hope you'll never see... Hell hath no fury like that of a mother protecting her child and that primal, murderous rage surges through her now, banishing all fear. The Queen SCREECHES pure lethality and leaps. WALLOP! A roundhouse from one great hydraulic arm catches it on its hideous skull and slams it into a wall. It rebounds into a massive backhand. CRASH! It goes backward into heavy loading equipment. The Queen emerges as a blur of rage, lashing with unbelievable fury. The In sinks slowly, distorting, vanishing in darkness. Hicks pulls Ripley away from the hole. She struggles furiously, trying to tear out of his grip. He drags her back. It takes all of his strength. He sees something moving toward them through a lattice of pipes. Ripley is irrational. Hysterical. He drags her toward an ELEVATOR not far away at the end of the tunnel. Gets her inside, slamming her against the back wall. Hits the button to go to surface level. An alien warrior leaps into the tunnel, starts toward them. The doors are closing. Not fast enough. The creature gets one arm through, the doors closing on it. THEY OPEN AGAIN, an automatic safety feature. THE WARRIOR HISSES, LUNGING. Hicks FIRES, POINT-BLANK. It spins away, SCREECHING. Acid sluices between the closing doors, across Hicks' armored chest plate, as he shields Ripley with his body. The lift starts upward. Hicks' fingers race with the clasps as the stuff eats its way toward his skin. Galvanized out of her hysteria, Ripley claws at his armor, helping him as much as she can. He screams as the acid contacts his chest and arm. He shucks out of the combat armor like a madman, dropping the smoking pieces to the floor. Acrid fumes fill the air, searing eyes and lungs. The elevator stops. The doors part and they stumble out, Ripley supporting Hicks who is doubled over in agony. We APPROACH, hypnotically. The drop-ship ENTERS FRAME, moving toward the station. It pivots, hovering in the blasting turbulence, and settles onto a NARROW LANDING PLATFORM ten levels above the ground, or about a third of the way up the enormous structure. body close to her. Ripley thrashes about, knocking over equipment, sending instruments CLATTERING. Water streams over her, into her eyes, blinding her and making it impossible to get a grip on the creature's body. ANGLE ON NEWT as crablike legs appear from behind the desk, right behind her. She sees it and, thinking fast, jams the desk against the wall, pinning the writhing thing. The desk jumps and shudders against all the pressure her tiny body can bring to bear on it. She wails between gritted teeth as the second creature gets one leg free, then another and another. Squeezing itself inexorably onto the desk top...toward her. The legs of the chittering thing claw at Ripley's head, getting a surer grip even as she whips her head from side to side. The obscene TUBULE extrudes wetly from the sheath on the creature's underside, forcing itself between the arms she has crossed tightly over her face. A figure appears at the observation window, a silhouette behind the misted-over glass. A hand wipes a clear spot. Hick's eyes appear. He steps back. WHAM! A burst of pulse-rifle fire shatters the tempered glass. Hicks dives into the crazed spider web pattern and explodes into the room in a shower of fragments. He hits rolling, his armor grinding through the shards, and slides across to Ripley. He gets his fingers around the thrashing legs of the vicious beast and pulls. Between the two of them they force is away from her face, though Ripley is losing strength as the tail tightens sickeningly around her throat. Hudson leaps into the room, flings Newt away from the desk to go skidding across the wet floor, and blasts the second creature against

How is the power plant damaged?

By the dropship landing.

looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons rage. Still smoking where Ripley half-fried it. The Queen is huge, powerful...and very pissed off. It descends slowly, its six limbs unfolding in inhuman geometries. Ripley moves with nightmarish slowness herself, staring hypnotized...terrified to break and run. She lowers Newt to the deck, never taking her eyes off the creature. Newt runs for cover. The Alien drops to the deck, pivoting toward the motion. Ripley waves her arms, decoying. Without warning it moves like lightning, straight at her. Ripley spins, sprinting, as the creature leaps for her. Its feet slam, echoing, on the deck behind her. She clears a door. Hits the switch. It WHIRRS closed. BOOM. The Alien hits a moment later. VARIOUS ANGLES VERY TIGHT ON what she is doing...her feet going into stirruplike mechanisms. Velcro straps fastened over them. Fingers stabbing buttons in a sequence. Her hand closing on a complex grip-control. The HUM of powerful motors. The WHINE of hydraulics. Ripley steps out, WEARING TWO TONS OF HARDENED STEEL. THE POWER LOADER. Like medieval armor with the power of a bulldozer. She takes a step...the massive foot CRASH-CLANGS to the deck. She takes another, advancing. Ripley's expression is one you hope you'll never see... Hell hath no fury like that of a mother protecting her child and that primal, murderous rage surges through her now, banishing all fear. The Queen SCREECHES pure lethality and leaps. WALLOP! A roundhouse from one great hydraulic arm catches it on its hideous skull and slams it into a wall. It rebounds into a massive backhand. CRASH! It goes backward into heavy loading equipment. The Queen emerges as a blur of rage, lashing with unbelievable fury. The CLOSER SHOT It is the NARCISSUS, lifeboat of the ill-fated star-freighter Nostromo. Without interior or running lights it seems devoid of life. The PING of a RANGING RADAR grows louder, closer. A shadow engulfs the Narcissus. Searchlights flash on, playing over the tiny ship, as a MASSIVE DARK HULL descends toward it. 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 inward REVEALING a bizarre multi-armed figure. A ROBOT WELDER. FIGURES ENTER, backlit and ominous. THREE MEN in bio-isolation suits, carrying lights and equipment. They approach a sarcophaguslike HYPERSLEEP CAPSULE, f.g. His gloved hand wipes at on opaque layer of dust on the canopy. ANGLE INSIDE CAPSULE as light stabs in where the dust is wiped away, illuminating a WOMAN, her face in peaceful repose. WARRANT OFFICER RIPLEY, sole survivor of the Nostromo. Nestled next to her is JONES, the ship's wayward cat. Harsh light floods in as a motorized shield slides into the ceiling, REVEALING a breathtaking vista. Beyond the sprawling complex of modular habitats, collectively called GATEWAY STATION, is the curve of EARTH as seen from high orbit. Blue and serene. Ripley shrugs, not caring. The door opens and a MAN enters, although Ripley sees only what he is carrying. A familiar large, orange TOMCAT. She grabs the cat like a life preserver. Jones patiently endures Ripley's embarrassing display, seeming none the worse for wear. The visitor sits beside the bed and Ripley finally notices him. He is thirtyish and handsome, in a suit battle is joined. Claws swipe, tail lashes. Ripley parries with radical swipes of the steel forks. They circle in a whirling blur, demolishing everything in their path. The cavernous chamber echoes with nightmarish sounds...WHINE, CRASH, <b> CLANG, SCREECH. </b> They lock in a death embrace. Ripley closes the forks, crushing two of the creature's limbs. It lashes and writhes with incredible fury, coming within inches of her exposed body. She lifts it off the ground. The hind legs rip at her, slamming against the safety cage, denting it in. The striking teeth extend almost a meter from inside its fanged maw, shooting between the crash-bars. She ducks and the teeth slam into the seat cushion behind her dead in a spray of drool. Yellow acid foams down the hydraulic arms toward her. The creature rips at high-pressure hoses. Purple hydraulic fluid sprays ...machine blood mixing with alien blood. They topple, off balance. The Queen pins her. Ripley hits a switch. The power loader's CUTTING TORCH flares on, directly in the thing's face. They roll together, over the lip of a RECTANGULAR PIT, A VERTICAL LOADING AIRLOCK. Ripley pulls her arm out of the controls of the loader and claws toward a panel of airlock actuating buttons. She slaps the red "INNER DOOR OVERRIDE" and latches the "HOLD" locking-key down. A KLAXON begins to sound. She hits "OUTER DOOR OPEN" and there is a hurricane shriek of air as the doors on which they are lying separate, REVEALING the infinite pit of stars, below. All this time the Alien has been lashing at her in a frenzy and she has been parrying desperately in the confined space. Vasquez grabs Hicks, pulls him up, firing one handed with her flamethrower. Ripley scoops up Newt and staggers back. Gorman turns to fire and Burke bolts for the only remaining exit, the corridor connecting to the med lab. In the strobelike glare of the pulse-rifles we SEE flashes of aliens, moving forward in the smoke from the flamethrower fires. They move like nothing human... leaping quick as insects at times or gliding with powerful, balletic grace. She dashes for the corridor. Behind her an alien is moving down the corridor like a locomotive, a graceful skeleton shape as lethal and inhuman as you can imagine. Strobe flashes backlight the demented silhouette. Shaking, Ripley raises her rifle. She squeezes the trigger. NOTHING HAPPENS. The creature HISSES, baring its teeth as it advances. Ripley checks the SAFETY. The safety is off. The DIGITAL COUNTER. The magazine is full. Newt begins to wail. Ripley's hands, slick with sweat, are trembling so much she almost drops the rifle. Panic screams in her brain. The thing is almost on her, filling the corridor, when she remembers. She snaps the bolt back, chambering a round. Whips the stock to her shoulder. FIRES. FLASH-CRACK! A FLASHBULB GLIMPSE OF shrieking jaws as the silhouette is hurled back, screeching insanely. Ripley is slammed against the door by the recoil, blinded by the flash and deafened by the concussion. Hudson screams as floor panels lift under him, and clawed arms seize him lightning fast, dragging him down. Another skeletal shape leaps on him from above. He disappears into the subfloor crawlway. Hicks, Vasquez and Gorman make it to the med lab access corridor. The troopers seem to materialize out

What was the name of Ripleys ship in the original landing?

USCSS Nostromo

looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons CLOSER SHOT It is the NARCISSUS, lifeboat of the ill-fated star-freighter Nostromo. Without interior or running lights it seems devoid of life. The PING of a RANGING RADAR grows louder, closer. A shadow engulfs the Narcissus. Searchlights flash on, playing over the tiny ship, as a MASSIVE DARK HULL descends toward it. 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 inward REVEALING a bizarre multi-armed figure. A ROBOT WELDER. FIGURES ENTER, backlit and ominous. THREE MEN in bio-isolation suits, carrying lights and equipment. They approach a sarcophaguslike HYPERSLEEP CAPSULE, f.g. His gloved hand wipes at on opaque layer of dust on the canopy. ANGLE INSIDE CAPSULE as light stabs in where the dust is wiped away, illuminating a WOMAN, her face in peaceful repose. WARRANT OFFICER RIPLEY, sole survivor of the Nostromo. Nestled next to her is JONES, the ship's wayward cat. Harsh light floods in as a motorized shield slides into the ceiling, REVEALING a breathtaking vista. Beyond the sprawling complex of modular habitats, collectively called GATEWAY STATION, is the curve of EARTH as seen from high orbit. Blue and serene. Ripley shrugs, not caring. The door opens and a MAN enters, although Ripley sees only what he is carrying. A familiar large, orange TOMCAT. She grabs the cat like a life preserver. Jones patiently endures Ripley's embarrassing display, seeming none the worse for wear. The visitor sits beside the bed and Ripley finally notices him. He is thirtyish and handsome, in a suit In sinks slowly, distorting, vanishing in darkness. Hicks pulls Ripley away from the hole. She struggles furiously, trying to tear out of his grip. He drags her back. It takes all of his strength. He sees something moving toward them through a lattice of pipes. Ripley is irrational. Hysterical. He drags her toward an ELEVATOR not far away at the end of the tunnel. Gets her inside, slamming her against the back wall. Hits the button to go to surface level. An alien warrior leaps into the tunnel, starts toward them. The doors are closing. Not fast enough. The creature gets one arm through, the doors closing on it. THEY OPEN AGAIN, an automatic safety feature. THE WARRIOR HISSES, LUNGING. Hicks FIRES, POINT-BLANK. It spins away, SCREECHING. Acid sluices between the closing doors, across Hicks' armored chest plate, as he shields Ripley with his body. The lift starts upward. Hicks' fingers race with the clasps as the stuff eats its way toward his skin. Galvanized out of her hysteria, Ripley claws at his armor, helping him as much as she can. He screams as the acid contacts his chest and arm. He shucks out of the combat armor like a madman, dropping the smoking pieces to the floor. Acrid fumes fill the air, searing eyes and lungs. The elevator stops. The doors part and they stumble out, Ripley supporting Hicks who is doubled over in agony. We APPROACH, hypnotically. The drop-ship ENTERS FRAME, moving toward the station. It pivots, hovering in the blasting turbulence, and settles onto a NARROW LANDING PLATFORM ten levels above the ground, or about a third of the way up the enormous structure. wind. She hits another button. The door-motors come to life and she relaxes a little. Glances behind her. AND SCREAMS! There's a face right there! Right at her shoulder. She jumps back, gasping for breath. He gestures for her to precede him inside. ON RIPLEY as they move along the corridor...reacting to the fact that she is back in alien country. She sees the ravaged administration complex. Fire-gutted offices. Hicks notices her looking around nervously. He motions to big Wierzbowski with his eyes and the trooper casually falls in beside her on the other side, rifle at ready. a two-man protective cordon. She glances at Hicks. He winks, but so fast maybe it's something in his eye. Trooper Frost emerges from a side corridor ahead. He leads the way into the corridor. They approach a barricade blocking the corridor, a hastily welded wall of pipes, steel-plate, outer-door panels. Acid holes have slashed through the floor and walls in several places. The metal is scratched and twisted by hideously powerful forces, peeled back like a soup can on one side. They squeeze through the opening. TIGHT ON RIPLEY transfixed by something. The others turn and approach, seeing what she sees. She has entered a second room, part of the med lab area. In a storage alcove at near eye level stand seven transparent cylinders. STASIS TUBES. They glow faintly with an eerie violet light given off by the field which preserves the specimens inside. They look like jars containing SEVERED ARTHRITIC HANDS, the palsied fingers curled in a death-rictus. Structurally they are more like spiders with sickening translucent skin, a flacid scrotal body, gill-like organs underneath drifting in the suspension hands around the cup. Raises it to her lips for her. The girl drinks mechanically, spilling down her chin. She sets the cup down and wipes the child's chin clean. She pours water from a squeeze bottle onto a small cloth and gently washes the little girl's face. Newt's eyes seem to focus on her for the first time. Newt gazes at her. Ripley smiles. TIGHT ON MONITOR SCREEN as an abstract of the main colony ground plan drifts across the screen. Searching. Hudson bashes at the keyboard, his fingers dancing expertly. Newt's voice is almost inaudible. Ripley leans closer. Feels like she's breathing on coals. The sound was incomprehensible. Ripley grins inanely, not wanting to move or speak... or break the spell. Ripley picks up her tiny limp hand, shaking it formally. Newt glances at the disembodied doll, still clutched in one filthy hand. Newt's reply is flat, neutral. Ripley gazes at her, chilled both by the ominous statement and by the situation which could have produced this outlook in a child. Ripley smiles grimly at the inadvertently macabre expression. And because she's a child, the darkest terrors, even the ones seen and not imagined, can still be banished by a smile and a single promise. Newt's eyes brim as she gazes at Ripley. Her lower lip starts to tremble, and her face slowly deforms into an abject mask. She sobs as she clamps her arms around Ripley's neck. The sobs come in waves as Ripley rocks her, tears of suppresses terror and grief and hurt rolling down her face. It is a breakthrough. Ripley closes her eyes, hoping that this promise can be kept. TIGHT ON SCREEN showing an amoebalike cluster of flashing blue dots clumped tightly

What is the name of the new colony on LV-426?

Hadleys Hope

looks down, horrified to see Newt's tracer bracelet lying on the floor of the tunnel. All hope recedes, disintegrating into mindless chaos. Groggily Newt hooks her arms and legs through the belts of Ripley's battle harness as Ripley picks up her weapon. More warriors are moving toward her among the eggs. She fires the flamethrower. The eggs are engulfed. One of the warriors lunges forward, a living fireball. She blasts it in half with two bursts from the M-41A. Ripley retreats, ducking under a glistening cylindrical mass. A PIERCING SHRIEK fill the chamber. She turns. And there it is. A massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. What's bigger and meaner than the Alien? His momma. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen. The egg-filled abdomen swells and swells into a great pulsing tubular sac, suspended from a lattice of pipes and conduits by a weblike membrane as if some vast coil of intestine were draped carelessly among the machinery. Ripley realizes she ducked under part of it a moment before. Inside the abdominal sac can be SEEN the forms of countless eggs, churning their way toward the pulsating ovipositor where they emerge glistening, to be picked up by DRONES. The drones are tiny scuttling albino versions of the "warrior" aliens we have already seen. Ripley pumps the slide on her grenade launcher. She fires. Pumps and fires again. Four times. The grenades punch deep into the egg sac and EXPLODE, ripping it open from within. Eggs are tons CLOSER SHOT It is the NARCISSUS, lifeboat of the ill-fated star-freighter Nostromo. Without interior or running lights it seems devoid of life. The PING of a RANGING RADAR grows louder, closer. A shadow engulfs the Narcissus. Searchlights flash on, playing over the tiny ship, as a MASSIVE DARK HULL descends toward it. 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 inward REVEALING a bizarre multi-armed figure. A ROBOT WELDER. FIGURES ENTER, backlit and ominous. THREE MEN in bio-isolation suits, carrying lights and equipment. They approach a sarcophaguslike HYPERSLEEP CAPSULE, f.g. His gloved hand wipes at on opaque layer of dust on the canopy. ANGLE INSIDE CAPSULE as light stabs in where the dust is wiped away, illuminating a WOMAN, her face in peaceful repose. WARRANT OFFICER RIPLEY, sole survivor of the Nostromo. Nestled next to her is JONES, the ship's wayward cat. Harsh light floods in as a motorized shield slides into the ceiling, REVEALING a breathtaking vista. Beyond the sprawling complex of modular habitats, collectively called GATEWAY STATION, is the curve of EARTH as seen from high orbit. Blue and serene. Ripley shrugs, not caring. The door opens and a MAN enters, although Ripley sees only what he is carrying. A familiar large, orange TOMCAT. She grabs the cat like a life preserver. Jones patiently endures Ripley's embarrassing display, seeming none the worse for wear. The visitor sits beside the bed and Ripley finally notices him. He is thirtyish and handsome, in a suit battle is joined. Claws swipe, tail lashes. Ripley parries with radical swipes of the steel forks. They circle in a whirling blur, demolishing everything in their path. The cavernous chamber echoes with nightmarish sounds...WHINE, CRASH, <b> CLANG, SCREECH. </b> They lock in a death embrace. Ripley closes the forks, crushing two of the creature's limbs. It lashes and writhes with incredible fury, coming within inches of her exposed body. She lifts it off the ground. The hind legs rip at her, slamming against the safety cage, denting it in. The striking teeth extend almost a meter from inside its fanged maw, shooting between the crash-bars. She ducks and the teeth slam into the seat cushion behind her dead in a spray of drool. Yellow acid foams down the hydraulic arms toward her. The creature rips at high-pressure hoses. Purple hydraulic fluid sprays ...machine blood mixing with alien blood. They topple, off balance. The Queen pins her. Ripley hits a switch. The power loader's CUTTING TORCH flares on, directly in the thing's face. They roll together, over the lip of a RECTANGULAR PIT, A VERTICAL LOADING AIRLOCK. Ripley pulls her arm out of the controls of the loader and claws toward a panel of airlock actuating buttons. She slaps the red "INNER DOOR OVERRIDE" and latches the "HOLD" locking-key down. A KLAXON begins to sound. She hits "OUTER DOOR OPEN" and there is a hurricane shriek of air as the doors on which they are lying separate, REVEALING the infinite pit of stars, below. All this time the Alien has been lashing at her in a frenzy and she has been parrying desperately in the confined space. In sinks slowly, distorting, vanishing in darkness. Hicks pulls Ripley away from the hole. She struggles furiously, trying to tear out of his grip. He drags her back. It takes all of his strength. He sees something moving toward them through a lattice of pipes. Ripley is irrational. Hysterical. He drags her toward an ELEVATOR not far away at the end of the tunnel. Gets her inside, slamming her against the back wall. Hits the button to go to surface level. An alien warrior leaps into the tunnel, starts toward them. The doors are closing. Not fast enough. The creature gets one arm through, the doors closing on it. THEY OPEN AGAIN, an automatic safety feature. THE WARRIOR HISSES, LUNGING. Hicks FIRES, POINT-BLANK. It spins away, SCREECHING. Acid sluices between the closing doors, across Hicks' armored chest plate, as he shields Ripley with his body. The lift starts upward. Hicks' fingers race with the clasps as the stuff eats its way toward his skin. Galvanized out of her hysteria, Ripley claws at his armor, helping him as much as she can. He screams as the acid contacts his chest and arm. He shucks out of the combat armor like a madman, dropping the smoking pieces to the floor. Acrid fumes fill the air, searing eyes and lungs. The elevator stops. The doors part and they stumble out, Ripley supporting Hicks who is doubled over in agony. We APPROACH, hypnotically. The drop-ship ENTERS FRAME, moving toward the station. It pivots, hovering in the blasting turbulence, and settles onto a NARROW LANDING PLATFORM ten levels above the ground, or about a third of the way up the enormous structure. fluid. Something you definitely do not want on your face, for example. Ripley nods, unable to speak. Burke leans closer in fascination. His face almost touching one cylinder, is lit by its glow. The creature inside lunges suddenly, slamming against the glass. Burke jumps back. From the palm of the thing's handlike body emerges a pearl-escent TUBULE. like a tapered piece of intestine, which slithers tonguelike over the inside of the glass. Then it retracts into a sheath between the "gills." Only two of the creatures seem to pulse with life. Burke taps the other stasis cylinders but the hand-things remain inertly clenched. On top of each cylinder is a file folder. Ripley takes a folder from above one of the live specimens. Inside is a medical chart printout with handwritten entries. They are startled by a LOUD BEEP. They turn. Hicks is intent on his motion tracker, aimed back toward the shattered barricade. BEEP. BEEP. He gestures at the corridor they just passed through. Vasquez swings the smart-gun to ready position on its support arm, locking it with an authoritative CLICK. She and Hicks head toward the source of the signal, the others following. Ripley hangs back. Then realizes there is nothing behind her but darkness. She catches up to the group. Vasquez is scanning, gaze intense. The other troops grip their weapons tightly. Hicks nods toward a complicated array of food processing equipment. They move forward, weapons leveled. Ripley shuffles forward in the dark. Wierzbowski trips over a metal cannister, sending it CLANGING. Ripley half climbs the wall. Hicks' tracker beeps steadily. The beeps merge. Become a solid tone. CRASH. Something moves in the dark, toppling a rack

What is the name of the android on board the Sulaco?

Bishop.

pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the Walter and the Drivers in custody -- stand and watch Archie. General Horn picks up a gold brick. General Horn looks at Archie. Everyone stares at General Horn. After a pause, the General fires his pistol into the air. Captain Van Meter and General Horn walk 40 yards to the frozen Iraqi soldiers and the terrified Shiites. Archie, Troy, Doc in handcuffs with MPS, watch. Walter and the other U.S. Soldiers watch from afar as Captain Van Meter and General Horn walk into the midst of Iraqi soldiers. An OLDER IRAQI GENERAL steps forward and salutes. Archie, Troy, Doc, U.S. soldiers watch from a distance. It is QUIET. No one says anything. Pan across Paco taping. He walks up and forcibly pushes the camera to the ground, Van Meter pushes Cathy's camera down. MPs take the tapes from the cameras. He signals the choppers to start up. General Horn walks over to Troy, Archie, and Doc. He walks into a chopper, which is now revving at full speed. PAN TO Troy, Archie, Doc turn to the border and watch. Walter, the handcuffed Drivers, the MPS and other U.S. Soldiers also watch. The Shiites are released by the Iraqis. They collect themselves and gather in a group. The group walks over the border and is received by the relief workers. Troy, Archie, Doc watch. A U.S. Soldier WHISTLES through the loud choppers. Then another Soldier joins in, WHISTLING and CLAPPING. Then another soldier, until all twenty U.S. Soldiers and MPs present are whistling and cheering Troy, Archie, and Doc as they stand there while the choppers throb. 50 yards away: Imam holds his daughter, on the Iran side, about to get into a Red Crescent bus. Imam and his daughter wave. Archie raises his handcuffed wrists to wave back; Troy and Doc follow, raising their cuffed hands to wave. "I Get Around" by the Beach Boys KICKS ON. They each served eighteen months in a military prison. Bill Smithson and Cathy Daitch's testimony resulted in reduced sentences. Troy Barlow runs his own carpet company in Torrance, Cal. as the Humvee picks up speed. Troy and Doc leap out, hold pistols out at arm's length as they accost TWO IRAQI SOLDIERS pointing rifles at them. Troy and Doc shove the two Iraqis face down in the dirt and cuff their hands behind their backs. An IRAQI SOLDIER steps into the corridor at the far end, sees Archie coming, looks terrified, and runs back. Archie and Troy run right past the scared Iraqi. Doc comes third, slamming the Iraqi face down and cuffing him. Archie kicks a door open and goes in, followed by Troy. A large room; walls lined with shelves full of brand new appliances: blenders, cuisinarts, CD players, small TVs. A huge portrait of Saddam Hussein covers one wall. A television plays a rerun of 'Happy Days' in Arabic. Another TV: CNN's first reports of the Rodney King beating. An IRAQI CAPTAIN sits in a chair in front of the TVs. TWO IRAQIS sit loading rifles. Two others sit at a radio. They all jump to their feet when Archie bursts in, except for the officer watching 'Happy Days' and CNN.. One of the rifle-loading Iraqis tries to run. Troy heads him off with his pistol -- The other rifle-loader stands looking scared. WHIP PAN TO Doc, who turns the shortwave radio off, pushes the TWO IRAQIS to the ground. One goes peacefully, the other resists; Doc smacks him in the side of the head with his pistol, which fires accidentally. Everyone grabs their heads and ducks -- except Archie. Archie is offered a cuisinart by the Iraqi Captain. Troy has one rifle Iraqi on the ground, but the second is on his knees, putting a CD into a mini-stereo. The Iraqi looks puzzled. He pushes the man face down, cuffs his hands. Olivia Newton- John's Doc and Vig look pissed. Archie's arm is in pain. Archie looks at him. He extends his hand. They shake. Archie looks around. He sees Imam's daughter, other bandaged children looking at him. A few mothers. Doc pulls gold bars from a case and holds them up Fifty Shiites turn and look at him silently. Doc dumps a whole suitcase of gold bars. Imam translates. People stare at the gold and say nothing. His daughter looks at him and laughs -- until her laughter becomes scary, hysterical and Imam tries to hold her still and she won't stop as Archie, Doc, Vig watch. The Interrogator lights a Marlboro, exhales. PUSH IN TO CLOSE UP on TROY'S FACE as the smoke envelopes him. Interrogator laughs and takes a practice golf swing. Holding the driver at the head, he raps the bridge of Troy's nose. He raps Troy's nose repeatedly to make his point. He breaks Troy's nose with a crack. Doc and Vig load and handle the old pistols. Archie pulls two of the colored footballs from the beat up pack. He looks at Doc as if to say "Great." HIGH WIDE SHOT: A lone Iraqi military truck, mint condition.' Archie, Vig, and Doc form a semicircle, surrounding the truck. They are all 40 yards back from the truck. No response. Suddenly Vig's pistol FIRES. His gunshot blows a hole in the Iraqi truck -- which deflates like a huge beach ball, circling wildly until it lies in a heap of collapsed camouflage canvass while 50 yards away -- 55 SHIITES flip sand-colored blankets off and stand up in the desert to look. Doc lifts the limp canvass of the deflated truck. HIGH WIDE SHOT: They walk in a single file line in the desert. Archie in front, carries a but doesn't shoot. Iraqi soldiers point their rifles at the Americans. WHIP PAN TO Iraqi 6 jerks his rifle toward Archie and fires. The sound cuts out. SLIGHTLY SLOW MOTION: WHIP PAN from Iraqi rifle to Archie. The only SOUND is the BULLET PIERCING THE FLESH of Archie's lower left arm and tearing his muscle as it passes through. Archie grimaces violently in pain. SLOW MOTION: The bullet tears through Iraqi 6's chest. THE ONLY SOUND is the IRAQI'S HEARTBEAT, the bullet tearing flesh and crushing bone, and the heartbeat stopping with a VIOLENT SPLASH. Iraqi 6 falls to the ground with only a dull thud and the slow clank of his gear. REGULAR SPEED: Vig swings the mounted machine gun from one Iraqi to another, but still doesn't shoot. He looks terrified as his thumbs twitch on the triggers. Iraqi 7 FIRES twice. SLIGHTLY SLOW MOTION: a bullet tears into Troy's chest with a DULL SNAP. He winces in pain. PAN TO the windshield of the Humvee shatters behind Doc; he turns and fires his pistol. PAN TO -- slightly slow motion: NO SOUND EXCEPT THE BULLET TEARING INTO IRAQI 7'S KNEE, smashing through bone. He falls to the ground clutching his leg. SLOW MOTION: tracer bullets slice across the face of Iraqi 5 and Iraqi 2 in the rear, NO SOUND BUT THE BULLETS BREAKING <b> THROUGH BONE AND FLESH. </b> SLOW MOTION: Archie jams his pistol under the Major's chin and FIRES -- the ONLY SOUND IS THE. SLOW EXPLOSION OF THE GUN, and the slow tearing of tissue, ending with a sharp SNAP as the tissue, bone, and the bullet CRACK out the top of the Iraqi Major's head. HIGH ANGLE LOOKING DOWN -- replay of entire shoot out at REGULAR SPEED.

What do the Americans find in the buttocks of the Iraqi officer?

a map

pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the but doesn't shoot. Iraqi soldiers point their rifles at the Americans. WHIP PAN TO Iraqi 6 jerks his rifle toward Archie and fires. The sound cuts out. SLIGHTLY SLOW MOTION: WHIP PAN from Iraqi rifle to Archie. The only SOUND is the BULLET PIERCING THE FLESH of Archie's lower left arm and tearing his muscle as it passes through. Archie grimaces violently in pain. SLOW MOTION: The bullet tears through Iraqi 6's chest. THE ONLY SOUND is the IRAQI'S HEARTBEAT, the bullet tearing flesh and crushing bone, and the heartbeat stopping with a VIOLENT SPLASH. Iraqi 6 falls to the ground with only a dull thud and the slow clank of his gear. REGULAR SPEED: Vig swings the mounted machine gun from one Iraqi to another, but still doesn't shoot. He looks terrified as his thumbs twitch on the triggers. Iraqi 7 FIRES twice. SLIGHTLY SLOW MOTION: a bullet tears into Troy's chest with a DULL SNAP. He winces in pain. PAN TO the windshield of the Humvee shatters behind Doc; he turns and fires his pistol. PAN TO -- slightly slow motion: NO SOUND EXCEPT THE BULLET TEARING INTO IRAQI 7'S KNEE, smashing through bone. He falls to the ground clutching his leg. SLOW MOTION: tracer bullets slice across the face of Iraqi 5 and Iraqi 2 in the rear, NO SOUND BUT THE BULLETS BREAKING <b> THROUGH BONE AND FLESH. </b> SLOW MOTION: Archie jams his pistol under the Major's chin and FIRES -- the ONLY SOUND IS THE. SLOW EXPLOSION OF THE GUN, and the slow tearing of tissue, ending with a sharp SNAP as the tissue, bone, and the bullet CRACK out the top of the Iraqi Major's head. HIGH ANGLE LOOKING DOWN -- replay of entire shoot out at REGULAR SPEED. Ending on the wide-eyed Little Girl with her hand in her mouth, staring. ANOTHER ANGLE -- replay of entire shoot out at REGULAR SPEED. Ending on Troy wincing as he holds his chest. Archie's lightly blood-flecked face stares down at the dead Major, clouds pass overhead. Dead Iraqi 6 lies with legs twisted under his body. A rivulet of blood trickles through the sand. A spider runs across it and gets stuck. LOW ANGLE up at Doc, stone still, staring straight ahead as clouds pass slowly above him in the sky. Vig nervously swings the mounted machine gun back and forth. Troy, drenched in sweat, looks pained as he unbuttons his shirt: there's a gunshot in his kevlar vest. The slug drops out of the dent, into his hand -- he exhales. Iraqis 2, 3, 4, and the Sargeant, throw their hands up in surrender and drop their weapons. Big Iraqi 2 walks toward the Humvee in surrender, and bows down. Vig swings the mounted machine gun toward the three remaining Iraqi soldiers who stand over eight terrified Shiites. Doc follows Archie over to the three Iraqi soldiers. The soldiers get on their knees, pleading for mercy. Doc takes the Iraqi soldiers' guns and pushes them down. Shiites and Iraqi soldiers watch the debate nervously. Doc points to the Shiites. Troy displays the gunshot in the Kevlar. A tank rolls toward them fast, down a narrow side street, followed by a truck with a rocket launcher. Vig struggles to lift the grenade launcher. Troy jumps into the luggage-packed truck, starts the engine. Vig starts the Humvee; Archie jumps in next to Vig. PAN TO the eight Shiites, plus the Man In Glasses and the Little Girl, jam into the crowded Humvee. Doc jumps in. The tank approaches. The Humvee that is connected to the wire around Troy's jaw. A THIRD IRAQI reaches forward and turns a dial. The SECOND IRAQI murmurs defensively and turns the dial back. The Interrogator turns back to Troy. He is jolted again -- his face contorts, he bites his lip. Troy starts to cry, represses it. His lip is bleeding. Troy says nothing. Troy starts shaking slightly. Emotion comes into the INTERROGATOR'S VOICE as he says this. The other two guards listen sadly. CLOSE UP the two guards -- one of them wipes away a tear. At the end of the hall, Archie grits his teeth in pain as a CLERIC uses a turkey baster to shoot alcohol into his infected wound. Archie SCREAMS in pain. Doc paces, exhaling; he has white ointment on his face. A Shiite changes Vig's bloody bandage, while a DEAD BODY is laid next to Vig and wrapped in cloths; two clerics chant. Doc stares at Vig. Vig reaches out blindly for Doc's hand. Doc looks for a moment at Vig's hand in the air, reaching, then takes it. They remain silent for a moment, hands clasped. Archie walks up, his arm bandaged, and inspects Vig's face. Archie, Doc, and Vig check the Vuitton suitcases, opening them, looking at the gold, shutting them. PAN TO children in bandages watch Archie inventory the gold. He looks at Doc and Vig. They look at Archie. The Shiite Man In Glasses puts oils on his Little Girl's face. The Shiite Man In Glasses does not answer. Vig wears glasses over his eye bandage; he mimes the Girl. They look at him, surprised. He wipes bits of white foam from the corners of his mouth. Doc and Vig look at Archie. Archie looks at him. Archie looks at Vig and Doc. as the Humvee picks up speed. Troy and Doc leap out, hold pistols out at arm's length as they accost TWO IRAQI SOLDIERS pointing rifles at them. Troy and Doc shove the two Iraqis face down in the dirt and cuff their hands behind their backs. An IRAQI SOLDIER steps into the corridor at the far end, sees Archie coming, looks terrified, and runs back. Archie and Troy run right past the scared Iraqi. Doc comes third, slamming the Iraqi face down and cuffing him. Archie kicks a door open and goes in, followed by Troy. A large room; walls lined with shelves full of brand new appliances: blenders, cuisinarts, CD players, small TVs. A huge portrait of Saddam Hussein covers one wall. A television plays a rerun of 'Happy Days' in Arabic. Another TV: CNN's first reports of the Rodney King beating. An IRAQI CAPTAIN sits in a chair in front of the TVs. TWO IRAQIS sit loading rifles. Two others sit at a radio. They all jump to their feet when Archie bursts in, except for the officer watching 'Happy Days' and CNN.. One of the rifle-loading Iraqis tries to run. Troy heads him off with his pistol -- The other rifle-loader stands looking scared. WHIP PAN TO Doc, who turns the shortwave radio off, pushes the TWO IRAQIS to the ground. One goes peacefully, the other resists; Doc smacks him in the side of the head with his pistol, which fires accidentally. Everyone grabs their heads and ducks -- except Archie. Archie is offered a cuisinart by the Iraqi Captain. Troy has one rifle Iraqi on the ground, but the second is on his knees, putting a CD into a mini-stereo. The Iraqi looks puzzled. He pushes the man face down, cuffs his hands. Olivia Newton- John's

What war has just finished at the beginning of the story?

the Gulf War

pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the Doc unleashes the football. SLIGHTLY SLOW MOTION: The chopper comes crashing to the ground in a heap of metal. The rotary spins off, whips over Archie, Troy, and Doc's heads and smashes into the bunker. Troy and Doc look at each other, and punch their fists together. Troy notices that he's wet his pants. Archie rolls over bodies lying on the ground, pulls out their weapons. Troy and Doc take rifles from wounded Iraqis. Doc nervously scans the area with his pistol pointed. 50 Shiite prisoners start streaming out of the bunker. Imam directs the Shiites to stay clustered near the bunker. An IRAQI SOLDIER jumps up just as Archie knocks him to the ground from behind and twists the gun away. Doc binds the soldier's hands with a plastic cuff. Archie pulls pistols from the bloody bodies of the two Iraqis in the chopper. He points to the flaming wrecked Infiniti. He points his pistol at Imam. Troy and Imam look at each other a moment, Troy still points his pistol at Imam. He hugs Imam. Troy moves nervously. Troy and Archie look at each other, smile slightly. They all turn to look. WIDE SHOT -- Vig pops up in the desert, 150 yards away. Vig comes running. Troy smiles as he steps in the direction of Vig. Suddenly a RIFLE SHOT RINGS OUT, Troy jumps. SLIGHTLY SLOW MOTION -- Vig is hit in the collar bone, ONLY THE SOUND OF THE BULLET SMASHING HIS FLESH AND BONE. He is jerked, falls to his knees, but gets up, keeps staggering toward Troy, 125 yards away. Troy looks stunned. Archie turns sharply to his right and FIRES a rifle. An IRAQI SOLDIER, 150 yards to the side, drops to the ground as Archie and Doc continue to hit him with Ending on the wide-eyed Little Girl with her hand in her mouth, staring. ANOTHER ANGLE -- replay of entire shoot out at REGULAR SPEED. Ending on Troy wincing as he holds his chest. Archie's lightly blood-flecked face stares down at the dead Major, clouds pass overhead. Dead Iraqi 6 lies with legs twisted under his body. A rivulet of blood trickles through the sand. A spider runs across it and gets stuck. LOW ANGLE up at Doc, stone still, staring straight ahead as clouds pass slowly above him in the sky. Vig nervously swings the mounted machine gun back and forth. Troy, drenched in sweat, looks pained as he unbuttons his shirt: there's a gunshot in his kevlar vest. The slug drops out of the dent, into his hand -- he exhales. Iraqis 2, 3, 4, and the Sargeant, throw their hands up in surrender and drop their weapons. Big Iraqi 2 walks toward the Humvee in surrender, and bows down. Vig swings the mounted machine gun toward the three remaining Iraqi soldiers who stand over eight terrified Shiites. Doc follows Archie over to the three Iraqi soldiers. The soldiers get on their knees, pleading for mercy. Doc takes the Iraqi soldiers' guns and pushes them down. Shiites and Iraqi soldiers watch the debate nervously. Doc points to the Shiites. Troy displays the gunshot in the Kevlar. A tank rolls toward them fast, down a narrow side street, followed by a truck with a rocket launcher. Vig struggles to lift the grenade launcher. Troy jumps into the luggage-packed truck, starts the engine. Vig starts the Humvee; Archie jumps in next to Vig. PAN TO the eight Shiites, plus the Man In Glasses and the Little Girl, jam into the crowded Humvee. Doc jumps in. The tank approaches. The Humvee SHOT - looking straight down. The cars drive three abreast down the approach road to the bunker. The Infiniti is in the middle, flanked by the Rolls on the left and the Mercedes on the right. He jumps up and down and points, but the Infiniti goes far to the side of the bunker and <u>explodes</u> into some ruins. The two guards point their guns at Vig and the Shiite and they run into the desert as bullets pop around them. They run toward the bunker, Archie with a wad of plastic explosive and nails in one hand and a cigarette lighter in the other. He HEARS the CHIRP of a car alarm being activated as he runs to the bunker. Imam finds a vent hole on the low facade of the bunker, pulls off a grill. Archie lights a fuse sticking out of the plastic explosive, and drops it into the vent. An EXPLOSION elsewhere in the bunker causes the lights to flicker out. Archie reaches in, grabs his pistol, and bolts as a launched grenade blows the Mercedes. 6 Iraqis run for it, into the desert. 2 Iraqis throw their hands up in surrender while 2 look ambivalent, one holds <u>a</u> <u>stack of new Levis.</u> Doc raises a hand to stop his Shiite gunmen from firing, but they fire anyway and 3 Iraqis fire back -- the Shiite next to Doc is hit in the face. He reaches out and holds the rifle of a Shiite. Everyone stops firing, slowly the Iraqis drop their guns. Doc has WET <b> HIS PANTS. </b> Archie runs up from the right, grabs Doc's arm and they run past surrendering Iraqi soldiers and into the front entrance. of the bunker. Imam takes cover on the side of the SEVEN IRAQI SOLDIERS pour out swinging clubs, followed by an IRAQI MAJOR, about 45. The Iraqi soldiers savagely beat the Shiites. Vig looks horrified as he watches. TWO SOLDIERS grab the Woman from the Man With Glasses, and drag her into a circle with three other soldiers; the ten year-old girl with dirty casts on both arms, screams and punches at them. The Man With Glasses is held down at knife point. The Iraqi Major glances over at Vig, but the soldiers do not stop brutalizing the Shiites -- they round up eight more Shiites and make them lay face down. Archie goes through the door, followed by the Iraqi Interrogator and Captain. Archie stands looking at the suitcases with Troy and Doc. Several of the big Vuitton suitcases are laid on their sides by Archie, Troy and Doc. The Iraqi Captain paces frantically punching and kicking the walls and talking (SUBTITLED in ENGLISH). The suitcases are quickly unzipped. One suitcase is full of gleaming antique silverware. One suitcase is full of jewelry. Archie opens one full of hundreds of gold Cartier watches. Troy and Doc slip a handful of jewelry into their pockets. The Iraqi Captain goes nuts, throwing himself on Doc's back, choking Doc, who flails about. Troy punches the Iraqi in the head and rips him off Doc. Archie puts his pistol in the man's face. He turns to Doc. Doc and Troy, out of breath, empty their pockets of jewelry. Archie opens another Vuitton suitcase and pushes it aside - it's full of Kuwaiti passports. When Doc opens the next suitcase, he freezes. Archie looks over and freezes. Troy closes cuffs behind the Captain's back and looks over his shoulder -- wide-eyed. The very large Vuitton suitcase is filled with five-kilo bricks of gold. They all

Who gets captured by the Iraqi soldiers after getting separated in the minefield?

Troy

pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the but doesn't shoot. Iraqi soldiers point their rifles at the Americans. WHIP PAN TO Iraqi 6 jerks his rifle toward Archie and fires. The sound cuts out. SLIGHTLY SLOW MOTION: WHIP PAN from Iraqi rifle to Archie. The only SOUND is the BULLET PIERCING THE FLESH of Archie's lower left arm and tearing his muscle as it passes through. Archie grimaces violently in pain. SLOW MOTION: The bullet tears through Iraqi 6's chest. THE ONLY SOUND is the IRAQI'S HEARTBEAT, the bullet tearing flesh and crushing bone, and the heartbeat stopping with a VIOLENT SPLASH. Iraqi 6 falls to the ground with only a dull thud and the slow clank of his gear. REGULAR SPEED: Vig swings the mounted machine gun from one Iraqi to another, but still doesn't shoot. He looks terrified as his thumbs twitch on the triggers. Iraqi 7 FIRES twice. SLIGHTLY SLOW MOTION: a bullet tears into Troy's chest with a DULL SNAP. He winces in pain. PAN TO the windshield of the Humvee shatters behind Doc; he turns and fires his pistol. PAN TO -- slightly slow motion: NO SOUND EXCEPT THE BULLET TEARING INTO IRAQI 7'S KNEE, smashing through bone. He falls to the ground clutching his leg. SLOW MOTION: tracer bullets slice across the face of Iraqi 5 and Iraqi 2 in the rear, NO SOUND BUT THE BULLETS BREAKING <b> THROUGH BONE AND FLESH. </b> SLOW MOTION: Archie jams his pistol under the Major's chin and FIRES -- the ONLY SOUND IS THE. SLOW EXPLOSION OF THE GUN, and the slow tearing of tissue, ending with a sharp SNAP as the tissue, bone, and the bullet CRACK out the top of the Iraqi Major's head. HIGH ANGLE LOOKING DOWN -- replay of entire shoot out at REGULAR SPEED. SHOT - looking straight down. The cars drive three abreast down the approach road to the bunker. The Infiniti is in the middle, flanked by the Rolls on the left and the Mercedes on the right. He jumps up and down and points, but the Infiniti goes far to the side of the bunker and <u>explodes</u> into some ruins. The two guards point their guns at Vig and the Shiite and they run into the desert as bullets pop around them. They run toward the bunker, Archie with a wad of plastic explosive and nails in one hand and a cigarette lighter in the other. He HEARS the CHIRP of a car alarm being activated as he runs to the bunker. Imam finds a vent hole on the low facade of the bunker, pulls off a grill. Archie lights a fuse sticking out of the plastic explosive, and drops it into the vent. An EXPLOSION elsewhere in the bunker causes the lights to flicker out. Archie reaches in, grabs his pistol, and bolts as a launched grenade blows the Mercedes. 6 Iraqis run for it, into the desert. 2 Iraqis throw their hands up in surrender while 2 look ambivalent, one holds <u>a</u> <u>stack of new Levis.</u> Doc raises a hand to stop his Shiite gunmen from firing, but they fire anyway and 3 Iraqis fire back -- the Shiite next to Doc is hit in the face. He reaches out and holds the rifle of a Shiite. Everyone stops firing, slowly the Iraqis drop their guns. Doc has WET <b> HIS PANTS. </b> Archie runs up from the right, grabs Doc's arm and they run past surrendering Iraqi soldiers and into the front entrance. of the bunker. Imam takes cover on the side of the Walter and the Drivers in custody -- stand and watch Archie. General Horn picks up a gold brick. General Horn looks at Archie. Everyone stares at General Horn. After a pause, the General fires his pistol into the air. Captain Van Meter and General Horn walk 40 yards to the frozen Iraqi soldiers and the terrified Shiites. Archie, Troy, Doc in handcuffs with MPS, watch. Walter and the other U.S. Soldiers watch from afar as Captain Van Meter and General Horn walk into the midst of Iraqi soldiers. An OLDER IRAQI GENERAL steps forward and salutes. Archie, Troy, Doc, U.S. soldiers watch from a distance. It is QUIET. No one says anything. Pan across Paco taping. He walks up and forcibly pushes the camera to the ground, Van Meter pushes Cathy's camera down. MPs take the tapes from the cameras. He signals the choppers to start up. General Horn walks over to Troy, Archie, and Doc. He walks into a chopper, which is now revving at full speed. PAN TO Troy, Archie, Doc turn to the border and watch. Walter, the handcuffed Drivers, the MPS and other U.S. Soldiers also watch. The Shiites are released by the Iraqis. They collect themselves and gather in a group. The group walks over the border and is received by the relief workers. Troy, Archie, Doc watch. A U.S. Soldier WHISTLES through the loud choppers. Then another Soldier joins in, WHISTLING and CLAPPING. Then another soldier, until all twenty U.S. Soldiers and MPs present are whistling and cheering Troy, Archie, and Doc as they stand there while the choppers throb. 50 yards away: Imam holds his daughter, on the Iran side, about to get into a Red Crescent bus. Imam and his daughter wave. Archie raises his handcuffed wrists to wave back; Troy and Doc follow, raising their cuffed hands to wave. "I Get Around" by the Beach Boys KICKS ON. They each served eighteen months in a military prison. Bill Smithson and Cathy Daitch's testimony resulted in reduced sentences. Troy Barlow runs his own carpet company in Torrance, Cal. back toward the tunnel. Vig jerks his arm away. Doc grabs Vig. Vig punches Doc in the side of the head. Doc punches Vig in the stomach. They fall to the ground, fighting. Archie searches for Troy in the brown haze. Two black-robed figures pull Vig off Doc and drag him to the tunnel. Another robed figure pulls Doc to the tunnel. Archie walks, looks for Troy, chokes, vomits into the sand. A black robed figure takes him by the arm and pulls him back to the tunnel, where they disappear inside. Vig's mutilated right eye is bleeding. He screams at Vig, who looks scared. Vig starts crying. Doc hands a bandage to Archie, who puts it over Vig's wounded eye socket. PAN ACROSS the Man In Glasses wipes his daughter's face. Two Iraqi tanks are parked to the side. Small numbers of soldiers and civilians mill about. A GUN SHOT RINGS OUT. The Iraqis turn to look. PAN TO 7 Shiites with rifles climb the unmanned Iraqi tank. 4 Iraqi soldiers FIRE back at the Shiites. Troy, naked, tries to break away in the chaos. He runs a few feet, is tackled and dragged toward the bunker. Iraqi soldiers pull them off the motorcycle. The door is slammed. Stolen blenders, radios, CDs, stacks of new Levis litter the floor. Troy kicks all the crap angrily and hundreds of cell phones tumble from a box. Troy looks at the pile of cell phones, picks one up, tries it for a dial tone, drops it, tries another, until he gets one that gives him a tone and dials. Troy looks stunned. He frantically pushes stuff on the floor to block the door. The phone is dead. He throws it to the ground, tries another, no dial tone, throws it, tries another,

What is the map of?

bunkers with stolen gold

pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the Walter and the Drivers in custody -- stand and watch Archie. General Horn picks up a gold brick. General Horn looks at Archie. Everyone stares at General Horn. After a pause, the General fires his pistol into the air. Captain Van Meter and General Horn walk 40 yards to the frozen Iraqi soldiers and the terrified Shiites. Archie, Troy, Doc in handcuffs with MPS, watch. Walter and the other U.S. Soldiers watch from afar as Captain Van Meter and General Horn walk into the midst of Iraqi soldiers. An OLDER IRAQI GENERAL steps forward and salutes. Archie, Troy, Doc, U.S. soldiers watch from a distance. It is QUIET. No one says anything. Pan across Paco taping. He walks up and forcibly pushes the camera to the ground, Van Meter pushes Cathy's camera down. MPs take the tapes from the cameras. He signals the choppers to start up. General Horn walks over to Troy, Archie, and Doc. He walks into a chopper, which is now revving at full speed. PAN TO Troy, Archie, Doc turn to the border and watch. Walter, the handcuffed Drivers, the MPS and other U.S. Soldiers also watch. The Shiites are released by the Iraqis. They collect themselves and gather in a group. The group walks over the border and is received by the relief workers. Troy, Archie, Doc watch. A U.S. Soldier WHISTLES through the loud choppers. Then another Soldier joins in, WHISTLING and CLAPPING. Then another soldier, until all twenty U.S. Soldiers and MPs present are whistling and cheering Troy, Archie, and Doc as they stand there while the choppers throb. 50 yards away: Imam holds his daughter, on the Iran side, about to get into a Red Crescent bus. Imam and his daughter wave. Archie raises his handcuffed wrists to wave back; Troy and Doc follow, raising their cuffed hands to wave. "I Get Around" by the Beach Boys KICKS ON. They each served eighteen months in a military prison. Bill Smithson and Cathy Daitch's testimony resulted in reduced sentences. Troy Barlow runs his own carpet company in Torrance, Cal. that is connected to the wire around Troy's jaw. A THIRD IRAQI reaches forward and turns a dial. The SECOND IRAQI murmurs defensively and turns the dial back. The Interrogator turns back to Troy. He is jolted again -- his face contorts, he bites his lip. Troy starts to cry, represses it. His lip is bleeding. Troy says nothing. Troy starts shaking slightly. Emotion comes into the INTERROGATOR'S VOICE as he says this. The other two guards listen sadly. CLOSE UP the two guards -- one of them wipes away a tear. At the end of the hall, Archie grits his teeth in pain as a CLERIC uses a turkey baster to shoot alcohol into his infected wound. Archie SCREAMS in pain. Doc paces, exhaling; he has white ointment on his face. A Shiite changes Vig's bloody bandage, while a DEAD BODY is laid next to Vig and wrapped in cloths; two clerics chant. Doc stares at Vig. Vig reaches out blindly for Doc's hand. Doc looks for a moment at Vig's hand in the air, reaching, then takes it. They remain silent for a moment, hands clasped. Archie walks up, his arm bandaged, and inspects Vig's face. Archie, Doc, and Vig check the Vuitton suitcases, opening them, looking at the gold, shutting them. PAN TO children in bandages watch Archie inventory the gold. He looks at Doc and Vig. They look at Archie. The Shiite Man In Glasses puts oils on his Little Girl's face. The Shiite Man In Glasses does not answer. Vig wears glasses over his eye bandage; he mimes the Girl. They look at him, surprised. He wipes bits of white foam from the corners of his mouth. Doc and Vig look at Archie. Archie looks at him. Archie looks at Vig and Doc. SEVEN IRAQI SOLDIERS pour out swinging clubs, followed by an IRAQI MAJOR, about 45. The Iraqi soldiers savagely beat the Shiites. Vig looks horrified as he watches. TWO SOLDIERS grab the Woman from the Man With Glasses, and drag her into a circle with three other soldiers; the ten year-old girl with dirty casts on both arms, screams and punches at them. The Man With Glasses is held down at knife point. The Iraqi Major glances over at Vig, but the soldiers do not stop brutalizing the Shiites -- they round up eight more Shiites and make them lay face down. Archie goes through the door, followed by the Iraqi Interrogator and Captain. Archie stands looking at the suitcases with Troy and Doc. Several of the big Vuitton suitcases are laid on their sides by Archie, Troy and Doc. The Iraqi Captain paces frantically punching and kicking the walls and talking (SUBTITLED in ENGLISH). The suitcases are quickly unzipped. One suitcase is full of gleaming antique silverware. One suitcase is full of jewelry. Archie opens one full of hundreds of gold Cartier watches. Troy and Doc slip a handful of jewelry into their pockets. The Iraqi Captain goes nuts, throwing himself on Doc's back, choking Doc, who flails about. Troy punches the Iraqi in the head and rips him off Doc. Archie puts his pistol in the man's face. He turns to Doc. Doc and Troy, out of breath, empty their pockets of jewelry. Archie opens another Vuitton suitcase and pushes it aside - it's full of Kuwaiti passports. When Doc opens the next suitcase, he freezes. Archie looks over and freezes. Troy closes cuffs behind the Captain's back and looks over his shoulder -- wide-eyed. The very large Vuitton suitcase is filled with five-kilo bricks of gold. They all as the Humvee picks up speed. Troy and Doc leap out, hold pistols out at arm's length as they accost TWO IRAQI SOLDIERS pointing rifles at them. Troy and Doc shove the two Iraqis face down in the dirt and cuff their hands behind their backs. An IRAQI SOLDIER steps into the corridor at the far end, sees Archie coming, looks terrified, and runs back. Archie and Troy run right past the scared Iraqi. Doc comes third, slamming the Iraqi face down and cuffing him. Archie kicks a door open and goes in, followed by Troy. A large room; walls lined with shelves full of brand new appliances: blenders, cuisinarts, CD players, small TVs. A huge portrait of Saddam Hussein covers one wall. A television plays a rerun of 'Happy Days' in Arabic. Another TV: CNN's first reports of the Rodney King beating. An IRAQI CAPTAIN sits in a chair in front of the TVs. TWO IRAQIS sit loading rifles. Two others sit at a radio. They all jump to their feet when Archie bursts in, except for the officer watching 'Happy Days' and CNN.. One of the rifle-loading Iraqis tries to run. Troy heads him off with his pistol -- The other rifle-loader stands looking scared. WHIP PAN TO Doc, who turns the shortwave radio off, pushes the TWO IRAQIS to the ground. One goes peacefully, the other resists; Doc smacks him in the side of the head with his pistol, which fires accidentally. Everyone grabs their heads and ducks -- except Archie. Archie is offered a cuisinart by the Iraqi Captain. Troy has one rifle Iraqi on the ground, but the second is on his knees, putting a CD into a mini-stereo. The Iraqi looks puzzled. He pushes the man face down, cuffs his hands. Olivia Newton- John's

What country was the gold stolen from?

Kuwait

pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the Walter and the Drivers in custody -- stand and watch Archie. General Horn picks up a gold brick. General Horn looks at Archie. Everyone stares at General Horn. After a pause, the General fires his pistol into the air. Captain Van Meter and General Horn walk 40 yards to the frozen Iraqi soldiers and the terrified Shiites. Archie, Troy, Doc in handcuffs with MPS, watch. Walter and the other U.S. Soldiers watch from afar as Captain Van Meter and General Horn walk into the midst of Iraqi soldiers. An OLDER IRAQI GENERAL steps forward and salutes. Archie, Troy, Doc, U.S. soldiers watch from a distance. It is QUIET. No one says anything. Pan across Paco taping. He walks up and forcibly pushes the camera to the ground, Van Meter pushes Cathy's camera down. MPs take the tapes from the cameras. He signals the choppers to start up. General Horn walks over to Troy, Archie, and Doc. He walks into a chopper, which is now revving at full speed. PAN TO Troy, Archie, Doc turn to the border and watch. Walter, the handcuffed Drivers, the MPS and other U.S. Soldiers also watch. The Shiites are released by the Iraqis. They collect themselves and gather in a group. The group walks over the border and is received by the relief workers. Troy, Archie, Doc watch. A U.S. Soldier WHISTLES through the loud choppers. Then another Soldier joins in, WHISTLING and CLAPPING. Then another soldier, until all twenty U.S. Soldiers and MPs present are whistling and cheering Troy, Archie, and Doc as they stand there while the choppers throb. 50 yards away: Imam holds his daughter, on the Iran side, about to get into a Red Crescent bus. Imam and his daughter wave. Archie raises his handcuffed wrists to wave back; Troy and Doc follow, raising their cuffed hands to wave. "I Get Around" by the Beach Boys KICKS ON. They each served eighteen months in a military prison. Bill Smithson and Cathy Daitch's testimony resulted in reduced sentences. Troy Barlow runs his own carpet company in Torrance, Cal. but doesn't shoot. Iraqi soldiers point their rifles at the Americans. WHIP PAN TO Iraqi 6 jerks his rifle toward Archie and fires. The sound cuts out. SLIGHTLY SLOW MOTION: WHIP PAN from Iraqi rifle to Archie. The only SOUND is the BULLET PIERCING THE FLESH of Archie's lower left arm and tearing his muscle as it passes through. Archie grimaces violently in pain. SLOW MOTION: The bullet tears through Iraqi 6's chest. THE ONLY SOUND is the IRAQI'S HEARTBEAT, the bullet tearing flesh and crushing bone, and the heartbeat stopping with a VIOLENT SPLASH. Iraqi 6 falls to the ground with only a dull thud and the slow clank of his gear. REGULAR SPEED: Vig swings the mounted machine gun from one Iraqi to another, but still doesn't shoot. He looks terrified as his thumbs twitch on the triggers. Iraqi 7 FIRES twice. SLIGHTLY SLOW MOTION: a bullet tears into Troy's chest with a DULL SNAP. He winces in pain. PAN TO the windshield of the Humvee shatters behind Doc; he turns and fires his pistol. PAN TO -- slightly slow motion: NO SOUND EXCEPT THE BULLET TEARING INTO IRAQI 7'S KNEE, smashing through bone. He falls to the ground clutching his leg. SLOW MOTION: tracer bullets slice across the face of Iraqi 5 and Iraqi 2 in the rear, NO SOUND BUT THE BULLETS BREAKING <b> THROUGH BONE AND FLESH. </b> SLOW MOTION: Archie jams his pistol under the Major's chin and FIRES -- the ONLY SOUND IS THE. SLOW EXPLOSION OF THE GUN, and the slow tearing of tissue, ending with a sharp SNAP as the tissue, bone, and the bullet CRACK out the top of the Iraqi Major's head. HIGH ANGLE LOOKING DOWN -- replay of entire shoot out at REGULAR SPEED. as the Humvee picks up speed. Troy and Doc leap out, hold pistols out at arm's length as they accost TWO IRAQI SOLDIERS pointing rifles at them. Troy and Doc shove the two Iraqis face down in the dirt and cuff their hands behind their backs. An IRAQI SOLDIER steps into the corridor at the far end, sees Archie coming, looks terrified, and runs back. Archie and Troy run right past the scared Iraqi. Doc comes third, slamming the Iraqi face down and cuffing him. Archie kicks a door open and goes in, followed by Troy. A large room; walls lined with shelves full of brand new appliances: blenders, cuisinarts, CD players, small TVs. A huge portrait of Saddam Hussein covers one wall. A television plays a rerun of 'Happy Days' in Arabic. Another TV: CNN's first reports of the Rodney King beating. An IRAQI CAPTAIN sits in a chair in front of the TVs. TWO IRAQIS sit loading rifles. Two others sit at a radio. They all jump to their feet when Archie bursts in, except for the officer watching 'Happy Days' and CNN.. One of the rifle-loading Iraqis tries to run. Troy heads him off with his pistol -- The other rifle-loader stands looking scared. WHIP PAN TO Doc, who turns the shortwave radio off, pushes the TWO IRAQIS to the ground. One goes peacefully, the other resists; Doc smacks him in the side of the head with his pistol, which fires accidentally. Everyone grabs their heads and ducks -- except Archie. Archie is offered a cuisinart by the Iraqi Captain. Troy has one rifle Iraqi on the ground, but the second is on his knees, putting a CD into a mini-stereo. The Iraqi looks puzzled. He pushes the man face down, cuffs his hands. Olivia Newton- John's back toward the tunnel. Vig jerks his arm away. Doc grabs Vig. Vig punches Doc in the side of the head. Doc punches Vig in the stomach. They fall to the ground, fighting. Archie searches for Troy in the brown haze. Two black-robed figures pull Vig off Doc and drag him to the tunnel. Another robed figure pulls Doc to the tunnel. Archie walks, looks for Troy, chokes, vomits into the sand. A black robed figure takes him by the arm and pulls him back to the tunnel, where they disappear inside. Vig's mutilated right eye is bleeding. He screams at Vig, who looks scared. Vig starts crying. Doc hands a bandage to Archie, who puts it over Vig's wounded eye socket. PAN ACROSS the Man In Glasses wipes his daughter's face. Two Iraqi tanks are parked to the side. Small numbers of soldiers and civilians mill about. A GUN SHOT RINGS OUT. The Iraqis turn to look. PAN TO 7 Shiites with rifles climb the unmanned Iraqi tank. 4 Iraqi soldiers FIRE back at the Shiites. Troy, naked, tries to break away in the chaos. He runs a few feet, is tackled and dragged toward the bunker. Iraqi soldiers pull them off the motorcycle. The door is slammed. Stolen blenders, radios, CDs, stacks of new Levis litter the floor. Troy kicks all the crap angrily and hundreds of cell phones tumble from a box. Troy looks at the pile of cell phones, picks one up, tries it for a dial tone, drops it, tries another, until he gets one that gives him a tone and dials. Troy looks stunned. He frantically pushes stuff on the floor to block the door. The phone is dead. He throws it to the ground, tries another, no dial tone, throws it, tries another,

What do the American soldiers do at night to occupy their time?

throw parties

pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the Ending on the wide-eyed Little Girl with her hand in her mouth, staring. ANOTHER ANGLE -- replay of entire shoot out at REGULAR SPEED. Ending on Troy wincing as he holds his chest. Archie's lightly blood-flecked face stares down at the dead Major, clouds pass overhead. Dead Iraqi 6 lies with legs twisted under his body. A rivulet of blood trickles through the sand. A spider runs across it and gets stuck. LOW ANGLE up at Doc, stone still, staring straight ahead as clouds pass slowly above him in the sky. Vig nervously swings the mounted machine gun back and forth. Troy, drenched in sweat, looks pained as he unbuttons his shirt: there's a gunshot in his kevlar vest. The slug drops out of the dent, into his hand -- he exhales. Iraqis 2, 3, 4, and the Sargeant, throw their hands up in surrender and drop their weapons. Big Iraqi 2 walks toward the Humvee in surrender, and bows down. Vig swings the mounted machine gun toward the three remaining Iraqi soldiers who stand over eight terrified Shiites. Doc follows Archie over to the three Iraqi soldiers. The soldiers get on their knees, pleading for mercy. Doc takes the Iraqi soldiers' guns and pushes them down. Shiites and Iraqi soldiers watch the debate nervously. Doc points to the Shiites. Troy displays the gunshot in the Kevlar. A tank rolls toward them fast, down a narrow side street, followed by a truck with a rocket launcher. Vig struggles to lift the grenade launcher. Troy jumps into the luggage-packed truck, starts the engine. Vig starts the Humvee; Archie jumps in next to Vig. PAN TO the eight Shiites, plus the Man In Glasses and the Little Girl, jam into the crowded Humvee. Doc jumps in. The tank approaches. The Humvee Walter and the Drivers in custody -- stand and watch Archie. General Horn picks up a gold brick. General Horn looks at Archie. Everyone stares at General Horn. After a pause, the General fires his pistol into the air. Captain Van Meter and General Horn walk 40 yards to the frozen Iraqi soldiers and the terrified Shiites. Archie, Troy, Doc in handcuffs with MPS, watch. Walter and the other U.S. Soldiers watch from afar as Captain Van Meter and General Horn walk into the midst of Iraqi soldiers. An OLDER IRAQI GENERAL steps forward and salutes. Archie, Troy, Doc, U.S. soldiers watch from a distance. It is QUIET. No one says anything. Pan across Paco taping. He walks up and forcibly pushes the camera to the ground, Van Meter pushes Cathy's camera down. MPs take the tapes from the cameras. He signals the choppers to start up. General Horn walks over to Troy, Archie, and Doc. He walks into a chopper, which is now revving at full speed. PAN TO Troy, Archie, Doc turn to the border and watch. Walter, the handcuffed Drivers, the MPS and other U.S. Soldiers also watch. The Shiites are released by the Iraqis. They collect themselves and gather in a group. The group walks over the border and is received by the relief workers. Troy, Archie, Doc watch. A U.S. Soldier WHISTLES through the loud choppers. Then another Soldier joins in, WHISTLING and CLAPPING. Then another soldier, until all twenty U.S. Soldiers and MPs present are whistling and cheering Troy, Archie, and Doc as they stand there while the choppers throb. 50 yards away: Imam holds his daughter, on the Iran side, about to get into a Red Crescent bus. Imam and his daughter wave. Archie raises his handcuffed wrists to wave back; Troy and Doc follow, raising their cuffed hands to wave. "I Get Around" by the Beach Boys KICKS ON. They each served eighteen months in a military prison. Bill Smithson and Cathy Daitch's testimony resulted in reduced sentences. Troy Barlow runs his own carpet company in Torrance, Cal. THE SHELLS and puts them into his pocket. Bile fluid fills the cavity. They look at Archie, scared by this. The Humvee drives fast into the central square of a small village of low, sand-colored stucco buildings and shanties. Vig drives as the Humvee speeds around the town square, zooming past scared Shiites in black robes, a few skinny dogs, a few bewildered Iraqi soldiers. He studies the map and points to a decayed green building. Vig jerks the wheel right. They drive fast. Archie points left. Vig jerks the wheel left, drives straight toward a low cement building with two Iraqi soldiers in front. Iraqi soldiers look scared as the Humvee drives up, like it's going to hit them, and stops, flag fluttering in the breeze. Vig stands and speaks into a megaphone. Troy and Doc leap from the Humvee with pistols drawn and their free hands held up in a 'halt' sign. The TWO IRAQI GUARDS look stunned as Troy and Doc simply take their machine guns and put the Iraqis face down on the ground. Troy and Doc pull out <u>plastic twist hand-cuffs</u>, as used in urban riots. Archie bounds forward holding up a thick white document. Troy finishes handcuffing one of the Iraqi soldiers, as a gaunt mother, with a baby in her arms, opens her blouse, revealing her small breasts. Other peasants gather. Troy looks shocked until Archie suddenly pushes him past the Iraqi mother and to the door of the bunker, which Doc holds. Iraqi women and children kiss Vig's feet. The five Iraqi soldiers exit the bunker with their hands raised, and the starved Shiite civilians spit and throw stones at them while 'I Get Around' keeps playing. Troy shoots the door lock with his pistol. Then backs up and gives Vuitton bag. Shiites cheer and pat Archie, Doc and Vig on the back as they walk to a bunker built into the side of a small hill. TWO IRAQI SOLDIERS come out smiling to embrace a disoriented Archie and Doc. The Iraqi Soldier offers a live monkey to Archie. Vig sticks out a WHITE TONGUE and nods. The other Iraqis nod their heads and laugh nervously. He embraces Archie, who looks at Imam. Doc stops at the convertible. The Iraqi deserters look at him. The Friendly Iraqi looks at Doc and laughs. The Iraqi laughs. The Iraqis do not look happy. Imam does simultaneous translation as Archie holds forth. Doc and Vig look taken aback as Archie goes messianic. They raise their joined hands together. Archie walks around, looking into the eyes of each Iraqi soldier, touching them on the shoulders. Doc slams in a CD-- TRADITIONAL IRAQI FOLK WAILING PLAYS. The Shiite riflemen in back smile as Vig scowls. Doc and Vig pull off distributor caps from the Cadillacs and Limousine (but not the Jaguar) and put them in Doc's pack. Imam hugs and kisses his daughter goodbye and tries to put her, crying, into the arms of an older woman. Vig looks uneasy. Archie hums Bach's 'Gloria' and moves a hand in the air, then puts his hands on Vig's shoulders and SINGS THE BACH LOUD. Vig eventually joins in the chorus. He lies down and breathes with a hand on his chest <u>as Archie</u> <u>and Vig keep singing.</u> The Second Iraqi dips a bucket into an oil drum. The Interrogator pulls a CD from Troy's pocket and jams it into Troy's mouth. The Interrogator uses the CD as a funnel to force-feed the crude oil into Troy's mouth as he pours it from the bucket. HIGH WIDE

When Troy is captured, he is taken to a bunker and thrown into a room. What was the room full of?

cell phones

pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the THE SHELLS and puts them into his pocket. Bile fluid fills the cavity. They look at Archie, scared by this. The Humvee drives fast into the central square of a small village of low, sand-colored stucco buildings and shanties. Vig drives as the Humvee speeds around the town square, zooming past scared Shiites in black robes, a few skinny dogs, a few bewildered Iraqi soldiers. He studies the map and points to a decayed green building. Vig jerks the wheel right. They drive fast. Archie points left. Vig jerks the wheel left, drives straight toward a low cement building with two Iraqi soldiers in front. Iraqi soldiers look scared as the Humvee drives up, like it's going to hit them, and stops, flag fluttering in the breeze. Vig stands and speaks into a megaphone. Troy and Doc leap from the Humvee with pistols drawn and their free hands held up in a 'halt' sign. The TWO IRAQI GUARDS look stunned as Troy and Doc simply take their machine guns and put the Iraqis face down on the ground. Troy and Doc pull out <u>plastic twist hand-cuffs</u>, as used in urban riots. Archie bounds forward holding up a thick white document. Troy finishes handcuffing one of the Iraqi soldiers, as a gaunt mother, with a baby in her arms, opens her blouse, revealing her small breasts. Other peasants gather. Troy looks shocked until Archie suddenly pushes him past the Iraqi mother and to the door of the bunker, which Doc holds. Iraqi women and children kiss Vig's feet. The five Iraqi soldiers exit the bunker with their hands raised, and the starved Shiite civilians spit and throw stones at them while 'I Get Around' keeps playing. Troy shoots the door lock with his pistol. Then backs up and gives Doc unleashes the football. SLIGHTLY SLOW MOTION: The chopper comes crashing to the ground in a heap of metal. The rotary spins off, whips over Archie, Troy, and Doc's heads and smashes into the bunker. Troy and Doc look at each other, and punch their fists together. Troy notices that he's wet his pants. Archie rolls over bodies lying on the ground, pulls out their weapons. Troy and Doc take rifles from wounded Iraqis. Doc nervously scans the area with his pistol pointed. 50 Shiite prisoners start streaming out of the bunker. Imam directs the Shiites to stay clustered near the bunker. An IRAQI SOLDIER jumps up just as Archie knocks him to the ground from behind and twists the gun away. Doc binds the soldier's hands with a plastic cuff. Archie pulls pistols from the bloody bodies of the two Iraqis in the chopper. He points to the flaming wrecked Infiniti. He points his pistol at Imam. Troy and Imam look at each other a moment, Troy still points his pistol at Imam. He hugs Imam. Troy moves nervously. Troy and Archie look at each other, smile slightly. They all turn to look. WIDE SHOT -- Vig pops up in the desert, 150 yards away. Vig comes running. Troy smiles as he steps in the direction of Vig. Suddenly a RIFLE SHOT RINGS OUT, Troy jumps. SLIGHTLY SLOW MOTION -- Vig is hit in the collar bone, ONLY THE SOUND OF THE BULLET SMASHING HIS FLESH AND BONE. He is jerked, falls to his knees, but gets up, keeps staggering toward Troy, 125 yards away. Troy looks stunned. Archie turns sharply to his right and FIRES a rifle. An IRAQI SOLDIER, 150 yards to the side, drops to the ground as Archie and Doc continue to hit him with They stare at the new map in the infrared glow, captivated. He turns the overhead light back on. They look at him. Dolly: Troy, Doc, Vig stare at Archie. He looks at them. They salute him. He straightens Troy's salute. Walter comes in. Vig smile fades as he looks into Archie's cold stare. Van Meter tries a couple of poses. Pow pow pow, Vig fires his big pistol into the desert. Troy throws a painted football into the desert. Doc fires the M-16 and blows the ball to pieces. The convertible Humvee is loaded with weaponry and gear, a mounted 60 mm machine gun, a Bart Simpson doll on the grill. The Humvee rolls into the vast desert, littered with burned out tanks, black craters, overturned vehicles, no people. Troy throws another ball, Doc blows it away. Doc throws a football from the moving Humvee, Troy fires a pistol and misses the ball as it bounces to the desert. Archie moves his hand to the Bach. Doc throws a ball. Vig fires his giant pistol twice and misses. Vig fires: blam, blam, bam. The Humvee stops abruptly. They sit in embarrassed silence; the joyous Bach choir plays. Troy kicks at something in the sand -- and a decayed human arm springs out, attached to a body with a half-rotted face. DOLLY INTO five terrified Iraqis, eyes open with fear, as the sand rolls over them. The cow stares as the Humvee pulls up to it fast. Troy and Doc jump out, pistols drawn, flank the cow -- The cow steps back, and explodes. Troy and Doc stand splattered with cow entrails. The cow's head lands with a <u>thud</u> on the hood of the Humvee. He picks cow entrails off himself. Archie watches Troy. Archie takes Vig's BIG PISTOL and EMPTIES Doc and Vig look pissed. Archie's arm is in pain. Archie looks at him. He extends his hand. They shake. Archie looks around. He sees Imam's daughter, other bandaged children looking at him. A few mothers. Doc pulls gold bars from a case and holds them up Fifty Shiites turn and look at him silently. Doc dumps a whole suitcase of gold bars. Imam translates. People stare at the gold and say nothing. His daughter looks at him and laughs -- until her laughter becomes scary, hysterical and Imam tries to hold her still and she won't stop as Archie, Doc, Vig watch. The Interrogator lights a Marlboro, exhales. PUSH IN TO CLOSE UP on TROY'S FACE as the smoke envelopes him. Interrogator laughs and takes a practice golf swing. Holding the driver at the head, he raps the bridge of Troy's nose. He raps Troy's nose repeatedly to make his point. He breaks Troy's nose with a crack. Doc and Vig load and handle the old pistols. Archie pulls two of the colored footballs from the beat up pack. He looks at Doc as if to say "Great." HIGH WIDE SHOT: A lone Iraqi military truck, mint condition.' Archie, Vig, and Doc form a semicircle, surrounding the truck. They are all 40 yards back from the truck. No response. Suddenly Vig's pistol FIRES. His gunshot blows a hole in the Iraqi truck -- which deflates like a huge beach ball, circling wildly until it lies in a heap of collapsed camouflage canvass while 50 yards away -- 55 SHIITES flip sand-colored blankets off and stand up in the desert to look. Doc lifts the limp canvass of the deflated truck. HIGH WIDE SHOT: They walk in a single file line in the desert. Archie in front, carries a

Who helps Conrad, Chief, and Archie avoid capture after the group is separated in the mine field?

a group of rebels

SHOT - looking straight down. The cars drive three abreast down the approach road to the bunker. The Infiniti is in the middle, flanked by the Rolls on the left and the Mercedes on the right. He jumps up and down and points, but the Infiniti goes far to the side of the bunker and <u>explodes</u> into some ruins. The two guards point their guns at Vig and the Shiite and they run into the desert as bullets pop around them. They run toward the bunker, Archie with a wad of plastic explosive and nails in one hand and a cigarette lighter in the other. He HEARS the CHIRP of a car alarm being activated as he runs to the bunker. Imam finds a vent hole on the low facade of the bunker, pulls off a grill. Archie lights a fuse sticking out of the plastic explosive, and drops it into the vent. An EXPLOSION elsewhere in the bunker causes the lights to flicker out. Archie reaches in, grabs his pistol, and bolts as a launched grenade blows the Mercedes. 6 Iraqis run for it, into the desert. 2 Iraqis throw their hands up in surrender while 2 look ambivalent, one holds <u>a</u> <u>stack of new Levis.</u> Doc raises a hand to stop his Shiite gunmen from firing, but they fire anyway and 3 Iraqis fire back -- the Shiite next to Doc is hit in the face. He reaches out and holds the rifle of a Shiite. Everyone stops firing, slowly the Iraqis drop their guns. Doc has WET <b> HIS PANTS. </b> Archie runs up from the right, grabs Doc's arm and they run past surrendering Iraqi soldiers and into the front entrance. of the bunker. Imam takes cover on the side of the that is connected to the wire around Troy's jaw. A THIRD IRAQI reaches forward and turns a dial. The SECOND IRAQI murmurs defensively and turns the dial back. The Interrogator turns back to Troy. He is jolted again -- his face contorts, he bites his lip. Troy starts to cry, represses it. His lip is bleeding. Troy says nothing. Troy starts shaking slightly. Emotion comes into the INTERROGATOR'S VOICE as he says this. The other two guards listen sadly. CLOSE UP the two guards -- one of them wipes away a tear. At the end of the hall, Archie grits his teeth in pain as a CLERIC uses a turkey baster to shoot alcohol into his infected wound. Archie SCREAMS in pain. Doc paces, exhaling; he has white ointment on his face. A Shiite changes Vig's bloody bandage, while a DEAD BODY is laid next to Vig and wrapped in cloths; two clerics chant. Doc stares at Vig. Vig reaches out blindly for Doc's hand. Doc looks for a moment at Vig's hand in the air, reaching, then takes it. They remain silent for a moment, hands clasped. Archie walks up, his arm bandaged, and inspects Vig's face. Archie, Doc, and Vig check the Vuitton suitcases, opening them, looking at the gold, shutting them. PAN TO children in bandages watch Archie inventory the gold. He looks at Doc and Vig. They look at Archie. The Shiite Man In Glasses puts oils on his Little Girl's face. The Shiite Man In Glasses does not answer. Vig wears glasses over his eye bandage; he mimes the Girl. They look at him, surprised. He wipes bits of white foam from the corners of his mouth. Doc and Vig look at Archie. Archie looks at him. Archie looks at Vig and Doc. THE SHELLS and puts them into his pocket. Bile fluid fills the cavity. They look at Archie, scared by this. The Humvee drives fast into the central square of a small village of low, sand-colored stucco buildings and shanties. Vig drives as the Humvee speeds around the town square, zooming past scared Shiites in black robes, a few skinny dogs, a few bewildered Iraqi soldiers. He studies the map and points to a decayed green building. Vig jerks the wheel right. They drive fast. Archie points left. Vig jerks the wheel left, drives straight toward a low cement building with two Iraqi soldiers in front. Iraqi soldiers look scared as the Humvee drives up, like it's going to hit them, and stops, flag fluttering in the breeze. Vig stands and speaks into a megaphone. Troy and Doc leap from the Humvee with pistols drawn and their free hands held up in a 'halt' sign. The TWO IRAQI GUARDS look stunned as Troy and Doc simply take their machine guns and put the Iraqis face down on the ground. Troy and Doc pull out <u>plastic twist hand-cuffs</u>, as used in urban riots. Archie bounds forward holding up a thick white document. Troy finishes handcuffing one of the Iraqi soldiers, as a gaunt mother, with a baby in her arms, opens her blouse, revealing her small breasts. Other peasants gather. Troy looks shocked until Archie suddenly pushes him past the Iraqi mother and to the door of the bunker, which Doc holds. Iraqi women and children kiss Vig's feet. The five Iraqi soldiers exit the bunker with their hands raised, and the starved Shiite civilians spit and throw stones at them while 'I Get Around' keeps playing. Troy shoots the door lock with his pistol. Then backs up and gives Doc, Vig watch with trepidation as Archie walks toward the soldier slashing the Man In Glasses, who carries the Girl. Archie reaches over and grabs the slasher's wrist, pulling the blade away from the man's body. He holds the soldier's wrist up. The soldier grabs for Archie's throat with his free hand, but Archie grabs this hand and twists it away, putting the Iraqi into a choke hold. The soldier drops the knife in the dirt. The bloodied Man In Glasses collapses to the ground, clutching the Little Girl in arm casts. Troy, Doc, Vig point their guns. The Iraqi Major is pissed. Archie sweeps the soldier's feet out, pins the soldier face down on the ground, and throws the soldier's gun away. Archie helps the Shiite Man In Glasses to his feet, takes the Girl, and walks them over to the Humvee. Two Shiite prisoners try to stand up, the Iraqi guards kick them back down. The Iraqi Major raises his machine gun as he stands next to the Humvee, but Archie grabs the barrel and holds it down. Troy looks scared as he points his pistol at the Iraqi soldiers, who point their rifles back at Troy and Doc. CUT BACK TO the Major pauses, then smashes the barrel of his machine gun, with Archie's hand, against the Humvee. Archie winces, but doesn't let go. The Major does it again, smashing Archie's hand. Archie winces, doesn't let go. The Major tries to jerk the barrel up, but Archie pushes it down, and it fires by accident, into the Major's leg. The Major howls with pain. Blood dribbles out the bottom of his pants leg like piss. Troy covers Iraqi 6 with his rifle. Vig nervously swings the mounted machine gun from one Iraqi in the rear to another, Doc and Vig look pissed. Archie's arm is in pain. Archie looks at him. He extends his hand. They shake. Archie looks around. He sees Imam's daughter, other bandaged children looking at him. A few mothers. Doc pulls gold bars from a case and holds them up Fifty Shiites turn and look at him silently. Doc dumps a whole suitcase of gold bars. Imam translates. People stare at the gold and say nothing. His daughter looks at him and laughs -- until her laughter becomes scary, hysterical and Imam tries to hold her still and she won't stop as Archie, Doc, Vig watch. The Interrogator lights a Marlboro, exhales. PUSH IN TO CLOSE UP on TROY'S FACE as the smoke envelopes him. Interrogator laughs and takes a practice golf swing. Holding the driver at the head, he raps the bridge of Troy's nose. He raps Troy's nose repeatedly to make his point. He breaks Troy's nose with a crack. Doc and Vig load and handle the old pistols. Archie pulls two of the colored footballs from the beat up pack. He looks at Doc as if to say "Great." HIGH WIDE SHOT: A lone Iraqi military truck, mint condition.' Archie, Vig, and Doc form a semicircle, surrounding the truck. They are all 40 yards back from the truck. No response. Suddenly Vig's pistol FIRES. His gunshot blows a hole in the Iraqi truck -- which deflates like a huge beach ball, circling wildly until it lies in a heap of collapsed camouflage canvass while 50 yards away -- 55 SHIITES flip sand-colored blankets off and stand up in the desert to look. Doc lifts the limp canvass of the deflated truck. HIGH WIDE SHOT: They walk in a single file line in the desert. Archie in front, carries a

What do Conrad, Chief, and Archie promise the rebels in return for their help?

Passage to the Iranian border.

Walter and the Drivers in custody -- stand and watch Archie. General Horn picks up a gold brick. General Horn looks at Archie. Everyone stares at General Horn. After a pause, the General fires his pistol into the air. Captain Van Meter and General Horn walk 40 yards to the frozen Iraqi soldiers and the terrified Shiites. Archie, Troy, Doc in handcuffs with MPS, watch. Walter and the other U.S. Soldiers watch from afar as Captain Van Meter and General Horn walk into the midst of Iraqi soldiers. An OLDER IRAQI GENERAL steps forward and salutes. Archie, Troy, Doc, U.S. soldiers watch from a distance. It is QUIET. No one says anything. Pan across Paco taping. He walks up and forcibly pushes the camera to the ground, Van Meter pushes Cathy's camera down. MPs take the tapes from the cameras. He signals the choppers to start up. General Horn walks over to Troy, Archie, and Doc. He walks into a chopper, which is now revving at full speed. PAN TO Troy, Archie, Doc turn to the border and watch. Walter, the handcuffed Drivers, the MPS and other U.S. Soldiers also watch. The Shiites are released by the Iraqis. They collect themselves and gather in a group. The group walks over the border and is received by the relief workers. Troy, Archie, Doc watch. A U.S. Soldier WHISTLES through the loud choppers. Then another Soldier joins in, WHISTLING and CLAPPING. Then another soldier, until all twenty U.S. Soldiers and MPs present are whistling and cheering Troy, Archie, and Doc as they stand there while the choppers throb. 50 yards away: Imam holds his daughter, on the Iran side, about to get into a Red Crescent bus. Imam and his daughter wave. Archie raises his handcuffed wrists to wave back; Troy and Doc follow, raising their cuffed hands to wave. "I Get Around" by the Beach Boys KICKS ON. They each served eighteen months in a military prison. Bill Smithson and Cathy Daitch's testimony resulted in reduced sentences. Troy Barlow runs his own carpet company in Torrance, Cal. Ending on the wide-eyed Little Girl with her hand in her mouth, staring. ANOTHER ANGLE -- replay of entire shoot out at REGULAR SPEED. Ending on Troy wincing as he holds his chest. Archie's lightly blood-flecked face stares down at the dead Major, clouds pass overhead. Dead Iraqi 6 lies with legs twisted under his body. A rivulet of blood trickles through the sand. A spider runs across it and gets stuck. LOW ANGLE up at Doc, stone still, staring straight ahead as clouds pass slowly above him in the sky. Vig nervously swings the mounted machine gun back and forth. Troy, drenched in sweat, looks pained as he unbuttons his shirt: there's a gunshot in his kevlar vest. The slug drops out of the dent, into his hand -- he exhales. Iraqis 2, 3, 4, and the Sargeant, throw their hands up in surrender and drop their weapons. Big Iraqi 2 walks toward the Humvee in surrender, and bows down. Vig swings the mounted machine gun toward the three remaining Iraqi soldiers who stand over eight terrified Shiites. Doc follows Archie over to the three Iraqi soldiers. The soldiers get on their knees, pleading for mercy. Doc takes the Iraqi soldiers' guns and pushes them down. Shiites and Iraqi soldiers watch the debate nervously. Doc points to the Shiites. Troy displays the gunshot in the Kevlar. A tank rolls toward them fast, down a narrow side street, followed by a truck with a rocket launcher. Vig struggles to lift the grenade launcher. Troy jumps into the luggage-packed truck, starts the engine. Vig starts the Humvee; Archie jumps in next to Vig. PAN TO the eight Shiites, plus the Man In Glasses and the Little Girl, jam into the crowded Humvee. Doc jumps in. The tank approaches. The Humvee that is connected to the wire around Troy's jaw. A THIRD IRAQI reaches forward and turns a dial. The SECOND IRAQI murmurs defensively and turns the dial back. The Interrogator turns back to Troy. He is jolted again -- his face contorts, he bites his lip. Troy starts to cry, represses it. His lip is bleeding. Troy says nothing. Troy starts shaking slightly. Emotion comes into the INTERROGATOR'S VOICE as he says this. The other two guards listen sadly. CLOSE UP the two guards -- one of them wipes away a tear. At the end of the hall, Archie grits his teeth in pain as a CLERIC uses a turkey baster to shoot alcohol into his infected wound. Archie SCREAMS in pain. Doc paces, exhaling; he has white ointment on his face. A Shiite changes Vig's bloody bandage, while a DEAD BODY is laid next to Vig and wrapped in cloths; two clerics chant. Doc stares at Vig. Vig reaches out blindly for Doc's hand. Doc looks for a moment at Vig's hand in the air, reaching, then takes it. They remain silent for a moment, hands clasped. Archie walks up, his arm bandaged, and inspects Vig's face. Archie, Doc, and Vig check the Vuitton suitcases, opening them, looking at the gold, shutting them. PAN TO children in bandages watch Archie inventory the gold. He looks at Doc and Vig. They look at Archie. The Shiite Man In Glasses puts oils on his Little Girl's face. The Shiite Man In Glasses does not answer. Vig wears glasses over his eye bandage; he mimes the Girl. They look at him, surprised. He wipes bits of white foam from the corners of his mouth. Doc and Vig look at Archie. Archie looks at him. Archie looks at Vig and Doc. They stare at the new map in the infrared glow, captivated. He turns the overhead light back on. They look at him. Dolly: Troy, Doc, Vig stare at Archie. He looks at them. They salute him. He straightens Troy's salute. Walter comes in. Vig smile fades as he looks into Archie's cold stare. Van Meter tries a couple of poses. Pow pow pow, Vig fires his big pistol into the desert. Troy throws a painted football into the desert. Doc fires the M-16 and blows the ball to pieces. The convertible Humvee is loaded with weaponry and gear, a mounted 60 mm machine gun, a Bart Simpson doll on the grill. The Humvee rolls into the vast desert, littered with burned out tanks, black craters, overturned vehicles, no people. Troy throws another ball, Doc blows it away. Doc throws a football from the moving Humvee, Troy fires a pistol and misses the ball as it bounces to the desert. Archie moves his hand to the Bach. Doc throws a ball. Vig fires his giant pistol twice and misses. Vig fires: blam, blam, bam. The Humvee stops abruptly. They sit in embarrassed silence; the joyous Bach choir plays. Troy kicks at something in the sand -- and a decayed human arm springs out, attached to a body with a half-rotted face. DOLLY INTO five terrified Iraqis, eyes open with fear, as the sand rolls over them. The cow stares as the Humvee pulls up to it fast. Troy and Doc jump out, pistols drawn, flank the cow -- The cow steps back, and explodes. Troy and Doc stand splattered with cow entrails. The cow's head lands with a <u>thud</u> on the hood of the Humvee. He picks cow entrails off himself. Archie watches Troy. Archie takes Vig's BIG PISTOL and EMPTIES gunfire. Troy runs as hard as he can toward Vig. Doc looks around frantically with his pistol pointed. Archie scans the area and directs 3 SHIITE RIFLEMEN to spread out. Troy runs, catches the staggering Vig in his arms and embraces him. Blood runs from Vig's mouth, onto Troy's shoulder, as Vig tries to talk. Troy cries as he runs with Vig in his arms. Doc takes Vig from Troy's arms and carefully lays him on the ground, cradling his head in his lap. Vig spits blood. The hole in Vig's collar bone is pumping out blood. Troy puts his hands over it. Doc looks sad and scared as he tries to turns Vig's head to help him breathe. 50 Shiites -- children and adults -- sit on the ground near the bunker watch from afar. He runs hard across the desert toward Troy. Troy falls next to Vig and they look at each other. Troy's eyes are wide with pain as he breathes with great difficulty -- RASPING. The POV turns to the side -- Vig is no longer breathing. He holds the camera out. Imam's Little Girl gets out of the passenger side, SLIGHTLY SLOW MOTION, NO SOUND. Imam scolds her and gesticulates, indicating she should be back with the others where it is safe. The Little Girl embraces Imam and stares down at Troy over her father's shoulder. Doc squeezes a small tube of brown disinfectant gel onto this spot -- the only sounds are the squirt of the ointment and Troy's breathing. There is a pronounced HISSING as trapped air rushes out. Huge relief comes over Troy's face as he breathes normally. He tears open a short I.V. tube and plunges the I.V. into the scalpel hole. There is a small valve on the end of

What job does Troy have after returning home?

he owns a carpet store

pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the THE SHELLS and puts them into his pocket. Bile fluid fills the cavity. They look at Archie, scared by this. The Humvee drives fast into the central square of a small village of low, sand-colored stucco buildings and shanties. Vig drives as the Humvee speeds around the town square, zooming past scared Shiites in black robes, a few skinny dogs, a few bewildered Iraqi soldiers. He studies the map and points to a decayed green building. Vig jerks the wheel right. They drive fast. Archie points left. Vig jerks the wheel left, drives straight toward a low cement building with two Iraqi soldiers in front. Iraqi soldiers look scared as the Humvee drives up, like it's going to hit them, and stops, flag fluttering in the breeze. Vig stands and speaks into a megaphone. Troy and Doc leap from the Humvee with pistols drawn and their free hands held up in a 'halt' sign. The TWO IRAQI GUARDS look stunned as Troy and Doc simply take their machine guns and put the Iraqis face down on the ground. Troy and Doc pull out <u>plastic twist hand-cuffs</u>, as used in urban riots. Archie bounds forward holding up a thick white document. Troy finishes handcuffing one of the Iraqi soldiers, as a gaunt mother, with a baby in her arms, opens her blouse, revealing her small breasts. Other peasants gather. Troy looks shocked until Archie suddenly pushes him past the Iraqi mother and to the door of the bunker, which Doc holds. Iraqi women and children kiss Vig's feet. The five Iraqi soldiers exit the bunker with their hands raised, and the starved Shiite civilians spit and throw stones at them while 'I Get Around' keeps playing. Troy shoots the door lock with his pistol. Then backs up and gives Walter and the Drivers in custody -- stand and watch Archie. General Horn picks up a gold brick. General Horn looks at Archie. Everyone stares at General Horn. After a pause, the General fires his pistol into the air. Captain Van Meter and General Horn walk 40 yards to the frozen Iraqi soldiers and the terrified Shiites. Archie, Troy, Doc in handcuffs with MPS, watch. Walter and the other U.S. Soldiers watch from afar as Captain Van Meter and General Horn walk into the midst of Iraqi soldiers. An OLDER IRAQI GENERAL steps forward and salutes. Archie, Troy, Doc, U.S. soldiers watch from a distance. It is QUIET. No one says anything. Pan across Paco taping. He walks up and forcibly pushes the camera to the ground, Van Meter pushes Cathy's camera down. MPs take the tapes from the cameras. He signals the choppers to start up. General Horn walks over to Troy, Archie, and Doc. He walks into a chopper, which is now revving at full speed. PAN TO Troy, Archie, Doc turn to the border and watch. Walter, the handcuffed Drivers, the MPS and other U.S. Soldiers also watch. The Shiites are released by the Iraqis. They collect themselves and gather in a group. The group walks over the border and is received by the relief workers. Troy, Archie, Doc watch. A U.S. Soldier WHISTLES through the loud choppers. Then another Soldier joins in, WHISTLING and CLAPPING. Then another soldier, until all twenty U.S. Soldiers and MPs present are whistling and cheering Troy, Archie, and Doc as they stand there while the choppers throb. 50 yards away: Imam holds his daughter, on the Iran side, about to get into a Red Crescent bus. Imam and his daughter wave. Archie raises his handcuffed wrists to wave back; Troy and Doc follow, raising their cuffed hands to wave. "I Get Around" by the Beach Boys KICKS ON. They each served eighteen months in a military prison. Bill Smithson and Cathy Daitch's testimony resulted in reduced sentences. Troy Barlow runs his own carpet company in Torrance, Cal. Doc, Vig watch with trepidation as Archie walks toward the soldier slashing the Man In Glasses, who carries the Girl. Archie reaches over and grabs the slasher's wrist, pulling the blade away from the man's body. He holds the soldier's wrist up. The soldier grabs for Archie's throat with his free hand, but Archie grabs this hand and twists it away, putting the Iraqi into a choke hold. The soldier drops the knife in the dirt. The bloodied Man In Glasses collapses to the ground, clutching the Little Girl in arm casts. Troy, Doc, Vig point their guns. The Iraqi Major is pissed. Archie sweeps the soldier's feet out, pins the soldier face down on the ground, and throws the soldier's gun away. Archie helps the Shiite Man In Glasses to his feet, takes the Girl, and walks them over to the Humvee. Two Shiite prisoners try to stand up, the Iraqi guards kick them back down. The Iraqi Major raises his machine gun as he stands next to the Humvee, but Archie grabs the barrel and holds it down. Troy looks scared as he points his pistol at the Iraqi soldiers, who point their rifles back at Troy and Doc. CUT BACK TO the Major pauses, then smashes the barrel of his machine gun, with Archie's hand, against the Humvee. Archie winces, but doesn't let go. The Major does it again, smashing Archie's hand. Archie winces, doesn't let go. The Major tries to jerk the barrel up, but Archie pushes it down, and it fires by accident, into the Major's leg. The Major howls with pain. Blood dribbles out the bottom of his pants leg like piss. Troy covers Iraqi 6 with his rifle. Vig nervously swings the mounted machine gun from one Iraqi in the rear to another, that is connected to the wire around Troy's jaw. A THIRD IRAQI reaches forward and turns a dial. The SECOND IRAQI murmurs defensively and turns the dial back. The Interrogator turns back to Troy. He is jolted again -- his face contorts, he bites his lip. Troy starts to cry, represses it. His lip is bleeding. Troy says nothing. Troy starts shaking slightly. Emotion comes into the INTERROGATOR'S VOICE as he says this. The other two guards listen sadly. CLOSE UP the two guards -- one of them wipes away a tear. At the end of the hall, Archie grits his teeth in pain as a CLERIC uses a turkey baster to shoot alcohol into his infected wound. Archie SCREAMS in pain. Doc paces, exhaling; he has white ointment on his face. A Shiite changes Vig's bloody bandage, while a DEAD BODY is laid next to Vig and wrapped in cloths; two clerics chant. Doc stares at Vig. Vig reaches out blindly for Doc's hand. Doc looks for a moment at Vig's hand in the air, reaching, then takes it. They remain silent for a moment, hands clasped. Archie walks up, his arm bandaged, and inspects Vig's face. Archie, Doc, and Vig check the Vuitton suitcases, opening them, looking at the gold, shutting them. PAN TO children in bandages watch Archie inventory the gold. He looks at Doc and Vig. They look at Archie. The Shiite Man In Glasses puts oils on his Little Girl's face. The Shiite Man In Glasses does not answer. Vig wears glasses over his eye bandage; he mimes the Girl. They look at him, surprised. He wipes bits of white foam from the corners of his mouth. Doc and Vig look at Archie. Archie looks at him. Archie looks at Vig and Doc.

How does Major Archie Gates pass time and avoid getting bored in the beggininng of the story?

He throws parties and has sex with a journalist.

pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the Ending on the wide-eyed Little Girl with her hand in her mouth, staring. ANOTHER ANGLE -- replay of entire shoot out at REGULAR SPEED. Ending on Troy wincing as he holds his chest. Archie's lightly blood-flecked face stares down at the dead Major, clouds pass overhead. Dead Iraqi 6 lies with legs twisted under his body. A rivulet of blood trickles through the sand. A spider runs across it and gets stuck. LOW ANGLE up at Doc, stone still, staring straight ahead as clouds pass slowly above him in the sky. Vig nervously swings the mounted machine gun back and forth. Troy, drenched in sweat, looks pained as he unbuttons his shirt: there's a gunshot in his kevlar vest. The slug drops out of the dent, into his hand -- he exhales. Iraqis 2, 3, 4, and the Sargeant, throw their hands up in surrender and drop their weapons. Big Iraqi 2 walks toward the Humvee in surrender, and bows down. Vig swings the mounted machine gun toward the three remaining Iraqi soldiers who stand over eight terrified Shiites. Doc follows Archie over to the three Iraqi soldiers. The soldiers get on their knees, pleading for mercy. Doc takes the Iraqi soldiers' guns and pushes them down. Shiites and Iraqi soldiers watch the debate nervously. Doc points to the Shiites. Troy displays the gunshot in the Kevlar. A tank rolls toward them fast, down a narrow side street, followed by a truck with a rocket launcher. Vig struggles to lift the grenade launcher. Troy jumps into the luggage-packed truck, starts the engine. Vig starts the Humvee; Archie jumps in next to Vig. PAN TO the eight Shiites, plus the Man In Glasses and the Little Girl, jam into the crowded Humvee. Doc jumps in. The tank approaches. The Humvee THE SHELLS and puts them into his pocket. Bile fluid fills the cavity. They look at Archie, scared by this. The Humvee drives fast into the central square of a small village of low, sand-colored stucco buildings and shanties. Vig drives as the Humvee speeds around the town square, zooming past scared Shiites in black robes, a few skinny dogs, a few bewildered Iraqi soldiers. He studies the map and points to a decayed green building. Vig jerks the wheel right. They drive fast. Archie points left. Vig jerks the wheel left, drives straight toward a low cement building with two Iraqi soldiers in front. Iraqi soldiers look scared as the Humvee drives up, like it's going to hit them, and stops, flag fluttering in the breeze. Vig stands and speaks into a megaphone. Troy and Doc leap from the Humvee with pistols drawn and their free hands held up in a 'halt' sign. The TWO IRAQI GUARDS look stunned as Troy and Doc simply take their machine guns and put the Iraqis face down on the ground. Troy and Doc pull out <u>plastic twist hand-cuffs</u>, as used in urban riots. Archie bounds forward holding up a thick white document. Troy finishes handcuffing one of the Iraqi soldiers, as a gaunt mother, with a baby in her arms, opens her blouse, revealing her small breasts. Other peasants gather. Troy looks shocked until Archie suddenly pushes him past the Iraqi mother and to the door of the bunker, which Doc holds. Iraqi women and children kiss Vig's feet. The five Iraqi soldiers exit the bunker with their hands raised, and the starved Shiite civilians spit and throw stones at them while 'I Get Around' keeps playing. Troy shoots the door lock with his pistol. Then backs up and gives SEVEN IRAQI SOLDIERS pour out swinging clubs, followed by an IRAQI MAJOR, about 45. The Iraqi soldiers savagely beat the Shiites. Vig looks horrified as he watches. TWO SOLDIERS grab the Woman from the Man With Glasses, and drag her into a circle with three other soldiers; the ten year-old girl with dirty casts on both arms, screams and punches at them. The Man With Glasses is held down at knife point. The Iraqi Major glances over at Vig, but the soldiers do not stop brutalizing the Shiites -- they round up eight more Shiites and make them lay face down. Archie goes through the door, followed by the Iraqi Interrogator and Captain. Archie stands looking at the suitcases with Troy and Doc. Several of the big Vuitton suitcases are laid on their sides by Archie, Troy and Doc. The Iraqi Captain paces frantically punching and kicking the walls and talking (SUBTITLED in ENGLISH). The suitcases are quickly unzipped. One suitcase is full of gleaming antique silverware. One suitcase is full of jewelry. Archie opens one full of hundreds of gold Cartier watches. Troy and Doc slip a handful of jewelry into their pockets. The Iraqi Captain goes nuts, throwing himself on Doc's back, choking Doc, who flails about. Troy punches the Iraqi in the head and rips him off Doc. Archie puts his pistol in the man's face. He turns to Doc. Doc and Troy, out of breath, empty their pockets of jewelry. Archie opens another Vuitton suitcase and pushes it aside - it's full of Kuwaiti passports. When Doc opens the next suitcase, he freezes. Archie looks over and freezes. Troy closes cuffs behind the Captain's back and looks over his shoulder -- wide-eyed. The very large Vuitton suitcase is filled with five-kilo bricks of gold. They all paper and lie it flat on the sand. TV monitors crash to the floor as she climaxes. Archie lays on the floor catching his breath, stares at a sideways monitor of soldiers celebrating; she stands, dresses. The door explodes open and two MPs grab Archie, pants around his ankles, and drag him from the truck. WHIP PAN TO Cathy runs away as she dresses, MPs grab her. They let her go. Soldiers in gas suits laugh. Bill Smithson runs up, agitated. The MP pushes Smithson away. Smithson is walked away. Archie pulls his pants up. Archie suddenly reaches out and grabs the corner of General Horn's collar, with its one star. Archie leans wild-eyed into Horn's face and whispers -- Doc Elgin opens a case full of pill bottles. Troy pops the pills, Doc pulls a document from a folder and opens it as he hovers over a table with Troy and Vig. Walter stands by the door wearing night vision goggles. Doc unfolds a big aerial-photo map of the Iraqi desert, next to the rumpled ass map. He walks up to them. Archie fixes his gaze on Troy, walks up, reaches under the table, and takes the map, smells his fingers. Troy and Vig are impressed. He points in order to Doc, Vig, and Troy, who picks up his family photo button. Troy stands and grabs the map. Both Troy and Archie hold the map, staring at each other. Everyone is tense. Troy lets go. Archie holds the map up to the light. He then pours some of Doc's rubbing alcohol on the map, and holds it to the light again. He puts the map on the table, turns the light off and clicks on an infra-red flashlight he pulls out. A completely different map appears in green markings.

Why did the Iraqui officer attempt to hide the map?

It's a map to plundered goods and gold

pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the Ending on the wide-eyed Little Girl with her hand in her mouth, staring. ANOTHER ANGLE -- replay of entire shoot out at REGULAR SPEED. Ending on Troy wincing as he holds his chest. Archie's lightly blood-flecked face stares down at the dead Major, clouds pass overhead. Dead Iraqi 6 lies with legs twisted under his body. A rivulet of blood trickles through the sand. A spider runs across it and gets stuck. LOW ANGLE up at Doc, stone still, staring straight ahead as clouds pass slowly above him in the sky. Vig nervously swings the mounted machine gun back and forth. Troy, drenched in sweat, looks pained as he unbuttons his shirt: there's a gunshot in his kevlar vest. The slug drops out of the dent, into his hand -- he exhales. Iraqis 2, 3, 4, and the Sargeant, throw their hands up in surrender and drop their weapons. Big Iraqi 2 walks toward the Humvee in surrender, and bows down. Vig swings the mounted machine gun toward the three remaining Iraqi soldiers who stand over eight terrified Shiites. Doc follows Archie over to the three Iraqi soldiers. The soldiers get on their knees, pleading for mercy. Doc takes the Iraqi soldiers' guns and pushes them down. Shiites and Iraqi soldiers watch the debate nervously. Doc points to the Shiites. Troy displays the gunshot in the Kevlar. A tank rolls toward them fast, down a narrow side street, followed by a truck with a rocket launcher. Vig struggles to lift the grenade launcher. Troy jumps into the luggage-packed truck, starts the engine. Vig starts the Humvee; Archie jumps in next to Vig. PAN TO the eight Shiites, plus the Man In Glasses and the Little Girl, jam into the crowded Humvee. Doc jumps in. The tank approaches. The Humvee They stare at the new map in the infrared glow, captivated. He turns the overhead light back on. They look at him. Dolly: Troy, Doc, Vig stare at Archie. He looks at them. They salute him. He straightens Troy's salute. Walter comes in. Vig smile fades as he looks into Archie's cold stare. Van Meter tries a couple of poses. Pow pow pow, Vig fires his big pistol into the desert. Troy throws a painted football into the desert. Doc fires the M-16 and blows the ball to pieces. The convertible Humvee is loaded with weaponry and gear, a mounted 60 mm machine gun, a Bart Simpson doll on the grill. The Humvee rolls into the vast desert, littered with burned out tanks, black craters, overturned vehicles, no people. Troy throws another ball, Doc blows it away. Doc throws a football from the moving Humvee, Troy fires a pistol and misses the ball as it bounces to the desert. Archie moves his hand to the Bach. Doc throws a ball. Vig fires his giant pistol twice and misses. Vig fires: blam, blam, bam. The Humvee stops abruptly. They sit in embarrassed silence; the joyous Bach choir plays. Troy kicks at something in the sand -- and a decayed human arm springs out, attached to a body with a half-rotted face. DOLLY INTO five terrified Iraqis, eyes open with fear, as the sand rolls over them. The cow stares as the Humvee pulls up to it fast. Troy and Doc jump out, pistols drawn, flank the cow -- The cow steps back, and explodes. Troy and Doc stand splattered with cow entrails. The cow's head lands with a <u>thud</u> on the hood of the Humvee. He picks cow entrails off himself. Archie watches Troy. Archie takes Vig's BIG PISTOL and EMPTIES Walter and the Drivers in custody -- stand and watch Archie. General Horn picks up a gold brick. General Horn looks at Archie. Everyone stares at General Horn. After a pause, the General fires his pistol into the air. Captain Van Meter and General Horn walk 40 yards to the frozen Iraqi soldiers and the terrified Shiites. Archie, Troy, Doc in handcuffs with MPS, watch. Walter and the other U.S. Soldiers watch from afar as Captain Van Meter and General Horn walk into the midst of Iraqi soldiers. An OLDER IRAQI GENERAL steps forward and salutes. Archie, Troy, Doc, U.S. soldiers watch from a distance. It is QUIET. No one says anything. Pan across Paco taping. He walks up and forcibly pushes the camera to the ground, Van Meter pushes Cathy's camera down. MPs take the tapes from the cameras. He signals the choppers to start up. General Horn walks over to Troy, Archie, and Doc. He walks into a chopper, which is now revving at full speed. PAN TO Troy, Archie, Doc turn to the border and watch. Walter, the handcuffed Drivers, the MPS and other U.S. Soldiers also watch. The Shiites are released by the Iraqis. They collect themselves and gather in a group. The group walks over the border and is received by the relief workers. Troy, Archie, Doc watch. A U.S. Soldier WHISTLES through the loud choppers. Then another Soldier joins in, WHISTLING and CLAPPING. Then another soldier, until all twenty U.S. Soldiers and MPs present are whistling and cheering Troy, Archie, and Doc as they stand there while the choppers throb. 50 yards away: Imam holds his daughter, on the Iran side, about to get into a Red Crescent bus. Imam and his daughter wave. Archie raises his handcuffed wrists to wave back; Troy and Doc follow, raising their cuffed hands to wave. "I Get Around" by the Beach Boys KICKS ON. They each served eighteen months in a military prison. Bill Smithson and Cathy Daitch's testimony resulted in reduced sentences. Troy Barlow runs his own carpet company in Torrance, Cal. paper and lie it flat on the sand. TV monitors crash to the floor as she climaxes. Archie lays on the floor catching his breath, stares at a sideways monitor of soldiers celebrating; she stands, dresses. The door explodes open and two MPs grab Archie, pants around his ankles, and drag him from the truck. WHIP PAN TO Cathy runs away as she dresses, MPs grab her. They let her go. Soldiers in gas suits laugh. Bill Smithson runs up, agitated. The MP pushes Smithson away. Smithson is walked away. Archie pulls his pants up. Archie suddenly reaches out and grabs the corner of General Horn's collar, with its one star. Archie leans wild-eyed into Horn's face and whispers -- Doc Elgin opens a case full of pill bottles. Troy pops the pills, Doc pulls a document from a folder and opens it as he hovers over a table with Troy and Vig. Walter stands by the door wearing night vision goggles. Doc unfolds a big aerial-photo map of the Iraqi desert, next to the rumpled ass map. He walks up to them. Archie fixes his gaze on Troy, walks up, reaches under the table, and takes the map, smells his fingers. Troy and Vig are impressed. He points in order to Doc, Vig, and Troy, who picks up his family photo button. Troy stands and grabs the map. Both Troy and Archie hold the map, staring at each other. Everyone is tense. Troy lets go. Archie holds the map up to the light. He then pours some of Doc's rubbing alcohol on the map, and holds it to the light again. He puts the map on the table, turns the light off and clicks on an infra-red flashlight he pulls out. A completely different map appears in green markings.

What group do the soldiers team up with to save Troy?

The rebel group.

pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the Ending on the wide-eyed Little Girl with her hand in her mouth, staring. ANOTHER ANGLE -- replay of entire shoot out at REGULAR SPEED. Ending on Troy wincing as he holds his chest. Archie's lightly blood-flecked face stares down at the dead Major, clouds pass overhead. Dead Iraqi 6 lies with legs twisted under his body. A rivulet of blood trickles through the sand. A spider runs across it and gets stuck. LOW ANGLE up at Doc, stone still, staring straight ahead as clouds pass slowly above him in the sky. Vig nervously swings the mounted machine gun back and forth. Troy, drenched in sweat, looks pained as he unbuttons his shirt: there's a gunshot in his kevlar vest. The slug drops out of the dent, into his hand -- he exhales. Iraqis 2, 3, 4, and the Sargeant, throw their hands up in surrender and drop their weapons. Big Iraqi 2 walks toward the Humvee in surrender, and bows down. Vig swings the mounted machine gun toward the three remaining Iraqi soldiers who stand over eight terrified Shiites. Doc follows Archie over to the three Iraqi soldiers. The soldiers get on their knees, pleading for mercy. Doc takes the Iraqi soldiers' guns and pushes them down. Shiites and Iraqi soldiers watch the debate nervously. Doc points to the Shiites. Troy displays the gunshot in the Kevlar. A tank rolls toward them fast, down a narrow side street, followed by a truck with a rocket launcher. Vig struggles to lift the grenade launcher. Troy jumps into the luggage-packed truck, starts the engine. Vig starts the Humvee; Archie jumps in next to Vig. PAN TO the eight Shiites, plus the Man In Glasses and the Little Girl, jam into the crowded Humvee. Doc jumps in. The tank approaches. The Humvee Walter and the Drivers in custody -- stand and watch Archie. General Horn picks up a gold brick. General Horn looks at Archie. Everyone stares at General Horn. After a pause, the General fires his pistol into the air. Captain Van Meter and General Horn walk 40 yards to the frozen Iraqi soldiers and the terrified Shiites. Archie, Troy, Doc in handcuffs with MPS, watch. Walter and the other U.S. Soldiers watch from afar as Captain Van Meter and General Horn walk into the midst of Iraqi soldiers. An OLDER IRAQI GENERAL steps forward and salutes. Archie, Troy, Doc, U.S. soldiers watch from a distance. It is QUIET. No one says anything. Pan across Paco taping. He walks up and forcibly pushes the camera to the ground, Van Meter pushes Cathy's camera down. MPs take the tapes from the cameras. He signals the choppers to start up. General Horn walks over to Troy, Archie, and Doc. He walks into a chopper, which is now revving at full speed. PAN TO Troy, Archie, Doc turn to the border and watch. Walter, the handcuffed Drivers, the MPS and other U.S. Soldiers also watch. The Shiites are released by the Iraqis. They collect themselves and gather in a group. The group walks over the border and is received by the relief workers. Troy, Archie, Doc watch. A U.S. Soldier WHISTLES through the loud choppers. Then another Soldier joins in, WHISTLING and CLAPPING. Then another soldier, until all twenty U.S. Soldiers and MPs present are whistling and cheering Troy, Archie, and Doc as they stand there while the choppers throb. 50 yards away: Imam holds his daughter, on the Iran side, about to get into a Red Crescent bus. Imam and his daughter wave. Archie raises his handcuffed wrists to wave back; Troy and Doc follow, raising their cuffed hands to wave. "I Get Around" by the Beach Boys KICKS ON. They each served eighteen months in a military prison. Bill Smithson and Cathy Daitch's testimony resulted in reduced sentences. Troy Barlow runs his own carpet company in Torrance, Cal. but doesn't shoot. Iraqi soldiers point their rifles at the Americans. WHIP PAN TO Iraqi 6 jerks his rifle toward Archie and fires. The sound cuts out. SLIGHTLY SLOW MOTION: WHIP PAN from Iraqi rifle to Archie. The only SOUND is the BULLET PIERCING THE FLESH of Archie's lower left arm and tearing his muscle as it passes through. Archie grimaces violently in pain. SLOW MOTION: The bullet tears through Iraqi 6's chest. THE ONLY SOUND is the IRAQI'S HEARTBEAT, the bullet tearing flesh and crushing bone, and the heartbeat stopping with a VIOLENT SPLASH. Iraqi 6 falls to the ground with only a dull thud and the slow clank of his gear. REGULAR SPEED: Vig swings the mounted machine gun from one Iraqi to another, but still doesn't shoot. He looks terrified as his thumbs twitch on the triggers. Iraqi 7 FIRES twice. SLIGHTLY SLOW MOTION: a bullet tears into Troy's chest with a DULL SNAP. He winces in pain. PAN TO the windshield of the Humvee shatters behind Doc; he turns and fires his pistol. PAN TO -- slightly slow motion: NO SOUND EXCEPT THE BULLET TEARING INTO IRAQI 7'S KNEE, smashing through bone. He falls to the ground clutching his leg. SLOW MOTION: tracer bullets slice across the face of Iraqi 5 and Iraqi 2 in the rear, NO SOUND BUT THE BULLETS BREAKING <b> THROUGH BONE AND FLESH. </b> SLOW MOTION: Archie jams his pistol under the Major's chin and FIRES -- the ONLY SOUND IS THE. SLOW EXPLOSION OF THE GUN, and the slow tearing of tissue, ending with a sharp SNAP as the tissue, bone, and the bullet CRACK out the top of the Iraqi Major's head. HIGH ANGLE LOOKING DOWN -- replay of entire shoot out at REGULAR SPEED. SHOT - looking straight down. The cars drive three abreast down the approach road to the bunker. The Infiniti is in the middle, flanked by the Rolls on the left and the Mercedes on the right. He jumps up and down and points, but the Infiniti goes far to the side of the bunker and <u>explodes</u> into some ruins. The two guards point their guns at Vig and the Shiite and they run into the desert as bullets pop around them. They run toward the bunker, Archie with a wad of plastic explosive and nails in one hand and a cigarette lighter in the other. He HEARS the CHIRP of a car alarm being activated as he runs to the bunker. Imam finds a vent hole on the low facade of the bunker, pulls off a grill. Archie lights a fuse sticking out of the plastic explosive, and drops it into the vent. An EXPLOSION elsewhere in the bunker causes the lights to flicker out. Archie reaches in, grabs his pistol, and bolts as a launched grenade blows the Mercedes. 6 Iraqis run for it, into the desert. 2 Iraqis throw their hands up in surrender while 2 look ambivalent, one holds <u>a</u> <u>stack of new Levis.</u> Doc raises a hand to stop his Shiite gunmen from firing, but they fire anyway and 3 Iraqis fire back -- the Shiite next to Doc is hit in the face. He reaches out and holds the rifle of a Shiite. Everyone stops firing, slowly the Iraqis drop their guns. Doc has WET <b> HIS PANTS. </b> Archie runs up from the right, grabs Doc's arm and they run past surrendering Iraqi soldiers and into the front entrance. of the bunker. Imam takes cover on the side of the

How were the rebels paid for helping out the American soldiers?

Each rebel got a bar of gold

pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the Walter and the Drivers in custody -- stand and watch Archie. General Horn picks up a gold brick. General Horn looks at Archie. Everyone stares at General Horn. After a pause, the General fires his pistol into the air. Captain Van Meter and General Horn walk 40 yards to the frozen Iraqi soldiers and the terrified Shiites. Archie, Troy, Doc in handcuffs with MPS, watch. Walter and the other U.S. Soldiers watch from afar as Captain Van Meter and General Horn walk into the midst of Iraqi soldiers. An OLDER IRAQI GENERAL steps forward and salutes. Archie, Troy, Doc, U.S. soldiers watch from a distance. It is QUIET. No one says anything. Pan across Paco taping. He walks up and forcibly pushes the camera to the ground, Van Meter pushes Cathy's camera down. MPs take the tapes from the cameras. He signals the choppers to start up. General Horn walks over to Troy, Archie, and Doc. He walks into a chopper, which is now revving at full speed. PAN TO Troy, Archie, Doc turn to the border and watch. Walter, the handcuffed Drivers, the MPS and other U.S. Soldiers also watch. The Shiites are released by the Iraqis. They collect themselves and gather in a group. The group walks over the border and is received by the relief workers. Troy, Archie, Doc watch. A U.S. Soldier WHISTLES through the loud choppers. Then another Soldier joins in, WHISTLING and CLAPPING. Then another soldier, until all twenty U.S. Soldiers and MPs present are whistling and cheering Troy, Archie, and Doc as they stand there while the choppers throb. 50 yards away: Imam holds his daughter, on the Iran side, about to get into a Red Crescent bus. Imam and his daughter wave. Archie raises his handcuffed wrists to wave back; Troy and Doc follow, raising their cuffed hands to wave. "I Get Around" by the Beach Boys KICKS ON. They each served eighteen months in a military prison. Bill Smithson and Cathy Daitch's testimony resulted in reduced sentences. Troy Barlow runs his own carpet company in Torrance, Cal. THE SHELLS and puts them into his pocket. Bile fluid fills the cavity. They look at Archie, scared by this. The Humvee drives fast into the central square of a small village of low, sand-colored stucco buildings and shanties. Vig drives as the Humvee speeds around the town square, zooming past scared Shiites in black robes, a few skinny dogs, a few bewildered Iraqi soldiers. He studies the map and points to a decayed green building. Vig jerks the wheel right. They drive fast. Archie points left. Vig jerks the wheel left, drives straight toward a low cement building with two Iraqi soldiers in front. Iraqi soldiers look scared as the Humvee drives up, like it's going to hit them, and stops, flag fluttering in the breeze. Vig stands and speaks into a megaphone. Troy and Doc leap from the Humvee with pistols drawn and their free hands held up in a 'halt' sign. The TWO IRAQI GUARDS look stunned as Troy and Doc simply take their machine guns and put the Iraqis face down on the ground. Troy and Doc pull out <u>plastic twist hand-cuffs</u>, as used in urban riots. Archie bounds forward holding up a thick white document. Troy finishes handcuffing one of the Iraqi soldiers, as a gaunt mother, with a baby in her arms, opens her blouse, revealing her small breasts. Other peasants gather. Troy looks shocked until Archie suddenly pushes him past the Iraqi mother and to the door of the bunker, which Doc holds. Iraqi women and children kiss Vig's feet. The five Iraqi soldiers exit the bunker with their hands raised, and the starved Shiite civilians spit and throw stones at them while 'I Get Around' keeps playing. Troy shoots the door lock with his pistol. Then backs up and gives Doc and Vig look pissed. Archie's arm is in pain. Archie looks at him. He extends his hand. They shake. Archie looks around. He sees Imam's daughter, other bandaged children looking at him. A few mothers. Doc pulls gold bars from a case and holds them up Fifty Shiites turn and look at him silently. Doc dumps a whole suitcase of gold bars. Imam translates. People stare at the gold and say nothing. His daughter looks at him and laughs -- until her laughter becomes scary, hysterical and Imam tries to hold her still and she won't stop as Archie, Doc, Vig watch. The Interrogator lights a Marlboro, exhales. PUSH IN TO CLOSE UP on TROY'S FACE as the smoke envelopes him. Interrogator laughs and takes a practice golf swing. Holding the driver at the head, he raps the bridge of Troy's nose. He raps Troy's nose repeatedly to make his point. He breaks Troy's nose with a crack. Doc and Vig load and handle the old pistols. Archie pulls two of the colored footballs from the beat up pack. He looks at Doc as if to say "Great." HIGH WIDE SHOT: A lone Iraqi military truck, mint condition.' Archie, Vig, and Doc form a semicircle, surrounding the truck. They are all 40 yards back from the truck. No response. Suddenly Vig's pistol FIRES. His gunshot blows a hole in the Iraqi truck -- which deflates like a huge beach ball, circling wildly until it lies in a heap of collapsed camouflage canvass while 50 yards away -- 55 SHIITES flip sand-colored blankets off and stand up in the desert to look. Doc lifts the limp canvass of the deflated truck. HIGH WIDE SHOT: They walk in a single file line in the desert. Archie in front, carries a but doesn't shoot. Iraqi soldiers point their rifles at the Americans. WHIP PAN TO Iraqi 6 jerks his rifle toward Archie and fires. The sound cuts out. SLIGHTLY SLOW MOTION: WHIP PAN from Iraqi rifle to Archie. The only SOUND is the BULLET PIERCING THE FLESH of Archie's lower left arm and tearing his muscle as it passes through. Archie grimaces violently in pain. SLOW MOTION: The bullet tears through Iraqi 6's chest. THE ONLY SOUND is the IRAQI'S HEARTBEAT, the bullet tearing flesh and crushing bone, and the heartbeat stopping with a VIOLENT SPLASH. Iraqi 6 falls to the ground with only a dull thud and the slow clank of his gear. REGULAR SPEED: Vig swings the mounted machine gun from one Iraqi to another, but still doesn't shoot. He looks terrified as his thumbs twitch on the triggers. Iraqi 7 FIRES twice. SLIGHTLY SLOW MOTION: a bullet tears into Troy's chest with a DULL SNAP. He winces in pain. PAN TO the windshield of the Humvee shatters behind Doc; he turns and fires his pistol. PAN TO -- slightly slow motion: NO SOUND EXCEPT THE BULLET TEARING INTO IRAQI 7'S KNEE, smashing through bone. He falls to the ground clutching his leg. SLOW MOTION: tracer bullets slice across the face of Iraqi 5 and Iraqi 2 in the rear, NO SOUND BUT THE BULLETS BREAKING <b> THROUGH BONE AND FLESH. </b> SLOW MOTION: Archie jams his pistol under the Major's chin and FIRES -- the ONLY SOUND IS THE. SLOW EXPLOSION OF THE GUN, and the slow tearing of tissue, ending with a sharp SNAP as the tissue, bone, and the bullet CRACK out the top of the Iraqi Major's head. HIGH ANGLE LOOKING DOWN -- replay of entire shoot out at REGULAR SPEED.

How did the refugees able to cross to the Iraqui border after being stopped by American solders at the border?

Archie offers the American Soldiers gold in exchange to let the refugees in.

pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the Walter and the Drivers in custody -- stand and watch Archie. General Horn picks up a gold brick. General Horn looks at Archie. Everyone stares at General Horn. After a pause, the General fires his pistol into the air. Captain Van Meter and General Horn walk 40 yards to the frozen Iraqi soldiers and the terrified Shiites. Archie, Troy, Doc in handcuffs with MPS, watch. Walter and the other U.S. Soldiers watch from afar as Captain Van Meter and General Horn walk into the midst of Iraqi soldiers. An OLDER IRAQI GENERAL steps forward and salutes. Archie, Troy, Doc, U.S. soldiers watch from a distance. It is QUIET. No one says anything. Pan across Paco taping. He walks up and forcibly pushes the camera to the ground, Van Meter pushes Cathy's camera down. MPs take the tapes from the cameras. He signals the choppers to start up. General Horn walks over to Troy, Archie, and Doc. He walks into a chopper, which is now revving at full speed. PAN TO Troy, Archie, Doc turn to the border and watch. Walter, the handcuffed Drivers, the MPS and other U.S. Soldiers also watch. The Shiites are released by the Iraqis. They collect themselves and gather in a group. The group walks over the border and is received by the relief workers. Troy, Archie, Doc watch. A U.S. Soldier WHISTLES through the loud choppers. Then another Soldier joins in, WHISTLING and CLAPPING. Then another soldier, until all twenty U.S. Soldiers and MPs present are whistling and cheering Troy, Archie, and Doc as they stand there while the choppers throb. 50 yards away: Imam holds his daughter, on the Iran side, about to get into a Red Crescent bus. Imam and his daughter wave. Archie raises his handcuffed wrists to wave back; Troy and Doc follow, raising their cuffed hands to wave. "I Get Around" by the Beach Boys KICKS ON. They each served eighteen months in a military prison. Bill Smithson and Cathy Daitch's testimony resulted in reduced sentences. Troy Barlow runs his own carpet company in Torrance, Cal. Doc unleashes the football. SLIGHTLY SLOW MOTION: The chopper comes crashing to the ground in a heap of metal. The rotary spins off, whips over Archie, Troy, and Doc's heads and smashes into the bunker. Troy and Doc look at each other, and punch their fists together. Troy notices that he's wet his pants. Archie rolls over bodies lying on the ground, pulls out their weapons. Troy and Doc take rifles from wounded Iraqis. Doc nervously scans the area with his pistol pointed. 50 Shiite prisoners start streaming out of the bunker. Imam directs the Shiites to stay clustered near the bunker. An IRAQI SOLDIER jumps up just as Archie knocks him to the ground from behind and twists the gun away. Doc binds the soldier's hands with a plastic cuff. Archie pulls pistols from the bloody bodies of the two Iraqis in the chopper. He points to the flaming wrecked Infiniti. He points his pistol at Imam. Troy and Imam look at each other a moment, Troy still points his pistol at Imam. He hugs Imam. Troy moves nervously. Troy and Archie look at each other, smile slightly. They all turn to look. WIDE SHOT -- Vig pops up in the desert, 150 yards away. Vig comes running. Troy smiles as he steps in the direction of Vig. Suddenly a RIFLE SHOT RINGS OUT, Troy jumps. SLIGHTLY SLOW MOTION -- Vig is hit in the collar bone, ONLY THE SOUND OF THE BULLET SMASHING HIS FLESH AND BONE. He is jerked, falls to his knees, but gets up, keeps staggering toward Troy, 125 yards away. Troy looks stunned. Archie turns sharply to his right and FIRES a rifle. An IRAQI SOLDIER, 150 yards to the side, drops to the ground as Archie and Doc continue to hit him with that is connected to the wire around Troy's jaw. A THIRD IRAQI reaches forward and turns a dial. The SECOND IRAQI murmurs defensively and turns the dial back. The Interrogator turns back to Troy. He is jolted again -- his face contorts, he bites his lip. Troy starts to cry, represses it. His lip is bleeding. Troy says nothing. Troy starts shaking slightly. Emotion comes into the INTERROGATOR'S VOICE as he says this. The other two guards listen sadly. CLOSE UP the two guards -- one of them wipes away a tear. At the end of the hall, Archie grits his teeth in pain as a CLERIC uses a turkey baster to shoot alcohol into his infected wound. Archie SCREAMS in pain. Doc paces, exhaling; he has white ointment on his face. A Shiite changes Vig's bloody bandage, while a DEAD BODY is laid next to Vig and wrapped in cloths; two clerics chant. Doc stares at Vig. Vig reaches out blindly for Doc's hand. Doc looks for a moment at Vig's hand in the air, reaching, then takes it. They remain silent for a moment, hands clasped. Archie walks up, his arm bandaged, and inspects Vig's face. Archie, Doc, and Vig check the Vuitton suitcases, opening them, looking at the gold, shutting them. PAN TO children in bandages watch Archie inventory the gold. He looks at Doc and Vig. They look at Archie. The Shiite Man In Glasses puts oils on his Little Girl's face. The Shiite Man In Glasses does not answer. Vig wears glasses over his eye bandage; he mimes the Girl. They look at him, surprised. He wipes bits of white foam from the corners of his mouth. Doc and Vig look at Archie. Archie looks at him. Archie looks at Vig and Doc. SEVEN IRAQI SOLDIERS pour out swinging clubs, followed by an IRAQI MAJOR, about 45. The Iraqi soldiers savagely beat the Shiites. Vig looks horrified as he watches. TWO SOLDIERS grab the Woman from the Man With Glasses, and drag her into a circle with three other soldiers; the ten year-old girl with dirty casts on both arms, screams and punches at them. The Man With Glasses is held down at knife point. The Iraqi Major glances over at Vig, but the soldiers do not stop brutalizing the Shiites -- they round up eight more Shiites and make them lay face down. Archie goes through the door, followed by the Iraqi Interrogator and Captain. Archie stands looking at the suitcases with Troy and Doc. Several of the big Vuitton suitcases are laid on their sides by Archie, Troy and Doc. The Iraqi Captain paces frantically punching and kicking the walls and talking (SUBTITLED in ENGLISH). The suitcases are quickly unzipped. One suitcase is full of gleaming antique silverware. One suitcase is full of jewelry. Archie opens one full of hundreds of gold Cartier watches. Troy and Doc slip a handful of jewelry into their pockets. The Iraqi Captain goes nuts, throwing himself on Doc's back, choking Doc, who flails about. Troy punches the Iraqi in the head and rips him off Doc. Archie puts his pistol in the man's face. He turns to Doc. Doc and Troy, out of breath, empty their pockets of jewelry. Archie opens another Vuitton suitcase and pushes it aside - it's full of Kuwaiti passports. When Doc opens the next suitcase, he freezes. Archie looks over and freezes. Troy closes cuffs behind the Captain's back and looks over his shoulder -- wide-eyed. The very large Vuitton suitcase is filled with five-kilo bricks of gold. They all

In what condition was the gold returned to Kuwait?

Some of it was missing.

pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the Walter and the Drivers in custody -- stand and watch Archie. General Horn picks up a gold brick. General Horn looks at Archie. Everyone stares at General Horn. After a pause, the General fires his pistol into the air. Captain Van Meter and General Horn walk 40 yards to the frozen Iraqi soldiers and the terrified Shiites. Archie, Troy, Doc in handcuffs with MPS, watch. Walter and the other U.S. Soldiers watch from afar as Captain Van Meter and General Horn walk into the midst of Iraqi soldiers. An OLDER IRAQI GENERAL steps forward and salutes. Archie, Troy, Doc, U.S. soldiers watch from a distance. It is QUIET. No one says anything. Pan across Paco taping. He walks up and forcibly pushes the camera to the ground, Van Meter pushes Cathy's camera down. MPs take the tapes from the cameras. He signals the choppers to start up. General Horn walks over to Troy, Archie, and Doc. He walks into a chopper, which is now revving at full speed. PAN TO Troy, Archie, Doc turn to the border and watch. Walter, the handcuffed Drivers, the MPS and other U.S. Soldiers also watch. The Shiites are released by the Iraqis. They collect themselves and gather in a group. The group walks over the border and is received by the relief workers. Troy, Archie, Doc watch. A U.S. Soldier WHISTLES through the loud choppers. Then another Soldier joins in, WHISTLING and CLAPPING. Then another soldier, until all twenty U.S. Soldiers and MPs present are whistling and cheering Troy, Archie, and Doc as they stand there while the choppers throb. 50 yards away: Imam holds his daughter, on the Iran side, about to get into a Red Crescent bus. Imam and his daughter wave. Archie raises his handcuffed wrists to wave back; Troy and Doc follow, raising their cuffed hands to wave. "I Get Around" by the Beach Boys KICKS ON. They each served eighteen months in a military prison. Bill Smithson and Cathy Daitch's testimony resulted in reduced sentences. Troy Barlow runs his own carpet company in Torrance, Cal. THE SHELLS and puts them into his pocket. Bile fluid fills the cavity. They look at Archie, scared by this. The Humvee drives fast into the central square of a small village of low, sand-colored stucco buildings and shanties. Vig drives as the Humvee speeds around the town square, zooming past scared Shiites in black robes, a few skinny dogs, a few bewildered Iraqi soldiers. He studies the map and points to a decayed green building. Vig jerks the wheel right. They drive fast. Archie points left. Vig jerks the wheel left, drives straight toward a low cement building with two Iraqi soldiers in front. Iraqi soldiers look scared as the Humvee drives up, like it's going to hit them, and stops, flag fluttering in the breeze. Vig stands and speaks into a megaphone. Troy and Doc leap from the Humvee with pistols drawn and their free hands held up in a 'halt' sign. The TWO IRAQI GUARDS look stunned as Troy and Doc simply take their machine guns and put the Iraqis face down on the ground. Troy and Doc pull out <u>plastic twist hand-cuffs</u>, as used in urban riots. Archie bounds forward holding up a thick white document. Troy finishes handcuffing one of the Iraqi soldiers, as a gaunt mother, with a baby in her arms, opens her blouse, revealing her small breasts. Other peasants gather. Troy looks shocked until Archie suddenly pushes him past the Iraqi mother and to the door of the bunker, which Doc holds. Iraqi women and children kiss Vig's feet. The five Iraqi soldiers exit the bunker with their hands raised, and the starved Shiite civilians spit and throw stones at them while 'I Get Around' keeps playing. Troy shoots the door lock with his pistol. Then backs up and gives back toward the tunnel. Vig jerks his arm away. Doc grabs Vig. Vig punches Doc in the side of the head. Doc punches Vig in the stomach. They fall to the ground, fighting. Archie searches for Troy in the brown haze. Two black-robed figures pull Vig off Doc and drag him to the tunnel. Another robed figure pulls Doc to the tunnel. Archie walks, looks for Troy, chokes, vomits into the sand. A black robed figure takes him by the arm and pulls him back to the tunnel, where they disappear inside. Vig's mutilated right eye is bleeding. He screams at Vig, who looks scared. Vig starts crying. Doc hands a bandage to Archie, who puts it over Vig's wounded eye socket. PAN ACROSS the Man In Glasses wipes his daughter's face. Two Iraqi tanks are parked to the side. Small numbers of soldiers and civilians mill about. A GUN SHOT RINGS OUT. The Iraqis turn to look. PAN TO 7 Shiites with rifles climb the unmanned Iraqi tank. 4 Iraqi soldiers FIRE back at the Shiites. Troy, naked, tries to break away in the chaos. He runs a few feet, is tackled and dragged toward the bunker. Iraqi soldiers pull them off the motorcycle. The door is slammed. Stolen blenders, radios, CDs, stacks of new Levis litter the floor. Troy kicks all the crap angrily and hundreds of cell phones tumble from a box. Troy looks at the pile of cell phones, picks one up, tries it for a dial tone, drops it, tries another, until he gets one that gives him a tone and dials. Troy looks stunned. He frantically pushes stuff on the floor to block the door. The phone is dead. He throws it to the ground, tries another, no dial tone, throws it, tries another, the tube, which he tightens. A GUNSHOT SOUNDS -- Archie turns and looks over -- Troy sits up slowly and watches for a moment. Archie takes Vig's glasses off. Archie unscrews the valve on the tube in Troy's chest, and air hisses out. Troy looks relieved. Archie closes the valve. Troy watches, tense. Archie is heard in a crackling radio transmission inside Walter's helmet. Walter speaks into the small mouthpiece. He looks uncertain, worried. INTERCUT WITH Archie, who looks exasperated. He is sweating with a fever and his arm hurts. WIDER TO REVEAL HUNDREDS OF SNOW GLOBES are pulled from the shelves and put into old cloth bags. CLOSE ON the plastic Three Kings and Baby Jesus with the Mobil gas station glisten in the wet palm of Archie's hand. Archie looks at the Three Kings in his hand. Troy cracks open a snow globe, filters water with a Shiite. Dozens of Shiites are doing the same. Archie passes an urn to some parched Shiites who drink the water thirstily. Troy, Doc do the same. A Humvee with HAVICHON and Walter drives by behind the oblivious General, leading a convoy of several trucks. A PRIVATE runs up and hands General Horn a paper. Walter and Hash drive past Smithson and Paco and Cathy. She takes off and Smithson follows her. Troy looks pained, then releases the valve on the tube sticking through his chest bandage and there is a hiss of air. He looks relieved. There is the SOUND OF DISTANT MOTORS RUMBLING. An approaching convoy in the desert: six open U.S. personnel trucks, led by a Humvee. Archie, Troy, Doc, Imam, his daughter, dozens of Shiites watch the convoy approaching -- they hold their guns ready. The U.S. Military trucks and the Humvee pull up to the bunker. Walter

How did the American soldiers manage to get close to the bunkers and Iraqui soldiers guarding Troy?

They storm the bunker with cars disguised as Saddam's entourage

pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the Ending on the wide-eyed Little Girl with her hand in her mouth, staring. ANOTHER ANGLE -- replay of entire shoot out at REGULAR SPEED. Ending on Troy wincing as he holds his chest. Archie's lightly blood-flecked face stares down at the dead Major, clouds pass overhead. Dead Iraqi 6 lies with legs twisted under his body. A rivulet of blood trickles through the sand. A spider runs across it and gets stuck. LOW ANGLE up at Doc, stone still, staring straight ahead as clouds pass slowly above him in the sky. Vig nervously swings the mounted machine gun back and forth. Troy, drenched in sweat, looks pained as he unbuttons his shirt: there's a gunshot in his kevlar vest. The slug drops out of the dent, into his hand -- he exhales. Iraqis 2, 3, 4, and the Sargeant, throw their hands up in surrender and drop their weapons. Big Iraqi 2 walks toward the Humvee in surrender, and bows down. Vig swings the mounted machine gun toward the three remaining Iraqi soldiers who stand over eight terrified Shiites. Doc follows Archie over to the three Iraqi soldiers. The soldiers get on their knees, pleading for mercy. Doc takes the Iraqi soldiers' guns and pushes them down. Shiites and Iraqi soldiers watch the debate nervously. Doc points to the Shiites. Troy displays the gunshot in the Kevlar. A tank rolls toward them fast, down a narrow side street, followed by a truck with a rocket launcher. Vig struggles to lift the grenade launcher. Troy jumps into the luggage-packed truck, starts the engine. Vig starts the Humvee; Archie jumps in next to Vig. PAN TO the eight Shiites, plus the Man In Glasses and the Little Girl, jam into the crowded Humvee. Doc jumps in. The tank approaches. The Humvee Walter and the Drivers in custody -- stand and watch Archie. General Horn picks up a gold brick. General Horn looks at Archie. Everyone stares at General Horn. After a pause, the General fires his pistol into the air. Captain Van Meter and General Horn walk 40 yards to the frozen Iraqi soldiers and the terrified Shiites. Archie, Troy, Doc in handcuffs with MPS, watch. Walter and the other U.S. Soldiers watch from afar as Captain Van Meter and General Horn walk into the midst of Iraqi soldiers. An OLDER IRAQI GENERAL steps forward and salutes. Archie, Troy, Doc, U.S. soldiers watch from a distance. It is QUIET. No one says anything. Pan across Paco taping. He walks up and forcibly pushes the camera to the ground, Van Meter pushes Cathy's camera down. MPs take the tapes from the cameras. He signals the choppers to start up. General Horn walks over to Troy, Archie, and Doc. He walks into a chopper, which is now revving at full speed. PAN TO Troy, Archie, Doc turn to the border and watch. Walter, the handcuffed Drivers, the MPS and other U.S. Soldiers also watch. The Shiites are released by the Iraqis. They collect themselves and gather in a group. The group walks over the border and is received by the relief workers. Troy, Archie, Doc watch. A U.S. Soldier WHISTLES through the loud choppers. Then another Soldier joins in, WHISTLING and CLAPPING. Then another soldier, until all twenty U.S. Soldiers and MPs present are whistling and cheering Troy, Archie, and Doc as they stand there while the choppers throb. 50 yards away: Imam holds his daughter, on the Iran side, about to get into a Red Crescent bus. Imam and his daughter wave. Archie raises his handcuffed wrists to wave back; Troy and Doc follow, raising their cuffed hands to wave. "I Get Around" by the Beach Boys KICKS ON. They each served eighteen months in a military prison. Bill Smithson and Cathy Daitch's testimony resulted in reduced sentences. Troy Barlow runs his own carpet company in Torrance, Cal. as the Humvee picks up speed. Troy and Doc leap out, hold pistols out at arm's length as they accost TWO IRAQI SOLDIERS pointing rifles at them. Troy and Doc shove the two Iraqis face down in the dirt and cuff their hands behind their backs. An IRAQI SOLDIER steps into the corridor at the far end, sees Archie coming, looks terrified, and runs back. Archie and Troy run right past the scared Iraqi. Doc comes third, slamming the Iraqi face down and cuffing him. Archie kicks a door open and goes in, followed by Troy. A large room; walls lined with shelves full of brand new appliances: blenders, cuisinarts, CD players, small TVs. A huge portrait of Saddam Hussein covers one wall. A television plays a rerun of 'Happy Days' in Arabic. Another TV: CNN's first reports of the Rodney King beating. An IRAQI CAPTAIN sits in a chair in front of the TVs. TWO IRAQIS sit loading rifles. Two others sit at a radio. They all jump to their feet when Archie bursts in, except for the officer watching 'Happy Days' and CNN.. One of the rifle-loading Iraqis tries to run. Troy heads him off with his pistol -- The other rifle-loader stands looking scared. WHIP PAN TO Doc, who turns the shortwave radio off, pushes the TWO IRAQIS to the ground. One goes peacefully, the other resists; Doc smacks him in the side of the head with his pistol, which fires accidentally. Everyone grabs their heads and ducks -- except Archie. Archie is offered a cuisinart by the Iraqi Captain. Troy has one rifle Iraqi on the ground, but the second is on his knees, putting a CD into a mini-stereo. The Iraqi looks puzzled. He pushes the man face down, cuffs his hands. Olivia Newton- John's back toward the tunnel. Vig jerks his arm away. Doc grabs Vig. Vig punches Doc in the side of the head. Doc punches Vig in the stomach. They fall to the ground, fighting. Archie searches for Troy in the brown haze. Two black-robed figures pull Vig off Doc and drag him to the tunnel. Another robed figure pulls Doc to the tunnel. Archie walks, looks for Troy, chokes, vomits into the sand. A black robed figure takes him by the arm and pulls him back to the tunnel, where they disappear inside. Vig's mutilated right eye is bleeding. He screams at Vig, who looks scared. Vig starts crying. Doc hands a bandage to Archie, who puts it over Vig's wounded eye socket. PAN ACROSS the Man In Glasses wipes his daughter's face. Two Iraqi tanks are parked to the side. Small numbers of soldiers and civilians mill about. A GUN SHOT RINGS OUT. The Iraqis turn to look. PAN TO 7 Shiites with rifles climb the unmanned Iraqi tank. 4 Iraqi soldiers FIRE back at the Shiites. Troy, naked, tries to break away in the chaos. He runs a few feet, is tackled and dragged toward the bunker. Iraqi soldiers pull them off the motorcycle. The door is slammed. Stolen blenders, radios, CDs, stacks of new Levis litter the floor. Troy kicks all the crap angrily and hundreds of cell phones tumble from a box. Troy looks at the pile of cell phones, picks one up, tries it for a dial tone, drops it, tries another, until he gets one that gives him a tone and dials. Troy looks stunned. He frantically pushes stuff on the floor to block the door. The phone is dead. He throws it to the ground, tries another, no dial tone, throws it, tries another,

What surprising thing does Troy do with Saiid after being rescued?

Troy spares Saiid's life.

pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the Ending on the wide-eyed Little Girl with her hand in her mouth, staring. ANOTHER ANGLE -- replay of entire shoot out at REGULAR SPEED. Ending on Troy wincing as he holds his chest. Archie's lightly blood-flecked face stares down at the dead Major, clouds pass overhead. Dead Iraqi 6 lies with legs twisted under his body. A rivulet of blood trickles through the sand. A spider runs across it and gets stuck. LOW ANGLE up at Doc, stone still, staring straight ahead as clouds pass slowly above him in the sky. Vig nervously swings the mounted machine gun back and forth. Troy, drenched in sweat, looks pained as he unbuttons his shirt: there's a gunshot in his kevlar vest. The slug drops out of the dent, into his hand -- he exhales. Iraqis 2, 3, 4, and the Sargeant, throw their hands up in surrender and drop their weapons. Big Iraqi 2 walks toward the Humvee in surrender, and bows down. Vig swings the mounted machine gun toward the three remaining Iraqi soldiers who stand over eight terrified Shiites. Doc follows Archie over to the three Iraqi soldiers. The soldiers get on their knees, pleading for mercy. Doc takes the Iraqi soldiers' guns and pushes them down. Shiites and Iraqi soldiers watch the debate nervously. Doc points to the Shiites. Troy displays the gunshot in the Kevlar. A tank rolls toward them fast, down a narrow side street, followed by a truck with a rocket launcher. Vig struggles to lift the grenade launcher. Troy jumps into the luggage-packed truck, starts the engine. Vig starts the Humvee; Archie jumps in next to Vig. PAN TO the eight Shiites, plus the Man In Glasses and the Little Girl, jam into the crowded Humvee. Doc jumps in. The tank approaches. The Humvee They stare at the new map in the infrared glow, captivated. He turns the overhead light back on. They look at him. Dolly: Troy, Doc, Vig stare at Archie. He looks at them. They salute him. He straightens Troy's salute. Walter comes in. Vig smile fades as he looks into Archie's cold stare. Van Meter tries a couple of poses. Pow pow pow, Vig fires his big pistol into the desert. Troy throws a painted football into the desert. Doc fires the M-16 and blows the ball to pieces. The convertible Humvee is loaded with weaponry and gear, a mounted 60 mm machine gun, a Bart Simpson doll on the grill. The Humvee rolls into the vast desert, littered with burned out tanks, black craters, overturned vehicles, no people. Troy throws another ball, Doc blows it away. Doc throws a football from the moving Humvee, Troy fires a pistol and misses the ball as it bounces to the desert. Archie moves his hand to the Bach. Doc throws a ball. Vig fires his giant pistol twice and misses. Vig fires: blam, blam, bam. The Humvee stops abruptly. They sit in embarrassed silence; the joyous Bach choir plays. Troy kicks at something in the sand -- and a decayed human arm springs out, attached to a body with a half-rotted face. DOLLY INTO five terrified Iraqis, eyes open with fear, as the sand rolls over them. The cow stares as the Humvee pulls up to it fast. Troy and Doc jump out, pistols drawn, flank the cow -- The cow steps back, and explodes. Troy and Doc stand splattered with cow entrails. The cow's head lands with a <u>thud</u> on the hood of the Humvee. He picks cow entrails off himself. Archie watches Troy. Archie takes Vig's BIG PISTOL and EMPTIES THE SHELLS and puts them into his pocket. Bile fluid fills the cavity. They look at Archie, scared by this. The Humvee drives fast into the central square of a small village of low, sand-colored stucco buildings and shanties. Vig drives as the Humvee speeds around the town square, zooming past scared Shiites in black robes, a few skinny dogs, a few bewildered Iraqi soldiers. He studies the map and points to a decayed green building. Vig jerks the wheel right. They drive fast. Archie points left. Vig jerks the wheel left, drives straight toward a low cement building with two Iraqi soldiers in front. Iraqi soldiers look scared as the Humvee drives up, like it's going to hit them, and stops, flag fluttering in the breeze. Vig stands and speaks into a megaphone. Troy and Doc leap from the Humvee with pistols drawn and their free hands held up in a 'halt' sign. The TWO IRAQI GUARDS look stunned as Troy and Doc simply take their machine guns and put the Iraqis face down on the ground. Troy and Doc pull out <u>plastic twist hand-cuffs</u>, as used in urban riots. Archie bounds forward holding up a thick white document. Troy finishes handcuffing one of the Iraqi soldiers, as a gaunt mother, with a baby in her arms, opens her blouse, revealing her small breasts. Other peasants gather. Troy looks shocked until Archie suddenly pushes him past the Iraqi mother and to the door of the bunker, which Doc holds. Iraqi women and children kiss Vig's feet. The five Iraqi soldiers exit the bunker with their hands raised, and the starved Shiite civilians spit and throw stones at them while 'I Get Around' keeps playing. Troy shoots the door lock with his pistol. Then backs up and gives paper and lie it flat on the sand. TV monitors crash to the floor as she climaxes. Archie lays on the floor catching his breath, stares at a sideways monitor of soldiers celebrating; she stands, dresses. The door explodes open and two MPs grab Archie, pants around his ankles, and drag him from the truck. WHIP PAN TO Cathy runs away as she dresses, MPs grab her. They let her go. Soldiers in gas suits laugh. Bill Smithson runs up, agitated. The MP pushes Smithson away. Smithson is walked away. Archie pulls his pants up. Archie suddenly reaches out and grabs the corner of General Horn's collar, with its one star. Archie leans wild-eyed into Horn's face and whispers -- Doc Elgin opens a case full of pill bottles. Troy pops the pills, Doc pulls a document from a folder and opens it as he hovers over a table with Troy and Vig. Walter stands by the door wearing night vision goggles. Doc unfolds a big aerial-photo map of the Iraqi desert, next to the rumpled ass map. He walks up to them. Archie fixes his gaze on Troy, walks up, reaches under the table, and takes the map, smells his fingers. Troy and Vig are impressed. He points in order to Doc, Vig, and Troy, who picks up his family photo button. Troy stands and grabs the map. Both Troy and Archie hold the map, staring at each other. Everyone is tense. Troy lets go. Archie holds the map up to the light. He then pours some of Doc's rubbing alcohol on the map, and holds it to the light again. He puts the map on the table, turns the light off and clicks on an infra-red flashlight he pulls out. A completely different map appears in green markings.

After translating the map, when do the American soldiers take off to find the gold?

The next day.