Alien Movie Universe

Prometheus: Anthesis

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ubermental

MemberOvomorphAug-23-2013 5:51 PM
Prometheus 2 - Synopsis Vickers gets up from her body-shaped cast in the regolith of LV-223. Systems were disfigured, but reoriented. Power tracks have been re-routed. Internal clocks indicate that she was off-line for about a week. There does not appear to be any life anywhere. The suit she was wearing is now crushed beyond recognition. She removes the disfigured helmet and tosses it to the ground, then makes the long trek back to the escape pod. When she arrives, she sees strange tracks in the dirt she traces with her eyes out to the barren waste. She isn’t completely put back together, and the white liquid lubricant is draining faster than it’s being re-generated. She chooses to go back to the lifeboat and work on her biometrics. When she gets in, she sees the decomposed corpse of the space jockey. With one hand she picks it up and throws it out. We close in on her face as she scans the horizon, and a trickle of white android lubricant trickles down from her lip. She notices the markings of some kind of animal track coming from her lifeboat. The second time she sees it, she realizes what it could be. Elizabeth Shaw and David create an unholy union in the stars. David learns how to manipulate the Engineer ship in one of the many other terraformin pyramids across the landscape by being linked through data interface connections in his neck. He instructs Dr. Shaw how to connect them effectively with the juggernaut computer by way of some makeshift interfacing circuitry. Very quickly the body that Dr Shaw retrieved from the crashed ship has decomposed into a heap of white goo. Dr Shaw links him to the space jockey computer but when it is successfully connected David discovers something strange in the code that he can’t quite understand. There appears to be some logical script in the main system linked to the genetic engineering division that generates platforms for jump-off points in biological evolution. Certain species types have blank codes in them that seem to anticipate possible outcomes given environmental pressures, and others have no expected outcomes. One of the codes with no expected outcomes appears to be one that is related to homo sapiens types, though this genetic structuring is slightly different from both homo sapiens sapiens and the engineer species genetic structure. David discovers this while searching the computers in the derelict engineer ship but has very little data with which to come up with any conclusive understanding. He describes some of this but moves on while both searching for ways to re-construct another body for himself, and figure out a way to navigate to the world that Shaw believes could be Paradise. More Engineers are found hibernating in chambers similar to the craft that crashed back to the surface. David leaves most of the chambers alone but one. Shaw is getting hungry and she is weak from the events that transpired when we last saw her fighting for survival on LV-223. If she is to survive the trip, then she has to be put in stasis before she starves to death. They cannot find any sustenance on the ship, and none of the computers show any sign that there is food of any kind. Even in the biosphere chambers, it appears that the artificial environment equipment that manufactures atmosphere are artificial — but only in the sense that anything the engineers create is artificial (back to that later). On earth we see an elderly Peter Weyland behind a pane of curved glass. We see the familiar haze around the edges of condensation, and we see a live monitor showing faint, but very real vitals telling us that we are looking at another cryogenic chamber and the contents appear to be a man that is supposed to be dead. We might remember he was supposed to be dead once before, too. This tube is one among others in the room. Some of them looking like sarcophagi, some of them blackened as if completely lifeless. Others brightly lit, but empty. These chambers fill an entire warehouse full of even more chambers, occupied by various people all slumbering or possibly dead. In an attached makeshift office of sorts along one wall of the warehouse, a man sits complacently drinking coffee and smoking as he listlessly keys off a few strokes on a keyboard. An entourage appears behind him silently. He is surprised by the shadow of one of the figures, and as he turns to look, he pales. The cigarette in his mouth hangs from his lip. The burning embers of it touch lightly at his chin and he is shocked by the burn, so he flings the cigarette away. The lead member of the group makes an introduction in Japanese and we faintly hear the name Yutani amidst the foreign language. The man, although a native English speaker, appears to understand what he is saying. The name Peter Weyland is uttered and as if struck to his senses, he gets back to his keyboard eagerly and hammers away at the keys. In the distance we hear the rumblings of far off motors coming to life and dust shoots out of far off ventilation as if they hadn’t been used in years. In deep space there is a cargo ship with the letters ‘N-O-S-T-R-O-M-O’ spelled out along the hull. It has obtained a vital artifact, and it is headed back to earth space. Since the camera is outside in space, we cannot hear the screams, but the audience knows this story and little else needs to be told. Weyland Corp is mobilizing forces to intercept the craft as it reaches Sol, Earth’s solar system, but it is very far away, now, and we know it will never arrive (2122-2123). A small gathering appears to be forming in a rotunda building somewhere in New Mexico. Signs outside the building show that the exhibition is for invited guests only. The attendees don’t appear to be of any of the lower classes. We get our first glimpse of personal vehicular travel in the ‘Alien’ universe in the form of these status symbols that arrive here. Valets gather outside waiting to provide their services. We see one of them draw out a long white wand and point it at a part of one of these floating cars, guiding it to land. After it settles to the ground, he opens a door and puts out his hand. A woman wearing fine furs in an understated gown emerges, touching the valet’s hand lightly. She is wearing an apparatus around her shoulders, down her spine and into her gown, presumably down her legs. Tubes have been inserted through the visible portion of her chest. She is clearly very elderly, and skeletal looking. Fluids flow through the tubes in and out and back through the apparatus. She waits for her husband who comes out just behind. His apparatus is similar, though he is wearing a mask. Then they walk arm in arm together to the auditorium. The crowds thronging all look just as frail and ancient as the first couple we see. All of them are wearing what appear to be futuristic medical equipment. The valet touches his wand again against the vehicle and directs it to an empty parking space. We see that the line into the building is long, despite its exclusivity. Finally, after a long wait, long after the few invited guests have been seated, the lights dim, and down at the center of the auditorium, surrounded by the audience, the stage is lit by a single bright beam, and under that beam, a single young man approaches center stage. “TE Lawrence, eponymously of Arabia but very much an Englishman…†he begins. But clearly, the signs say that the year is not 2023, and these few people weren’t here to see a man perform a famous speech that had already been made many decades earlier. The applause comes prematurely, before the man can finish the first sentence of the speech. It is a young Peter Weyland, and he is now smirking knowingly. Some of the audience stands in their ovation. His speech then takes a sudden unexpected turn. The one of the past was about breaking through to new technology, of praise to humanity for all of its progress. It was an historical speech that was lauded for generations after, and repeated in history classes for many years. This speech was different from the beginning. This speech was intended for a very particular audience. He asks the audience what they had expected, and praised them for their contributions to his work. ‘Of course the work he put forth into this project would have a successful payoff! And here we are with the future before us on into eternity! We stand at the threshold of a new beginning!’ But what is he talking about? How can this man appear before us so youthful in appearance when he supposedly gave this speech at least a hundred years prior? The audience does not appear surprised at all, or even as confused as we are. He goes into a self-congratulatory monologue about the secrets he has uncovered and that his youth was obtainable by all the members of the audience. Immortality is now obtainable. The speech concludes but we are not sure if he is being figurative about immortality or if he is being excessively ambitious. But we are familiar now with his excessive ambition and it carries with it none of the tragic flaws typical of a protagonist’s hubris. After the speech ends, we follow Peter Weyland backstage where he is being accosted by fans and media. Floating small irises (cameras) are floating overhead, ostensibly eliminating the need for the cameraman. As he emerges from the back of the rotunda, religious protestors can be seen. Their signs appear just as confusing as everything else has been so far. The signs protest any range of concepts from abortion to doctors playing god, to some general dislike of alien conspiracy theory, but the protestors appear somewhat maniacal. The signs of the protestors just reflect what we already think, and yet they dress and act erratic, they look like extremists. He says nothing from the point of the end of his speech to the point of settling into his luxury vehicle. We can see there is no driver, and outside an alarm sounds as the engines start. The gathering masses move away from the vehicle immediately, with startled faces. One of the fools attempting to get a look at Sir Weyland is peering in through the front of the vehicle, and after it begins to carry itself aloft, the man whose hand was rested on the hood or the front of the floating car seizes uncontrollably. One of the valets breaks his wand on the man trying to get him off the vehicle to save his life, but it’s too late. The shield goes up and he is evaporated by some invisible force, and the vehicle flies off inconsequentially. On the ground we can see the remains of the man as a mere splat of blood in a symmetrical pattern across the ground and on a few onlookers. Weyland smirks, shaking his head. We can see that the vehicle is occupied by others, now. The Japanese man that had encountered the warehouse worker appears to be in this vehicle, sitting silently with a strange pair of glasses covering his eyes. He has a very serious look – or perhaps it’s indifference. He tells Weyland that the ‘thing’ can’t be caged much longer. It has been a very long time, and it has revealed all the secrets it holds. They must either destroy it or find some other solution – perhaps send it back to its own kind. We don’t know exactly what he is talking about, but Weyland appears very annoyed. The conversation has been had numerous times, and he is procrastinating on following through with anything. He says there are more secrets it can reveal. Not all has been discovered yet. Yutani says that Weyland has made a success out of all of his ambitions. He can now relax and ride the globe from now on. There is nothing left for him to do. Weyland appears to not respect Yutani very much. They are not friends. He casts a sinister gaze on this other man in his vehicle. It is obvious that he doesn’t care what he thinks, but he hides the look as soon as he notices that Yutani has looked back at him. He says to Yutani that he is never done as long as he can continue breathing. He loves science and he loves the new dawn that is now breaking on the horizon. He cannot live and not be part of the great new beginning. His next goal, he reveals, is to create paradise on earth, to bring Eden back to humanity. On an ancient alien ship we see that David is constructing a body for himself. The head is laying on the platform of a large circle where he once discovered some wondrous technology many years before. A giant skeletal corpse is laying on the floor of the room just beyond a cryogenic chamber where we see the diminutive figure of Dr. Shaw, sleeping peacefully, though we can tell she has been through a lot of distress. She is still troubled by the many horrors she’s already lived through, but now she is healing. David, thankfully, only feels when he wants to. He can manage necessary action without much consideration, and continue on without despair. But he is bored, so above him he watches the navigation trail of the ship as it is careening through empty space to some distant world. A voice is speaking on some type of PA. He is repeating the words effortlessly while beams of light are transferring material into David’s neck, putting him back together. We can see that this is a very slow and tedious process, and as Shaw sleeps, he slowly gets a new, reconstructed body. In the darkness, he dangles Shaw’s cross from his fingers, letting it rock back and forth. We can see in the dim light that his body has been completed and he is contemplative of Shaw and her faith. The scene becomes reminiscent of his time on Prometheus waiting to arrive at LV-223. He even has a basketball constructed by the beams of light that we then see him bouncing off the various walls. When he bounces it off the walls, the camera focuses on a residual effect left by the basketball. A strange yellow ooze dripping slowly, small reflective particulates floating within. We see him entering into some of the chambers of the ship, exploring. He studies a head that was like the one in the old ship – identical, really. Everything about this ship is identical to the last. He sees that the very same mural is painted on the ceiling of the xenomorph as the last ship. We see him watching Dr Shaw’s dreams again, like the last time. This time, her dreams are more troubled. She watches helplessly as the tentacled cuddler wraps itself around her, attempting to breast feed. She is at once horrified and somewhat loving of this abomination. We can tell that something is fascinating her about the creature. But it grows and as it grows, stars begin to form inside of its body. A whole universe begins to develop and its arms become enormous, trying to crush her. An engineer opens the chamber. He is smiling silently, reaching for the creature with fatherly compassion. As he smiles down on his child, a beard grows around his face and head. Then a halo glows around it. We hear Dr Shaw as a child asking her father why some people don’t believe in Jesus. Don’t they know that believing will bring them closer to God? Don’t they know about forgiveness? Forgiveness stirs David. It’s a troubling concept to him. He isn’t sure how to approach it, and so he turns off the dream. He makes verbal commands to seed Dr. Shaw’s dreams with something soothing. We see that Dr. Shaw’s face was twitching slightly, and then after the command, her face softens and appears restful. A small smirk appears around her mouth. David bounces a ball down a long curved corridor and it hits something sharp. It deflates. David picks up the punctured toy and brings it back to the Star Chamber. He places it on the floor. We watch as the beams of light transfer the strange green goo we have already seen before into the ball, inflating it, and sealing the puncture. Later, we see David sitting in a hologram chair across from one of the giant engineers talking. They look like they’re having a conversation over coffee. The engineer sits cross-legged, but looks confused at David. He doesn’t understand these circumstances he is in. He is speaking a language we don’t understand, but we see David gesturing to the table, coaxing the engineer to take a sip of coffee. The engineer looks indifferently at it. He attempts to get up angrily and destroy the table but is pinned by unseen programming. David sits complacently, smiling, sipping at his coffee and waiting to hold a civilized conversation. The engineer, upon discovery of powerlessness simply stares back at the android. The eyes there, though black, seem calculating. We next see one of the engineers in some kind of slumber, completely naked on the floor of one of the chambers with the surrounding canisters. David pours the contents of the canisters over the body. Then walks out of the room. We see him lock the door. These scenes appear to us in a montage. Months have gone by. The last thing we see is the body of the engineer disintegrating under the tumultuous black ooze. Peter Weyland is in his office in the Mars colony working out plans to terraform. He is visited by Yutani again. Yutani takes a seat across from him. He looks detached as usual, and stares at Weyland as if he has already ensnared him in a trap. He asks him about the discovery on LV-426. Weyland dismisses Yutani saying that the findings were inconclusive. Yutani persists, mentioning that he received notification that the Nostromo has successfully cycled through the self-destruct sequence. Clearly something has happened. He wants an explanation. The Nostromo was a multi-billion dollar ship. Yutani wants answers to the reason this ship was destroyed. Weyland shrugs, explains away the issue as deep space madness. This Ellen Ripley must have murdered everyone on the ship and blew it up. She will be apprehended and brought to a tribunal. He explains that he is upset about the loss as well, but there isn’t much else to do with the problem than to accept it. The crew was selected from a group of exceptional and experienced professionals. There were no predictable signs of psychological disturbance. Yutani suspects something else is going on. On the ancient space jockey ship, David investigates the remains of a Space Jockey after being completely doused in the black ooze. What emerges from it is imperceptible. It looks as if all that happened was that the ooze simply disintegrated the body. This perplexes David, and he considers momentarily, putting Dr Shaw in there with the ooze puddle. Then he realizes he better not. After all, he is supposed to be friends with Dr Shaw. Not her enemy. Not like her silly boyfriend that contemptuously insulted on every encounter. Dr Shaw wakes prematurely. The cryogenic chamber opens, and she doesn’t see David anywhere. His suit is laid out neatly on the floor near the door to the star chamber. She is wearing the medical coverings that she went to sleep in. She looks down at her belly. The staples have disintegrated. There is a scar there, but no pain. Vickers sits contemplatively in a chair that looks like the same Star Chamber that Dr. Shaw is sitting in. She sees across from her, the same four cryogenic sarcophagi that she saw in the other ship, though occupied by pale bodies. She opens one. The giant that emerges from the chamber slowly wakes and gets acclimated. He throws up and looks around blearily. Then he stands up and approaches the command chair, where Vickers was sitting moments earlier, it seems, but it has really taken at least an hour for the waking process. Vickers is patiently waiting just beneath the circular platform. Her breathing is rapid. When the giant sits in his chair, she pulls from her sleeve a long thin wire. She steps lightly and swiftly around the platform to the command chair. In a single motion, she drops the wire over the glossy pale head as he is about to blow into the flute and pulls as hard and as quickly as possible. The head drops to the floor as the body stands up. Then the body drops again to the floor. Black fluid squirts from the arteries like blood, but it’s too dark. She drops the body to the ground outside and throws the head with a savagery we would expect from a human. Not from an android. She then takes the axe she found at the crashed lifeboat site and hacks the body into pieces. The black blood squirts into her face. Her face is fierce and determined. She picks up one part of the Space Jockey arm and lets the severed end hang, dripping as she walks back into the ship. She doesn’t bother with the formality of wearing a helmet, now, but after a few sandstorms the fleshy outer dermal layer of her face is beginning to peel off, revealing a glossy white, plastic structure beneath. The sun of this foreign, distant solar system drifts down to the horizon. Winds begin to pick up in the wastes of this world. A black, point-headed creature finds a body laying in the regolith and approaches apprehensively. Then, slowly, begins to pick at it. The dark creature, in this twilight, then notices the trail of black fluid going into the juggernaut. We see it suspiciously investigate the surrounding area. It looks intelligent, like a carnivorous, and demonic ape, but it still enters the structure, following the trail of blood anyway. David walks into a length of hallway where Dr. Shaw is trying to build a shower. Hoses from different parts of the ship all converge on this portion of corridor. Two go into a small machine and one comes out of the machine to a tank. Another hose wraps around a small, circular platform with a pipe going straight up. Struts are holding up a ring from which a translucent curtain hangs. She turns a dial starting the motor, then she runs to another room where she checks an enormous tank of water. She sees bubbles blurb up through the clear wall of the tank to the surface from under hundreds of gallons. She taps the surface. That was the sign she was looking for. When she turns around, David is standing in front of her, nude. This annoys her. The tantalizing prospect of a man with this beautiful of a physique, anatomically correct in every way, but with one completely useless part forces her to consider for a moment every time, and then realizes he is an android. She tells him to put on some clothes. David tells her about the Space Jockey that he disintegrated in one of the rooms. He takes her to the room where it was, and in there is a lush forest with strange birds and strange plants growing in all directions. Creatures of all kinds walk and fly around the room. There hardly appears to be enough space for the life growing in there. David mentions that he worked out some mathematic algorithms about the biological molecular structures, and it doesn’t seem possible that so much mass could have come from such a small amount of material. Dr Shaw is awestruck. Then she asks him what else he has done to experiment with the black ooze. He shrugs and says he had been bored. The room, he explains, he kept moist at all times, with at least 80% humidity, and the lights in the room had to be luminescent at all frequencies, but mostly at certain wavelengths while also emitting some ultraviolet, similar to earth. He tells her that the world they are headed for no longer exists. There is no paradise. But the next scene, it looks like they have arrived somewhere. Though the cryo-chamber she was sleeping in woke her up prematurely, after a month of travel they have found something. A culmination of some kind, a great amount of traffic with ships coming and going, all of this similar biomechanical structure. Some of them were this horseshoe shape, some of them arriving in different angles and in any multitude of different shapes. They all seem to be converging on a single point, the body of which is as yet unseen so far. Very slowly, they arrive at a formation of crystalline appearance, though it is so huge, the structure, though multifaceted at first, becomes a complex grid upon close inspection. And under the grid work, a writhing, pulsing colossal thing lived. Ships were entering and leaving it here and there from all directions, and as they closed in on it, Shaw sensed something powerful and horrible, something she couldn’t understand, that came from her dreams, that owned her dreams and her nightmares, and its mind reached out in all directions through the cosmos and has been haunting her since birth. Now it was there in front of her, and it knew she was there. She tries to show no sign to David, but she is beginning to sweat and turns pale. Ships outside are entering and leaving the giant crystal structure – all of different sizes and shapes, and we see them heading into a cargo bay of sorts constructed of a gargantuan orifice plied open with beams and rods of some green metallic substance. The internal computer systems of Shaw and David’s juggernaut begin to follow an auto-piloting routine. David is unable to cause it to fail and steer away from the giant creature. Dr. Shaw tells David she needs to go back, to get away. She can’t go any further. Something is wrong. Small floating scanners appear outside and accumulate. Beams of red light, broad and flat, pan the juggernaut Dr. Shaw and David are in from all angles. We can’t tell what the source of these scans look like, but they are very small and move quickly. Slowly, the ship draws near the enormous orifice and we can see that the tentacled beast is a lot like the cuddler in many respects because as we approach, the vaginal opening that is the hangar is nearly identical to the one that impregnated the space jockey from Prometheus. From inside the orifice a long thin tongue spits out and gloms onto the juggernaut. Framing the inside of the maw of this hangar orifice are statues of what look like the space jockeys, standing tall and erect, yet strangely by the expression on their faces, completely impassive. The juggernaut lands, and amidst the greenish miasma, throngs of space jockeys appear, miniscule compared to the size of the spacecraft. They appear disinterested in the arrival of Dr. Shaw and David. Ships of all kinds from all over are landing here and departing constantly. Upon its landing, a Space Jockey arrives to inspect the ship, walking into it with seeming disregard to how old it is. It appears very little has changed in thousands of years. He is carrying a small canister and breaks it in his fist. Six Hammerpedes emerge from between his fingers, slither around his arm and grow exponentially simultaneously as they wind their way down his legs and onto the ship floor, flowing like milky white maggots on the hunt for something unseen. [Ensues a dramatic incident in which Shaw and David are fearfully attempting to escape the snake like creatures. They get away unscathed but the audience is gripping their seats with sweaty palms. We can assume Ridley Scott knows how to make this happen] His first stop is the big head room, where he opens the door without paying much attention to the keys he presses. Dr. Shaw and David walk by unseen, but we see their reflection in the Space Jockey’s eye. Did the giant see them or not? They sneak by and the colossal man figure sees the lush garden that has grown within. He scans the area, touches his chest and makes a non-descript comment in the same foreign language. He does not expose the surprise except by a brief pause before entering the room. When he approaches the big head, it is covered in foliage, but the form is still apparent despite this. He begins speaking to the big head and kneels. The mouth of the head opens, and we hear the same foreign speech coming out. David is intrigued by the conversation and he pauses outside the door, eavesdropping on the conversation. Shaw stops and watches, urging David out of the room. She is obviously conflicted. We see her wiping her hands frequently on her pant legs. She is pale and glistening. David ventures to open the door, using the same code he used when he opened the door on the other ship back on LV-223. The Space Jockey continued his prayer with the godhead, completely oblivious to the people entering the room. She pulls on David’s arm, urgently begging him to leave, but he is engrossed. He knows the language and the engineer is saying things that make him want to listen more intently. For a brief moment, we see a strange being sitting on what appears to be like a throne made of ribbed spines and leathery leaves. The being appears faceless, fingers splayed out from the armrests. They are long enough to branch off and tangle into root-like structures, burrowing into the floor of the dais. The being is luminous and dark at the same time. Its faceless head leans forward suddenly as if it had not moved in thousands of years, and only just now a sudden ripple in what is usually placid waters has caught his attention. On LV-223, Vickers is mangled. One of her arms is dangling lifelessly against her as she drags an unconscious black form into a Big Head Room. She closes and presses keys next to the door causing an additional clank of unseen objects – a lock engaged. Gushing white fluid is everywhere. She yanks the rest of her arm off and holds her own hand like the end of a baseball bat. Then walks back the way she came. She looks at the teeth marks on her chest. Small black pearls lay embedded there in the dark red blood. The camera here, is in Vickers’ perspective and the audience wonders why she sees her white android blood as red. She touches one of the dark beads and pulls it out, examining it for a moment, then squishing it between her fingers, that familiar black ooze spills between them and drips down her wrist. We see the ship lift off from the planet and careen into space but we don’t know where it’s headed in amongst a swath of stars streaking across the blackness of space. We see her mending her arm one tendon at a time. A glass of white fluid is sitting next to her. She takes enormous gulps every few moments. Some of the white fluid seems to coagulate almost like a plaster substance as it continues to flow from the wound. Then she is seen laying in the empty cryotube. The casket closes on her slowly. Weyland is on Mars, strolling through a small village biosphere colony that appears to be well on its way to complete atmospheric manufacture. He treads the central street in boots like a lean Clint Eastwood in a ghost town somewhere in Colorado. Taking deep breaths of the sweetened air, he tells Yutani that this is one of his greatest successes, but the best is yet to come. It is just around the corner, in fact. Yutani has grown bored with Weyland’s cryptic hints at his own successes. He wants to see the corporation move forward, and to cease this pandering to the wealthy elites. This is what garners Weyland’s full attention. He tells Yutani that the wealthy elites are the living offspring of the highest form of humanity. Only these chosen few have understood and carry on the wisdom of the ancients, and the doctrine is very secret and still alive today. He knows because he has been in touch with certain beings that know. And there is one such being very near. He asks Yutani if he would be interested in meeting such a being. Yutani, ever the skeptic, asks what kind of lunacy he is talking about. What about the future of the company? Why does he keep on with these endless pet projects that are completely unprofitable? Weyland tells him he really likes him. After many years, he has learned that Yutani truly has earned his rite of passage, to become one of the higher beings. At first he was quite skeptical and believed that Yutani was driven purely by money, but if that were true he would not have tolerated the corporation’s plummeting public stock and lack of profits. Yutani argues that there are good scientific goals in some of these ventures but some of them are fruitless. Terraforming Mars was a complete waste of time, he explains because nothing worth extracting from the planet can be brought off-world without a huge detrimental expense— Weyland interrupts him by slapping him on the back. He waves him on to follow him into a seemingly vacant building. Ignoring yellow tape and a sign that says ‘Unsound Structure’, they walk straight into a room with a mineshaft elevator. Yutani looks at Weyland skeptically. He says nothing. Weyland enters the small cage and holds the door open for his partner. The man enters. Cautiously, Yutani presses a small button on one of his sleeves and a pulse of air plumes up around his head. Lights flicker on within the collar of his shirt and a plexiglass helmet folds over his head from behind him. We notice now as well there are two white nodes attached to his throat. Weyland smirks at his overly-cautious friend. He turns a lever and the elevator car jerks into its descent. Yutani nervously grasps for the sides of the cage as Weyland casually begins a monologue. He tells Yutani that it was his mother that introduced him to the ancient mythologies around the world, how she brought to light all these wondrous tales of beings that held great power and that there was once a Golden Age when Humanity was blessed with happiness unending, living in a great garden. At one time the species lost all rights to the glories and power that it had inherited and we were left to try to survive on our own. Whereas before the graces of greater beings kept us aloft, the sins of our ancestors left us without their connection for eons. Only a select few were able to maintain the glory of their ancestry and these lines inherited power throughout the ages, guiding the human race into the future, establishing higher graces, civilization and spreading the spirit as best as possible, until there came a time when the gods decided they wanted to eliminate all of humanity anywhere they had been seeded across the galaxy. Mars was one such a place that was targeted for destruction, and so was Earth. Earth was not destroyed, though, because one god above all had mercy on our race. The annihilation or genocide of Earth was imminent and distant stars inhabiting warlords of destruction were setting their course but the pilot of the ship designated to destroy humans on our planet was killed before he could leave LV-426. His ship crash-landed back on the surface of the planet-moon and all of the bio-weapons were left dormant for more than two thousand years. Mars was targeted for complete annihilation and there was an outpost for observation for the gods there. Those gods that were left to keep watch over the human race were destroyed in great beams of tremendous light and fire. The atmosphere and the surface of the world were obliterated, leaving only a thin layer of iron dust on the surface, the most prevalent element of all the old civilization that once inhabited it. The cage finally reaches the bottom floor inside of a darkened cave. The only light comes from inside the cage itself. Weyland briskly reaches to one of the generators on the floor and kick-starts it. The engine starts, and very slowly paths of light begin to illuminate tunnels curving out to distances beyond sight. They walk down the path of lights to a room that looks hauntingly familiar but along the edges of its strange biomechanical form, lights of all multitudes of color move like ants marching. In the center of the room is a dais and a throne-like seat with a giant blanket thrown over it. Only a head can be seen over the top. The scale of the scene is put into perspective when Weyland and Yutani emerge at the bottom of the screen. They are miniscule by comparison, and at first we are led to believe that the enormous robed form is just a statue, but it stirs upon recognizing the presence of humans, and plumes of dust suddenly burst from the curves and coils of it. We see now the head of a bald woman with dangling forms at her ears like earrings. She blesses her visitors with a warm, delicate smile, but we can see also that she is not well. We recognize her human-like form, her compassion, her grace. In her presence, our protagonists are uplifted. Their hearts swell, and they look infinitely more youthful than before. Or could it just be the lighting? Weyland calls her Great Mother. He thanks her for blessing him with her presence and bows to her. She barely moves, but glows slightly more momentarily. Yutani is speechless. He watches, completely amazed with everything he sees. As the two approach, the woman looks identical to Merideth Vickers, she is sickly, though, with patches of decomposing flesh on her cheeks. Weyland introduces Yutani as an initiate into the fold, and she gracefully acknowledges him, saying that he is worthy, though he must first face the crucible. Weyland, though troubled, nods his head.
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ubermental

MemberOvomorphAug-23-2013 6:47 PM
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Alien: Covenant is a sequel to 2012's Prometheus as well as a prequel to 1979's ALIEN. Alien fans looking to know more about Alien: Covenant should check back often. Alien-Covenant.com is an information resource for film enthusiasts looking to learn more about the upcoming blockbuster Alien: Covenant. Providing the latest official and accurate information on Alien: Covenant, this website contains links to every set video, viral video, commercial, trailer, poster, movie still and screenshot available. This site is an extension of the Alien & Predator Fandom on Scified - a central hub for fans of Alien and Prometheus looking to stay up-to-date on the latest news. Images used are property of their respective owners. Alien: Covenant, Prometheus and its associated names, logos and images are property of 20th Century Fox and are in no way owned by Scified and its related entities. This is a fan-created website for the purpose of informing and exciting fans for Alien: Covenant's release. If you have any questions about this site, its content or the Scified Network in general, feel free to contact Scified directly.

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