Two hundreds years after the events of Alien³, doctors are working on a secret project for the United Systems Military. They have been attempting to produce a clone of Ellen Ripley working from a blood sample that was collected from Fiorina Fury 161, the planet where she died. In doing so, they hope that they can harvest the alien embryo, a queen of the species, that was gestating inside of her at the time. Seven attempts are met with seven failures.
The film begins with an extreme close up of a mouth full of silver fangs very similar to the alien creature.
As the view widens, we see it's just a bug, which is smashed by a crew member's finger.
As our view zooms further out, we see he is seated in a cockpit-like module.
As the module shrinks from view, the U.S.M. Auriga, a massive medical research vessel fills the screen, cruising majestically just beyond Pluto's orbit.
The ship is manned by seven science officers and 42 enlisted personnel.
Inside, we glide along the silent, empty corridors, coming at last to a door with two guards standing rigid in front of it. Full armour, powerful shockrifles, expressions empty and cold.
Medlab: Along a row of screens, where we see the first signs of life readouts, lights, data, all shifting and collating on the blinking screens. Tubes and cables are attached to the mass, running out of the machine.
As we move along them, a figure-in a labcoat passes through the frame, then another, leading us along the lab to settle on what looks like a Cryogenic tube.
Inside is a young girl (Nicole Fellows), dormant, nude, and bald.
A time lapse fade in/out morphs our view, she is now an adult . . . Ripley (Sigourney Weaver). Eyes, shut tight. Sleeping. Dreaming.
Ripley's voice over: My mommy always said there were no monsters, no real ones, but there are.
Operating Chamber: And the cause of this dream becomes apparant: Ripley's chest being cut open with a lasersaw. We see her body still has a layer of the aspic-slime clinging to it. And her skin is unnaturally pale.
But as we pan from her chest to her face, her identity is unmistakable. Around her are several men in operating masks.
Cutting her, is Doctor Jonathan Gediman (Brad Dourif), a young and enthusiastic scientist.
One man, seemingly in charge, stands a bit off, watching, he is Doctor Mason Wren (J.E. Freeman).
Gediman finishes cutting and a clamp pulls apart the chest.
He reaches in an pulls out a sleeping fetal, but nearly ready-to-burst alien. He carefully severs the umbilical threads that tie it to Ripley's chest.
He holds it up and others step in with the amnio, a sort of incubator filled with amniotic fluid. The alien screams, its tiny mouth full with teeth. Gediman sticks it in the amnio. An assistant shuts the top rapidly.
A surgeon looks at Ripley's readings, she is doing well.
Gediman looks at Wren, hopefully. Wren approves the host to be saved.
The surgeon goes to work, as the others leave with the alien.
Suddenly Ripley's eyes open and her hand lashes out, she grabs the surgeon's forearm. He yells in pain as her fingers dig into him, and we hear his bone cracking.
Ripley's Cell, some time later: Sudden stillness. Ripley rests in the middle of a small, dark chamber. Hair tangled and wild. But at least she's not so pale as before. Directly above, a thick pane of glass is in the center of the ceiling. Above the cell, a guard stands on the floor, looking into the cell through the glass.
She is still for a long while. Then she lifts her hands, looking at them.
Touches her skin. She fingers her tunic.
There is a scar running along her chest. She fingers it thoughtfully.
She looks at her forearm. Tattooed near the crook of her elbow is the number 8. She looks up, her face unreadable.