Movie Spoiler: ALIEN (2003 Director's Cut). "In space, no one can hear you scream," goes the brilliant tagline. In commemoration of the upcoming "not Alien prequel" Prometheus, I thought I'd endeavor a Movie Spoiler Summary for the film that "may have provided a starting-off point, but nothing more" for the Ridley Scott film releasing in June. If you haven't ever seen Alien and have the ability to enjoy suspense films and don't mind science-fiction settings, then you really should treat yourself to this outer space take on the "ten little Indians" premise. Revolutionary film that married science-fiction with horror in a highly produced and effective story that captured commercial and critical acclaim. The prolific Jerry Goldsmith (nominated 18 times, only winning once; for 1979, he was nominated for The Boys from Brazil) provided the haunting and beautiful score, though Scott made some modifications in the editing room. The result is cheesy, but appropriately atmospheric for the most part. The sound effects are just plain creepy. Filmed in 1978 at English studios on an $11M budget, the film opened on Memorial weekend 1979, grossed a shocking $79M for the year, and garnered three Oscar nods and one win. After over three decades, the oft-imitated mainstream film holds up (even from a "futuristic" standpoint, its computer screens, as dated as they seem, are hardly distracting). |
| A fucking star is born (second-billed to Tom Skerritt, the slightly more recognizable--and male--star of the film, at the time) |
1. Main Titles
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| The Nostromo approaches the planetoid |
2.
The commercial towing vehicle 'The Nostromo' sails through space on its way back from earth, lugging along a refinery processing 20,000,000 tons of mineral earth, as well as seven hibernating crew members.
3. Early to Rise
Inside ship, the camera explores the various hallways until it reaches the communications room. A astronaut-head-type object confers with the system and the Nostromo starts to boot up from sleep mode. Camera enters the hibernation chamber through a hatch that opens up. The lids of seven pods lift revealing its resting inhabitants.
Kane (John Hurt) is the first to wake and emerge. Soon, they eat their first meal over coffee and cigarettes. Parker (Yaphet Kotto) and Brett (Harry Dean Stanton) try to discuss the inequity in pay. Ash (Ian Holm) reminds Dallas (Tom Skerritt) that the mother-ship is trying to communicate with him.
4.
He enters the main operation room and interfaces with the system.
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| Ripley: "That's not our system" Lambert: "I know that" [bitch, don't try to tell me how to do my job] |
5.
The others assume their positions as they get ready to chart their course. They learn that they are in unfamiliar territory and try to make contact with the Antarctic.
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| Parker: (with a smile) "Ah, you happen to be in my seat." (proceeds to sweep off Ash’s cooties) |
Parker and Brett bitch and moan about pay some more. They take their seats for a meeting with the rest.
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| Cartwright shooting Weaver a little side-eye: You talk too much, bitch! |
Dallas explains that the mother-ship had intervened with their trip back to Earth, due to transmissions she received concerning foreign life matter worth investigating. The crew discuss the commercial nature of the ship verses the contractual obligation they have to look into such matters. Parker brings up bonuses again.
6.
At her station, Lambert plays back the recorded audio footage of the foreign life matter. She locates its physical location on a tiny planetoid. Ash is pleased to hear that there is 0.86 gravity level which enables walking.
7. Rough Landing
The Nostromo approaches and they disengage from platform and fly off in the shuttle Narcissus. They lose a shield and incur a structural fire during the process of landing. Parker explains there is a good deal of damage that needs time and attention.
8. Walking Distance
Ash informs Dallas that the foreign life matter is only 2,000 meters away from them. Lambert (Veronica Cartwright) says her order to go on the first expedition is “swell.” She joins Dallas and Kane.
9.
Brett and Parker inquire about the shares to Ripley (Sigourney Weaver).
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| Ridley Scott schools JJ Abrams on the proper way to use lens flares, y'all |
10.
The team on the ground enter the cavern of an abandoned alien ship with various pockets blowing air out vertically. Ash monitors their activity from the ship.
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| The space jockey alien |
11. Dead a Long Time
They come across the fossilized carcass of a gigantic alien life form (known as the space jockey) sitting in the seat of some kind of artillery or telescopic contraption. Kane makes a discovery. Ripley reads the transmission reports more closely and discovers that the audio wasn’t a cry for help, but a warning to stay away. Ash is unphased by this news and convinces her it’s meaningless.
12. Eggs or Something
In the cavern, Kane rappels down an opening and lands in a nursery filled with pods, covered in a mist. He accidentally slips into the egg chamber. He leans close to one of the pods and learns that it’s living. The pod opens up and when he peers in, a creature bursts through his helmet.
13.
The team returns with Kane to the ship and enters the interlock hatch. Reacting with little alarm, Dallas asks Ripley to gain entrance, as Kane needs medical attention. Ash stands by ready to receive them. Ripley resists opening the hatch and tells them that they need to be quarantined according to protocol. Ash disregards Ripley’s authority and admits them.
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| Kane and his new best friend attached at the face (aka the face-hugger) |
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| The bitch-slapped Ripley has taken enough from Lambert; no tears will be spilled over her ensuing death |
In the lab, Ash and Dallas carefully remove Kane’s helmet to reveal the parasite suctioned to Kane’s face with tentacles tightened around his neck (known as the "face hugger.") Parker is disturbed and questions what’s happening. When Ripley enters, Lambert slaps her for trying to quarantine them. Ash tries to unsuccessfully detach the creature from Kane’s face with tongs. He scans Kane and they figure that the creature is feeding him oxygen. Dallas wants to remove the parasite, but Ash is against the idea. Dallas has authority, however, so Ash must follow along.
15. A Wonderful Defense Mechanism
They poke at the creature, which releases acid that drops to the floors and begins eating through multiple decks of the ship. Dallas and the others find the end point of the acid’s venomous powers. Parker and Brett work on the ship.
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| A little foreshadowing of what lurks under Ash's skin |
16.
Ash monitors Kane while examining samples. When Ripley approaches him, he closes off his work and throws a bunch of scientific jargon at her. Ripley reminds Ash that he usurped her authority earlier while knowingly disregarding ship protocol. His only response: “Maybe I jeopardized the rest of us, but it’s a risk I was willing to take.”
While Dallas listens to classical music in the shuttle, Ash alerts him to a change in Kane’s status.
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| For someone who follows quarantine protocol, she certainly forgot to close this hatch door |
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| A literal and figurative prodding to get this party started |
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| The iconic shot that would be repeated many times throughout the entire Alien franchise of a tail swinging into frame in the background from a ceiling area; in fact, there is one more in this film before Brett bites the big one |
They meet in the infirmary with Ash and discover that the parasite has detached itself from Kane’s face. Ash knows exactly where the creature is and prods it without the others realizing to attack Ripley. It loses energy pretty quickly and falls to the floor.
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| Look how tightly Ripley clutches to Dallas; you know those two sluts were doing it at some point |
Ash further examines the parasite under better lighting in a petri dish. Dallas disregards Ripley’s concern and agrees to allow Ash to study the organism further.
19. Taking Off
He’s also itching to get off of the planetoid and erratically decides to take off, before Parker and Brett are completely finished with repairs and doesn’t bother to consult everyone.
The crew discuss Kane. Parker thinks they need to freeze him. Lambert enters and informs everyone that they’re ten minutes from Earth.
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| Don't trust this man, er, android OR You give Bots, a bad name! |
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| The naughty Parker (to Lambert): “Listen, I’d rather be eatin’ somethin’ else, but, ah, right now, I’m stickin’ with food.” |
20. Last Supper
Ash summons everyone to the infirmary where Kane is conscious. He may feel better, but he certainly ain't right, as we are about to quickly find out. In the canteen, they chat and dine. He has trouble fielding the team's questions.
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| Tom Skerritt, on the right would go on to play that creepy older guy in the Guess jeans ads |
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| You give good blood |
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| The inspiration for Arnold Schwarzenegger's Junior |
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| Hey, guys, wassup? |
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| It's been swell, but I got to motor |
Kane begins to choke and seize. They hold him down on the table, when, in what is commonly known as the "chest-burster" scene, an alien pops out of his stomach, checks things out, and rapidly skedaddles. The crew sends Kane’s corpse off into space.
21. Seek and Destroy
Brett demonstrates to the crew how to use a cattle prod. Ash has designed a close-proximity tracking device that will measure micro changes in air density and help them locate the alien. They break off into teams. Dallas will take Ash and Lambert, Ripley will lead Parker and Brett.
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| Will Jones be on the menu? |
22.
Parker fixes some broken circuits. Ripley picks up a signal with the tracking device in a room. They prepare a net, ready to catch it, but it turns out to be Jones the cat.
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| The alien creepily swings into frame yet again |
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| Brett is the first victim post-birth |
23. “Here Kitty”
Brett proceeds to retrieve the feline and discovers some kind of rubbery exoskeleton. In a warehouse room storing some heavy equipment, with chains (brilliantly) dangling from the ceiling, Brett refreshes himself with some falling condensation. He locates Jones too late and the alien snatches Brett and lifts him into the air shaft connected to the cooling ducts.
24.
Ripley and Ash check out the main air lock. Parker and Lambert cover the maintenance opening.
25.
They all communicate with Dallas who ventures through the vent with a flame thrower, as he has the team open and close various hatches behind him—a job Ripley wanted. Lambert detects the alien in the third junction and Dallas travels to that location.
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| Come to Mommy! |
26.
Lambert loses the signal and Dallas finds some primordial ooze. Lambert regains the creature’s position which is now moving swiftly in Dallas’ direction. The alien greets him with open arms.
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| Fire power |
27. No Blood, No Dallas
The team can’t find traces of Dallas, but locate the flame thrower. Ripley takes charge of the situation and comes up with a plan to break off in pairs and start locking down the vents. Ash informs Ripley that he’s still collating data with the mother ship.
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| "No, no, I can manage, Ash. Don't follow me." |
28. A Confrontation with Ash
Ripley enters the main control room (where Dallas was at one point) to procure answers. She learns that the whole purpose of their journey is to bring back an alien specimen at all costs and that the crew is “expendable.” Ash appears and she pushes him.
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| Someone on the Nostromo loves Asian porn |
29.
When she leaves, he traps and begins to assault her. He begins sweating a milky white substance, which reveals him to be an android.
He lays her on a table and tries to suffocate her with an magazine. Parker and Lambert try to save her and eventually pry him off of her. Ash begins to seize and spurt more of the white substance. Parker whacks the Hell out of him, breaking him into pieces, but when he comes back at him, Lambert intervenes.
30. Priority One
Ripley and Parker operate on Ash, in hopes that he can assist them in defeating the alien. “Its structural perfectionism is matched only by his hostility.”
Ripley pulls the plug on Ash and decides to blow up the ship. Parker blow-torches Ash.
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| Ripley's hair in a bun |
31.
Ripley orders Parker and Lambert to stock up on coolant for the air support system, while Ripley gets shuttle ready.
32. Scared Stiff
She hears Jones and starts searching for the cat in the communications room. The other two head back with the stock of coolant. She locates the cat and places him in a pet caddy.
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| Parker, the prophet, taking a fatal blow for his skepticism |
33.
The alien approaches Lambert. As she stands there stunned, Parker tries to save her, but the creature kills him before Lambert. Ripley discovers their dead bodies and retreats to the shuttle with some coolant.
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| Reluctant superhero foreshadowing of the sequel; Ripley has only begun to kick ass |
34. Destruct System Activated
She throws the switches and begins the process to enact the emergency destruction system.
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| Ripley doesn’t use fire power because she wants to, but because she has to. |
35.
When the countdown begins, she starts running about the ship. (I believe this scene was added to the director's cut.) It doesn't make the best sense, as Ripley is fleeing the Nostromo anyway, and with only ten minutes left, does she really think she has time to fiddle around, find the alien nest and dispose of it? Still, it's a minor flaw. Miraculously, he finds the bodies of Brett and Dallas embedded in an alien nest and torches the organism, as she has no other choice.
She returns to the shuttle with Jones in tow, only to be surprised by the alien.
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| You don't screw Ripley on a technicality and get off scott free |
36. T Minus Thirty Seconds
She flees and reconfigures her plan. She returns to disable the emergency destruction system, but she’s too late. She comes back to the shuttle after calling the mother ship a bitch and slamming down a heavy object.
37.
She grabs the pet caddy holding Jones, which the alien had swatted away earlier.
The ship begins the implosion process and prepares the shuttle for liftoff. As she’s purged into outer space, the mother ship explodes.
38. The Last Survivors
She lulls herself into a false sense of security, though I’m not sure how she could honestly believe the alien couldn’t be in the shuttle, when she didn’t check every nook and cranny pre-purge.
She places Jones in a hibernation tank and strips down to her panties (Pauline Kael HATED that) and tank top. As she shuts down readying herself for hibernation (though, I’m not sure she could sleep knowing she’s on a shuttle owned by people who would rather she be dead), the alien surprises her (and us, though we kind of already figured the creature was there, just didn’t know when it was going to surface).
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She hides and climbs into a space suit while the creature snacks on what seems to be, but isn’t, the cat. She loads a spear-type gun and quietly enters the main room where the alien currently hangs out and nails it with coolant fumes or something to that effect. That doesn’t work, so she opens the airlock and shoots the creature out of the ship. It hangs on from the cord attached to the spear lodged in its body and flails around outside the shuttle. It gets caught in a jet shaft and when she fires up the engines, she incinerates the creature and sends it off into space.
“Ripley, last survivor of the Nostromo” audio logs her report for the Nostromo as third officer after Dallas and Kane. “I should reach the frontier in about six weeks. With a little luck, the network will pick me up.” She signs off and goes into hibernation with Jones.
40. End Titles
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