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JWs Aliens Treatment


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Aliens House treatment. This is my rough idea of how the house would/should play out. I know this movie practically inside and out and the idea of a house makes me very happy. So I decided to flesh out how I thought it would be. I based it off the 10 room model. When an If I do any concept art for the rooms I will add them to each scene. You comments and suggestions are welcomed.


We enter at the Exterior of Hadley’s Hope just outside of the North Lock entrance. The moon, Acheron (LV-426), is a barren hunk of rock that is inhospitable to life despite it being in the mid stages of terraforming. The wind is blowing heavy with a light mist of rain. We hear the wind howling, hear peals of thunder, and see the blue electrical flashes of unnatural lightning. Faintly the track “LV426” from the James Horner score is playing in the background.

The ground Is the consistency basalt, rhyolite,and microgranite lava flow stone. There are various pieces of heavy construction equipment strewn about helter-skelter, weather beaten, and abandoned. Many large crates and rusted metal drums are also visible. Some of the crates and equipment are covered in tarps that are flapping in the wind. The entire exterior of the of Hadley’s Hope is flat grey and metal shapes reminiscent of a military base.

There are two luminous, egg-shaped lamps on metal pedestals adjacent to a metal ramp that leads to two very large and heavy pressure lock doors. The doors are just open enough to enter. To the immediate right of the door is an access paneled that is open and has clearly been bypassed.


Scene 1: The Hallway

As we continue in we see a hexagonal, industrial hallway. Multiple pipes, mid-level lighting, and black and yellow striped supports run the length of the hallway. The floor is a metal grating. There is severe acid corrosion in several spots where the metal ceiling has melted, given way, and melted into the floor. From these holes water trickles down into the floor. Thre is a great deal of carbon scoring and bullet holes peppered throughout the hallway that indicate a heavy struggle. Many of the lights have been destroyed in the process so the hallway is only partially lit. Some of the lights are flickering. There are various crates and barrels strewn about that give the appearance of a broken, futile barricade. At the opposite end of the hallway we see a hexagonal door with a porthole open to the adjacent room. Various dripping noises, electrical shorts, and the faint howl of the wind from outside can be heard. The background musical track “The Complex” from the James Horner score is playing.

Scene 2: The Tubes

As we enter this room we see a laboratory office with desks and equipment in the middle which forms a semicircle walkway around the perimeter of the room. The desk have various office supplies strewn about. Some of the equipment beeps quietly while lights and switches flicker. Midway through, the walkway goes between 6 illuminated tubes, three on each side. The tubes are full of water and each one has a face hugger xenomorph inside. As we walk pass, two of the 6 will randomly attack the glass trying to get at us. The background track playing is “Med Lab” from the James Horner score.

Scene 3 : Newts hideout

As we enter this room we have to duck down slightly. The confined room is strewn with debris much like a rat’s nest. There are large boxes, food wrappers, canteens, clothes, blankets, jewelry, and various other things that a child would horde. Many of the boxes and piles of debris are piled high so as to provide hiding spots and to force the crowd to weave through. Above is a large and cylindrical fan that is rotating and throwing flashing light all over the room. The “womp womp”of the fan can be heard in the room as well as excerpts from the track “newt” from the James Horner score


There are several metal grates along the side of the room that are boo holes. One small female scareactor with blonde hair can move between the piles and the boo doors to startle the guests. EPROM switches are used when the newt character jumps out. The sound is the classical startle sound from the movie.

Scene 4: The hive

We are back in the hallway only this time they are covered in the resin of the xenomorphs in typical biomechanic fashion. There is a short transition showing the hallway becoming the alien architecture. The track “Sub-Level 3” from the James Horner score is playing.

As we walk into the main area the wall to the right is covered in bodies that have been embedded in the resin. Xenomorph eggs sit on the floor amid tangles of resin cords. As we pass by the eggs, a few will open, indicating a face hugger is being born. This is a distraction as a body on the wall will raise their head and beg to be killed as their chest will burst open with a chestburster xenomorph. As the crowd is looking at this, a marine will come around a corner and “torch” the body with a mock Flame thrower.

Scene 5: The reveal.

This room is much like the previous room but now the ceiling is writhing with the backs of aliens. Now there are fire effects as the room is partially on fire. There is the sound of loud gun fire and shouting. The first full-sized alien blends into the wall and attacks the crowd at intervals. There are multiple Marines in the room the can jump out and scream at the crowd, fire into it, or get dragged behind a blind corner. One marine scareactor (could be a dummy) holding a flame thrower is grabbed by an alien and pulled towards the ceiling. The scareactor or dummy then fires the flamethrower into the crowd. The track “Ripley’s Rescue” from the James Horner score is playing.

Scene 6: Shooting Gallery

We walk into a room that is two intersecting hallways much the the previous ones. There are four robot sentries, two facing down either opposing side of the same hallway and the crowd walks between them. The guns are firing emptying their bullets quickly. Down the hall they are firing into, we can’t see anything but blackness. However, we can hear the bullets hitting the xenomorphs and the walls. The creatures cry out. On each gun there is a bullet counter. One by one the guns run dry and the barrels smoke. Finally when the final gun is empty a xenomorph pops out from behind a blind wall to startle the crowd. Very dim ambient light. Most of the light emanating from the simulated muzzle flashes. No audio track.

Scene 7: Medlab

We enter this room and a piercing alarm is going off, the sprinklers are going off, and red lights are flashing. The room has various beds, desks, and medical equipment. Two actors one a small blonde female(newt) and one a tall brunette (Ripley) are in the room. The large one shouts things like “run”, “move”, “hide”, etc. The small one screams in a ear piercing squeal. We hear the pitter patter of many fast feet in conjunction with various small pieces of equipment, medical trays, and bottle carts moving and or falling. As we near an overhead surgical spotlight a face hugger jumps down at random intervals towards the crowd. The track “Face huggers” from the James Horner score is playing.

Scene 8: They cut the Power

We enter this room and the only light I a red ambient light from emergency lights. To the left is a welded door to the right are several marine scareactors. The room is an operations room. There are shelving units, desks, large computers, and various other office types of debris strewn about. As we enter we hear the iconic motion detector noise from the movie as well as marine banter about the signal being in the room. The ceiling gives way and an xenomorph come partially through. The marines respond by opening fire on it. After a few minutes of firing another xenomorph “pulls” one of the marines into the floor partially. The rest of the marines respond by trying to save the marine. The track “Futile Escape” from the James Horner score is playing In this and the next room.

Scene 9: Into the air vents

We once again have to stoop down as we enter this room. We are in some very large air ducts. The room primarily consists of a straight hallway with a few boo doors for some xenomorph scareactors to reach out of. The walls are all metal sheeting. As the crowd maneuvers the tunnel, xenomoprh hands reach out and the iconic cry of the aliens is played.

Scene 10: Big Momma

The final scene is the queen xenomorph, in all her glory, hanging over the crowd. Eggs are everywhere in this room and as we walk by a few open. The mother alien hisses, swats, and lunges at the crowd. Loud alarms, a countdown, and the track “Queen to Bishop” from the James Horner score are playing. Steam jets shoot from various places in the floor. At least one Xenomorph drone lurks among the eggs and attacks the crowd at intervals. The final gag walking out is a short hallway with blinding white light and a loud nuclear like explosion sound.

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