'Aliens' child protagonist has hated her most famous line

Carrie Henn disagrees with her famous quote. Usually.

Of course, an actor never knows when a line will become more than just a script reading. From Jack Nicholson’s ‘Here’s Johnny’ in ‘The Shining’ to Bruce Willis’s ‘Yippee-Ki-Yay, motherfucker!’ in ‘Die Hard’, cinema has many memorable lines, many of which are unpopular with those who said them.

Carrie Henn, the little girl who co-starred in “Aliens” (which you can watch on Disney+) with Sigourney Weaver and awakened her maternal instincts to confront the Alien Queen’s more animalistic ones, has a curse word. In James Cameron’s DVD commentary, Henn recalls her immortal “They mostly come at night. Mostly“.

Henn says that’s the only line people remember her by. Friends will use it in everyday situations like, “We mostly go to the movies tonight to annoy her. Mostly.” That’s why Henn calls it “the only scene I don’t really like in the whole movie.”

Henn also had little success with her character: the franchise’s creators killed her off-screen and in a very unceremonious manner (like Michael Biehn’s Hicks) at the start of ‘Alien 3′, but fans could meet her again in the Dark Horse comics’ parallel universe. See Newt for a while. Even without repeating his line.

After one of James Cameron’s most disappointing meetings, he made Aliens, one of the greatest sci-fi blockbusters ever. However, Aliens didn’t burst from the chest fully formed. It took time for this action-horror classic to find its family drama heart.

Cameron met Alien producers Walter Hill and David Giler in 1983 to discuss a non-Alien project. Cameron remembered on the Aliens Blu-ray commentary that his pitch to work on Cameron’s The Terminator script was failing. Cameron knew from the producers’ expressions that “they didn’t like any of my ideas.”

Cameron instantly perked up when Hill and Giler pitched for themselves. Giler’s comment transformed Cameron’s career and shaped Hollywood history: “Well, we do have this other thing… Alien II.”

After three days and eight cups of coffee, Cameron wrote a 50-page treatment for Aliens, the first action-horror hybrid, released 35 years ago this week on July 18, 1986. Aliens has been one of the best sequels ever made for over 30 years, thanks in part to Cameron’s way of wrapping the thrilling and scary roller coaster ride around a heartfelt and moving family drama about Ellen Ripley (Sigourney Weaver), an orphaned girl, Newt (Carrie Henn), and a grizzled space marine, Hicks. The traumatized Ripley and Newt relationship is the film’s heart, which bloody chestbursters threaten destroy. That relationship helps make Aliens rewatchable. Cameron’s original treatment lacked much of that dynamic, which is surprising.

In this early draft, dated Sept. 21, 1983, Newt and Ripley’s emotional journey to become surrogate mother and daughter is slightly more than threadbare. In this version, Ripley’s daughter is alive (albeit very old), unlike in the Aliens director’s cut, where she loses 57 years of her life while floating through space in cryosleep. Her FaceTime-like call to Ripley shows she hates her mother. Ripley’s painful realization that she would have been better off dying than returning to a home and family that doesn’t want her lays the groundwork for her LV-426 rescue mission.

Ripley still meets Newt on her mission to the colony, which is on the same planet where the Nostromo crew fatally encountered the xenomorph in 1979’s Alien. That encounter lacks small, essential character-building moments like Ripley and Newt’s med bay encounter. In the theatrical version, Ripley’s maternal side shines as she cleans Newt’s dirty face and naps with her before skittering facehuggers attack. In the original treatment, Ripley doesn’t find Newt on the colony, one of her most important scenes. In the original draft, Ripley is still on the dropship, so the Marines find the scared girl while searching the colony.

From this point on, the treatment’s narrative structure resembles the final product, but many details and key scenes are very different. To keep the “shake ‘n bake” colony’s terraforming Atmosphere Processor safe from alien invaders, the Marines spend a lot of time outside. Instead of staying inside the complex like in the final film, Hicks and his unit park Ripley’s armored vehicle (APC) outside the main entrance and use its turret guns to sweep for approaching enemies.

Bishop, a noble and good android in the final film, is also darkened in the original treatment, supporting Ripley’s belief that his kind is untrustworthy. Bishop has previously rescued Ripley and the others by piloting the Sulaco, not another dropship. After Ripley arrives at the landing zone, Bishop radios her that he won’t pick her up. Bishop’s programming won’t let him save a few lives if it means killing thousands to stop aliens from leaving. He leaves after Ripley curses him, leaving them stranded.

Expanding the alien world and biology overshadows Newt and Ripley’s growing bond with Hicks as a father figure. In this version, alien drones have scorpion-like tail stingers that incapacitate victims before cocooning them in the alien hive. Ripley, Newt, and Hicks let the aliens sting them to be taken back to their nest, where their only escape is a shuttle, as the complex threatens to explode.

In the nest, the original story seems to plant the seeds for an albino alien in Alien: Resurrection. This beast is a pure xenomorph, a carpenter with a probe that excretes resin to build the Hive that other aliens try to evacuate by removing Queen eggs, unlike the bone-white alien-human hybrid from Resurrection. Cameron also introduces alien warrior drones with tubules that bypass the facehugger stage and implant chestbursters into reluctant hosts.

Hudson (the late Bill Paxton) was kidnapped and taken back to the hive during an earlier alien encounter. Hudson dies here, denied the heroic “last stand” of the final movie. Hicks receives that sacrifice. Hicks orders Ripley to leave him behind and return to the ship while cocooned to the hive wall and impregnated with an alien. Ripley reluctantly flees in the shuttle and burns the Queen’s egg chamber with its exhaust burners.

The Alien Queen is defeated by Ripley after she returns the shuttle to the Sulaco in orbit of LV-426. Newt is unconscious during this epic fight. She wakes up and calls Ripley “mommy” like in the film before Ripley and her new child fall into cryosleep.

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