A Last Time For Everything

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├ćON FLUX FAQ/EPISODE GUIDE #4
A LAST TIME FOR EVERYTHING
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Unless otherwise marked, questions by Steve Rach Mirarchi
(rach@earthlink.net).

CONTRIBUTORS
VAS: Vassago
KR: Karen Rebholz
BB: Bert Bennett
MAR: M.A. Rodriguez
ON: Onyx7544
DJ: Djahspuhr
DRN: Dr. Nothing
OY: Oner Yucel
EH: Edward Hall
D67: Danielle67
GH: Gina Holechko
JP: Jon Paul Chabot
HD: Herbert Daly
SRM: Steve Rach Mirarchi

(1) What does the title refer to? (This question may be better answered at
the very end.)

BB: The title refers to Aeon herself. Aeon formed her plan early on and knew
she would sacrifice her very life. She realized what she truly feels about
herself and Trevor. It is her last time to be with Trevor.

MAR: I would think that the title refers to the space of time in which the
events in the episode take place towards Aeon.

SRM: What can we take from the title's obvious subversion of the old saying
"There's a first time for everything"? If Aeon and Trevor's relationship
here is the last time it can go this far, then we have to assume that,
according to the title, this is not the first time they've been thus
involved. It's just that this time--this last time--they allowed themselves
to both drop their assumed roles.

(2) Trailer: "Aeon has heard about Trevor's new method for creating human
duplicates." Does it take an action on Trevor's part to invoke/provoke Aeon?
If yes, does that mean she can only exist in relation to him?

BB: No. Not really. It's more that it takes some interest on Aeon's part.
The first two ep's began with "it's none of Aeon's business, but..." It
never is Aeon's business. I think that Trevor does do some things to provoke
her, but she does things to provoke him too.

MAR: All through the series and through life now, people act on events that
happen to them. Almost like a chain, we act upon ourselves or each other.
I.E. The theories of inertia and motion.

DRN: The question is a little misleading obviously Aeon can act separately
of Trevor but it is more of a question of interaction between the two. Does
Trevor have to do something in order to provoke Aeon into jumping into the
fray and if so is that the motivation of his act or is it an unforeseen
annoyance/ fortunate occurrence? In other words does Trevor act to provoke
Aeon or does it just happen to work out that way? Any way you look at it
appears as if Trevor does have to act for Aeon to becomes involved. If this
statement is true than it brings about an interesting phenomenon because if
you view the episode in a very conventional way, Aeon as "good" and Trevor
"bad", it implies that "good" only exists as a repercussion of and only in
reaction to "bad." But back to the question you may be tempted to say "No"
because for example Aeon was the one who acted first to steal the Demi-urge,
thus making Trevor get involved right? Well no not really because Trevor
after all did have the Demi-urge first? Admittedly you could argue that it
is very easy to argue "Yes" because it is easy to point to some early, even
unseen during the episode (like the Demi-urge example), instances that show
Trevor acting first and therefore Aeon acting in reaction to him. But this
is not a powerful enough argument to refute it. Aeon does seem to act in
reaction to Trevor as almost everyone in the show does since his influence
and power are so substantial. But could Aeon exist without Trevor? Yes but
not the extent she exists now. What? Let me explain they kind of feed off of
each other especially Aeon she is such a super human character that she need
to face the fiercest enemy possible (Trevor) in order to become all that she
can be. This kind of reminds me a quote from Thus Spoke Zarthustra, forgive
me if this is not exact but it is from memory "My brother in war! I love you
from the heart, I am and always have been of your kind. And I am also your
best enemy... You should seek you enemy, you should wage war- a war for you
opinions. And if your opinion is defeated, your honestly should still cry
triumph over that. You should love peace as means to new wars. And the short
peace more than the long." Aeon and Trevor share this kind of love and it
important that there love not be changed in any way because it would destroy
this delicate balance.

SRM: Trevor even takes on things he knows probably won't work out just to
get Aeon's attention, or to get her reaction. If Aeon doesn't show concern,
it must be okay for Trevor to continue with what he's doing, since she
doesn't see it as a threat. But once he makes a "wrong" move Aeon is there
to intervene. I'm thinking of "Ether Drift Theory" in which the story makes
it clear that the mini-world has been there a while without Aeon's
interference. I agree with what others have said here: that Aeon and Trevor
are, so to speak, in flux with each other.

(3) The opening image is of the guard looking at himself, and he's reflected
in the mirror--three images total. What's the symbolism here?

BB: (This is a thought) There are three divisions in every person: spirit,
body, and intellect. And if all three are not healthy one is not a healthy
person.

MAR: My best guess is that people, humans, have multi-fawceted personalities
or essences.

SRM: In this image we have an original, a duplicate, and a reflection, much
like the very theme of the episode itself: Aeon, her duplicate, and the
unseen reflection of herself that mediates between the two. What is this
unseen reflection? The conflict of love versus duty, church versus
state--the old battles.

(4) Duplicate #2 has red and green lights flashing at him. What's that
about?

MAR: Possibly, Trevor is testing the reaction to neon, ultra-violet
lighting.

DRN: see 5

SRM:I can't help but recall Aeon's "red light go, green light stop" mantra
from Isthmus Crypticus. When Aeon chants that in the episode, she's ready to
do some dashing legwork. Here, the lights fall on a pretty static subject.
If not just an esoteric injoke, the lights show the contrast between what it
means to duplicate Aeon and what it means to duplicate someone less
acrobatic.

(5) Why is the guard concerned about giving a "current version" of himself?
Is it because of the "severe inhibition of pleasure responses"? What is that
test, anyway?

BB: Yes. It is some sort of twisted sexual test. The guard is concerned
because Trevor can know everything about him by testing his clone. And it's
more than a little unnerving to have someone know even your most twisted
habits and vices.

MAR: This leads into information on the episode. I would think that a
current version with improved feelings and emotions would be more effective
in combat, life, whatever. This might lead into the differences with Aeon2
and Trevor's slaves.

DRN: When Trevor clones the guard he obviously does it several times and is
subjecting each clone to a very specific test to find out about specific
attributes (which explains the red and green lights plus the one spinning
upside down). Trevor wants to know exactly how this man will preform under
all kinds of very specific situations he doesn't want any surprises which
might imply that he is kind of testing not only ability but maybe even
loyalty perhaps to use this one man as his own personal army the
possibilities are almost unlimited.

GH: Trevor Goodchild was obviously interested in not only cloning for
pleasure but also to perhaps build a society on clones... for instance,
wasn't it interesting the at beginning how the different clones of the first
subject were undergoing testing. Especially the guy hanging from the ceiling
almost as if he was being conditioned. I am greatly reminded of Aldous
Huxley's Brave New World concept and almost believe that manipulated clones
would be a true asset to such an oppressed and divided society as
Bregna...not that Monica is so unified but certainly it must have quite a
different system...

SRM: To provide a "current version" would mean that there is an "older
version," which implies that these duplicates do not learn nor grow. Or, if
they do, they only do so according to Trevor's wishes. But given that the
rest of the duplicates we see in the episode--from the "fake" Aeons to
Twigga--are pretty dumb and single-minded, I would argue that the choice of
the word "duplicate" is intentional over the word "clone." A duplicate, like
a Xerox copy, remains as it is the moment it's copied. A clone, however, can
adapt and grow differently, just as the original might in its own ways. If
this is true of the duplicates, Aeon's change of heart becomes even more
dramatic and important.

(6) Why is Trevor interested in "endurance data"?

MAR: So that the soldiers' may be more precise in combat etc.

DRN: see 5

(7) Trevor and the guard have different ideas about "property rights." What
do they believe?

BB: Trevor believes he owns the clones because he created them with his own
technology. The guard believes he owns the clones because they are virtually
him.

MAR: Trevor owns the machine that creates clones, so in theory he owns
whatever it produces. The Guard sees it as these clones are a part of him,
so he in essence he may think they belong to him.

DJ: The issues here seem to be power and money. The guard just seems to want
to make money. He may have even let his clone become purposefully afraid of
pleasure responses so that he would have to make another clone, therefore
getting more money. Trevor's view seems to be one of "I'm chairman, I own
you. You have no rights, why would you have any property rights?" Trevor
wants complete control, he wants absolute power. Paying rights would be
admitting he didnt have it...

DRN: An interesting question obviously Trevor has some claim since he
supplied the machine and raw material to make the clones and the guard
supplied the genetic codes. But do we really have any rights to our genetic
codes that aren't really ours it is just a combination of parents and is
nothing more than the key to our "random arrangement of amino acids." Even
with all the current speculation about cloning i haven't really seen the
issue of genetic code ownership come up.

OY: Trevor seems to have shown a more humane side to his persona in this
episode. While it is contradicted by his claim to the 3 guards later (Mock
up the original, as long as I get a clean copy), the guard seems to feel
that the copies are nothing more than that-copies. Trevor's reaction almost
seems to me that he thinks they are not just objects for possession. Perhaps
I am wrong, but as Trevor indicates to Aeon later, "Others take away
reproductive rights...I grant them." This almost says that he cares for
people...(Yeah Right!)

SRM: The way the guard brings it up, you'd think they'd never discussed it.
The guard's reaction to what Trevor's doing with his duplicates is surprise:
Trevor has not disclosed to him what he'd be doing with that genetic
material. Ah, is Trevor up to his secretive, manipulative antics as usual?
Surely. But the guard gave up his genetic material--the ultimate
copyright--and thus has to be subject to the conditions of that offer.

(8) The guard is escorted out as "trash" by two copies of himself, while in
the foreground an upside-down version of himself spins in circles. What's
going on here?

MAR: Well, i suspose this means that the children will destroy or surpass
the creator. There have been varios stories on this, possibly of Greek
Mythology fame.

DRN: see 5

SRM: This image takes the opening image (see #3) and expands on it. Instead
of simply an original observing his duplicate with a static reflection in
the background, we now have the original being removed forcibly by the
duplicates while a static reflection undergoes testing. This situation
foreshadows the entire episode: the original Aeon will be forced to give
herself up while Trevor looks on helplessly.

(9) What is "D Section" that Scafandra mentions? Is she being sarcastic when
she says that maybe it was a "double agent"?

BB: Wasn't the "D Section" the same section Sybil was shot at many eps ago?

MAR: No comment on the queston. But as to See Section from Thanatophobia.
Did you catch the symbolism of See Section to a pregnant woman having a See
Section delivery. Aeon's car comes through the belly of the street.

DJ: Scafandra's "double agent" remark probably reflects the life she, Aeon,
and others like them lead. Everyone is a double agent, playing their own
games on both sides of all coins...

DRN: D section refers to a section of the boarder one that was obviously
relatively easy to use to cross the boarder but i think the implication when
Aeon mentions it is that she knows that Scafandra is the double agent.

(10) Aeon remarks that she likes the transplants. Later on Aeon calls
Scafandra a "freak." What does this tell us about Aeon at this point of the
episode?

BB: Aeon will sometimes tell people what they want to hear when she needs
them for a purpose (to cross the D-section).

DRN: We are still dealing with the Aeon familiar to the viewer at this point
and of course Aeon would be impressed with how Scafandra has kind of
reinvented her self to become more than she was before.

OY: I saw this as Aeon's typical "no side" aspect. She and Scafandra had a
common goal: to end Trevor's cloning. But as Aeon used Una in Isthmus
Crypticus, she also uses Scafandra figuring she could either act as a decoy
or as a cover. Aeon sees her as expendable (which is why she tells the clone
to kill Scafandra near the end of the episode) and therefore doesn't feel
any need to show her anymore courtesy. Scafandra's naivety (like Una's was)
is relieved when she sees Aeon deserting her in the turret field.

D67: At first, Aeon was kissing up because she knows she needs Scafandra to
cross D-Section, but later, when she doesn't need her anymore, she insults
her, telling Scafandra what she really thinks about her. Overall, this shows
that Aeon is user (as if we didn't know that)

SRM: The way Aeon says this to Scafandra is not merely kissing up or
attempting to flatter Scafandra just to use her; it's much more sinister.
Aeon says it with a scoff, with a sly expression, baiting Scafandra. But
Scafandra misses it totally and thanks her instead. What has Aeon done?
She's gathered important information: Scafandra is easily won over, not
attentive to detail, and will be easily defeated if need be. Such is the
constant clever game-playing that makes up a large part of Aeon's
personality and prowess as a spy.

(11) Why when they jump does the animation go to slow-motion?

BB: For emphasis?

DRN: Just for a kind of "and so it begins" effect because the boarder run is
what really sets the episode into motion it brings about Scafandra overt
betrayal of Aeon (or does it? see 13) and is the beginning of Aeon's mission
i thought of it as kind of taking a deep breath before doing something. The
breath is taken and then boom they explode into action (the boarder run).

SRM: Of note is that Neumann's music starts fast and furious here,
highlighting the contrast of still motion and dynamic undertaking.

(12) If the guns are so good that they need one person to distract while the
other runs, how does Aeon escape after Scafandra betrays her?

KR: Aeon makes it across the border by using her gun and her expert accuracy
to fire at each incoming projectile before it hits her.

DJ: Aeon's just that cool.

DRN: A good point, in episode 3, it stated explicitly that you need two
people to make the boarder run and therefore when Sybil tries it by herself
she fails but were not talking about just anyone now are we are talking
about Aeon Flux she is everything pushed beyond its limits categories like
super secret agent, James Bondish (as it was once said "a bond girl who out
Bonds Bond) even conventional female do not apply to her in some since she
is above, more accurately outside, them and therefore outside such
limitations as running the boarder with another person, or even more
importantly morality. Aeon is not in the conventional sense human she
something a little more, as is perhaps Trevor, and this frees her of some of
the limitations of the label.

SRM: This shows that Aeon does not in fact need Scafandra at all to cross
the border; she can do it herself. Sure, it's safer to do it with two
instead of one, but the argument for Aeon's needing Scafandra breaks down
here.

(13) The car seems to be waiting for Scafandra. Did Trevor give her an
assignment to kill Aeon? Or is it her own doing?

DRN: No, i think not because in the interrogation he doesn't even mention
this, admittedly we probably don't see all the interrogation but that is not
important. Obviously Aeon is a little take back by Scafandra taking off but
that isn't enough to justify a betrayal because they obviously had different
agendas because they had planed not to see each other till they needed each
other again. i don't think her intent is to kill Aeon but just to get away
from her as quickly as possible to not arose suspicion from Aeon.

SRM: Because of Scafandra's direct heading for the car, there is obviously
some kind of setup here, but it can't be Trevor's doing since he straps her
down and interrogates her. Scafandra had some reason to try and eliminate
Aeon--one that takes Aeon totally by surprise (recall her exasperatedly
repeating "Scafandra" when she gets through).

(14) Aeon's run down the raised track seems quite similar to the scene in
Episode 3 in which she drives through a hidden corridor. Is this
intentional?

DRN: i do not think so. It does not really mean any thing although i did
notice that the animation of the run was quite similar to that of her
driving through the hidden corridor.

SRM: If this scene is actually C-Section, then Aeon has found that D-Section
and C-Section connect, and that C-Section is still open, contrary to what
Scafandra has just told her, making her a liar and lending more support to
the idea that Scafandra led her there to kill her.

(15) What's the symbol on the door about?

BB: It must be the symbol for the human replication project. (haven't seen
this ep in forever)

MAR: Man extending the boundaries of his limitations and capabilities. I.E.
Man made machine in his own image. (Dune) And so man created man in his own
image.

SRM: It very much resembles the famous DaVinci drawing, one which has come
to symbolize the power dynamics of man through machines and vice versus,
something very intriguing to DaVinci himself.

(16) Why does Trevor tell Scafandra she's "overdoing it"?

MAR: Making a mountain of a mole hill. All he wants to do is clone her not
kill her.

DRN: He knows she is working for him, obviously, and for whatever reason she
is just keeping the guise of a Monican agent. Trevor is kind of telling her
that she is wasting her time with this and needs to just act normal.

SRM: Scafandra's little inside plot to kill Aeon has not worked. She's gone
outside of the boundaries on this one, and Trevor suspects she's doing so
for a private reason. Of course he wants to know that reason, which is why
he's interrogating her in the first place.

(17) What fluid does Trevor's device collect?

KR: The fluid that Trevor extracts appears to be coming from the spine,
maybe it's spinal fluid?

BB: Bone marrow?

MAR: Some sort of spinal tissue. I.E. In an AIDS awarness class they spoke
of ways to catch HIV, one of the ways was through spinal fluids. So in
theory the spine may be heavely rich in DNA & RNA.

DJ: Spinal fluid. The spine is the backbone, what holds someone up, lets
them walk around ... It can be a metaphor for what we are ... a wise place
to make a clone from..

DRN: It unclear what the device actually goes to inside the body so it is
impossible to tell exactly were it goes but it doesn't really matter right?
Because presumably all Trevor needs is a sample of her DNA. The extracting
method is interesting because the extraction method obviously penetrates the
subject but dose not draw blood notice the fluid is yellow.

OY: Does it matter? Every liquid in a person's body (I suppose even in
cyborgs like Scafandra seemed to be) contains biological information, DNA,
RNA, etc. To make a clone, that is needed...so it doesn't make any
difference whether it was blood, or an underlayer of flesh.

JP: Trevor's device threads a needle all the way to Scaphandra's spine, so
it must be doing a spinal tap. Technically speaking, one can only make a
clone (a single copy or multiple copies, both are called simply a "clone,")
by extracting and copying DNA, and even then, the clone will have as much in
common mentally with it's originator as separated twins would. Perhaps by
extracting spinal fluid, Trevor is interfacing with the brain/mind of the
subject, and somehow stores a copy of that consciousness.
I should point out that neither Trevor nor Aeon calls this "cloning," but
merely "copying" or "duplication." This implies that what they are doing is
significantly different or totally unrelated to the modern idea of cloning.
And, because it does not affect the story directly, it doesn't really matter
that Peter Chung may have fudged the details.

(18) Aeon rips her clothing when she sees how Trevor does it to Scafandra.
Is she starting her plan right now?

BB: She's formulating it, but it's not 'let's ruin Trevor's life by...' Her
plan is more like 'hmmm....what hell I couldn't I raise with 2 of me?'

MAR: Ofcoarse.

DRN: Yes, and no she has figured out how Trevor gets the information to
create clones but it would be very short sighted to say that she forms the
entire plan up there in the ventilation shaft (those passages sure are big
aren't they?). She has the whole plan already worked out and is just filling
in this minor detail now.

OY: Yes, she believes the clone will have the same thinking, and will follow
her (their plan). She decides since Trevor wants to keep the clone for
himself, it would be the same as getting him from the inside
(literally...ha).

JP: Aeon is indeed a quick thinker; we see evidence of this in "The Purge"
when she responds immediately to the question "What's 13 times 9?" However,
it is more likely she had intended all along to let Trevor "steal" a copy of
her and use her duplicate against him. After all, why does she cross the
border in the first place? Since the location of the duplication machine is
secret, and Aeon doesn't know much about it to begin with, she probably
doesn't know how Trevor steals his samples until she sees him do it to
Scaphandra.

SRM: Since she discusses the plan later with Aeon2, it's probably too early
to decide that she's thought through everything at this point. I don't doubt
that she has a vague idea of what she'll do, though. But notice how she does
it: she seduces Trevor into extracting her fluid; it's left unsaid between
them. Neither of them ever acknowledges that the copy's been made: besides
Aeon's slight gasp at the prick of the device, nothing is said. Trevor
notices the tear and acts on it; Aeon creates the tear and waits for him to
notice. This is an elaborate sexual ritual, with all the penetration needed
to claim it a sexual act of its own.

(19) Trevor makes a joke about Scafandra's being a "double agent literally."
Is there really a difference? Or is it just a joke?

BB: That is a joke. But with two Scafandras (Scafandri?) wouldn't there be
four double-agents? It does make life cheap by replicating humans so
quickly...

MAR: Double Agent = A clone of Scafandra that works for Trevor.

DRN: Trevor is referring to the fact that she is currently a double agent, a
Monican agent working for the Breens, and now she will literately become one
when Trevor eventually clones her. The only significance i can see is that
we now know for sure that she is double agent.

OY: A joke, in my opinion. Scafandra works for anybody (like Aeon, but she
is more naive to Aeon's duplicity), so being a double agent and a "double"
agent: working for two sides, and being twins. Purely a joke, but it may
have some significance to the rest of the story.

(20) Notice how Scafandra gets into the slot in the room near the ceiling:
she utilizes mechanical implants. Aeon uses knee devices that are attached.
Does this say something about the differences between the two?

BB: This shows Aeon and Scafandra's major difference: Aeon will not alter
her body for her work and Scafandra will. Aeon relies on her talents as
Scafandra relies on technology.

DRN: Scafandra is not the woman Aeon is she relies on mechanical implants to
do the same thing that Aeon does with relatively no assistance at all.

SRM: Scafandra is certainly a hack spy compared to Aeon, which makes
Scafandra's betrayal of Aeon in the opening all the more surprising.

(21) Trevor says that human beings are nothing more than "a random
arrangement of amino acids." This may be true, but if it is, how can he
explain the multiple Aeons in his bedroom? Is he being disingenuous, or does
he really believe what he's saying at that point?

BB: At that point, he thinks that is what he believes. Trevor is a dynamic
charactor - that is he changes throughout the episode and the series. He
later realizes that people are not just chemicals and proteins that create
flesh. Aeon said that the "randomness" of normal reproduction "suited" her,
Trevor replied "it certainly does." At the time, he was referring to her
looks.... but later he realized that there was really something else that
attracted him to her.

MAR: Basically saying that man is not special as the Bible and Religion
intends. Just saying that man takes himself to seriously. We're nothing more
than evolved animals. Or devolved hyper sapiens. Hyper Sapiens refers to
higher intelligence other than man. I.E., Extra Terrestrials.

DRN: He has a need to somehow be with Aeon because of their relationship
(see question 2) he has an odd obsession with Aeon that needs to be
fulfilled. Is he being dishonest, well yes and no it is not as cut and dry
as it may seem. He actually does believe that we are simply "a random
arrangement of amino acids" nothing more and nothing less a godless,
soul-less animal with meaning imposed on them by society, remember from the
Demiurge episode "Light in the absence of eyes illuminate nothing visible
forms are not inherent in this world but granted by the act of seeing.
Weather or not the mind exists I endow the lives of my people with
meaning..." Trevor knows this but it is hard for him to step outside these
societal pressures and give up his apparent obsession with Aeon. Or maybe it
is just an expression of the twisted, to the normal viewer, since of love
they share.

SRM: After Trevor's experiment with the guard, he believes he can just take
any random arrangement of aminos and suit them to his purpose. But as part
of his intellectual, fun, and flirting banter with Aeon here, he decides to
see what she thinks about this idea. He certainly believes this now, since
the experiments he's done have gone well for the most part, but he's having
doubts since he knows Aeon is so strong-willed that un unnameable something
will be able to override that random arrangement.

(22) Trevor then says that the "issue is not excess but access." He proceeds
to draw a symbol on the floor with Scafandra's scattered fluid, the same
symbol that's on the door. What's he doing and/or talking about?

BB: Trevor is trying to justify playing God, I think...

MAR: He simply does not want to hurt mankind but to help it.

DRN: Trevor oversteps the moral dilemmas inherent in cloning by justifying
it by the fact that he can and will do it. But is there a moral dilemma at
all here clearly there is not for Trevor because his values are not at all
at odds with this dilemma. Aeon, being such a radical individualist sees
what Trevor as doing as wrong because what could destroy individuality more
than cloning? So Aeon obviously sees it as "excess" but there is more to it
than just "excess."

SRM: Expanding on his thoughts (as above), he draws the DaVinci-inspired
man/machine symbol to emphasize his point that once he has access that's all
that's needed. He does not believe in a power beyond access, but Aeon knows
that the excessive drive to what she believes is right will overcome any
biological limitation.

(23) Aeon checks her teeth in the mirror. Later she checks her duplicate's
teeth to see how good a job has been done. Is Aeon a dentist?

BB: *Laugh* No, no she's not a dentist... Teeth is Aeon's Thing. Every woman
has a Thing. Being one I know so. For some women, it is their stomachs. They
always have to check how their tummies look in bathing suits to business
suits... For others it ranges from their behinds to hair. My thing is teeth
too, so I recognized that female obsessive compulsive Thing when I saw it.
The reason why she checked Aeon2's teeth is because she knows exactly what
her teeth look like. She knew, just like every other woman, every detail and
flaw of her Thing.

MAR: She is just vain.

DRN: She is kind of doing two things at once here on one level she is just
kind of distracting herself by doing this like you might fidget with a pen
or tap your fingers but on the other hand she may just be noticing small
little details about herself for her inevitable cloning. So if the question
was meant to get out does she know she will be cloned the answer is yes.

OY: Not in the literal sense, she probably doesn't have a degree. She's a
field agent, she has to have knowledge of basic first aid and some medical
training. Dentistry is probably included, or maybe she was just figuring if
she had clean gums, or a chipped tooth, the perfect clone would have those
qualities. It's no different than if Aeon had scarred her face, and the
clone had a scar too.

SRM: That Aeon would check her teeth for accuracy of the duplicate is pretty
morbid: dental records are used almost exclusively for identification when
no other means is available (for example, victims of fire). That she also
says it's a "good" job and not a perfect or great or superb job leaves room
for error, despite whatever Chung may have said in an interview. If the
method is perfect, then Trevor, due to nervousness or what have you, did not
do a perfect job, otherwise, Aeon being the perfectionist that she is, would
have said so.

(23a) Why does Aeon want to shut Trevor down? And why does she assume he'll
"know why"?

VAS: Because Trevor always knows why.

BB: Because that is what she does. To shut Trev down has been her "goal"
since it all began.

MAR: She might think that Trevor is only Chairman for personal gain and she
thinks that Trevor sees it that way aswell.

DRN: Again, Trevor is attacking at individuality something Aeon prizes very
much. Lets look at the facts she very rarely works with any one else and
when she does she usually just exploits the to her own ends. A strong theme
in the whole series is Aeon fight against coercion of form she will not (at
least does not want) to be changed by anyone or anything besides herself she
can not have anyone changing her in any way. So the entire episode is like a
preemptive strike on Aeon's part she won't let Trevor clone her unless she
can use it to her own ends so that is exactly what she does. The irony is
that in order to protect her own individuality she gives it up.

SRM: Perhaps Trevor sees some benefit from duplicating others, but he knows
he'll get annoyance in the form of people demanding "property rights" and
copies that are easily eliminated. I'd argue that Trevor's grand plan from
the beginning was to copy Aeon to see if it would work. If it did, all his
troubles would be over: he'd have an Aeon working for him that would take
the mess of the real Aeon out of his hair. That's part of the reason why he
throws away Aeon's vial later in the episode: it's symbolic of his throwing
away all his experimentation with duplicating. Aeon guesses this and tells
him he knows why she's shutting him down--now that he has a copy of her.

(24) What's going on in the biogenesis scenes?

MAR: The forming of a clone. Its odd. It starts from outward growth then
inward, opposed to birth children, they start inward growth then grows
outwardly.

DRN: It doesn't really matter, the important fact is that she is cloned to
be exactly like the original Aeon in every way, including memory and mind
set.

NOTE: From here on, the duplicate Aeon will be called Aeon2.

(25) What does Trevor mean when he says "I have you, any way that any one
could ever imagine"?

BB: He owned her, he created her. the clone owed her very existence to
Trevor. well, he thought she did. It sounded a lot like the words of a small
child to me, I don't know why, but it did...

MAR: Aeon is much of a domanatrix and usually she has control. But Trevor is
the master now.

DJ: Aeon is a model... Admired by men everywhere. Now, he has what others
fantasize about.

DRN: He does have her he has a carbon copy of Aeon in every way. It is very
important that the clone Aeon is more than just a copy but is Aeon. There is
no difference in the cloned Aeon and the real Aeon. If you were to ask Aeon2
to recall an event from Aeon's life she would recall it the same way Aeon
would and she would in a very real since have lived that event her memories
would be no less real than Aeon's. This is important because it says Aeon is
not special she is not the unique individual she thinks she is something
that is easily replicable she is not the only Aeon there can or ever will be
she is not an individual in the sense we are programmed to think of. But
then again the implication is clear that no one is.

HD: He's asserting that once *his* cloning technique is perfect in every
way. Everything which makes Aeon Aeon is now in his to do with as he wishes.
He doesn't have somebody who just looks like Aeon or just the same genetic
makeup but an exact copy, looks, thoughts, skills, personality and all. I
believe Aeon attempts to dent his confidence by acting different.

SRM: To be in possession of Aeon is beyond imagining. Aeon would rather die
than give herself up in any way. Trevor's proud declamation holds a lot of
water, in fact, except for the fact that his possession will be very
short-lived.

(26) Aeon2 is very quiet, but she opens an eye to notice how to get into the
lab. Why does she do this?

BB: Because she knows herself - the real Aeon - she knows the plan too.

MAR: To make Aeon's plan happen.

DRN: see 25. She is starting to put the plan in motion. Plus this is proof
that her and Aeon share the same memories and experiences.

OY: Very simply, allowing Trevor to make a clone of her was her way of
getting inside. Trevor didn't realize that Aeon had already formulated a
plan to shut him down. Aeon2 does this so she can get in later and destroy
it, or she does it so she call tell the real Aeon how to do it. Either way,
it is her profession as a spy, taken to a different level.

HD: I think it was part of the plan thought up by the original Aeon1 just
before she was cloned. Because Trevors cloning technique is so good Aeon2
knows everything Aeon1 knows up until the sample was taken.

SRM: Aeon2 opens her eye at just the right moment. She doesn't survey the
surroundings extensively; she just opens her eye at the exact moment. The
only ways to explain this are that either she has prior knowledge of what
the lab looks like (improbable) or she senses the stretcher's slowing down
and decides that this must be where the secret entrance is. The latter is
most probable, but even if the former is true her action indeed shows that
Aeon knows she needs to get back inside the lab so she can blow it up later,
but it does not prove anything else. Her entire plan has not yet taken
shape; all she knows she wants to do now is destroy the lab.

(27) Why is that rubber duck floating in the pool of water?!

BB: Companionship? To test for sharks? No. It was a metaphor. Like the white
dress real Aeon wears later on. It was like one of those 'what's wrong with
this picture' things. It gave an appearance of home and love or maybe a
decent relationship... one of my friends said Trevor had created Aeon2 and
was sort of treating her like a child (?)

MAR: For fun. A revert to childhood.Childism.

DJ: Show's Aeon's playful side.

SRM: In Isthmus Crypticus Trevor is caught by a guard dancing gaily with
wings in front of mirrors. This is Trevor's pool, and it's his duck. It's
not beyond Trevor to revert to innocent, childlike behavior, so it's not too
surprising to see him keeping a duckie in the pool. What a nice contrast to
the Chairman Trevor Goodchild persona.

(28) How does Aeon2 know which way to swim? (How does she know she's
supposed to swim at all?)

KR: Peter Chung mentions somewhere that Trevor's method creates exact
duplicates, meaning that all of the original's memories, skills, and yes,
even hairstyle, is copied exactly. If this is true, then Aeon2 was born with
the knowledge of Aeon's plan against Trevor already in her head, and would
know what the original Aeon wanted her to do. This is why she goes into
action immediately after being created.

BB: see 26

MAR: Possibly Aeon once worked for Trevor.

ON: If you assume that Aeon2 is an exact duplicate of the original Aeon,
then you also have to assume that she knows what Aeon knows because she is
an exact duplicate. That means Aeon2 doesn't just look like Aeon, she thinks
like Aeon.

OY: The same way Aeon checks her teeth, the clone will have the same
features, and the same mind. They have the same plan, and they know they are
supposed to meet each other to make certain the cloning went well. Allowing
Trevor to make the clone is like leaving a message for an inside agent
(Aeon2) to read. She thought to her self "I'll meet my clone in the sewer
(or wherever), and the clone has the same thought. As to how she knew which
way to swim, she has broken in and out of the Breen compound so many times,
studying it, escaping it, that she probably knows it better than Trevor
does.

SRM: I wondered in my response to #26 whether Aeon had inside knowledge as
to the floorplans for Trevor's place. As OY points out above, it's actually
probable that she has such knowledge of the common areas. This does serve to
prove that Aeon2 retains the workings of the plan from Aeon, but again, just
what she knows of the plan is not definitive at this point.

(29) As Aeon unzips her clothing, we get a view of Aeon2 that seems to be
from a, well, unique perspective. Why is this? ["Lovely," Aeon comments.]

BB: Aeon is looking at herself for the first time. Not looking in a mirror,
looking directly at herself. She is surprised at her own looks. This unique
perspective has been seen by many men, including Trevor....

MAR: To show Aeon's lesbian side.Notice she gasps as she sees her own flesh.

DRN: A kind of visual representation of seeing Aeon from "the inside out."
Aeon sees herself and she likes what she sees. She sees the rugged
individualist Aeon who will not be changed and is the Aeon that viewer is
familiar with. The kiss at the end of the scene can be seen as a kind of
passing of the torch from Aeon to Aeon2.

(30) What's going on in the following sequence? "These things take time.
[ripple in pool] Crush his soul. [faces begin to converge] Impale him on his
own ego. [their 4 eyes become 2]"

BB: They are really one and are working together as one.

MAR: Her plan to destroy Trevor has begun.

DRN: The soul line is very interesting because if you believe that people
have souls you have to ask your self weather or not Aeon2 has a soul and if
so does she share it with Aeon as the convergence of the 4 eyes to 2
implies. They are just kind of vocalizing the plan even though they do not
have to because they both know exactly what to do because they share the
same mind they could very well be speaking at the same time or not speaking
at all. This scene is more for the viewers benefit than anything else.

D67: I think their talking about their plan to hurt Trevor in the worst way
possible... by making him fall in love with Aeon, and then Aeon would kill
herself. Trevor made the duplicates so well, they even think alike.. which
is when the 4 eyes become two. It's a symbol telling the viewers that Aeon2
is just like Aeon. No difference whatsoever.

HD: One thought. Two physical bodies. They finish each others sentences with
perfect timing. They realise what this means for the first time. Not sure if
there is some additional symbolism but the scene works well for me.

SRM: As others above imply, Aeon2 is simply a robot at this point, an exact
copy of Aeon with no individuality of her own. Notice how until she picks up
the brush and combs out her hair how her actions and words seem mechanical,
robotic.

(31) Aeon goes back, and Aeon2 gets ready to leave the compound. Aeon says,
"When I'm done..." and Aeon2 replies, "Kill you." What's their plan at this
point? Why do they switch?

VAS: Their plan right now is the main plot for this episode. This may be
answering another question, as well, but their plan was for Trevor to make
another Aeon, for him to realize he has the real one in his possession
(which is what he actually wanted, but couldn't have, and I think is the
reason why he has all those other "duplicates" that just aren't Aeon), and
then kill the real Aeon. It's all an elaborate plot to hurt him. And,
although it didn't work out exactly as she had planned, it did work, as we
see at the end when the Breen guard comes over the transmitter saying that
they have her in sight, and Trevor, crying, and hold the Aeon he loved,
says, "Let her go. Let her go."

MAR: Aeon wants revenge on Trevor but she cannot afford to leave her status
in espionage.

DJ: Aeon tells Aeon2 to kill her because she will crush Trevor, but only by
getting very involved with him... This will make her impure in her mind, she
can't live after compromising herself like that.

DRN: After Aeon makes Trevor fall in love with her she plans to have Aeon2
kill her just to make him hurt. They both know what to do but it vocalized
by both of them to kind of cement the plan into action as well as inform the
viewer.
The switch is probably the most interesting part of the episode. Why do they
do it? Do they have to do it? And if so why? They do it because Aeon
believes that she can never really be completely copied so in a way she does
not trust Aeon2 to carry out the plan because Aeon believes Aeon is the only
one she can trust. Unfortunately she is wrong the switch does not have to be
made because Aeon2 would do the exact same thing. Aeon's pride is what
forces the switch to happen. It is important to note that for Aeon the
switch must be made. Aeon believes that Aeon2 will never be Aeon so the
switch must be made in order for the plan to be carried out. But
unfortunately, for Aeon anyway, she is wrong. (pronouns were left out to
make this a little clearer)

SRM: The Aeons want to make Trevor hurt, and the way to do that best is to
make him think that they have her and then to kill her, causing Trevor the
worst pain imaginable (I had her and I lost her). That the Aeons agree to
the switch shows that Aeon places a priority on the original. The bombing of
the lab is a routine matter, but the seduction of Trevor is not, and who
knows how Aeon2 will take care of it? Aeon does not trust Trevor's copying
process, and she has every right not to since all of his plans end in
disappointment one way or the other.

(32) Aeon2 is hiding, waiting outside. What's that stuff coming down between
the tubes?

MAR: Rock of some sort.

DRN: Looks like trash. Speculation not needed.

SRM: Remember the "memory holes" from Orwell's 1984? These were chutes that
carried trash downwards to a large furnace. If anyone ever needed any
evidence of Orwellian influences, the trash coming down the tubes is
certainly a candidate.

(33) Scafandra sees her and aims her gun at her. Is she trying to kill her?
On whose orders?

MAR: Scafhandra might think Aeon is a double agent and so for her safety she
must die. Or she might think that Aeon is working for Trevor and Aeon might
thwart Scafandra's plans to get the clone vial back and kill Trevor.

DRN: Aeon knows that Scafandra is a double agent. And now Scafandra knows
Aeon knows that. Scafandra can not allow Aeon to get back to Monican and
make that known because that would ruin her. So on her own "orders" she
decides to try and kill Aeon.

(34) The interior security systems announces, "You are 5 increments from
Hooligan status." What the heck is that?

VAS: It means that Scafandra is gonna get in trouble if she doesn't leave
that area.

DRN: Are they inside?? It is interesting that they do not use a specific
reference to time here although increments seems to imply just that.
"Hooligan status" can never be known exactly but you have to assume it is
not good because the guards are close behind. I kind of think of as
wandering on to property marked no trespassing and having the owner come out
with the shotgun and say "your 5 seconds away from getting shot for
trespassing." It is , however, a colorful way to describe transgressors of
the Breen law, you have to give them that.

SRM: This is the same scene as the trash coming down the tubes, and again
this recalls Orwell: the mechanization of time to "increments," and the
transgression taking on a politically correct "status." A very oppressive
atmosphere we have here.

(35) Trevor approaches Aeon with a glass of red-colored fluid into which he
has put a pill. Is it wine? Why does he think he needs the drug?

BB: I think it's wine because red wine has a strong flavor and would cover
any light taste of the drug. Aeon was usually fierce and he thought her
being Aeon2 would be surprised or angry at being a copy and would need to be
subdued.

DRN: If it is wine and i think that what is supposed to be taken as it
becomes very symbolic. To go beyond the possible Christian symbolic meaning
of the wine i think the pill is the important thing to think about Trevor
does not know what Aeon is going to do he dose not know if she going to try
and kill him. He uses the pill because he is afraid of what she might try he
never thinks for a second that she will respond just as he would want her
and he plans to give Aeon the wine to keep a leash on her.

OY: You'll notice Trevor made many dupes of Aeon. He figures that perhaps
they are objects, concubines, whores whatever. It's no different than if a
pimp slipped a micky into one of his girl's drink to sleep with her. But
Trevor later refuse because of the difference he notices in this particular
dupe (the real Aeon). As for the fluid, it's probably just wine.

SRM: The combination of what's probably wine and the drug makes strange
sense. The wine is romantic and typifies Trevor's and Aeon's usual sexual
freeplay. But the drug indicates that he's unsure of what will happen, or
sure that he'll need to calm her down. So the two together mean he's both
ready for the usual and prepared for the unusual. The confidence of having
her is no longer in his actions.

(36) Aeon advances on him, not really acting like herself. Does she do this
on purpose?

VAS: Yes, I think she does this on purpose. She's just playing with Trevor's
emotions, and making him think that she's the duplicate.

BB: Yes. It's part of "The Plan." She wants to make it look like she cares
for him.

MAR: Common Mistres/Master - slave relationship.

DRN: She trying to get him to fall in love with her this we know for sure
but she does it fairly overtly and that brings up some questions. Either she
is just trying to hard to seduce him and does not really see how obvious she
is being or she kind of uses this overkill to kind of mock Trevor desires
almost to say "is this what you really expected for me to just instantly
bend to your whim?" Subconsciencely maybe this is exactly what Trevor wants
but he realizes that this whole scene is kind of absurd.

HD: I think so. To make him think that believe his technique is flawed.
'Impale him on his ego'

SRM: If Aeon were simply trying to hurt him, she wouldn't try a different
technique next morning. But she does try again--differently--meaning that
she's underestimated him. She thought a pretty straightforward coming at him
would work, but it hasn't, and that confuses her. What does she have to do?
This is what she tries to figure out.

(37) Aeon does drink the fluid with the drug, muttering "Take me Trevor"
before falling asleep. Trevor doesn't want her to be there in the morning,
and he realizes that "She's different." What's different? What did he
expect?

VAS: What's different is the fact that the REAL Aeon wouldn't say "Take me,
Trevor. Do...it." Their relationship is such that just saying "Take me" is
not conquer in the least. Taking them, when they actually don't really want
to be taken is the conquer. It's a domination thing. Which is why when she
straddling him, she says, "So is this more like it..." then laying down
beside him, says, "Or is this?"

MAR: Expected a Mistress to dominate him.

ON: This answer is pretty much based solely on my opinion of Aeon's
personality. She's been sort of flirting with Trevor for the past three
episodes, kind of leading him on. When she just gives in right away, there
is no challenge. I guess he expected her to be sort of coquettish, kind of
playful, and there's no reward or sense of accomplishment when she just
gives in.

DJ: She was willing ... And not the amazingly impossible to get Aeon he's
come to love ...

DRN: See 36 and He kind of expected her to eventually fall for him but not
like she did here he kind of doubts the process has gone right but knows
that is not it. He knows this is not how Aeon would not normally act he
wants the Aeon he loves and hates so much the Aeon the viewer knows.

HD: That she'd be suprised to be have been cloned and sleeping round at
Trevors. She doesn't act like a person who'd been effectively kidnapped. He
doesn't have to win her over and she doesn't try to escape.

(38) He's surrounded in bed by images of Aeon, obvious experiments he'd
tried gone wrong. Why don't they do anything for him?

VAS: The answer to this goes back, in a way, to my answer to number
37...they don't do anything for him because it's not just having a copy of
Aeon lying in bed with him that will "do it for him"...Aeon is not the sort,
or WAS not the sort, to just lie in bed with him...hmmmm, it's complicated.
They don't have the life that Aeon had. Those duplicates gone awry, they are
there for Trevor's pleasure. And while that's what he wants, he doesn't want
her to want that. (whew) Trevor doesn't want Aeon to WANT to be there for
him. He want her how they've had each other in the past...brief, passionate,
under less than normal conditions, and because they're the only two people
that REALLY understand each other. Or so they think.

MAR: The slaves were submissives.

DJ: They weren't her ... He's obsessed with her, everything and every detail
of her. Each "clone" before she came was imperfect ... they weren't her

DRN: (see 37 and 2) i do not think they are experiments gone wrong they are
women that he has dressed or picked out that look like Aeon but are not
Aeon. That is the reason that they do nothing for him they do not offer the
danger and the passion that the real Aeon offers at there paramount they are
just images of Aeon not Aeon.

HD: I thought they were just other women he'd found who looked like Aeon
because he wanted the real thing. He is unhappy because it would appear that
his technique has failed to deliver

EH: The multiple "Aeons" in Trevor's bed are not clones, but rather women
made up/altered to resemble Aeon. Look closely as they exit and you'll
notice inconsistent hair styles and coloration. They are the product of
Trevor's obsession, but not his experimentation.

SRM: If the women there are not duplicates done imperfectly, why are they
there now, in this very episode? Trevor has always been obsessed with Aeon,
and we've seen him in bed before without these Aeon lookalikes. In the
context of the episode it would make no sense for him to just have these
Aeons who are simply other women lying around, but it does makes sense if
they're bad dupes, the products of his trying to perfect his duplicating
process before trying it on the real Aeon. I'm sure he found women who
looked like Aeon to try the duplicating process on, and even moreso he
realizes they're not the character of Aeon; they don't have her spirit, in a
sense.

(39) Aeon2 is creating something in the meantime--a bomb?

DRN: (see 37 and 2) Aeon and therefore Aeon2 see cloning as a major threat
to there individuality, that statement in itself seems to be a paradox(see
22, 23a, 25, 30, 31), so therefore she plans to build this bomb and destroy
the cloning.

(40) Aeon wakes, looks in the mirror, and notices the brush. Again this
reflection imagery returns. Does it make Aeon realize something about
herself?

DRN: She realizes that she is going to have to change in order to accomplish
what she wants to get done. This may seem contrary to what i have stated
early since i claim that they do love each other. They do but not at all in
the romantic way we are used to thinking of they love each other as enemies
because this relationship is what makes them who they are. But this is not
Aeon aim at all she want to make Trevor love her in the romantic way because
if she is to die, and she does have to die, it will hurt the most if he
loves her as the way a husband loves a wife and not the way the currently
view each other. Aeon does not have to change completely, because that would
destroy Trevor's interest, but needs to change in order for her to love her
in this way.

SRM: Keeping with the reflection imagery started at the beginning of the
episode, we have for the first time Aeon looking at her reflection--the
motivation that keeps her and Aeon2 in line with each other. What am I here
to do? she seems to be asking. And knowing that last night didn't work at
all, she changes tactics.

(41) The other Aeons run out of the room when the Aeon with her hair down
walks in. One remarks, "What's she doing here?" Is this some kind of joke?

DRN: i find it necessary again to point out these are not other Aeons but
women made to look like Aeon. The remark is one of legitimate surprise who
would ever think that Aeon Flux would just stroll in to Trevor Goodchild's
bedroom?

SRM: These dupes, made to look like Aeon, must obviously know her since they
recognize her. Yet they're not appalled at each others' presence, so they
must see her as the real deal. They notice this before Trevor does, and
whether they're dupes or real women not duped (does it make a difference?)
the fact is that they see her for what she is before he does, which can only
point to Trevor's firm state of mind over his disappointment with her
behavior from last night.

(42) What's going on in this sequence?
Trevor: You don't know what I want.
Aeon: That makes two of us. [takes gun and points it at him] It's good not
to be scared, isn't it?
Trevor: [face distorted in anger] I wouldn't want you any other way!
Aeon: [touches his face--returns to normal] You still don't trust me.
Trevor: Should I? [heartbeat sound effect begins] [they roll over each
other] Do you? [they kiss, and Aeon closes the gun]

DRN: Trevor sees Aeon as different and doesn't think that Aeon realizes that
he wants her exactly as she wants.
Aeon here kind of sets Trevor at ease here they are no longer at odds this
very clearly illustrates it Trevor is not afraid of her shooting him and
Aeon has no intention of doing so.
Trevor does not want Aeon like this he wants her the old way like she was
before she does not want this new pretty, passive, lovable Aeon he wants the
other one.
This is very interesting I think Trevor realizes here he does not Trust at
least not completely and that is what does it for him he know believes they
are still at odds at that is what he wants.

MAR: I don't think Trevor trusts Aeon. He thinks she will kill him.

DJ: Trevor comments that Aeon doesnt realize he likes the playful teasing
Aeon, not the willing submitting one. Aeon comments on his libido, saying
that he wants to love the real Aeon, but wants sexual relations with the
supposed clone with him. Trevor's next line Shows the fright was what he
liked of her. he wants and has absolute control over all but her ... this is
why he's drawn to her...

HD: I read it as...
T: (You think you know what I want in trying to please me but you don't
really know)
A: (YOU don't really know what you either. Would you prefer it if I killed
you or tried. Perhaps you would. Perhaps I would. Perhaps I will.)
T: (May I)
A: [Aeon reads 'I Love You' and seduces. Was this part of the plan or is she
improvising]

SRM: When Aeon agrees that she doesn't know what she wants, she's admitting
that to carry out her original plan, she might end up falling for Trevor,
and she doesn't know if she can go through with that. By putting the gun up
to Trevor she reintroduces the element of fear, and that's enough to get
them both realizing that Aeon is for real, not up to her antics from the
previous night. In a great change of heart, Aeon becomes submissive, giving
herself to Trevor and closing the gun, the act of which is symbolic of her
closing her death plan off for the moment.

(43) Aeon2 walks into the biogenesis room. Aeon's vial is gone. We see that
the people that had been interrogating Scafandra in the first place were
duplicates themselves. Is Trevor the only "real" person left?

DRN: One of the other vials seems to be of Bambar from the Custodian episode
i think, but to go as far to say Trevor is the only one left is a little too
far because who is real who is to say this Trevor is even real perhaps he is
Trevor2 or Trevor200 for that matter it just kind of puts the seed of doubt
in the viewers mind. Who is real? The answer: it does not by any means
matter one bit.

OY: Pretty much. Earlier, Aeon makes a comment about Trevor gleefully
copying himself into oblivion. In reference to this, it means that Aeon
expected Trevor to be doing this for himself. But mayhaps, he felt that
copying himself would have taken away his individuality. You'll notice at
the beginning, the two clone guards said simultaneously "Trouble Boss?" and
Trevor ordered them to take out the original, referring to him as "it."
Trevor probably didn't want to have to put up with that himself.

SRM: When Aeon2 notices that Aeon's vial is gone, she must think that much
more is now at stake than she originally imagined. Trevor is holding the
vial, or has destroyed it, meaning he has a much greater stake in copying
Aeon than simply to enjoy her. Why is he not making multiple copies? Aeon2
has to wonder.

(44) Trevor wonders why Aeon "made the switch." At this point Aeon decides
"It's over." Trevor agrees, saying the same, and thus pitches the vial. What
has been decided here? Are they in agreement?

MAR: She in essence was there to kill him. But instead she fell for him. She
was merely saying the plan did not worked as she thought it would.

DRN: Trevor almost lightheartedly wonders why Aeon made the switch is
however important to know that he does know he has the real Aeon. They are
no longer at odds their strife is over they seem to be in a more
conventional sense in love, they appear to be in agreement the question know
comes up of how deep Aeon feelings run will she carry out the plan will she
break his heart?

HD: He know's he's with the original Aeon and she planned his making a copy
of her. Accept perhaps they are in love now. He throws the vial away to show
that he'll never make another. He later attempts to have the free Aeon, who
I believe to be Aeon2, killed by the guards. So that his is the only one.
Seems to appreciate that Aeon is or should be unique.

(44a) Meanwhile, Aeon2 successfully plants the bomb. Why is this scene
necessary?

DRN: It kills the flow of the developing Aeon and Trevor relationship it
reminds the viewer of the plan of Aeon inevitable death and the impact it is
intended to have on Trevor.

(45) Scafandra, like a spider, climbs up to Trevor's bedroom, noticing the
hands at the end of the bed. Why is she so worried about a duplicate of
herself? Does she have moral objections?

DRN: see 33. She is worried that if Trevor has cloned her she can not
control that clone and it may get that she is a double agent and that would
destroy her.

OY: Very much so, I think. Would you want somebody to make a perfect copy of
yourself? Even biological twins have differences. Perhaps Scafandra was
worried that it was a different way of being violated. Trevor fooling around
with an exact duplicate of Scafandra would not really be much better than if
he had done it with the real one.

HD: Perhaps. She calls Trevor an Egotist for presumming he could clone her
and then keep her in his bed. If somebody made a copy of you would you mind
how they treated it? Would it matter if they cut it's head off and put it on
a spike or uesed it to indulge their sexual fantacies? Perhaps value of a
thing is related to how many of this thing there are and how well they are
treated. I could expand but I think you get the idea...

KR: When Scaphandra finds Trevor sleeping with Aeon, I didn't even consider
the fact that Scaph might have thought that it was a clone of herself. I
assumed that Trevor and Scaph had a sexual relationship, and Scaph was angry
because he had slept with anyone but her. Either possibility makes sense to
me.

(46) As Aeon pursues Scafandra through the garden, we notice it's all rose
bushes. A sick joke? Or symbolic surroundings?

MAR: A rose symbolises Aeon. A dedication maybe on Trevor's part to her.

DRN: Kind of symbolic along with the fact that the Aeon's hair is down. Aeon
has changed you know view her as just beautiful were as before she
represented not only that but power and danger as well. When she looses her
signature hair, as in chronophasia, she seems to be more vulnerable not
quite all your used to thinking of her as she becomes less outrageous and
more conventional.

(47) We've seen Scafandra trying to kill Aeon, but she tells Aeon she's just
worried about a copy of herself. What are we supposed to believe?

DRN: She is no longer worried about what Aeon will do to her. She does not
believe Aeon will really do anything to her because she kinds of sees Aeon
as working both sides of the fence as well since she did in fact catch her
in bed with the leader of the supposed enemy. She is, however, worried about
a possible copy which could be very potentially dangerous to her.

(48) Aeon accuses Scafandra of screwing up her plans. What are Aeon's plans
at this point?

DRN: She kind of naively believes that Aeon2 will just read the note she
sends and just go with out her and she will just go on and see what develops
between Trevor. At this point she is obviously modifying the origina

Peter Chung, Saturday, 1 April 2006 12:02 (twelve years ago) Permalink

Here's something I had lying around which hasn't seen the light of day in over a decade. One of countless early drafts of the script-- (just the first few scenes). It obviously went through many further revisions. This is one of MM's rewrites after my notes on an earlier version. It's worth noting that I felt Aeon needed to allow Trevor to steal a fluid sample of herself without his knowing that she knew he took it. That point begins to get addressed here.

AEON FLUX
Episode 5:
"A LAST TIME FOR EVERYTHING"

Teleplay by
Mark Mars

Story by
Peter Chung

ACT ONE


FADE IN

INT AEON'S APARTMENT.

CU ON Aeon's gloved HAND, popping a VIDEOCASSETTE into her VCR.

WIDE (OTS AEON), standing before her big screen TV MONITOR, now running the video tape. The image is glitchy, but intelligible. It is the interior of a Breen laboratory with two men in FG. A TEXT CAPTION at bottom of the screen reads:

TRUE FACSIMILE/TEST 407/HOUR 0.

One of the men is recognizable to be TREVOR GOODCHILD, wearing a white lab coat. The other is some anonymous Breen TEST SUBJECT. Trevor takes a small syringe with an odd tip and injects the test subject with a fluid - the syringe simultaneously draws blood from the subject. Trevor then starts punching away at a keyboard...

CU AEON

AEON
(to herself)
Tinkering away...

TRUCK BACK WIDER: DOOR to Aeon's APT. in BG behind her as she continues staring intently on the TV screen image before her (now OS). Her DOOR is slowly opening. A Breen INTRUDER stealthily approaches; we see that the Breen intruder is apparently the same person whom Aeon is watching being tested by Trevor in the video! The intruder approaches Aeon. He has a firearm. But he stops, a look of surprise on his face as he he sees what she's watching on her screen. The intruder, taken off-guard, sniffs unthinkingly. Aeon, taking note, pauses the tape, not turning around.

AEON
Who...?

INTRUDER
Just keep playing it!

Aeon picks up a TV REMOTE that has a JOYSTICK and a SHUTTLE control on it. She works the joystick as she slows the tape with the shuttle -

INTRUDER
Hey!!

AEON
(snapping)
Just shut up and watch!

POV INTRUDER: THE TV SCREEN: "enhanced" detail of the needle Trevor is using on the test subject. It injects some sort of fluid as it draws a sample of blood simultaneously. Trevor then leads the man to an OBSERVATION ROOM (so designated). The tape glitches again; now the scene has changed as well as the caption. Now we have apparently another angle on the same lab - with a huge, "IRON MAIDEN" - like apparatus. The caption now reads,

TRUE FACSIMILE/TEST 407/HOUR 72.

The front of the Iron Maiden now swings open. Out comes the test-subject. TRUCK WIDER to include 3/4-profile of intruder as he watches himself on the TV screen. On the video, Trevor escorts the test subject "OS" - we notice as they pass toward "us" to "OS" that his body is gleaming wet and studded head-to-toe with strange incision-like markings..

INTRUDER
(to himself, distractedly)
Now, that, I remember, but...that room - ??

ON AEON: sensing the intruder's moment of distraction, Aeon locks the chair behind her between one heel and her instep,

ON INTRUDER: Intruder rolls up his sleeve, examines his arm for the marks, the vestiges of which are still visible, but much less noticeable.

INTRUDER
(cont'd.)
I remember no room...

CUT WIDE ON INTRUDER as Aeon launches her chair straight at the Breen intruder behind her without turning around. It strikes him full-force, uppercutting him at the jaw. As he falls backward, he discharges his firearm, sweeping an arc of bulletholes across Aeon's ceiling. She turns and fires once, knocking the weapon from his hand. She pauses the tape again, now with the test-subject's face in FG.

POV AEON: A WHIP PAN from image on the TV screen to the Breen intruder on the floor of her apt. A recognition of the identicality of the intruder and Trevor's test-subject on the tape is now established for Aeon. She wheels around, grabs him - cuffs his hands behind him as she kicks the chair into place underneath him, making him captive audience to the TV screen.

AEON
You almost missed the best part, here...

She un-pauses the tape again; the scene has changed again. Now we have INT OBSERVATION ROOM, and the caption (again changed) reads,

TRUE FACSIMILE/TEST 407/DAY 001 - TIME LAPSE:

But the day numbers are going at thirty per second; the image is now time-lapse. We see it is of the original test subject, strapped to a table. He is apparently undergoing a dramatic physical change.

ON INTRUDER
(watching TV screen, slurring his words):

I don't remember this - this didn't happen!!

POV INTRUDER: The image of himself on the table continues. The subject is apparently degenerating into some sort of strange, unraveling "spaghetti." CUT WIDER to include intruder (OTS).

ON INTRUDER:

His eyes and jaw wide open, a trickle of blood runs from his mouth.

CUT CLOSE onto video: the face of the subject, the last vestiges of his features degenerating and unraveling. Video glitches out. Aeon ejects the tape and opens its tape lid, exposing the tape.

AEON
You've been duped; you are a dupe.

INTRUDER
(uncomprehending)
Whaaaa?

Aeon takes the flame of her lighter to the exposed tape.

AEON
You know: a duplicate!

The flame fires up the tape, which alights like a wound fuse; the flaming tape races rapidly around and around both cassette reels, consuming itself in a short, sparkly zzzzzzzzzzzzzzip!!

AEON
We lured you here - and you didn't know!?

INTRUDER
I - I - !!

aeon
(to herself, out loud)
He's murdering...murdering, again. He'll have the world to be as he expects it before he'd deign to claim it with a single and terrible rule....

intruder
Goodchild is a visionary!!

aeon
A "RE-visionary," in your own case! Listen to me, you hole! You do not exist!! You saw what happened to you on that tape. The party to whom I am speaking ...isn't!

Aeon leans closer toward the Intruder -

AEON
(cont'd.)
Now, I need to know...where is the duplication-apparatus actually located in Bregna!

intruder
(freshly)
Oh, yeeeeah...? Whaddayur gunnu dyuuu? You per-vert!

aeon
(vile)
I'll demonstrate...

FADE OUT/FADE IN

INT. NIGHT AEON'S APT. Aeon is at home, on the phone.

aeon
He didn't know enough. He thought he was the same person as his original, and that I were playing with him. Now that I'm finished with him, uh, so is he.
(Pause...)

CUT WIDE: behind her, the legs of a body (the Breen intruder), lain flat on the floor. The rest of the figure is occluded by a wall.

aeon
(cont'd.)
..No. Now it's my turn. I'm going in.... Well, how do you think I feel! But, what he's doing is WRONG. So...wrong! I don't believe in it.

Aeon hangs up.

AEON
(to herself)
A last time for everything....

DISSOLVE TO:

INT. NIGHT TREVOR'S BEDROOM. A large bevy of about twenty "groupies" are "draped" or sprawled about on a LARGE bed, all of them apparently "crashed-out."

A QUICK MONTAGE: of 5 or 6 of them in close-up, revealing various features of these women which make them (in one way or another) conspicuously reminiscent of Aeon Flux. LINGER ON last CU: A groupie with Aeon's hair (almost). TREVOR'S HAND appears from OS, examines/fondles the texture - then hesitates-

CU TREVOR: A pained grimace of ennui.

QUICK CUT - PREVIOUS: Trevor's hand withdraws, recoiling.

WIDE ON THE BED - INCLUDE TREVOR: As he moves away, retreating from the tableau to OS. OPENING/CLOSING DOOR HIGHLIGHT is cast upon the bed with the groupies; door slam. One of the groupies shifts, but isn't roused.

FADE OUT/FADE IN:

EXT. DAY MONICAN TARGET PRACTICE HALL: Aeon, firing away with an endless series of single rounds...

AEON
God damn it!!

Aeon is firing away at a bulls-eye target with one bullet hole in the center of the bulls-eye. We see that a steady punctuation of bullets passes through the same hole.

AEON
Can't go fast! I can't go fast enough!!

As her frustration mounts, we see the bullets running in a steadily increasing stream, going faster and faster -- but the hole is tearing bigger and bigger. Finally, from the friction of the hot bullets, the center of the bulls-eye hole catches fire and the hole begins burning until the whole target burns away, flaming. Aeon slams her gun down on the floor and exits the gun club in anger and frustration, the other practicing agents looking on in puzzlement.

FADE OUT/FADE IN

INT. NIGHT TREVOR'S BEDROOM. Now the groupies are not all the same women, and in different positioning across the mattress. These ones, as last time, are all asleep and again draped or sprawled at odd orientations. A HIGHLIGHT of a door opening and closing strikes the mattress and the contours of the women situated upon it. It is Trevor, entering from OS. He approaches one of the groupies -

TREVOR
(to himself)
No...this one's not it. It's wrong! All wrong...

Trevor's moment of futile longing and melancholic reverie is suddenly interrupted by the SHARP BLAST of an OS CAMERA FLASH (accompanied by the SOUND of a "camera-whirr"), illuminating the tableau of his bed in a stark, white moment.

TREVOR
(recoiling and fiendish)
Oh, no...

Trevor turns to the origin of the blast - as he does, a RAPID FIRING of them ensues (accompanied, naturally, by the "WHIRRS") with his approach toward the light source. He(/we) still cannot see the person behind the camera - as he reaches the source of the light-blasts, they suddenly STOP. He lunges at the source, slamming his face against the wall as he does: no one there.

TREVOR
What the hell - who are you! What do you want!

Silence surrounds him - as his vision returns from the former assault, he hears and notices some of the groupies shifting in restless sleep, in unconscious response to same.

TREVOR
Give it to me! You know I'm good for it - whatever you want!!

Suddenly and from an alternate angle, the blinding camera flashes resume their barrage, now receding past the bed and out the doorway. Trevor runs after the source of disturbance. As Trevor reaches the hallway, the intruder has just disappeared around the corner of the hallway, the echoes of stammering footsteps trailing after the unknown intruder. Trevor gives harried pursuit.

The chase leads Trevor down into the basement of his building, replete with leaking water pipes and various and sundry pestilence. A single flash of the light source give Trevor both a sense of orientation and an immediate recognition of who has led him here: it is Aeon. She leans against the wall, the camera held to her side in one hand, her other hand held to her face. She is grimacing, as if holding back a surge of wild tears.

Trevor approaches her with both anger and apprehension. Raging, he grabs her with both hands, shaking her violently.

TREVOR
You!! What in hell is the matter with you! You're trying to ruin me, now?!

Aeon drops the camera which goes off once more as she sinks to the floor, her head still in her hand, her knees up to her face. She wipes her hand away from her face, her eyes staring up at him in apparent defiance, then softening into a dour resignation to her own melancholy. Trevor grabs the camera from the floor and rips the film out of it.

TREVOR
This isn't you at all!! Get up off the floor! I could kill you!!

.

TREVOR
I COULD KILL YOU!

Aeon only replies with her stare, now waxen icy, now verging on a vacuous despondency. Then, lowering her eyes,

AEON
(almost a whisper)
Might as well...

trevor
(shocked)
What!??

TREVOR
(cont'd, twitching his head in denial)
Aeon! You didn't - finally take on one...of...those - one of those jobs...?

AEON
(faltering)
No, Trevor...'course not.

TREVOR
(stepping away)
Oh, Gog...so, it's come to this at last.

Then a shadow seems to ink against a side of Trevor's face: a "dark side" coming on, as his lips curve ever so slightly, betraying a terrible notion -

TREVOR
(considering)
I see....

Aeon slowly rises to approach Trevor, trying to hide her involuntary trepidation. A step...a step...

TREVOR
Well, whatever it is you've...

Trevor embraces her.

TREVOR
(cont'd.)
...committed to...

As Trevor embraces Aeon, a tiny mechanical TENTACLE spirals out from the perimiter of his wristwatch and cuts a neat, vaginalike opening in the seam of Aeon's patent-leather costume at her armpit, where his wrist is situated.

TREVOR
(cont'd.)
...I know...

The tentacle then snakes into the opening it has created and penetrates into the flesh of Aeon's armpit. Aeon simultaneously suppresses an involuntary gasp, which she masks with a hiccup.

AEON
Sorry -

TREVOR
I know you'll achieve your objective. I'm sorry.

Aeon grasps Trevor tightly, kissing him passionately at the side of his hard-edged, stoic face.

TREVOR
I'm certain, though, that we shall see one another again.
Trust me. You know that I
love you always.

Aeon suppresses a slight shudder of recognition.

AEON
(withdrawing)
Goodbye, Trevor.

As Trevor goes, his expression is a smirk of silent
satisfaction. He "checks his watch," not noticing Aeon's
over-the-shoulder recognition of his gesture.

aeon
(to herself:)
(I did it. Now, it had better work!)

Peter Chung, Saturday, 1 April 2006 12:48 (twelve years ago) Permalink

I should have made it clear to those who haven't seen the above discussion before-- it's from an AF episode guide compiled by Steve Rach Mirarchi which appeared on his site (now long gone). I first came across it in 1997 or 98.

I encourage anyone who was an original participant in the discussion to fill in the details.

Peter Chung, Saturday, 1 April 2006 13:00 (twelve years ago) Permalink

For the record, I'm listed as KR (Karen Rebholz, my mom's name was on the email account at the time), but I don't think I offered much insight. I was about 16 or 17 then -- what a blast from the past!

Thanks for the script, Peter... very funny. "Listen to me, you hole!"

Matt Rebholz (Matt Rebholz), Saturday, 1 April 2006 14:04 (twelve years ago) Permalink

OMfknG...

Y'know, I was just working on getting it together for the Thanatophobia post on here when THIS whole tome is suddenly introduced. I am quite thoroughly overwhelmed, now! (WTD!!)

Jus thought I'd post a note here real quick to post a note at least.

Mark Mars, Saturday, 1 April 2006 22:17 (twelve years ago) Permalink

Holy shit! This is an awesome post.

skye, Sunday, 2 April 2006 01:34 (twelve years ago) Permalink

(7) Trevor and the guard have different ideas about "property rights." What
do they believe?

Trevor's view seems to be one of "I'm chairman, I own
you. You have no rights, why would you have any property rights?" Trevor
wants complete control, he wants absolute power. Paying rights would be
admitting he didnt have it...


Okay, beautiful. But please bear in mind that Trevor could respond that he'd only taken exception to the very idea of "property rights" being applied to the individual whether s/he ba a copy or not: What of The Divine Rights Of Man? What of the Sanctity of the Indiviual?? How dare this tramp shuffle in here trying to cheapen the Value of Life in such a cynical way!!

(At least this would have made for some pretty good set-up, given the subsequent scenes to follow.)

Mark Mars, Sunday, 2 April 2006 01:53 (twelve years ago) Permalink

Here's the rest of the discussion.


(48) Aeon accuses Scafandra of screwing up her plans. What are Aeon's plans
at this point?

DRN: She kind of naively believes that Aeon2 will just read the note she
sends and just go with out her and she will just go on and see what develops
between Trevor. At this point she is obviously modifying the original plan.

SRM: The moment Aeon writes the note, the original plan is modified: now
Aeon will stay with Trevor while Aeon2 does what Aeon originally would have
done had she not been duplicated. How is Scafandra supposed to know this?
She doesn't even know Aeon's been duplicated.

(49) Aeon2 reads the note from Aeon, but she still waits for Aeon, and she
laughs in contempt when Scafandra dies. Does Aeon2 realize something about
Aeon that she herself doesn't?

DRN: Yes, she knows Aeon has changed even though she thought she wouldn't
she knows Aeon has fallen for Trevor that Aeon is backing out on the plan.
Aeon2 even knows that Aeon probably will not even let her self know that she
has changed.

OY: Yes, in a way. They both have the same mind (although the last several
hours have been different, they both had the same plan). The plan was, as
Aeon 2 says later "to make Trevor hurt." The two are always in their
love/hate relationship. In a way, it was an intended strategy to show Trevor
how wrong he was, but in the process, Aeon became aware of Trevor's human
side...which seems to be why he through out the vial with Aeon's genetic
information, and cries for the real Aeon and allows the copy to go. He can
never have with the copy what he had with the original.

SRM: Aeon2's laugh of disgust at Scafandra's death is, though I hate to
admit it, hilarious. This is Darwinism: Scafandra put her in a survival
situation and she survived it; Aeon2 put Scafandra in the same and she
couldn't. "Humph!" indeed. Further, Aeon2, now probably remembering the
missing vial from the lab, postulates that Aeon has allowed herself to fall
for Trevor. If Aeon2 stays put, she knows she'll eventually be captured. So
by staying put she puts faith in Aeon that Aeon hasn't changed enough not to
care what happens to Aeon2.

(50) The original Aeon is still in the garden, and the guards blast her
facefirst into a rosebush, which is how Trevor finds her. Aeon finds out
that Trevor wanted to kill Aeon2, but Aeon protests that "It's because she's
out there that I'm here with you!" Are they on different wavelengths? What
are they each thinking?

DRN: Trevor really had not thought about this. He just wants Aeon2 out of
the way he is afraid she might come around and muck up their relationship.
Aeon on the other hand wants Aeon2 out there she has to know that in a very
real sense part of her is still out there and doing what she should be doing
unchanged by the events she has gone through.

(51) Aeon sees in the surveillance tape that Aeon2 is waiting for her. When
they meet, Aeon says of Trevor that she's "not finished with him yet." But
Aeon2 says, "The stars in your eyes--they're stolen!" Aeon: "Things have
changed." Aeon2: "Trevor?" Aeon nods. What's happening in this interchange?

DRN: Aeon realizes what Aeon2 already knows she has changed. Look at them
they do not even look like the same women (Aeon has adopted conventional
clothes a big baggy sweater and pants with long straight hair and before her
old self) and they are not at all the same. Aeon seems to become some what
ashamed she knows Aeon2 is right and that is killing her. She does not want
to admit that she loves Trevor but she can not lie to herself (who also
happens to be Aeon2). Aeon finally realizes she has changed, too much for
her own good.

SRM: This is one of the only scenes in the series in which Aeon's face is
softly drawn, and for good reason: she has become soft, in the sense that
she's allowed her desires to take over. She wanted to be able to indulge her
desires while having her ethics upheld by her duplicate, but she's not quite
to the point of being able to give all that up, and Aeon2 certainly isn't
about to allow that. Aeon2's noticing the lack of stars in Aeon's eyes tells
us that this is not simply a matter of choice: Aeon has changed for the
worse according to Aeon2, and it will be up to Aeon to see if she agrees.

(52) In perhaps the determining moment, Aeon and Aeon2 face off. What is
decided here?
Aeon: [pointing that cigarette gun] There are things you don't know.
Aeon2: I know that you won't kill me.
Aeon: You kill me, that's the plan.
Aeon2: Yes, yours to begin with, to make him hurt!
[pause]
Aeon2: Take a stand!!
[pause]
Aeon2: Okay, pretty one.
Aeon: Watch that.

DRN: Aeon2 is making Aeon face up to the fact that she has more or less sold
herself out. She has fallen to hard for Trevor and is trying to back out of
it and frankly it pisses Aeon2 off. Aeon2 tries to remind her of what she
should do but Aeon is not having it so Aeon2 decides that if Aeon will not
act she will act and force Aeon to do something. Two things are important to
note here, the lesser is the fact that Aeon2 calls Aeon "pretty one." Aeon
obviously takes offense to this because she is not pretty, well just pretty,
she is strong she is wild she is uncontrollable not just pretty which
trivilizes her. Aeon2 uses this not only to antagonize Aeon but to get her
to realize what is going on. The second thing is that this where Aeon2
decides to make the boarder run and thus force Aeon to follow her in. She
knows Aeon will follow her in because after all they are the same person.

SRM: Aeon has knowledge of what it means to love Trevor, while Aeon2 has the
knowledge of what it means to keep Trevor in check, to do her duty to
Monica. Which will win out? And yes, Aeon2 only gets Aeon's full attention
by pointing out her appearance--the soft Aeon who has lost her edge.

(53) Aeon2 runs into the gun area, and Aeon screams, "NO!!" What makes Aeon
follow Aeon2? What makes Aeon2 run in the first place?

DRN: see 52. The important thing is that Aeon runs in after Aeon2. Aeon
realizes that she must follow her in and that she must not come out. She
recommits herself to the plan in that one instant. She knows she is not
coming out but she knows it is more important that Aeon2 the more pure, if
you will, version of herself must be the one to survive. Watch as they run
Aeon is just the shell of all she used to be the run illustrates it
beautifully. Aeon2 runs with no emotion no fear she just does it Aeon runs
with eyes and mouth wide open you can almost here her heart pounding you
know this is not the old Aeon.

OY: As Aeon2 reminded Aeon, the plan's intent was to teach Trevor a lesson.
Aeon fell in love with Trevor and ended up hesitant about it. What I think
is that Aeon2 tricked Aeon into fulfilling the plan by running off, a sort
of "farewell, I hope you're happy with him. You'll never be free again.
Because she and Trevor would have to be together." Aeon follows Aeon2
because she cannot abandon her principles. When she stands up and allows the
turrets to kill her, she completes the plan to make Trevor regret his
decisions. Now he can never have her again.

SRM: At this moment Aeon is not sure what to do. Her simple denial of
watching Aeon2 run away is not enough evidence for her to convert back to
the plan. Aeon2 knows that one of them will win out, but ultimately she's
not sure either. Both don't know, and one of them will have to decide. As it
turns out, as Logan points out, Aeon runs without her athletic ability, and
she even gazes in admiration while watching Aeon2 run. In the deciding
moment she turns to look at Trevor and asks herself who does she love more:
herself, or Trevor? Recall the kiss in the pool. Who does she really love?

(54) Trevor orders Turret 12 shut down. What does this tell us about what
Trevor feels?

DRN: Aeon and Trevor have seemed to overstep the bounds of their
relationship and have fallen in love. Trevor loves Aeon his feelings run
deeper than even he might admit. He is trying desperately to save the life
of his lover but to no use.

OY: As Trevor seems more humane in this episode, he doesn't want the real
Aeon to get killed. As he told her, she's the real one. The copy is
expendable, but the guards who fire the guns do not know this. He feels
nothing for the copy, but the real Aeon cares for him, while she still
refuses to let him win. In a way, he knows that he can't win this time.

(55) Aeon, watching Aeon2 run expertly, decides to let herself get gunned
down. Why?

DRN: see 53 She knows it is for the best. She does it to make up for falling
for Trevor she allowed herself to be changed in ways that she did not want
and she, through this final fatal, act is trying to make up for it.

SRM: Aeon ultimately decides that she loves herself more than she loves
Trevor. She sees herself as she used to be, and she knows that Aeon must go
on living. And if that Aeon is to exist, her original plan must have been
right; her doubts have been unfounded. So in an unintentionally brutal twist
of events, she allows herself to be killed before his eyes.

(56) Trevor lets Aeon2 go, with tears in his eyes for the dead Aeon. Why?

DRN: see 54. He lets Aeon2 go to restore things to balance he could not
stand to loose both his lover and his greatest enemy in one day. He still
need Aeon, even in the guise of Aeon2. Everything is kind of back to normal.
Or is? Did Aeon's plan work? To some extant she succeeded but to what
degree? It would be sheer speculation to guess how much she hurt Trevor but
we do know that she hurt Trevor.

OY: Because he and the real Aeon had something special. The copy is just
like Aeon before the whole episode. Either he figures it makes no difference
whether the copy lives or not, or subconsciously he wants to try again with
the copy. I don't believe the latter suggestion, though.

SRM: Love, or infatuation, or obsession--whatever you call it, it got ahold
of Trevor, which is why he pronounces his letting Aeon go with such pain and
sorrow in his voice. Remember that Trevor's had many opportunities to kill
Aeon before but has not; the bond between them is too strong.

(57) The ultimate question for this episode: is Aeon2 really closer to the
original Aeon? And isn't it Aeon, the one that falls for Trevor, that's as
far away from the Aeon Flux we know? By going through this process, Aeon has
learned something about herself, but what? What has Trevor learned? What
have they learned about each other? Perhaps now is a good time to think
about why this is "A Last Time For Everything."

OY: Aeon2 is closer to the Aeon we know from the previous episodes. But the
Real Aeon that is gunned down also represents the Aeon we know. Allowing
herself to be killed in order to make Trevor hurt is something that we know
she would do. She is a survivor, but she dies so many times that it doesn't
matter. Seriously, it shows how far she will go to complete her objective.
What Aeon learns about herself is how much she could really care for Trevor.
Before it seemed to me more like they were toying with each other, Trevor
wanted her, but Aeon wouldn't allow it...not the way he wanted (probably
another reason she let herself die). Trevor seems to learn how to admit he
was wrong. Though not directly stated, allowing the copy to escape, he
almost says "you made your point Aeon." That's how I see it. "A Last Time
For Everything," I suspect is a metaphor for how Trevor and Aeon had one
last day together, one last chance to see how they really feel for each
other, Scafandra sees one last time what Aeon really is (first she suspected
that Aeon was in with Trevor, but then when she gets killed realizes that
maybe she really was tricked by Aeon), Aeon before she gets killed sees one
last time how far she'll go for what she believes is right.

HD: I think it was all about divergence of personality. To begin with A1 and
A2 are so alike they almost know what each other are thinking. By the end
they are having an argument. By allowing herself to die Aeon1 is unifying
herself once more. A1 has a choice to continue life with Trevor and the only
Aeon. She decides that A2 is more authentic than herself and if anybody
should die it's her. The clone is more her than she is.

DRN: The question is a lot harder to answer than it appears. Obviously Aeon2
is closer to the Aeon Flux that the viewer has come to be familiar with but
what about Aeon. Just because she has changed does that make her less Aeon
Flux than before? Well actually yes it does. The question seems to ask "Does
Aeon some how receive redemption in the light of her own self sacrifice at
the end of the episode?" Phrased like that the answer to the question would
seem to be yes. But the fact that she did change by circumstances she could
not control lingers. Did Aeon loose herself because she could not prevent
herself from falling for Trevor? and if so does her action at the end
episode really make her herself again.
Aeon allows herself to be killed for herself (Aeon2). This act would seem to
suggest that she would have regained some of herself. But would the Aeon
Flux we know really commit such a selfless act? Probably not Aeon as she
claims takes no sides so it does not appear that she would die for anyone.
But we are not just talking about anyone are we? We are talking about
herself. An interesting question: Would you die so your exact duplicate
could live? It is almost an extreme example of father dieing for his son or,
a better example, a mother dying in childbirth for her child. Aeon is so
extreme, such an individualist to an impossible degree that she would not
even die for herself. But the fact remains that she did in fact die for
herself. Why? The answer is simply she was already dead. In giving herself
to Trevor, falling in love with him, she has destroyed herself. She had
placed herself in a situation were she could no longer be an individual she
was no a part of a larger whole, something the real Aeon could never be, as
illustrated through her numerous relationships, her strange relation to
Trevor (before this episode) and her fuzzy alliance to neither Bregna nor
Monica. She died rather because she was already dead. She had the chance to
have all her sins forgiven and walk away clean to relive her life in the
guise of Aeon2 so she did it and died.
Just to end quickly the only thing that Trevor and Aeon have learned from
all this is that they can not overstep the bounds of their odd relationship
or they will destroy themselves, it just happened to be fatal in Aeon's
case. To say they have learned they can love each other would be to
trivilize this entire episode. What they have learned is they share a
delicate relationship that is beneficial both only if they leave it as it
is.

SRM: I had a group of students write a paper about how this episode
supported Freud's stability of id, ego, and superego. Aeon gives in to her
id (anything for desire) and allows her duplicate to take over her superego
(anything for morals, ethics). The episode concerns the ego: that logical
part that negotiates between the illogical id and illogical superego. The
ego wins out in the end, for it forces the id and the superego back into
suppression, back where they belonged.
That's a helpful way of looking at this episode. When I first saw it I was
amazed that the ending allowed her duplicate to go on doing her work. That's
a moot point now that I think about it, since the show insists on
non-linearity. Intriguing to me, though, is that the duplicate now knows
what will happen if she allows herself to become too attached to Trevor.
This duplicate, if she were to be featured in an episode (how are we to
know?), would approach relations with Trevor very carefully, would she not?
Aeon's individualism rings as true as can be in this episode: she dies for
herself. Not to do so would mean denying that she is of importance, which of
course can't be valid for Aeon. Relationships are about giving up part of
yourself to the other person, and Aeon could not do that. Trevor couldn't,
either: he wanted Aeon2 dead. Neither of them are giving enough to be able
to sustain a romantic relationship, and now they both know that. But since
the series makes no claims to carrying knowledge over between episodes, we
can't call this episode a learning experience. But we can call it a
meditation on identity, the self, and what at the core of their beings Aeon
and Trevor are willing to do to uphold what they value most.

Peter Chung, Sunday, 2 April 2006 01:57 (twelve years ago) Permalink

I just fi nished reading that script again. I think I don't even have a copy of that one (I'd better not, because if I indeed dpo I am ill-prepared for the hell I may pay for having in any event withheld it).

Yiy, say I! AyeY!Y!

Mark Mars, Monday, 3 April 2006 03:43 (twelve years ago) Permalink

(12) If the guns are so good that they need one person to distract while the?other runs, how does Aeon escape after Scafandra betrays her?
KR: Aeon makes it across the border by using her gun and her expert accuracy?to fire at each incoming projectile before it hits her.
DJ: Aeon's just that cool.
DRN: A good point, in episode 3, it stated explicitly that you need two?people to make the boarder run and therefore when Sybil tries it by herself?she fails but were not talking about just anyone now are we are talking?about Aeon Flux she is everything pushed beyond its limits categories like?super secret agent, James Bondish (as it was once said "a bond girl who out?Bonds Bond) even conventional female do not apply to her in some since she?is above, more accurately outside, them and therefore outside such?limitations as running the boarder with another person, or even more?importantly morality. Aeon is not in the conventional sense human she?something a little more, as is perhaps Trevor, and this frees her of some of?the limitations of the label.
SRM: This shows that Aeon does not in fact need Scafandra at all to cross?the border; she can do it herself. Sure, it's safer to do it with two?instead of one, but the argument for Aeon's needing Scafandra breaks down?here.

Oh? But this Border section's permeability (or lack thereof) is still a matter for (possibly suicidal) conjecture on the part of a couple of Monican terrorists taking their chances. This whole gig is an unknown quantity. Now, Flux is pretty good at assessing her situations but even for her this one is critical (as we see). It's Scaphandra who, in any event, appears to have less talent in this regard and even less in ascertaining what others' chances are going to be - or what size consequences she might really incur or just how long "subsequently" can last you, etc.

Besides, they'd both cleared half or more of the run by the time Scaphandra cut to her own chase right out of there, so Aeon was "lucky."

(13) The car seems to be waiting for Scafandra. Did Trevor give her an?assignment to kill Aeon? Or is it her own doing?
DRN: No, i think not because in the interrogation he doesn't even mention?this, admittedly we probably don't see all the interrogation but that is not?important. Obviously Aeon is a little take back by Scafandra taking off but?that isn't enough to justify a betrayal because they obviously had different?agendas because they had planed not to see each other till they needed each?other again. i don't think her intent is to kill Aeon but just to get away?from her as quickly as possible to not arose suspicion from Aeon.
SRM: Because of Scafandra's direct heading for the car, there is obviously?some kind of setup here, but it can't be Trevor's doing since he straps her?down and interrogates her.

Well, no - not for example if the thugs whom she got into the sedan with had been leading her to believe they intended to work some scam there in Bregna (undoubtedly some high-intrigue pork-barrel racket) - only to take her straightway to an interview there with The Chairman himself because say at least one angle on the whole situation had been for Breen Intelligence to ascertain their own penetrabilities by instigating one themselves for express purposes of later exam and analysis?

Mark Mars, Saturday, 8 April 2006 04:36 (twelve years ago) Permalink

two weeks pass...
Aw, COME ON will somebody GET THAT

Mark Mars, Thursday, 27 April 2006 03:43 (twelve years ago) Permalink

four years pass...

It's still not clear to me why Aeon goes out of her way to get Scaphandra killed.

Jake Bromberg, Thursday, 24 June 2010 04:23 (eight years ago) Permalink


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