CONTRIBUTORSVAS: 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 atthe very end.)
BB: The title refers to Aeon herself. Aeon formed her plan early on and knewshe would sacrifice her very life. She realized what she truly feels aboutherself 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 theevents 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 relationshiphere 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 thusinvolved. It's just that this time--this last time--they allowed themselvesto both drop their assumed roles.
(2) Trailer: "Aeon has heard about Trevor's new method for creating humanduplicates." 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..." Itnever is Aeon's business. I think that Trevor does do some things to provokeher, but she does things to provoke him too.
MAR: All through the series and through life now, people act on events thathappen 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 separatelyof Trevor but it is more of a question of interaction between the two. DoesTrevor have to do something in order to provoke Aeon into jumping into thefray and if so is that the motivation of his act or is it an unforeseenannoyance/ fortunate occurrence? In other words does Trevor act to provokeAeon or does it just happen to work out that way? Any way you look at itappears as if Trevor does have to act for Aeon to becomes involved. If thisstatement is true than it brings about an interesting phenomenon because ifyou 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 inreaction 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 Trevorafter all did have the Demi-urge first? Admittedly you could argue that itis very easy to argue "Yes" because it is easy to point to some early, evenunseen during the episode (like the Demi-urge example), instances that showTrevor acting first and therefore Aeon acting in reaction to him. But thisis not a powerful enough argument to refute it. Aeon does seem to act inreaction to Trevor as almost everyone in the show does since his influenceand power are so substantial. But could Aeon exist without Trevor? Yes butnot the extent she exists now. What? Let me explain they kind of feed off ofeach other especially Aeon she is such a super human character that she needto face the fiercest enemy possible (Trevor) in order to become all that shecan be. This kind of reminds me a quote from Thus Spoke Zarthustra, forgiveme if this is not exact but it is from memory "My brother in war! I love youfrom the heart, I am and always have been of your kind. And I am also yourbest enemy... You should seek you enemy, you should wage war- a war for youopinions. And if your opinion is defeated, your honestly should still crytriumph over that. You should love peace as means to new wars. And the shortpeace more than the long." Aeon and Trevor share this kind of love and itimportant that there love not be changed in any way because it would destroythis delicate balance.
SRM: Trevor even takes on things he knows probably won't work out just toget 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 shedoesn't see it as a threat. But once he makes a "wrong" move Aeon is thereto intervene. I'm thinking of "Ether Drift Theory" in which the story makesit clear that the mini-world has been there a while without Aeon'sinterference. I agree with what others have said here: that Aeon and Trevorare, so to speak, in flux with each other.
(3) The opening image is of the guard looking at himself, and he's reflectedin 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 healthyperson.
MAR: My best guess is that people, humans, have multi-fawceted personalitiesor essences.
SRM: In this image we have an original, a duplicate, and a reflection, muchlike the very theme of the episode itself: Aeon, her duplicate, and theunseen reflection of herself that mediates between the two. What is thisunseen reflection? The conflict of love versus duty, church versusstate--the old battles.
(4) Duplicate #2 has red and green lights flashing at him. What's thatabout?
MAR: Possibly, Trevor is testing the reaction to neon, ultra-violetlighting.
DRN: see 5
SRM:I can't help but recall Aeon's "red light go, green light stop" mantrafrom Isthmus Crypticus. When Aeon chants that in the episode, she's ready todo 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 itmeans to duplicate Aeon and what it means to duplicate someone lessacrobatic.
(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 thattest, anyway?
BB: Yes. It is some sort of twisted sexual test. The guard is concernedbecause Trevor can know everything about him by testing his clone. And it'smore than a little unnerving to have someone know even your most twistedhabits and vices.
MAR: This leads into information on the episode. I would think that acurrent version with improved feelings and emotions would be more effectivein combat, life, whatever. This might lead into the differences with Aeon2and Trevor's slaves.
DRN: When Trevor clones the guard he obviously does it several times and issubjecting each clone to a very specific test to find out about specificattributes (which explains the red and green lights plus the one spinningupside down). Trevor wants to know exactly how this man will preform underall kinds of very specific situations he doesn't want any surprises whichmight imply that he is kind of testing not only ability but maybe evenloyalty perhaps to use this one man as his own personal army thepossibilities are almost unlimited.
GH: Trevor Goodchild was obviously interested in not only cloning forpleasure but also to perhaps build a society on clones... for instance,wasn't it interesting the at beginning how the different clones of the firstsubject were undergoing testing. Especially the guy hanging from the ceilingalmost as if he was being conditioned. I am greatly reminded of AldousHuxley's Brave New World concept and almost believe that manipulated cloneswould be a true asset to such an oppressed and divided society asBregna...not that Monica is so unified but certainly it must have quite adifferent system...
SRM: To provide a "current version" would mean that there is an "olderversion," which implies that these duplicates do not learn nor grow. Or, ifthey do, they only do so according to Trevor's wishes. But given that therest of the duplicates we see in the episode--from the "fake" Aeons toTwigga--are pretty dumb and single-minded, I would argue that the choice ofthe word "duplicate" is intentional over the word "clone." A duplicate, likea Xerox copy, remains as it is the moment it's copied. A clone, however, canadapt and grow differently, just as the original might in its own ways. Ifthis is true of the duplicates, Aeon's change of heart becomes even moredramatic and important.
(6) Why is Trevor interested in "endurance data"?
MAR: So that the soldiers' may be more precise in combat etc.
(7) Trevor and the guard have different ideas about "property rights." Whatdo they believe?
BB: Trevor believes he owns the clones because he created them with his owntechnology. The guard believes he owns the clones because they are virtuallyhim.
MAR: Trevor owns the machine that creates clones, so in theory he ownswhatever 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 wantto make money. He may have even let his clone become purposefully afraid ofpleasure responses so that he would have to make another clone, thereforegetting more money. Trevor's view seems to be one of "I'm chairman, I ownyou. You have no rights, why would you have any property rights?" Trevorwants complete control, he wants absolute power. Paying rights would beadmitting he didnt have it...
DRN: An interesting question obviously Trevor has some claim since hesupplied the machine and raw material to make the clones and the guardsupplied the genetic codes. But do we really have any rights to our geneticcodes that aren't really ours it is just a combination of parents and isnothing more than the key to our "random arrangement of amino acids." Evenwith all the current speculation about cloning i haven't really seen theissue of genetic code ownership come up.
OY: Trevor seems to have shown a more humane side to his persona in thisepisode. While it is contradicted by his claim to the 3 guards later (Mockup the original, as long as I get a clean copy), the guard seems to feelthat the copies are nothing more than that-copies. Trevor's reaction almostseems to me that he thinks they are not just objects for possession. PerhapsI am wrong, but as Trevor indicates to Aeon later, "Others take awayreproductive rights...I grant them." This almost says that he cares forpeople...(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 geneticmaterial. Ah, is Trevor up to his secretive, manipulative antics as usual?Surely. But the guard gave up his genetic material--the ultimatecopyright--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 inthe foreground an upside-down version of himself spins in circles. What'sgoing on here?
MAR: Well, i suspose this means that the children will destroy or surpassthe creator. There have been varios stories on this, possibly of GreekMythology fame.
SRM: This image takes the opening image (see #3) and expands on it. Insteadof simply an original observing his duplicate with a static reflection inthe background, we now have the original being removed forcibly by theduplicates while a static reflection undergoes testing. This situationforeshadows the entire episode: the original Aeon will be forced to giveherself up while Trevor looks on helplessly.
(9) What is "D Section" that Scafandra mentions? Is she being sarcastic whenshe 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 SeeSection 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 owngames on both sides of all coins...
DRN: D section refers to a section of the boarder one that was obviouslyrelatively easy to use to cross the boarder but i think the implication whenAeon mentions it is that she knows that Scafandra is the double agent.
(10) Aeon remarks that she likes the transplants. Later on Aeon callsScafandra a "freak." What does this tell us about Aeon at this point of theepisode?
BB: Aeon will sometimes tell people what they want to hear when she needsthem for a purpose (to cross the D-section).
DRN: We are still dealing with the Aeon familiar to the viewer at this pointand of course Aeon would be impressed with how Scafandra has kind ofreinvented her self to become more than she was before.
OY: I saw this as Aeon's typical "no side" aspect. She and Scafandra had acommon goal: to end Trevor's cloning. But as Aeon used Una in IsthmusCrypticus, she also uses Scafandra figuring she could either act as a decoyor as a cover. Aeon sees her as expendable (which is why she tells the cloneto kill Scafandra near the end of the episode) and therefore doesn't feelany 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 tocross D-Section, but later, when she doesn't need her anymore, she insultsher, telling Scafandra what she really thinks about her. Overall, this showsthat Aeon is user (as if we didn't know that)
SRM: The way Aeon says this to Scafandra is not merely kissing up orattempting to flatter Scafandra just to use her; it's much more sinister.Aeon says it with a scoff, with a sly expression, baiting Scafandra. ButScafandra misses it totally and thanks her instead. What has Aeon done?She's gathered important information: Scafandra is easily won over, notattentive to detail, and will be easily defeated if need be. Such is theconstant clever game-playing that makes up a large part of Aeon'spersonality 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 iswhat really sets the episode into motion it brings about Scafandra overtbetrayal of Aeon (or does it? see 13) and is the beginning of Aeon's missioni thought of it as kind of taking a deep breath before doing something. Thebreath 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 theother runs, how does Aeon escape after Scafandra betrays her?
KR: Aeon makes it across the border by using her gun and her expert accuracyto 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 twopeople to make the boarder run and therefore when Sybil tries it by herselfshe fails but were not talking about just anyone now are we are talkingabout Aeon Flux she is everything pushed beyond its limits categories likesuper secret agent, James Bondish (as it was once said "a bond girl who outBonds Bond) even conventional female do not apply to her in some since sheis above, more accurately outside, them and therefore outside suchlimitations as running the boarder with another person, or even moreimportantly morality. Aeon is not in the conventional sense human shesomething a little more, as is perhaps Trevor, and this frees her of some ofthe limitations of the label.
SRM: This shows that Aeon does not in fact need Scafandra at all to crossthe border; she can do it herself. Sure, it's safer to do it with twoinstead of one, but the argument for Aeon's needing Scafandra breaks downhere.
(13) The car seems to be waiting for Scafandra. Did Trevor give her anassignment to kill Aeon? Or is it her own doing?
DRN: No, i think not because in the interrogation he doesn't even mentionthis, admittedly we probably don't see all the interrogation but that is notimportant. Obviously Aeon is a little take back by Scafandra taking off butthat isn't enough to justify a betrayal because they obviously had differentagendas because they had planed not to see each other till they needed eachother again. i don't think her intent is to kill Aeon but just to get awayfrom her as quickly as possible to not arose suspicion from Aeon.
SRM: Because of Scafandra's direct heading for the car, there is obviouslysome kind of setup here, but it can't be Trevor's doing since he straps herdown and interrogates her. Scafandra had some reason to try and eliminateAeon--one that takes Aeon totally by surprise (recall her exasperatedlyrepeating "Scafandra" when she gets through).
(14) Aeon's run down the raised track seems quite similar to the scene inEpisode 3 in which she drives through a hidden corridor. Is thisintentional?
DRN: i do not think so. It does not really mean any thing although i didnotice that the animation of the run was quite similar to that of herdriving through the hidden corridor.
SRM: If this scene is actually C-Section, then Aeon has found that D-Sectionand C-Section connect, and that C-Section is still open, contrary to whatScafandra has just told her, making her a liar and lending more support tothe 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 seenthis 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 ownimage.
SRM: It very much resembles the famous DaVinci drawing, one which has cometo 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 notkill her.
DRN: He knows she is working for him, obviously, and for whatever reason sheis just keeping the guise of a Monican agent. Trevor is kind of telling herthat 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 goneoutside of the boundaries on this one, and Trevor suspects she's doing sofor a private reason. Of course he wants to know that reason, which is whyhe'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 spokeof ways to catch HIV, one of the ways was through spinal fluids. So intheory the spine may be heavely rich in DNA & RNA.
DJ: Spinal fluid. The spine is the backbone, what holds someone up, letsthem walk around ... It can be a metaphor for what we are ... a wise placeto make a clone from..
DRN: It unclear what the device actually goes to inside the body so it isimpossible 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 extractingmethod is interesting because the extraction method obviously penetrates thesubject but dose not draw blood notice the fluid is yellow.
OY: Does it matter? Every liquid in a person's body (I suppose even incyborgs like Scafandra seemed to be) contains biological information, DNA,RNA, etc. To make a clone, that is needed...so it doesn't make anydifference whether it was blood, or an underlayer of flesh.
JP: Trevor's device threads a needle all the way to Scaphandra's spine, soit must be doing a spinal tap. Technically speaking, one can only make aclone (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 incommon mentally with it's originator as separated twins would. Perhaps byextracting spinal fluid, Trevor is interfacing with the brain/mind of thesubject, and somehow stores a copy of that consciousness.I should point out that neither Trevor nor Aeon calls this "cloning," butmerely "copying" or "duplication." This implies that what they are doing issignificantly different or totally unrelated to the modern idea of cloning.And, because it does not affect the story directly, it doesn't really matterthat 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...' Herplan is more like 'hmmm....what hell I couldn't I raise with 2 of me?'
DRN: Yes, and no she has figured out how Trevor gets the information tocreate clones but it would be very short sighted to say that she forms theentire plan up there in the ventilation shaft (those passages sure are bigaren't they?). She has the whole plan already worked out and is just fillingin this minor detail now.
OY: Yes, she believes the clone will have the same thinking, and will followher (their plan). She decides since Trevor wants to keep the clone forhimself, 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 ofher and use her duplicate against him. After all, why does she cross theborder in the first place? Since the location of the duplication machine issecret, and Aeon doesn't know much about it to begin with, she probablydoesn't know how Trevor steals his samples until she sees him do it toScaphandra.
SRM: Since she discusses the plan later with Aeon2, it's probably too earlyto decide that she's thought through everything at this point. I don't doubtthat she has a vague idea of what she'll do, though. But notice how she doesit: she seduces Trevor into extracting her fluid; it's left unsaid betweenthem. Neither of them ever acknowledges that the copy's been made: besidesAeon's slight gasp at the prick of the device, nothing is said. Trevornotices the tear and acts on it; Aeon creates the tear and waits for him tonotice. This is an elaborate sexual ritual, with all the penetration neededto 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 befour double-agents? It does make life cheap by replicating humans soquickly...
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, aMonican agent working for the Breens, and now she will literately become onewhen Trevor eventually clones her. The only significance i can see is thatwe now know for sure that she is double agent.
OY: A joke, in my opinion. Scafandra works for anybody (like Aeon, but sheis 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 mayhave 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 alterher body for her work and Scafandra will. Aeon relies on her talents asScafandra relies on technology.
DRN: Scafandra is not the woman Aeon is she relies on mechanical implants todo the same thing that Aeon does with relatively no assistance at all.
SRM: Scafandra is certainly a hack spy compared to Aeon, which makesScafandra's betrayal of Aeon in the opening all the more surprising.
(21) Trevor says that human beings are nothing more than "a randomarrangement of amino acids." This may be true, but if it is, how can heexplain the multiple Aeons in his bedroom? Is he being disingenuous, or doeshe really believe what he's saying at that point?
BB: At that point, he thinks that is what he believes. Trevor is a dynamiccharactor - that is he changes throughout the episode and the series. Helater realizes that people are not just chemicals and proteins that createflesh. Aeon said that the "randomness" of normal reproduction "suited" her,Trevor replied "it certainly does." At the time, he was referring to herlooks.... but later he realized that there was really something else thatattracted him to her.
MAR: Basically saying that man is not special as the Bible and Religionintends. Just saying that man takes himself to seriously. We're nothing morethan evolved animals. Or devolved hyper sapiens. Hyper Sapiens refers tohigher 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 befulfilled. Is he being dishonest, well yes and no it is not as cut and dryas it may seem. He actually does believe that we are simply "a randomarrangement of amino acids" nothing more and nothing less a godless,soul-less animal with meaning imposed on them by society, remember from theDemiurge episode "Light in the absence of eyes illuminate nothing visibleforms 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 withmeaning..." Trevor knows this but it is hard for him to step outside thesesocietal pressures and give up his apparent obsession with Aeon. Or maybe itis just an expression of the twisted, to the normal viewer, since of lovethey share.
SRM: After Trevor's experiment with the guard, he believes he can just takeany random arrangement of aminos and suit them to his purpose. But as partof his intellectual, fun, and flirting banter with Aeon here, he decides tosee what she thinks about this idea. He certainly believes this now, sincethe experiments he's done have gone well for the most part, but he's havingdoubts since he knows Aeon is so strong-willed that un unnameable somethingwill be able to override that random arrangement.
(22) Trevor then says that the "issue is not excess but access." He proceedsto draw a symbol on the floor with Scafandra's scattered fluid, the samesymbol 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 justifyingit by the fact that he can and will do it. But is there a moral dilemma atall here clearly there is not for Trevor because his values are not at allat odds with this dilemma. Aeon, being such a radical individualist seeswhat Trevor as doing as wrong because what could destroy individuality morethan cloning? So Aeon obviously sees it as "excess" but there is more to itthan just "excess."
SRM: Expanding on his thoughts (as above), he draws the DaVinci-inspiredman/machine symbol to emphasize his point that once he has access that's allthat's needed. He does not believe in a power beyond access, but Aeon knowsthat the excessive drive to what she believes is right will overcome anybiological limitation.
(23) Aeon checks her teeth in the mirror. Later she checks her duplicate'steeth 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 womanhas a Thing. Being one I know so. For some women, it is their stomachs. Theyalways have to check how their tummies look in bathing suits to businesssuits... For others it ranges from their behinds to hair. My thing is teethtoo, 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 whather teeth look like. She knew, just like every other woman, every detail andflaw of her Thing.
MAR: She is just vain.
DRN: She is kind of doing two things at once here on one level she is justkind of distracting herself by doing this like you might fidget with a penor tap your fingers but on the other hand she may just be noticing smalllittle details about herself for her inevitable cloning. So if the questionwas 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 afield agent, she has to have knowledge of basic first aid and some medicaltraining. Dentistry is probably included, or maybe she was just figuring ifshe had clean gums, or a chipped tooth, the perfect clone would have thosequalities. It's no different than if Aeon had scarred her face, and theclone had a scar too.
SRM: That Aeon would check her teeth for accuracy of the duplicate is prettymorbid: dental records are used almost exclusively for identification whenno other means is available (for example, victims of fire). That she alsosays it's a "good" job and not a perfect or great or superb job leaves roomfor error, despite whatever Chung may have said in an interview. If themethod is perfect, then Trevor, due to nervousness or what have you, did notdo a perfect job, otherwise, Aeon being the perfectionist that she is, wouldhave 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 shethinks that Trevor sees it that way aswell.
DRN: Again, Trevor is attacking at individuality something Aeon prizes verymuch. Lets look at the facts she very rarely works with any one else andwhen she does she usually just exploits the to her own ends. A strong themein the whole series is Aeon fight against coercion of form she will not (atleast does not want) to be changed by anyone or anything besides herself shecan not have anyone changing her in any way. So the entire episode is like apreemptive strike on Aeon's part she won't let Trevor clone her unless shecan use it to her own ends so that is exactly what she does. The irony isthat in order to protect her own individuality she gives it up.
SRM: Perhaps Trevor sees some benefit from duplicating others, but he knowshe'll get annoyance in the form of people demanding "property rights" andcopies that are easily eliminated. I'd argue that Trevor's grand plan fromthe beginning was to copy Aeon to see if it would work. If it did, all histroubles would be over: he'd have an Aeon working for him that would takethe mess of the real Aeon out of his hair. That's part of the reason why hethrows away Aeon's vial later in the episode: it's symbolic of his throwingaway all his experimentation with duplicating. Aeon guesses this and tellshim 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 theninward, opposed to birth children, they start inward growth then growsoutwardly.
DRN: It doesn't really matter, the important fact is that she is cloned tobe exactly like the original Aeon in every way, including memory and mindset.
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 onecould ever imagine"?
BB: He owned her, he created her. the clone owed her very existence toTrevor. well, he thought she did. It sounded a lot like the words of a smallchild to me, I don't know why, but it did...
MAR: Aeon is much of a domanatrix and usually she has control. But Trevor isthe master now.
DJ: Aeon is a model... Admired by men everywhere. Now, he has what othersfantasize about.
DRN: He does have her he has a carbon copy of Aeon in every way. It is veryimportant that the clone Aeon is more than just a copy but is Aeon. There isno difference in the cloned Aeon and the real Aeon. If you were to ask Aeon2to recall an event from Aeon's life she would recall it the same way Aeonwould and she would in a very real since have lived that event her memorieswould be no less real than Aeon's. This is important because it says Aeon isnot special she is not the unique individual she thinks she is somethingthat is easily replicable she is not the only Aeon there can or ever will beshe is not an individual in the sense we are programmed to think of. Butthen again the implication is clear that no one is.
HD: He's asserting that once *his* cloning technique is perfect in everyway. 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 geneticmakeup but an exact copy, looks, thoughts, skills, personality and all. Ibelieve Aeon attempts to dent his confidence by acting different.
SRM: To be in possession of Aeon is beyond imagining. Aeon would rather diethan give herself up in any way. Trevor's proud declamation holds a lot ofwater, in fact, except for the fact that his possession will be veryshort-lived.
(26) Aeon2 is very quiet, but she opens an eye to notice how to get into thelab. 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 proofthat her and Aeon share the same memories and experiences.
OY: Very simply, allowing Trevor to make a clone of her was her way ofgetting inside. Trevor didn't realize that Aeon had already formulated aplan to shut him down. Aeon2 does this so she can get in later and destroyit, 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 justbefore she was cloned. Because Trevors cloning technique is so good Aeon2knows everything Aeon1 knows up until the sample was taken.
SRM: Aeon2 opens her eye at just the right moment. She doesn't survey thesurroundings extensively; she just opens her eye at the exact moment. Theonly ways to explain this are that either she has prior knowledge of whatthe lab looks like (improbable) or she senses the stretcher's slowing downand decides that this must be where the secret entrance is. The latter ismost probable, but even if the former is true her action indeed shows thatAeon 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 takenshape; 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 whitedress real Aeon wears later on. It was like one of those 'what's wrong withthis picture' things. It gave an appearance of home and love or maybe adecent relationship... one of my friends said Trevor had created Aeon2 andwas 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 withwings in front of mirrors. This is Trevor's pool, and it's his duck. It'snot beyond Trevor to revert to innocent, childlike behavior, so it's not toosurprising to see him keeping a duckie in the pool. What a nice contrast tothe Chairman Trevor Goodchild persona.
(28) How does Aeon2 know which way to swim? (How does she know she'ssupposed to swim at all?)
KR: Peter Chung mentions somewhere that Trevor's method creates exactduplicates, meaning that all of the original's memories, skills, and yes,even hairstyle, is copied exactly. If this is true, then Aeon2 was born withthe knowledge of Aeon's plan against Trevor already in her head, and wouldknow what the original Aeon wanted her to do. This is why she goes intoaction 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 isan exact duplicate. That means Aeon2 doesn't just look like Aeon, she thinkslike Aeon.
OY: The same way Aeon checks her teeth, the clone will have the samefeatures, and the same mind. They have the same plan, and they know they aresupposed to meet each other to make certain the cloning went well. AllowingTrevor 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 whichway 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 Trevordoes.
SRM: I wondered in my response to #26 whether Aeon had inside knowledge asto the floorplans for Trevor's place. As OY points out above, it's actuallyprobable that she has such knowledge of the common areas. This does serve toprove that Aeon2 retains the workings of the plan from Aeon, but again, justwhat 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 befrom 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 uniqueperspective 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 ruggedindividualist Aeon who will not be changed and is the Aeon that viewer isfamiliar with. The kiss at the end of the scene can be seen as a kind ofpassing 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 hisown 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 peoplehave souls you have to ask your self weather or not Aeon2 has a soul and ifso does she share it with Aeon as the convergence of the 4 eyes to 2implies. They are just kind of vocalizing the plan even though they do nothave to because they both know exactly what to do because they share thesame mind they could very well be speaking at the same time or not speakingat 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 waypossible... by making him fall in love with Aeon, and then Aeon would killherself. Trevor made the duplicates so well, they even think alike.. whichis when the 4 eyes become two. It's a symbol telling the viewers that Aeon2is just like Aeon. No difference whatsoever.
HD: One thought. Two physical bodies. They finish each others sentences withperfect timing. They realise what this means for the first time. Not sure ifthere 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 exactcopy of Aeon with no individuality of her own. Notice how until she picks upthe 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 thispoint? Why do they switch?
VAS: Their plan right now is the main plot for this episode. This may beanswering another question, as well, but their plan was for Trevor to makeanother 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 thereason why he has all those other "duplicates" that just aren't Aeon), andthen 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 wesee at the end when the Breen guard comes over the transmitter saying thatthey 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 statusin espionage.
DJ: Aeon tells Aeon2 to kill her because she will crush Trevor, but only bygetting very involved with him... This will make her impure in her mind, shecan't live after compromising herself like that.
DRN: After Aeon makes Trevor fall in love with her she plans to have Aeon2kill her just to make him hurt. They both know what to do but it vocalizedby both of them to kind of cement the plan into action as well as inform theviewer.The switch is probably the most interesting part of the episode. Why do theydo it? Do they have to do it? And if so why? They do it because Aeonbelieves that she can never really be completely copied so in a way she doesnot trust Aeon2 to carry out the plan because Aeon believes Aeon is the onlyone she can trust. Unfortunately she is wrong the switch does not have to bemade because Aeon2 would do the exact same thing. Aeon's pride is whatforces the switch to happen. It is important to note that for Aeon theswitch must be made. Aeon believes that Aeon2 will never be Aeon so theswitch must be made in order for the plan to be carried out. Butunfortunately, for Aeon anyway, she is wrong. (pronouns were left out tomake this a little clearer)
SRM: The Aeons want to make Trevor hurt, and the way to do that best is tomake him think that they have her and then to kill her, causing Trevor theworst pain imaginable (I had her and I lost her). That the Aeons agree tothe switch shows that Aeon places a priority on the original. The bombing ofthe lab is a routine matter, but the seduction of Trevor is not, and whoknows how Aeon2 will take care of it? Aeon does not trust Trevor's copyingprocess, and she has every right not to since all of his plans end indisappointment one way or the other.
(32) Aeon2 is hiding, waiting outside. What's that stuff coming down betweenthe 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 thatcarried trash downwards to a large furnace. If anyone ever needed anyevidence of Orwellian influences, the trash coming down the tubes iscertainly 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 shemust die. Or she might think that Aeon is working for Trevor and Aeon mightthwart Scafandra's plans to get the clone vial back and kill Trevor.
DRN: Aeon knows that Scafandra is a double agent. And now Scafandra knowsAeon knows that. Scafandra can not allow Aeon to get back to Monican andmake that known because that would ruin her. So on her own "orders" shedecides to try and kill Aeon.
(34) The interior security systems announces, "You are 5 increments fromHooligan status." What the heck is that?
VAS: It means that Scafandra is gonna get in trouble if she doesn't leavethat area.
DRN: Are they inside?? It is interesting that they do not use a specificreference to time here although increments seems to imply just that."Hooligan status" can never be known exactly but you have to assume it isnot good because the guards are close behind. I kind of think of aswandering on to property marked no trespassing and having the owner come outwith the shotgun and say "your 5 seconds away from getting shot fortrespassing." It is , however, a colorful way to describe transgressors ofthe Breen law, you have to give them that.
SRM: This is the same scene as the trash coming down the tubes, and againthis recalls Orwell: the mechanization of time to "increments," and thetransgression taking on a politically correct "status." A very oppressiveatmosphere we have here.
(35) Trevor approaches Aeon with a glass of red-colored fluid into which hehas 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 coverany light taste of the drug. Aeon was usually fierce and he thought herbeing Aeon2 would be surprised or angry at being a copy and would need to besubdued.
DRN: If it is wine and i think that what is supposed to be taken as itbecomes very symbolic. To go beyond the possible Christian symbolic meaningof the wine i think the pill is the important thing to think about Trevordoes not know what Aeon is going to do he dose not know if she going to tryand kill him. He uses the pill because he is afraid of what she might try henever thinks for a second that she will respond just as he would want herand 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 perhapsthey are objects, concubines, whores whatever. It's no different than if apimp slipped a micky into one of his girl's drink to sleep with her. ButTrevor later refuse because of the difference he notices in this particulardupe (the real Aeon). As for the fluid, it's probably just wine.
SRM: The combination of what's probably wine and the drug makes strangesense. The wine is romantic and typifies Trevor's and Aeon's usual sexualfreeplay. But the drug indicates that he's unsure of what will happen, orsure that he'll need to calm her down. So the two together mean he's bothready for the usual and prepared for the unusual. The confidence of havingher is no longer in his actions.
(36) Aeon advances on him, not really acting like herself. Does she do thison purpose?
VAS: Yes, I think she does this on purpose. She's just playing with Trevor'semotions, 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 caresfor him.
MAR: Common Mistres/Master - slave relationship.
DRN: She trying to get him to fall in love with her this we know for surebut she does it fairly overtly and that brings up some questions. Either sheis just trying to hard to seduce him and does not really see how obvious sheis being or she kind of uses this overkill to kind of mock Trevor desiresalmost to say "is this what you really expected for me to just instantlybend to your whim?" Subconsciencely maybe this is exactly what Trevor wantsbut 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 differenttechnique next morning. But she does try again--differently--meaning thatshe's underestimated him. She thought a pretty straightforward coming at himwould 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 heexpect?
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" isnot conquer in the least. Taking them, when they actually don't really wantto be taken is the conquer. It's a domination thing. Which is why when shestraddling him, she says, "So is this more like it..." then laying downbeside 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'spersonality. She's been sort of flirting with Trevor for the past threeepisodes, kind of leading him on. When she just gives in right away, thereis no challenge. I guess he expected her to be sort of coquettish, kind ofplayful, and there's no reward or sense of accomplishment when she justgives in.
DJ: She was willing ... And not the amazingly impossible to get Aeon he'scome to love ...
DRN: See 36 and He kind of expected her to eventually fall for him but notlike she did here he kind of doubts the process has gone right but knowsthat is not it. He knows this is not how Aeon would not normally act hewants 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 atTrevors. She doesn't act like a person who'd been effectively kidnapped. Hedoesn'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'dtried gone wrong. Why don't they do anything for him?
VAS: The answer to this goes back, in a way, to my answer to number37...they don't do anything for him because it's not just having a copy ofAeon 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 arethere for Trevor's pleasure. And while that's what he wants, he doesn't wanther to want that. (whew) Trevor doesn't want Aeon to WANT to be there forhim. 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 peoplethat 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 detailof 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 arewomen that he has dressed or picked out that look like Aeon but are notAeon. That is the reason that they do nothing for him they do not offer thedanger and the passion that the real Aeon offers at there paramount they arejust images of Aeon not Aeon.
HD: I thought they were just other women he'd found who looked like Aeonbecause he wanted the real thing. He is unhappy because it would appear thathis technique has failed to deliver
EH: The multiple "Aeons" in Trevor's bed are not clones, but rather womenmade up/altered to resemble Aeon. Look closely as they exit and you'llnotice inconsistent hair styles and coloration. They are the product ofTrevor's obsession, but not his experimentation.
SRM: If the women there are not duplicates done imperfectly, why are theythere 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 thecontext of the episode it would make no sense for him to just have theseAeons who are simply other women lying around, but it does makes sense ifthey're bad dupes, the products of his trying to perfect his duplicatingprocess before trying it on the real Aeon. I'm sure he found women wholooked like Aeon to try the duplicating process on, and even moreso herealizes they're not the character of Aeon; they don't have her spirit, in asense.
(39) Aeon2 is creating something in the meantime--a bomb?
DRN: (see 37 and 2) Aeon and therefore Aeon2 see cloning as a major threatto there individuality, that statement in itself seems to be a paradox(see22, 23a, 25, 30, 31), so therefore she plans to build this bomb and destroythe cloning.
(40) Aeon wakes, looks in the mirror, and notices the brush. Again thisreflection imagery returns. Does it make Aeon realize something aboutherself?
DRN: She realizes that she is going to have to change in order to accomplishwhat she wants to get done. This may seem contrary to what i have statedearly since i claim that they do love each other. They do but not at all inthe romantic way we are used to thinking of they love each other as enemiesbecause this relationship is what makes them who they are. But this is notAeon aim at all she want to make Trevor love her in the romantic way becauseif she is to die, and she does have to die, it will hurt the most if heloves her as the way a husband loves a wife and not the way the currentlyview each other. Aeon does not have to change completely, because that woulddestroy Trevor's interest, but needs to change in order for her to love herin this way.
SRM: Keeping with the reflection imagery started at the beginning of theepisode, we have for the first time Aeon looking at her reflection--themotivation that keeps her and Aeon2 in line with each other. What am I hereto do? she seems to be asking. And knowing that last night didn't work atall, she changes tactics.
(41) The other Aeons run out of the room when the Aeon with her hair downwalks 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 butwomen made to look like Aeon. The remark is one of legitimate surprise whowould ever think that Aeon Flux would just stroll in to Trevor Goodchild'sbedroom?
SRM: These dupes, made to look like Aeon, must obviously know her since theyrecognize her. Yet they're not appalled at each others' presence, so theymust see her as the real deal. They notice this before Trevor does, andwhether 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 onlypoint to Trevor's firm state of mind over his disappointment with herbehavior 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 notto 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 eachother] Do you? [they kiss, and Aeon closes the gun]
DRN: Trevor sees Aeon as different and doesn't think that Aeon realizes thathe wants her exactly as she wants.Aeon here kind of sets Trevor at ease here they are no longer at odds thisvery clearly illustrates it Trevor is not afraid of her shooting him andAeon has no intention of doing so.Trevor does not want Aeon like this he wants her the old way like she wasbefore she does not want this new pretty, passive, lovable Aeon he wants theother one.This is very interesting I think Trevor realizes here he does not Trust atleast not completely and that is what does it for him he know believes theyare 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 teasingAeon, not the willing submitting one. Aeon comments on his libido, sayingthat he wants to love the real Aeon, but wants sexual relations with thesupposed clone with him. Trevor's next line Shows the fright was what heliked of her. he wants and has absolute control over all but her ... this iswhy 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'treally know)A: (YOU don't really know what you either. Would you prefer it if I killedyou 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 sheimprovising]
SRM: When Aeon agrees that she doesn't know what she wants, she's admittingthat 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 upto Trevor she reintroduces the element of fear, and that's enough to getthem both realizing that Aeon is for real, not up to her antics from theprevious night. In a great change of heart, Aeon becomes submissive, givingherself to Trevor and closing the gun, the act of which is symbolic of herclosing her death plan off for the moment.
(43) Aeon2 walks into the biogenesis room. Aeon's vial is gone. We see thatthe people that had been interrogating Scafandra in the first place wereduplicates themselves. Is Trevor the only "real" person left?
DRN: One of the other vials seems to be of Bambar from the Custodian episodei think, but to go as far to say Trevor is the only one left is a little toofar because who is real who is to say this Trevor is even real perhaps he isTrevor2 or Trevor200 for that matter it just kind of puts the seed of doubtin the viewers mind. Who is real? The answer: it does not by any meansmatter one bit.
OY: Pretty much. Earlier, Aeon makes a comment about Trevor gleefullycopying himself into oblivion. In reference to this, it means that Aeonexpected Trevor to be doing this for himself. But mayhaps, he felt thatcopying himself would have taken away his individuality. You'll notice atthe beginning, the two clone guards said simultaneously "Trouble Boss?" andTrevor 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 muchmore is now at stake than she originally imagined. Trevor is holding thevial, or has destroyed it, meaning he has a much greater stake in copyingAeon than simply to enjoy her. Why is he not making multiple copies? Aeon2has 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. Whathas been decided here? Are they in agreement?
MAR: She in essence was there to kill him. But instead she fell for him. Shewas merely saying the plan did not worked as she thought it would.
DRN: Trevor almost lightheartedly wonders why Aeon made the switch ishowever important to know that he does know he has the real Aeon. They areno longer at odds their strife is over they seem to be in a moreconventional sense in love, they appear to be in agreement the question knowcomes up of how deep Aeon feelings run will she carry out the plan will shebreak his heart?
HD: He know's he's with the original Aeon and she planned his making a copyof her. Accept perhaps they are in love now. He throws the vial away to showthat he'll never make another. He later attempts to have the free Aeon, whoI 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 scenenecessary?
DRN: It kills the flow of the developing Aeon and Trevor relationship itreminds the viewer of the plan of Aeon inevitable death and the impact it isintended to have on Trevor.
(45) Scafandra, like a spider, climbs up to Trevor's bedroom, noticing thehands at the end of the bed. Why is she so worried about a duplicate ofherself? Does she have moral objections?
DRN: see 33. She is worried that if Trevor has cloned her she can notcontrol that clone and it may get that she is a double agent and that woulddestroy her.
OY: Very much so, I think. Would you want somebody to make a perfect copy ofyourself? Even biological twins have differences. Perhaps Scafandra wasworried that it was a different way of being violated. Trevor fooling aroundwith an exact duplicate of Scafandra would not really be much better than ifhe had done it with the real one.
HD: Perhaps. She calls Trevor an Egotist for presumming he could clone herand then keep her in his bed. If somebody made a copy of you would you mindhow they treated it? Would it matter if they cut it's head off and put it ona spike or uesed it to indulge their sexual fantacies? Perhaps value of athing is related to how many of this thing there are and how well they aretreated. I could expand but I think you get the idea...
KR: When Scaphandra finds Trevor sleeping with Aeon, I didn't even considerthe fact that Scaph might have thought that it was a clone of herself. Iassumed that Trevor and Scaph had a sexual relationship, and Scaph was angrybecause he had slept with anyone but her. Either possibility makes sense tome.
(46) As Aeon pursues Scafandra through the garden, we notice it's all rosebushes. 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. Aeonhas changed you know view her as just beautiful were as before sherepresented not only that but power and danger as well. When she looses hersignature hair, as in chronophasia, she seems to be more vulnerable notquite all your used to thinking of her as she becomes less outrageous andmore conventional.
(47) We've seen Scafandra trying to kill Aeon, but she tells Aeon she's justworried 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 notbelieve Aeon will really do anything to her because she kinds of sees Aeonas working both sides of the fence as well since she did in fact catch herin bed with the leader of the supposed enemy. She is, however, worried abouta possible copy which could be very potentially dangerous to her.
(48) Aeon accuses Scafandra of screwing up her plans. What are Aeon's plansat this point?
DRN: She kind of naively believes that Aeon2 will just read the note shesends and just go with out her and she will just go on and see what developsbetween Trevor. At this point she is obviously modifying the origina
― Peter Chung, Saturday, 1 April 2006 12:02 (sixteen years ago) link
AEON FLUXEpisode 5:"A LAST TIME FOR EVERYTHING"
Teleplay by Mark Mars
Story byPeter Chung
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...
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.
INTRUDERJust 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 -
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.
AEONYou 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).
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.
AEONYou've been duped; you are a dupe.
Aeon takes the flame of her lighter to the exposed tape.
AEONYou 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!!
AEONWe lured you here - and you didn't know!?
INTRUDERI - 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....
intruderGoodchild is a visionary!!
aeonA "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!
FADE OUT/FADE IN
INT. NIGHT AEON'S APT. Aeon is at home, on the phone.
aeonHe 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....
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...
AEONGod 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.
AEONCan'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.
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.
TREVORWhat 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.
TREVORGive 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.
TREVORYou!! 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!!
TREVORI 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 (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...
TREVORWell, 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.
TREVORI 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.
TREVORI'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 silentsatisfaction. He "checks his watch," not noticing Aeon'sover-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 (sixteen years ago) link
I encourage anyone who was an original participant in the discussion to fill in the details.
― Peter Chung, Saturday, 1 April 2006 13:00 (sixteen years ago) link
Thanks for the script, Peter... very funny. "Listen to me, you hole!"
― Matt Rebholz (Matt Rebholz), Saturday, 1 April 2006 14:04 (sixteen years ago) link
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 (sixteen years ago) link
― skye, Sunday, 2 April 2006 01:34 (sixteen years ago) link
Trevor's view seems to be one of "I'm chairman, I ownyou. You have no rights, why would you have any property rights?" Trevorwants complete control, he wants absolute power. Paying rights would beadmitting 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 (sixteen years ago) link
DRN: She kind of naively believes that Aeon2 will just read the note shesends and just go with out her and she will just go on and see what developsbetween Trevor. At this point she is obviously modifying the original plan.
SRM: The moment Aeon writes the note, the original plan is modified: nowAeon will stay with Trevor while Aeon2 does what Aeon originally would havedone 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 shelaughs in contempt when Scafandra dies. Does Aeon2 realize something aboutAeon that she herself doesn't?
DRN: Yes, she knows Aeon has changed even though she thought she wouldn'tshe 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 shehas changed.
OY: Yes, in a way. They both have the same mind (although the last severalhours have been different, they both had the same plan). The plan was, asAeon 2 says later "to make Trevor hurt." The two are always in theirlove/hate relationship. In a way, it was an intended strategy to show Trevorhow wrong he was, but in the process, Aeon became aware of Trevor's humanside...which seems to be why he through out the vial with Aeon's geneticinformation, and cries for the real Aeon and allows the copy to go. He cannever have with the copy what he had with the original.
SRM: Aeon2's laugh of disgust at Scafandra's death is, though I hate toadmit it, hilarious. This is Darwinism: Scafandra put her in a survivalsituation and she survived it; Aeon2 put Scafandra in the same and shecouldn't. "Humph!" indeed. Further, Aeon2, now probably remembering themissing vial from the lab, postulates that Aeon has allowed herself to fallfor Trevor. If Aeon2 stays put, she knows she'll eventually be captured. Soby staying put she puts faith in Aeon that Aeon hasn't changed enough not tocare what happens to Aeon2.
(50) The original Aeon is still in the garden, and the guards blast herfacefirst into a rosebush, which is how Trevor finds her. Aeon finds outthat Trevor wanted to kill Aeon2, but Aeon protests that "It's because she'sout there that I'm here with you!" Are they on different wavelengths? Whatare they each thinking?
DRN: Trevor really had not thought about this. He just wants Aeon2 out ofthe 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 veryreal sense part of her is still out there and doing what she should be doingunchanged by the events she has gone through.
(51) Aeon sees in the surveillance tape that Aeon2 is waiting for her. Whenthey meet, Aeon says of Trevor that she's "not finished with him yet." ButAeon2 says, "The stars in your eyes--they're stolen!" Aeon: "Things havechanged." Aeon2: "Trevor?" Aeon nods. What's happening in this interchange?
DRN: Aeon realizes what Aeon2 already knows she has changed. Look at themthey do not even look like the same women (Aeon has adopted conventionalclothes a big baggy sweater and pants with long straight hair and before herold self) and they are not at all the same. Aeon seems to become some whatashamed she knows Aeon2 is right and that is killing her. She does not wantto admit that she loves Trevor but she can not lie to herself (who alsohappens to be Aeon2). Aeon finally realizes she has changed, too much forher own good.
SRM: This is one of the only scenes in the series in which Aeon's face issoftly drawn, and for good reason: she has become soft, in the sense thatshe's allowed her desires to take over. She wanted to be able to indulge herdesires while having her ethics upheld by her duplicate, but she's not quiteto the point of being able to give all that up, and Aeon2 certainly isn'tabout to allow that. Aeon2's noticing the lack of stars in Aeon's eyes tellsus that this is not simply a matter of choice: Aeon has changed for theworse 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 isdecided 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 soldherself out. She has fallen to hard for Trevor and is trying to back out ofit and frankly it pisses Aeon2 off. Aeon2 tries to remind her of what sheshould do but Aeon is not having it so Aeon2 decides that if Aeon will notact she will act and force Aeon to do something. Two things are important tonote here, the lesser is the fact that Aeon2 calls Aeon "pretty one." Aeonobviously takes offense to this because she is not pretty, well just pretty,she is strong she is wild she is uncontrollable not just pretty whichtrivilizes her. Aeon2 uses this not only to antagonize Aeon but to get herto realize what is going on. The second thing is that this where Aeon2decides to make the boarder run and thus force Aeon to follow her in. Sheknows 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 theknowledge of what it means to keep Trevor in check, to do her duty toMonica. Which will win out? And yes, Aeon2 only gets Aeon's full attentionby 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 Aeonfollow Aeon2? What makes Aeon2 run in the first place?
DRN: see 52. The important thing is that Aeon runs in after Aeon2. Aeonrealizes that she must follow her in and that she must not come out. Sherecommits herself to the plan in that one instant. She knows she is notcoming out but she knows it is more important that Aeon2 the more pure, ifyou will, version of herself must be the one to survive. Watch as they runAeon is just the shell of all she used to be the run illustrates itbeautifully. Aeon2 runs with no emotion no fear she just does it Aeon runswith eyes and mouth wide open you can almost here her heart pounding youknow 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 thinkis that Aeon2 tricked Aeon into fulfilling the plan by running off, a sortof "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 Aeon2because she cannot abandon her principles. When she stands up and allows theturrets to kill her, she completes the plan to make Trevor regret hisdecisions. Now he can never have her again.
SRM: At this moment Aeon is not sure what to do. Her simple denial ofwatching Aeon2 run away is not enough evidence for her to convert back tothe plan. Aeon2 knows that one of them will win out, but ultimately she'snot sure either. Both don't know, and one of them will have to decide. As itturns out, as Logan points out, Aeon runs without her athletic ability, andshe even gazes in admiration while watching Aeon2 run. In the decidingmoment 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 whatTrevor feels?
DRN: Aeon and Trevor have seemed to overstep the bounds of theirrelationship and have fallen in love. Trevor loves Aeon his feelings rundeeper than even he might admit. He is trying desperately to save the lifeof his lover but to no use.
OY: As Trevor seems more humane in this episode, he doesn't want the realAeon to get killed. As he told her, she's the real one. The copy isexpendable, but the guards who fire the guns do not know this. He feelsnothing for the copy, but the real Aeon cares for him, while she stillrefuses 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 gunneddown. Why?
DRN: see 53 She knows it is for the best. She does it to make up for fallingfor Trevor she allowed herself to be changed in ways that she did not wantand she, through this final fatal, act is trying to make up for it.
SRM: Aeon ultimately decides that she loves herself more than she lovesTrevor. She sees herself as she used to be, and she knows that Aeon must goon living. And if that Aeon is to exist, her original plan must have beenright; her doubts have been unfounded. So in an unintentionally brutal twistof 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 notstand to loose both his lover and his greatest enemy in one day. He stillneed 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 whatdegree? It would be sheer speculation to guess how much she hurt Trevor butwe do know that she hurt Trevor.
OY: Because he and the real Aeon had something special. The copy is justlike Aeon before the whole episode. Either he figures it makes no differencewhether the copy lives or not, or subconsciously he wants to try again withthe copy. I don't believe the latter suggestion, though.
SRM: Love, or infatuation, or obsession--whatever you call it, it got aholdof Trevor, which is why he pronounces his letting Aeon go with such pain andsorrow in his voice. Remember that Trevor's had many opportunities to killAeon before but has not; the bond between them is too strong.
(57) The ultimate question for this episode: is Aeon2 really closer to theoriginal Aeon? And isn't it Aeon, the one that falls for Trevor, that's asfar away from the Aeon Flux we know? By going through this process, Aeon haslearned something about herself, but what? What has Trevor learned? Whathave they learned about each other? Perhaps now is a good time to thinkabout why this is "A Last Time For Everything."
OY: Aeon2 is closer to the Aeon we know from the previous episodes. But theReal Aeon that is gunned down also represents the Aeon we know. Allowingherself to be killed in order to make Trevor hurt is something that we knowshe would do. She is a survivor, but she dies so many times that it doesn'tmatter. 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, Trevorwanted her, but Aeon wouldn't allow it...not the way he wanted (probablyanother reason she let herself die). Trevor seems to learn how to admit hewas wrong. Though not directly stated, allowing the copy to escape, healmost says "you made your point Aeon." That's how I see it. "A Last TimeFor Everything," I suspect is a metaphor for how Trevor and Aeon had onelast day together, one last chance to see how they really feel for eachother, Scafandra sees one last time what Aeon really is (first she suspectedthat Aeon was in with Trevor, but then when she gets killed realizes thatmaybe she really was tricked by Aeon), Aeon before she gets killed sees onelast 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 andA2 are so alike they almost know what each other are thinking. By the endthey are having an argument. By allowing herself to die Aeon1 is unifyingherself once more. A1 has a choice to continue life with Trevor and the onlyAeon. She decides that A2 is more authentic than herself and if anybodyshould 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 Aeon2is closer to the Aeon Flux that the viewer has come to be familiar with butwhat about Aeon. Just because she has changed does that make her less AeonFlux than before? Well actually yes it does. The question seems to ask "DoesAeon some how receive redemption in the light of her own self sacrifice atthe end of the episode?" Phrased like that the answer to the question wouldseem to be yes. But the fact that she did change by circumstances she couldnot control lingers. Did Aeon loose herself because she could not preventherself from falling for Trevor? and if so does her action at the endepisode really make her herself again.Aeon allows herself to be killed for herself (Aeon2). This act would seem tosuggest that she would have regained some of herself. But would the AeonFlux we know really commit such a selfless act? Probably not Aeon as sheclaims 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 aboutherself. An interesting question: Would you die so your exact duplicatecould 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 soextreme, such an individualist to an impossible degree that she would noteven die for herself. But the fact remains that she did in fact die forherself. Why? The answer is simply she was already dead. In giving herselfto Trevor, falling in love with him, she has destroyed herself. She hadplaced herself in a situation were she could no longer be an individual shewas no a part of a larger whole, something the real Aeon could never be, asillustrated through her numerous relationships, her strange relation toTrevor (before this episode) and her fuzzy alliance to neither Bregna norMonica. She died rather because she was already dead. She had the chance tohave all her sins forgiven and walk away clean to relive her life in theguise of Aeon2 so she did it and died.Just to end quickly the only thing that Trevor and Aeon have learned fromall this is that they can not overstep the bounds of their odd relationshipor they will destroy themselves, it just happened to be fatal in Aeon'scase. To say they have learned they can love each other would be totrivilize this entire episode. What they have learned is they share adelicate relationship that is beneficial both only if they leave it as itis.
SRM: I had a group of students write a paper about how this episodesupported Freud's stability of id, ego, and superego. Aeon gives in to herid (anything for desire) and allows her duplicate to take over her superego(anything for morals, ethics). The episode concerns the ego: that logicalpart that negotiates between the illogical id and illogical superego. Theego wins out in the end, for it forces the id and the superego back intosuppression, back where they belonged.That's a helpful way of looking at this episode. When I first saw it I wasamazed that the ending allowed her duplicate to go on doing her work. That'sa moot point now that I think about it, since the show insists onnon-linearity. Intriguing to me, though, is that the duplicate now knowswhat 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 toknow?), would approach relations with Trevor very carefully, would she not?Aeon's individualism rings as true as can be in this episode: she dies forherself. Not to do so would mean denying that she is of importance, which ofcourse can't be valid for Aeon. Relationships are about giving up part ofyourself 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 ableto sustain a romantic relationship, and now they both know that. But sincethe series makes no claims to carrying knowledge over between episodes, wecan't call this episode a learning experience. But we can call it ameditation on identity, the self, and what at the core of their beings Aeonand Trevor are willing to do to uphold what they value most.
― Peter Chung, Sunday, 2 April 2006 01:57 (sixteen years ago) link
Yiy, say I! AyeY!Y!
― Mark Mars, Monday, 3 April 2006 03:43 (sixteen years ago) link
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 (sixteen years ago) link
― Mark Mars, Thursday, 27 April 2006 03:43 (sixteen years ago) link
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 (twelve years ago) link