“A LAST TIME FOR EVERYTHING’
(Final- as recorded)
INT. DAY, TREVOR'S OFFICE.
Trevor is speaking with a YOUNG MALE DONOR, who has donated samples of his DNA and spinal fluid for a new human duplication process. The Donor is tall, athletic and handsome in a stereotypical way. Trevor is dressed in a tight-fitting white lab coat.
The Donor walks alongside Trevor, who is checking the progress of experiments being conducted on the Donor’s COPIES. The copies are exact physical duplicates of the Donor and have been placed in cramped GLASS CAGES in a row; each Copy is labeled with a NUMBER on the door of its cage. Trevor makes notes on a clipboard as he passes in front of each cage.
The experiments are much like those conducted on laboratory mice—
#1 is being spun around on a turntable.
#2 is being exposed to a powerful source of radiation.
#3 is half-submerged in water in which swims a strange eel.
#4 is continuously inhaling smoke from a rubber tube.
#5 is subjected to sensory overload via electronic devices attached to ears, nose, eyes, fingertips.
In spite of the arduous-looking tests, the Donor seems uninterested in the potential discomfort being suffered by his Copies within the glass cages.
The two men talk as they walk past the test subjects.
On endurance test, two of your copies,
3 and 5, are giving very good data.
Actually, I came because I wanted to know
if you’d be interested in taking an
updated cloning sample of myself.
Did I ever say anything about cloning?
These are copies. Expendable by virtue
of their redundancy. They're just copies!
All right. Whatever. As I said, I thought
you might do with a more current version of myself -
Because the sample I gave you may have been, ummm…
Just then, they pass in front of COPY #6 - the TEST SUBJECT seems paralyzed with fear while facing a pair of woman’s panties dangling in front of him. Trevor reads from his clipboard.
Hmmm…”severe inhibition of pleasure responses."
Trevor looks at the Donor with a slight grin. The Donor is a bit flustered.
So, uh - with my improved attitude, I think I….
We've everything we need from you.
Well, how about royalties! I thought
I'd be set with this!! There's a certain
question of property rights involved! Potentially...!
PROPERTY RIGHTS - !??
Trevor presses a buzzer on his clipboard. Two more copies of the gentleman presently standing beside Trevor enter, poised quite formidably for ANY TROUBLE.
Right here. Take it out.
The copies forcibly escort their original out the door of Trevor's office. Trevor sits back down, a hand to his head, sighing exasperatedly.
FADE OUT/FADE IN:
EXT. NIGHT (VERY HIGH ANGLE) - A SECTION OF THE BORDER IN A REMOTE, DECAYING REGION OF MONICA .
AEON (wearing a BLACK, FULL BODY SUIT) and her cohort, SCAPHANDRA, (a lithe, sinewy female agent with long legs which end in an extra pair of hands instead of feet) are doing warm-up exercises - stretching and twisting their limber bodies. They crouch together (like track-runners), poised at the Border perimeter. Before them, we see that the Border section is a large series of tall and narrow, intersticed buildings. There is, however, only ONE AUTOMATED GUN TURRET, towering above the passage. Beyond it lies well-groomed Breen territory.
CLOSER ON AEON and her partner.
Too bad about their shutting down D-Section.
No one knew about that corridor.
Maybe a double agent...
I don't understand why you keep using this one, Scaphandra.
But if it gets me across...
Just remember to watch your feet.
Aeon glances at Scaphandra's ankle-hands.
You lost them here? I like the transplants, by the way.
Yes. So do I. You will need me for the return?
(pointing to the opposite end of the Border)
Of course. Wait for me at that point in three days.
SLAM CUT INTO MIDDLE OF ACTION - The duo making the run starting together, then splitting off as they approach Breen territory from either side of the tower between them. Already dodging the sweeps of its automated gunfire, their action distracts the thing from either side as they play off of its slow reaction time. It can't get a bead on either of them as it has to try to get them both. When the turret gets a fix on one of them, she's already behind a building as the thing unleashes short bursts at her, harmlessly raining bullets against the edifice. At the same moment, the other of the two is taking the interval to advance further along the way as the turret again reframes for a firing. The pair play off one-another alternately in this way, all the way down the line.
But at the last step of the way, Scaphandra ABANDONS Aeon. Using her prehensile lower limbs, she skillfully performs syncopated maneuvers which baffle the rusty gun mechanism. Safely on the Breen side, she turns back to look into the border passage as the turret trains onto Aeon, forcing her back behind a thin wall. Aeon's unable to see as A GRAY SEDAN pulls up. The DRIVER is a portly Breen Agent (FATBOY).
ON SCAPHANDRA (getting into the back of the car):
(to herself, sardonically and referring to Aeon)
Good-bye, sweet thing.
The sedan peels out into the night; Aeon doesn't see it as she's preoccupied. Aeon realizes the turret head is still CONTINUING its current hail of fire at her. Aeon is behind one of the narrow buildings, but it won't last long because -
(aloud and half-panicked:)
Under intermittent automated fire, the narrow building is slowly but surely wearing away to nothing. Aeon is forced to do something.
ON AEON'S GUN: There's a three-digit LED WINDOW at 99 on her AMMO CLIP; her finger hits a SWITCH into "TURBO MODE" -
Never tried this -
Her gun drawn, Aeon releases gunfire of her own against the oncoming barrage from the tower as she rushes out into the fray. The respective bursts of gunfire form a shield of attrition that even so is slowly encroaching upon her as she simultaneously dives through a series of wild gymnastic tumbles and maneuvers --
EXT. BREEN TERRITORY; NIGHT
Aeon slides down the slope on the Breen side, landing on a STRIP OF HIGHWAY where Scaphandra had just been picked up. Aeon looks around; no sign of her partner.
Aeon climbs a RAISED AQUEDUCT and slips inside.
PAN the length of the duct; it leads into a low, sprawling, bunker-like building.
INT. BREEN LAB FACILITY; NIGHT
Aeon stealthily emerges from a UTILITY CLOSET, into an aseptic corridor of what appears to be a SECRET MEDICAL RESEARCH CENTER. Bright symbols representing odd areas of specialization are painted on the walls and doors. Occasional sounds of drilling, screaming, people yowling, etc.
Aeon follows a sign showing a stylized human figure with a small "2" on its upper right (as in "to the second power").
INT. THE "HUMAN SQUARED" LAB
Aeon enters the large room which is sparse in its contents.
PAN with her as she surveys the room: in the center is what looks like an elaborate dentist's chair equipped with miniature power tools, restraining straps, anesthetic mask; next to it is a steel gurney laden with surgical instruments; on one wall, a large sink with valves and hoses; a strange diagram of the human body; a single wide shelf is set high in one corner, as if to store something out of view from people on the floor.
Aeon perks up to the sound of a group of men approaching outside the door. She silently jumps to grab onto the wide shelf in the corner, and swings herself up onto it in one fluid move. She lies flat, out of view, not moving a muscle. The door opens.
C.U. ON AEON
She frowns, listening to footsteps on the floortiles as the men enter. We hear the O.S. sounds of grunting, struggling, buckles clicking, then relief as the men settle. We notice the sound of muffled, heavy breathing. Then a familiar voice:
All right, I think we're ready to start.
Aeon smiles with the recognition.
ANGLE - FLOOR LEVEL
On the floor of the room, there are FOUR MEN (TWIKKA, SINNAH, TREVOR and FAT BOY), standing about SCAPHANDRA, who is seated in and bound to the MEDICAL CHAIR. (Scaphandra has apparently been APPREHENDED, and is being given a Hard Time. She is apparently being interrogated by the others.) Scaphandra is gagged with an odd TONGUE-HARNESS (Design Caution).
The three Breen Agents have holsters with GUNS. Trevor is dressed in his white lab coat, and unarmed. Up above, a narrow OBSERVATION SLOT slides open with the hooded eyes of a Watcher monitoring the scene behind the wall.
PAN UP to the SHELF above their heads - with Aeon hiding, out of view. Aeon peeks over the edge of the shelf. She reacts with surprise to the sight of Scaphandra in the room.
You kozt way too much, buh-ddy.
Fat Boy pokes Scaphandra in the ribs with a steel-tipped prosthetic finger. She winces with pain.
You are one tough little cookie -
let's see how crusty, what do you say?
(muffled by the tongue-harness, but intelligible:)
Twikka grabs Scaphandra's hair, pulling her head back harshly and contemptuously, tilting her face towards his.. (check violence)
Now, TAKE IT EASY!!
OTS AEON, watching from the shelf. From her hidden vantage point, she collects her thoughts. Aeon pulls out her gun and checks her GUN'S LED DISPLAY. It reads "3": only THREE BULLETS LEFT!
She never took it eeeeeasyyy - eh, girlfriend!
Sinnah squeezes Scaphandra's ankles, causing her fingered feet to contract like claws.
Runs like a champ!
Butchoo kannt hide.
Ruthless till she's toothless.
Now, this is becoming so gratuitous! Scaphandra.
Trevor crouches down to look at Scaphandra, face-to-face.
Now, what do you say?
ON SCAPHANDRA - staring daggers back at Trevor.
You're really overdoing it, you know?
These good men have had patience with both of us,
for quite a while, but they have limits. In fact,
you're surely overextending your own by this point.
I mean, you could DIE of this sort of thing.
Trevor produces a distinctive METAL CIGARETTE CASE from his trouser pocket. Withdrawing a cigarette, Trevor continues:
Now, you know we can't do that, Twikka.
Our friend here knows things.
But maybe we can satisfy us both.
Trevor lights the cigarette -
How about-- I keep a copy of her, and I let you...
well, do what you want. You can mark up your
original as long as I've got a clean copy.
Putting away the cigarette case, Trevor now slides back his left sleeve to reveal a strange wristwatch-like device strapped to his wrist. He approaches Scaphandra and unbuckles one of her wrists from the chair. He lifts her arm up and with his left hand caresses her armpit gently. A very long, very thin NEEDLE extends from the wrist device and penetrates Scaphandra's underarm. (No Extreme Close-Up)
X-RAY VIEW of Scaphandra's shoulder, neck and head. The hair-thin NEEDLE advances deeply into her tissue, finally penetrating the spinal column.
CU SCAPHANDRA'S FACE as she moans from the strange sensation. The needle is too thin to cause any damage.
EXTREME CLOSE UP on Trevor's wrist device. A miniature glass vial-like compartment fills up with Scaphandra's spinal fluid. Then filled to the top, the body of the "watch" begins to rotate, and the thin, flexible needle-wire begins to retract
As Aeon watches what's happening, she carefully and deliberately bursts a seam in the armpit of her full body suit, producing a small OPENING.
THREE SHOTS RING OUT; Twikka, Sinnah and Fat Boy all drop to the floor. (depict non-graphically) AEON steps into frame with her (empty) GUN in hand, aimed at Trevor, as he withdraws his "watch" from Scaphandra.
You really make me sick. Untie her.
Trevor unties Scaphandra's tongue-harness.
(Gasps, getting her tongue back--)
What are you doing here -
You're in on this!
HAHAHAHAHA! No, Scaphandra.
(Then, to Aeon)
She knows you're not.
(Then, back to Scaphandra)
You've wasted my time holding out for more perks,
you ruin my carpet holding out for a beating,
and now,! Now, we've wasted three ummm...
"people" over your greedy extravagance!
Trevor turns to Aeon.
A look of undisguised surprise, shock.
Scaphandra responds with a pleading "no" nod of her head, back and forth.
Scaphandra, we'll talk later. But I'm not
about to leave you here with...
WIDE on the scene
I think it's more in your interest to terminate
this tramp than it actually is mine...
ON AEON: Narrowing her eyes on Scaphandra suspiciously.
Just hurry up.
POV AEON: As he unties Scaphandra's remaining bonds, Trevor returns his gaze to Aeon:
(cont'd., to Aeon)
She's already a double-agent; is there
a cost-issue with her becoming one literally?
(Then, to Scaphandra)
You're not paying the cost of copying you! We are!
Just then, Scaphandra's TONGUE unzips at its underside, and two long and thin LINES unfurl toward the observation window. Simultaneously, from the palms of her feet/hands, two lines with small, inflating WHEELS run out toward the wall behind her. They insert themselves into a TRACK in the floor along the wall. The lines from her tongue attach to the observation window ledge. The wheel-ends at the other end of the lines that came from her heels RACE in opposite directions away from each other towards opposite ends of the track. This sends Scaphandra STRAIGHT TOWARD THE OBSERVATION SLOT. When she gets to the ledge, the wheel-ends DEFLATE, detaching from the track in the floor and the lines RETRACT back toward her as she GRABS the ledge and CATAPULTS past the Breen Watcher, away to freedom.
As this happens, Aeon takes advantage of Trevor's distraction and whips her gun (caution) in his direction as she turns toward him, she knocks the strange glass vial containing Scaphandra's fluid out of Trevor's hands. The vial shatters as it falls to the floor.
Your operation is finished.
Trevor looks to the shattered vial on the floor, then up to Aeon.
My work offends you. Why? Human beings are
not so unique. Just a random arrangement of
It suits me.
(looking her over, conceding)
Yes, it does.
Trevor kicks the remains of the shattered vial across the floor. Aeon thrusts her elbow out as she props her arm upon her hip, exposing her opening at her armpit to Trevor. She scintillates.
Oblivious, Trevor turns away from her and gaze at the anatomical diagram on the wall.
These people you’re copying are already superfluous
You’re trafficking in excess.
Trevor stops pacing, turns to address Aeon, pleased by her remark.
The issue is not excess— but access.
Others take away reproductive rights—
I grant them.
Aeon, without appearing deliberate, flashes the exposed opening of her body suit at her armpit so as to attract his notice.
How very progressive! So you can go
gleefully multiplying yourself into oblivion!
Well, why not?
Although, since you’re here, the standard
method of procreation does suddenly seem appealing…
You are so charming, Trevor!
Finally, his eyes dart to the burst seam under Aeon’s arm. She pivots on a heel, making as if she's leaving. Trevor follows after her, raises his voice, inciting Aeon. (Choreography of this scene to be elaborated in storyboard.)
Aeon pivots back toward him (on her other heel), her underarm still exposed, her eyebrow cocked at him in an expression of doubtful curiosity.
(coming toward Aeon, arms reaching out)
This doesn’t concern you.
Trevor embraces her.
You’re not going to interfere with my work—
As Trevor embraces Aeon, the tiny mechanical needle (again) spirals out from the perimeter of his "wristwatch" and snakes into the opening of her suit she created at her armpit, penetrating into the flesh. Aeon simultaneously suppresses an involuntary gasp.
What makes it so important- ?
I’m a doctor. My reasons are confidential.
Fine- then you’ll know why I’m shutting you down.
Aeon takes off, pretending she hadn't noticed Trevor's action (though suspicious of Trevor's lenience in allowing her the chance to do so). She fires her hook-wire into the observation slot used earlier by Scaphandra to escape. The Watcher barely registers a reaction as Aeon glides over his head, then out the door of his cramped booth. Along the way, she checks the opening at her armpit in her body suit, feeling for the needlemark left in her armpit by Trevor. A smile of recognition and satisfaction crosses her features.
Running down a long hallway, she passes a lighted room. Glancing in, she sees three people at a table playing cards. They are the doubles of the three agents she shot earlier: Sinnah, Twikka and Fat-boy. She knits her brow in slight confusion, then proceeds.
FADE OUT/FADE IN:
INT. TREVOR'S LAB. Wearing a white lab coat, Trevor is busy at a console, his gaze fixated intently upon a VIAL he holds in his hand. (It's labeled, "AEON.") Taking the vial with him he walks over to a large device which looks like an injection mold of a human being. He opens the front of the device, revealing a gridwork of interstitial and very long needles, protruding from both halves of the interior. Trevor produces a DROPPER, takes some of the fluid from the "AEON" vial, and empties the dropper into a recession at the "head" of the device. Closing it up again, he returns to his console and monitors the copying process from there.
POV TREVOR: VIDEO MONITOR. We see the distinctive needles and other features of the interior of the human mold. Some sort of FLUID is filling the needles (each "needle" has a little window).
A strange protoplasmic scum begins to "grow" along the needles -
Now the scum has begun to grow out into a spider web network of thin filaments - soon worming and weaving together at a pace exponentially-increasing in its furiousness -
Suddenly, there's the unmistakable image of a skeleton, a central nervous system, etc...
Trevor shuts down the system by typing a few commands on a keyboard at the console, and moves OS.
INT. HUMAN "MOLD": It is dark. The silhouetted profile of Aeon(-2) is discernible. A CRACK OF LIGHT illuminates her features as Trevor opens the front of the device. She is covered in a thin film of clear slime, pierced head-to-toe with the needles, all the way through her body. The needles are coming out of her at front as the front of the device is carefully being pulled open; the tips of the needles going through her from at back are seen jutting through her at the front of her body.
WIDE ON THE LAB with the human mold device as Trevor takes Aeon-2's hand and leads her out of the device, she moving carefully forward and out of the interior of the strange apparatus, the needles pulling out of her as she slowly and carefully moves forward. Now Aeon-2 is left with scores of tiny red dots all over her, which quickly fade into flesh. She stares straight ahead, trying to maintain her balance. Trevor attends to her very carefully.
I have you — any way anyone could ever possibly imagine.
Aeon-2 stares straight ahead, oblivious to Trevor's remarks.
Trevor sweeps her up (like carrying the bride over the threshold), and carries her over to a METAL TABLE in the lab. He carefully lays her down upon it. She’s breathing normally.
Trevor wheels her out of the duplication lab, a loose gown draped over her shoulders. Aeon-2 takes careful note of her surroundings: a HIDDEN SWITCH that Trevor hits to seal the entrance to his lab; the narrow corridor leading back to the elevator that carries them back to the surface.
Trevor pauses to change out of his lab coat. He shows Aeon-2 the door to the bathroom.
Make yourself presentable.
INT. BATHROOM IN TREVOR'S LAB FACILITY
Aeon-2 enters the spacious stone-tiled room. She glances up at the inevitable surveillance window set high on one wall with the vague form of a Watcher beyond it. She removes the gown and steps into a huge sunken tub (the size of a small swimming pool) of steaming water. She submerges her head.
ANGLE - IN THE TUB, UNDER WATER
Aeon-2 sinks to the bottom and reaches for a grate set in the floor of the tub and loosens it. She swims into the dark opening, through a narrow tunnel, past underwater cages containing sharks, then, reaching the end of the tunnel, rises up into a cramped grotto-like space where Aeon-1 crouches, waiting.
Aeon-1 reaches out and touches her copy on the mouth; she gently presses the lower lip down. She checks the teeth.
He did a good job.
Yes. You're me. Lovely.
Aeon-1 removes her clothes and gives them to Aeon-2, who slips them on quickly as they talk.
Umm... How do you feel? And what about the lab?
I'm fine; the lab is easy. Waiting for you for
three days will be hard.
These things take time.
Crush his soul.
AEON-1 & 2
Impale him upon his own ego.
The two move closer together, as if to tell each other a secret. They kiss.
(Scene to be played eerily.)
Are you ready to do this?
I am. You'd better be. When I'm done...
Aeon-1 dives back into the water to return to the bathroom; Aeon-2 exits the grotto via a rear hatch.
END ACT ONE
INT. A ROOM WITH STEEL WALLS
Aeon-1 awakens alone in a STARKLY LIT ROOM with no windows. The walls are made of steel; in the center of the room, a narrow METAL PLANK rests on a hinge - like a LARGE SEE-SAW. Aeon-1 rises to her feet, disoriented she finds that she is at the fulcrum of the metal plank. As she shifts her weight, the see-saw totters one way, then the other. She maintains stability only standing at the precise center of the plank. She notices that CABLES attached to one end of the plank control the position of a STEEL SLIDING DOOR at the other end of the room. As she moves towards the door, causing the plank to tilt the other way, the door slides shut. She can open the door only by being at the opposite end of the room. She looks down and sees that the floor consists of a STEEP FUNNEL— if she were to step off the plank, she’d be trapped at the bottom of a four-sided pit with slick walls, impossible to scale.
Trevor is observing her through a slot set hight above the sliding door.
She knows she’s being watched, but pretends not to notice. She begins a deliberate and meticulous examination of the room, looking fora a way to escape.
You’ve done it before, Aeon.
Don’t let me down now.
Aeon strips off her outer garment; she ties her costume to the plank in a tightly knotted loop. She takes a deep breath, then jumps hard downward on the side of the plank near the door, causing the see-saw to rotate 360 degrees, causing the door to drop lower than then closed position.
Unnh! (Grunt of effort)
She grabs the knot of her costume tied around the plank, holding on as she is carried by the momentum of the spinning plank, then releases it as she is flung through the air and through the open passage to freedom.
He’s pleased by what he sees.
INT. EXIT PASSAGEWAY
Aeon rises to her feet, satisfied with herself, and starts walking deeper into the passageway. A sound of screeching metal approaches from before her. She retreats quickly as a wall of metal slides through the passageway at her. She runs back into the see-saw chamber and jumps onto the plank, grabbing the tied loop of her discarded costume which is still attached to the plank. The screeching wall of metal slams into the doorway, blocking the passageway. The costume loop slips and Aeon falls into the funnel below her. She’s ejected onto a bed in a room below the see-saw chamber.
INT. BEDROOM (IN TREVOR’S COMPLEX)
ON THE BED
Aeon-1 awakens in a room in Trevor's suite of quarters. She stretches, and takes note of her surroundings.
Trevor is there to greet her, pulling a cigarette from his case.
He reaches for her to kiss her. Aeon-1 slaps him hard across the face. He swiftly converts his cigarette case into a miniature gun and points it at her.
Surrender is sweet.
I’ve something to say…
Trevor ignores her; he leaves her in the room. Aeon-1 scuffs the floor with her heel and shrugs after he’s gone…
The copy you made of me is scheduled to blow up the lab in
EXT. DAY, BREEN ALLEYWAY .
Aeon-2 awakens out of a pile of trash she'd hidden in the evening before. She rises up out of it, shaken. She quickly retrieves a leather container that she’d hidden for the night (containing the BOMB).
A SECURITY ALARM sounds, one reminiscent of all those cheesy DISCO CAR ALARMS we hate. (Mounted next to it is a BIG MEGAPHONE.)
Scaphandra ducks out of sight.
Aeon-s reacts to the alarm and rushes deeper into the alleyway.
ON BREEN SECURITY DETAIL
Three of them, coming down the alleyway on foot after her.
This is Interior Controls!
You are FIVE INCREMENTS from HOOLIGAN STATUS!!
And counting: THREE... TWO... ONE...
ON BREEN SECURITY OFFICER:
BREEN SECURITY OFFICER
Unleash the OBSTACLESCAPE!!
Suddenly, Aeon-2 is faced with an alleyway that becomes a surreal weapon-of-terrain: monolithic slabs shoot up out of the surface of the street, then retract again. Aeon-2 furiously negotiates the course as Breen Security does the same, maintaining pursuit -
Your NFI: 9,837 and accruing...
The course is compounded in difficulty by the sudden effect of the "road's" surface now breaking up and vertically shifting in independent sections. Aeon-2 is forced to improvise in extraordinary fashion...
BREEN SECURITY OFFICER
UNLEASH THE LASHES!!!!
Now the terrain of the alleyway has stabilized -- but suddenly, out of the asphalt, a huge row of EYELASHES grows, whipping wildly. The row blinks over and over, trying to clear itself of whatever is invading it (Aeon-2 is the "fly").
Aeon-2 is lashed mercilessly as she runs the gauntlet of eyelashes -- by this time, there are no more Breen Security Officers left or willing to pursue her. The lashes whip and flail, trying to snare her, but she is agile enough to escape capture. The lashes lash her up - not bloody, but reminiscent of (say) torn fishnet stockings--
At last, Aeon-2 escapes the lash trap. She slips into a sewer drain...
INT. TREVOR'S LAB
...where he developed the Aeon copy (Aeon-2). Trevor picks out a test-tube from the test-tube rack. It is the same test-tube marked "AEON" we remember from before:
EXTREME CLOSE UP
Trevor's eyes distorted, refracted through the liquid in the tube.
He pours out a single drop onto his fingertip and gently rolls the viscous droplet between thumb and forefinger.
A NURSE enters.
Mmmm - !
Shakily, Trevor slips the test tube into his trouser pocket.
Is there anything you need?
Umm… mmmnn, no!
Trevor slinks out of the lab, knocked out of his reverie.
ON AEON-1 -- NIGHT
Lounging on a sofa in her “guest bedroom”. She's seductively dressed.
WIDE ON THE ROOM
Trevor enters. Aeon-1 behaves as though she were still alone. She caresses her cheek with her fingers gently while staring at an empty spot on the floor. Trevor positions himself opposite her. He looks at articles of CLOTHING HANGING ON A RACK on the far side of the room.
Nothing that happens between us matters.
(staring at the floor)
I’ve heard that one before…
(softening his tone)
(inhale) That sofa is very comfortable, don’t you find?
Yes, it’s amazing, actually.
Trevor moves to a WINE CART near the sofa and absently touches BOTTLES and GLASSES.
I copied you— but you know that.
You may as well enjoy the luxury of
letting go. You can afford to.
You’re extraneous— and in the end, disposable.
Am I behaving atrociously?
Perhaps. But no one need ever know—
As he speaks, Trevor dispenses a small amount of RICH LIQUID into a COCKTAIL GLASS. He approaches Aeon-1. He bites his lip, takes a deep breath.
Aeon, I want you.
Aeon-1 raises her head to meet his gaze. An awkward moment as they stare at each other for what seems an eternity. Aeon-1’s face slowly breaks into a smile. Then, suddenly, she jumps to her feet. Trevor is alert and aroused, expecting an attack. He manages to place the glass on the floor as she pushes him back onto the bed.
So is this more like it? Or is this?
She rolls onto her back on the bed.
Suspicious. Excited. He slowly leans forward over Aeon-1, then reacts suddenly as—
Aeon-1 reaches for Trevor.
Come on lover. I know what you want.
WIDE ON THE ROOM
Trevor pulls away and jumps off the bed.
This is all wrong.
What's the matter? Is it my clothes?
ON TREVOR: A look of suspicion crosses the features of his face.
You have changed. You are changed.
Trevor, I don’t know what to say…
Good. Because I don't want to hear it.
Aeon-1 reaches beside the bed and pulls up the glass holding a small amount of rich liquid. She smiles, then chugs the drink.
Take me, Trevor— DO IT.
Aeon-1 immediately falls unconscious on the floor, anesthetized.
Trevor picks her up, laying her neatly upon the bed. Withdrawing from her with an expression that is a twisted mix of puzzlement and revulsion, he goes to the door, starts to close and lock it, then changes his mind. He leaves it slightly ajar and open to the outside.
Just don't be here in the morning when I wake up.
Shaking his head in complete perplexity, he leaves the room.
INT. TREVOR'S BEDROOM.
Trevor enters, shutting the lights off in the room adjacent. A LARGE BEVY OF ABOUT TWENTY "GROUPIES" are "draped" or sprawled about on a LARGE bed, all of them apparently "crashed-out."
LINGER ON CU:
A groupie with Aeon's hair (almost). TREVOR'S HAND appears from OS, examines/fondles the texture - then hesitates-
A pained grimace of ennui.
QUICK CUT - PREVIOUS
Trevor's hand withdraws, recoiling.
WIDE ON THE BED - INCLUDE TREVOR
Removing his robe, Trevor retires among them. Restless, he shifts. He turns to look at one of the women; he looks blankly into her face as he speaks, though not really addressing her.
What is it! She's different!
Did something go wrong?
The woman stirs drowsily; she reaches out for Trevor to snuggle against his chest.
No, it’s not possible.
But what else could it mean!
INT. AEON-1’S BEDROOM - LATER
Aeon-1 stirs to consciousness. She opens her eyes, looks around the dimly lit room. She’s on the bed where Trevor left her, her dress intact. She gets up and goes to the mirror; she checks herself, then reaches for a hairbrush on the shelf. She smiles.
INT. TREVOR’S BEDROOM
Time passes. At last, Trevor shifts and sits up in bed, grabbing a slim CIGARETTE CASE from the nearby dresser. As he lights up, the door opens. Instinctively, Trevor unfolds the cigarette case, converting it into a gun, which he raises toward the door. In the open doorway stands Aeon-1. Her hair hangs loosely o her shoulders. In her elegant, low-cut dress, she is a vision of loveliness.
Aeon-1 approaches the bed, clearly bemused by the groupies' all-too-obvious Aeon-esque affectations, some of them preposterously garish. She touches the hair of one in particular. She smiles to Trevor, who simply purses his lips, then looks away from her, cringing in embarrassment.
Then suddenly, the groupie whose hair Aeon-1 is still fondling groans, shifts and, popping her eyes open, awakens to see Aeon-1 standing above her.
The groupie creeps out of the way and, oblivious to the other girls whom she is kneeing and pushing, rudely awakens the lot as she runs out the door.
As they slowly rise, all the groupies train their eyes upon Aeon-1, then suddenly they all train their collective gaze toward Trevor.
With that, all the groupies leave quietly. Trevor and Aeon-1 are alone again.
Aeon-1 approaches Trevor, crawls onto his bed, upping the ante.
ON TREVOR: His eyes cast down, his hand rests on his cigarette case, converted into a gun.
ON AEON-1: Approaching closer and closer...
TREVOR AND AEON-1 are face to face.
Go ahead. Lover...
You don’t know what I want.
That makes two of us!
Aeon-1 grabs the gun in Trevor’s hand. Trevor lets her take it. She raises it, aiming at Trevor, who remains impassive.
It’s good not to be scared, isn’t it?
I wouldn’t want you any other way.
You still don’t trust me.
Trevor grabs Aeon’s arm, pulling her close. She doesn’t fight him.
Now he's torn with lust. They suddenly embrace, tipping over onto and then rolling all over the bed.
Aeon’s hand converts the gun back into the cigarette case.
INT. HUMAN SQUARED LABORATORY — NIGHT
CU: A BOMB
Aeon-2 is in the process of finishing assembling it in an abandoned warehouse. [We recognize the leather container previously used to carry the bomb.]
She hears a noise.
THROUGH A CRACK IN THE WALL
We see Breen security guards hunting for her. They move past.
INT. GRAY SEDAN (same as from Act 1) -- NEXT DAY
Trevor sits with Fat-Boy.
She'z dere. She'z nad dere. I
dunnowadda tell yuh. Zhe awmost
gad kawt two dayz agow...
It's not good enough.
Wha' kan I say? She'z duh zame womuhn
we' neva kawt. It duzzen git any eaziuhr.
You wunnuh kill her? Kill the one you got.
Go eat a donut, you pathetic, fat toad.
Fat-boy looks offended.
If you don' mind my sayin so, sur,
I dink you're fawling fur dat womuhn
inna way datz hawdly duh be wekuhmendud...
undor dah zurkunstantsuz.
Remind me never to copy you again, Fat-Boy.
INT. TREVOR'S EXECUTIVE OFFICE - DAY
Trevor is seated at his desk. A PAIR OF FOREIGN DIGNITARIES sit opposite him, speaking about some matter of state. Trevor looks distant, absent-minded. While they continue on (their speech is unintelligible gibberish), Trevor ducks under his desk, and exits the room through a hidden hatch in the floor.
INT. TREVOR’S DRAWING ROOM
Trevor is quietly gliding among the curtains along one wall, looking at—
Aeon-1 browsing through some of Trevor’s texts, specifically those authored by him. A large book in her hands (with photo portrait of Trevor on back cover) is causing her some visible consternation as she studies its contents.
Suddenly, a shadow of an os trevor crosses the floor.
Trevor looks at Aeon-1 darkly, suspiciously.
Are you finding anything in there
you can use?
Aeon-1 slams the book shut and inserts it back on its shelf haphazardly so it sticks out among the pristine row of tightly arranged tomes.
Trevor and Aeon-1 smile uneasily at one another.
ON TREVOR’S TRENCHCOAT POCKET: his hand is fidgeting within.
I don’t know what you’re doing here—
But I’m glad…
Aeon-1 smiles; she approaches Trevor and reaches to touch him.
ON TREVOR’S HAND (within the pocket): it holds the “AEON” test tube, his index finger stroking the top of the cap - suddenly self-conscious, it stops.
Aeon notices the gesture.
Because I had a question.
She deftly shoots her hand into his pocket and grabs his wrist. She stares into his eyes for a moment. Trevor stares back, defiant.
Go ahead. Are you sure you want to know?
Maybe not just yet. Why spoil it?
She withdraws her hand. Trevor’s eyes look up at Aeon-1. He turns on his heel and walks away.
INT HUMAN SQUARED LAB -- DAY
Aeon-2 enters surreptitiously. She plants the bomb beneath the human mold. She completes setting the bomb's timer and makes tracks.
INT. DUSK, TREVOR'S QUARTERS (the DINING ROOM).
The remains of a sumptuous dinner ON THE TABLE. PAN OVER to find Aeon-1 (partially wearing a black satin evening dress with long, sleek black satin gloves) and Trevor (in half-stripped black tie) lying arm in arm on the table.
There's a stunning view out the picture window before them.
Aeon, Aeon, Aeon...
She's out there somewhere, isn't she?
Yes. What do you think she's doing right now?
She's probably planning to destroy me utterly...
or is that your job?
She looks really sad as she moves to the window.
Trevor enters frame behind her. They move to kiss.
You're her, aren't you? You're the real Aeon.
Aeon-1 looks down.
I don't know anymore...
Trevor gently touches his forehead to hers.
Why did you make the switch?
(cutting him off)
Trevor, it's over.
Trevor pulls the test tube marked “AEON” from his pocket. He gazes at Aeon-1 as he uncaps the tube and pours its contents out the window, then tosses the tube itself.
Aeon-1 smiles. They embrace passionately.
EXT. HUMAN SQUARED LABORATORY. It explodes full force.
END ACT TWO
EXT. NIGHT, TREVOR'S BUILDING
Scaphandra creeps along a ledge, high above the street, using her two pairs of hands to maximum effect. She has to dodge searchlights which sweep to and fro over the surface of the building. She reaches a window and looks inside.
POV SCAPHANDRA: INT. NIGHT, TREVOR'S BEDROOM
As different searchlights pass across the window, different parts of the room are briefly illuminated, then plunged back into darkness. Two figures lie sprawled on Trevor's bed, under a cover. Items of clothing lie on the floor surrounding them. Another pass of the searchlight reveals the two figures again.
Trevor's feet sticking out from under the cover; TWO HANDS, sticking out next to them. Only one head -- Trevor's -- is visible at the head of the bed, but at its foot are one pair of feet -- again, Trevor's -- and one pair of hands -- a woman's.
ON SCAPHANDRA: She is placing a STICK-ON, ULTRA-HIGH-FREQUENCY OSCILLATOR on the surface at the center of the window.
Damn you, Trevor.
INT. NIGHT, TREVOR'S BEDROOM (INCLUDE THE WINDOW). The glass, SHATTERING, awakening Trevor and Aeon-1, rising from the covers (and from opposite ends of the bed). Trevor leisurely picks up his cigarette case from the nightstand, (as if) to retrieve a cigarette...
ON TREVOR: holding his cigarette case - which he now folds into a GUN with a click.
XCU AEON-1, her eyes darting from straight ahead (to the shattering/shattered window), to the cigarette case clicking into a gun, and back to the shattered window, as -
Scaphandra swings into the room, GUN in hand.
You wretched egotist— how dare you
subject me to this?!
She jiggles the hands at the foot of the bed.
Aeon-1 springs up to face Scaphandra.
Don’t flatter yourself, you freak.
Scaphandra aims her gun at Aeon-1, clicks the safety off -
So!! I'm not the only one playing
both sides of the street!
Trevor picks up his GUN from the nightstand…
ON TREVOR: holding his GUN (cigarette case in converted form).
Suddenly, a GUNSHOT. Scaphandra's weapon is knocked out of her hands by a bullet from Trevor's gun.
Scaphandra is already lunging at Aeon-1, who leaps out of the way as Trevor gets A BEAD OFF toward her, but too late. The shot misses. Scaphandra simultaneously knocks Trevor unconscious with her elbow, his odd gun tumbling up into the air. As it descends, Aeon-1 grabs Trevor's gun (cigarette case), training it upon Scaphandra.
As Scaphandra retreats out the shattered window, Aeon-1 STOPS for a (VERY BRIEF) moment and considers. As she clicks Trevor's gun back into a cigarette case, she quickly jots a NOTE, and clicks the cigarette case open, dropping the note into it. As Aeon-1 goes, she also picks up Scaphandra's gun with one hand She LEAPS out the window, landing catlike on the ground below.
EXT. NIGHT, TREVOR'S COURTYARD GARDEN.
An odd, maze-like garden on different levels, where Trevor's prize roses grow -- along with a variety of strange, otherworld-looking plants. Aeon-1 lunges at Scaphandra, tackling her. They wrestle (among the roses), but Aeon-1 gains the advantage, finally squatting upon her, holding her flat, face-down to the ground, prostrate. Aeon-1 has one of Scaphandra's arms behind the latter's back in a painful arm lock, and has Scaphandra's gun to her head.
(out of breath)
You’re screwing up my mission.
Why did you come?
He stole a sample of me. I can’t
let him make a copy.
It’s okay. I’ve taken care of it.
The last thing I want is another one of you.
All right… we can get… out of here.
Tonight, as we planned!
No problem. I'll be there.
Letting Scaphandra up at last, she hands the cigarette case to her.
Meet me at the border then. Bring this.
We cross together. I need you and you
ON WALL, overlooking garden. Two bored BREEN GUARDS stand at their post.
Breen Guard #1 sees something O.S. He suddenly stops laughing.
BREEN GUARD #1
Impossible!! HERE - !??
ON AEON-1 AND SCAPHANDRA:
(looking at the cigarette case)
But what's this?? Give me my gun!
Suddenly, a POINT OF LASER LIGHT plays along Scaphandra's face.
OTS 3/4 PROFILE of Aeon-1, facing Scaphandra, Aeon-1's head turns toward our way - Aeon-1 GRABS Scaphandra and pulls the both of them out of the way of oncoming GUNFIRE.
Now get out of here!
AEON-1'S POV: Dodging searchlights, Scaphandra does an amazing series of leaps from ledge to ledge, until she disappears into the night. Then, suddenly, another BURST OF GUNFIRE in Aeon-1's direction causes her to catleap out of the way -
EXT. TWILIGHT/DAWN, BORDER
AEON-2 stealthily reconnoiters the rendezvous point. She glances repeatedly at her watch. Hearing the slightest of sounds, she perks up. Moving quickly, low to the ground, she approaches one of several large black cubes which are arrayed in the area in a mysterious pattern. Coming around the corner of the cube, Aeon-2 encounters Scaphandra, who is pleased to see her.
Aeon! Thank God!
Aeon-2 instantly clamps Scaphandra in a neck lock.
What are you doing here?
(confused; straining for breath)
What do you mean? You told me to come!
Aeon-2 releases her hold but stands ready to overpower Scaphandra again if necessary.
Last night. You said… to bring this.
Scaphandra turns over the cigarette case.
Yes, of course. I had to be sure.
That you weren't a copy.
But you said...
Yes, I know.
Scaphandra steps forward to look over the cube to check the way into the border. Aeon-2 looks in the cigarette case and takes THE NOTE out.
Well… are you ready to go?
INSERT: THE NOTE.
It reads: "I'm not coming. Cross the border with S. Then kill her."
(Use V.O. of Aeon reading over C.U. of Aeon-2)
Aeon-2 nods grimly, taking this in. She ponders for a moment.
Did you bring my gun?
You don’t need it. Come on, it’s time.
INT. DAWN, TREVOR'S BEDROOM. Trevor, snapping out of it after the blow from Scaphandra's elbow, immediately jumps up and goes to the shattered window. He looks at the broken glass.
I specifically asked for bulletproof!
POV TREVOR: AEON-1 below in the courtyard, running and dodging gunfire from the Breen Guard.
EXT. DAWN, BORDER: AEON AND SCAPHANDRA @dash into the border region Aeon-1 and Scaphandra crossed from the opposite direction in Act One. Dodging sweeps of automated gunfire from the turret, they split off as before. But just as Scaphandra is making a run, expecting Aeon-2 to draw fire from her, Aeon-2 leaps back to the safety of the Breen side of the border. (Using the maneuver previously used by Scaphandra to betray Aeon)
ON SCAPHANDRA, caught in the open. Panicked, she looks back -- and sees that Aeon-2 has betrayed her. She has one moment of awful realization before the gun cuts her down.
ON AEON-2, safely in Breen territory. She gives a snort of derision and turns away from the border.
EXT. DAWN, TREVOR'S COURTYARD GARDEN
Breen Guard #1 raises a weapon and fires -- sending an odd-looking projectile arcing into the middle of the garden. It lands not far from Aeon-1 and explodes, blowing a huge crater in the midst of the garden and sending Aeon-1 flying. At this moment Trevor runs into the middle of the garden, waving his arms.
Stop! Stop, you fools! Stop!
What are you doing?
Trevor runs to Aeon-1's side. She's already sitting up, dazed but unhurt.
Are you all right?
The two guards come running up.
BREEN GUARD #1
It's Aeon Flux, sir.
BREEN GUARD #2
(cutting him off)
What? You ordered...? Trevor...
...Yes. I decided that as long as
she was out there, she'd always be
a threat— to us.
You decided!? It's only because I know
she's out there that I’m here with you.
Is that how it is! Well…
Trevor runs his finger along her jawline.
Aeon-1 and Trevor leave the courtyard, reentering the building, leaving the perplexed Guard Unit.
INT. DAWN, TREVOR'S QUARTERS.
Trevor walks Aeon-1 to the door of the bedroom.
You’re Aeon— not her. It’s what
you’ve wanted me to believe…
Aone-1 looks at a clock on the wall.
It doesn’t matter, Trevor—
she’s already gone.
Trevor teeters on the edge between duty (to his duties) and duty (to Aeon). At last, he must of course capitulate to the former.
...I...'ll be back. No one's
going to kill you.
Aeon-1 sits on the bed. Trevor exits to attend to the situation.
INT. TREVOR'S QUARTERS. The WALL VIDEO SCREEN pops on-
ON TREVOR: staring at the screen.
POV TREVOR: The image (enhanced) is of Scaphandra's motionless body, sprawled against the ground. The image whip-pans to an unidentifiable figure, running away, back from the site to (what is identifiably) the Breen Border.
CUT WIDER: OTS AEON-1 (FG, from bedroom)- OTS TREVOR, watching screen. Aeon-1 reacts in alarm, then leaps straight out the shattered bedroom window...
EXT. BREEN TERRITORY BORDER REGION - DAWN
Aeon-1 stealthily moves through the area with the large cubes. Suddenly Aeon-2 emerges from behind another block and faces her. Aeon-2 regards Aeon-1 grimly for a moment, and then smiles.
So. I thought I was going to have
to come get you.
Why didn't you cross with Scaphandra?
Now you're stuck here.
You forgot our plan. I'm crossing
(shaking her head)
No. I’m not finished with him yet.
(pause) What… is it?
The stars in your eyes…
Aeon-1 lowers her eyes slightly. The ruse is up.
Things have changed.
(eyes narrowing with
Aeon-1 half nods.
INT. TREVOR’S BEDROOM
Trevor, with his shoulder holster on, slips into the dark room to pick up his trench coat. He looks towards the bed where he’d left Aeon-1. She’s gone.
EXT. BORDER REGION
(shaking her head)
You were supposed to mess with his head.
His desire is not his alone.
Aeon-2 draws a knife and suddenly swipes it at Aeon-1.
If you won’t cross with me,
I’ll kill you here.
Aeon-1 nods slowly.
Maybe it’s better that way.
(beat) Scaphandra was supposed to
give you something…
Aeon-2 produces the cigarette case and passes it to Aeon-1. At that moment of distraction, Aeon-1 "opens" the cigarette case into a gun, points it at Aeon-2.
There are things you don't know.
I know that you won’t kill me.
Aeon-1 shoots - the bullet knocks the knife out of Aeon’2’s hand. Aeon-1 comes up close to Aeon-2. They are almost nose-to-nose.
You'd kill me; that was the plan.
Yes..."yours," to begin with!
To make him hurt…!
ON AEON-1: A gleam in her eyes of the Soldier, the stern brow...
Take a stand!!!
At last, oblivious to the gun, Aeon-2 grabs Aeon-1 by her upper arms, pulling her toward her, shaking her -
Aeon-1 fights her off, turning away, putting a hand to her face, ashamed and cringing.
Okay, pretty one...
ON AEON-1: The same look she casts of stern, rock-solid resolve begins to break - just a crack...
WIDE ON BOTH; Aeon-2 kisses Aeon-1 - Aeon-1 yields under the weight of her double's innocence of conviction.
And with that, Aeon-2 BREAKS for the Border run - just like that. Aeon-1, realizing what she's doing, is FROZEN for a LONG SPLIT-SECOND -
EXT. DAWN, BORDER - LONG SHOT
Trevor strides toward the border, speaking into his collar microphone.
(into collar microphone)
What do you mean you can't re-program?
I want Turret 12 shut down now... Well,
find the codes, damn it! There's no time.
ON THE TWO AEONS, not far away, starting their Border run..
Suddenly Aeon-1 NOTICES something.
AEON-1's POV: Trevor, emerging from behind one of the large cubes.
Trevor and Aeon-1 exchange glances. Trevor looks plaintive; Aeon-1 is once again conflicted, but she has to save "herself." Aeon-1 continues her run with Aeon-2. They make their run (Aeon-2 leading), which we see from various angles -- it's even more spectacular than the run Aeon-1 and Scaphandra made in Act One. Turret 12 has apparently not been silenced -- it fires as before. From the Breen border Trevor watches -- agonized and exulted by the spectacle.
(shouting into his
Stop the guns, I tell you! Stop the guns!
ON AEON-1. Mid-run she pauses, apparently indecisive about whether to zig left or right.
AEON-1'S POV: AEON-2 is almost to safety.
CU ON AEON-1. Impossible to say what she's thinking. Has she made a mistake, or is this deliberate?
ON TREVOR. His face is contorted with horror -- he knows what's about to happen. We HEAR a burst of gunfire. From the way Trevor convulses, we know Aeon-1's been hit.
ON AEON-1. Clutching at her back, she falls to the ground.
Heedless of his own safety, Trevor rushes into the no-man's land. The guns fall silent. He reaches Aeon-1. He kneels beside her.
But Aeon-1 is already dead. Trevor takes her in his arms. He looks up. There's a voice in his headset.
VOICE IN HEADSET
Turret 12 is now off-line, sir,
but we have the fugitive in our sights.
TREVOR'S POV: Aeon-2, moving gracefully, is running the last few steps toward the safety of the Monican border.
Trevor looks down at Aeon-1's body, cradled in his lap. Tears are streaming down his cheeks, but otherwise his expression is typically stoic.
(into collar mike)
Let her go...
Let her go.
A FINAL SHOT OF AEON-2, running.
― Peter Chung, Monday, 16 October 2017 14:16 (five years ago) link
six months pass...