Utopia or Deuteranopia Script

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It's best to read this without thinking of the finished episode as it appeared.
From seeing this episode, I realized the importance of making the plot unambiguous.
This was an exercise in deliberate misdirection, and it ended up back firing and confusing the audience.
Aeon is NOT on a mission to kill Trevor. She says she is, but you are supposed to realize that nothing said should be believed.


Story by
Peter Chung

Script by
Peter Chung
Japhet Asher
Peter Gaffney

Additional Dialogue
Mark Mars

fade in:
ext. an intersection in monica - continuous shot - day (Though we won't find out till later, this is from Trevor's POV)
A large BLACK BIRD glides into view above the deserted street corner. The bird circles down, clicking its talons in ancient, hungry menace.

TILT DOWN to a window, where we see a YOUNG WRITER seated at a typewriter. With excitement he pulls the page from the machine, adds it to a large pile which he packs into an innocuous white box. Continue TILT DOWN to the street, where a door slides open, revealing the writer descending stairs to ground level. He carries the white box, which he sets down. The Writer slaps himself on the head, as if suddenly remembering something. He turns and disappears back down the steps. At the same time, a flatbed truck stops at the traffic light. The truck is neatly piled with boxes identical to the Writer's. The black bird swoops down, sinks its talons into a box on the truck and carries it off. Just then, a car accidentally bumps the truck.

The TRUCK DRIVER descends from the cab, notes the space from the missing box (the one the bird took), spots the box on the ground (the Writer's), and picks it up. The Writer reappears to claim his box, which the Truck Driver is about to place on the truck; they argue. AEON FLUX appears, pushing her way forward.

trevor (vo)
There can be no justice where there is no truth. What is the truth? Tell me if you know. And I will not believe you. Things are never what they seem. Clean gloves hide dirty hands...and mine are dirtier than most.

MOVE IN tight on Aeon -- we are momentarily diverted by her muscular shapeliness -- but focus finally on her hyper-alert eyes, which dart from the Writer to the Truck Driver.

PULL BACK as Aeon awards the box to the Truck Driver (possession is 90% etc.). With a waggle of her finger, Aeon chastises them for wasting everyone's time. The dispute breaks up, and we FOLLOW Aeon as she walks away, a satisfied smile on her face. As she disappears around a corner, our view TILTS UP to an oblique angle, stopping on a slightly out-of-focus, but distinctive wood-carved pattern.

int. trevor's office - day
TREVOR GOODCHILD has been watching this from several stories up (matching our last view -- of the wood-carving that frames Trevor's thirteenth-story window). Trevor frowns, disturbed by what he has just witnessed.

trevor (cont'd)
We need a single truth. An objective truth. Justice will be done.
Trevor turns toward the room and his unseen audience.

wipe to:
ext. monican street - day
Aeon is pressed flat against a wall fortified by steel spikes. She cranes her neck to look up towards Trevor's window, on the opposite side of the wall.

Aeon's pov - low angle
Focus on Trevor's window. Trevor is gone.

return to street
Aeon appears from behind the corner. Careful not to catch the attention of an ARMED BORDER GUARD, Aeon locates a hidden panel lock along a Border Wall (Note: the Border Walls between Monica and Bregna are marked with a distinctive black and grey pattern).

closeR on aeon
After peeling away one fingertip of her glove, Aeon flips back the top of a well-manicured nail, revealing a GROOVED KEY; its root is implanted under her nailbed.

wider on the scene
With her back to the panel, Aeon inserts the key into a slot behind her. She braces herself, and as the key engages with a click, the panel zips downwards, taking Aeon with it into Bregna. HOLD for a moment as:

sara salient (o.s.)
Illuminating sentiments, Chairman Goodchild...
wipe to:
int. trevor's office - day
Trevor now sits at his desk, facing TV reporter SARA SALIENT, who sports a MINI-CAM on her shoulder. The camera's lens is neurally linked to Sara's eye movements via a thin cable that disappears into one of her ears.

sara (cont'd)
...and quite to the point I must say. So what about justice for Clavius?
Trevor leans forward as if he's imparting the wisdom of the ages to each and every citizen of Bregna.

Justice for Clavius...justice for all of us...There can be no more secrets...That's what I'm trying to tell you...
Sara's eyebrows rise at Trevor's evasion. (Note: behind Sara is a monitor showing a live feed of this interview).

trevor (cont'd)
I'm talking about our egotistical devotion to privacy.
Intercut - a PLAZA in bregna
A small group of Breen passersby surrounds a huge TV SCREEN showing the interview. They have no idea what Trevor is talking about, but they respond positively to the commanding tenor of his voice. In B.G., Aeon quietly runs by, looking furtive and suspicious.

trevor (cont'd)
Bathroom doors don't really conceal the fact that everyone has biological imperatives to perform. Do they?
ON sara
Who moves closer to Trevor with seductive menace.

And what are you concealing now with all these verbal barricades?
angle on trevor
Trevor stands, raising his arms imploringly.

I have nothing to hide. From now on, I will hide nothing.
Trevor unties the sash of his robe.

intercut - the PLAZA
On TV, Trevor's robe falls away, revealing his well chiseled, and stark naked, torso. A black square pops on screen to cover his now exposed manhood. Aeon reappears from O.S. to stop and look over the crowd at Trevor on the screen.

the crowd
Only an open society can be a just society.
back on sara
She regards him appraisingly as she stands to lean her hands on the desk.
Most revealing...Very impressive...Bravo
Sara moves even closer; the camera is right in Trevor's face.

sara cont'd
(angry now)
But what about Clavius? Have you made any progress in your search for our former leader?
CLOSE angle on trevor
His eyes go steely as he takes his chair once again.

Our best agents are following every lead, tracking every source of...
So you've had no communication, seen no evidence of Clavius'well being?
Trevor looks sincerely on the verge of tears as he shakes his head.

I fear he may be dead...
wider on the scene
How interesting. Perhaps then you can explain this video reel we obtained from your own security force...
Sara gestures Trevor's attention to the TV monitor behind her. MOVE IN on the screen, where an image of CLAVIUS appears. He is bound, gagged and strapped to a wheelchair. Behind Clavius we see BARS on a window and FARMLAND beyond. Through his torn shirt, the strap of an unusual style of suspeners is noticeable.

Trevor is furious.

trevor (o.s.)
Don't you know a tape like that can be faked? To show it is totally irresponsible...

Another public T.V. monitor with a group of onlookers.

trevor (cont'd)
You're playing into the hands of our enemies, I will not negotiate with terrorists.
The onlookers nod in agreement with Trevor's TV image. In B.G., Aeon secretly approaches a wall, removes a brick, places a small grenade cannister behind it, then replaces the brick. She saunters off.

back to SARA and trevor
Sara removes the cable from her ear and sets the camera to "AUTO." The camera floats around as she moves towards Trevor, trying a different tack.

Many people hate you and would like to see you dead. How does that make you feel?
(laughs warmly) Those people should get to know me a little better--

Another public monitor with onlookers.

trevor (cont'd)
-- then they'd know I don't indulge in feelings...
In the shadows behind them, Aeon stealthily lifts a manhole cover and drops a rope ladder into the hole and recovers it, then runs O.S.

return to trevor's office - favoring sara
Well, indulge me!
Within arm's reach of Trevor and moving smoothly, Sara withdraws a VIBRATING BLADE from her hip boot and plunges it towards the heart beneath Trevor's bare chest. Trevor barely manages to kick his chair away, avoiding certain death. Sara's blade slices into the desk like a knife through butter. She recovers quickly and turns accusingly towards Trevor.

intercut the PLAZA
On screen, Sara moves in for another attack on Trevor... Aeon appears at the edge of the crowd, drawn by the commotion.

the onlookers
Aeon's eyes narrow in concern, but otherwise betray no emotion. On screen, Trevor executes a backflip over his desk, grabbing a PEN-LIKE DEVICE from its holder as he spots the desktop. Sara shifts position to throw her blade at Trevor, providing him time to bring the "pen" to his lips and shoot a dart into her neck. As Sara crumples to the floor unconscious, her blade falls next to her ear, slicing her EARRING in two. Aeon smirks in admiration, then moves away from the crowd, which is too busy cheering at the television to notice her passage.

the onlookers (cont'd)
return to trevor's office
Trevor is reflected in a shattered wall mirror. He grabs the floating camera and holds it up triumphantly.

I hold the future of Bregna in my hand! See it, my friends, and embrace it!
back at the PLAZA
The crowd is awed by Trevor's striking image on the huge screen.

trevor (cont'd)
Embrace the New Openness, I implore you! Nothing is sacred. Nothing is secret...

the onlookers
camera installation montage - THE cheers continue throughout
CAMERAS are installed all over Bregna: in kitchens, in classrooms, in restaurants, in stores, in bedrooms, on street corners, in bathrooms, and in one particular corridor:

int. corridor - night
As the workers finish installing a camera, Trevor, now fully clothed, appears at the end of the corridor. A COAT is over his arm. As he approaches, the cheers DIAL DOWN. Trevor stops at the abrupt appearance of a uniformed Breen officer, GILDEMERE, from an adjoining corridor.

Chairman Goodchild, I must...
Gildemere, please. Must I tell you again... we are doing what we can for Clavius. Stop pestering me...
Trevor is so impassioned that he doesn't realize it when he drops his coat to the floor. Gildemere looks down...

GILDEMERE'S POV - the coat on the floor
... and sees that an ENVELOPE has slipped out of the coat pocket. Gildemere uses his booted foot to slide the envelope out of view while Trevor continues ranting.

trevor (o.s. cont'd)
...You saw the attack on me today. Those people are maniacs and cannot be trusted!
return to scene - wider angle
Gildemere picks up Trevor's coat and hands it to him. At the same time, Gildemere takes a step that allows his booted foot to cover the mysterious envelope.

Yes, we must be careful whom we trust.
Trevor pats Gildemere's shoulder, then continues on his way. Gildemere's smile turns cold as we MOVE IN on him. Slyly noting the camera at his back, Gildemere drops his gloves. As he bends down to pick them up, his back blocks the camera's view of his hands. He slips the envelope up his sleeve, makes a show of taking his gloves, then stands. He turns towards the camera, gives it a jaunty salute and walks away.

int. trevor's bedroom - night
With an elaborate yawn, Trevor prepares for sleep. He removes his robe and picks up a pair of PAJAMA PANTS; he sniffs them, makes a face and decides not to wear them. Taking a new pair from its wrapper, he dons the pants, but they're too loose. Annoyed, he grabs a pair of unusual SUSPENDERS from a hook on the wall and clips them on. Thus satisfied, he walks to the bed.

move through a wall to:
int. Narrow antechamber adjoining trevor's bedroom - night
On a monitor we see Trevor walk towards his bed. A HOODED WATCHER observes Trevor's actions. Trevor slips into bed and switches off the light. The monitor screen goes black for a moment. The Watcher reaches for a button labeled "NIGHT VISION"...

int. trevor's bedroom - trevor in bed - cross-sectional view
The blanket flattens against the bed as Trevor is lowered on a elevator to the floor. Once there, Trevor engages a ROBOTIC DOUBLE that is hidden inside his mattress. The blanket rises as the robot ascends and assumes the position of Trevor sleeping. The Double also wears the strange suspenders.

intercut the watcher
... The Watcher hits the "NIGHT VISION" switch and the monitor becomes lit by a ghostly green light. The Watcher scans the image carefully, and is content that Trevor is asleep.

back to trevor under his bed
FOLLOW Trevor as he slips unnoticed through a hatch below his bed. He nimbly climbs down a ladder, and with a practiced motion, flips open a door beneath him with his bare foot.

int. basement cell - night
A bizarre gallery where Trevor keeps his most prized objects. Foremost among them is a six-foot tall HUMMING BLUR. A video camera is aimed at the Blur, behind which is a backdrop of a barred window and farmland beyond (an image from Sara's video). Trevor speaks to the Blur:

You have served me well today...
Fingering his suspenders/Phase Harness, Trevor toggles it ON. The Harness vibrates with a rising HUM. Trevor stays in focus, and the b.g. blurs -- except for "the" Blur -- which coalesces into Clavius, whose comatose body is fitted with SUPPORT CABLES and TUBES, as well as a Phase Harness identical to Trevor's. Trevor approaches Clavius, a straight razor in hand.

trevor (cont'd)
...and now I must service you.
He begins to gently, carefully shave the immobile Clavius.

trevor (cont'd)
I owe you so very much, Clavius. You have given me the way to Aeon Flux and I will give her freedom... true freedom.
He finshes the job,removes a distinctive looking WRENCH from his pajama pocket and eyes it longingly.

trevor (cont'd)
Freedom from prying eyes and expectations. A private place...
Trevor inserts the wrench into the large BELT BUCKLE around Clavius' waist and turns the wrench slowly. A hinged HATCH opens, revealing a spectacular PORTAL within Clavius' abdomen.

trevor (cont'd)
...A place of our own.
Trevor disappears through the portal as we WIPE TO:

int. antechamber next to trevor's bedroom - night
The Hooded Watcher continues to monitor Trevor's bedroom; a shadow obstructs his face from view. Gildemere appears from behind and touches the Watcher on the shoulder. Without turning, the Watcher nods welcome to Gildemere. Gildemere peers at the screen and grows puzzled with incomplete recognition.

quick cuts:
1) Gildemere's POV - ZOOM in on "Trevor's" suspenders, 2) Gildemere's EYES widen in realization, 3) Close Up on video image seen earlier of Clavius-- the strange suspenders are the same as Trevor's.
4) A smile spreads across Gildemere's face

wider on the scene
Gildemere reaches over the Watcher's shoulder to TAP the screen lightly on the suspenders. The Watcher nods in acknowledgement. Gildemere turns to exit. While walking out, he spots a pair of FEET half-hidden in a closet. He opens the door, revealing the REAL WATCHER, bound and gagged. Gildemere turns towards the monitor and the hooded Watcher. The figure at the screen rises. Before Gildemere can react, the imposter knocks him on the floor.

on the imposter
Who removes jacket and hood -- revealing it's Aeon brandishing her unique weapon. She kneels by Gildemere.

Tell me why I shouldn't kill you.
closer on aeon and GILDEMERE
Gildemere looks up at Aeon with wide eyes; he points to a surveillance camera above them.

We're being watched.
Ah, yes. We're being watched.
Aeon rises and smirks.

through the surveillance camera

Aeon approaches the camera with exagerrated swagger.

aeon (cont'd)
I'm here on a mission to assasinate Trevor Goodchild. Is everybody listening? Do you believe me? Am I confessing?
back in the ante-chamber

Gildemere can't believe what he's hearing.

You're crazy! Who are you?
aeon (cont'd)
My name is Aeon Flux and you are Gildemere. I know you are working against Trevor. (She gestures to the camera) Share with our friends your inner desires. We have no secrets here.
Gildemere is flustered by Aeon's body and bluster.

(loudly, to the cameras)
You can't kill Chairman Goodchild, he's our most beloved and trusted leader.
high angle - looking down on them
Twisting her back an almost impossible 180 degrees, Aeon leans seductively closer to Gildemere.

Hesitating at first, Gildemere drops his voice to a whisper.

(then, whispering, to Aeon)
You can't kill him. Clavius is alive. I know Chairman Goodchild came to power by illegitimate means. We can bring him down.
close on aeon and GILDEMERE
The arch of Aeon's eyebrow is the only clue to the depth of her interest. Propped on an elbow, Aeon stretches her leg in front of Gildemere's face and gestures towards her thigh.

Put your hand there and press down.
Gildemere glances at the extended leg before him. He gingerly places his hand on her thigh.

What? Is this okay?
Harder. Do you have any proof?
Aeon's leg descends into an astonished Gildemere's lap. Gildemere continues to speak in an absurdly hurried stage whisper.

Huh? Proof? Of course, I've tailed him for months! Clavius wasn't kidnapped, at least, not by terrorists. Trevor uses that ruse to perpetuate hostility against our neighbors.
Aeon speaks to the surveillance camera.

Are you getting this? The story so far...I'm a killer and he's a traitor. (To Gildemere) Go on.
Gildemere shoots Aeon a questioning look.

Clavius was planning to trade with our neighbors, so Trevor got rid of him and took control. And all of Bregna let him do it.
tilting up with aeon
Impatient, Aeon stands and places her hands on her hips.

These are old rumors. I don't have time for gossip.
Aeon raises her hand towards Gildemere and prepares to sting him with her dart-like weapon. He rises to plead for Aeon to desist.

No! Wait...I do have proof.
Gildemere removes the stolen envelope from his pocket. The envelope bears Trevor's coat of arms; Gildemere opens it, revealing a flimsy scrap of flowery fabric. Stapled to it is a note with the numbers 40-20-36. Gildemere frowns in disappointment, but knows he needs Aeon's cooperation.

GILDEMERE (cont'd)
I'm sure this is very significant. Ow!
Aeon pulls the envelope from his hand, examines the swatch and the note, and cocks her eyebrow.

Hmmm. Can I borrow this?
Aeon grabs Gildemere's collar and pulls him close as if for a kiss, but stops just before their lips meet.

Can I borrow the fabric?
If you'll help me?
With a shrug, she nods her agreement...

You're going to like my help.

...and kisses him deeply.

match cut to:
int. breen watcher room - night
As Aeon kisses Gildemere on the monitor, dispassionate Breen Watchers observe them in silence. A watcher pushes an intercom button.

Sir! I think you'd better see this.
on trevor

He sits in front of a monitor showing Aeon and Gildemere.

I am watching. I think they are having some fun at our expense, soldier. Let it go.
He snaps off the intercom, as we push in on Trevor's worried grimace.
fade out.
fade in:
[NOTE: This and the two subsequent scenes have a certain grainy, perhaps tinted quality, as if being shot with low-resolution video cameras of some kind -- either stationary or hand-held. Perhaps there is a "Cops" documentary feel to some of the footage. We don't hear sound from the scenes -- only V.O. musings by Trevor.]
OUT-OF-FOCUS SHOT of something. PULL FOCUS TO REVEAL that this is stacks of money on a table.

PULL BACK TO REVEAL a HARD-LOOKING WOMAN sitting on the floor behind the table. We are in a seedy apartment -- the Breen equivalent of a crack den. A scared-looking MAN stands in front of the table, being threatened by TWO HOODS as the woman looks on.

TREVOR (V.O.) (sadly) So many people... with so much to hide...

The door bursts open and THREE BREEN GUARDS burst in. Brief chaos. The people in the room are quickly subdued by the guards.


A surreptitious transaction in a dark alley. The DRIVER, from the first scene of Act One, is turning over one of his boxes to ANOTHER MAN, in exchange for money. TWO BREEN GUARDS appear and shove the two up against a wall.

TREVOR (V.O.) These sordid secrets...


TWO WELL-DRESSED BODYGUARDS, weapons at ready, stand on either side of a closed door. FIVE BREEN GUARDS charge into frame, placing the bodyguards at gunpoint. They kick in the door and enter --


A FAT, MIDDLE-AGED MAN, obviously enjoying himself, is in bed, manacled to the bedposts, as a DOMINATRIX kneels over him, brandishing a whip. They are surprised by the entrance of the Breen guards. The Dominatrix is shoved to one side, and the guards slap additional handcuffs on the man's wrists.

TREVOR (V.O.) This sadness and squalor...
int. trevor's office - day
The room is darkened for Trevor to better view a 4x4-screen VIDEO WALL. One monitor shows the basement cell with the blurred form of Clavius, the other 15 show scenes of people being arrested. Trevor watches from under heavily lidded eyes as he speaks into his collar microphone.

They know what's wrong-- but they don't listen. These are the new rules. No more hiding. There's nothing to lose... but shame... inhibition... perversion... all the good things in life...(drifting)
The blue video light plays across his weary features. Trevor sits up when he spots something important.

trevor (cont'd)
ots trevor
The video wall looms before him. Trevor adjusts his remote and an image of a crowd from a lower corner spreads like a wave across the monitors. The picture magnifies, focusing on Aeon in the crowd. She slips down a side corridor, where she encounters series of LASER-BEAM ALARMS; she leaps over them with ease.

c.u. trevor - smiling

Aeon turns a corner, so Trevor hits his remote again. The view changes, Aeon is now approaching us. She stops and taps her foot impatiently. Trevor frowns.

int. corridor - day
Gildemere appears. He smiles and offers Aeon his hand.

side angle on aeon and gildemEre
Ignoring his hand, Aeon rises. She regards him darkly and tugs compulsively at her gloves.

You're late.
(glance at camera)
The patient is in the eleventh hour of surgery.
closer on aeon and GildemEre
Aeon softens. She steps closer and reaches to run her fingers thru his hair, but she is distracted by his earlobe. She traces it slowly with a gloved fingertip, and whispers in his ear.

GILDEMERE We'll have to go in deep... Close the vessels-- removal could get messy.
Ah. Naturally, the removal...
Gildemere shifts uncomfortably, he desires Aeon more than any woman he's ever met, but he's kind of scared of her, too.

Yes. Excision of the tumor.
She regards him wryly.

...must proceed. And my skills--
GILDEMERE ...will be... You have a certain... bedside manner with-- the, um, the tumor.
AEON I see.
Gildemere grabs Aeon around the waist and pulls her towards him. His voice is husky.

In other words, we must remove the patient-- from the tumor...
And restore function to the organ.
They embrace passionately.
int. trevor's office
The video wall shows Aeon and Gildemere in writhing embrace. Trevor turns his coolest gaze at the screen.

(scoffing) I'm a tumor, now? Stop pretending. I know you're coming after me. Come on...look at me, Aeon.
dramatically skewed angle of Trevor, Aeon's image and the wrench
Trevor holds up the Clavius wrench. From this angle, the wrench is a bizarre bridge between Trevor and Aeon.

ZOOM IN on the wrench and MATCH CUT TO:

int. basement cell - night
PULL BACK from the wrench to reveal Trevor facing Clavius, their in-sync Phase Harnesses HUM in unison. Trevor slips the wrench on Clavius' belt and turns it. The Portal opens and we FOLLOW Trevor inside.

int. portal corridor - continuous
The fantastic Corridor stretches into eternity, but it takes Trevor only a few steps to traverse it.

int. trevor's idyll - continuous
The Corridor opens into an ethereal sanctuary -- a VICTORIAN BEDROOM with lavish, lace-sheeted BED; MIRRORED WARDROBE on which hangs a DRESS of sheer fabric (a swatch of this was in Trevor's envelope); and soft MUSIC with an overabundance of strings which wafts on the breeze like the breath of Springtime herself -- but underlaid with the LOUD BEATING OF A HUMAN HEART. The walls of this place are rose, fabric-like, in constant, almost organic motion. Follow Trevor as he caresses the dress and fluffs a pillow.
No one here to watch us. No need for either of us to be anything other than what we are.
int. trevor's office - day
Looking out his window, Trevor spies Aeon moving suspiciously on the street below. Trevor still holds the Clavius wrench; he's slowly placing it in an open compartment in his desk, but freezes as something grabs his attention.

trevor's pov - through the window
TIGHTEN FOCUS, revealing Aeon holding the fabric swatch. She brushes it against her cheek, then returns it to the envelope.

trevor (o.s.)
on trevor
Pissed, Trevor searches his coat to find that the envelope is indeed gone. He looks out the window to insure Aeon is still there, then hastily exits the room. ZOOM IN on the abandoned wrench, then CRANE UP to see through the window. On the street below, Aeon squints up at us; then smiles in satisfaction.

ext. breen street - continuous
Trevor emerges from the building just as Aeon disappears around a corner. He tracks her to an ALLEY on a Border Wall. Aeon turns back to make sure Trevor's following, then holds her nose and jumps into an open MAN-HOLE - the same one where she'd earlier dropped the rope ladder. Trevor arrives to find the alley empty. He looks up, the walls are too high and featureless for Aeon to have escaped up them. He regards the manhole, leans in for a sniff, and is repulsed.

(grunt of repulsion)
Trevor moves as if to leave, then re-considers. He opens a secret compartment on his belt and removes a collapsible VENTILATOR MASK. Trevor dons the mask and leaps down the manhole.

int. sewer - day
Trevor lands on a CATWALK above a roaring river of waste. Aeon is ahead, traversing the catwalk like a gymnast on the uneven parallel bars. Trevor runs after her, slipping a few times on the bare metal rods. The only way he can keep up with her is to duplicate her acrobatic movements. With amazing agility, Trevor follows Aeon across this underground border. Finally, he loses sight of her and finds himself at the intersection of several dark corridors. He pauses to choose the correct one. He hears footsteps in the one on his left. He races inside.

wipe to:

int. trevor's office - day
Gildemere enters stealthily and immediately spots the wrench lying where Trevor left it in the open desk compartment. He picks it up, examining its curious shape, then goes to the bed. With a little difficulty he finds out how it can be activated to open. He descends through the opening, wrench in hand.

int. basement cell - day
Gildemere is confronted with Trevor's collection of artifacts and the strange, HUMMING Blur. He scratches his head in confusion.

gildemEre's pov
He scans the room, his gaze caught by a pair of suspenders that hang on a peg near the Blur.

on gildemEre
He cautiously fingers the suspenders. Upon inspection, he notices that they contain complex micro-circuitry. He dons the Harness and activates it, but his composure crumbles at the disconcerting effect of the Phase Change. Nauseated as the room BLURS, Gildemere shuts his eyes.

(nauseated groans)
close on gildemEre's face
After a beat, Gildemere feels better. He opens his eyes and finds himself face to face with Clavius.

gildemEre (cont'd)
You are alive!
wider on the scene
Gildemere reaches out to hug Clavius, but there's no response from the comatose former Chairman of Bregna.

gildemEre (cont'd)
Gildemere cautiously pokes the old man, whose eyes POP open. Gildemere steps back, but Clavius makes no other movement; his eyes remain unfocused. Gildemere PINCHES Clavius, to no avail.
side angle on GILDEMERE and clavius
Clearly the old man is breathing. Gildemere fingers the LIFE-SUPPORT TUBES and ELECTRIC CABLES that are attached to Clavius.

gildemEre (cont'd)
I'll need to get you some resuscitation drugs.
Gildemere remembers the stolen wrench. He holds it up to Clavius' belt -- the wrench will obviously fit in the buckle. Gildemere moves to insert the wrench, but stops as fear washes over him. He touches Clavius' abdomen, noticing its strange appearance.

Pushing aside the front flap of the shirt, he sees the hatch--which sports a small peephole. He looks through the peephole, from which warm light emanates.

My God, what's that bastard done to you?
He gathers his courage and moves to insert the wrench, but chickens out again. Ashamed, but unable to proceed, Gildemere stares into the unseeing, open eyes of his leader.

GILDEMERE (cont'd)
Stay calm. I'll be back.

Trevor arrives close on Aeon's heels, but she's already out of sight. Trevor looks around the darkened room, it's filled with STRANGE EQUIPMENT which seems to be a combination of exercise equipment and torture devices. Trevor spots his envelope on a table in the corner. He reaches out for it, but stops -- deciding to leave things untouched. He goes into a corner behind a piece of equipment, where there's a chair he sits in. He is out of sight but casts a shadow which can be seen throughout the room.
HOURS PASS as Trevor heroically tries to keep his eyes open, hoping to catch Aeon when she returns. But the monotony of his vigil gets the better of him and he falls into a restless sleep.

dissolve to:
ext. a border wall - day
A uniformed BREEN OFFICER stands at the Border Wall and performs a series of coded gestures (sort of like bizarre baseball signals), which causes a SECRET PASSAGEWAY to open into Monica.

int. breen watcher room - day
A wall of MONITORS replay the Breen Officer's coded gestures while a group of Breen Watchers examine his performance.

watcher #1
Which gesture caused the wall to open?
The others shrug. Stymied, they return to their governmentally sanctioned observations of the Breens' private lives.

int. s & m CHAMBER - night
Trevor opens one eye to discover Aeon, who's wearing a TIGHT-FITTING CRIMSON LEATHER JUMPSUIT and reclining on a chaise longue, her feet in a basin of milky fluid. Trevor's view is mostly blocked. Just then, the Gesturing Breen Officer enters via a SECRET DOOR. He approaches Aeon in ritualized fashion, to finally kneel at her feet. He gently lifts one foot out of the basin and sets it on the edge. On a low table beside the basin, various metal instruments lie splayed out neatly on a white square of terry cloth. The man picks up a tool with a smooth blunt tip on one end and a small blade on the other. He uses the blunt end to push the softened cuticle flesh of Aeon's big toe. Aeon moans quietly in delicious agony. Out of the corner of her eye, she takes note of TREVOR'S SHADOW, visible on the floor near his hiding place.

The man uses his blade to carefully trim away the dense dead rind of cuticle tissue from the toe. He gingerly retrieves the crescent-shaped excised skin, raises it to his face, slowly caresses it against his trembling lips, then finally slips it into his eager mouth. He sucks and chews the tender morsel. As if angered by the man's chewing on her cuticle flesh, Aeon wordlessly orders the man to spit it out. He shakes his head no. She chases him around the room. The bounce and tumble from one piece of equipment to another. The man seems to enjoy being scolded and threatened. Aeon catches him and slips an UNSEEN OBJECT into his pocket. They face each other in a state of excitement.

Suddenly Gildemere enters. Seeing him, the Breen officer flees the room. Aeon jumps down from the piece of equipment she's on and faces Gildemere. She regards him with thinly veiled distaste.

What are you doing here?
on the scene
Gildemere looks at her with unmitigated lust. But Aeon is distracted by the sight of an asymmetrically placed item on a rack of exercise tools; she sets to work aligning them perfectly.

I found Clavius.
He's free?
(shaking his head, ashamed) No. I... I couldn't. Listen, I think I'm being watched...
ON AEON'S AMUSED LOOK at this thought. (She rolls her eyes)

gildemEre (cont'd)
(produces wrench) There are things I have to do. Keep this safe here.
Aeon takes the proferred wrench with a mixture of puzzlement and concern.

What is it?
Evidence-- Trevor is more dangerous than I'd realized. What he's done to Clavius is beyond treason. He's being kept in a chamber under Trevor's bed. I'm going to release him. I think we've done it, Aeon...
He embraces her. She looks annoyed.

Gildemere continues, moving from Aeon's shoulder to her neck; she blows a wisp hair out of her eyes. As he concentrates on her ear, Aeon crooks her neck to get a look at Trevor in the corner.

aeon's pov
We see the shadow, but Trevor remains out of sight.

return to scene
Gildemere stops his endeavors to give Aeon an unsure look. Aeon shows impatience, which he takes as a sign to move faster. He proceeds to fumble with her corset, then suddenly stops as he encounters an unexpected, LOCKED OBSTACLE around her pelvis (i.e., a chastity belt). Gildemere looks askance at Aeon. She reaches out and caresses his forehead affectionately.

Think of it as a challenge.
Gildemere becomes crestfallen.

I must go. We'll be together soon.
Aeon nods. Gildemere goes. As soon as he's gone, Aeon heads for the corner where Trevor was hidden. She begins to speak before she gets there.

Well, Trevor, what do you...
Reaching the corner, Aeon finds it empty. The chair, with Trevor's coat over it, has been casting the shadow. Aeon is disappointed.


Trevor enters. He finds the wrench gone.

Alarmed, he rushes to his private quarters.

int. basement cell - night
Trevor, wearing his HUMMING Phase Harness, stands mortified before the comatose figure of Clavius, clearly defined against the blurred background. The Hatch in the abdomen is wide open! Trevor approaches Clavius with caution; the old man's unseeing eyes are unsettling, so Trevor shuts them. He takes a deep breath, pulls his gun from his vest and cautiously steps inside...
int. trevor's idyll

Camera follows Trevor moving deeper into his private sanctum, the thumping of Clavius' heart becoming louder and louder.

WHIP PAN to reveal Aeon, wearing Gildemere's Phase Harness under her leather jacket. She's looking at the flowery dress.

fade out.

end of act two

fade in:
int. trevor's idyll
Trevor stands hiding behind the curtained entrance to the chamber watching Aeon. He is shocked and angry. Then, thinking better of the situation, he decides to holster his gun. He straightens his collar and suavely approaches Aeon from behind.

Aeon is slowly pacing the chamber, examining the decor, touching everything in sight. She admiringly caresses the dress hanging from a hook.
(fixated by the sight of Aeon touching the dress) Well, how do you like it?
What a dress. (pause) I'm sure it looks good on you.
favoring aeon
Aeon tosses Trevor his wrench.

You shouldn't leave that thing lying around. Never know who might end up with it.
reverse angle
Ill at ease, Trevor fumbles his catch and the wrench falls to the floor with a clang. He picks it up, then approaches her angrily.

You don't know what you're meddling with here. You have no idea what this is all about.
Aeon shoots back her reply with matching intensity.

I sure don't.
following AEON
As Aeon gestures at their incongruous surroundings, she deliberately crushes some roses beneath her feet...

aeon (cont'd)
I thought you had an operation here. I thought you were getting some work done. Where is the smoke-filled room? Where are the sleazy characters? Where are the Windowdressers?
on trevor
Trevor looks sadly at the mess Aeon's made.

You don't like it, do you?

I'm just trying to survive. Unlike you. For example: Gildemere. I can't see what you're doing there - a bad accident waiting to happen... to you in particular, and to himself in general.
Gildemere...? (scoffing) Yes, tell me about our friend Gildemere. Do you have a tip for me? Maybe some spare change? Something about this plot to take me down-- When will you give up, Aeon?
Trevor pulls the gun from his holster and hands it to Aeon.

trevor (cont.)
Here. Go ahead. Kill me, if that's what you want.
Aeon moves towards him, intimate intent becoming clearer with each step till she's whispering softly in his ear.

trevor (cont.)
You can't do it, can you? You don't want to.
You think you know what I'm doing, so obviously you don't. What I have in mind for you, Trevor, is something much worse.
ots trevor; close up on aeon
She leans forward and kisses Trevor lightly. Trevor responds by embracing her close to him.
Mid-kiss, Aeon's eyes sweep open. Though still lip-locked, her hand snakes down to her Phase Harness and switches it off.

WIDER on the scene
As Aeon fades into a blur, Trevor is thrown backwards by the SHOCKWAVE from her rapid phase change. The Aeon-blur exits through a rear opening; Trevor lands on the bed.

(impact grunt)
MOVING IN on trevor
Trevor gathers his senses, puzzled at Aeon's escape. Stone-faced with determination, his jaw muscle twitches.
He switches off his own Harness and sees A REAR OPENING in a dark corner of the chamber. He chases after her.


Trevor emerges from a concrete sewer pipe onto a grassy field, under an open sky. His eyebrow arches in surprise. Aeon is gone.

wipe to:
int. basement cell - day
As their Phase Harnesses HUM, Gildemere stands before the comatose Clavius. Gildemere turns off both Harnesses at the same time and we see a spectacular reverse phase change.

Avoiding the LIFE-SUPPORT WIRE, Gildemere traces some tubing to the dripping potion that keeps Clavius unconscious. With a wrist twist, Gildemere stops the fluid's flow. He pops open a VIAL containing noxious fumes and waves it under Clavius' nose.

favoring clavius
His bulbous head jerks erratically as he emits a startled:

side angle
Gildemere grabs Clavius' chin and tries to get the old man's eyes to focus on him.

Chairman Clavius, are you all right?
The bed... the hole... crickets...
Gildemere withdraws a SYRINGE from his coat cuff. He taps the side of the syringe to clear air bubbles from the bright orange stimulant, then inserts the needle into a tube that leads into Clavius' veins. Gildemere depresses the plunger.
In an instant, Clavius' eyes focus on Gildemere. Gildemere lets out a long sigh as Clavius mumbles:

I want out... I want out... I'm coming out.
Gildemere carefully releases Clavius. The old man hobbles a few steps, his muscles unused to walking. Gildemere stares fixedly at the strange doorway set in Clavius' abdomen.

What's been through you, Sir...? Ummm, I mean... what have you been through?
(groans) How long have I been...
One hundred and ninety two days, Sir.
Clavius frowns. His walking improves, but as he moves farther into the room, he is held back by an annoying wire. He grabs it to yank some slack, but Gildemere urgently stays his hand. He has his own hands full with tangled tubes still attached to Clavius.

No! Your tubes, Sir, ummm, I have to figure out your tubes!
closer on clavius and GILDEMERE
Clavius glares at Gildemere impatiently. Then, glancing past the younger man, he notices the wire leading from his body to the ELECTRICAL OUTLET in the wall.

GILDEMERE (cont'd)
Don't turn around so fast, you'll pull your tubes!
angle ON Clavius
Fear washes over Clavius' face as he realizes how close he just came to killing himself. A schizophrenic beat later he:

Tubes?! Who ordered these tubes?!
(settling the tubes down gently)
I've got it now, Sir. You're fine, you're fine. (pause) You have to tell me about...
Gildemere pulls a sheaf of PAPERS from his jacket.

GILDEMERE (cont'd)
I secured these top secret documents right after you were... well, before Trevor Goodchild could...
insert - clavius' pov
The papers contain elaborate blue-prints and schematics.

clavius (o.s.)
So you've read them, have you?
Errr... yes, Sir. I found the codes to be almost impenetrable. I'm looking forward to your explication.
return to scene
Clavius pats Gildemere's shoulder appreciatively.

dissolve to:
int. trevor's office - day
Trevor again faces a FEMALE TV REPORTER and her camera. She is stark naked.
The wide acceptance of the New Openness has no doubt exceeded even your highest expectations, Chairman Goodchild. Congratulations.
You're too kind. What are you going to do next, kill me? (smiles)
ots trevor
The Reporter smiles back, then looks at her notes:

Critics have labeled you "change-panicked", but you ride the waves of future shock with an agility that defies them.
Hm hmm. (politely amused) There are some who still resist the benefits... unfortunately, yes. You know we really could stop playing these games-- What is so fascinating about our secret desires? The fact that they're secret? No, we need to focus instead on more constructive pursuits...
Such as your ongoing efforts to secure the release of Clavius from foreign agents?
angle on trevor
Betraying agitation, he picks up a small SILVER CASE from his desk and tosses it from hand to hand.

For example.
on the reporter
Leaning forward; increasing the pressure.

But isn't this a case where your administration has not been so open to sharing its facts with the public?
The information would be relayed as quickly as it comes in-- unfortunately, there isn't any.
wipe to:
int. day; trevor's quarters
Gildemere and Clavius are standing in front of a BANK OF WALL-MOUNTED MONITORS. Behind them, the bedcovers have been tossed aside and the hole in the mattress leading to the basement cell is visible. The wire leading from Clavius' body leads through the hole in the mattress, evidently connected to a basement outlet.

p.o.v. clavius-- THE video monitor screens
The screens display the interiors of prison cells where CRIMINALS- seen being arrested earlier-- are quietly resting.

on clavius
Another rapid mood shift and Clavius becomes angry. He picks up an odd looking fruit from a basket and squeezes it in his fist.

Valentine, Aurelion, Mustapha... impossible! Diaccono... what is this? And you stood by and let this happen? Illegal search...entrapment... What happened to Article 43? Due Process? These citizens must be released at once.
Clavius suddenly realizes that he's very hungry. He bites into the fruit in his hand as Gildemere moves to a keyboard

Yes Sir. I'll establish microwave links... a moment... your access PIN...
(eating, talking over Gildmire)
Not to mention that they're some of my best friends.
wider on the scene
Gildemere looks up from his keyboard, puzzled by Clavius' remark.

Cellblock X7-- these are drug traffickers, wetworkers, defrauders... Are you certain...?
By locking them up, Trevor has shut down the flow of funds, you fool! Wait, where's your affiliation? What are you... no, later. Quick, unfreeze the accounts. We'll need global transfer networks. Why is there no air in here?
a far corner of the room
A pair of eyes observe the action through a hidden viewing slot set low in the wall.

following GILDEMERE
While Clavius is focused on the keyboard, Gildemere moves away and wanders to the stack of documents; he carries them towards Clavius.

I'm staggered by the complexity of these documents, Sir. I've spent many hours trying to crack the codes.
Well, what didn't you understand?
I think I have a handle on some of it... for example-- the "mile-high jellyfish"-- that's the upper house of parliament, am I right?
And the "Flying Saucer Men"-- that's the Ministry of Justice?
No, the "Flying Saucer Men" are the Flying Saucer Men-- Narzac! Galaxy 66, the Evil Empire! What's wrong with you!
Gildemere stares at Clavius with a dawning awareness. Slowly, he steps back as Clavius turns away from the papers and starts typing at the keyboard.

clavius (cont'd)
And now our children will be protected from those pestilent, cold-blooded warmongers. What are they, anyway, iguanas or something? When the Orbital Jellyfish Umbrella is deployed, we'll have round-the-clock defensive capability. Radiation fallout tolerances of 98.77%, so they tell me...
You're mad! You're insane!
Clavius turns and slaps Gildmere hard across the face, knocking him on the floor.

Shut up, Mother!
closer on GILDEMERE - compressed time
He glares at Clavius, who's mumbling inarticulately as he types.

(inarticulate mumbling)
following GILDEMERE

Gildemere looks from Clavius to the life-support socket and back again. Quietly, Gildemere makes his way to the socket and touches the cord lightly. He looks at Clavius, who is weeping.

clavius (cont'd)
Gildemere lets go of the cord. A beat later, Clavius lets out a torrent of wild laughter.

clavius (cont'd)
(wild laughter)
Gildemere closes his eyes and yanks out the PLUG. In the b.g., Clavius crumbles to the floor; the computer link lands squarely on his face. Gildemere turns to look at Clavius' body.

Trevor's idyllic sanctuary goes dark, as if the lights are shut off. The thumping sound slows, then stops.

reporter (v.o.)
... but you must at least know where they are hiding Clavius?
cut to:
int. trevor's office - day
Trevor holds a tiny TV monitor in his hand (it's the silver case he was playing with before). The TV shows a view of inside his quarters. Clavius is crumbling to the floor; Gildemere is O.S. Trevor reacts with anguish.

on the reporter
She looks at Trevor in alarm.

closer on trevor
Trevor quickly composes himself, then displays all his considerable charisma for the camera.

trevor (cont'd)
Actually, you're right. What are we doing here? I ask myself that sometimes. We have the leads. All security --
FOLlowing trevor
He dons a military cloak, straps on a holster belt...

trevor (cont'd)
-- forces are to convene in Central Zone!
... and strides from the room, leaving the Reporter breathless.

wipe to:
int. Trevor's quarters - day
Gildemere stands over the lifeless body of Clavius. Aeon emerges from behind the viewing slot at the far end of the room, stepping over an unconscious WATCHER sprawled on the floor of the observation booth.

Excellent work.
Gildemere looks up at her with narrowed eyes.

Where have you been?
I wonder where Trevor would be if not for true patriots like you, Gildemere. You just saved me from some unpleasant business.
He looks at her with disbelief.

But you wanted Trevor dead!
favoring aeon
Aeon smiles at him wickedly.

Did I?
Aeon nudges Clavius' body with the pointed toe of her boot. Gildemere grabs her hand and pulls her brutally towards him.

You knew Clavius was insane-- dangerously demented.
You're hurting my hand. I...
Gildemere lets go and Aeon takes a step backward.

aeon (cont'd)
Usually, I like that, but in your case, I'm afraid I can't reciprocate your feelings. Goodbye.
Aeon turns on her heel to make a dramatic exit, but stops short when Gildemere yells after her.

We would have made Trevor taste humiliation; now you will too!
on aeon's back
Gildemere approaches, whipping a blade out of his sleeve and attacks. She spins around and confronts him with a chilling gaze.

aeon (cont'd)
With a brutal combination of kicks and punches, Aeon knocks Gildemere unconscious. He never had a chance.

wipe to:
ext. a border wall - day
Bedecked in his military garb, Trevor arrives at the Border Wall to find Aeon stuffing a COVERED BODY into a dumbwaiter.

close on aeon
She turns at the sound of Trevor's voice. She tries to push the covered body out of sight but Trevor lunges at her and pulls her away from the wall. A fierce struggle ensues in which Aeon and Trevor display proficient but closely-matched fighting skills.
Trevor finally manages to pin Aeon down.

No... not now.
close on trevor
You should have killed me when you had the chance, Aeon. I'm in control now. These are my terms. Clavius is dead; and you're the terrorist. You're mine, Aeon.
on aeon and trevor
Shaking her head, she gestures towards the covered body.

But this isn't...
(calling out)
She's got Clavius!
wider on the scene
Trevor's TROOPS arrive at a run. Several floating CAMERAS bob and weave around the scene. His audience in place, Trevor ambushes Aeon, who winds up with a dozen gun barrels in her face. Aeon raises her hands in surrender.

This isn't what it looks like.
PUSH IN on Trevor as he plays hero for the cameras.

It looks like we've caught our terrorist -- a Monican agent! Uncover the body!
Trevor pushes Aeon aside and rips off the covering. To his great surprise, it's Gildemere -- bound, gagged and now conscious. Gildemere's fellow Breen Officers recognize their colleague and untie him. MOVE IN on Gildemere as the cameras swarm around him. He points an accusatory finger at Trevor, then at Aeon.

Trevor Goodchild is guilty! He's the terrorist! He was propped up with the help of this Monican traitor! They kept Clavius locked up--
Gildemere reaches into Trevor's pocket, pulls out the Clavius wrench and waves it wildly at the cameras.

GILDEMERE (cont'd)
And this is the proof! He used this on Clavius-- follow me!
The soldiers grow confused. They don't know what to think.

aeon (o.s.)
Follow him. He knows where Clavius is. He pulled the plug.
Gildemere stops and turns to face Aeon, his eyes burning with passion. All stares are fixed on him.

I pulled the plug-- I did what Trevor couldn't and saved us from the corruption and madness! But Trevor Goodchild is guilty! He lied to us and now I will show you!
angle on aeon
Aeon steps up to Gildemere and chops his wrist sharply. The wrench flies into the air and Aeon catches it easily. She has everyone's rapt attention. Tearing off her costume, Aeon reveals her chastity device. She slips the wrench over the bolt of her lock-- it's a perfect fit.
the crowd
panning the crowd
All the Breen Officers (male and female) look sheepish. In an attempt to conceal a secret object, one of them drops something with an echoing CLANG. Everyone turns to stare.

on the clumsy breen Officer
At his feet is a wrench -- identical in every way to Trevor's.

the crowd
(gasps again)
back to the crowd
The embarrassed Breen Officers all display identical wrenches, which Aeon finds terribly amusing.

favoring aeon
Aeon sobers as she points an accusatory finger at Gildemere.

aeon (cont'd)
This is your man.
Mortified with jealousy and shame, Gildemere mutters madly as a group of Breen guards put him in chains and lead him away.

I had the key and I gave it back to her. I had the key... and I gave it back to her...
While Trevor is momentarily distracted by Gildemere, Aeon reaches to the brick in the wall where she'd earlier hidden the grenade cannister. She removes it and throws it at the wall; it blows a hole through the border. Aeon escapes.

dissolve to:
int. trevor's office - night
Trevor stands before his window, looking out into the dark sky. His expression is full of longing and sincere grief. He removes the small swatch of dress fabric from his pocket and caresses it gently; he looks deeply into his own face reflected in the window. He frowns at himself, then closes his eyes. He switches on his Phase Harness. The vibrations and soft humming have a soothing effect-- he smiles weakly and opens his eyes. The background has smeared to a blur. The oblivion pleases Trevor. Looking absently outside, towards Monica... amid the colorful blur is Aeon Flux in perfect focus; . Across the span of distance and phase, their gazes meet. Aeon smiles warmly at him. Trevor nods his reluctant acceptance. As she wets her lips, Aeon turns off her Harness and blurs into the background.
fade out.

Peter Chung, Sunday, 13 May 2018 14:57 (three years ago) link

I was still much under the influence of Dashiell Hammett. This one was inspired by Red Harvest.
Aeon's goal is to remove an enemy of Trevor's while pretending to do the opposite.

Peter Chung, Sunday, 13 May 2018 15:02 (three years ago) link

Thank you so much for sharing this! I can't wait to read it. Now if only there was a way to purchase the scripts to all the episodes... we can dream, right?

Dwayne, Monday, 14 May 2018 12:21 (three years ago) link

I will dig up the second season Liquid TV scripts. Those are the ones I'm most curious to revisit.
The only one that was not scripted was Tide, which had to be storyboarded, not written. It was also by far the hardest.

Peter Chung, Monday, 14 May 2018 22:12 (three years ago) link

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