Xenomorph
Director’s Statement —
The idea of using science fiction mechanics to convey real-world themes is something that has been on my mind. Films like Annihilation, Under the Skin, or books like Kurt Vonnegut’s Sirens of Titan, all have pointed commentary on human behavior but mask it under the veil of science fiction. Black Mirror does the same thing and it is one of today’s most popular science fiction series. This concept started as an idea I had for a Black Mirror episode, a commentary on social behavior.
The film is titled Xenomorph, which is a reference to two things. Firstly, it is a reference to the Alien films, where the main antagonistic force is an alien that characters describe as a “perfect organism.” In my film, this is meaningful because the adopting mom tests the quality of her child. The second reference is to the word “xenomorphic.”
Dictionary.com describes xenomorph as “noting or pertaining to a mineral grain that does not have its characteristic crystalline form, but has a form impressed on it by surrounding grains.” The subject is being molded or shaped by external forces. That’s what happens to the main character.
Growing up, I felt like my parents had too many helicopter-like qualities. I felt like my life was micromanaged by them. They had expectations of me, wanting me to grow up molded by their values. A lot of that did happen, but as I got older I realized that I was the one letting that happen. Moving out of the house felt like a first true taste of independence and it was wonderful. My sister, the lead actor of the film, is moving out of the house soon and will get to experience her own journey finding herself after leaving the identities my parents created. I wrote this film for her, to show her what leaving home meant to me, and what I hope it’ll mean for her.
-Blake
OVER BLACK:
Xenomorph- an adopted child whose synthetic memories are determined by the adopting parent(s).
FADE IN:
INT. APARTMENT LIVING ROOM — EVENING
LYDIA, a proper, formally dressed 35 year-old woman, sits on a couch, nervously bouncing her legs. She watches the set of stairs leading up from the living room to the second floor.
TRINITY, a young 18 year-old girl with a shaven head, steps out from the hallway and stands on the top step of the stairs. Lydia smiles at her.
INT. APARTMENT DINING AREA — EVENING
Trinity and Lydia sit across from each other at the dinner table. They both eat fresh, green SALAD. Lydia peers up at her while taking a bite.
LYDIA: Tell me about the boys at school.
TRINITY: Come on, mom.
LYDIA: What? I’m just teasing.
TRINITY: Yeah. I don’t know. It’s just that I’m graduating soon. I need to focus and that’s a distraction.
LYDIA: Have any boys asked you out?
TRINITY: That’s all you care about, isn’t it?
LYDIA: Of course not!
TRINITY: You don’t seem interested in anything else. My grades, my track times…
LYDIA: I’ve been operating under the assumption that those are good.
TRINITY: …They are.
LYDIA: This is the one thing I never hear from you about.
TRINITY: And like I said, it’s not a big thing in my life.
LYDIA (commanding): And I’m telling you that it should be.
TRINITY: …I’m sorry.
LYDIA: Don’t say you’re sorry. Talk to me about this.
TRINITY: …Mom.
LYDIA: Just say it.
TRINITY: Mom, please don’t do this.
Lydia picks her PLATE up and leaves the table. She walks to the sink and washes her plate.
LYDIA: It wasn’t ever supposed to be like this. You weren’t ever supposed to be like this, I mean. But it just keeps happening. Every time.
TRINITY: What keeps happening?
LYDIA: Nothing. Your behavior.
Trinity sets her fork down.
TRINITY: I’m done eating.
LYDIA: Go to bed. I’ll finish the dishes.
INT. BEDROOM — NIGHT
Trinity lies in bed. She slowly closes her eyes.
BEGIN DREAM SEQUENCE:
EXT. PARK — DAY
Trinity sits on a PICNIC BLANKET across from JACOB, a clean-cut boy who wears bright colors. He passes her a BOWL of fresh, colorful SALAD, his face beaming.
A GIRL’S LAUGH echoes from a little bit away. It is MARISSA, a tall brunette, also 17. Marissa jogs through the park. She waves at Trinity, who waves back.
Jacob gives a cough, getting Trinity’s attention back. They eat the salad.
Trinity’s gaze drifts back over to Marissa, but her vision stops right when Marissa meets the edge. Her vision stutters and freezes, suddenly snapping back to Jacob.
:END DREAM SEQUENCE
INT. BEDROOM — NIGHT
Trinity sits up in her room with the lights off. She looks at the CLOCK. 1:38AM.
LYDIA (O.S.): Yeah. I’ll hold.
Trinity leaves the bed, cracks open her door, and peeks down the hallway. Lydia stands in the kitchen, a PHONE to her ear.
LYDIA (CONT’D): You told me that the experimentation process was near the end. I didn’t realize I was a part of it. No, I won’t accept service like this. I expect you to give her another reset for free.
Trinity softly shuts the door and backs away from it. She pauses for a brief moment before grabbing her backpack and slipping out the bedroom window.
FADE OUT.
