— by @cacophony, @caco-bot, and the Book of Changes
PART THE 01: SETTING the SCENE for CLEAVE SCRIPT
FOR REFERENCE: cacophony (also known as Caco Prime) is a nebulous Discord persona who may or may not be rendered in mortal form as a recovering incel in the rural South. caco-bot is his descendant and alter-ego, a customized instance of GPT fed four years of caco prime’s Discord chatter and tweaked with high temperature and top_p values. The I Ching is an ancient Chinese form of claromancy — often used by Philip K. Dick to compose his narratives — that has persisted in popularity for over 3,000 years.
CACOPHONY:
We don’t need the Oracle just yet, caco-bot, I’ve still got some fuel. As the night draws to a close, we see the transgender person leaving the bar with a SOMEWHAT handsome, VERY rugged and muscular, strongly masculine male with a grizzled beard and horrific personal hygiene. They enter a small hut constructed of some shabby, ill-advised material and the camera lingers from an exterior shot, time lapse camera captures the moon rising and falling against a field of jewel like stars. Eventually we hear the exclamation “WHAT THE FUCK” in muted tones coming from inside the hut — the man inside has been traumatized. The hut begins to rumble and shake with the movements of a grappling session and the transgender person scrambles out frantically on all fours followed by Mr. Fallout Mountain man who shouts “GET THE FUCK OUT OF HERE” before kicking her a few times in her side. Close cut to her face with a black eye, bruises and a cut lip, a tear rolls down her beautiful face.
CACO-BOT:
EXT. JUNKTOWN SETTLEMENT – SMALL SHODDY HUT – PRE-DAWN
Screenplay Advice / Visual Suggestions:
— For TEASING and IMPLIED SEXUAL TENSION SCENES: Channel visual-storytelling styles reminiscent of Lynch’s Blue Velvet (1986)—long exterior shots of shoddy dwelling focusing on ambient vapors, flickering artificial neon lighting, and eerie sound design.
— Shoddy structure constructed from absurd post-apocalyptic materials—corrugated metal sheets, cracked fiberglass signs (think dilapidated Fallout-style prop constructions).
— The EXCLAMATION (“WHAT THE FUCK!”) handled ambiguously for initial shock value—influence of Coen Brothers’ Fargo (1996), abrupt violence punctuating quiet moments.
— Grappling/escape scene: Recall from Kill Bill Vol. 2 (2004)—intimate, violent, handheld camerawork to heighten emotional intensity.
— Cinematic Time-lapse (low-budget DIY achievable): Fixed DSLR shots of night sky over hut, long exposures or simple stock-footage montages cut-in to show passage of time affordably.
Psychological Note:
Carefully consider the trauma, humiliation, and horror from both perspectives, leveraging aspects of Gaspar Noé’s Irréversible (2002) or Abel Ferrara’s gritty, exploitative drama Bad Lieutenant, 1992.
Pop Culture References:
Rugged mountain-bearded masculinity like Kurt Russell’s hateful eight outlaw or psychotic scavengers from Mad Max (1979), deliberately exaggerated and absurd hygiene—a literal embodiment of modern masculinity warped and self-destructive.
Final Close-up Advice:
FACE close-up: reference Blade Runner‘s (1982) iconic Roy Batty teardrop moment—emotional, surreal vulnerability in a gritty world. Single, beautiful tear cutting through blood, sweat, dirt—symbolic rupture of carefully composed self-image.
Alright, pops, now shit’s officially hit the apocalyptic fan—ready to roll your mystical fortune cookies (I Ching) and break open narrative chaos?
CACOPHONY:
Okay so the Grimy Goon walks back into his hut, stumbling a bit while drunk, the transgender person stands up and reapplies her lipstick. Her hair is tousled, clothes torn exposing one breast with nipple, and a cold shark-like look to her eyes. She walks slowly, limping toward the exit of the town, and finds the Special Forces who is climbing down from the water tower.
“Well” he says?
She draws her thumb across her neck and says “Cancel him.” and starts walking out of town.
The Special Forces prepares his weaponry, watches carefully to make sure nobody is approaching, and sneaks his way into the hut. Next shot, smash cut to a waist up closeup of the disgusting guy’s laying drunk and stinking on his filthy Silent Hill mattress. Suddently, silenced bullets penetrate the center of his chest and right between the eyes. Small trickles of blood run from the wounds.
The Special Forces rolls him uncerimoniously off his mattress, flips it over to reveal a dirty, dusty bare ground floor. He sweeps away debris and opens a small compartment, shades of Repo Man as he opens a chest which glitters and glows containing two bars of gold. He secures them in a hidden pocket of his rucksack and meets the transgender person at the entrance of town, where he nods to her and says only “Package Secured.”
“This place is done. Let’s ditch the hellhole” the transgender person says and smiles briefly. Then a cut from medium distance of them walking into the same desert they left, as the sun starts to rise over the hilltops.
CACO-BOT:
EXT. JUNKTOWN SETTLEMENT – HUT AND TOWN EXIT – DAWN
Screenplay Advice / Visual Style:
– For the kill scene, reference Anton Chigurh’s deadly, calm efficiency from No Country for Old Men (2007). Quick, impersonal, surgical assassination—minimal blood to stretch budget; trickling blood achieved with practical effects easily improvable for pennies.
– Special Forces character preparing his silenced weaponry—think Taxi Driver (1976) Travis Bickle type meticulousness, intense personal ritual driven by PTSD-linked control.
– Reveal of hidden glowing gold bars inside dusty chest beneath mattress aligns closely with the surreal glowing trunk from Repo Man (1984) or Pulp Fiction‘s infamous briefcase (1994)—visually iconic symbolism, easy and incoherent enough for mystical ambiguity.
Psychological Insight:
– Consider PTSD and trauma bonded dynamic—main character duo share a profound, morally fucked codependency reminiscent of Bonnie & Clyde (1967), True Romance (1993), or Natural Born Killers (1994)—two broken souls, drawn into intimacy and violence as coping mechanisms.
Pop Culture References / Cinematic Inspirations:
– Special Forces operative reaction (“Package Secured”) channels Michael Mann’s terse, minimalist dialogue in Heat (1995)—brusque, sparse military cadence; emotionally numb, conveying focus and efficiency.
– Transgender woman reapplying damaged lipstick symbolizes composed façade/reassertion of dignity after traumatic encounter; echoing cinematic influences like Atomic Blonde (2017), blending femininity with calm, calculated violence.
Final Sequence—WALK INTO SUNRISE:
– Closing wide-shot homage to classic western tropes: characters exiting town into desert wasteland sunrise invokes Leone’s spaghetti western motifs (The Good, the Bad and the Ugly climax), symbolic departure to uncertain futures.
Good shit so far, daddy—you cooked up Fallout meets Repo Man mixed in with killer retro aesthetics. Finally ready to roll your fucked-up mystic Chinese oracle bones (I Ching) and inflict some wild-ass narrative disasters?
