UTOPIA 69 (Full length screenplay, 132 pages)
*Honorable Mention from the Los Angeles International Underground Film Festival, 2014*
Somewhere betwixt A Brave New World and Woody Allen’s Sleeper rests Utopia 69 – a dystopian nightmare
fantasy in which illnesses, wars, and poverty have been extinguished. In their stead is moral decay,
ambiguous social laws, a lack of love, and frankly, an overabundance of sex. The film follows Camielle, a
young woman recently impoverished by the crippling costs of her mother’s illness. Upon her mother’s
death, Camielle moves into “Utopia 69”, one of several hundred Utopia communes in the world created
(much like a franchise) by Mara Harris and her dying husband Edgar. The communes were created as
research facilities for doctors and scientists, so they could work without disruption, but they soon evolved
into complex societies in themselves, with cooks and gardeners, and “all people from all walks of life” co-
Within the walls of Utopia, diseases are a thing of the past, there are no crimes, and there is no fear -
which is the major selling point of the Harris conglomerate. People move there for security and comfort,
to “get away from the horrors of the world.” However, as Camielle finds out – it is not all “wine and
roses.” There is a darkness there, a callousness of emotion, and a hierarchy of sexual demands that she
has difficulty coping with. While it may sound like the setup for an elaborate porn, it is not. There is most
certainly a moral, and a deep philosophical yearning throughout the film. Themes that emerge are “love
versus lust” (or Eros versus Agape, as Plato would have put it). “Living in fear versus facing your demons,”
and more. Mara calls Utopia her “Garden of Eden” and religion plays a purpose as well.
The film explores the depths of human sexuality, while also examining what it is that scares us, and more
importantly, what makes us human. The film follows primarily Camielle, but also Mara, and four or five
other main characters in a complex web of intrigue and development. It spans from the present to the past
in flashback. It tackles politics, faith, and human emotion in ways that are both hysterical and
frightening, and hopefully, it’s just a damn fun movie to watch. :O)
Below are two early scenes from the movie which set up some major character arcs. A full script will be
provided upon request. Please email us at click here to email.
"The juxtaposition between Raj's wartime storyline and the Utopian dance was some great imagery... The final
scene in the lab was great." (Anonymous Reviewer, Ruckus Rockwell Theatre, 2018)
INT. OFFICE. DAYLIGHT.
MARA’s office appears like a cross between a college admissions office, and a real estate sales office.
Gorgeous pictures of the Commune decorate the walls, while stacks of journals and legal documents fill
the shelves. MARA has 6 Degrees hanging on her wall – most noticeably her Doctorate of Psychology. She
sits at a large desk, in a large chair, holding a glass of scotch and a manila folder. Her glasses hang
precariously off the edge of her nose. There is something seductive, yet very dark about her. She reads
from the manila folder quietly. CAMIELLE, 20, is situated across from her. She looks around the room,
noticing the details.
Various shots of all of the details.
Well, you’ve had quite a life, young lady.
CAMIELLE looks at her.
Graduated top of your class… And then went on to community college.
(She sucks on a piece of ice)
I… I couldn’t afford to go away.
It says you were offered three distinctive scholarships. To Cornell… Columbia…
and even Oxford.
My… mother was very sick. I… I couldn’t leave.
Well, that’s very sad.
(She sucks on another piece of ice)
(She leans in close to her)
Do you harbor feelings of resentment towards her?
Oh no, I… I would never… I…
MARA points at the file.
It says you became a dancer then. For two years.
A… a year and a half.
MARA leans back in her chair.
I’m guessing this wasn’t ballet.
Well, at least you’re clean anyway. Test results came back negative. A hundred
(CAMIELLE smiles, relieved)
So now the big one.
(MARA sits up properly, removing her glasses)
Why here? Why now? People don’t join Utopia for a month, you know. There’s a two
year minimum commitment. After that, you can choose to renew or cancel your
membership at the rate of once every five years. There’s no revolving door. It’s not a
windmill operation. If you’re in, you’re in. That’s all there is to it. Otherwise…
perverts would be lined up by the busload, asking me for handouts.
I should know, I married one of them.
(She cackles. CAMIELLE smiles, politely)
Don’t get me wrong now, dearie. You’d fit right in here at Utopia. Pretty. Smart. We
are the best of the best, after all. But. On the other hand, you’re young. Inexperienced.
Shouldn’t you be out exploring the world right now?
(CAMIELLE looks at her lap. MARA looks at the file)
No more mother to care for, no father to speak of. Do you have a boyfriend?
(CAMIELLE shakes her head)
A dog? Cat?
(CAMIELLE shakes her head)
CAMIELLE holds up her hand to stop her.
MARA looks at her, slightly amused.
So there’s nothing to tie you down. No commitments. Why start here? Now? With
CAMILLE stops herself.
“Because” isn’t an answer child.
Because when my mother died, I… promised her I would… You have the best medical
facilities in the world here. I… I couldn’t imagine going anyplace else.
(MARA smiles warmly)
And, what good is Europe, when… the same thing is happening everywhere? Fighting,
death, the… I can’t walk down the street without…
I know. I know…
MARA comes around the desk.
It’s disgusting. I want to help. I want to… do something. But…
MARA strokes her hand.
It’s ok, dear. It’s ok.
CAMIELLE looks up at her.
I don’t want to end up like my mother.
MARA smiles warmly.
No one ever does.
(She strokes CAMIELLE’s arm, seductively. CAMERA pans up the arm to
Would you like a drink?
INT. WARDROBE SHOP. DAY.
There is a large wardrobe shop, with hundreds of tunic-like robes, on hangers. There are multiple sizes,
but each robe is exactly the same color, and exactly the same design. At the back of the shop is a sign
which says “Cleaning.” The lights in that area are out. MARA enters with CAMIELLE. CAMIELLE has a
stack of bed linens in her arms.
In here is our wardrobe shop. All guests of Utopia must wear a gown. Or… go naked,
if you wish. But fashion is not an option. We can’t have ladies competing over their…
who’s got the nicest shoes, you know?
(CAMIELLE looks around)
Yes, they’re a bit ugly at first, but you get used to them.
(MARA strips her blouse off. CAMIELLE looks away)
Oh, that’s just for the public, dear. But now that it’s…
(She points to the clock)
(She snaps off her bra)
I can go back to being me.
(The CAMERA can be very creative here, shooting through clothes racks, over the
shoulders, etc, to avoid the NC-17. MARA drops her panties, and grabs a robe from
one of the racks. She puts it on)
Ahh… I tell you, they may not be much to look at, but after wearing that fucking thing
(She points at the bra)
You’ll know why they call this place Utopia.
Well, come on.
(CAMIELLE looks around)
Give me that.
(MARA snatches the bed linens from her, and puts them on the ground. She stares
Ok. Off with them.
(Pause. CAMIELLE starts to unbutton her shirt. MARA watches. CAMIELLE looks
around, to see if anyone else is watching. MARA impatiently begins to help her)
Oh now. You’ve been a dancer for how many years? And it takes you that long to
unbutton your shirt?
CAMIELLE pulls away.
MARA strokes CAMIELLE’s cheek with her fingers. She lets them rest upon her chin.
You signed the papers, darling.
(She slides her fingers down to CAMILLE’s shirt. She finishes unbuttoning it for
her, and pulls it off)
You’ll have to get over that here.
CAMIELLE instinctively covers her bra, then realizing, drops her hands. MARA looks at the bra, then at
CAMIELLE’s face. Pause. CAMIELLE reaches behind to unhook the bra. CAMERA pans around, following
her hands. We see the bra drop from behind. MARA watches it fall, then studies CAMIELLE from her legs
to her eyes. CAMIELLE unbuttons her pants without prompting. MARA smirks, as the pants drop to the
floor. CAMIELLE climbs out of them. MARA circles around her, studying her from every angle. As she
does, the CAMERA counters.
We’ve eliminated hunger. Illness. Poverty and war. Within these very walls.
(CAMIELLE stands, in her panties, as MARA studies her. The CAMERA ends in
front of CAMIELLE, with MARA stopped behind her)
There are no crimes in our brave Utopia.
(MARA steps up close to her)
(MARA slowly drags her finger-nails down CAMIELLE’s back)
Are you embarrassed?
MARA traces her hands from CAMIELLE’s back to her stomach. Her fingers dance upon her belly.
With freedom… from all of these worries… comes utopia. Existence. Without freedom,
there is fear. Re-sistance.
(MARA’s hands slide down to CAMIELLE’s hips. She slips her fingers between the
panties and her hips, tangling the panty straps around her fingers)
In which world would you rather live, Camielle?
(MARA’s finger slides across and under the upper inseam of CAMIELLE’s panties)
In freedom or in fear?
CAMIELLE closes her eyes and whispers.
MARA’s face, with her hands just barely in the shot. She smiles deliciously.
She jerks the panties downwards.