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Coma White
soundtrack: Coma White, from Mechanical Animals by Marilyn Manson night. a broad cobblestone alley lit by intermittent arcs of bright pink electricity flowing in slow motion from one lamp-post top to the next. two aliens (shaped like tall four-legged schmoos) are escorting a third alien down the alley. the third alien is somewhat shorter than the others and moves awkwardly. we follow their progress from one shadow to the next. the same scene, viewed from above (as if from the third floor). we track them as the alley winds about between oddly-placed columnar buildings. something whips past just below us, diagonally across the screen. a few seconds later, another and then another, each something flying in a different direction. extreme closeup of a dull metal sphere with three clustered camera lenses at the front. it is shaking with the stress of moving through the air at high speed. we can see part of the sky whipping past behind it. another shot establishes that this sphere is flying over the city; it is a cross between a surveillance camera and a missile. we see the streets below from its point of view for a few seconds, possibly digitally tweaked to make it look like what a cheap surveillance camera might see. as we pass over the three aliens, the scene becomes momentarily brighter; an afterimage of the three lingers on the display, motion-blurring in the direction opposite to the camera's motion. cut to a bank of screens with faded images in blue-green. they all change slowly, as if slow-fading from one frame to the next. one of the screens is following the three aliens down the alley, successive frames of the image being updated as different cameras fly over them. a thin hand in a grey glove points to the screen, then points two fingers (pinkie and ring finger) off to the left. fade out. fade into an underground railway police station. the three aliens are being escorted out of an AV towards the holding cells by two Bythians (tall thin aliens with grey skin and heads shaped like axes. they wear lots of weaponry). the three aliens are searched at the gate and the shorter alien turns out to be a human in a disguise. foreground shot of various aliens in the area staring at this strange apparition who is JONAS, our protagonist. fade into a shot of Jonas sitting in the bottom of a padded spherical cell. an oval port in the wall above him opens and two Bythians stand outside. one of them gestures to Jonas, who gets up. cut to a wide circular courtyard garden. at the centre is a grey metal shipping crate the size of a bus. the Dominion symbol (a red circle divided into seventeen unequal segments around another circle) is partly visible on the side. Jonas stands near one corner with the Bythians behind him. a holographic silver metal sphere with spikes at its cardinal points rotates in the air before them. text scrolls past underneath, but our POV makes it impossible to read much more than a few vaguely legal-sounding terms. Jonas stares down at his feet. the Bythians gently lead him away. fade into an airport-sized expanse of concrete: the spaceport. huge alien ships looking like flattened grey metal basketballs as big as a football field float about before rising into the sky. at the administration domes Jonas is being escorted onto a smaller version of the basketball-shaped ships. there are a few humans among the aliens there to see him off. everyone is displaying various signs of distress; it appears that these are friends of Jonas', and he is being deported or exiled. a Tsialo goes to run after Jonas but is held back by its companions. Jonas almost pauses at the hatch but instead climbs down into the ship. the door closes. the ship floats into the sky and disappears in the distance. fade into a shot of Jonas walking down a corridor past some portholes through which, instead of the blackness of space, we see a blurry, pulsing light that cycles through the entire spectrum of colours several times a second. it appears to be streaming past in waves. one of those hyperspatial things. jonas turns left into a hatchway which leads to a ramp. it seems to extend into open space out of the back of the ship. Jonas walks down the ramp and stands at the end, staring back down the hyperspatial tunnel their ship is travelling through. cycling waves of colour pulse down the tunnel, spiralling away into the distance (refer to the PC graphics demo SYN2X.exe). closeup of jonas looking rather lost and mournful as if staring back at his lost home. medium long shot of jonas standing at the end of the ramp. VALESKAH the maracite floats into view as if she was in zero gravity. her veils, robes, cloak and rosary beads drift about her body. she flies after Jonas, catches her arms around his neck and hugs him. Jonas turns around to hug her. he turns his head back to look down the tunnel one last time and a slow grin spreads over his face. they both move back inside the ship. |
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