FINNEGAN'S SQUAD: "Post Partem" - teaser/opening act
COPYRIGHT © 2004 | TITAN-RAINBOW Media Productions | ALL RIGHTS RESERVED
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FINNEGAN'S SQUAD: "Post Partem"
BEGIN OPENING ACT:
EXT. SPACE - ASTEROID BELT
A nearly moon sized object in the Asteroid belt unique
because it's surface has man-made structures and components
that indicate this one is more than just a rock in space.
SUPER: ASTEROID BELT - STARKEY PENAL STATION.
INT. STARKEY - CELL BLOCK RED
A row of stainless steel cell doors with small window line
this two level but narrow passage way which is Cell Block
Red, the highest security cell block in the United Network.
Following the unlocking chime, a far end hatch opens and an
orange prison jump-robed EVANGELINE enters, limping because
of the spinal wound inflicted upon her by Finn during their
last encounter.
She shuffles slowly down the mono-chromatic cell block, past
doors whose only indicators are red letters stencilled just
below their tiny high impact glass windows.
Behind her are four heavily armed and well-padded GUARDS who
keep at least two of their rifles trained on her at all
times. It's a mostly symbolic gesture. Because of her
injury she can barely get around on her own.
Finally they come to her cell, the door opens automatically
and she enters.
INT. STARKEY - EVANGELINE'S CELL
Though spacious for a prison the cell, as with the rest of
the block, is almost entirely mono-chromatic. A slightly
wider red leather padded section lines the left wall, which
is her bed, and continues as a padded bench along most of the
back wall.
At the far end is an open Shower/Lav unit. The chrome toilet
beneath the small chrome sink, below an unbreakable chrome
plate acting as her mirror, below the shower nozzle.
To the immediate right of the door is a stainless steel table
with a low resolution Video display recessed into it. On
either side of this, for completely aesthetic reasons are two
padded chrome chairs, both anchored to the floor.
The cell door closes behind her with the mean-spirited
chuckle only a prison guard who truly hates the subjects
under their control, or someone who guards Martha Stewart,
can muster.
Evangeline stands in the middle of this room, looking down
with deadened eyes. She is docile, broken spirited, and left
with nothing but her grief.
After what seems like a lifetime she is distracted by the
unlocking and opening of the hatch behind her.
She turns as Doctor MELON enters pushing his stainless steel
cart before him. She steps aside to allow it inside, after
which the hatch closes. She looks at him curiously.
MELON
Disrobe please.
Evangeline stares at him with a confused look on her face.
EVANGELINE
I thought you were done?
Melon ignores her while he starts unfolding and setting up
his cart. The lid, folded over, creates half an examination
bed. It too is chrome, with the same red leather padding as
the rest of the place.
He folds out two leg stirrups, but they are down, nearly at
ground level. Another fold out and we see that the
examination table is designed for her to lean against,
permitting him clear access to her back.
As Melon pulls out two arm rests, both with wrist restraints,
he turns to her, impatiently.
MELON
Do I have to get the Guards again?
Unsure what is going on Evangeline begins to disrobe. She
has little choice.
Evangeline's one piece orange jump-robe falls to the ground
in one, swift motion, dropping from her like a towel. She
stands there, uninhibited and leaving little to the
imagination, or at least that would be the case were it not
for the clever camera angles.
EVANGELINE
I thought the plan was to leave me
barely mobile. Just enough so I
wasn't a burden.
Melon takes a step back, motioning her to take her place.
MELON
Quite.
Evangeline limps toward the table and steps onto the stirrups
before carefully leaning forward, bracing for the cold
against her bare form, until her face, like someone at a
masseuse, is resting against a padded donut.
Melon steps forward and brings her hands up to each armrest,
securing them with the wrist restrains.
He does the same to her feet in the stirrups and then finally
to her neck, immobilizing her against this padded cart.
He then slides open a deep drawer which has his equipment
resting on a tray beneath and between two glowing purple
lights which apparently are the sanitation unit.
Melon dips his hands between the two panels of light bathing
them and sanitizing them. He reaches deeper to pick up a
tool, something that looks like a dentist's drill, cable
included, which he clutches as he moves behind her and
approaches.
Melon peers at the side display he has set up which shows
Evangeline's spinal chord as he begins to move the wand
around her lower back.
It ZAPS and SIZZLES while the display shows pinpoint and key
repairs being done to her back.
Evangeline's face reflects the sensations, some pleasurable,
some painful. Her legs twitch, her back muscles spasm, her
body tenses. Instinctively, reflexively, she pulls at the
wrist restraints while he works, guiding the wand where it
needs to be.
She groans and moans with an increasing pace as he works
faster and faster behind her.
She grimaces as he reaches over and directs the display to
run impulses down her back. More muscle tensions, her hands
clutch the arm rests firmly. She screams and then...
He is done. Melon steps away from her, replacing his gear
and cleaning up. He slides the drawer closed and then starts
removing the restraints. Her hands first, feet next, then
neck.
She rises, stiffly, sweating and clutching the cart for
support until she's upright. He hands her the robe, which
she takes, and as she slips it over her, he finishes packing
up the table. She arches her back and then realizes that she
has full mobility. She looks at him confused.
EVANGELINE
Healed?
MELON
Yes.
EVANGELINE
But...
MELON
I wouldn't let anyone know that, at
least not until after the trial.
Melon taps the hatch. It opens and he starts to push the
cart outside. Evangeline steps forward, very confused now.
EVANGELINE
What's going on? Why did you...
He stops and turns to her.
MELON
I'm merely doing what I was told.
Evangeline doesn't understand. She looks down as she
straightens her back again, feeling right for the first time
in weeks.
MELON (cont'd)
Get some rest and remember what I
said. Wait until after the trial,
then be ready.
EVANGELINE
For what?
MELON
I'm told you'll know.
Melon exits the cell and without looking back he speaks.
MELON (CONT'D)
Oh yeah. And C. U. Soon.
Her head bolts upright at him as the door closes. In another
time and place that phrase meant something to her.
END OPENING ACT:
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COPYRIGHT © 2004 | TITAN-RAINBOW Media Productions | ALL RIGHTS RESERVED