"The Red Dragon" Alexandre

"The Red Dragon" Alexandre Dec 29, 2006 20:01:31 GMT

Quote

Post by alexandre on Dec 29, 2006 20:01:31 GMT

We fade in on a close up of a muddy spot of land as rain cascades against it. “Come Clarity” by In Flames begins to play. The slow and powerful acoustic guitar adding a sense of drama to the scene. A boot then moves into the scene. This is then followed by another, then the first moves, someone walking into the frame. The camera follows the person walking, only from the perspective of his feet. The dreary imagery and haunting music is enough to send even the happiest person into a somber state. The words to the song then begin to appear on the screen as they walk along the muddy path, rain falling all around him.

I want you to lead me
Take me somewhere
Don't want to live
In a dream... one more day

The words appear rapidly as they are sung, replacing the one before it. The camera stops as the person walking does, standing in front of a tombstone as is revealed to the viewer as the shot moves upwards. The person is wearing a pair of black cargo pants of some kind and a black raincoat. His hair is wet and stuck to the jacket and his face as it is shown that we are looking at Alexandre. A bouquet of flowers gripped in one hand as he looks up the sky. The background behind him is bleak and lifeless. All of the color in the shot has been removed except for his eyes and the flowers. Everything a dull matte black, gray or white, the film even seems to skip a little as the music continues to play, the camera pans around the cemetery. Headstones and mausoleums stand triumphant against the elements as rain water pools and courses down them. The sky almost black with hatred as a storm brews within it. Alexandre looks up slowly at it, the camera returning to his side, close enough to see the water striking against his forehead and the bridge of his nose and radiating outward in a brilliant, diamond splash.

He slowly lays the roses down in front of the headstone he is standing in front of, the rain beating against the flowers as he stands there, staring at it. The camera moves around him, and looks at the writing on the headstone, which reads the following; “Here lies Bridgette Michelle Walsh. Sister, Friend. 1976-1988”. The camera moves back to his face as he closes his eyes and then just walks away, leaving us with this dead and dilapidated imagery. The scene slowly starts to fade out as the camera moves back to the roses, a crimson trail of water has begun to move from their petals and into the earth below them.

We open back up on Alexandre sitting in a rather large black leather recliner. The color is known because of the light given off by the television, all the rest of the shown lighting in the room is turned off. He is gripping the chair arms tightly, his hair disheveled as he stares at the flickering screen. He isn’t wearing a shirt, but is wearing black suede jeans and heavy looking boots. The camera moves to the screen, and we see that he is watching a home movie. Two little kids are playing outside, running through the vibrant green grass, while a shining yellow sun hangs in the sky. They are a boy and a girl. The boy has ebony black hair that seems to suffocate any light that gets near it, and effervescent blue eyes. The girl is a toe headed child with a small gap toothed smile and thick glasses over her brown eyes. We can only hear the children laughing and a voice asking them inane questions and laughing along with them. The camera moves back to Alexandre, closing in on his eyes as his eyes lids close over them and twitch lightly.

We cut to a black screen quickly, and fade back in on a foggy looking scene. An acoustic version of “Past It All” by Nonpoint begins to play. It appears to be a hospital, but as the camera moves, we see that it is a hospital as various medical staff people pass by the camera at knee level. The camera moves past several doors and around a couple bends until it stops in front of a door in the middle of a bustling hallway. A small hand moves from behind the camera and opens it slowly, walking inside. The music overpowers most of the other sounds in the shot as the door opens, however, we can hear a scanner, beeping an electronic version of a pulse rate. A rather large woman sitting by the only bed looks over at him and smiles through tear stained eyes and beckons him over. The camera moves towards her and she reaches for it, picking it up. It looks down at the bed and we see the girl from the home video laying there with a breathing tube and various other installations. The camera shakes frantically as its turned towards the woman who hugs it tightly, slight vibrations are still seen. The camera stays in position as the woman sets the boy from before down and he clings to the bed tightly, crying distraughtly. We then hear the woman’s voice, dulled to the point that its barely recognizable as the song is still playing. ”Where is the shut off switch for this?”

The imagery spins around for a moment, showing the television mounted to the corner of the room. We see the vibrant red roses on the nightstand by the bed, the billowing white and blue curtains covering the massive window in the room. The camera finally stops with a quick glimpse of the woman’s face in a close-up before it cuts out instantly.

We open again on Alexandre. This time he seems to be standing on a balcony. A city skyline behind him perched like a cage. The sky a roaring torrent of blue and obsidian, dotted with the faint cries of the stars. He is wearing the same clothing from the last time we saw him, and is eyes are looking up to the heavens. The camera closes in on a profile shot of him as a tear falls down his cheek, followed by another. Yet, he doesn’t move. The camera moves closer and closer, zooming on his eyes. The brilliant aquamarine color of it shows something deep within it, as the camera zooms closer than possible. Soon we are looking at the same cemetery from before as “Memories” by Within Temptation begins to play, the looming and powerful opening adding a sense of disparity to the scene. The cemetery is well colored now. Almost too much vibrancy added to each shade. The same little boy watches from a freshly dug grave as the pall bearers carry the coffin before. The camera catching a sweeping shot of the landscape around him, and the hundreds of people standing around him and the grave, but not a single tear is shed aside from his own.

His hand clings tightly to the woman from before as she weeps heavily into a cloth. A priest in a flowing white robe with an overly elaborate cross hanging from his neck, the only thing we can hear him say over the music is the standard “Earth to earth, ashes to ashes, dust to dust…” as the coffin begins to lower the boy tears himself from the woman’s hand and runs towards the coffin, collapsing in front of it as a few people from the crowd move to stop him before he falls into the grave. He is lifted up by the woman he escaped from and held tightly to her. The camera shows him screaming loudly, with a red face and teary eyes, but there is no sound, other than the remorseful and powerful overture of the music. The people around the grave slowly begin to move away from the sad event except for the boy who watches the grave as the woman just stands there, crying still. The priest touches her on the shoulder as he walks by and all she does is nod. The boy falls onto the freshly dug earth and lays there, motionless. The woman eventually picks him up and carries him away, and we fade on a zoomed out shot of the cemetery.

We open back in as the boy lies in bed, staring at the ceiling. He doesn’t even blink, just stares. The door opens and we see the woman standing in it, a look of extreme concern painted across her face. She solemnly turns her head and walks out of the room, as the camera goes to focus on the boy again. There is a slow fade out and then back in as the door is opened quickly and what could only be a doctor barge in. He is wearing a casual looking sweater and slacks, and carries a black bag; a stethoscope hangs around his neck as he rushes to the boy’s side. He cuts the child’s shirt open and begins checking his vital signs. The boy just lies there, staring blankly. We see the doctor yelling and shaking the boy, but we hear nothing but the music, everything else toned out. The boy’s eyes then roll back into his head and the doctor stops shaking him as starts performing CPR as we move to slow motion speed, the camera switching to an aerial view.

We see the same hospital room as before. A different doctor and medical team checking over the child, he looks up at the woman and shakes her head before leaving the room. She sits in the chair that she was before and scoots closer to the bed, laying her head on it and sobbing heavily. They boy just lays there, and again we hear the sound of a monitor, repeating a pulse.

“I don’t know what it is…” we hear a man say in the same dulled out way that all the voices have been, as a shutter opens on the camera lens and we see the woman talking to a doctor. She buries her head in her hands and cries loudly again, this time we hear it, but dulled out as well. The doctor puts a hand on her shoulder in much the same way that the priest did and we hear him speak again; “we’ll do all that we can…” The almost soothing noise of the pulse monitor is heard, and is then interrupted by the noise of a flat line. The doctor turns around quickly and points to the door and yells something to the now hysterical woman as he begins to perform CPR on the child, just as the other doctor was doing. The camera moves in slow motion again as a nurse pushes a crash cart into the room and they begin prepping the child for a charge. We hear the doctor counting out loud as he puts the paddles on the boy’s chest and calls for a clear. The roar of electricity is heard as the charge is pushed to the paddles. The child’s chest rises with the charge, but the noise of the flat line is still heard. He calls for a clear again and sends the volts into the boy, trying desperately to bring him back. The gentle beep of a heart rate is heard and the doctor hands the paddles to the RN, and begins to do some secondary procedures to try and hold the heart rate. The flat line is heard again as the doctor scrambles once more to save him, calling for the paddles once more. We fade out as the child is prepped for the shock once more.

We open on the face of the boy. His eyes are closed and no movement is seen. He then opens his eyes slowly and we hear the sounds of the world returning. The woman is asleep next to him, but she rises slowly and here eyes widen as she looks at him, and the camera once more returns to his face as his eyes are open. He smiles a little as she grabs his face in her hands and kisses his forehead. She stands quickly and runs out the door, a few moments later the doctor that we saw earlier rushes back into the room and we fade out on the scene, and back on Alexandre, staring down a picture of the child, the woman and the doctor. He turns it over and we see him smiling at the writing on the back; “Brad, Nanny Ross and Dr. Fletchall.” He puts the picture back into a photo album that’s resting on his lap, and closes it slowly, standing and putting it on a shelf. He bows his head and for the first time we hear him speak softly;

So you see…you can’t kill me…I’ve been rejected by death…

Post by alexandre on Dec 26, 2006 5:00:30 GMT

Post by alexandre on Dec 29, 2006 20:01:31 GMT