Scene 5.18 - The Goddess' Crib
EST: INT. Core of a distant planet in another dimension.
(We see the broadcast projected on a cave wall from a fire, with no audio or CG. The video isn't box-shaped and it looks as if the pixels were little individual licks of flame and shadow. The pixels are also colored accordingly. CARMELLA shifts on her large, molten-bedrock throne/love-seat and is eating large candied grapes, sugared grapefruit slices and yogurt-covered raisins from a basket -- much like a woman might curl-up with a tub of ice cream while watching late-night television.)
CARMELLA
Hmmmph. Men.
(Puts basket down, grabs a few last pieces from it and snacks on these as she walks through her living room, across her immense reading room. Take your time, and when you get bored: She decides to fly across the long hall; like tissue paper caught in a breeze, in bursts, graceful and steady and controlled. She gracefully lands near the entrance of her bedchamber, she darts left into another hallway, snacking all the while. The camera follows. Floating in air, she descends a three-step dias and looks toward the large, cut-and-polished silver deposit protruding from the wall to her left, and examines the reflection of her figure in the wide stream of molten silver -- trickling as a waterfall over the smoothed-part of the rock -- into a crevice to the depths below. Her hands caress her body, smoothing-out any wrinkles first on her face, then of cloth or ribbon on her form-fitting dress. She lifts the train of her dress to look at her legs. The train remains in the air, much like her breasts; unaffected by gravity.)
CU: Reflection of Goddess
(She puts her hands to her neck, leans into the wall-sized mirror, taps the bottom of her jaw with the back of her hand twice or so.)
MS: Room
(Thousands of empty cups, basins and containers of various type and size shape and color are strewn about the circular room. THE GODDESS doesn't disturb even one. Her movements throughout her domain are perfectly graceful. Nothing happens that she does not will to happen.)
REV. ANGLE
POV: MIRROR
(Leaning back out, standing up straight, she does a back-handed flick of her left wrist and waves off her train, which flies from her body and quickly dissolves into the air. Behind her, we see a large column with a thousand holes peppered about it. She turns toward it as she pops the last candied grape into her mouth and raises and outstretches her arms. The column sprays water from the holes in every direction, soaking THE GODDESS, flooding the floor and filling the basins with pure water.)
REV. ANGLE
(The Goddess is thoroughly soaked and ecstatic, water continuing to pour in at various intensities from different directions; even from the walls around her. She shakes her head, thrashing water about, as she bends forward and wrings her hair out. She goes out of frame, the water sprays stop. She uprights herself, and her hair is not only surprisingly dry, but it is also shockingly platinum-blonde and almost cropped like a flapper in comparison to her former, lengthy, dark locks. Her makeup is graphic and her skin tone and outfit has also changed, although the flowing, cloth-ribbon motif is still her style -- perhaps more-revealing is a better way to describe the green, white, turquoise, blue and sky-blue outfit with her blue-tipped, platinum-blonde hair. She smiles and tightens the ribbons around her amply-pushed-up chest and confidently walks by hundreds of full containers to the room's other exit -- from one Aubrey Beardsley wet-dream to another.)
FTB