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Deus Ex Machina


League Member
Feb 19, 2004
North Shore, MA
OOC: Time to do some business

Handler: Aidan Campbell
Character: Machine
Role-play Type: Prepared media presentation – For CSWA On-Time

Writing Key:
{Text in Brackets} – Subtitles at bottom of screen
(Text in Parenthesis) – Setting Information
Standard Text – Verbal

(Returning to our show, the scene cuts from the latest movie trailer for Terminator 3 to a dark screen… whatever light comes from it is certainly the after-effect of the television tube and not that of any other light source. In the lower right corner of the screen one can make out the transparent CSWA watermark and as the vignette begins, light slowly begins to diffuse into the frame, but color that still lay someplace far away.)

(The light brings with it slow frames drenched in the shadow and contrast of black and white footage. As the contrast increases those frames :sounds of young children playing: reveal the setting of a playground, cast in chain link and concrete.. burned out buildings sit in the background and set a rather bleak dichotomy between the joy on the faces of the young children and the ominously poor setting behind them. Shot pans to a jungle gym and then to black)

“Wenn ich in ihre Gesichter schaue, sehe ich die Unschuld die realen Weltstreifen weg und erinnere daran mich, daß nicht vor langer Zeit ich war, wie sie jetzt sind”
{When I look into their faces, I see the innocence the real world strips away and remember that not long ago I was as they are now.}

(The scene fades away from the playground as a solitary child sits upon the edge of the bottom of a tall slide, his feet kicking in the sand beneath him and his eyes looking about as if he waits for something. We fade away from black and white footage to a backlit silhouette from the shoulders up. What can be seen is against the darkness is a strong jaw line and apparent crew cut.)

“Es gibt viele Sachen, die ein Kind erlernen muß, viele Fragen, die beantwortet werden müssen. Eine Lektion bleibt immer wichtiger als irgendeine andere. Bis Sie kämpfen können, sind Sie nie ein Mann.”
{There are many things a child needs to learn, many questions that need to be answered. One lesson will always remain more important than any other. Until you can fight, you will never be a man.}

(The scene cuts again back to black and white, and to the playground. The camera shoots to an angle of the child’s feet as he stands from the slide and walks a few feet to his left. Seconds pass, and the feet of a larger child move to stand before him. Gravel stirs at ground level and the smaller child apparently drops a backpack. The scene fades from the black and white footage back to the silhouette.)

“Zu diesem Tag erinnere mich ich an die Wörter meines Vaters. Zu erlernen zu kämpfen ist ganz wie zurück abziehen den Schichten von, wem Sie sind. Lassen Sie Ihre Neigung nach.”
{To this day I remember the words of my father. To learn to fight is much like peeling back the layers of who you are. Leave your passion behind.}

(Scene cuts back to the playground, the same small child’s feet are seen, the detail on his old pair of Buster Brown shoes revealed due to the dirt which has scuffed them. The larger child hits the ground clutching his genitalia and his hair style and clothing seem indicative of 1970’s apparel.)

(Scene flickers to the silhouetted bust and then flickers back to the playground. The scene again shot from the ground level fails to reveal faces or body types, but plays out the same way. Scuffed sneakers, a backpack dropped and a much larger child, this time holding a bloodied nose. Clothing is more indicative of 1980’s wear.)

(Scene flickers again to the silhouetted bust and then back to an unfamiliar place. The playground is now gone. The only indication that we are still in the same place is an old billboard that remained in the background in the very first shot. We see an older young man walking into a parking lot which covers the same area the playground once did. The camera catches him from behind and from the shoulders down. Upon his frame a worn old leather jacket, jeans and a ratted pair of Doc Martins. He seems intent on returning to a specific place, stands upon a small pile of sand off to the side of the parking lot and the camera shot cuts away.)

(Back to the silhouetted figure)

“Für, sobald Sie hinter dem verlassen, das Sie Furcht bildet, gibt es wenig zum Stoppen Sie von, was es Sie muß tun, um zu überleben ist. Ich bin nicht manuell”
{For once you leave behind that which makes you fear there is little to stop you from what it is you must do to survive. I am not man..}

(Scene cuts to a shot of a taped fist being thrust into the air, the black and white footage finally cutting to color as blood flows from that tape to his forearm, now revealed as his jacket sleeve falls back.)

(The shot cuts back to the silhouetted figure as slowly a forearm reveals itself in the foreground, his face still shrouded in the shadow of the backlight. That forearm, now covered in a spandex forearm guard with the Norse rune Tyr emblazoned on the back of the fist in gold.)

“Ich bin Maschine”
{I am Machine..}

(Fade to Black…return to the next segment of On Time)

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