~ two

On the payphone ~

"Clarity disparity I think you're only scared to see polarity and parity with that which dared to be."

...

"You're not a monster."  Hangs up.

 

Gabrielle hangs up the other end with a tear and watches him walk away on the monitor with a smile.  Then a sudden outstretched scream to the sky, extension of wings with the turning of the world.

('The Undertaker' (from the guitar) by Prince and the NPG)

(5:52 ~ "Here come the Undertaker")

The city turns, neighborhoods mingle as rich become poor, the suburbs shuffle in a circle around the lights, the farmlands beyond following on their own cycles through (see mechanical astrolabes).

Over cards ~

Michael - "I saw her Satch."

The room goes quiet as the farmer (Satch) was the last to know.

Satch - Suddenly cold, "Who did you see Michael ?"

Michael - "I saw her.  But ... she wasn't right."

...

Satch throws the table over with a grab of the sawed off underneath and charges Michael hard into the wall, gun cocked under the jaw.  "WHO did you fucking see Michael.  Who did you see."  He looks him over with a real desire to do it, "Who."

Michael - "It was Gabby.  It was her.  And I would not be fucking with you about that.  I'm telling you she's out there.  But he did something to her.  When I got to that tower, she'd already done my job for me and I think she made her peace with him too.  But it was her.  And she is out there."

Satch - A slow relax from madness ... "Did your job for you did she."  Shakes his head into a slow smile, "And you still took that money like a bitch."

Nails - "So who'd you slop the pigs with ?"

Michael - Looks to him off the side, "Some fucking guy."

____________

 

At home the lover slices a fruit, the sound of a twig, she freezes.  A smile.  Michael's phone rings at the game.

Michael - "What !?"

__

 

As a team creeps up the back garden path, a grenade lands in the grass next to them.  They freeze to the motion while steel shutters slam over the windows, distracted they blow.

 

~ A car blows through the farm door.

Nails - "Fucker stole your car again Satch."

 

Sam - "Seen his ?  Jesus.  Why you laughing ?"

 

Satch - Laughing into his cards ... "The trunk."

Sam - "What's in the trunk ?"

Satch - "There's nothing in that fucking trunk."

Nails - Flips the cards, "Nothing in his goddamn hand either look at this shit."

Satch - That MotherFUCKER !"  Flips the table and stomps for the door.

 

('You're the One That I want in the Next Episode')

 

The frontal team stops at the back explosion and shutters, the lover locks the front door.  A grenade hits the grass.  

~ Micheal speeds through a security checkpoint ~

Cop - "That's the fucking car ... THAT's the fucking CAR !  KILL THAT MOTHERFUCKER !!!!"

They takes to their cars and call it in, fliers leave the station, Satch's truck spins from the lawn.
__

Flanking teams in the suburbs fan out beyond single grenade range, mingling through the bushes and trees.  Sprawled on the rooftop in practically a pretend suburban housewife dress with a sniper rifle fronting a heavy silencer, she sights them through the NV then switches to infa-red.

~ They start dropping through Michael's epic chase, the neighbors peeping the windows and closing the blinds, while the warden from the first episode bounces gagged and terrified in the trunk.

Another drops from a sniper round, the man nearby ~ "He's on the ROOOOOF !"

 

Her - "! FUUUUCK !"

 

He's hit in the face with the sniper rifle itself, she drops through the roof hatch as the rest open fire.

 

~ Zoom !

 

A cop leans out the window aiming to take shots while in the trunk it's almost like the warden knows ~

 

~ Mary walks in the daytime cut with a shopping basket, spots the SAW in the Stone surrounded by candles with a raised brow ~

 

The upstairs bedroom steel shutter slams open, she drops the SAW on the sill and starts mowing the lawn while the guard in the trunk soaks pursuer bullets.

 

Over the chase parade the hovercars start to blow, showering the ground pursuit while Michael's phone rings ... it's Satch (over the beats).

Michael - "Hey man I'm sorry about the car ... "

Satch - "Fuck that car, it's Hot as Hell as Your dumb ass just found out."  More explosions ... "I'm talking about How the Fuck you had that jack in your hand."

Michael - "Um.  What ?"

...

Satch - "Mother FUCKER !  How fucking long Michael  How fucking long I swear to God when I catch you I'm going ... "

 

The neighbors open fire on the attackers from their windows.

Micheal hangs up the phone like it's filthy and tosses it aside.

 

The song continues with the rest as the attacker and pursuers fall through, explosions to the song's finale while she goes window to window to the end.

They pull up to the quiet suburb ... she's smoking on the stoop.

Her - "Hey you're Sachiel right ?  Thank God, we're really gonna need to feed the pigs tonight."  Reaches out a hand, "I'm Mary.  It's nice to finally meet you."

...

Sachiel - "I hate you Michael."

 

~ credits ~

('We Will etcetera with a batarang' by DJs from Mars)

Cut with shots of the skyline spires swing directly near over the view.

Bloopers and serious after-party cuts with behind the scenes randoms cast and crew doing their jobs in their focused moments.  This means someone will have to be sneaking around and filming the after credits throughout the production.

Then we rearrange the clips to tell a weird story depending on how they randomly turn out.  It could be about like someone's missing fucking lunch rearranged to be high action drama.

 

Cannot take itself seriously for one second that's not the afterparty or the song is overkill.

~ 2:52 Satch's truck with four crew, two by fours beneath it for them to work the suspension for the filmed scene.

 

Here all shown against the green-screen with BW silent footage on the green, the director standing in the trunk's back pointing forth and freaking out, shaking the script, throwing pages in the air while screaming orders, wind machine blowing hard.

 

Heavy on the afterparty refrain with pre-rendered action scenes, re-rendered high contrast and colorized to match the party lights, crew looking like badasses, as though they were reconstructing the world between scenes, because they are.

Gods of the exo-credits.

~ after credits ~

The phone hangs up, the nightgown walks to the open balcony window while outside the world finalizes a turn, curtains blowing.  

 

The investigator's wife to the sky with quiet tears beginning to stream ~ 

 

Isabel - "Thank you."

 

In the morning the mortician digs in a cold shot unprocessed scene, last quiet cut from 'The Undertaker' at ~

"Don't let the devil make you dance with the undertaker, don't do it."