X O

Bored at the coffee house ...

Nunya - "And then what happened ?"

Formalda - "Am I literally boring you right now ?"

Nunya - "Kinda !  I mean yay ... you got promoted ... and we are definitely celebrating that tonight but that whole story was pretty much about nothing happening."

Formalda - "Well I shot a guy."

Nunya - "Pf.  Barely."

Formalda - "Seriously.  Fucking knock off springs.  Practically loaded the round backward."

Nunya - "Yeah that's really no time for a jam."

Formalda - "I had drop the clip and eject the round to fucking breach load it back in."

Nunya - "I taught you that."

Formalda - "I know ... "

Nunya - "Did you catch the round like a badass ?"

Formalda - "I did ... "

Nunya - "Sweeet.  So ... then what happened ?"

Formalda - "Why do you care so much ?  I thought you were bored.  So what happened to you last night ?"  Sips her coffee waiting.

Nunya - "Ah.  (clears throat)  So ... I met a guy ... "

Formalda - "What happened to cowboy boots !?"

Nunya - "He fucking Died in the Bathroom."

Formalda - "What !?"

Nunya - "I know !  Slipped in the water in his stupid ass boots.  Then some other fucking asshole shouted it across the bar ... so then came the sirens ... and then this other guy just comes up and just ... buys me a drink !  Didn't even bat an eye ... "

Formalda - "Huh."

Nunya - "And he seemed cool, booty call dead, so I took him home and Holy Shit.  I swear to God.  Holy shit.  I think I'm in love."

Formalda - "Bullshit."

Nunya - "With his penis."

X O

('Pass the Mic (AK Remix) by Beastie Boys)

The view pulls out from the look on her face when she saw it that night, out to the mortician preparing the body in the morning, and into the casket.  He looks down at the cowboy boots, shakes his head.  

 

Casket slams shut.

Michael walks the streets carrying pizzas with a nod and a box to the the connected lingering on the corner along the way to Sam's Bullet and Wares.

 

He drops the rest on the table in time before Mary in goggles from the bullet press jumps him into a spinning hug.

The world outside turns with them, Formalda off to work in her car with a notable dent, blinker taped on.  Nunya enters her work at an apparent stock exchange.

Looks up and watches the numbers roll ...

The city changes spinning out to the suburbs where Michael's neighbors do their conspicuous thing, too many too well dressed, quiet on the outside, houses deep within.

Remember those shows and films about 'witness protection suburbs' ?  Like that but without the rats or protections.  A quiet place they go at night and the nods between as they depart their homes well suited makes it clear.

~ See nothing and don't shit where you eat.

In the countryside, the farmer watches his pigs.  Pulls his phone, "Yeah.  We gotta talk."  ...  "All of us.  Means you too."  ...  "Don't care.  Picking you up tonight."

Hangs up and looks at the sky ... 

 

"Where did you go ?"

~ Nails opens the shop for the morning alone, just before it blows.

('One Night in Bangkok (rare cut, cut) by Murry Head)

 

 ~ As Formalda's boss hangs up his phone.

 

He walks his own city similar city, the churning spires but unique in it's age.  Where in the main city the gearworks are set in glass and steel, brass and nouveau, here set in stone archetypal.

An irony to his placement, he's very modern and of a belief that all edifices should fall while indulging still in their visceral beauties.  The way of one who would use and angel to fight angels.

Where in any given situation to buildings of stone would loom, he will choose the modern glass placed questionably between them.  Note specifically these are the extensions of the fractals generated from the core tower in the central city, as they extend to his.

And around him the world shows the same, though the world a chapel every car an irony, modern beyond the dreams of the other.  One could see this place and wonder which theme was a virus to the other, but for the agreement on simple coloration.

While either town could be called Heaven, this one seemed most interested in looking like it, this man most interested in his own godhood as he sees it acknowledged all around him as he walks.

A near army of security behind, an intentional affront to angelic enumeration in pale suits.  Business to here, collection from there, he watches them gun a man down in the warehouse, they watch him beat a man in prison, guards ignoring.

Goes to church and it looks like a mall while the malls around it were converted from history's own blocks.

____________

Micheal - To the man previously seen at the payphone, "You know Everything Rap.  Literal goddamn Everything, you pull every plug.  How the hell did you not see this coming."

Raphael - "I don't know.  It's impossible."

Tzadkiel - "But it happened."

...

Michael - "It had to be her."

Satch - "Goddamn you Michael."

Raphael - "He is correct.  Only one of us could get past my eye."

 

Antithesis to the scene above as the world turns from one place to the other, for the first time treated as much as a scene transition to infer both places exist in the same place and time ~

While round the tower the people seem lost, too many changes in their world, too many memories rewritten progressing more and more through the episodes to now.  Their minds changed for them so often they struggle to focus on direction, nearly dizzied.  

Notes for the extras.

All centering around the tower, where inside the walls churn as she crouches in sublime focus and wonderment, staring at an insect passing through on the floor, wondering how it could be.

Somewhere between offense and admiration.
________

Michael - "When I saw her, her eyes, I saw my own death.  All of our deaths.  For what we did."

Tzadkiel - "All of yours mayhaps, and when did you become the ass.  Saw an angel did you ?  So what.  We go to that tower, and we put her down."

Samael - "He said we should talk to her."

Tzadkiel - "And look at him now."

Samael - "No asshole, I mean maybe that's why he's dead." 

...

Michael - "He was the best of us."

They toast.