The
fallen angel stares at the outline on the floor of the king's office,
then looking around at the mess of evidence retrieval and yellow tape, walls begin churning.
The outline and it's accompanying blood where a head should be becomes
dust blowing in a breeze from her will's extension while the newly shaping
room devours the mess.
Outside
the tower begins changing, the buildings of the city following like
gears to its clockworks, paths and vehicles following suit, the people to their
suddenly changed minds.
The tower ends with an open windowless patio, the only to her room at the core, she leaps from it, into her wings.
________
At
the suburban house they creep beneath the windows, Michael's lover
inside slicing vegetables. A head wrapped in black peeps up to check
on her, she cuts away.
The head slams into the windowsill, inside she stifles a laugh.
The
rest turn to the sound, a wisp to the side then between them as they
fall. The one still stunned from the slam is tripped back down and
dragged to the outside cellar door.
The sound of his screams into the suburban night ... a tooth falls into a stainless dish ~
('X Gon be Stayin' Alive' the remix unknown ... )
Two
women's shadows walk on the left and right of the like shadows on the
screen in the theater, half their dancing form framing each side of the
scene.
Michael
loads at Sam's Bullet and Wares, the sign seen above before he starts
executing through scenarios marked by cash hitting the table between
each.
~ Another tooth in the dish.
While
the fallen does the same and Michael's lover cutting roast beef, far
too interestingly gorgeous for a housewife but clearly loving the game of it,
dancing away with her headphones on.
His
movement is untraceable while the
world distorts to his rage in brewing storm and contortions to his
will. Into the night's warehouse where gunfire begins strobe-lighting
the windows.
~ Another tooth, another spin dancing while cutting the cheese. The knife slams into the board.
While
the fallen soars over turning the world before a strike on someone who
wasn't even previously near, swooping into his shifted position.
~ Scoops an avocado ...
Cash
hits the table he grabs it, and outside a manor two guards fall. He
walks the front door. His lover makes a tomato cut with a smile, song
over.
Sammich.
____
Nunya - "Holy ... ! FUCK !"
~ The coffee house turns to stare ...
~ X O ~
('The Undertaker' by Prince and the NPG)
~ opening credits ~
The
song to be parsed into parts through the work, opening credits down the
rows and rows of sheet covered bodies on bodies wheels, the mortuary.
One
by one the mortician prepares the into the night and through the
morning, the tuxedoed headless, the many funerals he watches from the
distant treeline leaning on the shovel with a curled pipe smoking.
He
watches the casket lower til the people depart their tears one by one
as he smokes the curled pipe, waiting cold. Crooked pipe bent to the
side to light a fresh one in the raising wind, he departs the tree line
to finish it.
Isabel - Into the phone, "Okay. Thank you." ... "I will." ... "You too. Goodbye."
Hangs up.
Hangs up.
________________
At the pig trough, the sound of their meal ~
Sam - "When someone does 'im wrong you know they're an asshole so he just finds someone else said asshole fucked over, takes the job. 'The bills'. And so sometimes ... maybe he makes the job."
Farmer - "Special. Where the fuck is he then ? Cards on the table. Bastard drops this toothless mess in the middle of the night ... "
~ a shitty hovercar sputters over near silently into the night, a body falls in the pen to the happy squeals and gone.
Nails (chop shop owner) - "Good he knows he can count on you."
Farmer
- "My ass. He knows he can count on these overfed motherfuckers right
here look at that. Of course he can count on me I'm just saying he's
late again and now I can't feed these fucks until morning and I got a
trunk of my own. Cards on the table."
...
...
Farmer - "Yeah. ... Fuck 'im, let's deal."
They turn for the farmhouse.