Maybe the Master of Ceremonies feels it feels Carter’s gaze his intent because suddenly he feels he’s attracted too much attention to himself someone may be watching who may do more than just watch and so he lowers the phone for a moment and the focus shifts suddenly because smartphones have sensors in them and flip depending on how you’re holding it and so for a moment what was vertical goes horizontal the view rattled the sound muffled and then the Cadillac comes into view again defying gravity balancing on its hood before the screen rectifies itself the last of the colors on the horizon just about gone now the rain beginning to fall again not heavy just migrant fat drops that splatter on the asphalt of the carwash and a drop hits the screen of the phone running down the edge smearing the MC’s view and you hear it for a moment before the recording stops the soft sound of the rain.

MC

And what would be the music?  You always turn off the radio when a cop pulls you over don’t you?  And like what leaves you hanging in between as one song ends and you wait for the next to begin you knew a long time ago it was a walk you’re always going somewhere to be somebody or maybe you’re somebody because of where you’re going and though nature abhors a vacuum if not for the spaces in between spaces we would not know the journey at all and with enough spaces you begin to wonder if you’re ever gonna get there until you know the there is here the here of you going there and if your heart starts beating too fast in anticipation slow down just slow down and focus on something focus on it intently but keep walking after you stop and stop once in a while to know why you’re walking and if you have to say anything about it if you need a song to sing along the way know that you are always singing especially when you’re trying to be as still as can be because silence can be very loud.

It’s not being filmed anymore.  You see the Master of Ceremonies stop filming on his camera you can’t hear the cops anyway an older cop shorter balder approaches the driver’s side and has a conversation through the window papers are returned and the Cadillac pulls away this time with its lights on though apparently no ticket was given and not once did a car door open and that’s how you leave it this exterior scene on a Nashville city street a carwash parking lot and it’s raining again dark the street lamps have turned on and that’s how the scene is left the MC standing alone in the glow of a carwash street lamp with three police cruisers the lights still flashing and the cops all standing around and then you see him tap on his phone again and hit playback and the recording runs until you see a finger hit the share button.

FADE OUT

The movie screen lifts to reveal Carter’s kitchen on the stage.  Mary Jane is sitting at the black fold-out table.  She’s on the phone.  The audience’s view passes over a plate of marijuana an ash tray and a pipe and near the corner edge a Natural Light can with condensation–these are the only articles on the table.  The beer isn’t sitting in front of her, but Carter is nowhere on stage.  She’s still wearing a pink bandanna.

MARY JANE:

Ya I know, Mom–it could have been really bad.  But all they gave us was a verbal warning.  Wanted to know if we painted it because when they looked it up it said the color was tan.  The cop laughed when he told him the car had belonged to an Ida Mae…  No, the kids just thought we were getting a ticket…  I don’t know, Mom–I don’t know how to look at it.  You know how it is.  One moment you see it as beautiful and ordered and strangely in-tune and other times it’s just ugly and off and it doesn’t have to be just you looking at I mean what if another person sees…  There was a guy filming it on his camera.

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