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[Lyricstuck script] No Children

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[Intro plays on an empty white background]

 

[Fade in Droog, Boxcars, Deuce, Crowbar and Ms. Paint, looking at something behind the camera with fondness, some of them as if they were in the middle of saying something]

I hope that our few remaining friends

[They all are now with their shoulders slumped, with annoyed or saddened expressions, tired of saying the same things over and over]

Give up on trying to save us

[Camera cuts to Snowman and Slick, presumably looking back at them. Slick has his arms crossed and looks angry, while Snowman, loosely leaning on something behind her, seems unimpressed and unappalled.One by one, they start to turn around and fade away, giving up on convincing them of what’s good; first goes Crowbar, then goes Droog, Boxcars, and Deuce and Ms. Paint, the only ones saddened instead of annoyed, leave together]

I hope we come up with a fail-safe plot

To piss off the dumb few that forgave us

 

[A scene of Snowman and Slick sitting together on a fainting couch, drinking champagne together, having a good time; they look fairly buzzed]

I hope the fences we mended

[The scene fades to show Slick holding Snowman against a wall, holding a knife up to her chin, touching her; the ambient seems to still be the same place the fainting couch was located, and by their clothes and demeanor, it’s a continuation of the previous scene. She doesn’t appear scared, only annoyed at his aggressiveness]

Fall down beneath their own weight

[Scene cuts to their hatesnog on Scratch’s apartment]

And I hope we hang on past the last exit

[Cuts to their standoff on the rooftop of Scratch’s apartment; the camera is low on the floor, and all you see is Slick’s leg, and Snowman on the distance. He lowers the white gun slowly, almost begrudgingly]

I hope it's already too late

 

[An image of the Felt Mansion, seen from the front, against the bright daylight sky]

And I hope the junkyard a few blocks from here

[Slowly transitions to the Felt Mansion burning, following the strokes of the piano, some places blown up and destroyed, smoking down to ashes; it’s later than before, not quite dusk yet, but the light is visibly different]

Someday burns down

[The ashes twirl and the smoke floats on the afternoon breeze]

And I hope the rising black smoke carries me far away

[The angle changes, now showing the Mansion from behind, with Midnight City on the background, off center; the smoke is following the breeze far away from the city and into the desert, as dusk starts to set in]

And I never come back to this town again

 

[Following the beats of the song, the camera tilts to the sky, getting darker with each strong stroke of the piano]

 

[The sky becomes sprinkled with stars, more and more each time, filling up with color as well, until it’s obvious now that it’s space, and not the sky anymore]

In my life

[Slick is superimposed onto the background, leaning against something with a glass of whiskey on his hand. He inquires about Snowman - a repetition of a question some unknown interlocutor is asking him. He then takes a pause, looking to the side, and smiles fondly]

I hope I lie, and tell everyone you were a good wife

[Snowman lies dead on the rooftop of Scratch’s apartment, blood dripping down from her chest, same as Cascade.]

And I hope you die

[The camera cuts to Slick fallen down on the floor of the rooftop as well, belly and eye up. He has an incredulous, numbingly terrified look on his face. The miasma of shot death of the universe up above is reflecting on his eye and partially on his shell as well]

I hope we both die

 

[Fades to white during the instrumental part]

 

[The scene where Snowman whips off Slick’s arm is repeated, and he hisses and screams at her in response]

I hope I cut myself shaving tomorrow

I hope it bleeds all day long

[The same crowd from earlier are sitting around some couches and tables, trying to tell Slick and Snowman to give their differences up and either love each other or break up]

Our friends say it's darkest before the sun rises

[Cuts to the aforementioned couple, Slick with a glass of whiskey and Snowman with a cigarette holder with a lit cigarette on it. They first seem to listen, but burst into laughter pretty quickly]

We're pretty sure they're all wrong

 

[Camera fades to black, a dark living room, looking just above a coffee table with empty ashtray and coaster resting on it. Two bodies move behind it, sitting on opposite sides of the couch right in front, one on the side of the ashtray, the other on the side of the coaster]

I hope it stays dark forever

[They seem to visibly argue, twisting on their seats to face each other, a cigarette holder laying empty on the table and a cigarette on the ashtray, and a glass of some sort of alcohol sitting on the coaster]

I hope the worst isn't over

[Scene transitions to Snowman leaving, her tidy half of the coffee table filled with cigarette butts and ash.]

And I hope you blink before I do

[Transitions to the same room, but much darker; Slick sleeps sprawled on the couch, head rolled over the back and the glass on the coffee table multiplied, bringing with itself an almost empty bottle of whiskey and many rings on the surface of the table]

I hope I never get sober

 

[The scene fades to white and comes back with Snowman sitting on a chair, with her typical cigarette holder in hands. She asks about Slick - the same way he did earlier, like repeating someone’s question that we can’t see]

And I hope when you think of me years down the line

[She pauses, as if pondering what to say. Her eyes flutter a bit narrower - she can’t find any words to describe him]

You can't find one good thing to say

 

[The room lights up and the body on the couch is replaced by Snowman sitting on the opposite end. It’s now another day. Slick walks from left to right and leaves storming through and slamming the front door, visible from the angle the camera is just above the couch in the background.]

And I'd hope that if I found the strength to walk out

[Snowman barely moves after he leaves; she only reaches for another drag from her cigarette. The image fades to blue]

You'd stay the hell out of my way

 

[Bubbles rise from the bottom of the screen, and a light can be seen at the top; the camera is submerged]

I am drowning

[The camera cuts to robo-Slick, fresh off being pushed down to the sea. He has his mouth slightly open and seems to be losing his grasp on consciousness]

There is no sign of land

 

[The camera cuts back to his point of view, his arm hung hopelessly up as he tries to reach for something to pull him up. Snowman appears to him, half-transparent, a ghost, with open arms to embrace him]

You are coming down with me

[Her faded hand appears, resting itself on his outstretched one. He makes a motion to grasp it gently]

Hand in unlovable hand

 

[As we cut to Slick’s point of view of the surface yet again, this time without Snowman, and it’s blurring and fading into black, an image of her death in Cascade is superimposed, going slowly from left to right.]

And I hope you die

[Slick’s beheading in Collide appears on the right, sliding to the left to meet the Cascade image in the middle]

I hope we both die

 

[Fade to black during the instrumental end]