This act will be the longest of the three.
The act will open over a long silence and darkness, broken at first tentatively then more and more by searchlights. Illuminating and reconfiguring bodies. These searchlights become like antennae, periodically feeling their way through scenes from now to the rest of the film. They are like the mindless parasite grubs on the body of the state.
Over this opening, a discussion/exposition of the Deep State, Gladio-style strategies of tension, and so on can occur. Snips from books, interviews, etc.
Over the course of this act the riot-language is developing, being spoken more and more quickly and complexly, so that this section is broken by increasingly complex-sounding sentences, like an intermediate language class, of more and more fluidly cut rioting moments.
This act is the most chaotic, featuring an overlapping palimpsest of riot and uprising footage, interspersed with doors and portals, for the protagonist to pass through. The footage includes reconstructed shots and/or images of things going back at least to Paris 1871, and possibly more, and up to and including the London Riots of 2011, as well as scenes from across the 20th Century of urban insurrection Kwangju, poll-tax, etc. As well as this, footage can be created to represent the riots that will occur on the moon, when wages are cut: images of searchlights illuminating people in space-suits in a lunar landscape performing all the traditional rioting actions, but in slow-motion due to low gravity. The riot language is spoken slowly as these occur. The footage will come from all around the world, and each of these specificities will feature a moment or two of explanation, so that the particular causes dont get lost. As images from these uprising plays, the concomitant words will be spoken, in various accents, in the growing riot language, so that a conversation is being held in this obscure and hidden language, between different speakers. So that the riots speak to each other, in different voices.
It is this riot-dialogue, rather than images, that push things forward. Where there are images of image-takers, images of photographers, their traction is limited they are part of everything, but without any transformative power, their clattering lenses a buzz that cant be decoded.
Among the footage are shots of our protagonist. S/he intrudes on archive footage, partakes in the rock-throwing, the surges and runnings away. Because of their bandana, an echo of the red hood in Dont Look Now and though snarkily Schindlers List, this intrusive figure is always visible. S/He is also growing more and more active and participating more and more in the actions. But conversely s/he is also more and more being tracked by the Deep State, manifesting in snatches and images of something submerged, as well of course as the cops and army that are overtly attacking people. The protagonist is passing quickly through portal after portal, aware that s/he is being followed, and a cat-and-mouse game begins. At times, sometimes, when at the crest of a wave whether in Tehran in 1979, Brixton in the 80s, or whatever the protagonist is able to push back against Deep State, but generally has to run again.
This section will contain moments of rumination on the nature of the state and the Deep State. This might contain footage from marine biology movies, including some by Jean Painlev, and snatches of the Torture Memos of John Yoo et al (in the folder). This section includes the brutality and deaths of actual moments of confrontation, and as well as the political horror of those actions, there should be a sense that our protagonist is in personal danger from the predator following. We realize that our protagonist is trying to find a way through the portals opened by riots back to Tahrir Square, maybe seeing glimpses but never being able to touch it.
We start to see footage of the community committees that arise during revolutions. The Shuras in Iran, the soviets, the workers committees, the discussion groups in Tahrir Square. Where previously the protagonist had been intervening transhistorically in the riots themselves, now s/he is participating in these reconstructive revolutionary discussions. Now it is these discussions that create portals, through which s/he continues to walk, gathering a growing group of other participants, from across time and riots, so that the constituencies of the uprisings blurs, while the Deep State follows and grows closer to the surface bringing in elements of the neoconservative imagery but also of more everyday politics.
This is where the moment of greatest danger comes, when the protagonist is captured, trapped by the Deep State in a box, with an insect, as in the torture memos.
Among the elements this section might feature alongside the riot footage, a few are:
The Turner picture Sunrise with Seamonsters;
Images of breaching from underwater (including if feasible some kitschly iconic ones, like the whale in Pinocchio);
Images of explosions, separated into three moments the precursor, a statically rendered explosion-flower, and the ruined aftermath.
The speaking of the riot-language by various bodies, in various contexts, with various elements of their identities obscured and visible.
Notions of translation, both from other languages and from codes like Morse.