The album ends with a short suite of pieces based on Sufjan Stevens' instrumental "Redford (For Yia-Yia & Pappou)" from his album Michigan; it even features the composer on piano. The ghostly backup vocals and muted horns perfectly match undun's spectral artfulness. Brilliantly, instead of transforming "Redford" into a functional sample, it's presented in state. ?uestlove treats "Redford" almost like a piece of movie music, accompanying the action rather than recapitulating it. The result is a cinematic moment waiting to be processed, fictionalized into hip-hop. It's as if the listener zoomed in beyond the safe narrative distance of the song and actually ended up in the movie. This movement of the suite is like a rap track under a microscope, the sample blown up so large that the beats that keep hip-hop as the frame of reference are a horizon enshrouded in fog. By the third act, Stephens has been replaced by DD Jackson in a careening duet with ?uestlove, whose long-cultivated drumming heft and precision play like fists through a plaster wall or bullet holes through a car door. Finally, credits roll over a sublime string quartet, mercifully for Black Thought's black thoughts — at least for a moment, before ?uestlove's meticulously arranged strings are silenced by the chilling, deathly growl of a struck piano.