Home Page Works Series 1-The Quest To Be Whole Album 1-Predator Song
Prior Script Song 4 SCRIPT - The Dark Wall Next Script
Description Quotes Music Video Equipment History Notes Comments BUY

Not Yet Released.

 


Donner Party & LA Riot song video lead-out.
The Dark Wall song video lead-in.

MAN starts awake. The TV is putting out that flat-line sound. He raises the remote and the room goes silent.

MAN gets up and walks around the room a bit. Then he pulls something from a jacket pocket. Slow zoom in on the object lying on his palm until we clearly see it is a Vietnam era military medal.

( see novel, Transapparent )


The Dark Wall song video scene list.

1. too-close focus name closeup.
2. front flashes of size.
3. side flashes of size.
4. ghost flow.
5. walk to wall, cuts to families.
6. Why?
7. "who" montage of relationships
8. walk to wall.
9. sight montage.
10. gathering time-lapse with previous people joining.
11. very quick war montage
12. mother/baby uncompleted crawl.
13. ripped photos.
14. the front.
15. rubbing name onto paper.
16. time line.
17. stop timeline & begin nebula backdrop.
18. 'round' of images.
19. wall eroded to sand, and close.


  << intro >>
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1. too-close focus name closeup.

Black. Fade to normal lighting as music begins. Shot is too-close out of focus closeup of a name on wall.


There's a wall you can't see over,
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2. front flashes of size.

Quick cut to long shot showing wall towering over a person.
Quick cut back to name closeup, and hold as focus very gradually solidifies.


A long time to walk around,
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3. side flashes of size.

Wall from end view, person facing it near middle, showing length of wall.
Quick cut back to name closeup as focus finally solidifies to utter sharpness on a name.


An emblem built of symbols
From sons vanished in the ground.
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4. ghost flow.

Starting left end of wall, track right. Frame top at wall top, frame bottom at wall bottom. Holding this as wall height rises and falls will require zoom in/out.

As tracking continues, very faint ghost images of children playing enter frame right. These meld to ghosts of youths w/sports-cars-girls frame center. This in turn melds to ghosts of military crosses, which exit frame left. Again, these ghosts are faint.

In order to get a flow of ghost images while tracking instead of 3 static areas right/center/left of children/youths/crosses, a "band" of higher visibility must pass right to left, with the ghost images brightest within this screen-top to screen-bottom band, and dimmest furthest away from the band. In this way the transition from children to crosses occurs several times, in waves.


A walk in the sunlight
Now barred by a dark wall.
For all who still have sight -
For all who still have sight
It asks that we recall.
The Dark Wall.
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5. walk to wall, cuts to families.

Bright sunlight

Camera looking back and left moves forward, paralleling from just ahead and right a woman who is walking, frame center. Thus the camera does not see what she's walking toward.

Camera stops its movement and pans to follow woman as she walks past, until she stops with camera behind and right at about same angle it was ahead and right. Woman is standing before wall. Wall is tall enough to more than go out frame top.

Pull back until woman is seen from long shot that shows both ends of wall, top and bottom, and woman dwarfed by it.

Cuts back and forth between her before the wall and a series of individual somber people at home and work, some holding pictures of young men in uniform.


The questions get vague answers
But the wall demands reply.
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6. Why?

Young man looking down in dread disbelief at a sheet of paper he's just torn from an envelope, and is holding with both hands.

Very quick cuts:

Diagram of Southeast Asia "domino" effect.
flag rippling in the breeze (shot from above).
Pentagon spokesman on TV in front of wall map.

Young wife looks out window as dark car pulls up and uniformed men get. She throws open door. Shot cuts to outside behind officers, and it can clearly be seen that she screams, "Why?!" at them.


Can we learn the lesson thrust
On those call on to die?
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7. "who" montage of relationships

Adam and Eve and serpent in Garden
Youth listening earnestly to parent talking
Three students in a college chemistry lab
A canyon
Door opening into utter darkness
Man stooping to hand ice cream cone to little girl
Aschwitz
Door opening into a blinding light
Husband and wife in embrace leaning heads back to gaze into each others eyes (show rings)
Flag-draped coffin
Door opening into utter darkness
People sitting around a living room talking
Junkyard of old cars
Door opening into a blinding light
Father and son fishing
Desert
Door opening into an utter darkness
Wide-angle of military cemetery zooms in on a solitary rose lying upon a grave.
Door opening into a blinding light


A walk in the sunlight
Now barred by a dark wall.
For all who still have sight -
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8. walk to wall.

Bright sunlight

Camera looking back and left moves forward, paralleling from just ahead and right a woman who is walking, frame center. Thus the camera does not see what she's walking toward.

Camera stops its movement and pans to follow woman as she walks past, until she stops with camera behind and right at about same angle it was ahead and right. Woman is standing before wall. Wall is tall enough to more than go out frame top.

Pull back until woman is seen from long shot that shows both ends of wall, top and bottom, and woman dwarfed by it.


For all who still have sight
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9. sight montage.

Quick montage of closeups showing peoples faces with focus on eyes, war homecoming parade with empty sidewalks, more faces.


It asks that we recall.
The Dark Wall.
We recall.
The Dark Wall.
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10. gathering time-lapse with previous people joining.

Back to long shot before wall. Through a time-lapse, people from previous chorus in twos and threes appear with the woman standing before wall. As this time-lapse occurs, camera slowly rises to a height of 20 to 25 feet.


Was it all for this
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11. very quick war montage

Aircraft carrier
Grunts slogging through rice paddy
Dress parade
Huey Cobra, head on
Phantom
B52
Firefight
Last rooftop evacuation from Saigon


That mothers watched us crawl
Toward their maiden dreams?
To nurture flesh & blood war machines?
Did you tell them why
Our lives seemed so small
To your warrior schemes?
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12. mother/baby uncompleted crawl.

Mother frame left, baby frame right. Mother kneeling,

Baby on hands and knees.
Baby begins crawling toward mother, who holds out her arms in encouragement.
Boy presenting mother with wildflowers
Baby crawls a bit closer to mother
Youth in cap and gown receiving diploma
Baby crawls a bit closer to mother
Man in tux getting married
Baby crawls a bit closer to mother
Man with his pregnant wife
Baby crawls a bit closer to mother
Man in suit giving presentation in corporate boardroom
Baby crawls a bit closer to mother
Man in hospital gown at birth of their child
Baby crawls a bit closer to mother
Man wheeling up in fancy car with family
Grandparents come running out to greet first grandchild
Baby crawls a bit closer to mother
Children playing war
Baby crawls a bit closer to mother
Man on TV giving speech

Baby has crawled nearly across screen going left to mother when a military officer enters frame left and comes between them. The officer walks up to the baby and bends down to take his tiny hand. Baby morphs into a toddler, into a child, into a high schooler, into a crew-cut soldier in fatigues. The officer hands him an M16, and both exit frame right, leaving distraught mother still kneeling, her face one of utter dismay.


To rip apart all their maiden dreams?
For letters on a dark, dark wall?
For letters on a dark, dark wall?
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13. ripped photos.

Photo below of son which mother looks at upon reading battlefield letter is slowly torn in half, top to bottom.

Shower of the ripped up shreds of the photos of the above dream scenes fall in slow motion. This clip fades briefly into a shot of wall


<instrumental>
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14. the front.

Slow motion of soldier in the field writing a letter home.
Slow motion of mother reading that letter and looking at the photo of her son.

Timed-to-music montage of artillery firing, street Firefight, GI's setting fire to shacks with their Zippo's, bombs falling from B-52, jungle Firefight, Phantoms dropping napalm.


There's a wall you can't see over--
'Cause we can't know who we lost.
Life's too large to ever hold
Where stone is embossed.
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15. rubbing name onto paper.

Camera up about 15 feet, wide angle shot, above letter side of wall and looking at and over wall. Adult men and some women, most dressed identifiably in the garb of various professions and with various items like computers and blackboards and lab benches, stand on the nonletter side of the wall. Crowd of 'general population' people stand on letter side of wall. They cannot see each other over the wall. The people on nonletter side fade away.

Close up of hand reaching up to rub name onto paper with a pencil.

Quick montage of suburb, train station, tractor working field, overshot of crowded cloverleaf, family reunion picnic.

Close up of hand rubbing name onto paper.

Quick montage of father holding baby, huge data processing room, children on playground equipment, President Johnson giving state of the union address.

Close up of hand rubbing name onto paper.

Quick montage of elementary school classroom, space station, family eating dinner, people in an open stack library, aircraft carrier with its escort ships.

Hands finish transfer, and lower paper out frame bottom.


The wall before you now
Closes off your way
And looking back it seems
That still we don't know what to say.
But now we
We will at least recall -
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16. time line.

Wall from eye level, top visible, ends out of frame.

Slow revolution of camera through 360 degrees, so that wall moves left to right across screen.

As left end of wall comes in view, its end is appended to a 'time line strip' of images that will make the circle around the camera.

Globe revolving from Vietnam west to U.S.
Ho Chi Mein
one of the French generals
Eisenhower
an officer training a few South Vietnamese soldiers
JFK
C-130's landing
LBJ
troops step off planes onto Vietnam
Draft lottery on TV
Head bashing at Chicago Democratic national convention
Nixon
B-52 bombing
Huge DC antiwar rally
last chopper off roof in Saigon


We will recall.
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17. stop timeline & begin nebula backdrop.

Revolution stops with no timeline images visible, and fades into nebula backdrop of the ghost round.


<the Ghost Round>

Part 1: Life's not small / Dark dark wall...
Part 2: There's a wall / You cannot see over / 'Cause we cannot know who's lost...
Part 3: For all who / Who still have sight / It asks that / That we recall ...
Part 4: Lives turned to stone / And maiden dreams left unknown / How can we find what was lost? / Who chose that all pay this cost? / And still our...
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18. 'round' of images.

For 1st column words, the entire screen cycles slowly through the following 4 images: Nebula, Earth from space, Cliffs overlooking sea, Stone ruins sticking out of sand dunes.

Rest of these images fade in and out all over screen:

painter
Christian fish on grotto wall
Liberty Bell
chemist
LBJ
little girl leaving flower at foot of Wall
battlefield map
construction worker
Great Wall of China
door opening into brilliant light
the cross
brothers in front of delivery truck
a wheel chair
diagram of domino effect
policewoman
a flower blooming suddenly encased in frost
door opening into utter darkness
an eye
doctor
JFK
soldiers drilling on parade ground
pastor
war statues
mother carrying blanket-wrapped baby suddenly carrying tiny black coffin.
Ho Chi Min
husband and wife
pilot
military funeral presenting flag to widow, sometimes to mother
Earth from space with a piece torn out
carpenter
Nixon
delicate treasure chest being unlocked when key breaks in lock
computer operator
name on Wall
teacher
MacNamera
Wailing Wall
musician
Eisenhower
Wall towering like cliff over tiny people
mother and daughter
Congressional Medal of Honor
farmer
Wall like mirror, shows Uncle Sam pointing a gun at his reflection
coach
fishboat sailor
rabbi
lawyer
astronaut
grocer
Purple Heart


<progressively accelerating fade to silence>
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19. wall eroded to sand, and close.

Fade out other images as fade in Wall at eye level. As screen then darkens, fade to sand blowing over a black rock. Then fade to black.



THE END

Should be able to get a lot of these as stills scanned into PC, as montage shots will be so quick movement would hardly be seen anyway.


1. Intro - too-close-focus closeup on a name.
We are just now far enough away from the Vietnam War to begin to see it clearly.


2. Wall you can't see over
The result of our choice is larger than we are, is beyond our understanding.  Had we known ahead of time how it would end, we would certainly have done something different.


3. A long time to walk around
We had to go far out of our way to avoid the questions the war raised.


4. Emblem built of symbols
Images flow in waves across screen because we sent our children to Vietnam in wave after wave of troop transport, and got back wave after wave of coffins.


6. Why
How can we explain to their loved one's why the soldiers needed to die in Vietnam?


7. Lesson thrust

Adam and Eve image is that Adam and Eve learned the lesson, the hard way, that the serpent's words led to death

Youth listening image ties to idea about how much love had gone into raising this young man.

Chemistry lab is further effort in preparing these people for productive lives, and a play on the idea that Vietnam was a Cold War experiment.

Canyon is the gulf between us and these casualties.

Door opening into utter darkness is on two levels.  One is that death opens a door into the unknown.  The other level is that death, without having accepted Jesus, is a door opening into "outer darkness", ie. Hell.

Man stooping to hand ice cream cone to little girl is an image of the connection of nurturing that is what ought to exist between generations instead of sending to wars of no purpose.  It is a little girl and man as a flipside of the mother/son relationship central to the song.

Aschwitz as image that war is humanity against humanity, and that the death camps are not foreign to this mindset.  This is what Satan would like to do to the entire human race.  This connects to the victim on victim tragedy of the L.A. Riot.

Door opening into a blinding light is on two levels.  One is that birth opens a door into the unknown for the maiden dream baby.  The other level is that death, with Jesus, is a door opening into Heaven.

Husband and wife is image of the love that brought these people into this world.

Flag-draped coffin is image of the change that overcame the couple's product of love.

People sitting around a living room talking is an image of community.

Junkyard of old cars is image of the discarded.

Father and son fishing is image of family dreams.

Desert is image of a nature that has no compassion.

Solitary rose lying upon a grave is image that the markers are more than just stone, that life cares about what they represent.  It is a single rose as a symbol that we meet our Creator alone, even if we die and are buried in mass.


9. For all who still have sight
The living who came back were no more honored than the dead.


10. gathering time-lapse
The Wall brings together the people of the loss.


11. Was it all for this
Military scenes to show the world into which our nation sent these people.

Rooftop evacuation of Saigon is image that it was, in the end, for nothing.



12. mother/baby uncompleted crawl
Image here is that just before the mother's maiden dreams came to full manhood, the military stepped in and drew (or drug) them away.  After 18 years of waiting for their children to take their place in the world as adults, all is taken away.


13. ripped photos
Image here is tearing up a symbol of their child, the pieces raining down like crematorium ashes.


14. letter writing
This connects the mother and son across the military gulf described in the prior scenes with words, tying to the names on the Wall.


15. Name rubbed onto paper
The Wall at least gives back something of the symbol torn up in 13. ripped photo.  But we do not know what these people would have done had the U.S. let them grow old, so the embossed stone may hold some level of image we can access of these people, but the cuts in the stone are far too shallow to hold the real lives taken from us.


16. "The wall before you now" time line
This image plays off the polished surface of the Wall.  In it's hard surface, the Wall carries the history of the conflict and the people, but only as a form of reflected life.  The depth of real life is a ghost across this surface.


18. Ghost round
Nebula, Earth, Cliffs, and Ruins as backgrounds serve as a sequence of things running down.  It begins with a nebula as the very large view.  It moves in to Earth, and serves to bring in the life image of water.  The cliff overlooking the sea ties to this water image the idea of it's action on the rock.  The erosion image is transferred to the ruins of a civilization almost completely buried in desert sand as a metaphor on the heat death of the universe.  This then ties back to the nebula.  The idea is that things run down, the personal aspect of which is increased by moving closer to each image until cycling back to the nebula.


The general idea of the images fading in and out on the screen is to contrast the potentials we will never know, such as chemist, painter, doctor, pastor, etc., with the painful realities of LBJ, Nixon, a Purple Heart, Ho Chi Min, etc.

Scattered among these are images whose meaning may not be as clear.  Most of these are loss images like the delicate treasure chest being unlocked when key breaks in lock, the flower blooming suddenly encased in frost, the mother carrying a blanket-wrapped baby suddenly carrying tiny black coffin, and Earth from space with a piece torn out.


THE END
 


 
Description Quotes Music Video Equipment History Notes Comments BUY
Prior Script Song 4 SCRIPT - The Dark Wall Next Script
Home Page Works Series 1-Quest To Be Whole Album 1-Predator Song