Wednesday, September 26, 2007

Are Musical Opinions Objective? - part 2

The following are selections from my side of an email discussion with an online acquaintance, which were subsequently edited:

I absolutely think that anyone who claims that "greatness" is inherent in certain music and that "crapola" is inherent in other music is wrong. This is not to say that I think these judgments don't exist, because I make them all the time. But I don't think the judgments have objective reality.

The Barney Theme Song and serious music
I think the guy (sic) that wrote the Barney theme didn't intend it to be in any way "serious music", however it may appeal to someone who doesn't even think Classical music is worth a listen. And sure I'd think they were a bit weird, but can I say they are objectively wrong to like it? Compare instead Strauss' “Also Sprach Zarathustra” and Beethoven's Ninth. Strauss was considered a second rate composer, even by his own admission. But that has to do mostly with analyzing musical content held to defined academic standards, and not to do much with what listeners get out of the pieces. The strictly mathematical musical content has objective reality (the use of well defined musical structure etc). But can we really say Zarathustra is objectively better/worse than Beethoven's Ninth. I don't see that as being an objective issue. Who is to decide? Do a bunch of music critics know better than I do which music is good? Do they know better than anyone else? Do they even agree? Is there anyone who could be held up as having the final word on what music is great and what is worthless? I say no. If the evaluation of music was objective, then everyone would just know which was better in the same way that I know that there's a desk under my hands, or I am drinking water out of a blue cup.

Basically, I think there are objective aspects of music (written notes, sound waves, instruments, and recordings...i.e. the things of music). But the experience of music that we have, the range of emotions it can produce (in us), can't be objectified. It's potentially different for anyone who listens to it. And so, judgments based on those experiences are subjective. And there’s nothing wrong with that.

(In response to an email regarding semantics) I think your argument necessarily has to be partly about semantics. By saying that quality judgments are objective, one is redefining the term objective, because there is no physical reality to a quality judgment. There are objects, and there are quality judgments in relation to the objects, which necessarily must be subjective since they have no material existence. If the judgments were material, they could not relate in the same way to the object in question.

To touch on one of your (earlier) points, I agree with you that not everyone is equally qualified to perceive beauty. It goes without saying, as judgments regarding beauty must sometimes include sight and smell and hearing, and those things are denied to some people. But that still doesn't speak to the objectivity issue. My whole point is that subjective and objective realities both exist, but that things are either one or the other (as long as one agrees with the distinction). There are objects that are beautiful, but positing an objects’ physical existence is an objective issue, and positing its beauty is a subjective issue.

So applied to music, the written notes, and the sounds coming to our ears, and the vibration of strings, et al, all exist objectively, in as much as one agrees that these physical properties have a reality apart from our judgment (i.e. a tree in the forest would still make a sound if no one was there etc, you know, materialist dogma!) But if we are to have a distinction from that of a subjective reality full of beauty, poetic notions, opinions regarding a variety of issues, including the most subjective issue of all, the idea of a Creator Being, then we have to (should) use the distinction.

I'm not saying that the line is black and white, and obviously there are times when one has to think it through to figure out what counts as objective and subjective. But I think opinions about the greatness or non-greatness of music (belonging as those opinions do to the wider issue of beauty) are a fairly easy subjective case. I'd like to say more about your point regarding originality, among those other characteristics, being objectively valid measures, but I'll have to attack that one later.

Tuesday, September 25, 2007

Are Musical Opinions Objective? - part 1

Intro – Rock Appreciation
Rock music has not historically been thought of as being serious music. It was Classical music, or as I like to call it Academic music, that was most often scrutinized and discussed at length, and Rock was always the genre at which those scrutinizers were looking down their collective noses. But as Rock got older, and its audience much larger and wider, it became more interesting to compare songs, albums, artists, performers, producers, and to analyze and philosophize about different aspects of Rock music.

Unlike Classical music, appreciation for Rock music is a highly contextual affair. Rock is informed by so many factors that have little or nothing to do with the actual music and lyrics. Rock has more attitude. The bands/performers have attitude. Unlike Classical performers (at least until recently), Rock performers become Stars and Celebrities. The production (or over-production) of the records, the roots-sensibilities and influences, and even the political or social stance of the members (usually the singer) can also have input which affects the listener’s evaluation. It’s very easy for one person to think that a certain band is great while another person thinks the same band is horrible. There is less evaluation of musical content going on with regard to Rock music than Classical music, even though this isn’t perhaps generally acknowledged.

Objectifying Music
It is the former notion which spurred an email discussion with an online acquaintance regarding opinions about music. He seemed to think that what people say about music is somehow true or false, that there was a fact about musical quality, so that some people were wrong in thinking that some piece of music was good, and someone else was right. My immediate response was to think that opinions can’t be objectified, that musical quality judgments are subjective.

Although the discussion started out being about rock music, the principle of the idea should transfer to any music, as well as other art forms. The crux of my argument is that opinions can’t be objectified, and saying music is great, or beautiful, or cool, or horrible, is stating an opinion about it. The idea of greatness doesn’t exist in the objective world.

First, let’s be clear about the meaning of the terms we’re using. Webster’s II New Riverside University Dictionary says the primary definition of objective is “Of or pertaining to a material object as distinguished from a mental concept”. And the same source says of the word subjective, that it means “Of, produced by, or resulting from an individual’s mind or state of mind”. Thus we establish the polar character behind the meaning of these two words, in a nutshell, Mind vs. Matter.

The other main element in the argument is exploring opinions about Music (or Art), and defining their relation to the question of objectivity/subjectivity. Also, it is important to distinguish these opinion terms, which relate to mind or states of mind, from terms that relate to material existence.

Thursday, September 13, 2007

Possible movie version of Genesis album, part 11

The Lamb Lies Down on Broadway - Screenplay draft (part eleven)

(“Ravine” fades out as “The Light Dies Down on Broadway” begins) Rael is standing still in a trancelike state. There’s a strange window within his arm’s reach above the path just ahead of him which shows a street scene. Rael recognizes it as home. He can finally escape this crazy world he’s been trapped in. He remembers his past experiences as he stands oddly rooted to the ground. There's something not quite right that makes him hesitate. (“But as the skylight beckons him to leave”) Rael slowly turns and looks toward the river, walking to the edge of the precipice to get a better view. Suddenly he comes out of his trance as he sees his brother John in the rapids, trying to stay afloat. Rael looks to the window to see that it is beginning to fade. He has to make a choice: Go through the window at once and possibly get home, or run to save John before he drowns in the river. (“Hey John”) Rael takes off down the path, leaving the window to fade

(“The Light Dies Down on Broadway” fades out as “Riding the Scree” –sans vocal- cross fades in). The way down becomes extremely treacherous as Rael encounters large boulders and sliding rocks in his descent to the river. Below the rapids are fierce and John is only barely managing to keep afloat. Rael finally makes it to the bank and jumps in just as John is going by. Rael swims as fast as he can but the rapids are too strong, and he can’t close the gap between him and his brother. Fade to Black.

(“Riding the Scree” fades and an instrumental version of “In The Rapids” begins) Rael, now in slow motion, keeps struggling to reach John. He gains on him as John momentarily slowed by a calmer section of the rapids. But Rael can’t guide himself and is swept past John. John is soon sucked back in to the rapids though, and now their positions are switched. Rael looks for something to grab on to and finds it in the form of a large rock. He anchors himself and hopes for John to come close enough. John comes within a few feet and Rael launches himself out to grab him (“In The Rapids” fades out).

They come to calmer water and Rael swims, still in slow motion, toward the nearest bank while holding up an unconscious John with one arm. He drags John up on to the bank. The noise of the river and surroundings are still heard until he lays John down and faces him. John becomes conscious and Rael looks in to his eyes. All sound is silenced, even his own heartbeat. He is immediately aware that this other body is not somebody else. It is he, himself. Rael’s senses become fused with this other self and begin to oscillate from one to the other. He sees himself looking down at himself, and then alternately up at himself. This oscillation speeds up as the two become one. For Rael, the surroundings begin to melt away as he approaches being, left with just his inner self. The facial features of both bodies begin to fade too, and after that his body. He is left with just the essence of Rael, the mind without physical perceptions.

The camera backs up and away from the scene of the two bodies in embrace. The shot continues as the scene opens up to the surrounding ravine and the high bank where Rael first saw John in the rapids. The camera backs out of the window and we start to see Broadway, now with the ravine showing through the window, which appears as a hole in a theatre marquee. As the camera continues backing away, we see a car crash scene with a pedestrian victim lying in the street surrounded by medical emergency staff. They cover the body with a white sheet. Slow fade to Black.

(end credits begin as the opening chords of “IT” are heard)
The last credit reads “It’s over to you”

Wednesday, September 12, 2007

Here's to You Kelly!

Wish we could have had lunch here today to celebrate our wonderful time together. Happy Anniversary!

Tuesday, September 11, 2007

Possible movie version of Genesis album, part 10

The Lamb Lies Down on Broadway - Screenplay draft (part ten)

The scene shifts to a street with shops and buildings lining both sides (“The Colony of Slippermen: The Arrival” begins). Many people with strange bulbous growths all over their bodies are walking about, some busy with chores and other activities. Their faces are distorted with the same condition, and their skin is tinted a sickly yellow-green. We see Rael’s progress through the crowd from his perspective. Soon, as more people notice him, they begin to laugh at him. Rael walks more quickly, hoping to escape their derision. He is looking about him as he walks, and when suddenly he turns to face back to the direction that he’s walking, a figure is standing in front of him with a huge grin on his distorted face. He says simply, “bobbity-bop” (“The Colony of Slippermen: A Visit to the Doktor” begins).

The song tells the story as Rael continues past the man.

I wandered lonely as a cloud, till I came upon this dirty street. I've never seen a stranger crowd; Slubberdegullions on squeaky feet. Continually pacing, with nonchalant embracing, each orifice disgracing, and one facing me moves to say "hellay".

The people crowd Rael and jeer at him, but all in good fun. They understand what he’s been through. They themselves had to go through the same experience. Rael tries to take it in stride and comedy ensues.

His skin's all covered in slimy lumps with lips that slide across each chin. His twisted limbs like rubber stumps are waved in welcome, say 'Please join in.' My grip must be flipping, ‘cuz his handshake keeps slipping, my hopes keep on dipping, and his lips keep on smiling all the time.

The “boppity-bop” man then jumps in front of Rael again and explains (in song).

"We, like you, have tasted love. Don't be alarmed at what you see. You yourself are just the same as what you see in me."

Rael stops cold. He’s shocked at the insinuation that he looks like these freaks. We see Rael’s transformation for the first time as he speaks.

“Me, like you? Like that!”

He holds his arms up and then looks down to his torso and legs and is horrified. The man continues.

"You better watch it son. Your sentence has only just begun. You better run and join your brother, John."

The man moves aside and points to reveal another man standing a few yards in front of them (music stops abruptly). Cut to far away shot of Rael Slipperman hugging his brother John Slipperman, and the two walking off together. Cut to the two sitting on a park bench over looking a forest valley. Their conversation is one sided as Rael does all the talking.

Rael: “So…where the Hell are we, and how do we get out of here?”
John nods and gestures
Rael: “Doktor Dyper? Who’s that?”
John continues gesticulating, this time making a scissor motion with his hands.
Rael: (puts head in hands) “Ugh!!” (He pauses, and then sighs) “and that’s the only way?”
John shrugs, then puts his hands on his sides, in resignation. He looks the other way.

Cut to interior of Doktor Dyper’s office. (Tentative sounding keyboard music from “A Visit to the Doktor”) Slipper-Rael is on the operating table. The Doktor is just finishing the procedure. He hands Rael a tube containing his dismembered member, and says, “Understand Rael. It’s the end of your tail”, and laughs. (“A Visit to the Doktor” continues instrumentally) Cut to the waiting room of Doktor’s office. Rael looks like himself again. Slipper-John enters the operating room as the Doktor is seeing Rael out and filling him in on some much needed information about his new physical status.

“People usually wear them around their necks. Now…the operation does not necessarily exclude use of the facility again, for short periods. But of course when you want it, you must provide us with considerable advance warning."

Cut to exterior street scene – camera shot from above. Rael is conversing with a Slipperman, presumably about what it’s like to be cured. He holds out his tube to show it off when suddenly from out of the frame a large black Raven swoops past Rael, takes the tube, and flies off. Rael is confused and surprised, but quickly starts to run after the bird, but seeing the futility, stops and turns back toward the Doktor’s office. He looks up to see the skies turning dark as storm clouds quickly gather.

He looks back to the office to see John begins to come out. John stops in the doorway and we see him as Rael does, from far away. The song tells their conversation. As John speaks we only see over his shoulder as he speaks to Rael.

"Look here John, I've got to run. I need you now, you’re going to come."

"Now can’t you see? Where the raven flies there's jeopardy. We've been cured on the couch, now you're sick with your grouch. I'll not risk my honey pouch which my slouch will wear slung very low."

John walks out the door and away from Rael, who thinks to himself (in song).

“He walks away and leaves me once again. Even though I never learn, I'd hoped he'd show just some concern."

Rael watches his brother walk away, and pauses for a moment to consider what to do. He turns suddenly and looks to the sky in search of the Raven. He sees the bird and runs off in pursuit (the song continues – “I’m in the agony of slipperpain…”). He makes his way beyond the street and in to the forest. His path leads him through a very narrow underpass. He sees the bird fly out the other end. When he reaches the far opening, he looks for the bird again only to see that it has just dropped his tube, which falls in to the rapids of the roaring stream below. He jumps down on to a bank far above the stream (I’m on top of a bank to steep to climb, I see it hit the water just in time to watch it float away”). Fade to black.

(the ambient music of “Ravine” is heard) Rael runs along a path trying to find the best way down to the river. He tries to keep sight of the tube. Fade to black.

Saturday, September 8, 2007

Possible movie version of Genesis album, part 9

The Lamb Lies Down on Broadway - screenplay draft (part nine)

(“The Lamia” begins) Rael crawls in to a long passageway, and standing, he sees chandeliers on the rock ceiling lighting his way. He walks along, still taking in the exotic olfactory richness, and letting it guide him. He finally comes to a large, magnificent chamber, the walls of which are covered with maroon-colored velvet. In the center of the chamber is a luminescent pink-water pool shrouded by a fine mist. Rael takes the sight in while a warm refreshing breeze lightly caresses him. Where the breeze is coming from is anyone’s guess.

He notices a rippling on the surface of the water, and then breaking the surface are three snakelike creatures. It becomes clear to Rael, as the creatures come out of the mist, that their lower bodies are vermillion, but that their busts and heads are that of three beautiful women. He looks horrified, and starts to back away. But as he gazes in to their soft green eyes, he is hypnotized and quickly falls in love with them.

Then they speak, in unison, in voices soft and seductive. “Rael welcome. We are the Lamia of the pool. We’ve been waiting for our waters to bring you cool.” Rael disrobes and enters the pool. The Lamia invite him to drink the waters, cupping their hands in offering. He drinks the water and within seconds a blue luminescence beads off of his skin. The Lamia approach him closer and begin licking the liquid gently from his skin. Rael notices his own offering, and feels the need to give more. He continues drinking the waters as the Lamia drink of him.

The Lamia begin caressing Rael, and where their fingers have touched him layers of his skin begin to melt. Soon the flesh becomes pink, then red as they knead their way through him. The Lamia then nibble at the exposed areas, while Rael is oblivious. Soon after they begin eating of his flesh, their eyes turn black and their own bodies begin convulsing. Rael watches in helpless passion as his lovers die, their bodies floating in the pink-water. Compulsively he takes pieces of their bodies and begins to consume them. He rapturously feasts on the bodies as the water around him turns icy blue and the lights of the chamber dim. The camera slowly pans back and away from Rael from above. (Solo section at the end of “The Lamia”). Fade to black.

Fade in - slow motion. (“Silent Sorrow in Empty Boats” begins) Rael exits the water the same way he came in. There is nothing left of the Lamia. He walks out of the chamber still naked, and back in to the dimness of the tunnel from which he entered. He disappears in to the darkness at the other end. Fade to black.

Friday, September 7, 2007

Hipocrosy Lives, Animals Die

PETA really needs to look up the definitions of "ethical" and "animal". The above link leads to a site that exposes their real M.O. and reveals their hipocrosy.

Thursday, September 6, 2007

Possible movie version of Genesis album, part 8

The Lamb Lies Down on Broadway - Screenplay draft (part eight)

In the darkness we hear Rael’s thoughts (in song), as he lays unconscious under what he believes to be heaps of stone. The camera tracks slowly through the huge rock pile (All the pumping is nearly over for my sweet heart…..) until finally Rael is seen (the rocks in time compress your blood to oil…). His insides are revealed, showing his slowing circulatory system flowing from red to black. (Anyway they say she comes on a pale horse…) Rael fantasizes that he is standing in a field amid soft, rolling hills watching as a white horse runs toward him. We see from his perspective as the rider is recognized as The Reaper. She stops her horse and slowly points a bony hand to Rael. Rael lifts his own hand and the flesh melts away. The camera tracks his view as he looks up his arm to his shoulder (How wonderful to be so profound when everything you are is dying underground).

Suddenly we see the real Rael, under the rocks, open his eyes in shock of finding himself buried alive. The camera pulls out from his horrified face and back through the rocks. Fade back to The Reaper riding with Rael as passenger, heading for a vast cliff drop. The horse maintains a full gallop as they come closer to the edge. As they take air in the fall the shot changes to slow motion (The music fades with the piano arpeggios leading to the third verse).

A doorbell rings, after which Rael hears a female voice. “Good Morning Rael. So sorry you had to wait. It won’t be long. She’s very rarely late.” After a moment of silence, he sees a vague shape coming toward him. As it gets closer, it doesn’t become any more focused, just vaguely human in form. It reaches out it’s hand, which holds a canister. The canister is in focus. The other hand reaches toward the canister and opens it from the top. A small puff is heard and then darkness comes again.

Rael gains consciousness to find that the rocks are all around him, but he is indeed curiously not buried beneath them. He notices an unusual scent, and at first is overcome with it. After a moment, he breathes it in like a bouquet of flowers. He struggles to climb the rocks and uses the scent as a guide. At the top of a heap he finds an opening. He moves a few rocks to clear a way for his exit.

Tuesday, September 4, 2007

Possible movie version of Genesis album, part 7

The Lamb Lies Down On Broadway - Screenplay draft (part seven)

The din of the chamber crowd fades in with the camera shot. Rael walks out of the crowd and notices a pale middle aged woman dressed all in white sitting by the wall. He walks up to her and she smiles up at him with glazed, hollow eyes. “I’ve been waiting for you Rael. I’m Lilith. Can you help me through crowd?” He pauses a moment and then helps her to her feet, saying, “What’s the use a guide if you got nowhere to go?” As they make their way through people around them begin to get angry for no apparent reason. Through the noise, the woman says, “I’ve got somewhere to go. If you take me through the noise, I’ll show you. I’m a creature of the caves, and I follow the way the breezes blow”. Lilith makes toward a door that other people are also entering, but once inside there are no traces of them. (The strains of the end of “Lillywhite Lilith” fade in).

The door leads them in to darkness. Rael is immediately disoriented, but keeps a firm hold on the woman’s arm as she confidently marches him through a lightless tunnel. They enter a small cave, on the floor of which are several large boulders. The woman leads him to one of the “thrones” and seats him on it. Rael still can’t see in the darkness. She says softly, “Rael, sit here. They’ll come for you soon. Don't be afraid.” And with that she’s gone.

Rael sits facing his fear again, his eyes adjusting to the darkness, and begins to hear faint noises. The noises get louder as if whatever is making them is coming closer. A distinct whirring sound is heard above all else. The whirring is intermittent and in different pitches, almost like a melody. Then he hears deep booming sounds and low hums and moans. The whirring reaches it’s loudest as something glowing approaches. Suddenly a blinding light enters the cave and Rael falls to his knees and tries to crawl from the light, being of no more use to him than the blinding dark. The noise is deafening and the light painful to his eyes, so Rael feels around for a rock, finds one of suitable size, and hurls it in the direction of the sound. He hears breaking glass and then opens his eyes to find the blinding light gone, and the darkness now a mere dimness; he can see again. And what he sees are two golden globes floating past him. They continue on out another tunnel on the opposite side from where they had entered.

The darkness consumes him once more and slowly things become quiet again. After a few moments of silence, Rael stands up, still frightened, and makes toward where he thinks the globes went. He hears glass above him start to crack. The cave ceiling falls in and he quickly jumps between the boulders as the rocks begin covering him. The rocks keep falling, completely filling the cave chamber. Rael is trapped again. Fade to Black

Sunday, September 2, 2007

Possible movie version of Genesis album, part 6

The Lamb Lies Down on Broadway - Screenplay draft (part six)

Rael comes out of the darkness at the top of the Staircase to find a large round chamber packed with hundreds of people rushing about through many doors. After surveying the scene for a moment, he steps in to the chamber and begins to cut through the people toward one of the doors.

He enters a vast featureless room. Despite entering with many other people, the room is empty except for a well dressed businessman who stands before Rael. He’s rude and impatient, and pushes past Rael on his way out wearing a scowl. Then Rael notices that behind him there’s a poor, working class man in dirty, tattered clothes. The man approaches, tips his hat, says a few kind words, and exits.

Rael follows the poor man back in to the chamber, and does his best not to lose him in the crowd. (“But down here I’m so alone with my fear”) But alas, Rael loses site of the man, and stands defeated in the crush of bodies. He eyes the other doors, chooses one and starts toward it. Some of the people around him are calling his name out, and this confuses him. He finds a door and makes toward it.

He enters another vast, empty room and finds himself standing between his own mother and father. They’re smiling at Rael, and pointing in a direction further in to the room. He knows it can’t really be his parents, and he regards them as apparitions. He looks to where they point, and takes a few steps forward, but he can’t see anything in the distances of the room. It seems as if the walls just fade to a featureless dimness. He looks back to find his parents gone, and instead sees his brother walking out the door.

So he runs once again back in to the chamber (“There’s no need to sell if you’re homeward bound”). He trudges through the crowd, trying to keep sight of John. (“But back inside this chamber of so many doors”) Camera shot dollies slowly back and up revealing the vastness of the chamber, and Rael, standing amidst the crowd, gets smaller and smaller. (“Take me away”) Fade to black.

Saturday, September 1, 2007

Possible movie version of Genesis album, part 5

The Lamb Lies Down on Broadway - Screenplay draft (part five)

Cut to a Used Book Store interior where Rael is surveying the Sex and Health section. He’s perusing a book called “Erogenous Zones – Difficulties in Overcoming and Finding Them”. A further subtitle says “Mastering the Motions”. A young woman walks up and asks, “Can I help you?” Rael looks her way and smiles.

(“Hairless Heart” resumes) Cut to Rael checking out girls at a hangout spot. The scene progresses from him shyly looking from afar to him getting up the nerve to talk to them, being rejected, and trying again, and finally having luck asking a girl out. The scene goes on to them having a quick meal, walking hand in hand, and then walking in to an apartment.

(Music segues to “Counting Out Time” coming from the clock radio in the room) Rael and the girl are writhing on the bed. The clock radio on the table beside them ticks off the seconds. The camera shot stays on the clock, with the couple in the background. (The music from the clock radio becomes the soundtrack as the scene becomes more dynamic). A timer is seen on the screen in the lower right corner that keeps time since the lovemaking began. After 78 seconds the camera shot cuts to the front of the bed. (The music ends abruptly) Rael is “done”. After a time, the girl calmly climbs out from under Rael, gets out of bed and quickly dresses, looking at him with amusement. Rael is embarrassed. The girl walks back to Rael. She sits on the edge of the bed and puts a gentle hand on Rael’s hand. She catches his eye with a sympathetic look and smiles. She says, “It’s alright” and then after a pause, “I’ll see you later?” Rael nods. She walks out of the room.

Cut to the hallway of the apartment. Rael has just closed the door. He looks ahead down the hall to see that it has become long and seemingly endless, and fades in to darkness. He turns around, but finds only a wall that way. So he starts down the corridor in to the darkness but the lights on the walls follow him, and the walls change to a deep ochre red. (The music of “The Carpet Crawlers” begins). He looks down and to his surprise his feet are bare. A nervous look belies the realization that what he previously thought was the end of a bad dream isn't over. He walks a few steps more and finds himself on a thick carpet of white wool. As he continues down the hallway something compels him to crawl. (“There’s no room to void”) The lights come up to reveal a much wider corridor with a much higher ceiling. There are now other people crawling beside and around Rael in the same direction. Ahead is a heavy wooden door which opens and closes like slow breathing. The crawlers continue incessantly, and one by one pass through the door and toward a spiral staircase.

The walls now are lined with screens that show more celluloid moments from Cinematic pasts. (Superman swooning in the presence of Kryptonite is on one screen beside a scene of a gang fight from Rebel without a Cause. Olivia de Havilland's Maid Marian is seen beside Liz Taylor’s Maggie the Cat. A banquet scene from Camelot is coupled with starving war children. Then we see the staircase from below looking up in to the darkness. Cut back to the crawlers. (“The porcelain mannequin with shattered skin fears attack and the eager pack lift up their pitcher, they carry all the lack”) The other crawlers slow to a stop and wait for Rael to go first up the staircase. He’s their champion. Hesitant at first, his curiosity gets the better of him and he starts toward the staircase. He looks back to see them eerily staring, waiting on all fours. Rael finds his feet and slowly mounts the stairs. The others begin to cautiously follow.