Friday, August 9, 2013

Daughn With The Law

     So, it's been a couple of weeks (months...?) since I sent Sub Pop Records my completely random and unsolicited video script idea for their current roster artist/baritone-blasting hunk, Daughn Gibson. Gibson has a new record out this year titled Me Moan, which is the slickly-produced follow-up to his impressive 2012 haze wave debut, All Hell.

     Me Moan opens with a barn-burner titled "The Sound of Law." Needless to say, this is one of my favorite tracks of the year. It begins with a pensive, stabbing rhythm section and doesn't let up until Gibson is standing victorious, hi atop the bodies of other such golden throated troubadours like Stuart Staples, Aidan Moffet, Bill Callahan, Leonard Cohen, and the like. It's a damned good song!

     I must have listened to this ditty 10-20 in a row when it first came out. It's pretty damned badass. So taken with this song was I, that I began to see video-like scenarios of the song's narrative (or, at least what I thought the song was kinda, sorta about) in my head. This, then, led to the inspiration to write my frontal lobe-induced cinematic mind fart out as a script for a potential video.

     Upon discovering that Sub Pop hadn't produced a video for "The Sound of Law" yet (and instead went with a still picture video posted on YouTube), I thought I'd send my script in, completely unsolicited. I mean, who doesn't enjoy getting emails from random busy bodies, right?


     Well, I never did hear back from Sub Pop. Which is too bad, since I think this video idea ain't too shabby. It features a swaggering Gibson hitting on a girl in a dive bar. And it would have been relatively easy and economical to shoot. What's not to like?

     Anyhoo, you can read my script idea for Daughn Gibson's song "The Sound of Law" below. The lyrics were a bit hard to decipher, so I had to put "Lyrics That Follow" in the margins of the singing-dialog parts. It should be pretty easy to follow, though.

'njoy!




TITLE CARD:

Daughn Gibson
“The Sound of Law”

FADE IN

Ext. - Bar/Afternoon

An old dive bar [song starts here].


Int. - Bar/Afternoon

The place is dark and dank, with old oak accents and velvet paintings of ancient seafaring ships. A smattering of patrons are seated in the booths along the opposite wall.

A lone BARTENDER is serving a beer (bottled) to a pretty YOUNG WOMAN at the bar.

The darkness inside this establishment is broken for a second or two by the light from outside as a young man named DAUGHN GIBSON makes his entrance.

There is a swagger in his step.

He instantly spots the young woman, tosses his keys and sunglasses on the bar and sits down beside her.

He motions to the bartender, makes a peace sign and taps both fingers at the bar in front of him.

The Bartender gives him a nod and retrieves Gibson’s drinks.

Gibson shifts his attention to the young woman and starts regaling her with a tale.


GIBSON
              My Daddy was beast…
                   (Lyrics that follow)


The young woman seems interested enough in Gibson. He’s good looking and has THAT voice. Why not?

The Bartender places a shot of whiskey and a beer in front of Gibson. Gibson slides a bill to The Bartender without taking his eyes off the Young Woman.

In telling his tale, Gibson’s gestures and motions gradually become more animated.


GIBSON
(Con’t)
              He laid a kiss in my little hand…


Gibson smacks his hands together, shoots one off into the air.


GIBSON
(Con’t)
              And blew that fucker off to Hell.
                   (Lyrics that follow)


The Young Woman laughs, warming to Gibson.

[Chorus] Gibson turns his attention to his drinks. He pounds the shot, and sips his beer.


GIBSON
(Con’t)
              That girl keeps the sunset
              Close to the end of the road.
(Lyrics that follow)


Things between Gibson and The Young Woman are going pretty well, until…


GIBSON
(Con’t - Staring at his beer)
              Well they can keep my company
              When I was born along the highwayside.


[Bridge] Gibson’s mood has shifted. Talking about the “Sunset Girl” incident has drudged up some bad memories. The Young Woman can read it on his face.

Gibson takes out a cigarette, and is about to light it, but the Bartender points at the “No Smoking” sign on the wall.


GIBSON
(Con’t - Perturbed)
              You gotta moooooove…


[Chorus] Gibson’s gestures have become slightly more agitated. He’s just venting now, and has a wide-eyed “Who does that?” look on his face.

He doesn’t even look at The Young Woman who is now looking at him, skeptically.


GIBSON
(Con’t)
              Let it go…
(Lyrics that follow)


The Bartender shakes his head (echoing “Let it go”) looking down at the wash sink. Sloshed patrons regard Gibson and The Young Girl with lazy inquisitive glances.

The Young Woman has obviously changed her mind about this ranting, neurotic dude.

As Gibson’s story comes to an end, he looks over at The Young Woman.

He motions to her with his index finger, then to himself with his thumb (same hand) giving her a “Whaddya say?” look.

The Young Woman smile-sneers a polite “no,” lays some money on the bar, turns and walks away.

Light cracks in once again, illuminating Gibson’s disappointed, but resigned face. Then the darkness resumes as the front door closes behind The Young Woman.

Gibson looks at The Bartender, who in turn shrugs back to Gibson.

“What can you do?”

Gibson turns back, sighs and takes a swig of his beer.

EXIT/FADE OUT

No comments:

Post a Comment