The concert in Israel begins with tremendous vigor as multi-ethnic performers dance and sing to uplifting modern cross-rhythms; short but poignant speeches are given by famous humanitarian world leaders from all over the world; a rock group composed of two Palestinians and two Israelis brings cheers.

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As the final and climactic concert continues to unfold, we see Jim Ryley take the stage at his son’s request. The audience gives him a warm reception. He then recites the lyrics to what will be the last song (“Love Come To You”), as the band plays. Then Misto, the mysterious black figure who has been shadowing The Visionaries throughout the film, appears on stage and sings the words. The stadium is spellbound. The scene morphs into a levitating music video in the sky.

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Simultaneously with all this, we begin to hear the audio broadcast of a conference call conversation between President Pavao and the leaders of Iran and Russia. Within this “music video”, nothing less than humanity itself teeters at the edge of destruction. Images that have only been hinted at occasionally up to this point in the film are now revealed fully in a stark collision between the forces of light and darkness. Breathtaking visions of angelic children laughing and dancing collide with images of hateful rage and cloistered decadence.

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Ultimately, in concert with the live performance, the action of the music video reaches a crescendo. A nuclear missile appears to reign down as part of a video montage that encompasses both images of horror and beauty. The soothing symphonic music is counterpoint.

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The song/music video nears the end with the subsequent horror of the mushroom shaped cloud, as it expands into the lens of the eye, just as the phone call between the world leaders comes to its decisive conclusion. “In the name of God, if there is a God, you won’t do it!” implores the U.S. President! A long pause. The leader of Iran speaks, simultaneously with the music’s crescendo and the dissolving of the mushroom shaped cloud. The attack is called off! The song/video ends with breathlessly beautiful visions of a paradise on earth, as we pan back down to the live stadium stage, where people of all color are smiling, laughing, dancing, and generally celebrating together.

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A new scene has burst open, of people dancing to the world music theme expressed in a reprise of the song, “Song On The Radio”, a joyous, pounding rhythm. And then, cut to the woman (Clay’s Mom back in Fairgrove) who awakens from her dream as her husband, Jim, gently touches her. Disoriented at first, she then looks up at him and smiles. He tells her that he has just received a call from Clay. Good news! The Visionaries have been invited to be part of an international celebrity Peace Concert tour. They will be performing in Madison Square Garden next month.

With that, the audience is left not sure if what they saw was real or not, but it doesn’t matter. The feeling that “love conquers all, if we believe” (even unto death) has been absorbed, and the message that we must “choose” to avoid the ultimate disaster has been passed on once again.

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In Conclusion

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The style idea of the film is to combine forms into one delicious stew, seamlessly.

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The concert scenes are excerpts from the Concert Tour combined with the creative spontaneity of partially scripted backstage scenes derived from sets. A large-scale concert shoot (a la Oliver Stone’s “The Doors”, Almost Famous, etc.) should be combined with some of the Tour excerpts as well.

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Documentary style should be used to depict exotic cultures, as well as current world media news/events; plain pop realism in order to establish inter-personal relationships and plot; cinema verite/ guerilla style for in and around the concert sites, including random spontaneous interviews; the use of many exciting music video techniques (even including the use of animation in one of them) will be pervasive; and the surrealism of the montages against the realistic storyline will create just the right mixture of conscious and sub-conscious storytelling, alternately liberating and grounding, shocking and soothing, ultimately inspiring feelings of brotherhood and humanitarianism, harmony and understanding, sympathy and love abounding.

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The ultimate purpose of the film is to help head off World War III.