None of these 23 frames explain the clip — they were shot alongside it, in the same cold light, on the same shore, but between takes rather than inside them. The camera simply caught whatever it caught while it waited for the real thing — and sometimes the incidental says more than the story itself.

There's no shooting chronology here, and no attempt to reconstruct one. The banner can stand before the sword, the gravestone before the one buried under it: time in this gallery works the way it does in the song itself — not by the order of events, but by the order of what caught the eye.