?O, Zoo! (The Making of a Fiction Film) script
(HI-CONTRAST BLACK & WHITE FILM)
A LION LAYS PEACEFULLY INFRONT OF A ROCKY FORMATION IN A METROPOLITAN ZOO. IT LOOKS ABOUT WITH ITS HEAD HELD HIGH.
(VO)
The footage was found by my sister in my grandfather’s storage loft. Having been at one time a newsreel cameraman, my grandfather knew to keep the film canister well sealed, and since the loft was relatively cool and dry, there was no noticeable deterioration.
I wonder where he had to go to get this exotic footage.
(HIGH ANGLE)
ARCHIVAL FOOTAGE OF THE QUEENS VISIT TO CANADA. A GROUP OF PEOPLE STAND BENEATH A BALCONY AND GAZE UPWARDS WAVING.
(PAN UP)
QUEEN ELIZABETH AND PRINCE PHILLIP STAND ATOP A LARGE BALCONY LOOKING AT THE MASSES THAT HAVE FORMED BELOW. THE PRINCE IS IN A DOUBLE BREASTED SUIT WITH GOLD BUTTONS. THE QUEEN IS WEARING A WHITE GOWN. BOTH ARE WAVING AT THE CROWD.
(AERIAL VIEW) (ELS)
A SEA OF HUNDREDS OF PEOPLE ARE GATHERED ON THE STREETS.
(LS)
THE CROWD STARES UP AT THE ROYAL FAMILY ON THE BALCONY
WHILE THE QUEEN AND THE PRINCE WAVE TO THE CROWD
(VO)
I recalled seeing my grandfather’s old newsreels but could never connect the pictures he made, to the old man I got to know on our summer fishing trips. There was a marked difference between the repetitive nature of the news film and the footage found in the loft.
AN ELEPHANT STANDS STILL IN A 45-DEGREE ANGLE WITH ITS HEAD FACING TOWARDS THE LEFT OF THE FRAME. IT LOOKS DIRECTLY AT THE CAMERA.
(VO)
I wonder whether he had hoped that someone would find the film one day.
There was something peculiar about grandfather’s footage: Watch, wait until the flash marking the beginning of the shot and then start counting.
(WHITE FLASH ON SCREEN)
A CAMEL CHEWS IN A PROFILE VIEW. IT FACES THE LEFT SIDE OF THE FRAME.
45 DEGREE ANGLE OF A CAMELS BACK … TWO HUMPS ARE HIGHLIGHTED BY THE SUN.
(PANNING)
AN OLD CAR DRIVES ALONG A STREET (RIGHT TO LEFT) THAT IS LINED WITH MANY SPECTATORS.
(WHITE FLASH ON SCREEN)
(VO)
Most of the shots are exactly 28 seconds in length. I was impressed by the precision and self-control my grandfather expressed in shooting this unusual material, as compared to the erratic camerawork displayed in the newsreels. More clues as to the nature of my grandfather’s discipline were found on a piece of paper secreted in the film can.
A FULL SHOT OF A CAMERA NEGATIVE REPORT WITH DETAILS
(WHITE FLASH ON SCREEN)
A TIGER LAYS ON THE GRASS INFRONT OF A SET OF PILLARS THAT LINE THE WALL OF OLD RUINS IN A METROPOLITON ZOO
(VO)
The footage was found in the winter. That spring, I went to the Netherlands to make a short film around the making of a fiction film. I had met the director of the film at a seminar in my native country in the fall before my grandfather’s footage was found.
(HIGH ANGLE)
A SEAL, WITH HEAD ABOVE WATER, SWIMS IN A REFLECTIVE POND.
(WHITE FLASH ON SCREEN)
WHAT LOOKS LIE A FLOWER, UPON MOVEMENT, SUDDENLY TRANSFORMS INTO THE HEAD OF A PEACOCK. IT LOOKS ABOUT THE AREA.
(VO)
This seminar, an annual tradition since 1939, is devoted to the documentation and categorisation of all types of wildlife species, which have ever been captured on film.
(LOW ANGLE)
A TREE ENCOMPASSES THE RIGHT HALF OF THE FRAME WITH IS BILLOWY LIMBS AD LEAVES. THE LEFT OF THE FRAME IS COMPSED OF THE CLEAR BLUE SKY. AN OSTRICH ENTERS FRAME LEFT (SEEN FROM NECK UP) AND LOWERS IT’S HEAD OUT OF FRAME.
(WHITE FLASH ON SCREEN)
AN OSTRICH HEAD LOOKS ABOUT A FORESTED AREA.
(VO)
The seminar grew out of the same institution for which my grandfather worked as a newsreel cameraman. I can still hear my grandfather’s remarks about the founder of the institution, as he put it “that old battleaxe.”
SHADOW OF A CAMERA MAN IN BRIGHT SUNLIGHT. THE SHADOW OF A MONKEY ENTERS FRAME RIGHT AND WALKS ACROSS THE WALL ONLY TO JUMP DOWN OUT OF THE SHOT.
TWO OSTRICHES STAND IN A GRASSY AREA, APPEAR TO BE KISSING, BUT THEY ARE LIKELY CLEANING EACH OTHERS FEATHERED FACES.
(OLD SOUND RECORDING)
Grandfather: “That old battleaxe, what the hell does he know abut this land anyhow? All he knows is whoring about in cramped up pubs.”
(ENTER MUSIC)
A CIRCULAR, GRASSY, CLEARING IS SURROUNDED BY A SHALLOW POOL OF WATER.
ACROSS THE CLEARING IS A SPRINKLER THAT RAPIDLY SHOOTS BURSTS OF WATER FROM LEFT TO RIGHT, TOWARDS THE CAMERA.
(VO)
Though the director was from the same country as “the old battleaxe”, I couldn’t see a connection; I couldn’t see why he’d been invited to the seminar. I thought I would try and incorporate this footage with the film I would take on location in Holland. As usual, I would keep a diary of the whole affair.
TELEVISION FOOTAGE OF PEOPLE CARRYING UMBRELLAS GATHER TOGETHER ON A SIDEWALK.
(VO)
This, the first entry, taken off the television set, describes details surrounding the papal visit to Holland.
THE POPE TALKS INTO A MICROPHONE ON TELEVISION. A JET TAKES OFF DOWN THE RUNWAY.
(VO)
Day 1 . . .I arrive in Rotterdam at 7:55pm, May 21st . . . a new moon.
(SLOWMOTION)
A SWAN TAKES OFF FROM A POND.
TEXT ON SCREEN (white on black):
?O, Zoo!
A FENCED-IN POND, HAS A SWAN TREADING WATER BEHIND THE BARS.
TEXT ON SCREEN (white on black):
(The Making of a Fiction Film)
A SWAN SWIMMING BEHIND BARS IN A POND COMES TOWARDS THE CAMERA AND PEEPS ITS HEAD THROUGH THE BARS. A TRIPLE TAKE OF THIS IS SEEN. THE THIRD TAKE OPTICALLY REVERSES AND THE SWAN PULLS ITS HEAD BACK THOUGH THE BARS.
( MUSIC ENDS)
(COLOUR FILM)
A STATUE OF JESUS (`THE SACRED HEART’) STANDS IN A PARK ACROSS FROM A SERIES OF TOWNHOUSES THAT ARE THREE STORIES HIGH.
THE STATUE NO LONGER HAS A HEAD, THE HEART IS THE MAIN FOCUS OF THE SHOT.
(VO)
Day 2 . . . In an Amsterdam square a young boy explained to me that during the Pope’s visit to Holland someone had defaced this statue of Christ,” The Sacred Heart.” When I started to climb over the railing to take a close-up shot for editing purposes, there came a loud rapping sound from the houses, camera left. I had spent a long time setting up the shot and must have attracted a crowd from behind the windows.
CAMERA NEGATIVE REPORT WITH CIRCLED TAKES AND DESCRIPTIONS
(VO)
Day 2
A BARREN LANDSCAPE OF FARMLAND MEETS A LIGHT BLUE SKY WITH PATCHES OF CLOUDS. THE CAR IS MOVING FROM LEFT TO RIGHT.
(VO)
Soon after I arrived on the shoot, the film crew went on a two-day break, and so, as there was little activity, I took a short trip to visit some friends in the province of Zeeland.
A CAMERA NEGATIVE REPORT DESCRIPTION OUTLINES 5 SCENES WITH SWANS.
(VO)
Day 3
(ENTER MUSIC)
A PAIR OF SWANS SWIM IN A POND WITH A SET OF BABIES SURROUNDED BY A GRASSY MEADOW. A WINDMILL AND FARM HOUSE STAND IN THE DISTANCE. THE SKY IS BRIGHT BLUE AND STREAKED WITH STRATUS CLOUDS.
(VO)
My friends had been watching closely this pair of swans that had come to roost on the bank above a small pond. At night the family of swans would sit on the road, which passed by the pond. I went to the pond at dusk to film the scene described by my friends, but the swans were nowhere to be found. I put my hand on the pavement and found it still warm from the afternoon sun. I walked to the other end of the pond – perhaps they were there. *(1)*
A MAN IS HOLDING AND WINDING A BOLEX CAMERA. THE MAN STANDS NEAR A WATERS EDGE THE RIPPLES MOVE SOFTLY TOWARDS THE SHORE ON WHICH HE STANDS.
DISSOLVE TO: A BUILDING SITS ON TOP OF A TRIANGULAR SHAPED HILL THAT TOWERS
OUT OF A CRATER LINED WITH GREEN TREE TOPS AND BUSHES.
A CAMERA CREW DOLLIES FROM LEFT TO RIGHT IN FRONT OF THE CAMERA.
DISSOLVE TO: A CONSTRUCTION PLATFORM SHOT FROM THE GROUND, TOWERS INTO A DEEP BLUE SKY. ITS SAFETY RAILINGS HOLD A LARGE REFLECTIVE BOARD THAT GLISTENS IN THE SUN.
DISSOLVE TO: THE SAME CONSTRUCTION PLATEFORM NOW CONTAINS A MAN HOLDING THE LARGE REFLECTIVE BOARD. HE MOVES IT AROUND AND IT CREATES LENS FLARE IN THE LENS.
A MAN IN WHITE (D.O.P SACHA VERNY) HOLDS A STILL CAMERA FACING THE CAMERA IN THE CENTRE OF THE FRAME. HE STANDS IN THE GRASSY FIELD THAT LEADS BETWEEN TWO LARGE TREES TO THE TRIANGULAR HILL WITH THE BUILDING ATOP OF IT. HE SEEMS TO CATCH THE LIGHT COMING FROM THE REFLECTOR BOARD.
HE LOWERS THE CAMERA AND TALKS TO SOMEONE OFF SCREEN.
(SLOW MOTION)
A CAMERA CREW LEAVES THE FRAME (LEFT TO RIGHT). ONE OF THE CREW MEMBERS (IN THE FOREGROUND) WALKS TOWARDS THE BUILDING ONTOP OF THE HILL AND POINTS TOWARDS IT.
(SLOW MOTION)
THE FRAME BEGINS EMPTY AND THE TWO CREW MEMBERS WALK IN TOWARDS THE RIGHT OF THE FRAME FROM THE LEFT SIDE.
AN OPEN FIELD SQUEEZES BETWEEN TWO LARGE BILLOWY TREES. THE PATH IS BLOCKED BY A FENCE WHICH A CAMERA CREW DOLLIES INFRONT OF (LEFT TO RIGHT).
THE CAMERA CREW DOLLIES FROM LEFT TO RIGHT INFRONT OF THE GRASSY FIELD THAT LEADS BETWEEN TWO LARGE TREES AND TO THE TRIANGULAR HILL WITH THE BUILDING ATOP OF IT.
DISSOLVE TO: THE SAME SHOT SET UP AS ABOVE, ONLY THIS TIME, A LADY WRAPS AN XLR CABLE AND EXITS THE FRAME.
THE DIRECTOR (PETER GREENAWAY) ENTERS THE FRAME TO MEET THE CREW, WHEN HE IS A THE CENTER OF THE FRAME, THE SHOT FREEZES.
(END MUSIC)
(VO)
Day 5. The director told me that the production was a slow massive wheel. All you could do was get on it, and let the momentum of the wheel carry you where it would.
DISSOLVE TO: A MAN STANDS INFRONT OF AN UNDERGROUND AQUARIUM. DARKNESS SURROUNDS HIM EXCEPT FOR THE LIGHT COMING FROM THE TANK. HE PEERS INTO THE TANK.
(SOUND RECORDING)
Oliver: where’s pipe? He is supposed to be the keeper of fish.
Boy: Does he keep Red Herrings?
Oliver: No.
CLOSE UP SHOT OF FISH SWIMMING IN A TANK.
Boy: Do you keep lots of black and white fish?
Oliver: Yes.
Boy: Zebrafish?
Oliver: The also have Parrot fish, Rat fish, Elephant fish, and Tiger Sharks , but there are no Swan fish. We have Angel fish.
Boy: Can I have one?
(ENTER MUSIC )
A MAN STANDS IN THE CENTRE OF THE FRAME LOOKING UP AT THE BUILDING ATOP THE TRIANGULAR HILL THAT LIES BEYOND THE TWO TREES ON THE GRASSY PATH.
A CAMERA CREW DOLLIES FROM LEFT TO RIGHT AGAIN, FILMING THE HILL.
A CAMERA CREW DOLLIES FROM LEFT TO RIGHT INFRONT OF GATE BLOCKING THE GRASSY PATH BETWEEN THE TWO LARGE BILLOWY TREES. THE ACTORS (OLIVER AND OSWALD), DRESSED IN WHITE ARE APPROACHNG THE GATE
(SOUND RECORDING)
Oliver: It’s beautiful, Does Zelba know what she’s really got here?
(END MUSIC)
BLACK SCREEN
Oswald: Come on Oliver you’ve done enough.
Oliver: This tiger walks ten miles up and down this cage every day.
Director: Action
CAMERA NEGATIVE REPORT READING: DAY 7
(SOUND OF TIGER GROWLING. ENTER SOUND OF CHILDREN)
(VO)
Day 7
A TIGER BEHIND BARS PACES BACK AND FORTH.
(VO)
Today the production moved to the zoo for scene 68, in which one of the twins has locked himself in the tiger cage
(SOUND RECORDING)
Dutch Boy: Strange sounds…grrrrr…horrible beasts
BLACK SCREEN
TWO TIGERS ARE IN THE CAGE. ONE IS URINATING ON THE CAGE FLOOR, WHILE THE OTHER PACES AROUND THE CAGE. EVENTUALLY THE SECOND TIGER BEGINS TO PACE AS WELL.
(VO)
Since the enclosure was overcrowded with actors, crew and on-lookers, I went over to the other side where the tiger was waiting patiently for it’s call. Two curious Dutch boys asked me if they could have a look through the viewfinder to see what I was filming. The boys came to the zoo quite often, and they knew all of the most interesting places. They decided it would be best if they became my guides. I agreed.
TWO DUTCH BOYS STAND ON EITHER SIDE OF THE FRAME GAZING INTO THE MUDDY POND. A SWAN SWIMS TOWARDS THEM AND BOTH REACH DOWN TO TOUCH IT.
(SOUND RECORDING)
Dutch Boy: Most of the animals are two, like Noah…you have a woman and a man. When you have a woman and a man you get children…so when you get more beasts you get more people come to look
LS OF TWO BOYS AS THEY LOOK AT THE CAMERA AND GIGGLE. A PAIR OF SWANS GLIDE BY BEHIND THEM.
A CAMERA NEGATIVE REPORT LISTS 6 SCENES THAT ARE ALL OVER EXPOSED.
(VO)
Day 12
OVEREXPOSED IMAGE OF A STREETSCAPE. AN EASLE-LIKE STRUCTURE ENCOMPASES THE LEFT SIDE OF THE FRAME AND IS PLACED ON A 45 DEGREE ANGLE EXPOSING A SIDE OF THE EASLE THAT IS DECORATED WITH POSTCARD-TYPE IMAGES. PREDOMINANT IN THE FRAME IS VERMEER’S `HEAD OF YOUNG GIRL’. THE RIGHT SIDE OF THE FRAME CONTAINS A PAIR OF OVERSIZED WOODEN SHOES NEAR THE EDGE OF A ROAD. TWO CHILDREN BEGIN TO PLAY IN THE SHOES BUT LEAVE WHEN THEIR PARENTS CLIMB INTO THE LARGE SHOES.
(VO)
A young boy and girl were playing by a large pair of wooden shoes in front of a shop in the Delft Square.
BLACK SCREEN
THE MOTHER AND FATHER OF THE CHILDREN STAND IN THE SHOES AND FACE ACROSS THE STREET, PRESUMEDLY, TO HAVE THEIR PICTURES TAKEN BY AN OFF-SCREEN PHOTOGRAPHER. THE MOTHER AND FATHER STEP OUT OF THE SHOES AND WALK AWAY, LEAVING THE CHILDREN TO RETURN TO PLAY IN THEM AGAIN.
(VO)
They were shooed-away by their parents, presumably, who were having their pictures taken with their feet in these oversized shoes. After the photo was snapped, the kids returned. Do you see the Vermeer painting in the midst of the Delft blue pottery? The painting is called “Head of Young Girl”, and is the only picture on display where the subject is looking back at you.
BLACK SCREEN
THE YOUNG BOY AND GIRL CONTINUE TO PLAY IN THE OVERSIZED SHOES. THE BOY STARTS TO TAKE HIS PANTS OFF.
BLACK SCREEN
THE FRAME IS EMPTY EXCEPT FOR THE EASLE AND THE SHOES.
(DURING THE PRECEDING, SIMILARILY FRAMED 4 SHOTS, THE EXPOSURE GRADUALLY SHIFTS FROM OVER-EXPOSURE AT THE START, TO NORMAL EXPOSURE BY THE END OF THE SEQUENCE)
BLACK SCREEN.
LATE IN THE EVENING THE TWINS (OLIVER & OSWALD) STAND AT EITHER SIDE OF THE FRAME AND LOOK TOWARDS THE CAMERA. THEY ARE NEATH A PILLARED ARCHWAY. A CORRIDOR LINED WITH PILLARS GLOWS GOLDEN IN COLOUR FROM THE SETTING SUN.
A PHOTOGRAPHER TAKES A PICTURE.
Oswald: I cannot stand the idea of her walking away.
Oliver: What is the 1st thing that happens?
Oswald: The first thing that happens is the bacterium goes to work in the intestine.
Oliver: What sort of bacteria?
Oswald: Bisocossis Populi. There is supposedly 130 000 Bisocossis in each lick of the human tongue…. 250 000 in a French kiss.
BLACK SCREEN.
Oliver: Suppose Eve kissed Adam.
CAMERA NEGATIVE REPORT LISTING 5 SHOTS ABOUT THE BOY AND GIRL, MAN AND WOMAN AND THE ROTTERDAM PARK.
(VO)
Day 16
A BOLEX CAMERA IS WOUND UP AND THE HANDLE LOCKED BACK IN PLACE.
A LARGE WOODEN APPLE SITS IN A PARK, INFRONT OF A MUDDY POND. THERE IS A BRIDGE OFF TO THE RIGHT SIDE OF THE FRAME, WHICH HAS A LOT OF PEOPLE CROSSING IT. ON THE RIGHT SIDE OF THE FRAME A COUPLE PLAY FETCH WITH THEIR DOG.
(VO)
I walked through the park past the large wooden apples. From the other side of the river I could see two lovers taking advantage of the shade of a birch tree. A young boy parked his bike behind the apple and snuck around to see what the couple were doing. A teenage girl, perhaps the boy’s sister, came from the other side of the apple and put her hand on his shoulder – they stepped down to the river for a talk. Meanwhile, ten boys and a German Sheppard had gathered at the far side of the park. The boys were tossing sticks toward the couple so that the dog would disturb them. Soon the boys surrounded the apple and the couple left. Shortly afterwards the young boy and teenage girl left as well. I crossed the river and this is what I filmed after they all left.
(ENTER MUSIC)
A DINING ROOM SITS JUST ON THE OUTSKIRTS OF A PAIR OF OPEN DOORS WITHIN A ROOM. THE DINNING ROOM TABLE SITS IN OPEN SUNLIGHT AND IS PREPARED BY DIFFERENT WAITERS. ANOTHER ROOM SITS DIRECTLY ACROSS FROM THE TABLE, ALSO WITH ITS DOORS OPEN.
Director: Action
A SERIES OF DISSOLVES SHOWS A LADY SITTING DOWN AT THE TABLE AND A GROUP OF WAITERS ENTERING AN EXITING THE ROOM FROM ACROSS FROM THE TABLE TO SERVE HER. AS THE SCENE PROGRESSES, THE ATTIRE OF THE LADY CHANGES UNTIL
SHE IS FINALLY WEARING A RED FEATHERED HAT AND A RED DRESS. AS THE SCENE PROGRESSES VARIOUS PEOPLE (CREW MEMBERS, D.O.P, DIRECTOR) CONFRONT THE LADY AS THEY SET UP THE SHOT. SHE IS LOOKING AWAY FROM THE CAMERA.
The Twins: And the ostrich eats anything at all…and buries it’s head in the sand when it is afraid… and the elephant lives to be 100 and never forgets a face. So, you see, between us, we know everything.
Boy: You don’t know everything.
Oliver: Between us we do.
Boy: Alright then, you see that woman over there? What color knickers is she wearing?
Oliver: Ah. Red ones.
Boy: No s e doesn’t.
Oliver: How do you know?
Boy: I know.
Oswald: Well, Oliver, you could always go over there and find out.
Boy: Go on. Ask her.
Oliver: Excuse me ma’am. Sorry to trouble you. I think we may have met before. Um. May I trouble you in the interest of that child’s education? Could I ask you a few questions?
Woman: If you like.
Oliver: Are those Ostrich feathers?
Woman: Who are you exactly? Do I know you?
THE LADY IN THE RED DRESS LOOKS BACK OVER HER SHOULDER DIRECTLY AT THE CAMERA WHICH HAS UNTIL THIS MOMENT, BEEN VOYEURISTICALLY VIEWING HER FROM BEHIND. AS SHE TURNS TO THE CAMERA, THE LIGHT CATCHES HER EYE.
BLACK SCREEN.
(END MUSIC)
A CAMERA NEGATIVE REPORT IS TAPED TO A SINGLE PIECE OF LINED PAPER. A PAIR OF HANDS WRITE: “DAY 17”
(VO)
Day 17
BLACK SCREEN.
(VO)
From a distance I heard the scream of a beast. Moving closer to the source of the sound, I saw that an elephant had fallen down and was struggling to get up. Outside the enclosure, I noticed that a group of people had gathered to watch and inside some elephants and zoo workers had surrounded the fallen animal, trying to give it encouragement as it rocked its huge body in the sand. As I watched I tossed over and over in my mind whether to film the scene or not.
I’ve come across this problem before.
Like the crowd that had gathered, I was feeling helpless; I wanted to assist the beast and filming would make me feel that I was doing something constructive. Maybe the television network would buy the film and show people that tragedy is right at their doorstep.
I took out the tripod, set up the camera and looked through the viewfinder.
The compressed image caused by the telephoto lens intensified the sounds coming from the huge rolling body. I pulled the trigger: listen to the spring slowly unwind, and watch the elephant’s painful rhythm. I wind the camera tight and press the trigger for another burst of 28 seconds. Now the zookeeper is shoving bales of hay under the elephant as the others surround it. This only gets the elephant more aroused. The heat is intense and in its excitement the elephant plunges back into the sand and with one last scream, stretches out its body… and then it stops moving. The attendant says that the elephant has had a heart attack. My throat is parched, and sweat pours off my body; I watch the dust settle. I go looking for a drink, pushing through the crowd, fixed on the image I’d filmed; as if my mind was the film and the permanent trace of the elephant’s death was projected brightly inside. Somehow it’s my responsibility now. I wonder why I took the film. There seems to be no reason to develop the negative; my idea of selling the film to the network now seems just an embarrassing thought, an irresponsible plan.
I decide to put the film in the freezer. I decide not to develop it.
(ENTER MUSIC)
THE TWINS STAND ON A STAGE WHICH IS DRAPED IN FLOWING PLASTIC
WASHED BY COLOURED LIGHTS IN THE NIGHT. THEY PEER AT THE CAMERA.
A CUL-DE-SAC, WITH A MONUMENT AT ITS CENTRE, IS SURROUNDED BY A SERIES OF FLAMINGOES THAT PASS BY THE CAMERA. A GROUP OF PEOPLE SURROUND THE BASE OF THE MONUMENT AND TRY TO CONTAIN THE BIRDS. THE BIRDS RUN AWAY, LIT BY TWO FLOOD LIGHTS ACROSS THE ROAD.
A MAN TRIES TO WRANGLE THE BIRDS BY MAKING A ZIGZAG PATTERN, LEADING THEM TOWARDS THE MONUMENT.
DISSOLVE TO: THREE MEN TRY TO GATHER ALL THE BIRDS INFRONT OF THE MONUMENT. AS THEY STEP BACK, THE BIRDS RUN IN ALL DIRECTIONS.
A SERIES OF DISSOLVES SHOW A FEW CREW MEMBERS/ACTORS AND BIRDS CROSS IN FRONT OF THE CAMERA. THE CREW AND ACTORS ARE LEAVING. THE BIRDS REMAIN, UNABLE TO BE CONTAINED BY THE PEOPLE.
IT’S DAWN. ONE OF THE BIRDS STANDS ABOVE A PAIL AND FEEDS FROM IT, IT’S HEAD BOBBING (IN RHYTHM WITH THE MUSIC).
BLACK SCREEN
A MAN WINDS A BOLEX CAMERA.
IT IS DUSK. THE CAMERA LOOKS DOWN ON A PAIR OF SWANS WITH THEIR BABIES, BATHED IN BLUE EVENING LIGHT. THE POND REFLECTS THE COLD BLUE SKY.
(VO)
Day 3. From the roadway I could see the other end of the pond, and the moon moving arced bodies of the swans, silver silent in soft evening moonlight. I walked cool summer night remembering, my grandfather and his grandson laid quiet in lakecalm, star counting: fishermen; heroes.
Weary walking, I cranked the camera until it locked tight
Tightly, the taunt spring wound tightlytight…. tight…. *(1)*
(SLOWMOTION)
(DISSOLVE TO) A SMALL BOY AND HIS GRANDFATHER WALK SIDE BY SIDE TOWARDS THE CAMERA. A BLACK HALO SURROUNDS THE EDGES OF THE FRAME.
BLACK SCREEN
END CREDITS
(HI-CONTRAST BLACK AND WHITE FILM)
ELEPHANT STRUGGLES TO GET UP. ZOO WORKERS PUT BAILS OF HAY UNDER ELEPHANT. ELEPHANT RISES. ZOO WORKERS PAT ELEPHANT ON TRUNK. RESURRECTED ELEPHANT IS GREETED BY ANOTHER ELEPHANT.
BLACK SCREEN
END
*(1)* After Ph left Zeeland and his Dutch friends, Ignace Verlaan told him by letter what became of the family of swans. A gang of boys cornered them, chased them onto the bridge, beat them, leaving them to die on the hot wooden planks. The story sprung a return to `Day 3’, at the conclusion of the film, and the `out-of-order’ telling of the tale. The shot of the evening swans on the pond, seen at the end of the film, was shot, then held out to the light of the full moon, which accounts for the overall blue wash. – Ph