?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
(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
(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
(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
(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
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
THE POPE TALKS INTO A MICROPHONE ON TELEVISION. A JET TAKES OFF DOWN THE RUNWAY.
(VO)
Day 1 . . .I arrive in
(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
A CAMERA
NEGATIVE REPORT DESCRIPTION OUTLINES 5 SCENES WITH SWANS.
(VO)
Day 3
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)
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?
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)
BLACK
SCREEN
Oswald: Come on Oliver you’ve done enough.
Oliver: This tiger
walks ten miles up and down this cage every day.
CAMERA
NEGATIVE REPORT
(SOUND OF TIGER GROWLING. ENTER
SOUND OF CHILDREN)
(VO)
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)
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
(VO)
A young boy
and girl were playing by a large pair of wooden shoes in front of a shop in the
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
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
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
(VO)
Day 16
A BOLEX
CAMERA IS WOUND UP AND THE HANDLE LOCKED
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
(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