FADE IN.
EXT. WASHING LINE / EDVARD’S HOUSE - EARLY MORNING
The silhouette of two birds sitting on a Hills Hoyst washing
line accompanied by the off screen sound of a wire door
opening and banging closed.
A tin barrel of biscuits are held in an UNSEEN CHARACTER’s
hands. The barrel is placed down onto the concrete path
beneath the washing line.
As the Unseen Character plucks a biscuit from the tin, it is
apparent, even from behind, that the character is an older
man of average build.
As the man reaches up to offer the birds a biscuit it slips
from his grasp and falls to the concrete, scattering crumbs
across the path.
The man, mumbling under his breath, reclaims the biscuit tin
from the concrete path and, carrying it in his hands, walks
away from the washing line and towards his white,
weatherboard house.
After entering the house through the wire door, the man’s
face appears at a wall-set window. The man has ruffled hair
the colour of salt and pepper, and has neglected to shave for
a number of days.
This is EDVARD, and he watches in silence as the two birds
fly down from the washing line and onto the concrete.
The birds land amongst the crumbs, taking the shattered
remnants of biscuit into their beaks.
Reflected in the glass that frames Edvard’s face, the birds
hop together, never straying far from each others’ sides.
EXT. EDVARD’S HOUSE / CLIFF FACE – AFTERNOON
Edvard, binoculars hanging from his neck, walks from the
front door of his house and into the cold, overcast day
outside.
Continuing along the sandy, pebbled road that leads from his
home, and past a tall, white lighthouse with a reddened peak,
Edvard makes his way towards the scrub-lined, almost shear
cliff face that acts as a natural platform, a viewing deck, for the ocean that stretches out below.
Edvard stops when he reaches the cliff face, raises the
binoculars to his eyes, and uses them to scan the beach.
INSERT - THROUGH BINOCULARS
Captured through the lenses of the binoculars, Edvard can see
the faint horseshoe of sand that borders the ocean and, in
the distance, a lone car, its headlights on.
Scanning the sand, Edvard can see several rock pools, one of
which seems to hold the figure of a naked WOMAN, her face
obscured by her hair.
EXT. CLIFF FACE – CONTINUED
Edvard, the binoculars still held to his eyes, reacts quietly
to the sight of The Woman in the water. His mouth parts
slightly and, slowly, he lowers the binoculars.
EXT. ROCK POOL - MOMENTS LATER
Aside from one arm that hangs in the water of the pool, The
Woman lies entirely across the rocks. Her skin is pale and
carries the grit of sand and the scratches and wounds caused
by the rocks, her hair is wavy, light red and long, covering
her face. The Woman is obviously unconscious.
Edvard approaches from a distance. He takes strong bold steps
as he makes his way toward The Woman. While he is not rushing
to her aid, he is not cautious either.
Upon reaching The Woman, Edvard looks down at her naked form.
The two are small figures in the distance, the ocean a vast
expanse before them, as Edvard crouches, stumbles slightly,
and repositions himself before taking The Woman into his arms
and carrying her away.
INT. EDVARD’S HOUSE / BATHROOM – LATER
The room is heavy with steam as Edvard, still holding The
Woman against him, runs a hot bath.
After the water has filled the tub, Edvard crouches, steadies
himself and supports The Woman’s weight against his abdomen.
Using a single hand, and with some difficulty, Edvard leans
forward and closes off the first tap.
As he reaches to turn off the second tap, Edvard notices a
simple silver bangle, a small, locked heart set into it,
looped around The Woman’s ankle.
Edvard’s attention turns to the second tap, which he turns
off before slowly standing to his feet.
Gently, Edvard begins to lower The Woman into the waterfilled
bathtub.
His hands, which are cupping the underside of The Woman’s
thighs, break the water’s surface first, followed by The
Woman’s buttocks.
Edvard’s sleeves slip slowly into the water, as do the ends
of his shirt as he lowers The Woman into the water.
The Woman’s descent is halted, abruptly, when Edvard turns
his face to hers and notices that The Woman’s eyes have just
opened, as if she has awoken, suddenly, from a dream. A
short, infantile sound breaks from her mouth.
Edvard reacts, a look of concern crosses his face, and The
Woman’s breath begins to speed up and shorten.
Edvard’s thumb brushes back and forth against The Woman’s
thigh as he makes a gentle attempt to calm her.
The Woman continues to panic, so Edvard lowers her into the
water completely before standing, turning, and leaving the
room. He closes the door behind him as The Woman, frightened,
looks on from the tub.
LATER
The door to the bathroom opens slightly, causing The Woman,
who had been splashing happily in the tub, to become visibly
tense.
From the small crack in the door, Edvard’s arm reaches into
the room, a thick white bathrobe and a pair of slippers held
in his hand.
These items are set down onto the bathroom tiles before the
arm retracts and the door eases shut.
INT. WOMAN’S ROOM – LATER
The Woman stands in her small simple room, the white robe
draped childishly over her shoulders, as Edvard, politely,
attempts to dress her correctly.
Confused, The Woman considers Edvard’s actions with interest.
She yawns, animated and quietly, neglecting to cover her
mouth, after which she casts a nonchalant glance around the
room.
Edvard continues to struggle with the robe. The Woman remains
oblivious.
After finally navigating the robe up onto The Woman’s
shoulders, Edvard, a look of satisfaction crossing his face,
takes The Woman’s arm in an effort to fit it through one of
the sleeves. The Woman recoils from his touch. Edvard makes a
secondary attempt, which The Woman reacts to verbally before
twisting away, causing the robe to fall from her shoulders,
undoing all of Edvard’s good work.
The Woman, oblivious once more, stands naked in the middle of
the room, staring with interest at the window that looks out
over the scraggly sea scape.
Edvard follows The Woman’s eye-line, noticing, as she has,
the birds that have landed upon a tree branch.
INT. EDVARD’S HOUSE / KITCHEN – AFTERNOON
The kitchen is small, the white wallpaper adorned with orange
flowers. Towards the far end of the kitchen, the dinner table
is built into a snug, rectangular booth. Two glasses of
lemonade stand on the table, as do the tin barrel of
biscuits, two side plates and a neatly stacked pile of
newspapers, on top of which rests an equally neat pile of
bills. Two long benches, which accommodate three people
comfortably, sit opposite each other on either side of the
table. A light hangs from the ceiling above the table,
covered with a orange shade. Brown linoleum, patterned with
small green squares, covers the floor.
The door to the kitchen opens and Edvard enters, The Woman
waddling in her robe behind.
Edvard moves to the table, takes his seat, and then motions
for The Woman to sit at the seat adjacent to his.
The Woman, paying little attention, shakes her shoulders
lightly before preening her hair with her mouth.
Edvard, slightly exasperated, stands and walks to The Woman’s
side, taking her by the elbow and ushering her into her seat.
Once seated, Edvard pushes a glass of lemonade toward The
Woman before taking one for himself. He then opens the
biscuit tin and offers her a biscuit.
The Woman, unsure of how to react, remains motionless. Edvard
picks a biscuit, a simple square sugared biscuit, and places
it on her side plate. He takes another for himself, a heart
shaped one, and he begins to eat it.
The Woman pecks at her biscuit, the motion of her head
causing the biscuit to slide along the table and away from
her.
Edvard, noticing this, picks up her biscuit and holds it in
front of him and, smirking, as The Woman begins to peck
again, with more success this time.
INT. WOMAN’S ROOM – EVENING
A fire burns in the fireplace. Sticks of kindling and logs of
wood sit to the side.
The Woman kneels beside the sticks, playing with them. She
has shrugged off the robe and it lays crumpled beside her.
INT. LOUNGE ROOM – SAME
Edvard, reclining in his chair, sleeps with a newspaper
spread open across his chest. In his dreaming his mouth moves
slightly.
Beside him, there is a archaic gramophone. A record rests
atop the turntable.
Gradually, a low and indiscernible word escapes.
INT. WOMAN’S ROOM – SAME
The Woman begins to scoot the sticks out into the room using
her feet. She toys with the sticks, busily shifting them
about her.
INT. LOUNGE ROOM – SAME
Edvard becomes more animated in his sleeping. The word he
calls starting to take form.
EDVARD
(croakily)
Eleanor...
Shifting in his chair, Edvard speaks again, still sleeping.
EDVARD
Eleanor...
The newspaper falls from his chest.
INT. WOMAN’S ROOM / HALLWAY – SAME
While using her feet to sweep the sticks across the floor of
her room, The Woman hears Edvard call out from the lounge.
EDVARD (O.S.)
Eleanor!
Startled, The Woman lets the sticks fall from her toes. She
hesitates.
Tentatively she exits the bedroom and walks down the hall way
toward the lounge room.
INT. LOUNGE ROOM – SAME
The Woman, confused, slowly enters the lounge room and
continues to walk until she is standing opposite Edvard, who
remains asleep, still calling out Eleanor’s name.
EDVARD
Eleanor...Eleanor.
Watching Edvard as he dreams, The Woman begins to slowly
mouth the word ‘Eleanor’, mirroring the movement of Edvard’s
lips.
Woman exits.
INT. WOMAN’S ROOM – SAME
The Woman enters the room and inspects the sticks. Bored she
turns her attention towards the slightly open wardrobe and
ruffles her way inside. A lone dress, a soft shade of pink
with lace bodice and small bell pinned to the bust, hangs in
the empty wardrobe.
The Woman nibbles at the hem of the dress and in doing so
causes the full material to cover her head. As The Woman
moves about within the dress the bell begins to chime and
excited The Woman searches for the sound.
The dress falls from the coat hanger and down over The Woman.
With the dress sitting askew, her left arm locked upright in
the sleeve like a music box ballerina, The Woman walks from
the wardrobe and stands in the room, struggling to free
herself from the restraints of the dress
INT. LOUNGE ROOM - MOMENTS LATER
Edvard wakes up, leaning forward in his chair and grimacing
as the strain of sleep sends a jolt through his back.
Standing, and gingerly rubbing his aching back, Edvard walks
through the room and toward a small, domestic bar complete
with varnished bar top and stools.
Resting on the bar top there is an 8MM film cannister. Edvard
lifts the canister into his hand and walks with it to a
antiquated projector that sits on a small table beside his
chair.
Edvard opens the canister and loads the film into the
projector. He then sits in his chair and flicks the switch
that sets the projector into motion.
Light pours from the lens and onto the lounge room wall.
The projected image spills into focus to show the base of the
lighthouse, filmed at night. Close into the base of the
frame, the blurred pink profile of a woman’s face can be
seen. Her lips move as she talks, although no sound is heard.
The Woman brushes her hair out of her face and, as she does
so, the image zooms out to reveal ELEANOR, wearing the pink
dress from the wardrobe, and smiling at the camera. She is
illuminated in the glow of an unseen car’s headlights.
Eleanor, still talking while making slight, bird-like
movements, remains framed by the lighthouse and the darkness
of the night around her.
Edvard reaches across to the gramophone and lifts the ornate,
brass arm, lowering the needle onto the record.
As Eleanor begins to dance, the opening strains of Schubert’s
Piano Trio In E Flat, C.929: II. Andante con moto fill the
room.
Edvard, reclining, watches Eleanor dance.
The Woman, drawn by the music, appears in the lounge room
doorway. Eleanor’s pink dress still sits awkwardly over her
frame.
Upon entering, The Woman is surprised by the colours flashing
on the wall. She notices Eleanor’s dancing, and also the lull
of the music, and begins to move accordingly.
The bell on the dress begins to jingle as The Woman dances,
and it is this sound that draws Edvard’s attention to her. He
smirks upon noticing The Woman’s arm trapped in the sleeve
and, pulling on his own sleeve and looking from her to the
film and back again, suggests that she try to remedy the
situation.
The Woman, confused, shrugs in response. She then turns to
Edvard and considers him with almost human comprehension.
THE WOMAN
Eleanor.
Edvard’s eyes become dull and glazed, his expression cold.
Edvard scrapes the needle across the record as he returns the
gramophone’s arm to its cradle.
Frightened, The Woman flees from the room.
FADE OUT.
FADE IN:
INT. HALLWAY – MORNING
Edvard stands outside the closed door that leads to The
Woman’s room. He hesitates, lifting his knuckles up to the
door and preparing to knock. He steps loudly upon the floor,
skirts the floorboard with his foot and clears his throat.
He waits for a response, which is not forthcoming.
Edvard knocks, an awkward knock that peters out into a
shallow rapping.
There is still no response.
Edvard, defeated, and unsure how proceed, whistles. This
whistle is returned by The Woman from behind the door.
Following the whistle, Edvard sheepishly eases the door open
and steps inside the room.
INT. WOMAN’S ROOM – CONTINUED
Upon entering the room, Edvard finds The Woman sitting
amongst the sticks and logs that she has fashioned into a
large nest. Also in the nest is the pink dress, which The
Woman has scratched at and torn. The dress has been bunched
into the nest with little concern for its safety.
The Woman appears to have just woken up. The fire is out, the
room is cold and The Woman, naked, is shivering.
Edvard, visibly annoyed at the mess The Woman has made, and
upset to find the pink dress treated with such disrespect,
makes a sharp angry noise and moves toward The Woman.
The Woman, frightened, emits a little squawk. Her arms raise
up defensively and she hunches herself.
Edvard relaxes, slightly, and a look of concern crosses his
face.
The two consider each other for a moment before The Woman
begins to preen herself.
From outside, the distant sound of the ocean swells into the
room.
Edvard, still concerned, exits.
Almost in time with the ocean sound, The Woman moves against
her nest, still preening.
Time passes.
Edvard returns with the robe and The Woman acknowledges his
presence by rubbing her sides against the nest.
As Edvard approaches, The Woman considers him with interest,
chirping quietly until Edvard attempts to cover her head and
the tips of her shoulders with the fluffy white robe.
The Woman struggles, her chirping raises in pitch and Edvard
firmly holds the robe down over The Woman’s head.
The chirping stops and The Woman becomes still.
INT. KITCHEN – LATER
Edvard sits beside The Woman on one of the kitchen benches.
The Woman’s head is still covered by the robe, she is
motionless.
Edvard, deep in thought, stares out across the kitchen table.
Except for the sound of the ocean, all is quiet.
EXT. ROCK POOL – LATER
Edvard carries The Woman, who has been dressed in the robe,
back down toward the rock pool. It is a cold, windy day and
The Woman, even now, is shivering.
Upon reaching the rock pool, Edvard places The Woman back
amongst the rocks and removes the robe. The Woman shivers and
Edvard stares on hopelessly.
Saddened, Edvard turns his gaze from The Woman and heads back
toward the cliff, the robe hanging from his fingers. The
Woman continues to shiver behind him, watching as he
disappears.
EXT. CLIFF FACE – LATER
Edvard stands and uses his binoculars to survey the rock
pools.
INSERT - THROUGH BINOCULARS
The Woman can be seen, as she was originally, naked and cold
and laying across the rocks.
EXT. CLIFF FACE – CONTINUED
Edvard lowers his binoculars and walks away.
FADE OUT.
FADE IN:
INT. EDVARD’S HOUSE / KITCHEN WINDOW – LATER
Outside the kitchen window, two birds stand perched atop the
Hills Hoyst. Edvard watches, recognition passing over his
face. He sighs, a lonely and broken sigh, before moving away.
INT. WOMAN’S ROOM – LATER
Edvard stands in the cold room, empty except for the remains
of the nest that was obviously scattered when The Woman was
carried away.
The pink dress still lies bunched in the nest’s center.
Slowly, Edvard approaches the nest. He crouches, runs his
fingers over the scattered wood before lifting the dress into
his hands.
Standing, Edvard holds the dress, turning it over and
inspecting it. While the dress is slightly damaged, it is far
from irreparable.
As he turns to leave, Edvard casts another glance at the nest
and, after a moment’s pause, heads back toward it.
EXT. WASHING LINE – LATER
The dress, damp and dripping and freshly cleaned, is lifted
up to the washing line and pegged in place.
Edvard steps away to consider the dress as it hangs. The two
birds are still perched on the Hills Hoyst.
Edvard shoos them away and the birds, frightened, take
flight.
Edvard watches them fly, his eyes drawn tight with regret.
INT. LOUNGE ROOM – NIGHT
Edvard is once again reclining in his chair, the film of
Eleanor playing out across the wall, the Schubert piano piece
crackling from the gramophone.
Again, Eleanor dances, her face and the dress aglow in the
car’s headlights.
Now, the film continues on, past the point where Edvard
previously turned it off.
Eleanor gradually stops dancing, the smile fading from her
face, as she motions to whoever is holding the camera to stop
filming.
She speaks, although no sound is heard, before angrily waving
the camera away.
The image dips, loses focus, and eventually burns to white.
Edvard removes the needle from the record as the film reel
flaps against the projector.
The stray film continues to make a dry, flickering sound as
it loses momentum.
Flicker, flicker, flicker.
The flickering begins to slow, the image on the wall
gradually becoming a glacial slide-show of empty frames. Eventually, the film reel comes to a halt, but the sound
continues - A distant, perpetual flapping sound that arrives
at the lounge room from somewhere outside the house.
Nervously, Edvard raises himself from his chair and walks
slowly from the room and toward the source of the sound.
INT. HALLWAY – CONTINUED
Edvard continues on his way, making almost no noise at all as
he follows the relentless flapping.
As Edvard approaches the kitchen, the volume of the flapping
increases.
INT. KTCHEN / WINDOW – CONTINUED
The flapping sound fills the room.
Edvard approaches the window, outside of which the origin of
the sound is almost visible.
As he moves closer, and the flapping increases in intensity,
Edvard can see the pink of the dress, and the red of The
Woman’s hair, knocking against the windowpane.
Rushing from the kitchen, Edvard makes his way outside
through the wire door. The door shudders behind him.
A moment passes before the door is flung open and Edvard
returns, The Woman shivering against his chest, his arm
around her shoulder and around the dress that fits perfectly
upon her frame.
INT. WOMAN’S ROOM - MOMENTS LATER
The door to the room opens and Edvard enters, The Woman still
clinging to his chest.
He gently ushers her inside before closing the door behind
them.
The room glows orange from the fire that once again burns in
the fireplace. There are newspapers and catalogues, used for
kindling, stacked beside the logs.
Leading her toward the warmth, Edvard cocks his head to one
side, motioning at the floor.
The Woman’s eyes follow, eventually coming to rest.
Her nest has been rebuilt. The sticks and logs have tripled
in number, and have been fitted together with some care and
dedication. The interior of the nest is home to an assortment
of leaves and grass.
Edvard smiles widely. He then releases The Woman, who stands,
somewhat uncertainly, by the fireplace.
Still smiling, Edvard walks from the room, gently closing the
door as he goes.
The Woman stands motionless for a moment before moving toward
the fireplace and staring at the catalogue that sits open
atop the stack.
INSERT – CATALOGUE
It is a lingerie catalogue, the front page of which shows a
drawing of a lady wearing a corset. She is holding her hair
up and her expression is sultry.
BACK TO SCENE
The Woman attempts to mimic the lady from the drawing, using
her hands to sweetly fumble through her hair, her fingers
lacking delicacy. The Woman continues until she has adopted a
pose similar to that of the illustrated lady.
The Woman’s hair, held up and messy, is enough like the
lady’s in the drawing to prompt her to move on.
INSERT - CATALOGUE
The Woman uses her foot to flip the page of the catalogue,
revealing another drawing of a lady. This lady has her hands
pressed to her heart, snuggling into them, and smiling coyly.
BACK TO SCENE
The Woman attempts to mimic the lady in the new drawing, and
is able to do so perfectly.
EXT. GARAGE – LATER
The garage is a wooden shack with a thick wooden door, and
through the frame of the door light shines out into the night
air.
The sound of a wielding torch buzzes from inside, followed
swiftly by the dimming of the light as it shorts out and
dies.
The buzzing continues, sparks being visible through the frame
of the door.
Eventually, the interior lights are rekindled, shining onto
the potted plants that surround the garage.
The light also reaches the dewy garden, streaking out beneath
the washing line to where two pegs sit beside each other in
the wet grass.
The colour of the grass brightens as, somewhere, birds begin
to sing. It is morning, and the blue light of the sunrise is
slowly replacing the orange glow from the garage.
INT. KITCHEN / WINDOW – MORNING
The Woman stands at the kitchen window, whistling along with
the birds, as sun light swells through the glass.
The wire door swings open and Edvard, visibly fatigued but in
high spirits, enters the kitchen from outside.
His clothes bear the marks of a night’s work.
Edvard makes his way to the kitchen table and, slouching
slightly, releases a dramatic yawn which he fails to cover
with his hand.
This prompts The Woman to make her way across to the kitchen
table where she sits opposite Edvard and, after removing the
lid from the biscuit tin, holds it aloft to him.
Edvard chooses a biscuit from the tin, one in the shape of a
heart, and, as he did so before, holds it before The Woman.
The Woman, rather than accepting Edvard’s offering, chooses
her own biscuit from the tin before placing it back onto the
table and replacing the lid.
They hold their biscuits at the same height and watch each
other, Edvard eventually taking the initiative and biting
into his biscuit. He chews broadly and The Woman watches with
interest.
The Woman then takes a bite out of her own, and recoils as
the biscuit crumbles and falls apart all over the table.
Edvard chuckles, quietly, and continues to chew. The Woman
mimics Edvard’s laughter before leaning forward and, using
only her mouth, eats the biscuit crumbs from the table’s
surface.
INT. WOMAN’S ROOM / WINDOW – LATER
The Woman stands by the window in her room, a blanket wrapped
around her and held tightly against her shoulders.
From the window, the beach can be seen and, walking slowly
across it, distant and small, are a man and a woman, ROY and
JANINE, holding each other as they walk.
A dog runs along the beach in front of them.
The Woman, leaning toward the window, begins to whistle, in a
quite staccato, the piano part from the Schubert piece that
played alongside the film.
INT. KITCHEN / WINDOW – SAME
Edvard stands by the kitchen sink, happily washing dishes and
staring out of the window at the Hills Hoyst that is, once
again, home to the two birds.
Quietly, from The Woman’s room, the Shubert whistle can be
heard.
Edvard begins to whistle as well, filling in for the cello
part from the same piece of music. His interpretation is
distracted and simple, but the melody is unmistakable.
INT. WOMAN’S ROOM / WINDOW – SAME
Still whistling, and joined now by the sound of Edvard’s
melody that floats from the kitchen to her room, The Woman
continues to watch as Janine raises her arm and throws a ball
to the dog, who chases it with vigour.
The Woman, mirroring Janine, softly mimics the throwing of
the ball.
INT. KITCHEN / WINDOW – SAME
Edvard, smiling, continues to whistle, and it is now that he
and The Woman’s song is joined by the actual piece of
Schubert’s music that played in unison with the film.
This music swells from a soft, almost imperceptible whisper
until it joins the whistling completely, creating an envelope
of sound.
INT. WOMAN’S ROOM / WINDOW – SAME
On the beach, the wind has started to blow with some ferocity
and Janine holds herself tightly to Roy’s chest.
The Woman, still whistling, pulls the blanket tightly around
herself, ruffling her shoulders into its warmth.
INT. KITCHEN / WINDOW – SAME
Edvard watches through the window as the two birds grip the
washing line as it billows in the wind. They sway and balance
themselves as the line rocks back and forth.
Smiling, and still whistling, Edvard walks away from the sink
and toward the wire door that leads outside.
INT. WOMAN’S ROOM / WINDOW – SAME
The Woman watches as Roy and Janine walk further along the
beach until they eventually disappear from her view. The
Woman remains at the window, still whistling, still looking
out over the beach.
She moves suddenly as she uses one foot to scratch an itch
that has developed on the other.
Frowning when this action does not produce the desired
result, The Woman stops whistling and, as she does so, the
music stops as well.
The only sounds now are of the wind as it rattles the
windowpane, and of a quiet jingling that accompanies the
scratching of her feet.
The Woman kneels and begins to scratch her foot with her
fingernails. As her fingers brush the locket that hangs from
her ankle, it jingles and rocks against her skin.
There is a knock on the door which causes The Woman to rise.
She whistles, once, after which the door sways open.
Edvard enters carrying a heavy brass bell, roughly the size
of a beach ball. He is having some trouble carrying it, due
to its weight. The join in the bell, sealed by the wielding
torch, is clearly visible.
Walking with some difficulty, but struggling not to show it,
Edvard walks further into the room until he stops directly in
front of The Woman.
He holds the bell out before him so that it is elevated
between them.
EDVARD
I made this for you.
The Woman responds by adopting the sultry pose of the lady in
the catalogue, running her fingers through her hair and
holding it, messily, as she did before.
A curious smirk crosses Edvard’s face before he furrows his
brow and stares in mild confusion.
The Woman reacts by reverting to the pose adopted by the
second lady in the catalogue, folding her hands across her
heart and flashing a coy, inviting smile.
Edvard smiles back, warmly, before taking the bell into the
middle of the room, raising it up to meet a hook in the
ceiling, and hanging it there over the nest on the floor.
Once he is done, Edvard swings the bell, which chimes loudly.
The echo of its hammer reverberates throughout the room.
The Woman, her face glowing as the bell chimes, shuffles to
meet Edvard, resting her chin on his shoulder and nuzzling at
his ear.
The bell continues to chime...
INT. KITCHEN – LATER
...as Edvard and The Woman sit beside each other on the
kitchen bench.
Edvard looks out across the kitchen table, and his face is
awash with happiness and contentment.
The Woman, still wearing the dress, lifts a glass of lemonade
from the table, holds it to her lips, slurps from the glass
and puts it down again.
They sit together, Edvard and The Woman, and stare out into
the light.