Little Bird

Characters

MICHELLE, late teens
NICOLE, preteen
TAYLOR, amateur musician
ZAC, TAYLOR's roadie

THE CROWD
BOUNCER
DRIFTERS

**
I

In a cheap motel, off the side of a highway somewhere in Northern New South Wales. Night. MICHELLE and NICOLE are curled together in the bed of a typical motel room; there's almost no room. MICHELLE is reading with help from a bedside lamp.

MICHELLE

'It lies beyond the western pines Towards the sinking sun And not a survey mark defines The bounds of Brumby's Run On odds and ends of mountain land On tracks of range and rock Where no one else can make a stand Old Brumby rears his stock'

NICOLE is fast asleep against her older sister; to which MICHELLE only smiles and keeps reading.

MICHELLE

'A wild unhandled lot they are Of every shape and breed They venture out 'neath moon and star Along the flats to feed But when the dawn makes pink the skyB And steals along the plains The Brumby horses turn and fly Towards the hills again'

The light dies.

II

In the darkness, sounds of feet. Gradually above it, a gentle guitar melody.

MICHELLE (sings)

There's a little bird somebody sent Down to the earth to live on the wind

Mid-afternoon. Sitting in amongst a sparse crowd walking back and forth, aimlessly going about its respective business, MICHELLE is playing a battered guitar and watching the people. Her guitar case sits open before her with a few coins inside, mostly silver.

MICHELLE (sings)

Blowing on the wind And she sleeps on the wind This little bird somebody sent

Occasionally someone stops to listen and watch for a few seconds, but then moves on, looking to their watch for an excuse.

MICHELLE (sings)

Light and fragile, she's feathered sky blue Thin and graceful, the sun shining through

Enter NICOLE, and with her she carries a small bundle of cardboard scraps. The crowd hardly notice her.

MICHELLE (sings)

She flies so high, up in the sky Way out of reach of human eyes

The younger girl sits by her sister's guitar case. Very carefully, she lays out the cardboard and begins to sort it by size. The music continues.

MICHELLE

That was quick.

NICOLE only glances up at MICHELLE briefly.

MICHELLE

What'd you get this time?

NICOLE looks to the cardboard in front of her.

MICHELLE

Did you find it or. . . ?

NICOLE nods.

MICHELLE

Cool.

A smile, and MICHELLE's attention turns back to her guitar. NICOLE returns to her cardboard scraps.

MICHELLE (sings)

Light and fragile, she's feathered sky blue

Out of the people still wandering this way and that, TAYLOR is the first to stop for more than two seconds and really listen. A guitar case is slung across his back.

MICHELLE (sings)

Thin and graceful, the sun shining through She flies so high, up in the sky

TAYLOR searches for his wallet. He drops a $20 note in the case. The music ceases. Both MICHELLE and NICOLE look up at him.

TAYLOR	Sounds good.
MICHELLE	Thanks.

Pause.
Carefully NICOLE begins to cut a piece of cardboard with her fingernail, pushing it through the board.

MICHELLE	What song?
TAYLOR	What song?
MICHELLE	Donation like that, you get to pick the next song.
TAYLOR	What kind of stuff do you know?
MICHELLE	I know a lot.
TAYLOR	(considers) . . . play whatever you like.

The elder girl smiles.

MICHELLE	You can do better than that.
TAYLOR	Play something you like?
MICHELLE	You really can't think of anything?
TAYLOR	I've had 'OK Computer' stuck in my head all day, and you don't really look like the Radiohead type.

Type or not, MICHELLE starts playing 'Exit Music For A Film', which accompanies the rest of their conversation. TAYLOR is suitably impressed, NICOLE pays them no heed.

TAYLOR	I stand corrected.
MICHELLE	You can't judge a book by its cover.
TAYLOR	My mum always used to say that. Except she was talking about real books, and most of the time you could tell anyway.
MICHELLE	You must have some pretty interesting books then.
TAYLOR	I have eclectic taste, what can I say?
MICHELLE	Nothing wrong with that.

Seemingly oblivious to the exchange, NICOLE is having a little difficulty with a thicker piece of cardboard – her nail isn't strong enough.

MICHELLE

Nic . . .

NICOLE looks up.

MICHELLE

Don't do that.

NICOLE continues to look.

MICHELLE

Please?

NICOLE puts the cardboard down, and rubs the top of her thumb.

TAYLOR	What's she doing?
MICHELLE	I'm not sure what she's making.
TAYLOR	I wouldn't have said there was much you could make out of cardboard like that.
MICHELLE	I think you'd be surprised.

TAYLOR hunkers down to NICOLE's level.

TAYLOR

What are you making?

NICOLE stares at him.

TAYLOR

You don't have to be shy, I'm not gonna hurt you.

NICOLE continues to stare.

TAYLOR	Don't say much do you?
MICHELLE	Only if she doesn't want to.
TAYLOR	So she can actually talk?
MICHELLE	Sure.
TAYLOR	Fair enough I guess.

He digs for his wallet and hands the young girl another $20 note.

TAYLOR

(to NICOLE) Think that'd be enough for a decent pair of scissors?

NICOLE glances at her sister.

MICHELLE	More than enough I think.
TAYLOR	Take it anyway.

A nod from her sister, and NICOLE takes the money.

TAYLOR

I think there's a newsagent not too far up the road.

With the note in her hand, NICOLE seems to have forgotten TAYLOR exists. She wanders in amongst the people and exits.

MICHELLE	You didn't have to do that you know.
TAYLOR	I know.

Pause.

TAYLOR	Her name's Nikki?
MICHELLE	Nicole.
TAYLOR	And what about you?
MICHELLE	Michelle.
TAYLOR	I'm Taylor.
MICHELLE	Hi Taylor.
TAYLOR	Hi Michelle.

She doesn't interrupt her playing to shake hands, nor does TAYLOR offer his own. They incline their heads slightly.

MICHELLE	(smile) So do you actually play, or do you just carry a guitar around to look good?
TAYLOR	Is that an invitation?
MICHELLE	I wouldn't have said you looked much like the Radiohead type either.

TAYLOR sits where NICOLE was sitting and unpacks his guitar.

MICHELLE / TAYLOR (sings)

Wake from your sleep The drying of your tears Today we escape We escape

Light fades. The music continues.

III

TAYLOR (sings)

Pack and get dressed Before your father hears us Before all hell Breaks loose

A spotlight. TAYLOR sits alone on a stool with his guitar, an amp at his side, microphone before him.

TAYLOR (sings)

Breathe Keep breathing Don't lose your nerve Breathe Keep breathing I can't do this alone

The music continues, light crossfades to MICHELLE and NICOLE at the club door. A BOUNCER stands with an arm across the doorframe.

BOUNCER	It doesn't matter that you're eighteen, I can't let the little one in.
MICHELLE	It's not like she's gonna drink, and I promise she won't be any trouble.
BOUNCER	Doll, she's not even a teenager.
MICHELLE	It's a music club, it's your job to stop anything happening. She won't be traumatised by any bar fights.
BOUNCER	And what do you think's gonna happen if some off-duty cop decides to come in for a drink after work and sees her?
MICHELLE	Do many off-duty cops come out this way?
BOUNCER	Do I look like I care if they do? I just do my job Doll, and your sister's underage. I can't let her in.
MICHELLE	I'm not leaving her out here.
BOUNCER	Then it looks like you're not going in doesn't it?
MICHELLE	Look—
BOUNCER	I'm not interested in any sob stories or excuses Doll, I don't care. Find a babysitter or something.

Defeated, MICHELLE sighs and begins to walk away. The BOUNCER retreats back through the club door.

MICHELLE

I'm sorry Nic.

But as soon as the door has closed, NICOLE tugs on her sister's arm and leads her off-stage.

Back on TAYLOR. 'Exit Music For A Film' has dovetailed into 'Galapogos'.

TAYLOR (sings)

Ain't it funny how we Pretend we're still a child Softly stolen Under our blanket skies I won't deny the pain I won't deny the change

MICHELLE and NICOLE have found the backstage door. Of course, it's locked, but MICHELLE manages to lever open a small window, through which they can the music.

TAYLOR (sings)

And should I fall from grace Here with you Would you leave me too?

Light off TAYLOR.

The girls can hear fairly clearly what's coming from inside the club. NICOLE has only smiles for her sister.

MICHELLE	You're smarter than you think, Nic.
TAYLOR (sings)	Carve out Your heart For keeps In an old oak tree

The backstage door opens. ZAC emerges, carrying an amp crate from inside. It's lain on the ground, and he returns through the door. MICHELLE and NICOLE watch as he brings out four crates, sits on one and rolls and lights a cigarette before noticing them.

ZAC	Oh. Hey.
MICHELLE	Hi.

Pause. His eyes takes in NICOLE.

ZAC	Bruce wouldn't let you in?
MICHELLE	Do you know what'd happen if an off-duty cop saw Nic inside?
ZAC	Probably order another beer?
MICHELLE	(smile) Something like that.

NICOLE has given them a few glances, but otherwise seems absorbed in the music. Her arms she's folded over the top of a crate.

TAYLOR (sings)	And hold me for goodbyes And whispered lullabies
ZAC	I'd let you backstage—
MICHELLE	Nah it's okay.
ZAC	—but Bruce'd have my arse for it.

He gestures back to the door.

MICHELLE	It's okay. We can hear it alright out here. Probably better.
ZAC	Yeah. No drunken slurring, no getting soaked when someone drops their VB.
MICHELLE	And we're not going to get lung cancer as quickly out here.

A little smile. ZAC looks slightly sheepish, but rolls another cigarette all the same.

ZAC	If you had a problem, you'd have asked me to put it out already.
MICHELLE	Probably.
TAYLOR (sings)	(from inside) And tell me I am still The man I'm s'posed to be I won't deny the pain I won't deny the change

ZAC kicks back to lean against the wall, drags on his cigarette.

ZAC	When'd you first hear about Tay then?
MICHELLE	(blinks) Sorry?
ZAC	There's not much else anyone'd be hanging round a place like this for.
MICHELLE	Oh . . . ran into him two days ago, he said he was playing here, and I should come check it out if I had nothing else to do.
ZAC	So here you are.
MICHELLE	Yeah.

ZAC takes another drag, and exhales.

TAYLOR (sings)	Too late to turn back now I'm running out of sound And I am changing Changing
ZAC	Aren't you curious?
MICHELLE	About what?
ZAC	How do I know him, what's he like, is he single, all that?
MICHELLE	. . . not really.
ZAC	(smile) Good.

ZAC drops his cigarette and stamps it out, then offers his hand.

ZAC

Zac.

MICHELLE takes it.

Light fades to spotlight on TAYLOR.

TAYLOR (sings)

And if we died right now This boy you love somehow Is here With you I won't deny the pain I won't deny the change And should I fall from grace Here with you Would you leave me too?

Sparse applause follows the end of the song. He unplugs the guitar from the amp and stands.

TAYLOR

Thanks guys . . . someone grab me a double shot?

He exits.

IV

The semblance of a dodgy motel parking lot. An old oil drum sawn in half holds the camp fire. DRIFTERS are sitting around on crates, eskies, and whatever else can be turned into makeshift seats; toasting bread; boiling water; and muttering amongst themselves. MICHELLE and TAYLOR sit on the opposite side of the fire, both leaning over the guitars on their laps, both with beer cans sitting beside them.

TAYLOR	You seriously heard the show from the side door?
MICHELLE	And it sounded pretty good too.
TAYLOR	Serious?
MICHELLE	(nods) Mm.

He takes a pull of beer.

TAYLOR	Maybe I'll try it sometime. Half the shows I go to the speakers blast your fuckin' ears out.
MICHELLE	No cover charges either.
TAYLOR	Even better.

MICHELLE takes another swallow, then gives her attention back to TAYLOR.

TAYLOR	And you got to talk to Zac for an hour and a half.
MICHELLE	It was fun.

ZAC, with a cigarette hanging out the side of his mouth, and NICOLE sit on the other side of the fire drum. Using scissors and a pocket knife respectively, they're shaping the scraps of cardboard, that are coming to look more humanoid.

MICHELLE	He's kinda strange.
TAYLOR	'Kinda's one way of putting it.
MICHELLE	(smile) Still, anyone who can chain smoke forty minutes straight, case eight amps, and still carry a conversation's gotta be doing something right.
TAYLOR	(chuckle) Yeah.

Another pull. MICHELLE glances around at the DRIFTERS.

MICHELLE	Are these all your friends?
TAYLOR	Some.
MICHELLE	Then how. . . ?
TAYLOR	Dunno. We're all drifters, it's like you can smell it on someone; guess that's how we all keep finding each other. Same way I found you. It happens everywhere.
MICHELLE	Yeah.
TAYLOR	I don't know half these guys, but I keep thinking I recognise one or two of them from a couple of towns back.
MICHELLE	The faces just kinda blur after awhile.
TAYLOR	Yeah.
MICHELLE	I try to stay around the same kinds of places, it makes it feel a bit more like you're coming home every time you stop somewhere. But most of the time it's just me and Nic and the side of the road.
TAYLOR	Sounds like Zac when he has to piss.
MICHELLE	(laughs) There's that yeah.
TAYLOR	Speaking of piss—

TAYLOR picks up and shakes the bottom of his beer can; it's empty.

TAYLOR

—I'm out.

His guitar is set down, and TAYLOR stands up.

TAYLOR

Did you want anything?

Another glance at NICOLE, whom sleep is beginning to court.

MICHELLE

Nah, I'm right.

MICHELLE takes up her guitar instead, and plays the tune of 'Little Bird'.
TAYLOR tips one or two drunk DRIFTERS off the beer esky simply by lifting its lid, and digs around for a bottle of Extra Dry. He returns with two.

MICHELLE	(smiles) I said I was okay.
TAYLOR	Idea.
MICHELLE	Mm?
TAYLOR	You can have this—

The second bottle is held teasingly aloft.

TAYLOR	—if you come with us up to Singleton tomorrow.
MICHELLE	. . . Singleton?
TAYLOR	Tomorrow.
MICHELLE	Um . . . well . . .
TAYLOR	What else have you got to do round here?
MICHELLE	Well . . . nothing, I guess . . .
TAYLOR	So come with us.
MICHELLE	Who's 'us', exactly?
TAYLOR	Me and Zac and the Cruiser.
MICHELLE	You have a Landcruiser?
TAYLOR	Why, what do you drive?
MICHELLE	Second-hand Commodore, same as everyone else.
TAYLOR	And you're passing up a chance to take it out? Gimme a Commodore, I wouldn't fuckin' stop 'til I hit Sydney.

Another pull.
NICOLE is sleepy-eyed and leaning on ZAC's shoulder. Her cardboard cut-outs have taken the general form of people, their limbs have been severed and joined back on with split pins; she holds one close to her body.
ZAC keeps one arm steady around the young girl's shoulders, the other is filling a thermos (propped between his feet) with boiling water.

TAYLOR	Might even keep going on to Melbourne. Music scene's meant to be awesome in Melbourne.
MICHELLE	Are you sure you haven't had enough?

She goes to take the bottle away from him, but TAYLOR, not quite as drunk as his conversation's making out, dodges.

TAYLOR	Not until you say you're coming with us.
MICHELLE	Fine, I'll come with you, now you might wanna sit down before you fall over.

He does sit down, and as promised gives MICHELLE her beer. She takes a swig, then re-grips her guitar.

MICHELLE	Feel like hearing anything?
TAYLOR	'Landslide', haven't heard it in ages.
MICHELLE (sings)	'I took my love And I took it down I climbed a mountain And I turned around And I saw my reflection In the snow-covered hills Where the landslide brought me down . . .'

Light fades, with the music.

V

Outside the door of a Singleton motel room. Afternoon twilight. MICHELLE drops two shoulder sacks from one shoulder to the ground.
NICOLE is sitting on the steps, colouring the limbs of one of her puppets in red pencil.

MICHELLE

Come on, we've gotta find the guys.

She only hesitates a second, but hesitate NICOLE does before standing and opening the door for her sister.
MICHELLE glances out toward the sunset, shouldering the two bags once more.

MICHELLE

It's beautiful, I know.

VI

Inside Room 27, ZAC's heaving amp and instrument cases into whatever space he can find. Two well-worn leather suitcases have been left on the floor, out of the way.

ZAC	(half smile) Just dump your stuff anywhere.
MICHELLE	Thanks for letting us stay.
ZAC	No problem. Might as well split the bill. These places are cramped as mouse holes but they're still worth a fortune.
MICHELLE	It's better than the backseat of the car.
ZAC	I'll give you that one.

NICOLE has taken up a spot at the tiny kitchen bench. Coloured pencils are very carefully taken from and returned to their pack.
A half-full ash tray sits on the edge of the bench.

ZAC	How're the puppets going?
MICHELLE	(smiles) Go see for yourself.

He intends to, and wanders over to NICOLE's perch.

ZAC	How're they going?

NICOLE keeps colouring in.

ZAC	I'd say they turned out pretty well.

NICOLE keeps colouring in.

ZAC	Do you want a hand?

Silent as ever, she pushes a clean marionette toward him and places the pencils between them.
He pulls the ash tray over before grabbing a purple pencil and beginning to colour.
MICHELLE in the mean time has pulled hers and NICOLE's laundry from their knapsacks and bunched it all in a Woolworths plastic bag.

MICHELLE	Where's Taylor disappeared to?
ZAC	Dunno.

He doesn't look up from his colouring in.

MICHELLE	Great.
ZAC	I wouldn't wait for him. He probably won't be back for awhile.
MICHELLE	Then no one'll mind if I go and get this washed.

Plastic bag in hand, MICHELLE looks to her sister.

MICHELLE

You okay to stay here?

NICOLE gifts her with a little nod and a little smile.

MICHELLE

Looks like you've found yourself a friend Nic.

MICHELLE winks, NICOLE sticks her tongue out, the elder girl chuckles and disappears out the door.

VII

Outside, full dark. TAYLOR is smoking. Car keys in hand, MICHELLE walks up toward the motel door, bag of folded laundry over one shoulder.

MICHELLE	(smile) You're back.
TAYLOR	Yeah.

His smile is soft.

MICHELLE	Where'd you end up going?
TAYLOR	Just around the place. Checked out some of the pubs, see if anyone else'll give me money.
MICHELLE	Did you get any more gigs?
TAYLOR	(chuckles) Nah. If you're a stranger nobody wants to know you; you might be some serial killer who got outta Grafton and managed to make it this far.
MICHELLE	How far's Grafton from here?
TAYLOR	Fuck knows.

Cigarette finished, he flicks the butt down to the ground and leans back against the wall.
Pause.

MICHELLE	It's too quiet hey?
TAYLOR	Yeah.

Pause.

MICHELLE	I've got my guitar . . .
TAYLOR	Not really in the mood for guitar . . . never thought I'd say that.

MICHELLE half chuckles, then sets her laundry on the ground and comes to stand beside TAYLOR.

MICHELLE	There's something on your mind?
TAYLOR	(half chuckles) You haven't known me long enough to know that.
MICHELLE	If us drifters are giving off scents to attract each other, doesn't that mean we probably know some of the looks that come with it?

TAYLOR glances at her for a second or two.

TAYLOR	Reckon you could turn the radio on or something?
MICHELLE	Sure.

She ducks inside, comes back with a little portable radio, complete with location stickers and band-aids.
The only station she can find is right in the middle of Late Night Love Songs. The current song is playing to a moderate rumba beat.

MICHELLE	Is this okay?
TAYLOR	Did anyone ever teach you to dance?
MICHELLE	(half smile) Not really.

The gravel crunches under their feet as they dance, TAYLOR murmuring instructions now and again.
The song's fadeout is cut into by the announcer. Neither move away.

MICHELLE	He must be pretty lonely, playing all this stuff in a box on his own . . .
TAYLOR	I know how he feels.

Gradually, they kiss.

VIII

A pub stage in Singleton. Same set up as before. TAYLOR's on the final verse.

TAYLOR (sings)

Singing along to feeling alright, yeah We'll make it by in the pink moonlight It's always Penny and me tonight Cos Penny and me like to roll the windows down Turn the radio up and push the pedal to the ground And Penny and me like to gaze at starry skies Close our eyes, pretend to fly . . . Close our eyes, pretend to fly It's always Penny and me tonight

Sparse applause follows the end.

TAYLOR

Thanks . . . right now, I just wanna introduce a friend of mine, she's gonna play a few songs, so be nice to her.

He unplugs his guitar, as MICHELLE comes out onstage.

TAYLOR	You'll be fine.
MICHELLE	Thanks for letting me do this.
TAYLOR	I'll be out the back.
MICHELLE	Cigarette?
TAYLOR	Find Zac so I can bum one off him.

His exit is swift, but with a smile. MICHELLE sits down and plugs in her acoustic.

MICHELLE

(into the mic) Hey, it's really great to be in Singleton, I've never been here before and it's a really nice place so . . . um . . . this is, something I wrote myself so, yeah . . .

She hooks in.

MICHELLE (sings)

If tomorrow never comes I would want just one thing I would tell it to the stars and the sun I would write it for the world to see And it's you The light changes when you're in the room Oh it's you Oh it's you If tomorrow never comes I would want just one wish To kiss your quiet mouth Retrace the steps with my fingertips And it's you The light changes when you're in the room Oh it's you Oh it's you

Instrumental break

MICHELLE (sings)

Oh it's you Oh it's you Oh it's you Oh it's you

IX

Outside the stage door. Instruments and amps sit to one side of the door, empty amp crates lie scattered on the ground. NICOLE has claimed a guitar case as a seat, while she attaches strings to her marionettes. With a bunch of tiny keys in hand and omnipresent cigarette between his teeth, ZAC is unlocking and opening each crate. Except NICOLE's.
The stage door opens, MICHELLE emerges with two guitars in hand: her own, and TAYLOR's.

MICHELLE	Which case is his?
ZAC	Your sister's sitting on it.

MICHELLE glances at NICOLE, completely involved in her puppets. She rests the guitars against the wall, and leans back against it herself.

MICHELLE	Do you need a hand?
ZAC	I'm right.
MICHELLE	You sure?
ZAC	Looks like chaos, but I know where everything is if I do it myself.
MICHELLE	Fair enough.

She's watching NICOLE, who's paying them no mind.

MICHELLE	He's done this before.
ZAC	What makes you say that?
MICHELLE	You don't look surprised.

Having unlocked and opened the last case, ZAC begins to pack away the gear, closing and locking each case as he goes.

ZAC	You do.
MICHELLE	He skips out on his friends and leaves his guitar behind. Can't say I was expecting that.
ZAC	I didn't know someone like Tay could have friends.
MICHELLE	What does that make you?
ZAC	The guy who looks after the stuff.

He stops packing up, only to flick away the finished cigarette in his mouth and roll and light another one.

MICHELLE	Why do you keep smoking?
ZAC	Why do you always need a reason?
MICHELLE	. . . .

NICOLE ties off the last string. Her puppets are finished.

MICHELLE

They done?

NICOLE nods, returning her sister's smile.

MICHELLE

How's about we go south this time Nic? It's been a while since we saw the Bridge.

NICOLE's expression fades, but MICHELLE's not really looking. ZAC is.

ZAC	You can stay if you want.

A glance from MICHELLE.

ZAC	We've got the room for a week. Might as well make the most of it.
MICHELLE	Drifters can't have friends.
ZAC	Drifters can have friends as long as they see your face. (half smile) I can't say I wouldn't mind the company either.
MICHELLE	Where're you heading next?
ZAC	Dunno.
MICHELLE	Whatever turn-off looks good?

ZAC locks the last case.

ZAC	Something like that.

NICOLE looks at the pair of them and gets off the guitar case.

X

Inside Room 27, still a mess of crates packed wherever they'll fit. Only NICOLE is present, stapling chip wrapper frills to the VB cardboard box that will serve as her puppet theatre.
The door opens.

TAYLOR

Zac?

NICOLE leaps to her feet, her stillness almost animal like.

TAYLOR

Oh, it's you . . . Nikki right?

She doesn't move. TAYLOR comes inside and grabs the worn leather suitcase and guitar case sitting conveniently on the bed.

TAYLOR

(murmur) Doesn't miss a trick.

Both the cases and TAYLOR go outside the room. Sounds of things being moved around in the back of a ute, and things being taken out.
Re-entering, he leaves a plastic bag on the tiny bench, and takes out a proper wooden marionette, done like a Victorian doll. It's handed to NICOLE, who takes it cautiously.

TAYLOR

Look after your sister for me, okay?

XI

Darkness. Only the puppet theatre stage can be made out. On it plays A.B. Patterson's poem, 'Brumby's Run'. Two of her puppets are bent over on all fours – their actions resemble horses.
Eventually however, the stockrider – the Victorian marionette – comes along on his bent over 'horse', starts rounding the 'brumbies' tighter and tighter together, effectively penning them in.

NICOLE (sings)

Light and fragile, she's feathered sky blue Thin and graceful, the sun shining through And the only time that she touches ground Is when that little bird, little bird Is when that little bird, little bird Is when That little bird . . .

The Victorian marionette's strings are cut.

NICOLE

Dies.

Lights up. Her hands, clothes, and the pair of scissors are covered in blood.

FINIS


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