Putuparri and the Rainmakers | Journeyman Pictures

Transcript

PPS - PUTUPARRI AND THE RAINMAKERS 86 mins (25-6-16)

POST PRODUCTION SCRIPT

(86min International Version)

PUTUPARRI AND THE RAINMAKERS

SCREEN AUSTRALIA

FILM VICTORIA

NATIONAL INDIGENOUS TELEVISION

MELBOURNE INTERNATIONAL FILM FESTIVAL PREMIERE FUND

Post Production Script Prepared by

EMILY BREHAS of VIRTUAL SCRIBE GENERATION emilyvirtual@yahoo.com.au

109:59:31:21

13:06

Opening card with superimposed text. Grey textured background.

[LOGO] DDP STUDIOS

CLIENT: SENSIBLE FILMS

TITLE: PUTUPARRI AND

THE RAINMAKERS

DURATION: 96’30”

DATE: 28^th MAY 2015

PROD FORMAT: 1080/50i

ASPECT RATIO: 16:9

CAPTION SAFE: 14:9

TITLE SAFE: 14:9

OPERATOR: JK START TIMECODE:

10:00:00:00

DP JOB #: 211647

AUDIO:

Ch1: International Broadcast Mix Left

Ch2: International Broadcast Mix Right

Ch3: International Broadcast Mix Minus Narration Left

Ch4: International Broadcast

Mix Minus Narration Right

180 BANK STREET

SOUTH MELBOURNE

VIC 3205 AUSTRALIA

T: [613] 9251 1600

DDPSTUDIOS.COM.AU

209:59:45:02

13:01

Textured grey background, opening card disappears. Logo for DDP Studios, letter by letter

[LOGO] DDP STUDIOS

				moving away from camera onto the grey background. Camera tilts and zooms slightly when entire logo is on the grey background. The DDP symbol in the circle of the logo starts rotating, showing a countdown with every face of the circle. Countdown from 10 to 2.
3.	309:59:58:03	1:22		Black screen.
4.	410:00:00:00	6:16		Black screen. Single card fade up of super text. Fade out.	Aboriginal and Torres Strait Islander viewers are warned that this programme contains images and sounds of deceased persons.
5.	510:00:06:16	7:19	WS	Fade up. Landscape over a field with mountains in the background. Fade up then fade out of super text. Dissolve to next shot.	SCREEN AUSTRALIA in association with FILM VICTORIA
6.	610:00:14:10	12:02	WS	Fade up to a country road with a road sign that reads ‘Fitzroy Crossing’. Setting sun on the horizon. Slow pan right. Fade up then fade out of super text. Dissolve to next shot.	NATIONAL INDIGENOUS TELEVISION and MELBOURNE INTERNATIONAL FILM FESTIVAL PREMIERE FUND
7.	710:00:26:12	7:12	MWS	Fade up to backlit shot of Tom in shadow walking towards camera, in slow motion, across a dark landscape. Orange sky on the	a SENSIBLE FILMS production a NICOLE MA film

				horizon. Fade up then fade out of super text. Screen flashes, transition to next shot.
8.	810:00:34:24	4:22	CU	Tom Lawford, PTC. Flash of black screen before next shot.	TOM: My name is Tom Lawford. I’m from Fitzroy Crossing.	My name is Tom Lawford. I’m from Fitzroy Crossing.
9.	910:00:39:21	2:04	CU	Tom Lawford, PTC. Flash of black screen before next shot.	TOM: I’m Walmajarri Wangkajunga tribe.	I’m Walmajarri Wangkajunga tribe.
10.	110:00:42:00 0	2:13	CU	Tom Lawford, PTC. Flash of black screen before next shot.	TOM: My blackfella name is Putuparri.	My blackfella name is Putuparri.
11.	110:00:44:13 1	2:23	CU	Tom Lawford, PTC. Looking towards left of screen he smiles, and frame freezes. Dissolve to next shot.	TOM: Cut!	Cut!
12.	110:00:47:11 2	8:00	CU	Bird’s eye view. Slow motion of a finger drawing meandering snake patterns in the sand. Opening title fades up. Dissolve to next shot.		PUTUPARRI and THE RAINMAKERS
13.	110:00:55:11 3	5:11	MWS	Opening title fades out. Fade up to low angle backlit shot of Tom in shadow walking past camera, in slow motion, across a dark landscape. Orange sky on the horizon.
14.	110:01:01:00 4	3:07	WS	Twilight. Bridge over Fitzroy River with a road sign naming the river.
15.	110:01:04:07 5	2:21	WS	Landscape shot over still water and the bush in the background.
16.	110:01:07:06 6	4:13	WS	Flat landscape with pools of water. A white Ute crosses screen

				in the foreground.
17.	110:01:11:19 7	3:23	CU	Filming of the passing landscape from the moving car. The setting sun is visible in the side mirror of the car.
18.	110:01:15:17 8	4:06	ECU	Filmed inside the moving car. Tom, facing away from camera and driving.
19.	110:01:19:17 9	2:21	WS	The Ute approaching camera and driving past. A dead kangaroo lies on the road.
20.	210:01:22:16 0	3:02	WS	A man and woman playing guitars and two small children seated with them.
21.	210:01:25:13 1	1:15	LS	Children seated together playing.
22.	210:01:27:08 2	2:08	MWS	A young boy facing camera plays with a rugby ball.
23.	210:01:29:15 3	2:09	MS	Semi profile of an old man and a young boy together at the back of an open station-wagon. The old man taps the boy and points.
24.	210:01:31:24 4	2:06	WS	Tracking shot. A rodeo show with a man on horseback chasing a bull.
25.	210:01:34:06 5	2:09	WS	A man and woman playing guitars and three small children standing facing camera.
26.	210:01:36:17 6	3:02	MCU	Filmed inside the moving car. Profile of Tom driving.
27.	210:01:39:19	2:07	WS	View of the road ahead filmed

	7			from the front windshield of the moving car as a bridge is crossed.
28.	210:01:41:24 8	3:24	LS	A bowser at a petrol station in the foreground as the Ute pulls in in the background and stops.
29.	210:01:45:21 9	5:07	MCU	Semi profile of Tom getting out of the car and turning towards the car.	TOM VO: My family …
30.	310:01:51:12 0	3:00	LS	Tom filling up his car with petrol.	…used to live in the Great Sandy desert.
31.	310:01:54:06 1	2:09	WS	Filmed across dry grassland, the petrol station in the background with Tom’s car.	These days we call Fitzroy Crossing home.
32.	310:01:56:14 2	3:18	MWS	Inside the convenience store at the petrol station. Tom walks away from camera next to the fridges of groceries.	Depending on how I am …
33.	310:02:00:09 3	2:04	MWS	Slight high angle profile tracking shot of Tom walking through an aisle in the convenience store.	…feeling, it’s either a shithole or
34.	310:02:02:15 4	2:17	MWS	Profile of Tom opening the doors of a fridge in the store and reaching for something inside.	…the best place in the country.
35.	310:02:05:02 5	4:03	MS	Semi profile of Tom paying at the cashier.
36.	310:02:09:04 6	8:05	MCU	Profile of the cashier handing back Tom’s change. Camera veers right to Tom, who then turns to the exit and leaves the store.

37.	310:02:17:12 7	4:06	WS	View of the road ahead filmed from the front windshield of the moving car.
38.	310:02:21:16 8	3:21	CU	Filmed inside the car. Profile of Tom driving. He waves at a passing oncoming car on the road.
39.	310:02:25:11 9	2:18	WS	Profile of Tom walking towards a closed double gate.
40.	410:02:28:02 0	2:05	LS	Profile of Tom opening the gate and entering.	TOM VO: Ever since I moved to Fitzroy…
41.	410:02:30:13 1	4:00	LS	Filmed from inside the office which is in shadow and backlit as Tom opens the sliding door and enters, shutting it behind him.	…Crossing, I’ve worked in different jobs.
42.	410:02:34:11 2	6:09	WS	Lights come on in the KALACC office. A red Aboriginal artwork hangs on the wall.	But nowadays I work here, in the Kimberley Aboriginal Law and Culture Centre.
43.	410:02:40:02 3	8:10	WS	Inside the KALACC office. Tom, holding a mug, enters shot and sits at the desk facing a computer screen.	It’s a bloody long name so we just call it KALACC. I have to deal with all 30 language groups of
44.	410:02:49:06 4	1:04	MCU	High angle of Tom’s hand moving the computer mouse.	the Kimberley.
45.	410:02:50:11 5	2:14	CU	Tom’s computer screen with a desktop image. Different screens flash as the mouse clicks.
46.	410:02:52:22 6	5:24	CU	Profile of Tom in the office looking down towards the computer screen.	It’s a tough job and with my own problems, it’s not easy.
47.	410:02:58:23	4:08	CU	Framed Aboriginal drawing of a

	7			rainmaker with the headpiece. Camera zooms slightly.
48.	410:03:03:03 8	2:22	WS	A road with electricity poles either side. A street name sign reads: Spinifex Place.
49.	410:03:06:00 9	3:03	WS	Flat parkland with a red wheelie bin in the foreground, and houses in the background.
50.	510:03:09:08 0	3:17	WS	Twilight shot with a pink sky. A man walks away from camera, carrying colourful bags, towards a fenced house. A dog barks at the entrance of the fence.
51.	510:03:13:00 1	4:01	WS	Twilight shot with a pink sky. Tom’s Ute enters shot right of screen, as he drives past people walking on the road.
52.	510:03:16:22 2	6:23	CU	Filmed inside the car. Profile of Tom driving. Twilight, purple sky in the background. Screen flashes white as archive footage begins.	TOM VO: These last years have been like a roller coaster ride for me. Sometimes I was on top of the world,…
53.	510:03:23:21 3	6:00	MWS	Fade up from white. Camera pulls back from a younger Tom with a Band-Aid on his face, smoking and walking towards camera in slow motion. Other people stand next to a car. Camera pulls back as Tom walks towards it.	… but sometimes I find myself in places that I’d rather forget.
54.	510:03:29:21 4	5:19	CU	Twilight, purple sky. Filmed inside the car. Profile of Tom driving.
55.	510:03:35:14	2:20	EWS	Time-lapsed footage of a moon

	5			rising behind clouds in a black sky. Screen flashes white as archive footage begins.
56.	510:03:38:10 6	4:20	WS	Backlit by headlights of an approaching car, people in shadow at night, yelling on the streets. Camera zooms towards them. Screen flashes white to another flashback.
57.	510:03:34:01 7	6:05	MCU	Archive footage of hands putting together two pieces of a torn photograph showing a woman holding a baby boy. Screen flashes white as archive footage ends.
58.	510:03:49:09 8	7:05	MS	Backlit and in shadow, inside a house, profile of Tom seated in a chair holding a bottle of alcohol.
59.	510:03:56:14 9	3:06	WS	Dark landscape with a red-tinged sky as lighting strikes appear and thunder is heard. Fade to black.
60.	610:03:59:20 0	2:05	WS	Archive footage. A young boy doing a high jump.
61.	610:04:02:01 1	3:05	WS	Archive footage. Children running in a race. Camera pans right as they pass.
62.	610:04:05:04 2	2:12	WS	Archive footage. Children running in a race. Tracking pan shot of a young boy running in first place.	TOM VO: I grew up in a place called Christmas Creek.
63.	610:04:07:17 3	1:18	WS	Archive footage. Children playing on a large sand dune in the	We call it (Gurramul?)

				distance.
64.	610:04:09:14 4	2:08	WS	Archive footage. Children at the top of the sand dune. One runs and jumps off, towards camera.	It’s in Western Australia.
65.	610:04:11:17 5	5:15	MCU	Archive photo of Tom as a young boy with other boys, standing facing camera and smiling. Camera zooms towards Tom. Screen flashes white as archive footage begins.	As a child, I remember stories about the past.
66.	610:04:19:23 6	3:08	WS	Archive sepia footage. Backlit, people in shadow standing on a hilltop next to a tree.
67.	610:04:20:21 7	3:00	MCU	Archive sepia footage. Semi profile of a man swiping at flies buzzing around his face.	I heard about life
68.	610:04:23:18 8	3:15	LS	Archive sepia footage. People sitting together on the ground.	in the Great Sandy Desert where my family come from.
69.	610:04:27:10 9	6:13	LS	Archive sepia footage. High angle of a young boy lifting water in a coolamon out of a waterhole and passing it to another standing above the waterhole.	I heard stories about the waterholes that helped them survive.
70.	710:04:33:18 0	6:11	MCU	Archive sepia footage. A man drinks from the coolamon.	They call them Jilas, or living water. But, I have never seen them.
71.	710:04:40:06 1	4:10	MCU	Archive sepia footage. Leaning down, a child drinks from the coolamon which is on the ground. He sits back up on his knees.
72.	710:04:44:12	1:20	MCU	Archive sepia footage. A man and

	2			woman facing camera.
73.	710:04:46:11 3	3:12	MCU	Archive sepia footage. Semi profile of a smiling man wearing a dry coolamon as a hat.
74.	710:04:49:11 4	5:07	LS	Archive sepia footage. High angle of the young boy re-entering the waterhole.	TOM VO: All that mob that live in Christmas Creek, they were all from the desert.	All that mob that live in Christmas Creek, they were all from the desert.
75.	710:04:55:04 5	6:07	MCU	Tom, PTC. Screen flashes white as archive footage begins.	TOM: Their parents … or their parents walked in from the desert. They all lived there.	Their parents walked in from the desert. They all lived there.
76.	710:05:01:04 6	3:05	WS	Archive sepia footage. Men riding on horseback, backlit and in shadow.
77.	710:05:04:17 7	5:17	MWS	Archive sepia footage. Profile tracking shot of a man on horseback mustering cattle.	TOM VO: Christmas Creek was a cattle station where my family were working.
78.	710:05:10:09 8	2:16	WS	Archive sepia footage. Men on horseback mustering cattle. Dissolve to next shot.
79.	710:05:12:22 9	5:08	MCU	Archive photo. Fade up from previous shot. Profile photo of Tom’s father, Eric, wearing a cowboy hat. Slow zoom.	My father Eric Lawford, he was the head stockman. He was…
80.	810:05:18:11 0	6:12	MS	Archive photo. Photo of Bert Lawford seated facing camera.	…the son of Bert Lawford, the white station owner. And that’s how I got my kartiya name - Lawford.
81.	810:05:24:16 1	5:13	MWS to MCU	Archive photo. Photo of a young Tom Lawford and other boys smiling at camera. Zoom towards Tom for MCU.	TOM VO: One day when I was 10,

82.	810:05:30:09 2	3:19	LS	Archive footage. A large group of women and children walking towards camera in semi profile.	my family took me to a cattle station called Nookanbah.
83.	810:05:33:24 3	2:06	WS	Archive footage. Protestors walking away from camera in a large group. Protestor banners are in the background.	The old people, they had set up
84.	810:05:36:08 4	3:00	WS	Archive footage. Protestors carrying banners walk towards camera.	a blockade to stop mining on their sacred land.
85.	810:05:39:09 5	3:03	WS	Archive footage. Semi profile of protestors carrying banners, marching and chanting.	PROTESTORS: No mining on sacred ground!
86.	810:05:42:09 6	2:15	EWS	Archive footage. Filmed across a flat field in the foreground, protestors carrying banners, marching and chanting in the background.	PROTESTORS: No mining on sacred ground!
87.	810:05:44:20 7	9:17	WS	Archive sepia photo. A photo of the protestors marching and three young boys ahead of them, one in white jeans who is Tom. Slow pan down the photo.	TOM VO: You see that kid in the white jeans - that’s me. It was the first time I witnessed my people fighting for…
88.	810:05:54:19 8	2:22	MS to LS	Archive footage. Country policemen file out of a parked van. Camera pulls back as they stand side by side next to the van, facing camera.	… their country.
89.	810:05:57:15 9	2:15	WS	Archive footage. Loaded trucks and cars from the mining company drive towards camera.	The mining company …

90.	910:06:00:05 0	2:12	WS	Archive footage. Camera pans right and down towards seated protestors on the road, sitting between the mining company cars.	…ended up drilling at Nookanbah.
91.	910:06:02:16 1	2:16	MCU	Archive footage. Tracking shot. An arrested protestor being led away by police.	But for us, it was still a …
92.	910:06:05:10 2	2:04	MWS	Archive footage. Protestors being frog-marched away by police, walking away from camera.	…victory.
93.	910:06:07:07 3	1:20	WS	Archive footage. Slight high angle of policeman pushing their car.	It put our fight for land …
94.	910:06:09:05 4	4:21	MWS	Archive footage. Policemen pick up a protestor, and carry him away.	… rights, on the map. But as a kid,
95.	910:06:14:05 5	8:02	LS	Archive sepia photo. Pan up the photo of Tom in the white jeans at the protest march.	I remember the excitement of being there, being part of something big. PROTESTORS: No mining on sacred ground!
96.	910:06:21:18 6	6:05	WS	Archive sepia footage. Christmas Creek Station. Tracking profile shot of men on horseback chasing an escaped cow.	TOM VO: When we returned to Christmas Creek, my father, as usual, was away working
97.	910:06:28:07 7	4:05	WS	Archive footage. Christmas Creek Station. Tracking profile shot of men on horseback mustering cattle.	in mustering camps. But I never felt alone.
98.	910:06:32:14 8	10:20	WS	Archive photo. Camera pulls back slowly. Wirrali stands among a	We had big mobs of old people looking after us. For me, it was like having a big

				mob of people, some sitting and others standing.	extended family.
99.	910:06:43:09 9	8:20	MCU	Archive photo. Wirrali facing camera. Slow zoom.	TOM VO: Wirrali, my grandfather from my mother’s side, was very special to me. He’s a man of…	He’s a man of…
100	10:06:52:03 0 0	13:16	MCU	Tom, PTC.	TOM: …what do they say… no words, you know, a man of no words. But a man of wisdom but no…. You’ve gotta watch him to… to catch up with what he’s doing.	…what they say… no words you know, man of no words. But a man of wisdom. You’ve gotta watch him to… to catch up with what he’s doing.
101	10:07:05:15 0 1	13:19	MS	Slow pan up. Tom and Spider sit on a blanket on the ground together as Spider talks.	TOM VO: My other grandfather, old Spider, he was different. He told stories all the time, and he still does.
102	10:07:19:13 0 2	3:23	MWS	Tom and Spider sit on a blanket on the ground together as Spider talks. Tom laughs.		He seen me from a long way…
103	10:07:23:10 0 3	4:10	MCU	Focus on Spider and Tom’s hands as they sit together talking. Slow pan down to Spider’s bare foot covered in dust.		and he tried to shoot me.
104	10:07:27:24 0 4	7:20	MWS	Semi profile shot of Spider and Tom seated side by side. Tom rubs Spider’s back and leans towards him lovingly, talks in Spider’s ear and they both chuckle.	TOM VO: He’s Wirrali’s brother but he was always a grandfather to me. Together with his …
105	10:07:35:20 0 5	11:10	WS	Dolly, Spider and Tom seated on a blanket on the ground.	…wife Dolly, they are living here in Fitzroy Crossing for many years.	Spider: Got something to cut this one? Tom: It’s like a Tungal (hair rope)? Dolly: That’s not a

						Tungal!
106	10:07:47:00 0 6	2:08	MCU	Midriff shot of Spider and Tom seated side by side on the blanket, as Tom uses a knife to cut a strip of the blanket.		Dolly: That’s not a Tungal!
107	10:07:49:10 0 7	7:19	MCU	Spider wraps the strip of the blanket across his forehead and Tom helps him tie it at the back of his head.	SPIDER: I’ve got to get ‘em to take a photo.	Spider: I’ve gotta get ‘em take a photo!
108	10:07:56:17 0 8	12:03	CU	Spider facing camera with the blanket strap across his forehead in the foreground. Tom blurred in the background behind him. Spider begins singing. Screen flashes white as archive footage begins.	TOM VO: Ever since I was a young boy, Spider was always singing.	Spider singing: We’re (sandfrogs) listening to the sound…of someone digging above us trying to get us, to eat us!
109	10:08:09:08 0 9	4:16	WS	Archive footage. Spider and another man, both wearing headpieces and doing a rain dance.	Singing and dancing at all our community festivals.
110	10:08:13:23 1 0	5:01	MS	Archive footage. Spider wearing a headpiece and doing a rain dance.	It was always about Kurtal in the Great Sandy desert - the country that he
111	10:08:19:03 1 1	4:02	WS	Archive footage. Spider and other men, doing a rain dance. They lift a long decorated log above their heads as they dance.	was forced to leave after the kartiya came, the white man.
112	10:08:23:01 1 2	2:23	MCU to MS	Archive footage. Camera pulls back. Spider carrying the long decorated log across his shoulders while doing a rain

				dance.
113	10:08:25:22 1 3	1:11	MS	Archive footage. Spider carrying the long decorated log across his shoulders while doing a rain dance. Footage dissolves to next shot.
114	10:08:26:00 1 4	5:22	CU	Archive sepia photos. Portrait photos side by side of Spider and Dolly. Dissolve to next shot.	TOM VO: Dolly and Spider always dreamt about getting their land in the desert back.
115	10:08:31:22 1 5	6:03	EWS	Archive footage. Fade up. Pan right across flat country.	For many years, we had been fighting for our land rights.
116	10:08:39:13 1 6	5:13	WS	Archive footage. Slight high angle of dry earth. Pan up to the horizon. Screen flashes white as archive footage begins.	In 1992, things began to happen.
117	10:08:44:20 1 7	4:15	MCU	Archive footage. Paul Keating facing camera and giving a speech.	KEATING: We took the traditional lands and smashed the traditional way of life.
118	10:08:49:15 1 8	4:23	EWS	Time-lapsed landscape footage. Backlit dark mountain silhouette under an orange cloudy dawn sky as the sun begins to rise in the distance.	KEATING VO: We brought the diseases and the alcohol.
119	10:08:54:09 1 9	4:20	WS	Time-lapsed landscape footage. 45 degree arc pan around a bare tree in the foreground under a blue sky. Screen flashes white as new archive footage begins.	KEATING VO: We committed the murders. We took the children from their mothers.
120	10:08:59:06 2	5:03	MCU	Archive footage. TV newsreader.	MORECOFT: For the first time, Australia has recognised the legal

	0				existence of Aborigines…
121	10:09:04:09 2 1	3:18	WS	Time-lapsed landscape footage. Slight pan up. An abandoned car skeleton on the flat grassland as clouds gather overhead.	MORECROFT VO: …prior to white settlement. The high court has recognised
122	10:09:08:02 2 2	3:21	WS	Time-lapsed landscape footage. Pan up from a bare tree on a red sand dune in the foreground and clouds gathering overhead.	there were people here and their descendants have rights.
123	10:09:11:22 2 3	7:22	WS	Time lapsed landscape footage. Pan up. A bare tree in the foreground and the flat landscape in the background. The sun sets on the horizon.	TOM VO: The Mabo decision showed us that we could legally claim our land back. To claim it back,
124	10:09:19:20 2 4	3:11	EWS	Time lapsed footage. Black landscape under a purple, starry night sky.	we have to prove we have a continuing relationship
125	10:09:23:09 2 5	2:21	WS	Time lapsed footage. Dark landscape under a purple, starry night sky. An illuminated dry tree trunk is visible in the foreground. Dissolve to next shot.	to our country.
126	10:09:25:23 2 6	7:18	WS	Map of Australia. Zoom towards North West of Australia, with superimposed names of areas in white – Broome, Great Sandy Desert, Fitzroy Crossing – and green text of Kurtal.
127	10:09:33:22 2 7	3:11	CU	Quick zoom towards digitally superimposed names on the map, with a focus on Kurtal. Dissolve

				to next shot.
128	10:09:37:01 2 8	15:24	EWS	Archive footage. High angle of a car driving on a red-sand dirt road towards camera. Another car appears, following.	TOM VO: In 1994, my grandfather Wirrali and Spider took me to their country. They hadn’t been back there for 40 years.	First trip to Kurtal, 1994.
129	10:09:53:03 2 9	3:07	MWS	Archive footage. The desert road ahead filmed from the moving car.
130	10:09:56:10 3 0	2:15	MWS	Archive footage. Filmed from inside the moving car looking out the passenger window. Pan right to driver’s window.
131	10:09:59:02 3 1	2:12	WS	Archive footage. Passing landscape from the moving car.
132	10:10:01:17 3 2	3:15	WS	Archive footage. Tracking shot. Semi profile of a loaded car crossing screen.
133	10:10:05:06 3 3	3:13	WS	Archive footage. Flat desert ahead as seen from the moving car.
134	10:10:08:16 3 4	4:04	WS	Archive footage. Passing landscape from the moving car. A mountain is in the background.	TOM VO: It was a hard six day drive over sandhills
135	10:10:12:15 3 5	4:06	WS	Archive footage. A camel walking on the road ahead as seen from the moving car. The camel turns into the grassland away from the road.	and through scrubby bush.
136	10:10:17:04	4:14	1.	Archive photo. Slow zoom. A	It was my first trip to country.

	3 6			younger Tom facing camera and holding up something in his hand. The parked car is behind him. Footage dissolves like stretched video film to next shot.
137	10:10:24:10 3 7	6:08	WS	Dated archive footage from Tom’s camera. Pan across the desert landscape.	I decided to shoot a video. It was a new way of showing evidence for our land claim.
138	10:10:30:13 3 8	5:00	WS	Dated archive footage from Tom’s camera. Shaky pan across the desert landscape with the parked cars in the background. Screen flashes white as new archive footage begins.	But all I had was this shitty old VHS camera.
139	10:10:35:14 3 9	2:01	CU	Archive footage. High angle semi profile of Wirrali.		Wirrali
140	10:10:37:18 4 0	2:15	MCU to CU	Archive footage. Zoom towards Spider.		Spider
141	10:10:40:05 4 1	2:10	WS	Archive footage. Passing landscape from the moving car.	TOM VO: We took a whitefella with
142	10:10:42:16 4 2	9:07	MWS to MCU	Archive footage. Daniel stands with some men who are sitting on the grass by the parked car. Zoom towards Daniel, standing facing away from camera. He turns in slow motion to look over his shoulder at camera. Frame freezes.	us. His skin name is Jangala. But kartiya call him Daniel. DANIEL VO: The land council asked me if I would be interested in…

143	10:10:51:22 4 3	2:22	MCU	Daniel Vachon, PTC.	DANIEL VACHON: … conducting a land claim under the new Native Title Act.
144	10:10:54:18 4 4	6:20	MCU to CU	Archive footage. Spider, standing facing camera next to the parked car, with his arm in the air. Zoom for CU.	SPIDER: My country. DANIEL VO: One of the first people that I met was Spider who…	Spider: My country!
145	10:11:01:04 4 5	5:04	MCU	Daniel Vachon, PTC.	DANIEL VACHON: … told me that his um, his country was Kurtal and um, when are we going to go there?	Daniel Vachon Consultant Anthropologist
146	10:11:06:21 4 6	6:20	WS	Archive footage. Pan right to the two cars driving towards camera, through tall grass.	DANIEL VACHON VO: I, I really didn’t know how to get to where he wanted to go and he drew maps of
147	10:11:13:16 4 7	3:11	MCU	Archive footage. Slight high angle of a hand drawing on the sand.	his country on, on the sand in Fitzroy Crossing…
148	10:11:17:00 4 8	3:09	MCU	Daniel Vachon, PTC.	DANIEL VACHON: … and really, it wasn’t done to scale, I’ll tell you that.
149	10:11:20:06 4 9	8:12	WS	Archive footage. One of the cars drives away from camera through the flat landscape.	DANIEL VACHON VO: No-one goes in this part of the Great Sandy desert, noone travels in it. It’s almost inaccessible.
150	10:11:28:20 5 0	2:09	WS	Archive footage. Filmed through tall grass in the foreground, camels in the background.
151	10:11:31:05 5 1	2:13	WS	Archive footage. Tracking shot of one of the cars driving away from camera along the dusty road.	TOMMY MAY VO: Too hot.	Tommy May: Too hot!
152	10:11:33:19 5	4:16	MCU	Archive footage. Tommy May, PTC.	TOMMY MAY: Too hard, too far, everything.	Tommy May

	2					Tommy May: Too hard. Too far. Everything.
153	10:11:38:10 5 3	3:20	WS	Archive footage. People helping to push one of the cars that has lodged.
154	10:11:42:05 5 4	4:21	LS	Archive footage. Slight low angle profile of one of the cars with a trailer reversing and tilting into a ditch on the side of the dirt road.
155	10:11:47:00 5 5	3:08	MCU	Archive footage. Cut-in of hands repairing a car tyre.
156	10:11:50:08 5 6	4:18	WS	Archive footage. Three cars driving away from camera through the dry grassland.
157	10:11:54:24 5 7	7:01	MS	Archive photo. Pan left across the photo towards Tom. Bare-chested Tom facing camera with another man right of screen.	TOM VO: Well the first time I went there, I had a feeling, a different feeling.	Well the first time I went there… I had a different feeling.
158	10:12:02:04 5 8	2:08	CU	Tom, PTC.	TOM: Like it was just like a different…	It was just like a different world for me.
159	10:12:04:14 5 9	9:02	WS	Archive footage. Pan right across dry yellow grassland.	TOM VO: … world for me. I used to see the dance, Kurtal dance. I didn’t know there was a country called Kurtal.	I used to see the dance, Kurtal dance. I didn’t know there was a country called Kurtal.
160	10:12:13:09 6 0	2:20	MWS to MCU	Archive footage. People standing around the stopped car. Zoom towards Spider.
161	10:12:16:13 6	3:08	WS	Archive footage. Blurred flat landscape comes into focus.	SPIDER: Kurtal.	Spider: Kurtal!

	1			Quick handheld footage, panning left and right, then ahead to men walking away from camera through the tall grass.
162	10:12:19:22 6 2	4:13	MCU	Archive footage. Cut-in high angle of legs running away from camera through the tall grass.	DANIEL VO: Things began to happen. We knew that we were getting closer because um
163	10:12:24:04 6 3	2:04	MCU	Archive footage. Cut-in hands feeding a small fire in the grass.	people were starting to burn the
164	10:12:26:12 6 4	3:18	WS	Archive footage. Black landscape, a large roaring grass fire with rising black smoke under a blue sky. The sun shines in the sky right of screen.	spinifex.
165	10:12:29:24 6 5	3:20	CU	Archive footage. Flames in the grass.
166	10:12:33:19 6 6	5:02	LS	Archive footage. Tracking shot of a man walking through the grass among the trees. Camera veers right to a fire left burning behind him.	TOM VO: I always heard stories about the snake spirit living in the waterhole,
167	10:12:38:22 6 7	2:03	WS	Archive footage. Slight high angle of men walking in single file away from camera through the flat grassland.	but I didn’t believe it.
168	10:12:41:06 6 8	2:14	WS	Archive footage. Semi profile of two of the old men walking in single file, away from camera.	I followed the old fellas with my camera.
169	10:12:43:19	3:13	WS	Archive footage. Three old men	It was hard to keep up!

	6 9			walking away from camera through the tall grass.
170	10:12:46:23 7 0	5:09	WS	Archive footage. Handheld shaky footage of three old men walking in single file, away from camera through the tall grass.	They were running and shouting ‘We’re coming to visit, don’t get mad, we’re family’.
171	10:12:52:12 7 1	4:00	MCU to EWS	Archive footage. Blurred footage comes into focus. Landscape shot of a hill with birds flying overhead. Camera pulls back.	DANIEL VO: They, they took us to a…
172	10:12:56:13 7 2	3:09	MCU	Daniel Vachon, PTC. He shakes his head and chuckles.	DANIEL VACHON: …a small wet spot in this… in the desert.
173	10:12:59:21 7 3	4:19	MCU to ECU	Archive footage: High angle of a small puddle in the sand. Zoom towards the puddle.	DANIEL VO: It was just this small puddle, this small patch of wetness…
174	10:13:04:20 7 4	5:01	MCU	Daniel Vachon, PTC. He smiles.	DANIEL: … and this was this very important place that they’d been telling us about for the last 5 days.
175	10:13:09:20 7 5	5:18	MWS to CU	Archive footage. High angle of Daniel and other men digging in the sand. Zoom towards the spade lifting dirt.	TOMMY MAY: Kurtal? DANIEL VO: Some of the young fellas that we were with and	Tommy May: Kurtal?
176	10:13:15:07 7 6	2:22	MWS	Archive footage. Profile of a barechested Daniel, stooped over and digging. Camera pans down to the spade.	myself we started digging.
177	10:13:18:08 7 7	7:03	WS to MWS	Archive footage. High angle of Daniel and some of the other men digging. Zoom towards Spider sitting on the ground and		Spider: A long time ago there were no trees here. Long time ago…no trees.

				talking.
178	10:13:25:14 7 8	3:02	WS to MWS	Archive footage. High angle of Daniel and some of the other men digging. Zoom towards Spider in the background collecting some of the dug up mud into a pile.
179	10:13:28:16 7 9	8:05	MCU	Archive footage. A bare-chested Tommy May man talks to camera. A younger Tom is visible digging in the background.	TOMMY MAY: We been working, trying to clean him, then we call his name – Kurtal.	Tommy May: We been working, trying to clean him, then we call his name – Kurtal.
180	10:13:36:18 8 0	2:12	CU	Archive footage. Cut-in of a hand sloshing through the mud, clearing the small waterhole.	SPIDER: You’ve got to make two or three (clouds).	Spider: You’ve got to make two or three (clouds).
181	10:13:39:05 8 1	3:02	CU to ECU	Archive footage. High angle of the water in the waterhole. Zoom towards the water.
182	10:13:42:09 8 2	1:17	MCU to CU	Archive footage. High angle zoom of a bare-chested Daniel looking towards left of screen.
183	10:13:43:20 8 3	3:01	MWS	Archive footage. High angle of Tom and Spider leaning down into the waterhole clearing away the mud.
184	10:13:47:01 8 4	3:16	MWS	Archive footage. A young man sitting on his knees throws out some of the mud from the waterhole. Camera veers up and left to Wirrali and Tommy May seated at the edge of the

				waterhole.
185	10:13:50:10 8 5	3:08	LS	Archive footage. High angle of Tom leaning into the waterhole, raising water in his cupped hands and throwing it on his head as camera pans up.	TOM VO: We clean it out…	We clean it out…
186	10:13:53:24 8 6	6:14	CU	Tom, PTC.	TOM: … and then the water just came straight up. Clean water.	and then the water just came straight up. Clean water.
187	10:14:00:14 8 7	6:00	CU to MCU	Archive footage. Cut-in of a hand holding a tin mug and scooping water from the waterhole. Camera pulls back to Wirrali sitting on his haunches at the edge of the waterhole.	TOM VO: I never saw my grandfather Wirrali …
188	10:14:06:07 8 8	15:04	MWS to MCU to ECU to MWS	Archive footage. High angle of Wirrali sitting in the water at the edge of the waterhole. Camera zooms towards him as he turns to look over his shoulder behind him. He looks up towards screen as camera zooms, then pulls back for MWS of him sitting in the mud.	…so happy.	Hey Wirrali! Wirrali! Hey Wirrali, look at the camera!
189	10:14:21:20 8 9	1:23	WS	Archive footage. Low angle right pan of birds flying above the trees and coming to rest on a branch.
190	10:14:24:13 9 0	4:01	MCU	Archive footage. Tom and Tommy May sit side by side, Tom facing away from camera and Tommy		Tommy May: Birds coming for water.

				May in semi profile. Tom stands up.
191	10:14:27:14 9 1	3:04	WS	Archive footage. Birds drinking water at the edge of the waterhole.
192	10:14:30:19 9 2	4:11	LS	Archive footage. Profile shot. Using the tin mug, Spider throws muddy and water over his head and body.
193	10:14:35:04 9 3	4:01	MWS	Archive footage. Several of the older men sitting side by side in semi profile. Wirrali and another man rub mud on Tommy May’s chest.
194	10:14:39:07 9 4	5:18	MCU	Archive footage. Profile pan up from Wirrali’s haunches to head as he pounds the mud on the ground with a rock. The water from the waterhole is in the background.
195	10:14:44:18 9 5	1:11	MWS	Archive footage. Cut-in of Daniel’s bare-chested midriff facing away from camera, and Wirrali seated facing camera.
196	10:14:46:12 9 6	4:19	MCU	Archive footage. Slight high angle profile of Spider at the waterhole singing and rubbing mud over his head, face and body.
197	10:14:51:07 9 7	3:16	LS	Archive footage. Spider, hands clasped behind his back and stooped forward, looks up at the

				birds in the trees, walking around imitating them.
198	10:14:54:24 9 8	2:20	MWS	Archive footage. Birds perched on the tree branches.
199	10:14:57:17 9 9	2:11	LS	Archive footage. Spider, hands clasped behind his back and stooped forward, prances, imitating the birds.
200	10:14:59:24 0 0	2:02	WS	Archive footage. Profile shot of three old men, including Wirrali, covered in mud sitting at the edge of the waterhole.
201	10:15:02:03 0 1	4:16	LS	Archive footage. Spider, hands clasped behind his back and stooped forward, prances and dances, imitating the birds.
202	10:15:06:17 0 2	2:07	MCU	Archive footage. Profile of Wirrali, Tommy May and another old man covered in mud and sitting together.
203	10:15:09:02 0 3	10:17	MWS	Archive footage. The older men covered in mud and sitting side by side facing camera. Slow pan left to reveal Tom sitting with them, also covered in mud. Frame freezes. Screen flashes white as new archive footage begins.	TOM VO: Sitting around the waterhole with my grandparents, reminded me of the stories
204	10:15:18:22 0	6:11	MCU	Archive photo. Slow zoom towards photo of Tom standing	they told me as a kid. I really wanted to understand what was going on here.

	4			facing camera side by side with his friends. Screen flashes white as new archive footage begins.
205	10:15:26:07 0 5	5:01	MWS to MCU	Archive footage. The men covered in mud sitting together start singing as camera zooms for MCU of Spider.	TOM VO: I learnt that Kurtal is a man’s area.
206	10:15:31:03 0 6	8:15	MWS	Archive footage. Two mudcovered men walk towards camera hitting sticks together in front of them. They are followed by bare-breasted women walking behind them.	Men bring women down after they clean out the waterhole. Dolly, Spider’s wife, she leads the women.
207	10:15:39:22 0 7	4:01	MCU	Archive footage. Semi profile of Tommy May covered in mud followed by a bare-breasted Dolly and child.
208	10:15:43:20 0 8	12:10	MWS	Archive footage. Two mudcovered men stand facing away from camera in the foreground and the women stand in a group left of screen in the background as one of the men approaches them with a large bucket of water and throws water on them.	They throw water on the women so that the snake spirit will know who they are, and that they are visiting.
209	10:15:56:06 0 9	5:24	WS	Archive footage. Profile shot. Slight low angle of the barebreasted women walking away, with the men remaining seated in the background.	TOM VO: Dolly took the women back to camp. But then I could see that something else was happening.
210	10:16:02:08	6:17	WS	Archive footage. High angle of	Spider was using the dirt and the mud

	1 0		to CU	Spider sculpting the mud under a bush. Camera zooms towards him.	that we were pulling out
211	10:16:08:24 1 1	3:01	CU to MWS	Archive footage. Cut-in of Spider’s hands sculpting the mud as camera pulls back.	to make this sculpture around the waterhole.
212	10:16:11:24 1 2	4:09	LS	Archive footage. Spider leaning down over his mud sculpture on the ground and smoothing the mud.	Spider told me that it
213	10:16:16:09 1 3	2:17	WS	Archive footage. Spider leaning down and smoothing the mud over his sculpture on the ground.	represents the storm cloud.
214	10:16:18:24 1 4	2:14	WS	Archive footage. Two men sit at the edge of the waterhole as another approaches with a coolamon, leans into the water and scoops up water.	Same thing goes for that coolamon.
215	10:16:21:16 1 5	14:21	LS	Archive footage. Wirrali, leaning down into the water and filling the coolamon, raises it up as camera pulls back. He turns facing camera and dances around as he tips the water out of the coolamon onto his head. Tracking shot.	TOM VO: See that coolamon that they’re holding? It represents the cloud and the water they tip it over, that’s the rain, it’s coming down.
216	10:16:36:02 1 6	10:07	MS to WS	Archive footage. Tracking shot of Spider refilling the coolamon from the waterhole, and pouring it on his head as he dances. Screen flashes white as new archive

				footage begins.
217	10:16:46:18 1 7	12:23	MWS to LS	Archive footage. Spider wearing a headpiece and dancing a rain dance. Camera pulls back slowly.	TOM VO: For the first time, I understood where my grandfather’s dance came from, and the meaning of his headdress.
218	10:16:59:13 1 8	16:23	LS to WS to LS	Archive footage. Tracking shot. Wirrali fills the coolamon from the waterhole and pours it over his head as he dances. Zoom towards Wirrali walking towards right of screen passing Spider who is standing looking towards the waterhole.	TOM VO: Being at the place where Spider and Wirrali grew up was really emotional.
219	10:17:16:16 1 9	14:20	CU	Tom, PTC.	TOM: You know it’s just like, it’s just like going back to a place, just like you’ve gone back to your own… own country. Home you know, just like you’re going back home.
220	10:17:31:10 2 0	2:22	LS	Archive footage. Birds drinking water at the edge of the waterhole.
221	10:17:34:06 2 1	3:06	MWS to MCU	Archive footage. Wirrali holding the coolamon and immersed in the water chest deep. Camera zooms towards him.
222	10:17:37:11 2 2	9:01	WS	Archive footage. Spider enters the waterhole and heads towards Wirrali both immersed in water chest deep. Spider hits sticks together along the water’s surface as Wirrali holds the coolamon and they chant.	DANIEL VO: Wirrali and Spider were talking to something and sort of feeling the water as they were doing it. And then they said we had to go. We had to go now…

223	10:17:46:14 2 3	5:02	MCU	Daniel Vachon, PTC.	DANIEL: … like right now! Okay, so we packed up the camp and…
224	10:17:51:10 2 4	4:14	WS	Archive footage. Handheld tilted camera footage of the flat dark landscape under a blue cloudy sky, with the cars driving in convoy towards camera.	DANIEL VO: … headed off and Spider and Wirrali were really keen that we get as far from that place as possible.
225	10:17:56:03 2 5	1:18	MCU	Daniel Vachon, PTC.	DANIEL: And we drove and we drove…
226	10:17:57:24 2 6	5:19	WS	Archive footage. Handheld camera footage. Pan right over the dark landscape towards the red setting sun and dark clouds in the dark sky.	DANIEL VO: … and we drove, and looking out into the west where the waterhole was located, were all these…
227	10:18:03:18 2 7	2:21	MCU	Daniel Vachon, PTC.	DANIEL: … storm clouds and lightening and rain.
228	10:18:06:14 2 8	9:21	EWS	Archive footage. Slow pan across the flat landscape. Lightning strikes in the dark blue sky. Flashes light up the landscape as lighting strikes and thunder sounds. Dissolve to next shot slightly superimposed over the previous shot.	TOM VO: And then I realised…
229	10:18:15:24 2 9	6:08	CU	Archive footage. CU of the loops in the headpiece of the rain dancers. Dissolve into next shot slightly superimposed over the	…that Kurtal is a rainmaking place. That was what old Wirrali and Spider were doing there

				previous shot.
230	10:18:21:21 3 0	3:05	MCU	An Aboriginal artwork depicting a rainmaker with a headpiece on. Dissolve into next shot.	They brought the rain.
231	10:18:25:06 3 1	8:03	EWS	Archive footage. Black sky and landscape, appearing as black screen, illuminated red when lighting strikes.	DANIEL VO: They ritually made rain in one of the driest parts of Australia and they were known widely …
232	10:18:34:01 3 2	3:00	MCU	Daniel Vachon, PTC.	DANIEL: …as the um, as the rainmakers.
233	10:18:36:23 3 3	9:22	MWS	Archive photo. High angle photo of Wirrali sitting in the water of the waterhole. Slight slow zoom.	TOM VO: But when I first went out there with my grandfather Wirrali, to Kurtal, I saw something that changed my life.
234	10:18:46:21 3 4	8:17	MWS	Archive photo. Tom, as a young man, facing camera. Slight slow zoom.	Because I was the only young person on the trip and the old people they trusted me or believed in me to carry on this responsibility.
235	10:18:55:14 3 5	13:08	MCU	Tom, PTC.	TOM: Yeah I mean it’s a big… it’s a big thing, big job. But to get that, to get that feeling from old people, to get that trust from old people, it make you feel good inside.
236	10:19:08:17 3 6	6:19	ECU	Red loops on a rainmakers dancing headpiece, superimposed with rainy night landscape. Dissolve to CU of the loops on the headpiece. Dissolve to next shot.
237	10:19:15:08 3 7	3:02	CU	Archive footage. High angle of rain falling on the ground.

238	10:19:18:14 3 8	2:05	MCU	Archive footage. Low angle of a corrugated iron roof edge with rainwater dripping off the edge.
239	10:19:20:19 3 9	6:00	WS	Archive footage. Rain falling as viewed through a metal overhanging fence. Dissolve to next shot.
240	10:19:24:10 4 0	2:20	WS	Archive footage. And empty country road, going around a curve. Birds are on the asphalt in the distance.
241	10:19:28:11 4 1	3:14	WS	Archive footage. Profile of Tom’s van crossing screen in the background across a flat landscape.
242	10:19:31:03 4 2	5:05	CU	Filmed inside the car, profile of Tom driving.	TOM VO: Back in Fitzroy Crossing, Daniel gathered
243	10:19:37:11 4 3	4:02	WS	Low angle shot of birds in shadow sitting on electricity wires. Backlit against a dawn sky.	the evidence we collected from the trip.
244	10:19:41:09 4 4	4:14	EWS	Black landscape below a dawn sky.	He started to write the Native Title report.
245	10:19:46:00 4 5	5:02	CU	Filmed inside the car, Tom exits through the driver’s door, and shuts the car door.	For me, the trip to Kurtal made me want to
246	10:19:51:03 4 6	6:13	WS	Forward pan ahead along a bridge in a dark landscape with dawn breaking on the horizon. Dissolve to next shot.	find out more. I wanted to learn about our history.

247	10:19:57:03 4 7	4:17	WS	Archive black and white footage. Desert landscape and cattle in profile at the foot of a mountain in the background.
248	10:20:02:21 4 8	3:17	WS	Archive black and white footage. Men on horseback mustering the cattle.	TOM VO: When whitefellas came into our country
249	10:20:06:01 4 9	2:20	WS	Archive black and white footage. Men on horseback mustering the cattle down an incline. Dissolve to next shot.	in 1880s, they wanted water.
250	10:20:08:19 5 0	4:08	CU	A large rock at the edge of a pool of still water. Reflections of the water on the rock. Dissolve to next shot.	They drove us off our land and turned our country into
251	10:20:13:07 5 1	4:04	CU	Bird’s eye view of a small waterhole in the ground. Dissolve to next shot.	huge cattle stations.
252	10:20:16:07 5 2	5:05	WS	Slow motion profile shot of cattle walking on the dry land. Dissolve to next shot.
253	10:20:22:11 5 3	7:01	CU	Archive black and white photo. Pan up photo of Alfred Canning. Dissolve to next shot.	TOM VO: And then Alfred Canning came along. He wanted our sacred waterholes for their cattle. He built
254	10:20:29:05 5 4	10:08	MCU to CU	Zoom towards cut-in of map of Australia showing Western Australia with a boundary all along its edges. Pan down to high angle and animated track and stops appear on the map. Forward pan as it dissolves into	a 2000 kilometre track through our tribal lands. They called it the Canning Stock Route and it destroyed our traditional way of life.	Canning Stock Route

				next shot.
255	10:20:39:03 5 5	3:22	EW	Cattle on the flat landscape filmed from a moving vehicle.
256	10:20:43:21 5 6	7:02	MCU	Semi profile of Tom, PTC.	TOM: Like some places are sacred sites, but he didn’t give a shit. He wanted water.	Like some places are sacred sites, but… he didn’t give a shit. He wanted water.
257	10:20:50:23 5 7	4:00	MCU	High angle of a disused well, numbered ‘Well 48’.
258	10:20:54:13 5 8	4:21	MCU	High angle of another disused well, numbered ‘Well 50 CSR’. Slow zoom.	TOM VO: He used our sacred waterholes to make 51 wells for their cattle.
259	10:20:59:16 5 9	2:22	MWS	Worm’s eye view of a windmill against the blue sky in the background and the edge of a disused well labelled ‘51’ in the foreground.
260	10:21:02:13 6 0	4:02	WS	Four parked loaded vans next to a windmill. People walk around the base of the windmill.
261	10:21:06:14 6 1	5:20	MWS	Tom in the foreground, holding a Coke can, with the windmill in the background. He points towards right of screen and walks towards right. Camera pans right as Tom walks away from camera followed by a teenage Buster who enters shot right of screen.	TOM: Old well here now.	Tom: Old well here now.
262	10:21:12:11 6	4:00	WS	Tracking shot of Buster up ahead followed by Tom, walking away

	2			from camera near the base of the windmill. Tom stops and peers into an old well.
263	10:21:16:07 6 3	5:02	MCU	Old disused well labelled ‘Well 47’.	TOM VO: Only problem, that Canning fella, he didn’t have a bloody clue where the water was.
264	10:21:21:15 6 4	7:08	LS	Archive black and white photo. Several men standing side by side chained together with neck shackles.	So, he captured our desert people, chained them up, gave them salt meat, and starved them of water.
265	10:21:28:18 6 5	6:03	WS	Archive black and white photo. A camel convoy through the desert road. Pan right to two men leading the convoy.	When he let them go, he followed their tracks as they ran to get water.
266	10:21:34:20 6 6	4:04	WS	Archive black and white photo. A man going down a well.
267	10:21:38:21 6 7	7:13	LS	Tracking shot of Tom walking around an old well. Buster follows him as Tom opens the metal lid of the well.	TOM VO: They imprisoned the water inside metal and wood boxes.
268	10:21:46:08 6 8	1:24	CU	Filmed from inside the well against the blue sky, worm’s eye view of the bucket being lowered.
269	10:21:48:09 6 9	13:15	CU	Filmed inside the well, high angle of the bucket hitting the surface of the water, tipping over and sinking under the water. The filled bucket re-emerges, then dissolves away leaving just the water. Dissolve to next shot.	TOM VO: The wells were closed and some of my people drowned trying to get down to their water.

270	10:22:01:20 7 0	5:21	WS	Archive black and white photo. Camera pulls back slowly. Two men standing face to face next to a well. Dissolve to next shot.	TOM VO: Most of my people, they had to move away
271	10:22:06:24 7 1	7:02	WS	Flat landscape with a peaked mountain in the background. Dissolve to next shot.	from their traditional way of life. Among them, were my grandparents.
272	10:22:13:14 7 2	10:12	CU	Archive photos. Fade up. Inset photo of Spider left of screen. Inset photo of Dolly fades up right of screen, next to Spider’s. Screen flashes white as new archive footage begins.	TOM VO: Spider was a young man when he left the desert to find Dolly, his promised wife. She was working as a housemaid on the cattle station of my
273	10:22:25:15 7 3	4:12	MS	Archive photo. Bert Lawford seated facing camera. Dissolve to next shot.	white grandfather.
274	10:22:29:20 7 4	10:12	MCU	Semi profile two-shot of older Dolly and Spider singing.	TOM VO: Now Bert Lawford he didn’t like desert people because they used to spear his cattle.
275	10:22:40:10 7 5	5:05	MCU	Semi profile of Spider singing. Slow dissolve to next shot.	When he seen Spider, old Bert Lawford he chased him off. He fired his
276	10:22:43:07 7 6	7:05	WS	High angle of surface of the river water. Slow dissolve to next shot.	gun at him just to frighten him. So, old Spider, he ran down to the river and he climbed up a paperbark tree.
277	10:22:52:00 7 7	10:16	MCU	Pan up a paperbark tree, superimposed by blazing fire. Third shot superimposed of semi profile CU of Spider hitting sticks together and chanting.	Bert Lawford, he went there, and chucked some matches on that tree. Old Spider he was on top, but when he seen that fire coming over, he jumped down and he landed
278	10:23:03:16	2:15	MCU	Semi profile of Dolly. She turns	like Spiderman on all fours.

	7 8			towards camera as she looks towards Spider.
279	10:23:06:04 7 9	4:01	CU	Profile of Spider, singing and holding up his sticks. Dissolve into next shot.	That’s why his name is Spider, and, yes,
280	10:23:09:14 8 0	10:21	CU	Archive photos. Fade up. Portrait photo of Spider and portrait photo of Dolly side by side. Slow zoom. Screen flashes white as new footage begins.	he did marry Dolly. TOM VO: Like most of my family, Spider and Dolly ended up working on Christmas Creek cattle
281	10:23:21:04 8 1	4:04	WS	Archive footage. Filmed across dry grassland, a herd of cattle walking with a man on horseback among them.	station.
282	10:23:25:03 8 2	2:19	LS	Archive footage. Herd of cattle being mustered by a man on horseback.
283	10:23:27:18 8 3	2:04	LS	Archive footage. Herd of cattle being mustered by a man on horseback.
284	10:23:30:06 8 4	5:05	LS	Archive footage. Tracking shot of a man on horseback chasing an escaped cow.	TOM VO: Most of our parents, like my father, they were all stockmen.	Most of our parents, like my father, they were all stockmen.
285	10:23:35:03 8 5	5:13	WS	Archive footage. Tracking shot of men sitting in the bed of a Ute as the Ute crosses a shallow river.	They all built yards in the station and helped build bores and fences and…	They all built yards in the station and… helped build bores and fences.
286	10:23:40:18 8 6	13:02	MCU	Tom, PTC.	TOM: … they made these stations to what they are today from their hard work, hard labour, and just working for nothing, just shirt and trousers, tobacco.	They made these stations… to what they are today. From their hard work, hard labour… and just working for nothing, just… shirt and trousers, tobacco.


287	10:23:53:21 8 7	9:19	WS	Archive footage. Several men in the cattle pen mustering the cattle.	TOM VO: We finally became citizens and got equal rights after the 1967 referendum.
288	10:24:03:14 8 8	6:15	LS	Archive footage. High angle of two men in the cattle pen mustering the bull that runs off.	But even the station owners refused to pay my people equal wages.
289	10:24:05:02 8 9	2:17	LS	Archive footage. Men in the cattle pen mustering the cattle. Tracking shot of a bull that runs off to the edge of the pen.
290	10:24:10:03 9 0	0:20	MWS to MCU	Archive footage. Profile of Spider inside the cattle pen. Slight zoom towards him.	TOM VO: After decades of working there
291	10:24:13:01 9 1	2:05	MWS	Archive footage. Men outside the cattle pen locking the gate. Screen flashes white as new archive footage begins.	they were loaded onto trucks and
292	10:24:15:23 9 2	10:07	WS	Archive photo. People crammed together on the bed of stopped Ute on a dry road.	dumped on the banks of a river. That was the birthplace of Fitzroy Crossing.
293	10:24:26:01 9 3	5:20	WS	Archive sepia photo. Slow zoom. Children playing on dry ground in the foreground and small identical houses in the background.	TOM VO: Fitzroy went from a population of 60
294	10:24:32:03 9 4	6:18	WS	Archive sepia photo. Large family tents on the dry land – woman and child outside one of them.	people to a refugee camp of 2000. They had nothing to do.
295	10:24:38:15 9	6:08	LS	Archive sepia photo. Men, women and children sitting in the shade	No work, no nothing.

	5			of a large rock formation. Slow zoom. Screen flashes white as new footage begins.
296	10:24:45:03 9 6	4:22	WS	An empty country road under a cloudy sky.
297	10:24:49:23 9 7	4:03	WS	Twilight sky and darkening landscape. A country road is right of screen and a road sign that reads ‘Fitzroy Crossing’ is left of screen.
298	10:24:54:01 9 8	4:17	WS	Children playing on dry land and walking towards left of screen, with a white structure in the background.
299	10:24:58:13 9 9	4:05	WS	Exterior view of a small supermarket with people sitting outside on the pavement.
300	10:25:02:17 0 0	4:01	WS	Filmed from outside a tall garden fence, a man mows his lawn.
301	10:25:06:22 0 1	3:00	MCU	Archive footage. OTS of Spider’s hands looping red cloth around a loop of a headpiece.
302	10:25:09:22 0 2	2:09	MWS	Archive footage. Tracking shot of Dolly wearing a headband, walking in semi profile across a field with a parked car in the background.
303	10:25:12:09 0	3:11	CU	Archive footage. Cut-in of Spider’s hands making a

	3			rainmaker’s headpiece, looping string around a piece of wood.
304	10:25:15:19 0 4	3:08	MWS	Archive footage. On a wooden deck, semi profile of Spider seated preparing the headpiece in the foreground and Dolly walking away from him in the background.	TOM VO: Spider and Dolly kept their country alive
305	10:25:19:06 0 5	4:15	MWS	Archive footage. Semi profile low angle shot of Spider sitting crosslegged and putting on the headpiece.	by learning to paint. It comes naturally because of
306	10:25:23:18 0 6	5:00	LS	Inside an art gallery, Dolly and Spider look at art. A man approaches Dolly holding an Aboriginal artwork for her.	ceremonies and painting up on bodies and sand drawings.
307	10:25:28:19 0 7	5:13	MWS	Profile of Dolly holding an artwork and looking at it. She turns it over, lays it on the table and leans down preparing to write something on the back.	It was the beginning of kartiya interest in Aboriginal art.
308	10:25:34:07 0 8	4:05	MWS	Spider, in the art gallery, filled with people working and browsing. Pan right to a young man standing with Dolly.
309	10:25:38:11 0 9	5:15	CU	Slight high angle cut-in of Dolly’s hands as she signs the back of an artwork.	TOM VO: They became famous artists and their paintings
310	10:25:44:00 1 0	4:20	MWS	Spider in the art gallery with other people looking at the art.	sell around the world. They’ve been to New York, London, you name it,

311	10:25:48:02 1 1	4:04	MWS	Inside the art gallery. Dolly stands in front of a desk.	they been everywhere!
312	10:25:52:22 1 2	4:11	CU	Artwork hanging on the gallery wall.	TOM VO: This is one of Spider’s paintings.
313	10:25:57:10 1 3	8:17	ECU	Pan across Spider’s painting. Dissolve to next shot as it is superimposed.	He only paints Kurtal, the waterhole he left in the desert.
314	10:26:04:00 1 4	4:03	ECU	Clear water with ripples.
315	10:26:10:05 1 5	1:23	MCU	Spider in the gallery. He looks towards right of screen as he talks to someone.
316	10:26:12:03 1 6	3:00	MCU to CU	Archive footage. Zoom. Semi profile of Dolly sitting. She looks over her shoulder towards camera.
317	10:26:15:00 1 7	2:07	LS	Archive footage. High angle of Spider on his knees wrapping the headpiece in a green cloth on the ground.
318	10:26:17:07 1 8	1:10	LS	Archive footage. High angle of Spider on his knees wrapping the headpiece in a green cloth on the ground.
319	10:26:18:23 1 9	5:10	MWS	Archive footage. Spider, carrying the headpiece in the green cloth over his shoulder walks away from camera, following Dolly who	TOM VO: Spider, Dolly and a mob of old people

				walks up ahead.
320	10:26:24:10 2 0	2:07	MWS	Archive footage. Filmed from inside a van, Dolly places a grill into the van.	from the Great Sandy Desert came up with
321	10:26:26:11 2 1	2:10	MCU	Archive footage. Tracking profile shot of Spider carrying the headpiece covered in the green cloth towards the open door of the van.	a big plan to get their country back.
322	10:26:28:24 2 2	4:15	WS	Archive footage. Filmed across dry flat country, with mountain peaks in the distance, a loaded car with people in the bed as well, drives away from camera.
323	10:26:33:09 2 3	3:01	WS	Archive footage. Tracking shot. Driving towards camera, a 4x4 turns off a dirt road towards left of screen.	They were going to paint their country for evidence.
324	10:26:36:14 2 4	3:00	EWS	Archive footage. Aerial high angle with slight arc pan. Desert landscape with parked cars and people in a sandy clearing.
325	10:26:39:09 2 5	4:06	WS	Archive footage. People gathered in the desert, some sitting on the ground, others standing.	TOM VO: They travel to Pirnini, on the edge of the Great Sandy desert, with more
326	10:26:43:20 2 6	4:00	MWS	Archive footage. Low angle of Spider sitting cross-legged on the ground next to another man. He makes a didgeridoo sound with his hand across his mouth.	than fifty people from four different language groups.
327	10:26:47:22	3:19	CU	Archive footage. Cut-in of

	2 7			Spider’s hands drawing a groove in the sand.
328	10:26:51:12 2 8	3:02	WS	Archive footage. A large rectangular canvas stretched on the ground and people sitting on it.
329	10:26:54:18 2 9	2:20	CU	Archive footage. Cut-in of hands dipping a stick into red paint.
330	10:26:57:08 3 0	2:10	MCU	Archive footage. Slight high angle cut-in of two feet standing apart across an orange line and a hand painting the orange line.	TOM VO: The first line that was painted
331	10:26:59:20 3 1	5:10	LS	Archive footage. A man bending forward towards camera and painting the orange line on the large canvas. More people on the canvas in the background.	on the Ngurrara canvas represents the Canning Stock Route. It was to help the kartiya –
332	10:27:05:07 3 2	6:10	MCU	Archive footage. Profile of women and children sitting together. Pan right and down to one of the women’s hands painting on the canvas.	the white fellas - know where things are. It was important for the old people
333	10:27:11:08 3 3	3:20	WS	Archive footage. People seated on the canvas painting.	to paint their country because they can’t talk to kartiya. They don’t speak English
334	10:27:15:12 3 4	2:14	CU	Archive footage. Cut-in of a paintbrush dabbing paint on the artwork on the canvas.	and they can’t read or write.
335	10:27:18:03 3	2:09	CU	Archive footage. High angle cutin of a hand holding a paintbrush	The canvas is like a map,

		5			painting yellow lines on the artwork.
336		10:27:20:08 3 6	2:16	WS	Archive footage. Filmed across the colourful painted canvas in the foreground and people sitting on the canvas painting in the background.	a bird’s eye view of their country,
337		10:27:23:01 3 7	3:24	CU	Archive footage. High angle cutin of a hand painting around the edges of a waterhole drawing on the canvas.	that shows the dreamtime stories and where people
338		10:27:26:08 3 8	3:05	MCU	Archive footage. Semi profile low angle of Dolly.	used to walk. And it’s a pretty damn good
	339	10:27:30:03 3 9	2:13	MCU	Archive footage. Black shadow walks past screen, filling screen in the foreground as it passes and reveals cut-in of hands painting the artwork in the background.	Map.

	340	10:27:31:03 5 4	1:20	CU	Archive footage. High angle cutin of a hand painting white dots on the red-painted canvas.

341		10:27:33:11 5 5	3:10	WS	Archive footage. Aerial high angle time-lapsed footage. People sitting on a blank canvas to being partially painted.	TOM VO: It took nearly a week to finish the painting
342		10:27:37:00 5 6	4:07	WS	Archive footage. Aerial high angle time-lapsed footage. Background of the painting completed, to people coming back and sitting	and then came the time to use it as evidence for our land claim.

				on it to draw all the details of the landscape.
343	10:27:41:01 5 7	7:19	LS	Archive footage. Fred Chaney talking with some of the men. Spider approaches from behind and stands next to Fred Chaney, as Fred shakes hands with some people.
344	10:27:48:18 5 8	4:20	MS	Archive footage. Fred Chaney talking with Spider and some of the men.	TOM VO: Spider told Fred Chaney from the Native Title Tribunal all
345	10:27:53:19 5 9	6:18	MWS	Archive footage. Semi profile of Spider holding a stick and leaning forward. Camera pulls back for cut-in of Spider’s legs and another man’s legs as they stand on the painted canvas.	about Kurtal. SPIDER: (translation): My country.
346	10:28:00:06 6 0	4:04	CU	Archive footage. High angle of a section of the artwork depicting the waterhole as Spider talks.
347	10:28:04:07 6 1	3:07	LS	Archive footage. Fred Chaney and two women stand side by side next to a 4x4 car.	SPIDER (translation): This waterhole
348	10:28:08:00 6 2	2:09	MWS	Archive footage. Semi profile of Spider and the translator standing side by side as the translator talks.	is so deep.
349	10:28:10:03 6 3	6:18	CU	Archive footage. High angle of a section of the artwork depicting the waterhole. Camera pulls back and pans up as Spider points out	Its name is Kurtal.

					various things on the canvas.
350		10:28:16:20 6 4	3:04	MWS	Archive footage. Two-shot of Fred Chaney and a woman standing side by side in front of the car.	SPIDER: (translation): These footprints are making their way to Kurtal.
351		10:28:20:06 6 5	10:10	MWS	Archive footage. Spider leans down and points out various things on the canvas. Then stands back up next to the translator.	SPIDER: (translation): This is where we used to dance. Still today.
352		10:28:30:08 6 6	3:19	LS	Archive footage. Spider stands next to the translator on the canvas.	SPIDER: (translation): This is true.
	353	10:28:34:03 6 7	5:24	MWS	Archive footage. Fred Chaney and two women stand side by side next to a 4x4 car.	FRED CHANEY VO: I, like everyone else, was moved by the, the power of this demonstration.
		10:28:34:03 6 7	5:24	MWS
	354	10:28:37:06 7 0	2:05	MCU	Archive footage. The nose of a taxi’ing aeroplane as it comes to a stop.
		10:28:37:06 7 0	2:05	MCU
355		10:28:39:10 7 1	2:00	MCU	Archive footage. People filing out of an airport passageway, and turning away towards right of screen. Ningali is among them.
356		10:28:41:11 7 2	2:13	CU	Archive footage. At the airport, Spider facing camera and smiling.
357		10:28:43:22 7 3	1:16	MCU	Archive footage. At the airport. Two people holding onto the escalator handrail in the foreground.	TOM VO: In order
358		10:28:45:20 7	1:17	MCU	Archive footage. At the airport. Dolly stands with another woman	to push the land claim along,

	4			and a child. Dolly looks around.
359	10:28:47:12 7 5	1:24	MWS	Archive footage. At the airport. An old man sits on the floor as a child walks around in front of him.	the old people took the canvas
360	10:28:49:08 7 6	1:24	MWS	Archive footage. At the airport in Canberra. Semi profile of two men carrying the boxed up canvas.	to Canberra. They wanted to show the
361	10:28:51:11 7 7	3:12	WS	Archive footage. In Canberra. Passing landscape and the Parliament House building across the lake, filmed from a moving car.	politicians that the country belongs to us.
362	10:28:54:16 7 8	2:09	CU	Archive footage. Filmed from inside the vehicle, semi profile of a woman looking out the window of the moving vehicle.
363	10:28:57:05 7 9	3:18	WS	Archive footage. A man rides a ride-on lawnmower on an inclined green verge at Parliament House.
364	10:29:00:20 8 0	3:04	MWS	Archive footage. On the lawns of Parliament House, two men start removing the canvas from the box on the ground. Spider paces in the background.
365	10:29:03:24 8 1	2:12	MWS	Archive footage. On the lawns of Parliament House. Spider facing camera and looking down, walking backwards.

366	10:29:06:11 8 2	2:14	MCU	Archive footage. Two men stand together, profile of an official and an old man facing camera next to him.
367	10:29:08:24 8 3	2:00	WS	Archive footage. On the lawns of Parliament House. The canvas is unfurled and stretched across the ground.
368	10:29:10:19 8 4	1:17	MWS	Archive footage. On the lawns of Parliament House. Spider leaning down and adjusting the canvas.
369	10:29:12:20 8 5	3:03	MWS	Archive footage. On the lawns of Parliament House. Semi profile of Ningali standing with a man, chatting.	TOM VO: My sister, Ningali, she was the spokesperson there.
370	10:29:15:20 8 6	1:16	WS	Archive footage. On the lawns of Parliament House. The canvas spread out on the ground in the foreground and people standing around it.	NINGALI VO: This is our country. It represents…
371	10:29:17:12 8 7	2:15	MCU	Archive footage. On the lawns of Parliament House. A younger Ningali, PTC. The canvas is spread out on the ground behind her.	NINGALI: … our songs and our dance and our culture.
372	10:29:20:00 8 8	2:19	CU	Archive footage. On the lawns of Parliament House. High angle pan right of a part of the artwork.	NINGALI VO: And not only that, but as you can see with the…
373	10:29:22:24 8 9	2:03	MCU	Archive footage. On the lawns of Parliament House. A younger Ningali, PTC. The canvas is	NINGALI: … you know, with the vastness of this map, it’s a …

				spread out on the ground behind her.
374	10:29:25:01 9 0	2:19	CU	Archive footage. On the lawns of Parliament House. High angle of a part of the artwork.	NINGALI VO: … linkup between all our different tribes in the Great Sandy desert.
375	10:29:27:22 9 1	4:12	MCU	Archive footage. On the lawns of Parliament House. A younger Ningali, PTC. The canvas is spread out on the ground behind her.	NINGALI: Trying to explain Aboriginal society or, you know, Aboriginal background to…
376	10:29:32:03 9 2	3:12	WS	Archive footage. On the lawns of Parliament House. Pan right and up from the canvas on the ground in the foreground, to Parliament House in the background.	NINGALI VO: … non-Aboriginal people is, is a task in itself.
377	10:29:35:21 9 3	5:10	MCU	Archive footage. At Parliament House. Two-shot of Spider and Ningali.	SPIDER: Tell the white man I’m going to dance Kurtal.	Spider: Tell the white man I’m going to dance Kurtal.
378	10:29:41:06 9 4	3:00	MCU	Archive footage. At Parliament House. Ningali stands facing camera with Spider and another man either side of her, the men facing one another. Ningali, hands on hips, is talking.	NINGALI: It’s a rain dance. So, we hope we don’t get any rain after this.
379	10:29:44:02 9 5	5:21	LS	Archive footage. At Parliament House. Men seated cross-legged on the ground facing camera and singing and hitting sticks together. Dancers’ legs just

				visible as they enter frame right of screen.
380	10:29:50:02 9 6	2:03	WS	Archive footage. At Parliament House. High angle of men, wearing headpieces and dancing a rain dance on the painted canvas on the ground.
381	10:29:51:22 9 7	3:05	MCU	Archive footage. At Parliament House. Spider, wearing a headpiece and dancing.
382	10:29:55:03 9 8	2:00	LS	Archive footage. At Parliament House. Two young boys with painted faces, sit on all fours watching the dance.
383	10:29:57:07 9 9	1:22	MCU	Archive footage. At Parliament House. Semi profile of people in the audience watching the dance. One takes a photo and flash illuminates screen.	TOM VO: The people loved it,
384	10:29:59:05 0 0	2:14	WS	Archive footage. At Parliament House. High angle of the dancers as they dance on the painted canvas.	but the politicians weren’t interested.
385	10:30:01:15 0 1	2:19	MCU	Archive footage. At Parliament House. Profile of Spider wearing the headpiece and dancing.
386	10:30:04:08 0 2	4:09	WS	Outside the National Gallery, a long wooden crate housing the canvas is pushed towards the entrance.	So the National Gallery borrowed the canvas for an
387	10:30:08:21	2:05	MWS	Inside the National Gallery. Men	exhibition.

	0 3			push the crate through the gallery.
388	10:30:11:01 0 4	4:11	WS to CU	The crate lies on the ground as camera zooms towards it. Men gather around it getting ready to move it.	It was like leaving our country with strangers.
389	10:30:15:22 0 5	6:18	WS	Exterior of an industrial garage door coming down and closing.	No family to look after it.
390	10:30:22:03 0 6	5:06	WS	View of the flat landscape ahead as filmed from the front windshield of a moving car.
391	10:30:27:08 0 7	4:06	MS	Semi profile of Tom sitting on a wicker chair holding a tin mug.
392	10:30:31:14 0 8	3:08	WS	Pan right across boys on a football field playing footy.
393	10:30:34:23 0 9	2:09	LS	Spectators sitting in the shade watching the football game.
394	10:30:37:08 1 0	1:13	WS	Filmed across the football field, young people and children watching the game in the background.
395	10:30:38:21 1 1	1:02	WS	The footy game being played.
396	10:30:40:02 1 2	1:19	WS	The footy game being played. Parked cars outside the far fence in the background and people

				watching the game.
397	10:30:41:14 1 3	7:05	LS	Semi profile of Tom sitting crosslegged on a wicker chair. Screen flashes white as new footage begins.	TOM VO: I moved to Fitzroy Crossing when I was quite young.
398	10:30:49:00 1 4	4:19	MCU	Archive photo. Framed portrait photo of a young Tom, smiling. Screen flashes white as another photo appears.	When I was 17 years old, I met
399	10:30:53:04 1 5	4:08	CU	Archive photos. A photo of Catherine holding a baby side by side with a portrait photo of Tom. Screen flashes white as another photo appears.	a girl named Catherine. By the time I was 23,
400	10:30:57:20 1 6	5:14	CU	Archive photos. A photo of Catherine holding a baby side by side with a portrait photo of Tom, and another of three young smiling girls. Screen flashes white.	we had 3 daughters - Lorin, Caitlin and Tamara. For a while,
401	10:31:03:19 1 7	5:03	MCU	Archive photo. Slow zoom towards a framed portrait photo of a young Tom, smiling. Quick fade to black.	everything was looking really good. But then, I started drinking.
402	10:31:08:14 1 8	4:15	WS	Night. Exterior of a house with people milling about. Pan left to darkness, as a flash illuminates frame for a second.	I mean really drinking.
403	10:31:13:04 1 9	3:20	WS	Exterior of a closed gate with a sign that reads: ‘Offensive language, humbugging, spitting,	TOM VO: Fitzroy is a little town.	Tom: Fitzroy is a little town.

				drunken or disorderly behaviour will not be tolerated’. Slow zoom.
404	10:31:17:02 2 0	5:00	CU	High angle of bags of empty beer cans filled to the brim. Slow zoom.	People can come for a party or something, end up fucking drinking.	People can come for a party or something… end up fuckin’ drinking.
405	10:31:21:23 2 1	4:07	MS	Tom, PTC.	TOM: I drink. You know it messed me up.	I drink. It messed me up.
406	10:31:26:10 2 2	9:23	MCU	Tom, PTC.	Lost my license for two years so… rolled the car over, all because of alcohol.	Lost my license for two years. Rolled the car over. All because of alcohol.
407	10:31:36:05 2 3	2:19	MWS	A shed with a sign on it that reads: ‘Bar’ and an arrow indicating a direction and another that reads ‘No drinking in this area’. Slow zoom.
408	10:31:39:04 2 4	3:07	MCU	High angle of empty beer cans lying on the ground. Slow zoom. Screen flashes white as new archive footage begins.
409	10:31:42:08 2 5	6:01	LS	Archive footage. Slow motion and camera pulls back. A younger Tom, with a Band-Aid on his face and smoking, walks towards camera. People standing around a parked car in the background behind him.
410	10:31:48:04 2 6	2:11	CU	Archive footage. A Hand-written sign surrounded by overgrown plants, that reads: MINISTRY OF

				JUSTICE, COMMUNITY CORRECTIONS OFFICE.
411	10:31:50:12 2 7	1:05	LS	Archive footage. Exterior of the Corrections office with people waiting as a uniformed policeman, facing away from camera, talks to them.
412	10:31:51:24 2 8	4:19	MWS	Archive footage. Inside the Corrections Office. Carter, Tom’s lawyer, seated behind a desk. PTC.	CARTER (TOM’S LAWYER): He was placed on a good behaviour bond for six months.	Carter: He was placed on a good behaviour bond for six months.
413	10:31:56:22 2 9	6:18	MCU	Archive footage. Inside the Correction’s Office. Semi profile of a younger Tom with a BandAid on his face, PTC. Carter, his lawyer, is seated in the background. Screen flashes momentarily white.	TOM: If I go to the pub and do anything stupid there, I get locked up and that’s it. Go to jail.	Tom: If I go to the pub and do anything stupid there… I get locked up and that’s it. Go to jail.
414	10:32:03:13 3 0	2:08	MCU	Archive footage. Semi profile of Tom. He looks up towards left of screen.
415	10:32:05:21 3 1	4:01	LS	Archive footage. Spider sitting on the ground and painting on a canvas.
416	10:32:09:17 3 2	1:11	MCU	Archive footage. Semi profile of Tom, lighting a cigarette.
417	10:32:11:04 3 3	3:20	MCU	Archive footage. Semi profile of Tom, PTC.	TOM: I’m a fuckin’ alcoholic. I get drunk.	Tom: I’m a fuckin’ alcoholic. I get drunk.
418	10:32:15:04	1:02	MCU	Archive footage. Semi profile of

	3 4		to CU	Tom smoking as camera zooms.
419	10:32:17:06 3 5	4:13	MCU	Archive footage. Semi profile of Tom, PTC.	Things happen here. Get in trouble. Shit like that.	Tom: Things happen here. Get in trouble. Shit like that.
420	10:32:20:20 3 6	2:24	MCU	Archive footage. Semi profile of Tom smoking.
421	10:32:23:17 3 7	2:19	MCU	Archive footage. Semi profile of Tom, PTC.	Go to court, go to jail.	Tom: Go to court, go to jail.
422	10:32:26:06 3 8	2:17	CU	Archive footage. Tom looking at camera.
423	10:32:28:24 3 9	13:09	MCU	Archive footage. Semi profile of Tom, PTC. Slow zoom. He smiles.	Only solution is get a bomb and blow that fuckin’ pub up, and shoot all of, shoot all of the dealers.	Tom: Only solution is… get a bomb and blow that fuckin’ pub up… and shoot all the dealers.
424	10:32:42:10 4 0	2:22	CU	A sign in a park next to a tree that reads: NO DRINKING IN THIS AREA.
425	10:32:45:08 4 1	4:03	MCU	Archive footage. A younger Tom, looking over his shoulder towards left of screen.	TOM VO: I was off the hook for now,
426	10:32:49:12 4 2	2:00	LS	Archive footage. Children playing on play equipment in a park.	but I was still struggling.
427	10:32:51:05 4 3	1:08	WS	Archive footage. Exterior of a house with a gated door. A woman stands in the doorway calling out.

428	10:32:52:21 4 4	1:23	MWS	Archive footage. Children playing on play equipment in a park.
429	10:32:54:19 4 5	4:16	CU	Archive footage. Filmed from inside a car. Profile of Tom driving.	But in the middle of all this, the old people, they sent me to Canberra.
430	10:32:59:11 4 6	4:00	WS	Archive footage. Filmed across green flat parkland, with the National gallery building in the distance. A bright sun shines in the sky.
431	10:33:03:11 4 7	4:05	WS	Archive footage. Inside the National Gallery. High angle of men lifting the rolled up canvas out of the long crate.
432	10:33:07:11 4 8	3:10	CU	Archive footage. Inside the National Gallery. The rolled up artwork is rolled slowly on the floor.
433	10:33:11:01 4 9	3:20	WS	Archive footage. Inside the National Gallery. People rolling up the canvas and smoothing it down as they roll.	TOM VO: The Ngurrara canvas has spent the last two years
434	10:33:13:10 5 0	1:14	MWS	Archive footage. Inside the National Gallery. Two women rolling up the canvas and smoothing it down as they roll.	at the National Gallery, and something like a million
435	10:33:16:10 5 1	3:03	WS	Archive footage. Inside the National Gallery. Women place protective sheeting on the floor next to the rolled up artwork.	people saw it. But the old

436

10:33:19:13

4:24

Archive footage. Inside the National Gallery. Women place protective sheeting on the canv before rolling it.

people, they wanted it back and sent me to Canberra to pick it up.

437

10:33:24:07

2:08

Archive footage. Inside the National Gallery. High angle of several people slowly and carefully rolling up the canvas.

Spider wanted to show it

438

10:33:26:16

9:22

Archive footage. Inside the National Gallery. High angle of woman sitting on the floor holding up the rolled up canvas She stands helping lift it. They walk backwards carrying the rolled up canvas towards the fa wall.

. all r

to the old people at Balgo. When I was in Canberra, I saw the museum people handling the canvas with great care.

439

10:33:36:16

2:02

Archive footage. High angle of the canvas being unrolled on a blue sheet on the ground.

When we take it out, we just

440

10:33:38:19

5:12

S CU

Archive footage. A younger Tom and others standing on the unrolled canvas. Zoom for MCU Tom facing camera and looking down.

chuck it on the ground. Dogs walk all

over it. People dance on it and people spill

441

10:33:44:05

2:14

Archive footage. High angle of the canvas being folded up. To supervises.

things on it.

442

10:33:46:20

4:02

Archive footage. Filmed inside a

TOM VO: On the way to Balgo, I saw a

moving car. Passing landscape from right of front windshield.

turkey.

443

10:33:50:21

3:13

Archive footage. Tom holding u

It couldn’t fly because it had a broken

	5 9			the dead turkey, arms in the air at the edge of a dirt road.	wing.
444	10:33:54:10 6 0	5:21	MWS	Archive footage. Tracking shot as Tom picks up the dead turkey, flings it over his shoulder and walks back to the stopped car.	I didn’t stop the car, I just jumped out. I ran beside him, caught him, and twisted his neck.
445	10:33:55:23 6 1	5:11	LS	Archive footage. Tom putting the dead turkey into the back of the 4x4 car. He shuts the back door and walks around the car to the driver’s door.	I threw him in the back with the canvas, with blood spilling out.
446	10:34:05:13 6 2	6:14	WS	Archive footage. Cars parked on the red earth. Tom’s 4x4 enters frame on left of screen and drives past. Tracking shot.
447	10:34:12:10 6 3	5:02	LS	Archive footage. Men removing the folded up canvas in the blue sheeting, from the back of the 4x4 and carrying it towards camera.
448	10:34:17:05 6 4	6:20	MCU	Archive footage. Slight high angle of Spider looking at camera, with a small boy on his lap, Buster.	TOM VO: That’s my little cousin brother, Buster, with Spider.
449	10:34:24:03 6 5	7:17	WS	Archive footage. High angle as Tom and others organize and clear the blue sheeting on the ground. Zoom towards Tom as he walks towards a man with the canvas and starts to help unfold it.
450	10:34:31:13	5:20	WS	Archive footage. High angle of

	6 6			men unfolding the canvas on the bleu sheeting on the ground, and stretching it out.
451	10:34:37:07 6 7	13:20	LS	Archive footage. Spider sits on his haunches on the canvas, rubs the artwork and starts singing. Buster sits down on the canvas with Spider, also touching the artwork.	TOM VO: For Buster, this is his first glimpse of the Jila. SPIDER: Kurtal, where are you? This one, he proper Kurtal! This one proper Kurtal!	Spider: Kurtal, where are you? This one he proper Kurtal! This one proper Kurtal!
452	10:34:51:03 6 8	3:07	MCU	Archive footage. Cut-in of people’s legs and feet standing on the canvas around a depicted waterhole.	TOM VO: When they stand on it, it just like
453	10:34:54:12 6 9	5:23	MCU	Archive footage. Old men standing together looking down at the canvas. One starts sobbing and another wipes his eyes. Others also wail.	standing on your homeland. It’s like going home.
454	10:35:05:15 7 0	8:21	LS	Archive footage. Two old women sitting on the canvas and crying. A dog approaches them and runs off.	Most of them will never see their country again. They too old. It makes them sad and
455	10:35:09:10 7 1	8:19	MWS	Archive footage. A man walks off in the foreground to reveal profile of an old man, sitting on the canvas and crying.	they cry. They cry for their ancestors who have died and whose spirits have returned home to their birthplace.
456	10:35:18:01 7 2	4:00	LS	Archive footage. Men standing side by side and Spider standing facing them and talking to them.		Spider: I’m the only one left for this country.
457	10:35:21:20 7	2:24	CU	Archive footage. High angle of a section of the artwork. Dissolve

	3			transition to next shot.
458	10:35:25:06 7 4	13:07	MCU	Archive photo. Fade up. Wirrali facing camera. Slow zoom.	TOM VO: It was a sad day in the late ‘90s when my jabi passed away. My grandfather, he never saw his country again.
459	10:35:38:09 7 5	17:05	MWS to MCU to ECU	Archive footage. High angle of Wirrali sitting in the mud in the waterhole. Zoom towards him for MCU. Zoom again for ECU and frame freezes.	When Wirrali passed away, I was shattered. I was drinking too much and I didn’t care about what was happening in my life.
460	10:35:55:08 7 6	14:06	WS	Archive footage. Tracking shot of Spider and Tom carrying belongings and walking past screen towards a parked car. Slow motion.	TOM VO: Spider was worried. He already lost two grandsons to grog and was desperate to help me. He knew I had to get away from the grog in Fitzroy.
461	10:36:09:22 7 7	6:05	CU	Archive footage. Filmed from inside the moving car. Profile of Spider.
462	10:36:15:22 7 8	3:14	WS	Archive footage. Passing landscape and houses as filmed from the moving car.
463	10:36:19:07 7 9	2:18	WS	Archive footage. Twilight of the road ahead as filmed from the front windshield of the moving car. The sun is setting on the horizon.
464	10:36:22:01 8 0	4:09	WS	Archive footage. Blurred footage as loaded cars in a convoy drive towards camera on right of screen. Dissolve transition to next shot.		Second trip to Kurtal, 2002

465	10:36:26:10 8 1	4:09	WS	Archive footage. Backlit under an orange sky, black landscape and a silhouette of a camel walking around.		Second trip to Kurtal, 2002
466	10:36:30:20 8 2	2:13	WS	Archive footage. Backlit under an orange sky, black landscape and a silhouettes of people looking at the landscape.
467	10:36:33:08 8 3	1:09	WS	Archive footage. Children standing at the top of a hill, One child flips backwards as he somersaults down the hill.
468	10:36:34:18 8 4	1:11	WS	Archive footage. Tracking shot of another boy standing at the top of a hill, and somersaulting down the hill.
469	10:36:36:05 8 5	1:19	WS	Archive footage. Another boy flips backwards as he somersaults down the hill.
470	10:36:37:19 8 6	5:07	LS	Archive footage. A boy laughs as he lands and runs towards camera, then past it. Tracking shot of the boy running away from camera down the hill towards the parked cars at the bottom.	TOM VO: It was important for the land claim to take a lot more young people
471	10:36:42:15 8 7	8:14	MWS	Archive footage. A young boy and a naked toddler, Buster, in the foreground with the cars parked in the background. Buster turns towards camera, holding	so they can learn on the country. Buster was the youngest one on the trip.	Buster! Buster. Look!

				sunglasses. He puts them on and gives two thumbs up.
472	10:36:51:22 8 8	3:23	WS	Archive footage. Filmed through the sparse trees, two cars driving in single file.	It felt good to be out there. No pub
473	10:36:55:21 8 9	4:06	WS	Archive footage. Camels on a hilltop.	and no distraction.
474	10:36:59:24 9 0	7:17	MWS	Archive footage. The car driving ahead, down a sand dune, as filmed from outside the driver’s window of the car following.
475	10:37:07:19 9 1	9:08	MWS	Archive footage. Tracking profile shot of Spider and Tom walking towards left of screen. Tracking shot as they walk away from camera up a hill.	TOM VO: Spider, he taught me to light fires to let Kurtal know we are coming.
476	10:37:17:04 9 2	4:14	MCU	Archive footage. High angle cutin of hands lighting a grass fire.	When the snake sees or smells the smoke, he knows that somebody’s
477	10:37:21:16 9 3	3:04	MWS	Archive footage. Spider walks towards camera as a grass fire burns behind him.	coming.
478	10:37:24:14 9 4	3:14	MCU	Archive footage. Spider PTC, as a grass fire burns behind him.		Spider: Him going to look! Thataway.
479	10:37:28:10 9 5	5:08	MWS	Archive footage. Semi profile of Spider in the foreground and profile of Tom in the background. Tom walks down towards Spider.		Spider: Kurtal will look! Yeah. Like a signal to Kurtal.
480	10:37:33:19	5:05	LS	Archive footage. Tracking shot of	TOM VO: That Spider, he was like

	9 6			Spider walking around holding branches on fire and lighting grass fires around him.	Spiderman out there.
481	10:37:38:17 9 7	5:20	WS	Archive footage. Pan left over a large grass fire burning strongly.	The closer we got to Kurtal, the faster he lit them fires.
482	10:37:44:12 9 8	2:21	MWS	Archive footage. Semi profile of Tom in the foreground, arm extended and gesticulating. Grass fires burn in the background.
483	10:37:47:14 9 9	2:13	CU	Archive footage. Red flames on the grass fires fill the frame.
484	10:37:50:00 0 0	4:07	WS	Archive footage. Grass fires burn all around. Tracking shot -profile of Tom running towards right of screen between the fires.
485	10:37:54:01 0 1	4:08	WS	Archive footage. Passing landscape and a large lake in the distance as filmed from a moving car.
486	10:37:58:21 0 2	4:13	MCU	Archive footage. Tracking profile shot of Spider walking through dry grassland with a large body of water in the background.	TOM VO: When we got there, there was water everywhere. It was flooded out.
487	10:38:03:07 0 3	3:17	WS	Archive footage. Spider walking away from camera towards the small lake.	At first
488	10:38:06:18 0 4	3:15	WS	Archive footage. Tracking shot of Tom walking with the lake in the background. He is followed by	I thought it was good, plenty of water. But then

				another man.
489	10:38:10:09 0 5	3:04	MCU	Archive footage. Tracking shot of Spider shouting as he walks.	I saw Spider… he was upset.
490	10:38:13:15 0 6	4:11	MWS	Archive footage. Tracking shot. Spider walks away from camera arms raised and gesticulating to the water.
491	10:38:17:20 0 7	9:23	MCU	Archive footage. Semi profile of Spider shouting.	SPIDER: Stay down! Your family have come to visit you! Countrymen have come to visit you.	Spider: Stay down! Your family have come to visit you! Countrymen have come to visit you.
492	10:38:27:24 0 8	7:13	MWS	Archive footage. Semi profile of Spider with the small lake in the background. He points towards right of screen. Arc pan 45 degrees behind Spider to OTS shot of where he is pointing.	SPIDER: There the proper jila. Jila there!	Spider: There the proper jila. Jila there!
493	10:38:35:09 0 9	7:06	WS	Archive footage. Slight low angle, filmed across dry grassland on a small hill under a cloudy sky. Four men standing on the hill, left of screen, one points towards right. Pan right across the smoke from a fire towards the small lake.	TOM VO: Kurtal was all covered up with water.
494	10:38:42:17 1 0	3:05	MCU	Archive footage. Spider, PTC.	SPIDER: Water him finish. Cover ‘im up.	Spider: Water him finish. Cover ‘im up.
495	10:38:45:18 1	13:12	MS	Archive footage. Tracking shot in slow motion. Profile of Spider	TOM VO: The little patch we cleaned out to bring up the underground water,	Tom: Spider reckon that Kurtal left or something.

	1			walking through the flat grasslands with the small lake in the background. Spider stop and looks at the water, then continues walking.	it now was covered. Spider reckoned that Kurtal left or something…
496	10:38:59:04 1 2	7:15	MCU	Tom, PTC.	TOM: … because nobody was there to look after it.	Tom: Because nobody was there to look after it.
497	10:39:07:02 1 3	4:00	MWS	Archive footage. Semi profile of Tom, Tommy May and another man looking towards left of screen. Spider passes them in the background, walking towards left of screen.
498	10:39:10:21 1 4	3:00	MWS	Archive footage. Tracking shot as Spider removes his hat and walks towards the water.
499	10:39:13:24 1 5	2:07	MCU	Archive footage. Tommy May and another man facing away from camera in the foreground. OTS of the small lake in the background.
500	10:39:16:07 1 6	2:04	WS	Archive footage. Tracking shot of Spider walking away from camera towards the edge of the small lake.
501	10:39:18:13 1 7	2:16	MWS to CU	Archive footage. Semi profile of Tommy May, another man and Tom standing together looking towards left of screen. Zoom towards Tommy May and Tom.
502	10:39:21:06	7:23	MS	Archive footage. Tracking shot of	SPIDER: Settle down! Settle down!	Spider: Settle down! Settle

	1 8			Spider walking away from camera towards the edge of the small lake and shouting.	Stay down! We are countrymen coming in!	down! Stay down! We are countrymen coming in!
503	10:39:29:01 1 9	6:20	MCU	Archive footage. Profile of Spider at the edge of the water, shouting down at the water.	I got people behind me with axes! So don’t get wild.	Spider: I got people behind me with axes! So don’t get wild.
504	10:39:35:21 2 0	4:12	CU	Archive footage. Cut-in of Spider’s hands scooping up water and rubbing it on his arms as camera tracks his hands.	Stay down! Be quiet!	Stay down! Be quiet!
505	10:39:40:04 2 1	7:02	ECU to MWS	Archive footage. A fire ignites in the dry grass. Camera pulls back to MWS of Spider facing away from camera and leaning into the tall grass to light a fire.	TOM VO: Spider is determined to make Kurtal listen to him.
506	10:39:47:11 2 2	5:05	MWS	Archive footage. Tracking shot. Semi profile of Spider walking with fires burning behind him and the water in the background.
507	10:39:52:05 2 3	3:09	WS	Archive footage. Fires burning around the edge of the small lake.
508	10:39:55:21 2 4	3:15	MCU	Archive footage. Backwards tracking as Spider walks towards camera. Fires burn in the background.
509	10:39:59:07 2 5	3:15	CU	Archive footage. Pan left. High angle. Flames fill the frame in the foreground and clear every now and then to reveal the water in the background.

510	10:40:02:24 2 6	8:05	MCU	Archive footage. OTS of Spider in the foreground with huge fires blazing in the background. He turns to profile then looks back at the fires.	He does everything he knows, lighting fires and singing, to call to Kurtal and ask for a sign that he’s alive.
511	10:40:11:04 2 7	6:05	CU	Archive footage. Semi profile of Spider singing softly.
512	10:40:17:17 2 8	5:08	LS	Archive footage. Semi profile of Spider sitting cross-legged on the sand, holding his sticks and singing. A naked young Buster plays in the sand next to him.
513	10:40:22:20 2 9	4:18	EWS	Archive footage. Time-lapsed footage of a long hill with clouds moving overhead.
514	10:40:27:16 3 0	10:11	LS	Archive footage. Semi profile of Spider sitting cross-legged on the sand,. He looks over his shoulder at the sky. A naked young Buster stands holding the sticks, hitting them together and giggling.	SPIDER: It’s going to rain. It’s going to rain.	Spider: It’s going to rain. It’s going to rain.
515	10:40:37:24 3 1	4:22	MCU	Archive footage. Young Buster facing camera and holding the sticks in front of him. He clinks them together.	Called the rain.	Spider: Called the rain.
516	10:40:42:24 3 2	4:20	EWS	Archive footage. Time-lapsed low angle footage of dark clouds gathering in the sky. Buster can be heard giggling and Spider singing.

517	10:40:47:12 3 3	5:18	MWS	Archive footage. Blurred tracking shot of Spider shouting and walking towards right of screen. Fires burn in the background.
518	10:40:52:23 3 4	3:01	CU	Archive footage. High angle of the dry grass. Spider is heard shouting out.
519	10:40:56:11 3 5	5:20	WS	Archive footage. Low angle and backlit. Spider, in shadow, walks towards camera shouting.	SPIDER: Your sons and grandsons and grandfathers are here. All countrymen!	Spider: Your sons and grandsons and grandfathers are here! All countrymen!
520	10:41:02:06 3 6	4:20	WS to EWS	Archive footage. Tom walks on the sand between the ashes of the burnt grass around him. Camera pulls back.	All your grandsons and grandfathers.	Spider: All your grandsons and grandfathers!
521	10:41:06:21 3 7	2:06	WS	Archive footage. Semi profile of Spider facing away from camera and shouting.
522	10:41:09:06 3 8	5:01	EWS	Archive footage. Filmed across the dry grass, smoke rises from the burnt out grass on a hillside in the background. Silhouette of a man on the hillside. Dark clouds overhead and lighting strikes. Screen flashes white in transition to next shot.
523	10:41:14:11 3 9	20:12	MWS	Archive footage. Spider in profile next to a fire. It starts raining. Arc pan around him to face Spider and pull back for WS of fires still alight around him. Screen flashes white in transition	SPIDER: Wet now.	Spider: Wet now.

				to next shot.
524	10:41:35:04 4 0	14:24	MWS	Archive footage. Tracking profile shot of Spider walking through the flat grassland and gesticulating to the sky. He stops and points, talking to camera.	TOM VO: It’s good to see the rain. It means Kurtal is still alive. SPIDER: Wet. Look. At Kurtal, so much rain there.	Spider: Wet. Look at Kurtal, so much rain there.
525	10:41:49:17 4 3	5:00	EWS to WS	Archive footage. Zoom across the flat landscape to a rainbow on the horizon.		Spider: That’s a rainbow.
526	10:41:52:11 4 6	4:04	EWS	Archive footage. Black landscape with silhouette of a tree under a dark orange sky. Fires burn on the horizon and thunder sounds. Screen flashes white in transition to next shot.
527	10:41:55:03 4 7	4:03	MWS	Archive footage. Night. Slow motion. People sit gathered around a fire in the foreground and a line of grassfire burns in the background. Dissolve to next shot.	TOM VO: All night, I could hear Spider singing to Kurtal.
528	10:41:59:01 4 8	3:18	MCU	Archive footage. Pan up semi profile from sticks to Spider’s face as he clangs the sticks together and sings. Dissolve to black.
529	10:42:04:02 4 9	jj	CU	Archive footage. Night. Profile of Spider singing. Dissolve transition to next shot.
530	10:42:05:16 5	4:05	LS	Archive footage. Night. Silhouette of a young naked Buster on the

	0			roof of a 4x4 pulling a rope behind him. Spider sings. Dissolve transition to next shot.
531	10:42:09:19 5 1	4:07	CU	Archive footage. Night. Silhouette of trees backlit by a roaring fire in the background. Spider sings.
532	10:42:13:03 5 2	4:10	EWS	Archive footage. Black landscape and sky with a rising sun on the horizon. Spider sings.
533	10:42:17:21 5 3	7:02	WS	Archive footage. Profile shot of Spider walking ahead holding his sticks, followed by Tom holding a coolamon.	TOM VO: Next morning, I followed Spider down to the jila.
534	10:42:24:20 5 4	9:05	WS	Archive footage. Slight high angle semi profile of Spider walking ahead and Tom following. The small lake is right of screen. Pan right as Spider and Tom pass screen. Spider shouts.
535	10:42:34:00 5 5	8:22	WS	Archive footage. Profile of Tommy May holding a coolamon over his head and wading through the water towards Spider who is also in the water. Spider talks to camera as Tommy May sits down in the water and dives under it with the coolamon.	SPIDER: The jila there! Here! Jila proper Kurtal!	Spider: The jila there! Here! Jila proper Kurtal!
536	10:42:42:23 5 6	2:18	MWS	Archive footage. Profile of shitless young men, including Tom, looking towards left of screen.
537	10:42:45:18	7:06	MCU	Archive footage. Tracking shot.

	5 7			Cut-in of Tommy May’s legs as he wades out of the water to the grass. Pan up to show him carrying the coolamon on his head. He walks behind Spider who stands facing camera in the foreground holding his sticks.
538	10:42:53:01 5 8	4:12	MCU	Archive footage. Cut-in of two men’s bellies, standing face to face. One rubs the other’s belly and camera pans up to their faces.
539	10:42:57:08 5 9	3:12	MCU	Archive footage. Slow motion cutin of feet wading into the water.
540	10:43:00:20 6 0	2:15	MWS	Archive footage. Profile of Spider at the edge of the water, leaning down with the coolamon into the water.
541	10:43:03:12 6 1	2:24	MCU	Archive footage. Cut-in of the filled coolamon being lifted out of the water and swayed back and forth across the water.
542	10:43:06:14 6 2	2:23	WS	Archive footage. Spider left of screen in the water holding the coolamon and swinging it to and fro. Men stand in a line at the edge of the water facing him.
543	10:43:09:08 6 3	4:21	MCU	Archive footage. Spider faces a young boy and runs his wet hands over the boy’s head and

				torso while singing. Other boys are standing in a line next to him.
544	10:43:14:02 6 4	2:06	CU	Archive footage. Hands rub water over another boy’s head and face.
545	10:43:16:14 6 5	2:10	MCU	Archive footage. Semi profile of Tommy May and Spider. Tommy May wipes his eyes and face.
546	10:43:18:16 6 6	3:08	MWS	Archive footage. Low angle of Young Buster looking back over his shoulder in the foreground. Spider, holding his sticks is in the background and shouting, gesticulating a line.	SPIDER: Line up in one line! One line right here!	Spider: Line up in one line! One line right here!
547	10:43:22:06 6 7	2:11	MWS	Archive footage. Slight high angle tracking shot of Tommy May carrying water in the coolamon in the foreground. Spider hits his sticks together in the background at the edge of the water.
548	10:43:24:14 6 8	2:06	MWS	Archive footage. Semi profile of bare-breasted women standing in a line as Tommy May stands facing them and splattering them with the water from the coolamon.
549	10:43:26:20 6 9	3:11	MWS	Archive footage. Semi profile of high angle of women standing in a line as Tommy May leans down facing them and splattering their feet with the water from the	TOM VO: The old people they haven’t

				coolamon.
550	10:43:30:10 7 0	3:13	CU	Archive footage. Profile of a woman swinging her arms in front of her face and crying.	been back there for a long time. It’s like meeting someone you haven’t
551	10:43:33:22 7 1	4:10	MCU	Archive footage. Semi profile of a woman covering her eyes and crying. Pan left to another woman crying.	seen for a long time, you cry.
552	10:43:38:01 7 2	4:02	CU	Archive footage. Profile of a man leaning on a stick and crying.
553	10:43:42:07 7 3	2:19	MCU	Archive footage. Young Buster facing camera, arms scratching his back, looks around worriedly.
554	10:43:44:24 7 4	5:03	MCU	Archive footage. Semi profile low angle of some of the old men crying.	TOM VO: These old people, like Spider and Dolly, who were
555	10:43:50:01 7 5	3:09	MS	Archive footage. Spider standing in the shallow water facing camera. He swings his sticks back and forth over the water, then sits in the water.	born out here, when they die, their spirits come
556	10:43:53:15 7 6	4:18	MCU	Archive footage. Spider dunks his head under the water and reemerges smiling at camera.	back here to join their ancestors.
557	10:43:58:10 7 7	5:08	MWS	Archive footage. Profile of Tom sitting on the ground and rubbing water on young Buster’s head and face.
558	10:44:03:13 7	6:11	CU	Archive footage. Buster facing away from camera walks off.

	8			Tracking shot as he walks off into the background, reveals cut-in of hands shaking in the foreground. Slight pan up.
559	10:44:09:23 7 9	6:08	WS	Archive footage. Filmed across the flat grassland, Spider stands facing camera and looking over his shoulder at the water in the background behind him. He turns to profile and takes a few steps backwards, while chanting, then starts walking slowly towards camera. Dissolve transition to next shot.
560	10:44:17:00 8 0	5:16	CU	Archive footage. High angle of light shimmering on the surface of water. Dissolve transition to next shot.
561	10:44:22:24 8 1	10:12	MCU	Archive photo. Fade up of a photo of Wirrali facing camera underposed with the shimmering water. Photo fades out leaving only the shimmering water’s surface. Dissolve transition to next shot.
562	10:44:32:20 8 2	9:12	WS	Archive footage. High angle slow motion of Tom walking through the ashes of the burnt bushes.	TOM VO: Every time I go back there, like, I feel real happy. Walk around that place where our people used to be. Like, it …	Tom: Every time I go back there I feel real happy. Walk around that place where our people used to be.
563	10:44:41:24 8	8:12	MCU to	Archive footage. Tom, PTC.	TOM: … made me really sad too because last time I went there I, I was with my grandfather you know. And	Tom: It made me really sad too. Because… last time I went there I was with my

	3		CU		when he was alive, he was there.	grandfather. When he was alive he was there.
564	10:44:50:11 8 4	6:08	MWS	Archive photo. Tom and Wirrali sitting side by side smiling at camera. Slow zoom.
565	10:44:56:16 8 5	29:01	CU	Archive footage. Tom, PTC.	TOM: And when we went back there, I kept thinking about “Oh shit, this is where my grandfather was, me and my grandfather was here sitting down when he was still alive”. And just like, I could feel he was there somewhere you know. He was there. I could feel it inside.	Tom: And when we went back there I kept thinking about… oh shit, this where my grandfather was. Me and my grandfather was here, sitting down. When he was still alive, you know? And just like, I could feel he was there somewhere. He was there. Could feel it inside.
566	10:46:25:15 8 6	5:08	MCU	Archive photo. Tom and Wirrali sitting side by side smiling at camera. Slow zoom. Dissolve transition to next shot.
567	10:45:31:13 8 7	8:08	WS	Archive footage. Twilight. Pan up to aerial shot over a dark landscape and the small lake in the background under a cloudy sky. Fade to black.
568	10:45:39:02 8 8	6:20	WS	Archive footage. Fade up from black. Filmed from inside a dark storage room. The door in the background is opened and lodged open by men standing in the doorway.		Three years later
569	10:45:46:00 8	5:06	WS	Archive footage. Filmed from inside a dark storage room. The	TOM (translation): You go there and one in the middle.	Tom (translation): You go there and one in the middle.

	9			men move towards the rolled up canvas on the floor by the wall.
570	10:45:51:08 9 0	17:14	MWS	Archive footage. Filmed from inside a dark storage room. The men lift the rolled up canvas and head towards the open door in the background. Camera follows them.	TOM: One, two three, go. TOM (Translation): Get going. Heavy. TOM VO: The Ngurrara canvas…	Tom (Translation): Get going! Heavy.
571	10:46:09:00 9 1	17:17	MWS	Archive footage. Filmed from inside a dark storage room. The men carry the rolled up canvas, out the open door in the background. Camera follows them as they step outside and lay the rolled up canvas on the ground.	…reputation is spreading in the white man’s world. We are getting it ready to go on the road.
572	10:46:16:04 9 2	1:20	LS	Archive footage. A man leaning down shifts wooden grills out of the way of the rolled up canvas on the ground.
573	10:46:17:22 9 3	6:24	MWS	Archive footage. Men carrying the rolled up canvas. Pan left to Tom carrying the far end of the rolled up canvas.	Exhibitions, festivals, everywhere - and I’m the tour manager.
574	10:46:24:15 2 5	5:05	WS	Archive footage. Low angle of people walking through Adelaide Airport.		Adelaide Airport
575	10:46:26:23 2 6	2:15	MWS	Archive footage. Profile tracking shot of Tom walking through the airport. Superimposed text fades out.		Adelaide Airport

576	10:46:30:00 2 7	2:24	WS	Archive footage. Spider and Dolly at the airport with the luggage carousel behind them.
577	10:46:32:18 2 8	2:21	MWS	Archive footage. Low angle of Tom at the airport, carrying a bag over his shoulder. Slight zoom.
578	10:46:35:18 2 9	3:12	WS	Archive footage. At the airport. Luggage being loaded into the back of a van.
579	10:46:39:02 3 0	3:15	MWS	Archive footage. At the airport, backlit by the interior. Silhouettes of people filing out of the airport doors.
580	10:46:42:10 3 2	3:17	WS	Archive footage. Night. Passing city views as filmed from the moving car.
581	10:46:45:21 3 3	3:17	WS	Archive footage. Passing illuminated city buildings as filmed from the moving car.
582	10:46:49:15 4 7	6:14	WS	Archive footage. Inside the South Australian museum. The canvas with the artwork partially upright and on display. Pan left to people looking at it.		South Australian Museum
583	10:46:56:03 4 8	4:20	MWS	Archive footage. Inside the South Australian museum. High angle of Spider facing away from camera and looking down at the canvas. He talks to Dolly who is standing next to him.	SPIDER: That’s my jila there! Deep one.	Spider: That’s my jila there! Deep one.
584	10:47:00:22	3:16	MCU	Archive footage. Inside the South	Look ‘em. Me!	Spider: Look ‘em. Me!

	4 9			Australian museum. Semi profile of Spider pointing up. The curator in the background looks upwards in the direction where Spider is pointing.
585	10:47:04:16 5 0	2:21	CU	Archive footage. Inside the South Australian museum. Low angle of footage being played on a hanging white sheet, showing Spider in silhouette, wearing a headpiece and dancing in a flat landscape.	CURATOR: Fantastic!
586	10:47:07:03 5 1	4:06	MCU	Archive footage. Inside the South Australian museum. Profile of Spider looking up with the curator standing next to him in the background also looking up.	CURATOR: What’s the significance of the, what’s this? What’s the headpiece doing?
587	10:47:11:18 5 2	7:09	MCU	Archive footage. Inside the South Australian museum. Semi profile of Spider looking up with the curator standing in the background also looking up and talking with the translator. Camera arc around for front-on shot of Spider looking up.	MAN (translating) : It represents the rain. CURATOR: The rain, oh the rain coming from the clouds. That’s fantastic.	Man (translating) : It represents the rain.
588	10:47:18:24 5 3	5:17	MWS	Archive footage. Inside the South Australian museum. Tom and other people look at a coolamon in a glass display case.	TOM VO: It was great being on the road, meeting new people.
589	10:47:24:22 5	2:09	MWS	Archive footage. High angle of people gathered for drinks.	There was lots of free grog and

	4
590	10:47:27:04 5 5	2:22	MWS	Archive footage. People gathered and having drinks at a party.	every night, another party.
591	10:47:29:22 5 6	3:23	MCU	Archive footage. Two-shot in semi profile of Tom and a journalist. She holds a microphone near his mouth. Camera flashes illuminate. They both smile.	I felt like a rock star.
592	10:47:33:23 9 5	11:08	WS	Archive footage. On the lawns of the Perth International Arts Festival. Tracking shot as the canvas is unrolled on the grass. Audience sitting on the grass in the background.	NINGALI (announcement): The Ngurrara canvas was painted by over fifty people in 1997 as part of the Ngurrara Native Title claim and was presented to the Native Title Tribunal as a legal document.	Perth International Arts Festival Ningali (announcement): The Ngurrara canvas was painted by over fifty people in 1997 as part of the Ngurrara Native Title claim and was presented to the Native Title Tribunal as a legal document.
593	10:47:44:21 9 6	5:09	MWS	Archive footage. On the lawns of the Perth International Arts Festival. Audience members sitting on the grass watching the proceedings. Slow pan left over the audience.
594	10:47:50:04 9 7	13:24	MCU	Archive footage. On the lawns of the Perth International Arts Festival. Semi profile of Dolly sitting with other women as Ningali paints another woman’s	TOM VO: My sister Ningali was MC. She joined the women painting up. DOLLY (translation): You look, a lot of people.	Dolly (translation): You look, a lot of people.

				arm. Dolly looks all around and sings tapping her hands in her lap.	TOM VO: Dolly is always making sure everything is going right.
595	10:48:04:07 9 8	2:17	MCU	Archive footage. On the lawns of the Perth International Arts Festival. A woman covering her eyes, then wiping at her face.
596	10:48:06:20 9 9	2:21	CU	Archive footage. On the lawns of the Perth International Arts Festival. Profile of a woman’s face being painted with yellow paint.
597	10:48:09:21 0 0	3:12	MWS	Archive footage. On the lawns of the Perth International Arts Festival. Spider sits on the grass facing camera and ties a leaf cluster around his shin. Buster sits facing Spider.
598	10:48:13:02 0 1	7:23	LS	Archive footage. On the lawns of the Perth International Arts Festival. Profile of Buster, in costume, sitting cross-legged on the grass. Pan right to Spider, sitting on the ground facing Buster, and tying leaves around his shin.	TOM VO: It was Buster’s first public dance and he stuck to Spider like glue.
599	10:48:21:03 0 2	2:13	MCU	Archive footage. On the lawns of the Perth International Arts Festival. A woman paints on Ningali’s arm.
600	10:48:23:18 0	2:16	MWS	Archive footage. On the lawns of the Perth International Arts

	3			Festival. Spider sitting on the ground facing camera with Buster sitting opposite him. Buster looks over his shoulder towards camera and smacks some leaves on the ground.
601	10:48:26:09 0 4	4:14	LS	Archive footage. On the lawns of the Perth International Arts Festival. People sitting on the grass preparing for the dance. Tom stands amongst them smoking, then prepares to sit with them.
602	10:48:30:23 0 5	7:10	MWS to MCU	Archive footage. On the lawns of the Perth International Arts Festival. High angle with zoom of Tom leaning down and tying leaves around a man’s shins.	TOM VO: My role was changing. I was getting more responsibilities,
603	10:48:38:09 0 6	3:18	LS	Archive footage. On the lawns of the Perth International Arts Festival. Tom hands a headpiece to a man sitting on the ground.	pulled this way and that. The pressure was mounting up.
604	10:48:41:24 0 7	3:03	LS	Archive footage. On the lawns of the Perth International Arts Festival. Semi profile of men in traditional costume walking towards right of screen across the grass. Other people follow them.
605	10:48:45:02 0 8	2:18	MWS	Archive footage. On the lawns of the Perth International Arts Festival. Tom and some of the

				dancers walk towards camera.
606	10:48:47:22 0 9	9:17	MWS	Archive footage. On the lawns of the Perth International Arts Festival. Tracking shot. Pan up their bodies and pan right as Tom, another boy and Buster walk side by side towards right of screen.	BUSTER: I got lots of things here! Here! I got lots of these things here!	Buster: I got lots of things here! Here! I got lots of these things here!
607	10:48:57:13 1 0	3:01	MCU	Archive footage. On the lawns of the Perth International Arts Festival. Semi profile of Spider wearing a headpiece and dancing.
608	10:49:00:13 1 1	2:07	MCU	Archive footage. On the lawns of the Perth International Arts Festival. Buster wearing a headpiece and dancing.
609	10:49:02:23 1 2	1:04	LS	Archive footage. On the lawns of the Perth International Arts Festival. Dancers wearing headpieces and dancing in the foreground. People sitting on the lawns watching the dance in the background.
610	10:49:04:03 1 3	3:19	LS	Archive footage. On the lawns of the Perth International Arts Festival. A man in a wheelchair sitting with others on the grass next to him. Tom is sitting on the grass next to him.
611	10:49:07:20 1	6:00	MWS	Archive footage. On the lawns of the Perth International Arts

	4			Festival. Buster dancing. Pan up to Spider dancing next to him.
612	10:49:13:20 1 5	8:14	LS	Archive footage. On the lawns of the Perth International Arts Festival. Profile of Tom sitting on the grass.	TOM VO: It was getting harder and harder to get off the grog. I felt like I was a bomb about to explode.
613	10:49:22:04 1 6	7:24	CU	Archive footage. On the lawns of the Perth International Arts Festival. High angle pan over the artwork on the canvas. Dissolve transition to next shot.
614	10:49:30:20 1 7	4:04	MCU	Archive footage. Fade up two men standing face to face. One man is painting on Tom’s chest.		William Mora Gallery, Melbourne
615	10:49:34:07 1 8	4:04	MWS	Archive footage. Semi profile. Tom stands face to face with another man who is painting Tom’s chest and arms.	TOM VO: For a long time, we were touring the big canvas
616	10:49:38:14 1 9	8:05	MWS to MCU	Archive footage. Spider, Dolly and another man sit on chairs against a wall. Spider is holding his rain sticks. Zoom towards Spider.	all round the country. It was one way to keep the fight to get our land back alive.
617	10:49:46:22 2 0	2:24	MWS	Archive footage. Slight high angle, people standing in groups talking. Cathy Freeman is among them.
618	10:49:49:20 2 1	6:10	MCU	Archive footage. OTS of a man pointing Tom’s chest. Semi profile of Tom having his chest painted.	TOM VO: For me, it was always a struggle. But travelling
619	10:49:56:08	2:12	MWS	Archive footage. Spider and Dolly	with Spider and Dolly kept me on the

	2 2			seated side by side on chairs against a wall.	right
620	10:49:58:18 2 3	3:11	MWS	Archive footage. Slight high angle. Tom talks with a group of people. Dissolve transition to next shot.	path for a while.
621	10:50:03:15 2 4	6:08	ECU to CU	Archive footage. Bird’s eye view, and camera pulls back from the waterhole depiction on the canvas. Dissolve transition to next shot.
622	10:50:07:07 6 1	2:12	MWS	Night. Tom inside the moving car, with street lights in the BG.
623	10:50:12:04 6 2	5:16	MCU	Night. Filmed inside the car, from the front right corner of the windshield. Pan right tracking a fast-moving car as it passes, to profile of Tom driving.	TAMARA LAWFORD VO: My dad used to drink a lot in town. He used to…
624	10:50:20:10 6 3	8:10	MCU	Tamara, PTC.	TAMARA: … come home drunk. And um… picking a fight sometimes with Mum.	Tamara Lawford Tom’s daughter
625	10:50:28:22 6 4	7:07	MCU	Tamara, hands interlinked above her head, PTC.	TAMARA: When he’d come home he’d come staggering through the door and shouting at us, calling, you know, calling our names.
626	10:50:36:04 6 5		MCU	Archive photo. Pan up a photo of Tamara and her sisters standing in a line, one behind the other.	TAMARA VO: And me and my sisters would look at each other like “Oh shit, my God, he’s drunk again”, you know? And we were like “What are we going to do?” And I think…


627	10:50:45:03 6 6	MCU	Tamara, PTC.	TAMARA: … as soon as we’d hear one big bang, you know, we’d just jump and we’d, you know, we’d run out of the house.
628	10:50:50:01 6 7	MCU	Low angle with slight zoom. A rotating ceiling fan filmed between the curtains.
629	10:50:53:17 6 8	WS	Backlit from interior lights, the black exterior of a house with the glass front door and a curtained window. Silhouette of Tom appears walking in slow motion in the doorway.	TAMARA VO: I didn’t like being near him
630	10:50:57:11 6 9	MWS	Backlit from interior lights, the black exterior of a house. Silhouette of Tom standing motionless in the doorway.	because I sorta knew, you know, what, what he was like.
631	10:51:02:05 7 0	MCU	Tamara, PTC. Dissolve inwards to black.	TAMARA: My Mum reckoned it um… or even my sisters reckon it happen early hours that morning.
632	10:51:07:00 7 1	MCU	Fade up from black. Backlit from interior lights, silhouette of Tom standing in the doorway. He turns back into the house. Women’s angry voices are heard. Footage blurs and transitions to next shot.
633	10:51:08:24 7 2	WS	Night. Silhouettes of people at the edge of a dark park, backlit by streetlights at right of screen.

			A car with headlights on approaches from left of screen. Footage blurs and transitions to next shot.
634	10:51:11:03 7 3	WS	Night. Pan left across an empty intersection, with silhouettes of people walking away towards left of screen. Footage blurs and transitions to next shot.
635	10:51:14:15 7 4	MWS	Night. Profile silhouette of a man backlit by a streetlight. Extreme slow motion of the silhouette of the man turning towards camera. Footage blurs and transitions to next shot.	TAMARA VO: They even tried stopping him but they couldn’t, my dad didn’t stop belting Mum. He just kept on going.
636	10:51:23:04 7 5	MWS	Night. Profile silhouette cut-in of a man’s midriff backlit by a streetlight. Extreme slow motion of the silhouette walking.	He was hitting her with anything, a stick, anything.
637	10:51:28:03 7 6	MCU	Tamara, PTC.	TAMARA: My Dad didn’t stop. He, I think he was too drunk and too… too wild towards my Mum.
638	10:51:34:14 7 7	WS	Dark shadows in frame. Passing headlights illuminate the frame and a sign emerges that reads: Emergency, Main Entrance. Frame darkens again as the headlights pass.	TAMARA VO: When she went to the hospital,
639	10:51:40:09 7	WS	Night. Slow pan right. Exterior of the hospital. Fade to black and	he also went to the hospital as well, behind her and wanting to still belt her at the hospital. So they

	8			transition to next shot.
640	10:51:47:14 7 9	4:16	WS	Low angle time-lapsed footage of the moon behind the clouds in a black sky and moving lower.	had to call the police on him and he even tried to fight the police outside.
641	10:51:51:22 8 0	5:08	CU	Bird’s eye view. Darker ground lights up as a torn photo is thrown on the ground next to two empty alcohol bottles.
642	10:51:57:06 8 1	5:24	MCU	Tom, sitting facing camera, arm around one upraised knee.	NINGALI VO: The hardest thing for Tom was the breakup, with his first wife Catherine.
643	10:52:03:11 8 2	20:02	MCU	Ningali, PTC.	NINGALI: I don’t think he ever knew that was going to happen. I think he just thought… I think that he just accepted that was the way that people lived and Catherine, you know, didn’t like that. And you know, I… I’m actually proud of Catherine for doing that because you don’t live like that, you don’t live in a, in a role of violence and you don’t live in a role that is full of alcohol. And
644	10:52:23:11 8 3	6:12	WS	Exterior view of closed gates outside a prison. Slight zoom. Dissolve transition to next shot.	NINGALI VO: …once I think Catherine had left, Tom had finally hit rock bottom, and that was his bottom of the barrel.
645	10:52:30:21 8 4	5:10	WS	Filmed from inside the prison with a barred gate in the background. Gate blurs as a padlock on a barred gate comes into focus in the foreground.	TOM VO: When you go to jail, it’s not a good place.	Tom: When you go to jail, it’s not a good place.

646	10:52:35:11 8 5	5:08	MCU	Tom, PTC.	TOM: It’s not a good place to be in there, especially…	Tom: It’s not a good place… to be in there, especially…
647	10:52:40:16 8 6	7:23	MWS	Filmed inside the prison. Pan up a barred gate to low angle of a small window in a prison cell in the background. Dissolve transition to next shot.	TOM VO: … being locked up 24 hours a day. It’s not good.	Tom: being locked up 24 hours a day, it’s not good.
648	10:52:49:16 8 7	8:01	CU	A fenced gate chained closed. Fade to black.
649	10:52:56:14 8 8	0:24		Black screen.
650	10:52:57:12 9 2		MWS	Low angle of a windmill turning against a cloudy sky.
651	10:52:59:18 9 3		MWS	Colourful birds perched on the branches of a tree. Tracking shot as they fly off en masse.
652	10:53:03:24 9 5		EWS	Black landscape backlit by the setting sun under an orange sky. Silhouette of Tom walking towards camera on the landscape. Dissolve transition to next shot.	TOM VO: When I was released from jail, I was told to stay away from town until I got myself together.
653	10:53:10:06 9 6		WS	Fade up to another abandoned car on the dry earth. Dissolve transition to next shot.	I went to live on a cattle station 100k’s from Fitzroy.
654	10:53:18:06 9	7:11	EWS	Fade up. Black landscape backlit by the setting sun under an	It was quiet on the station. No town humbug. It’s just like living out in the

	7			orange sky. Silhouette of Tom walking away from camera towards a body of water in the background. Dissolve transition to next shot.	bush.
655	10:53:24:23 9 8	4:08	WS	Fade up. Time-lapsed footage of the sun rising behind the trees in the background, with a body of water in the foreground. Black landscape backlit by the rising sun.
656	10:53:27:16 9 9	2:03	MCU	A hand outside a window of a car, points towards right of screen.
657	10:53:29:18 0 0	3:13	WS	A wild turkey walking in the grass.	TOM VO: Buster visited me and we went turkey shooting.
658	10:53:33:04 0 1	1:10	MCU	Filmed from inside the car, a rifle aimed outside a car window at the landscape in the distance. Sound of a shot.	He is growing
659	10:53:34:19 0 2	2:09	LS	High angle of the shot turkey writhing on the ground.	up fast.
660	10:53:36:06 0 4	4:06	LS	High angle of Tom and Buster sitting face to face on the ground, both cross-legged and plucking the turkey’s feathers.
661	10:53:39:05 0 5	4:06	LS	Semi profile of Buster sitting on the ground, cross-legged and plucking the turkey’s feathers.	TOM: Pull ‘em, pull ‘em. Pull.

662	10:53:43:14 0 6	2:06	MCU	Profile of Tom looking down.	TOM: Big chook chook!	Tom: Big chook chook!
663	10:53:45:16 0 7	5:21	MCU	Cut-in of Tom’s hands as he plucks the feathers. Camera pans up to Buster sitting across from Tom plucking the turkey’s head.	BUSTER: I’ll give you haircut now. You want a haircut?	Buster: You want a haircut?
664	10:53:49:12 0 8	2:16	MCU	Cattle in a pen.
665	10:53:52:07 0 9	14:10	WS	Tracking profile shot of Tom walking in slow motion, head lowered on the edge of a small hill.	TOM VO: I realised I had just accepted living with drinking and violence. It was all around me. I didn’t think it was bad. It just seemed normal.
666	10:54:06:09 1 0	8:04	MWS	High angle of several butterflies on the ground. Dissolve transition to next shot.	But going to jail, was a big wakeup call. It gave me time to think. What am I
667	10:54:14:18 1 1	7:19	MCU	Fade up. Framed photo of Tom’s three daughters. Slow zoom.	doing to myself and what am I doing to my kids?
668	10:54:22:09 1 2	8:09	WS	The road ahead as seem from the front windshield of a moving car.
669	10:54:30:20 1 3	3:09	MCU	Black frame clears top to bottom as a shed door is opened to reveal a rainmaker’s headpiece on the ground.
670	10:54:34:09 1 4	7:19	WS	Filmed from inside the shed, black interior and backlit from outside. Tom stands at the entrance to the shed pushing the

				sliding gate up. He enters, walks past the headpiece on the ground and reaches for something on right of screen.
671	10:54:42:00 1 5	3:09	MWS	Profile of Tom inside the shed lifting another headpiece and turning to lay it on the ground in front of him.
672	10:54:45:10 1 6	2:17	MCU	High angle of Tom laying another headpiece parallel with two others on the ground.	TOM VO: Back in Fitzroy, I found that
673	10:54:48:03 1 7	3:01	MWS	Facing away from camera, Tom shakes out a sheet in front of him and prepares to lay it on the ground.	the best thing I can do right now is throw myself
674	10:54:51:02 1 8		MCU	High angle. Cut-in of Tom’s hands placing the headpieces on the white sheet on the ground.	back into work.
675	10:54:53:16 1 9		MWS	Semi profile of Tom leaning down as he covers the headpieces with the white sheet on the ground.	The last two Kurtal trips
676	10:54:56:00 2 0		WS	Filmed from inside the shed, black interior and backlit from outside. Tom lifts the headpieces covered in the white sheet, lays them over his shoulder and walks away from camera carrying them.	provided enough evidence to submit the final paperwork to get our country back.
677	10:55:05:09 2 1		WS	Filmed across dry tall grass, cars parked in convoy in the background and a group of old people walking towards camera in	TOM VO: Our land claim took nearly fifteen years

				front of them.
678	10:55:11:19 2 2		WS	Filmed across tall dry grass, old people walk in single file and in profile towards left of screen.	to get through the courts and many of the old people have died along the way. But, it looks like the big day
679	10:55:18:23 2 3		MWS	People seated on chairs in an audience. Spider and Dolly are seated up front.	has finally arrived. We are having the Determination here at Pirnini
680	10:55:24:13 2 4		WS	Filmed across the tall dry grass, people walk towards left of screen where a big yellow tent is visible.	where the Ngurrara canvas was painted.	Native Title Determination, 2007
681	10:55:29:21 2 5		MWS	Tom in shadow, sitting on the ground facing camera, rubs a bandana and starts to wrap the headband around his forehead.
682	10:55:32:14 2 6	1:21	MCU	Semi profile of Tom next to the minivan adjusting his hair around the headband.
683	10:55:34:13 2 7		CU	Slight low angle of Tom wearing a red headband and looking over his shoulder towards left of screen then turning back to profile.
684	10:55:36:04 2 8		WS	People unfurl the painted canvas on a blue sheeting on the ground. Tom supervises and gesticulates.
685	10:55:44:13 2 9	3:13	MCU	Quick pan up with cut-in of Tom’s hands from a rock being placed on the edge of the blue sheeting to profile of Tom.
686	10:55:47:23	3:03	WS	The painted canvas is unfurled

	3 0			and smoothed out. Forward tracking.
687	10:55:51:02 3 1	4:16	MWS	Inside a large tent. Facing camera, the judge in his robes stands side by side with another man and they talk to a seated official behind a desk. Seated audience right of screen in the background.
688	10:55:55:24 3 2	5:05	MCU	Tom and another man stand face to face as Tom paints the other man’s chest. Pan down to midriff shot as Tom paints white on the man’s belly.
689	10:56:01:05 3 3	5:05	MWS	In the foreground, a barrister helps another put on her ‘bib’ while she holds up her hair. Others stand around under the large tent.
690	10:56:06:08 3 4	2:14	MCU	Tom facing camera in the background applies paint to a man’s face who stands in profile next to him in the foreground.
691	10:56:09:00 3 5	4:03	MWS	Pan right across all the officials getting ready and putting on jackets etc.
692	10:56:13:02 3 6	6:07	MCU	High angle of Spider and Dolly seated side by side looking up at camera.	JUDGE: The Canberra law provides that the federal court
693	10:56:19:07 3	9:17	MCU	Semi profile of a judge seated next to a woman behind a desk.	can make a determination of Native Title.

	7			He talks and she translates.
694	10:56:28:23 3 8	21:14	CU	Profile of Spider sitting with other men. Slow pan left over people in the audience.	JUDGE: The Ngurrara Native Title determination application was lodged by Annette Kogula, Walker Butcherman, Percy Gigugali, Joe Brown, Mona Juguna, Peter Clancy, Ronnie Jibidgee, Butcher Wise, Tommy May, Ivan McPhee, Jimmy Nereva,…
695	10:56:50:06 3 9	5:14	MCU	Semi profile of Spider seated in the audience with other men.
696	10:56:55:24 4 0	3:06	MWS	OTS between the judge and the translator in the foreground, with Tommy May, seated in the audience and facing camera in the background.
697	10:56:59:04 4 1	3:00	MWS	Semi profile of Spider seated in the audience with other people.	JUDGE: The law says to all the people of Australia, …
698	10:57:02:06 4 2	7:13	LS	Semi profile of the long table behind which sits the Judge, a woman and the translator.	…this is your land… and that it always has been your land.
699	10:57:09:16 4 3	3:05	MWS	High angle of Spider and Dolly seated in the audience with other people.
700	10:57:13:01 4 4	3:09	LS	Semi profile of the long table behind which sits the Judge, a woman and the translator. Applause sounds out.	JUDGE: Congratulations.
701	10:57:16:08 4	5:19	WS	People seated in the audience clapping.

	5
702	10:57:22:00 4 6	3:10	MCU	Profile shot of people leaning down and signing a register.
703	10:57:25:09 4 7	2:19	CU	Cut-in profile shot of hands signing a register.	TOM VO: Despite the excitement,
704	10:57:28:11 4 8	3:20	LS	Profile shot of Tom seated in the audience. Slight zoom.	I had a feeling that something was wrong.
705	10:57:32:01 4 9	9:07	MCU	Profile of the judge talking with Spider who stands facing camera. The judge pats Spider’s shoulder and walks off in front of him. Camera tracks him as he shakes hands with other people.	Why didn’t the judge call out Spider’s name? Some people got their country back,
706	10:57:41:07 5 0	3:21	LS	Slight high angle of Dolly, Spider and other people standing on the canvas on the ground. Dolly walks around looking down at the canvas.	but Spider - he got nothing!
707	10:57:45:07 5 1	4:17	MCU to CU	Profile of Spider. Zoom towards him as he talks. He turns to look at camera.	SPIDER: Somebody tell that judge about Kurtal.	Spider: Somebody tell that judge about Kurtal.
708	10:57:50:00 5 2	4:12	MWS	High angle of the waterhole depiction on the canvas with cutin of someone’s feet in socks standing on it. Zoom slightly.
709	10:57:54:09 5 3	3:16	CU	Profile of Spider. He looks right then left.

710	10:57:57:24 5 4	6:08	MCU	Tom, PTC.	TOM: All that hard work for nothing, you know? All them old people, most of them are all gone now.	Tom: All that hard work for nothing, you know? All them old people, most of ‘em all gone now.
711	10:58:04:10 5 5	9:12	MWS	Spider standing on the canvas amongst other people looking away from camera. Camera pulls back for WS and pans down to show his socked feet standing on the waterhole depiction of the canvas.
712	10:58:13:20 5 6	5:06	WS to MWS	Spider standing amongst the crowds on the canvas as camera zooms towards him. Dissolve transition to next shot.	TOM VO: It took me weeks to find out that the problem was the boundaries of the land claim.
713	10:58:19:10 5 7	9:20	CU	Fade up. Slow pan right across a map showing the boundaries. Dissolve transition to next shot.	TOM VO: Kartiya asked the old people “Where your country?” and kartiya, they just draw a straight line on a map. Kurtal
714	10:58:28:17 5 8	5:12	CU	Fade up. High angle pan of the landscape and the waterhole depiction on the canvas.	was outside the boundary.
715	10:58:34:06 5 9	6:09	MWS	Semi profile of Spider sitting on the ground cross-legged, tapping his knee.	TOM VO: Spider can’t understand what the confusion is all about. It’s his country
716	10:58:40:22 6 0	4:17	MWS	Dolly sitting on the ground and looking around. Other people are sitting next to her and in the background.	and always has been his country. In his mind, he never lost it
717	10:58:45:09	12:15	WS	Filmed across dry flat land,	in the first place. The problem is the

	6 1			Spider sits alone on the ground. A colourful long painting is hanging in the background. Young boys walk past behind him. Dissolve transition to next shot.	whitefella law. It’s written on paper and it always changes. The blackfella law is written in the stars,
718	10:58:58:13 6 2	7:13	WS	Fade up. Silhouettes of thin tree branches in the foreground, backlit by a yellow sky in the background.	on the ground and on the countryside, and it has never changed.
719	10:59:05:09 6 3	2:22	EWS	Fitzroy Crossing Boundary meeting. High angle of structures with parked cars in front of them. A car crosses screen in the foreground.
720	10:59:08:10 6 4	3:07	MWS	People walking away from camera under sheltered deck.
721	10:59:11:18 6 5	3:15	WS	Tracking profile shot of people walking across dry earth towards right of screen.
722	10:59:15:02 6 6	2:15	WS	Exterior view of a blue brick structure with graffiti.
723	10:59:17:24 6 7	3:09	WS	A child plays with a ball in the foreground. Men seated in a huddle near parked cars in the background. The child approaches them.
724	10:59:21:05 6	3:11	LS	Men seated in the huddle, looking down at a map on the ground.	TOM VO: Back in Fitzroy, the old people were trying

	8
725	10:59:24:16 6 9	6:09	MWS	High angle of the map on the ground. Pan up to Spider seated on a folding chair and facing camera.	to work out what went wrong at the Determination.
726	10:59:31:01 7 0	4:10	MCU	Profile of Spider talking. He gestures with his hand.
727	10:59:35:12 7 1	3:01	LS	People standing around someone in a wheelchair, and others sit on the ground.
728	10:59:38:12 7 2	3:17	WS	High angle of the people seated in a huddle with the map on the ground in the centre. Spider is seated in profile left of screen.	While some people used Karitya
729	10:59:42:07 7 3	2:17	MCU	High angle of a portion of the map on the ground held in place with a tin mug in the corner. It reads: Kimberley map of areas where Native Title has been determined.	maps to discuss the boundaries of country,
730	10:59:44:21 7 4	3:19	MWS	Men seated together in a huddle with the map on the ground. OTS Spider in the foreground.
731	10:59:48:14 7 5	9:11	MCU	High angle cut-in of Spider’s finger drawing in the sand.	old Spider, he preferred his own map.
732	10:59:57:22 7 6	6:07	WS	Filmed across dry land in the foreground, the men in a huddle next to parked cars in the background.	TOM VO: Ever since the Determination, Spider had a sense that time was running out to pass on his knowledge.

733	11:00:04:06 7 7	3:23	WS	A makeshift divider of brown material, with three young men standing in front of it and some dancing headpieces on the ground in front of them.
734	11:00:08:04 7 8	10:10	WS	People stand around right of screen as children play football left of screen. Camera pans left as Spider enters frame calling out to the children.	SPIDER: Where are the young people? Japeth and Ging-Ging and Jungula? Where are they? All the young people?	Spider: Where are the young people? Japeth and Ging-Ging and Jungula? Where are they? All the young people?
735	11:00:18:18 7 9	6:03	WS	Children playing football on the dry land. Pan left to Spider on the perimeter walking away from camera and calling out to the children.	You gotta move! All you mob gotta come for dancing!	You gotta move! All you mob gotta come for dancing!
736	11:00:23:19 8 0	10:12	LS	Spider standing alone and facing camera and calling out to the people.	All you mob! You gotta sing ‘em here! Culture! Come for your Culture. Culture!	All you mob! You gotta sing ‘em here! Culture! Come for your Culture. CULTURE!
737	11:00:35:09 8 1	11:16	MWS	Spider facing camera and calling out. A parked 4x4 is behind him. He turns away from camera mumbling.	Don’t think you’re the boss! I’m the boss!	Don’t think you’re the boss! I’m the boss!
738	11:00:46:17 8 2	4:24	WS	Spider left of screen standing alone as children play football in the background and others ignore him right of screen.
739	11:00:51:21 8 3	2:17	WS	Filmed from across dry grassland with a tree in the foreground and children playing football in the background.

740	11:00:54:08 8 4	19:13	WS	Spider sitting cross-legged on the ground, facing camera. He lowers his head and the parked car behind him reverses slowly back, then turns to drive off around Spider sitting on the ground.
741	11:01:13:22 8 5	33:02	WS to LS	Spider sitting alone on the dry ground as two young boys approach him. Spider gets up and walks towards right of screen with the two boys as camera zooms and tracks him. They head towards the headpieces lying on the ground and Buster leans down towards them, touching them.	TOM VO: Only little Buster and one of his mates seem interested in old Spider. Spider won’t be here for long. I don’t think there’ll be any more after him. One thing I knew, I had to help him.
742	11:01:47:01 8 6	5:00	WS	People seated in a huddle on the ground with Tom and Spider seated with them. Tom is talking to them.	TOM: He’s the last man teacher. If he passed away, what could happen?	Tom: He’s the last man teacher. If he passed away, what could happen?
743	11:01:51:21 8 7	1:18	MWS	High angle of Tom and Spider seated side by side in the huddle on the ground.	Serious fucking shit.	Serious fucking shit.
744	11:01:53:23 8 8	4:09	MWS	Filmed from ground level, Tom and Spider seated side by side in the huddle on the ground.	While we got him still here, we want him to teach us, teach us whole lot with us.	While we got him still here… we want him to teach us, teach us whole lot with us.
745	11:01:58:06 8 9	5:15	MCU	Ngumpan Workshop. Two shot of Spider and Buster side by side, as Spider hits his rain sticks together and sings. Slow zoom.

746	11:02:03:19 9 0	3:00	MCU	Ngumpan Workshop. Cut-in of hands filing down a piece of wood.
747	11:02:06:22 9 1	1:21	MCU	Ngumpan Workshop. Cut-in of a large piece of wood being chipped at the edges.	TOM VO: I organised
748	11:02:08:16 9 2	1:19	MCU	Ngumpan Workshop. Cut-in of hands sanding another piece of wood.	a workshop for Spider and the old people
749	11:02:10:11 9 3	2:08	WS	Ngumpan Workshop. Old men sitting under a tree chipping at pieces of wood.	to pass on their knowledge.
750	11:02:12:19 9 4	1:17	MCU	Ngumpan Workshop. Cut-in of hands filing a long tubular log.
751	11:02:14:18 9 5	1:18	LS	Ngumpan Workshop. An old woman chips at wood as she makes a coolamon. Children sit on the ground around her, playing.
752	11:02:16:04 9 6	2:06	MWS	Ngumpan Workshop. Slight high angle. A man and Buster sit side by side in the foreground as the man works on a piece of wood. Spider is seated behind them, all facing camera.
753	11:02:18:08 9 7	2:20	MWS	Ngumpan Workshop. Semi profile of young men and boys sitting on the bonnet of a parked car.
754	11:02:21:05 9	3:06	CU	Ngumpan Workshop. A young boy looking towards right of

	8			screen, turns back towards camera and continues working on his piece of wood.
755	11:02:24:08 9 9	2:17	CU	Ngumpan Workshop. Cut-in. A piece of wood being chipped.	TOM VO: Most of them boys, they was…	Tom: Most of them boys, they was…
756	11:02:27:03 0 0	5:06	MCU	Tom, PTC.	TOM: … all getting into trouble with the police, you know, with the law.	all getting into trouble with the police, with the law.
757	11:02:32:08 0 1	3:12	MWS	Ngumpan Workshop. Cut-in profile of a man’s legs sitting extended on the ground as he chops at a piece of wood.	TOM VO: That kind of workshop, keep them	That kind of workshop, keep them away from getting into trouble.
758	11:02:35:14 0 2	4:12	MCU	Ngumpan Workshop. Semi profile of two young boys seated side by side and working on their pieces of wood. Pan down to cut-in of the piece of wood being chipped at.	away from going into…getting into trouble and… ‘Cause they’re more focused on	‘Cause they’re more focused on trying to learn something.
759	11:02:40:07 0 3	3:08	MWS	Ngumpan Workshop. Semi profile of some of the old people seated on the ground and working on their wood.	trying to learn something.
760	11:02:43:18 0 4	2:22	WS	Ngumpan Workshop. Old women sitting on the grass under a tree and facing camera. Young children run towards camera in the foreground.
761	11:02:46:14 0 5	2:04	WS	Ngumpan Workshop. High angle of an old man sitting with two young boys and chipping at a

				piece of wood on the ground between them.
762	11:02:48:12 0 6	1:15	MCU	Ngumpan Workshop. Profile of Tom chipping at wood. He turns and looks towards camera.
763	11:02:50:09 0 7	2:06	LS	Ngumpan Workshop. Semi profile of Buster sitting on the ground cross-legged and chipping at a piece of wood.
764	11:02:52:15 0 8	2:09	CU	Ngumpan Workshop. A young child enters frame and stares at camera reaching out to touch the lens.
765	11:02:54:18 0 9	3:16	MCU	Ngumpan Workshop. Profile of Buster in the foreground and Spider sitting facing camera behind him.
766	11:02:58:15 1 0	5:20	MWS	Ngumpan Workshop. Low angle of boys in traditional costume and paint as Spider sings. Pan right to Spider seated on the ground, in the foreground facing camera and singing, tapping his hand in his lap.
767	11:03:04:03 1 1	3:11	MCU	Ngumpan Workshop. Profile of a man right of screen and Tom standing next to him facing camera. Pan down to Tom painting the young man’s chest.
768	11:03:07:21 1	3:01	WS	Ngumpan Workshop. Men and boys getting ready for the dance.

	2
769	11:03:10:18 1 3	14:17	LS	Ngumpan Workshop. Profile of Spider and Buster seated on the ground and face to face. Buster puts a headpiece on his head.	BUSTER: Too little. SPIDER: Little? BUSTER: It’ll break when I go there. SPIDER: Yeah, yeah. BUSTER: Put a little bit of grass here? I’ll get ‘em a little grass.	Buster: Too little. Spider: Little? Buster: It’ll break when I go there. Put a little bit of grass here?
770	11:03:25:13 1 4	3:16	MCU	Ngumpan Workshop. Profile of Tom left of screen applying blobs of paint to a man’s shoulder who is facing away from camera.
771	11:03:29:05 1 5	12:17	LS	Ngumpan Workshop. Profile of Spider and Buster seated on the ground and face to face. Buster puts the adjusted headpiece on his head then takes it off as they tie off the wool around it.	SPIDER: He’s fixed up right properly. BUSTER: He right, he right, he right. He right! SPIDER: Good fit? Good fit. BUSTER: You tie it up now.	Spider: He’s fixed up right properly! Buster: He right, he right, he right. He right! Spider: Good fit? Good fit. Buster: You tie it up now.
772	11:03:41:16 1 6	5:07	LS	Ngumpan Workshop. High angle of a young boy wearing a headpiece and dancing while facing camera. Pan down to his legs as he stamps his feet and half drops the heavy headpiece. Screen flashes white for transition to new footage.

773	11:03:47:01 1 7	2:21	MCU	Several young men with red headbands stand together facing camera. Pan left across them. Quick screen flash of white for transition to new footage.
774	11:03:49:19 1 8	1:22	MCU	Night. A young boy in traditional costume and paint holds both fists up towards camera, showing his biceps.
775	11:03:51:16 1 9	2:03	MWS	Night. Several of the dancers in traditional costume and paint standing together posing for a photo. Camera flash illuminates screen.
776	11:03:53:21 2 0	2:01	MCU	Night. Tom facing camera and talking.
777	11:03:55:22 2 1	4:07	WS	Night. The young boys get into position in a line to start the dancing.
778	11:04:00:08 2 2	3:00	MWS	Night. Cut-in of several boys’ feet, side by side on the ground. Pan right as they stamp them.
779	11:04:03:01 2 3	1:21	WS	Night. The dancers stamping their feet.
780	11:04:05:03 2 4	5:03	WS	Night. Backlit by a spotlight.. The dance, as dancers stamp the ground following a leader and walking towards camera.
781	11:04:10:00	3:06	WS	Night. Profile of the dancers

	2 5			stamping the ground following a leader.
782	11:04:13:12 2 6	4:24	MCU	Night. Semi profile of Spider singing.
783	11:04:18:06 2 7	4:06	MCU	Night. Slight high angle semi profile of Dolly singing.
784	11:04:22:13 2 8	2:04	WS	Night. Young men in the red headbands dancing.
785	11:04:24:22 2 9	3:09	WS	Night. Young boys in the red headbands dancing. Slight pan left.
786	11:04:28:02 3 0	3:06	LS	Night. Men standing side by side and holding a long piece of decorated wood as they dance and stamp their feet. Footage blurs for transition to next shot.
787	11:04:31:02 3 1	10:03	MWS to MCU	Blur comes into focus to reveal earlier that day. Zoom closer. Semi profile of Tom sitting on the ground as a piece of wood is wrapped around his head is tied in place with a yellow headband.
788	11:04:41:05 3 2	3:11	MCU	A young boy sitting facing camera as cut-in of an extended arm decorates his shoulder with dabs of paint.
789	11:04:44:23 3	7:19	CU	Semi profile of Tom holding the wooden headpiece on his head as	TOM VO: I decided to dance Majarrka. It belonged to my grandfather, Wirrali.

	3			the yellow headband is tied around it.	When he died, we stopped dancing Majarrka.
790	11:04:52:16 3 4	4:24	CU	A piece of wood in focus in the foreground. It blurs as the background comes into focus revealing Tom having the yellow cloth wrapped around his head.	TOM VO: When somebody dies, you can’t say their name or go to where they used to be.
791	11:04:57:17 3 5	5:19	CU	Semi profile of Tom with the yellow head cloth as wool is wrapped around his head.	It’s a big thing when the family decides it’s the right time to dance again.
792	11:05:03:07 3 6	5:05	WS	Several of the dancers in traditional costume and paint standing side by side facing camera.
793	11:05:08:17 3 7	4:01	MCU	Pan left across the dancers’ painted faces towards Tom who is standing with them. Screen flashes white.	MAJARRKA DANCERS: Look fierce! Look at the camera!
794	11:05:12:15 3 8	3:09	MCU	Fade up. Slight pan left over Tom in traditional costume and painted face standing side by side with another dancer. Camera flashes illuminate frame. Pan freezes over a smiling Tom. Dissolve transition to next shot.
795	11:05:15:18 3 9	2:17	MCU	Night. Slight high angle of a fire burning on the ground. Dissolve transition to next shot.
796	11:05:18:18 4	4:06	LS	Night. Profile of dancers in traditional costume and paint

	0			walking in single file towards left of screen.
797	11:05:22:20 4 1	3:17	WS	Night. Dancers standing side by side left of screen facing away from camera as Tom, in traditional costume walks/skips in slow motion towards the empty ground in the foreground.
798	11:05:26:12 4 2	9:00	WS to MCU	Night. Dancers standing side by side left of screen facing away from camera. Tom, entering right of screen and in traditional costume walks/skips in slow motion towards left of screen. Tracking shot with zoom for MCU as Tom stops walking and dances.
799	11:05:35:11 4 3	3:18	WS	Night. Dancers standing side by side left of screen facing away from camera. Tom, in traditional costume dancing in slow motion on the empty ground in the foreground.
800	11:05:39:04 4 4	5:11	MWS	Night. Semi profile slow motion of Tom dancing. Camera flashes illuminate screen. He turns and walks away from camera.
801	11:05:44:14 4 5	17:00	WS	Night. Traditional dancers left of screen and Spider approaching them right of screen. A fire burns on the ground. Spider	TOM VO: Spider, the old choreographer, was straight up - giving us directions, tightening up the timing, whipping us into shape.

				gesticulates to the dancers and walks off right of screen as the dance continues.
802	11:06:01:14 4 6	3:18	MWS	Night. Profile of some of the dancers including Tom, filing past in single file while stamping their feet.
803	11:06:05:07 4 7	4:03	MCU	Night. Cut-in of the dancers’ shins covered in bunches of leaves as they dance towards camera in single file.
804	11:06:09:13 4 8	3:22	CU	Cut-in of hands shifting around colour printouts of aerial shots of the desert lying on a table.
805	11:06:13:11 4 9	3:12	MCU	Semi profile of Tom.
806	11:06:16:22 5 0	3:24	MWS	Tom and Tommy May sitting together around the corner of a table with the printouts on the table in front of them.
807	11:06:21:01 5 1	1:14	MCU	Tommy May facing camera looking down.
808	11:06:22:15 5 2	3:19	MCU	Cut-in of hands pointing at a circular section on the printout lying on the table. Screen flashes white for transition to next shot.
809	11:06:26:07 5 3	11:04	EWS	Aerial high angle pan of land demarcated in long strips.	TOM VO: This time, we really gotta nail down the boundaries of the land claim.	Third trip to Kurtal, 2007

810	11:06:37:10 5 4	5:10	WS	Filmed across red sand and bare branches in the foreground, tracking pan of a convoy of 4x4 cars driving towards right of screen in the background.	To do that, we went a different way through the southern Canning Stock Route.
811	11:06:42:21 5 5	6:03	WS	Desert land ahead as filmed from the front windshield of a moving car. Pan right to profile of Tom driving. Backlit and in shadow.	We have to map the boundaries properly on the kartiya maps.
812	11:06:48:24 5 6	5:10	WS	The desert landscape ahead as filmed from the moving car. Camels cross the dirt road ahead as camera pans slightly left towards them.
813	11:06:54:07 5 7	7:20	WS	Semi profile of the convoy of 4x4s driving towards camera in convoy. Tracking pan of the first car in the convoy as it passes camera. A hand drawn sign of a skull and crossbones is on the side of the road.
814	11:07:02:02 5 8	2:16	MCU	Filmed from inside the car. Profile of Tom driving, backlit and in shadow.
815	11:07:04:21 5 9	3:08	WS	Filmed through the long grasses, profile tracking pan of one of the 4x4s driving in the background.
816	11:07:08:03 6 0	4:12	MWS	Buster facing camera and swinging a small red flag. He walks towards screen and reaches his hand out towards the	TOM VO: Once again, Buster was happy to join us.

				lens, filling the frame.
817	11:07:12:16 6 1	6:18	WS	Profile of Tom on a rock formation looking into the distance towards right of screen. Tracking pan as Buster climbs on the rock formation and walks behind Tom towards left of screen.
818	11:07:19:07 6 2	4:24	EWS	Time-lapsed footage. Black landscape and a setting sun on the horizon. Fade to black.
819	11:07:24:06 6 3	0:17		Black screen.
820	11:07:24:19 6 4	3:15	MWS	Fade up from black. Profile cut-in of Tom’s torso sitting with a notebook in his lap and pointing out a route.
821	11:07:30:15 6 5	3:23	CU	Low angle profile of Tom looking down.
822	11:07:34:09 6 6	4:03	MWS	High angle profile cut-in of Tom’s torso sitting with a notebook in his lap displaying a route.
823	11:07:38:12 6 7	4:00	MWS	Several men sitting together with Tom. Buster leans over Tom’s shoulder looking down at the book on Tom’s lap.
824	11:07:42:17 6 8	8:13	MWS	Two-shot semi profile of Tommy May and another man, standing side by side. The man points in	MAN: And the (??), go other side. TOMMY MAY: No. different one.

				the distance. They turn away from camera. Spider is visible in the background behind them.	(??). Thataway. MAN: He’s going that way? TOMMY MAY: (??) MAN: Yeah, yeah.
825	11:07:51:00 6 9	5:24	MWS	Profile of Spider pointing towards left of screen.	SPIDER: Trail like thataway. Straight up thataway! Kurtal close thataway!	Spider: Straight up thataway.
826	11:07:56:22 7 0	4:13	WS	High angle of plants in the desert. Pan up to the desert horizon against the blue sky.
827	11:08:01:11 7 1	11:06	LS to MWS	Tom facing away from camera and gesticulating in front of him as camera zooms. Pan down for high angle cut-in of Tom’s legs as he kicks at the ground, snaps a twig with his boots and bends to pick it up.	TOM: Cut a road! TOM VO: Travelling was hard and frustrating. Spider was always insisting he knew
828	11:08:12:57 7 2	3:16	MWS	High angle profile of a man chopping at dry branches on the ground.	the best way to go.
829	11:08:16:11 7 3	3:21	WS	People in the tall grass in the foreground clearing the way for the 4x4 driving towards camera in the background.
830	11:08:20:04 7 4	6:03	MWS	Tom and other men at the open back door of a 4x4. Tracking shot as Spider walks past slowly in the foreground.

831.	11:08:26:07 7 5	6:00	WS	Semi profile of a stopped car and Tom climbing onto the roof of the car. He stands upright on the roof looking out into the distance.
832	11:08:32:10 7 6	7:18	LS	Semi profile tracking shot of Spider in the foreground walking towards left of screen. Men stand in the bushland in the background looking into the distance.	MAN: How we doin’? SPIDER: Keep movin’. We gotta go back.	Man: How we doin’? Spider: Keep movin’. Spider: We gotta go back.
833	11:08:40:00 7 7	8:04	MCU to MWS	Profile of Spider talking and pointing towards right of screen. Camera pulls back.	SPIDER: We gotta go back to Wirrkanja. I know this country. I used to hunt all through here.	Spider: We gotta go back to Wirrkanja. I know this country. I used to hunt all through here.
834	11:08:48:07 7 8	8:03	WS	Profile of Tom looking over his shoulder and talking. Another man walks away from camera in the background.	TOM: We gotta do Land Claim. We’re not thinking about you gonna have a country. We’re talking about Land Claim. We’re not going for fun, for a ride.	Tom: We gotta do Land Claim. We’re not thinking about you gonna have a country. We’re talking about Land Claim. We’re not going for fun, for a ride.
835	11:08:55:19 7 9	8:07	MCU	Profile of Tom looking around, head lowered and sounding frustrated.	SPIDER: Why are we stopping all the time? TOM: You can fix that tyre, you can light some fires! We’ll clean ‘im on the road!	Spider: Why are we stopping all the time? Tom: You can fix that tyre, you can light some fires! We’ll clean ‘im on the road!
836	11:09:04:15 8 0	10:06	MCU	Pan up from chest to face, Spider facing camera. He turns to profile as he talks and walks towards	SPIDER: All those trees are gonna bust all the tyres. TOM: We still got rims.	Spider: All those trees are gonna bust all the tyres. Tom: We still got rims.

				right of screen. Tracking shot as he passes Tom, who is standing and laughing in the background.	SPIDER: Travel on rims? Travel on rims?	Spider: Travel on rims? Travel on rims?
837	11:09:14:19 8 1	6:05	MCU	Pan up from torso to head – profile tracking shot of Tom pointing to the grassland around him as he walks.	TOM: Get it up! Burn ‘em. Burn ‘em up. Light ‘im more! SPIDER: Come on.	Tom: Get it up! Burn ‘em. Burn ‘em up. Light ‘im more! Spider: Come on!
838	11:09:20:22 8 2	2:18	MCU	Large fires burning in the background. Buster facing camera in the foreground, backlit by the fires. He bends down towards the grass.	Buster: Light this one!
839	11:09:23:17 8 3	1:05	MCU	Cut-in profile of Buster’s hands lighting a grass fire.
840	11:09:24:20 8 4	1:22	MWS	Buster leans back up after lighting the fire and walks away from the fire towards camera. He is in shadow, backlit by the sun in the sky.
841	11:09:26:16 8 5	2:13	MCU	A grass fire burning. Tracking pan, cut-in of Tom’s lower body as he walks through the grass lighting fires from an ignited bunch of grass in his hand.
842	11:09:28:19 8 6	2:05	MWS	A large fire burns in the background. Tracking shot of Tom in shadow walking towards right of screen in the foreground.

843	11:09:31:12 8 7	2:07	MCU	A large fire with smoke in the background. Profile tracking shot of Buster walking towards left of screen in the foreground. He throws something into the distance.
844	11:09:33:20 8 8	4:07	WS to MCU	Zoom towards a line of grass fire.
845	11:09:38:66 8 9	3:13	MCU	Buster facing camera with a photo camera to his face. He moves it away, smiles and rubs his chest.
846	11:09:41:00 9 1	9:16	MCU	Semi profile tracking shot of Spider walking towards the water. Camera arc pans 90 degrees behind him and pulls back as Spider stands facing away from camera looking at the water in front of him.	SPIDER: All this water make the country look different.	Spider: All this water make the country look different.
847	11:09:50:16 9 2	10:10	LS	Tracking shot of Tom walking away from camera towards the edge of the water in the background. He stops and puts his hands on his hips as camera arc pans around him for profile.	SPIDER: Kurtal made it different. TOM: It’s black.	Spider: Kurtal made it different. Tom: It’s black.
848	11:10:00:23 9 3	6:00	LS	Profile of Spider sitting on his haunches at the water’s edge and cupping the water in his hands and throwing it over his head.
849	11:10:07:03	4:18	MWS	Profile of Tom in the foreground

	9 4			with the water in the background. He leans into the water and stands rubbing the water on his arms.
850	11:10:11:22 9 5	7:07	LS	Tracking shot. Profile of Spider sitting on his haunches at the water’s edge. He picks up his hat, stands up and walks away from the water rubbing his face.
851	11:10:18:23 9 6	6:01	MCU	Tom, PTC.	TOM: Yeah, he wanted to leave. Oh, he wanted to camp there one night but Tommy May wanted to leave.	Tom: Yeah, he wanted to leave. Oh he wanted to camp there one night but… Tommy May wanted to leave.
852	11:10:25:02 9 7	6:19	MCU	Tommy May, PTC.	TOMMY MAY: Water was dirty one. Full of camel’s wee wee.	Tommy May: Water was dirty one. Full of camel’s wee wee.
853	11:10:31:21 9 8	6:05	WS	Filmed from across the water in the foreground. Facing camera at the edge of the water, Tommy May leaning down into the water and rubbing it on his forearms.	TOMMY MAY VO: Full of camel things. Yeah.	Tommy May: Full of camel things. Yeah.
854	11:10:38:02 9 9	3:20	MCU	Tommy May, PTC.	TOMMY MAY: We didn’t drink that water, too.	Tommy May: We didn’t drink that water, too.
855	11:10:41:22 0 0	3:01	WS	Semi profile of Tom left of screen with the curve of the water’s edge right of screen.
856	11:10:44:19 0	2:16	WS	Filmed across the water, tracking shot of Buster walking along the

	1			edge of the water in the background.
857	11:10:47:12 0 2	3:02	LS	Women sitting under a tree and others standing around them.
858	11:10:50:09 0 3	7:12	MCU	Dolly seated facing camera and talking. Other women sit behind her.	DOLLY: I’m gonna pass away. I gonna lose that Kurtal. Finished. I’m a sick people.	Dolly: I’m gonna pass away. I gonna lose that Kurtal. Finished. I’m a sick people.
859	11:10:57:23 0 4	8:05	CU to MCU	Tommy May facing camera as Dolly continues speaking. Quick pan right back to Dolly talking and camera pulls back.	Old people finished! We’re gonna pass away, whole lot! Yeah, it’s me saying!	Old people FINISHED! We’re gonna pass away, whole lot! Yeah, it’s me saying!
860	11:11:06:10 0 5	11:20	MWS	Tracking shot of Dolly walking in profile along the water’s edge. She turns towards the water and faces it.	TOM VO: Dolly, she’s worrying about Kurtal. If he dead now - where will their spirits go when they die.
861	11:11:17:24 0 6	9:12	MCU	Slight low angle semi profile of Dolly.	DOLLY: That’s all. Yeah.
862	11:11:27:11 0 7	8:12	CU	High angle of the surface of the water with ripples.	TOM VO: Country is not…
863	11:11:36:03 0 8	21:12	MCU	Tom, PTC. Visibly upset.	TOM: … how they used to see it before, how it was to them. Country was good. It was clean and it was, it was looked after. They looked after their country but nowadays… nothing. He… he just like a lost soul.
864	11:11:57:14 0	6:03	LS	Spider walking in the shallow water and singing. He falls into

	9			the water and ducks under it.
865	11:12:03:11 1 0	3:14	WS	Profile of Buster at the edge of the water in the foreground. Other people in the distance.
866	11:12:07:04 1 1	5:06	MWS	Profile of Spider submerged waist-deep in the water and swishing his hands through the water as he sings.	SPIDER: Kurtal, where are you? Kurtal, where are you?	Spider: Kurtal, where are you? Kurtal, where are you?
867	11:12:07:07 1 2	5:06	WS	Spider submerged waist-deep in the water and swishing his hands through the water as he sings.	Where are you?	Spider: Where are you?
868	11:12:17:17 1 3	5:05	WS	Filmed from the water looking inland, Buster facing camera, dances at the edge of the water.
869	11:12:22:17 1 4	4:21	LS	Semi profile of Spider Standing up in the shallow water and looking away from camera as he shouts out. Dissolve transition to next shot.
870	11:12:27:08 1 5	8:09	EWS	Time lapsed footage. Black landscape with a solitary bare tree. Red/orange sky on the horizon with a setting sun. Fade to black.
871	11:12:36:05 1 6	1:13		Black screen.
872	11:12:37:08 1 7	6:24	WS	Fade up from black. Semi profile of a car driving on a country road towards camera.		Four years later
873	11:12:44:12	4:22	MWS	Fade up. Semi profile of a sign on

	7 4			a property gate that reads: Guwardi Ngadu, Frail Aged Hostel.
874	11:12:48:07 7 5	12:07	MCU	Tracking shot of Tom walking away from camera through an open gate. Camera pans down as Tom stops and shakes the hand of a man sitting on the ground near an entrance. Camera follows Tom as he walks through the entrance and down an exterior walkway.	TOM: How are you bro? MAN: Yeah!	Tom: How are you bro? Man: Yeah!
875	11:13:00:14 7 6	3:21	MCU	Tracking high angle shot, with cut-in of Tom’s legs walking on a pathway with artwork on it. He stops and taps the artwork with his shoe.	TOM: I think that’s one of Spider’s.	Tom: I think that’s one of Spider’s.
876	11:13:04:02 7 7	3:04	MCU	Pan as Tom walks past camera in profile.
877	11:13:07:08 7 8	1:23	WS	Dolly sitting on a chair on a patio as Spider approaches the deck.	TOM: What’s up, Grandpa. You right? SPIDER: Huh?	Tom: What’s up, Grandpa. You right?
878	11:13:09:07 7 9	4:11	WS	Spider sitting on the ground on the patio holding onto a supporting pole as Tom stands leaning on the pole talking to him. Dolly is seated in a chair on the patio in the background.	TOM: You right? SPIDER: Yeah. TOM: Better? SPIDER: I’m okay.	Tom: You right? Better? Spider: I’m okay.

879	11:13:13:17 8 0	4:18	CU	Profile of Dolly talking. Another woman is sitting in the background next to her.	DOLLY: Me and Spider, we’re worrying too much for you mob.	Dolly: Me and Spider, we’re worrying too much for you mob.
880	11:13:18:08 8 1	5:24	LS	Spider sitting with Dolly on the patio around a table and talking with her.	TOM: You gotta stop here one week. You gotta rest. You got a cold. Your lungs.	Tom: You gotta stop here one week. You gotta rest. You got a cold. Your lungs.
881	11:13:23:21 8 2	4:24	MCU	Cut in of Spider’s hand holding onto the patio pole. Pan up to semi profile of Spider’s face.
882	11:13:29:08 8 3	6:07	LS	Low angle as Spider approaches Tom and Dolly sitting around the outdoor table. Tom jumps up and offers Spider his chair.	TOM: Here, Grandpa, sit here.	Tom: Here, Grandpa, sit here.
883	11:13:35:17 8 4	2:04	CU	Dolly facing camera and looking into the distance, then turning away.
884	11:13:38:00 8 5	4:23	MCU	Semi profile of Spider. He turns to profile.
885	11:13:42:16 8 6	6:19	LS	Low angle of Spider and Dolly sitting together at an outdoor table. Tom stands talking to them.	TOM VO: I kept busy and focused all my attention on Spider’s land claim and a final trip to Kurtal.
886	11:13:49:14 8 7	7:15	MCU	Dolly, PTC.	DOLLY: Young people got to look after that country and look after that culture.	Dolly: Young people got to look after that country and look after that culture.
887	11:13:57:05 8 8	3:10	MWS	Semi profile of Spider sitting on a bed.	DOLLY VO: That’s a big culture, that one!	Dolly: That’s a big culture, that one!
888	11:14:00:16	5:17	MCU	Dolly, PTC.	And Tom Lawford is a strong culture.	And Tom Lawford is a strong

	8 9					culture.
889	11:14:06:07 9 0	7:04	MWS	Semi profile of Spider sitting on a bed.	SPIDER: Big rain! DOLLY: Yeah, big rain, you know? SPIDER: Ta, ta, ta, ta…. DOLLY: That’s the lightning.	Spider: Big rain! Dolly: Yeah, big rain, you know? Dolly: That’s the lightning.
890	11:14:13:09 9 1	3:21	MCU	Dolly, PTC. She points towards right of screen and leans back. Dissolve transition to next shot.	DOLLY: That’s the story from this old man here.	Dolly: That’s the story from this old man here.
891	11:14:17:08 9 2	6:17	EWS	Superimposed images of a raincloud covered sky and a dancer’s headpiece. Dissolve transition to next shot.
892	11:14:23:21 9 3	12:14	MCU	Tom, PTC.	TOM: Their time’s up now. They showed us all the country, they gave us back all the country and we gotta take on the fight.
893	11:14:36:02 9 4	8:19	CU	High angle pan over a waterhole depiction in an artwork. Slow pan left to two dancers depicted on the canvas.	TOM VO: Twenty years ago, Dolly painted two dancers on that Big Canvas. DOLLY VO: My grandsons…	Tom: Twenty years ago, Dolly painted two dancers on the Big Canvas. Dolly: My grandsons…
894	11:14:45:02 9 5	7:04	LS	High angle semi profile of Dolly sitting on the canvas facing the depiction of Tom and Buster in the artwork. .	Tom Lawford… and Buster. Little Buster… my grandsons.	Tom Lawford and Buster. Little Buster… my grandsons.
895	11:14:52:11 9	6:23	CU	Tom and Buster as depicted in the artwork. Slow zoom.	TOM VO: Dolly painted me and she painted Buster.	Tom: Dolly painted me… and she painted Buster.

	6
896	11:14:59:05 9 7	1:12	MWS	Archive footage. Semi profile of a young, naked Buster wearing sunglasses. Dissolve transition to next shot.
897	11:15:00:18 9 8	4:20	MCU	Semi profile of an older Buster looking out the window of a moving car, with his open palm extended towards the window.
898	11:15:05:14 9 9	2:23	MCU	Filmed inside the car, profile of Tom driving.
899	11:14:08:14 0 0 0	2:15	WS	Pan tracking shot as Tom’s 4x4 passes camera.
900	11:15:11:05 0 0 1	2:20	MCU	Filmed inside the car, profile of Tom in shadow and backlit, driving.
901	11:15:14:00 0 0 2	5:19	WS	A young boy stands in profile right of screen as Tom’s car approaches on the desert road. Tracking pan as the car passes and heads towards a convoy of cars ahead.

902	11:15:19:04 0 2 1	5:05	MWS	Profile of a man standing right of screen showing an oncoming car how to manoeuvre over the sand hill. Camera tracks the passing car as it makes it over the sand hill.	and endless sand hills.
903	11:15:24:08 0 2 2	1:16	MWS	Semi profile of Tom gesticulating showing how to turn the car steering wheel.
904	11:15:25:21 0 0 4	5:15	EWS	Aerial bird’s eye view of the desert. Arc pan.		Fourth trip to Kurtal, 2014
905	11:15:30:10 0 2 6	4:09	WS	Tracking profile shot of Tom walking along the dry earth. He stops and looks into the distance.
906	11:15:34:13 0 2 7	5:10	MWS	Profile of Tom looking into the distance towards right of screen. He turns and looks into the distance behind him.
907	11:15:39:24 0 2 8	4:20	MWS	Tom, Buster and another man standing in the tall grass. Tom looks around the countryside.	TOM VO: The country was overgrown with grass and trees.
908	11:15:44:18 0 2 9	1:21	CU	OTS shot of a map. High angle as a finger traces out a route on the map.
909	11:15:46:10	4:17	MCU	OTS of Tom in the foreground,	TOM: Somewhere up over there?	Tom: Somewhere up over

	0 3 0			facing away from camera. Tommy May facing camera and talking, both pointing towards right of screen.		there?
910	11:15:51:05 0 3 1	2:06	LS	Tom standing on the hood of a 4x4 with the tall grass in the landscape behind him. He points ahead of him.	TOM VO: Without Spider,
911	11:15:53:18 0 3 2	3:12	WS	High angle semi profile tracking pan of the 4x4 driving on a dirt track through the desert landscape.	it was hard to find Kurtal.
912	11:15:57:02 0 3 3	2:10	MCU	Filmed inside the car. Profile of Tom driving. He is backlit and in shadow.
913	11:15:59:11 0 3 4	1:07	WS	The passing landscape as filmed from the moving car.
914	11:16:00:18 0 3 5	2:09	MWS	Filmed inside the moving car. Buster leaning forward and seated side by side with another young man.
915	11:16:03:00 0 3 6	1:14	MCU	Filmed inside the car. Profile of Tom driving. He is backlit and in shadow.
916	11:16:04:15 0 3	2:05	WS	The tall dry grass ahead as filmed from the front windshield of the moving car.

	7
917	11:16:06:20 0 3 8	2:13	MCU	Inside the car. Cut-in of Buster’s hand holding a GPS.
918	11:16:09:06 0 3 9	2:16	MWS	Inside the car. Buster seated facing camera and looking down at the GPS he is holding.
919	11:16:12:03 0 4 0	2:20	MCU	Inside the car. Profile of Buster looking down at the GPS he is holding.	TOM VO: Buster had a GPS.
920	11:16:14:23 0 4 1	4:04	ECU	Profile of Tom looking through the telescopic sight of a rifle.	But me, I used my telescopic sight to
921	11:16:18:24 0 4 2	4:04	WS	High angle. Oval view in a black background, as seen through the rifle sight. Slow pan right over the desert landscape.	search for Kurtal.
922	11:16:23:02 0 4 3	3:06	MWS	Profile of Tom looking through the aimed telescopic sight of a rifle.
923	11:16:26:00 0 4 4	3:01	CU	Semi profile of Tom looking through the aimed telescopic sights of a rifle. He lowers the rifle as he speaks to people standing in the background who are blurred.	TOM: Burn ‘em. Burn ‘em Burn ‘em up!	Tom: Burn ‘em. Burn ‘em Burn ‘em up!

924	11:16:29:10 0 4 5	6:20	WS	Filmed from a moving car, Tom stands holding the rifle as the 4x4 approaches him and stops next to him. Tom opens the door and gets in the car.	TOM: We’ll go this way, round the side there.	Tom: We’ll go this way, round the side there.
925	11:16:36:03 0 4 6	3:23	MCU	Tom gets in the car and shuts the door. Tracking shot of his arm as it extends out the window pointing towards left of screen. Smoke from fires rises in the background as they start driving.
926	11:66:39:23 0 4 7	3:03	WS	Tom and Tommy May walking away from camera through the tall dry grass. A young boy runs through the grass left of screen.
927	11:16:43:07 0 4 8	4:13	MWS	Tracking shot of Tom followed by Buster walking away from camera through the desert landscape. Tom raises his arm pointing ahead.
928	11:16:47:14 0 4 9	3:18	MWS	Tom stands facing away from camera in the foreground and Buster stands ahead of him in the background. The young boy stands with them. All look out into the dry background.	TOM VO: We finally arrived at Kurtal after five hard days.
929	11:16:51:10 0 5 0	7:01	WS	Dry twigs in a heap on the dry red earth. Slow zoom.	And, it was dry!
930	11:16:58:09	2:00	CU	High angle of a blazing grass fire.

	0 5 1
931	11:17:00:10 0 5 2	4:04	WS	High angle tracking shot of Buster sitting on his haunches, lighting a fire and walking away towards and then past camera.
932	11:17:04:18 0 5 3	2:15	WS	Pan right over grass fires burning.
933	11:17:07:06 0 5 4	2:19	LS	Tracking shot as Buster runs away from camera through the dry grass, and approaches the young boy ahead.
934	11:17:10:02 0 5 5	2:13	CU	A large grass fire burning.
935	11:17:12:15 0 5 6	4:05	MWS	The young boy stands facing away from camera in the foreground looking towards the large grass fire which is burning in the background.
936	11:17:16:16 0 5 7	4:05	EWS	Filmed across the desert landscape, a line of grass fires burns and smoke rises. Tom stands looking at the fire, left of screen. Dissolve transition to next shot.
937	11:17:21:09	9:02	EWS	Aerial forward pan towards the

	0 5 8			dry waterhole.
938	11:17:30:00 0 5 9	1:19	MWS	Under a tree, profile of Buster in the foreground standing with Tom in profile in the background next to him.
939	11:17:31:21 0 6 0	2:16	MCU	Semi profile of Buster looking into the distance and up at the sky at the sound of a helicopter.
940	11:17:34:14 0 6 1	6:16	EWS	The desert landscape with the ashes from the grass fire in the background. Tracking pan of a helicopter flying overhead.
941	11:17:40:23 0 6 2	7:09	MWS	Men standing next to their 4x4 looking up at the helicopter flying overhead in the background. Tracking pan left of the helicopter flying as the men on the ground they point out where to land.
942	11:17:48:09 0 6 3	3:00	WS	Low angle of the helicopter flying overhead against a blue sky.
943	11:17:51:13 0 6 4	3:06	WS	Filmed across the desert landscape, the helicopter descends towards land in the distance.
944	11:17:54:14 0	3:22	LS	Filmed from behind a bush in the foreground, the helicopter lands

	6 5			in the background.
945	11:17:58:11 0 6 6	5:06	MWS	Profile of the landed helicopter as the rotors slow down. Slow zoom towards the helicopter.
946	11:18:03:16 0 6 7	6:06	MCU	Spider seated in the helicopter. A man standing outside the helicopter, helps Spider remove his seatbelt.
947	11:18:10:01 0 6 8	8:03	MWS	Slow motion. Spider, held by up two young men either side of him, drops his hat. Someone picks it up and puts it on his head and a red long scarf is wrapped around his neck.
948	11:18:17:20 0 6 9	11:11	MWS	Slow motion profile tracking shot. Spider, held by up two young men either side of him, walks slowly towards left of screen. A car door is opened left of screen.
949	11:18:29:11 0 7 0	11:02	MCU	Semi profile of Dolly and Spider seated side by side in the car. Spider sings and Dolly looks out her window.
950	11:18:40:14 0 7 1	5:07	WS	Dusk. Darkened landscape with an orange horizon.
951	11:18:45:22 0	3:04	WS	Dusk. Filmed across the dry grassy landscape. Several cars

	7 2			parked in convoy in the background at the camp site. A small fire burns right of screen.
952	11:18:48:23 0 7 3	6:09	MWS	Filmed from outside, profile of Spider sitting just inside the opening of a tent and singing.
953	11:18:55:12 0 7 4	4:10	LS	Filmed through the bare trees, Dolly sits on a camping blanket on the ground as someone swats the blanket next to her, dusting it off.
954	11:18:59:21 0 7 5	4:07	LS	Spider just inside the tent at the camp site.
955	11:19:04:02 0 7 6	4:16	WS	Black landscape with silhouette of a camel on the landscape. Backlit by orange horizon.
956	11:19:08:17 0 7 7	5:13	WS	Black landscape with orange fires burning in the distance. Fade to black.
957	11:19:14:11 0 7 8	1:03		Black screen.
958	11:19:15:13 0 7	4:10	MCU	Fade up from black. Slow motion. Cut-in of Spider’s foot as Tom’s hands do up Spider’s shoelaces.

	9
959	11:19:19:16 0 8 0	3:10	LS	Profile shot. Slow motion. Spider seated on a chair and Tom sitting on the ground facing him. Tom re-adjusts Spider’s trouser legs.
960	11:19:23:05 0 8 1	3:02	LS	Slow motion. Spider is held up by two men as he takes a few steps towards left of screen.
961	11:19:26:05 0 8 2	4:00	MCU	Slow motion. Profile of Spider sitting back in the passenger car seat.
962	11:19:30:04 0 8 3	3:07	MWS	Slow motion. Filmed from the back, inside the car. Buster and another young man holding sticks sit in the foreground. Spider’s head with his hat on is visible in the passenger seat in the background.
963	11:19:33:16 0 8 4	2:17	WS	Slow motion. Camping bags and tents rolled up in the foreground. Men walk ahead of and behind the slow moving 4x4 as they head away from camera.
964	11:19:36:09 0 8 5	6:02	WS	Slow motion profile shot of the 4x4 driving off towards right of screen and people following it in single file.
965	11:19:42:07 0	5:19	MWS	Slow motion. People walking in single file towards camera. Slight

	8 6			arc pan.
966	11:19:48:04 0 8 7	4:08	WS	Slow motion. Filmed from inside the moving car out the back window. People walking in single file following the car.
967	11:19:52:09 0 8 8	3:16	WS	Slow motion. Semi profile of people walking away from camera in single file, over the burnt grass.
968	11:19:55:23 0 8 9	4:05	WS	Slow motion. Tom walks towards camera through the long grass as a young boy crosses screen in front of him. Tom is looking over his shoulder towards left of screen and raises his arm in that direction, pointing.
969	11:20:00:04 0 9 0	6:22	MCU	Slow motion of Spider in the car as he turns to face camera.	TOM VO: I knew this was the last time Spider would ever see Kurtal.
970	11:20:07:05 0 9 1	5:20	WS	Dried up twigs on the barren earth. Grassfires and smoke in the distance.	He was here to say goodbye to the waterhole he loved his whole life
971	11:20:12:24 0 9 2	4:16	WS	Slow motion. Forward tracking of people walking away from camera through the desert landscape.	and hand it over to us young fellas.
972	11:20:17:18 0	4:16	MWS	Slow motion tracking shot in semi profile of Buster and other young

	9 3			men walking through the desert landscape.
973	11:20:22:03 0 9 4	3:12	EWS	A dried tree lies on the red sand in the foreground. People sitting on the earth in the background, all facing towards left of screen.
974	11:20:25:18 0 9 5	5:22	MCU	Slow motion. Semi profile of Spider looking over his shoulder towards right of screen. Footage blurs. Dissolve transition to next shot.
975	11:20:32:04 0 9 6	10:15	MWS	Archive footage. Slow motion. Semi profile of Spider holding the coolamon filled with water over his head, dancing and pouring the water over his head and shoulders.
976	11:20:42:01 0 9 7	9:08	MWS	Buster holds onto Spider and walks with him towards the back of the parked 4x4. Buster points into the distance.
977	11:20:51:10 0 9 8	8:17	WS	Filmed across the grassy landscape, a solitary leafy tree centre of frame and fires burning in the distance and around the tree. Smoke fills the sky.
978	11:21:00:03 0 9 9	7:18	LS	Slow motion. Semi profile of Spider sitting on his knees on the red sand. A bush is right of screen and fires burn in the distance.

979	11:21:07:17 1 0 0	10:02	WS	Spider in shadow and sitting on the ground near the solitary tree. Fires and smoke in the distance. Buster approaches him, hands Spider something and walks to stand next to the tree.
980	11:21:17:23 1 0 1	10:04	LS	Tracking shot of Buster in shadow walking away from camera towards the smoke from the fires in the background.
981	11:21:27:22 1 0 2	6:01	WS	High angle of the desert landscape with the red sand and smoke in the distance.
982	11:21:33:24 1 0 3	3:11	CU	Slow motion. High angle of a small waterhole being dug up. A mud-filled spade is raised out of the hole.	TOM VO: We walk behind our
983	11:21:37:19 1 0 4	3:07	MWS	A young boy sitting on the ground facing camera and looking down towards the newly dug waterhole. Cut-in of a man digging in the foreground.	old people, following in their footsteps.
984	11:21:40:24 1 0 5	7:13	MCU to CU	Slow zoom towards profile of Tom looking out into the distance.	I’m holding our culture strong for Spider, and all my old people.
985	11:21:47:16 1 0 6	3:24	MWS	Semi profile of Buster holding the handle of a spade and looking down.

986	11:21:51:09 1 0 7	3:09	CU	High angle looking into the small waterhole. Zoom towards the clean water trickling inside the waterhole.	If we can survive the modern lifestyles,
987	11:21:54:22 1 0 8	8:06	CU	Slow motion. High angle looking into the small waterhole. Tracking shot as the wet spade is raised from the waterhole, pan up Buster’s body as he raises the spade and kisses it.	we’ll be the next rainmakers of the desert.
988	11:22:02:21 1 0 9	3:12	CU	Slow motion. High angle looking into the small waterhole. Cut-in of a man leaning into the waterhole with a mug and filling it with water raising it towards camera.
989	11:22:06:09 1 1 0	2:19	MCU	Slow motion. Buster facing camera, spreading the water over his head and smiling.
990	11:22:09:04 1 1 1	4:02	CU	Filmed from ground level. Tall dry grass in the foreground and smoke rising in the background.
991	11:22:13:04 1 1 2	14:21	CU	Filmed from ground level. Tall dry grass in the foreground leaning towards right of screen, and smoke rising in the background. Dissolve transition as superimposed shot of a rainmaker’s headpiece appears

				over ripples in clear water. Dissolve transition as the artwork depicting a rainmaker wearing a headpiece emerges superimposed, then fades out.
992	11:22:27:19 1 1 3	6:01	MCU	Fade up from superimposed images. Profile of Tom left of screen, painting markings on Buster’s face who is in semi profile facing him, right of screen.
993	11:22:33:23 1 1 4	7:22	MCU	Semi profile of Buster raising the headpiece and placing it on his head. Frame freezes. Dissolve transition to next shot.
994	11:22:41:23 1 1 5	6:17	CU	Superimposed footage of rippling water and fires burning under a large sun. Dissolve transition to next shot.
995	11:22:48:24 1 1 6	3:06	WS	In a residential garden, profile of Tom walking towards a small fire on the lawn, pulling a hosepipe behind him.
996	11:22:51:19 1 1 7	3:12	WS	Profile of Tom in a residential garden of a house, standing holding the hosepipe and smoking. He is in shadow and backlit by the sun. Burnt ashes of the small fire on the ground in front of him.
997	11:22:55:10 1	3:15	MCU	Tamara facing camera and holding a young girl in front of

	1 8			her. She blinks in slow motion.
998	11:22:59:03 1 1 9	4:04	LS	In a residential garden, a fire burns on the lawn. Semi profile of Tom right of screen in the foreground and looking towards the fire. He walks towards the fire with the hosepipe running water.	TAMARA VO: My dad he was drinking…
999	11:23:03:09 1 2 0	3:19	MCU	Tamara, PTC.	TAMARA: … until he found Katy, his wife that he has now,…
100	11:23:07:00 1 2 1	2:22	MCU	Katy sitting with a young child on her lap in the background. Blurred profile of another young girl in the foreground.	TAMARA VO: … Katy Darkie. I reckon she changed him. He’s…
100	11:23:09:23 1 2 2	2:22	MCU	Tamara, PTC.	TAMARA: … changed into a different man now, living with her.
100	11:23:12:21 1 2 3	4:01	WS	Inside Tom and Katy’s house. Pan across the kitchen with Tom standing behind the counter, organizing meat as Katy walks off. A young child sits eating in the foreground.	TAMARA VO: I see it - she’s very strict on him.
100	11:23:16:23 1 2 4	5:03	MCU	High angle of meat pieces on the kitchen counter. Cut-in of Tom’s hands picking up the meat and pan up as Tom walks towards a stove laying the meat in a frying

				pan on a corner stovetop.
100	11:23:21:23 1 2 5	5:04	MCU	Tamara, PTC.	TAMARA: I feel good now inside to know that my father has settled right down, you know.
100	11:23:27:04 1 2 6	5:04	WS	Filmed from inside a residential garden, Tom enters through the open garden gate and walks into the garden.
100	11:23:32:02 1 2 7	18:10	WS	Katy holding a baby sits with another young girl in the garden as Tom approaches and sits with them. Katy hands Tom the baby.	TOM VO: I also became a grandfather for the first time. After five daughters, I finally had a grandson. It helped me understand my grandfathers. I’ll be able to take him out bush, like they did for me, teach him the culture.
100	11:23:50:16 1 2 8	7:20	MWS	High angle of Tom holding his baby grandson, and sitting with Katy and a young woman. Tom leans towards the baby and kisses his forehead.
100	11:23:58:04 1 2 9	12:00	MWS	Slight high angle of Tom’s baby grandson being held in Tom’s lap. Slight zoom.	TOM VO: It’s like a circle of life. The old people, they pass it down to us and we gotta pass it on to our children and they gotta pass it on to their children.
100	11:24:10:12 1 3 0	39:09	LS to ECU	Floor level forward pan through a narrow pathway of gallery storage items towards the far end where a rainmaker’s headpiece leans against a wall. Zoom for	TOM VO: As for what happened to that Ngurrara canvas? It’s locked up in a long metal box at the Arts Centre in Fitzroy Crossing. It’s just like our land claim, our jila is fighting to be free. We gotta look after him. You can’t let him

ECU of the headpiece and fade to black.

get covered up and leave him like that. You gotta dig him out, clean him up, so that the water can be free.

101

11:24:49:24

2:16

Black screen.

101

11:24:52:16

17:24

Fade up to sepia superimposed footage of rippling water, and a rainmaker wearing a headpiece

and dancing on the flat landscape.

Single card - end credits are superimposed.

A VERY SPECIAL THANKS

Putuparri Tom Lawford

Nyilpirr Ngalyaku Spider

Snell

Jukuja Dolly Snell

Sylvester L. Rangie

Ngarralja Tommy May

Ningali Lawford Wolf

Tamara Lawford

The Walmajarri, Mangala,

Juwaliny, Wangkajunga, Kukatja and Manjilarra peoples of the Great Sandy Desert and all the

people of the Fitzroy

Valley

101

11:25:04:23

113:01

Sepia footage. Blurred cut-in footage in slow motion of feet stamping the ground an artwork canvas.

Rolling end credits begin. Sepia slow motion footage. Silhouettes of three rainmakers wearing headpieces and dancing. Dissolve transition to superimposed sepia footage of ripples on a water’s surface.

Rolling end credits superimposed.

DIRECTOR

Nicole Ma

PRODUCERS

John Moore

Nicole Ma

CO-PRODUCER

Jodie Bell

CINEMATOGRAPHER

Paul Elliott

WRITERS

Nicole Ma

Paul Elliott

EDITORS

Paul Elliott

Uri Mizrahi

Steven Robinson

COMPOSER

David Bridie

Ltd

MUSICIANS

Frank Yamma, Helen

Mountfort, Tim Cole, Phil

Wales, John Phillips, Jida Gulpilil, Hope Csutoros, Pius Wasi.

ENGINEERS

Nao Anzai, Richard

Puttnam

SOUND RECORDIST

Paul Elliott

ADDITIONAL SOUND

Cam McGrath

Nicole Ma

ADDITIONAL CAMERA

Putuparri Tom Lawford

Nicole Ma

Cam McGrath

Michelle Mahrer

Warwick Thornton

David Batty

Daniel Vachon

Clint Dixon

Curtis Taylor

Joanne Parker

John Moore

CULTURAL ADVISOR

/TRANSLATIONS

Putuparri Tom Lawford

RESEARCH ASSISTANCE

John Hellard

Natalie Cunningham

ACCOUNTING

Noga Mizrahi

PRODUCTION MANAGER

Lisa Horler

POST PRODUCTION

SUPERVISOR

Andrea Foxworthy

ASSISTANT EDITORS

Olivia Appleby

Alan Bennett

PUBLICITY

Tracey Mair

COMPLETION BOND

FACB

David Noakes

POST PRODUCTION

FACILITIES

DELUXE

Post Producer Haley

Gillies

Colourist Deidre

McClelland Online Editor

John Kerron

DCP Mastering Joel

O’Brien

Conform Editor Laurie

Meade

M & E

Sound FX Editor Brendan

Croxon

Dialogue Editor Doron

Kipen

Sound Mixer Doron Kipen

SCRIPT EDITOR

Karin Altmann

ARCHIVE FOOTAGE

courtesy of

Australian Broadcasting

Corporation Library Sales

Dayman Steptoe -

Remote Exposure

Photography

Donald Thomson film footage, courtesy of the

Thomson Family and

Museum Victoria

National Film and Sound

Archive of Australia’s Film

Australia Collection

Ngurra Kuju Walyja: the

Canning Stock Route

Project, FORM

Nimia.com - Digital

Rights Management

Jody Brown - Cinematographer

The Lawford Family

The Seven Network -

Perth News Ngurrara footage courtesy of Yanunijarra

PBC

ARCHIVAL PHOTOS courtesy of

Eirlys Richards and Joyce

Hudson

Audrey Bolger

Bill Marchant

Michael Gallagher

Lawford Family

The West Australian

State Library of New

South Wales

State Library of Western

Australia

The Museum Board of

South Australia

MAP

courtesy of

Agreements, Treaties and

Negotiated Settlements

Project Website

National Native Title

Tribunal

SONGS

'The Old Rugged Cross' written by George

Bennard

Performed by Kevin and

‘Why Carry Your Load’ written and performed by

Kankawa Nagarra (Olive

Knight)

Recording by Patrick

Davies; Nindilingarri

Cultural Health Services, Spiritual Health Program.

Licensed through Desert

Feet Records

‘Nyaku Marnanta Nyuntu

Mipa Lord’ written and performed by

Kankawa Nagarra (Olive

Knight)

Produced by Ivan Zar;

Recorded by Bob Patient

Licensed through Desert

Feet Records

‘Ngurra Parnngurr’

Performed by Parnngurr

Band

Composed by Parnngurr

2010

with thanks to Kanyirninpa Jukurrpa

‘Woma Wanti’ by Areyonga Desert

Tigers

Produced by CAAMA

Music

‘Bennelong’

Written & performed by

SPECIAL THANKS TO

OTHERS WHO

PARTICIPATED IN

FILMING

Daniel Vachon, Fred

Chaney, Steve Hawke,

Terry Murray,

Monique La Fontaine.

THANKS TO

Mangkaja Arts Resource

Agency

Belinda Cook, Pippa

Tabone, Lynley

Nargoodah, Wes Maselli,

Sarah Mack

Kimberley Aboriginal Law and Culture Centre Robyn Wilson, Joe Brown,

Wes Morris

Nindilingarri Cultural

Health Services

Patrick Davies, Byron

Lerner

Kimberley Land Council

Ngurrara Rangers

Guwardi Ngadu Frail

Aged Hostel, Fitzroy

Crossing

Ngiyali Roadhouse

Fitzroy Crossing Hospital

Central Desert Native

Title Services

South Australian Museum

Mayarn Julia Lawford,

Lorin Lawford, Caitlin

Lawford, Chloe Lawford,

Kayiesha Lawford, Lilly Darkie, Katie Darkie, the Lawford Family, Paddy Downs, the James

Family, the Carter

Family, the Forrest Family, the O’Meara Family, the

Nargoodah Family, Peter

Murray, Kingston Rangie,

Anselm van Rood,

Jacqueline Johnson,

Victor Ma, Amanda Ma,

Mitzi McMillan,

Carly Davenport Acker,

Tim Acker, Mick

Cummins, Lesley Garton,

Martin Wood,

Shannon Owen, Simon Chinn, Julia Peters, Jude and Barrie Lepley, Andrew Pike, Chris

Mytrea

VCA School of Film & TV,

RMIT Business School,

KRED Enterprises

Crowdfunding Supporters

Stephen George, Simon

Cocker, Hoang Tran

Nguyen, Sarah Barton,

Helen Disler, Peter

Shanks, Claire Bockner,

Sheena Reyes, Tammy

Amor, Ferdinand,

Monique La Fontaine,

Paula Blaze,

Deidree McMaster, Teresa

Gibbs, Shelley Archer,

Keating Vuong, Priya

Woolston, Nicole

Hutchinson, Astrid

Petersen, Ken Firth, Jeni

Thornley, David

Wilkinson, Jess

McDonald, Louisa Vilde,

Angelique Fransen,

Babette Sabella, Isabelle

Kostic, Megan Evans,

Janine Wilder, Gabrielle

Sullivan,

Anselm van Rood, Louise

Austen, Yvette Ma, Claire

Jankelson, Edie Kurzer,

Monique Berkhout, Soula

Yiangou, Margaret

Sztajer, Karen Neame,

Sarah Radcliffe, Martin &

Stephanie Kamener,

Gerry McLoughlin,

Stephen Guba, David

Pyefinch, Megan Watson,

Jen Fong, Hugh

Stevenson, Michael

James, Hayley, Rod Myer,

Carmen Warrington,

William R. Bullock, Alan

Johnson,

Gwyn Pigott, Kathlyn

Page, Mischa Telford, Chi

Vu, Walter Ma, Adrienne

Ma, PJ, Justine Bradley,

Jon and Sacha van Rood,

Anne Tsoulis, Kristie

Dunn, Kira Kay, Emily

McCulloch Childs,

Nicholas McMillan, Peter

Gonshor, Jesse Goninon,

Naomi Ota, Amanda Ma,

David Joseph, Ling Tan,

John Carty, Argyro

Gavalas, Tim Acker, Shu

Shu Zheng, Madhuma

Thompson, Damian Galle,

Michelle Mahrer, Siobhan

Casson, Megan

McMurchy, Suzanne Britt,

Lesley Robson-Foster,

Kim S Beamish, Mary

Ferguson, Alex McMillan,

Mitzi McMillan, Susan

Freeman, Rachana

Shivam, Maria Sangiorgi,

Jennifer Murray, Linley

Lefay, Norman Campbell,

Deborah Wayne LeiserMoore, Rudran Brannock,

Ben McMillan, Zac

McMillan, Melanie

Coombs, Mira Robertson,

Reuben Acciano, Rod

Williams

1134

11:26:03:13

4:02

Sepia footage of ripples on clear water.

Single card. Superimposed end

PRODUCED WITH THE

FINANCIAL ASSISTANCE OF

			credit.	The Melbourne International Film Festival (MIFF) Premiere Fund An initiative of the State Government of Victoria, Australia [MIFF & Victorian Government Logo] MIFF Premiere Fund Executive Producer: Mark Woods
1135	11:26:06:05	3:08	Sepia footage of ripples on clear water. Single card. Superimposed end credit.	PRODUCED WITH THE ASSISTANCE OF [Film Vic & Victorian Government Logo] Investment Manager Jeni McMahon
1136	11:26:09:23	3:18	Sepia footage of ripples on clear water. Single card. Superimposed end credit.	PRODUCED WITH THE ASSISTANCE OF NATIONAL INDIGENOUS TELEVISION [NITV Logo] Commissioning Editor Pauline Claque
1137	11:26:13:16	3:19	Sepia footage of ripples on clear water. Single card. Superimposed end	PRODUCED BY [Sensible Films Logo]
			credit.
1138	11:26:17:08	4:21	Sepia footage of ripples on clear water. Single card. Superimposed end credit. Fade to black.	PRINCIPAL INVESTOR Screen Australia & Australian Government Logo Investment Manager Sam Griffin © 2015 Sensible Films, Screen Australia, Filmfest trading as Melbourne International Film Festival, National Indigenous Television ISAN # 0000-0003-F98C- 0000-M-0000-0000-8
1139	11:26:22:06		Black screen.

END OF POST PRODUCTION SCRIPT.

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Film: Putuparri and the Rainmakers

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