Scene 5, Frame 1: Pan/Tracking; wide shot (Landscape)Night (Consider shot using green screen)
Scene 5, Frame 2: Pan + Zoom, Close Up (Landscape)Night
Cut to inside a house. The man who told Gracie to go to the train station just finished making a call, putting the phone down with his back to the audience. He turns off the light before exiting the scene. The camera zooms on the phone, foreshadowing what happens next.
Scene 6, Frame 1: Tracking, Ext. Wide ShotSunrise
We are suddenly back in the forest.The nighttime bush is crawling with activity, and the air is filled with the sounds of insects. A goanna scurries across the foreground, and the camera then pans across into the next scene, following it.
Scene 6, Frame 2: Tracking wide shotSunrise
The camera is now focused back on Molly and Daisy. Daisy is long asleep, and the campfire has been put out, but Molly still stares into the distance. We slowly zoom in on Molly, who is completely still.The scene is mostly dark and silent, except a single, eerie birdcall.
We cut to an extreme wide shot of the Australian outback sunrise (showing the passage of time). There is some morning ambience playing, and the call of an eagle as it sweeps across the sky. The camera follows the eagle into the next scene.
We cut quickly to a similar landscape. The rabbit proof fence stands in the background, and there are a few dying bushes scattered throughout the scene. The colour scheme eminates isolation and emptiness. Suddenly, a black car races across the landscape, throwing a cloud of dust behind it.