Sunday, January 27, 2013
HONEY # 2
...continued on from HONEY # 1
33 INT. JASPER’S BEDROOM. NIGHT
JASPER lies in bed. DANIEL stands by the door, his hand on the light switch. JASPER holds her arms out, beckoning.
DANIEL moves to Jasper’s bed, leans in to kiss her on the cheek. JASPER smiles, wraps her arms around DANIEL’S neck, tries to pull him close. DANIEL resists, tickles JASPER till she releases him in a gale of laughter. DANIEL pouts his lips, kisses JASPER on the lips.
Not a fish kiss.
DANIEL pouts his lips even more – pretends to be a fish – kisses her again. JASPER laughs.
34 INT. DANIEL AND HELEN’S BEDROOM.NIGHT
HELEN sits on the edge of the double bed. She is sad. In her hands a leaflet: IN REQUIEM written above a photo of a woman in her 60s. Underneath, the date of her birth and death.
DANIEL stands in the doorway looking at her. HELEN does not notice him. After a long moment he walks forward, puts his hand affectionately on her shoulder. She does not want to be touched. DANIEL understands.
35 INT. JASPER’S ROOM.NIGHT
JASPER holds her hands in prayer under her chin.
Please take good care of grandma in heaven and tell her I miss her heaps and…well, if it’s not too much to ask, a baby brother would be…awesome…
36 INT. DANIEL AND HELEN’S BEDROOM.NIGHT
DANIEL lie apart in the dark. HELEN stares at the ceiling. DANIEL, lying on his side, reaches out, strokes her hair. She does not respond to his touch but, after a long moment, turns to look at DANIEL – her eyes glistening with tears.
HELEN brushes the tears from her eyes dismissively, gestures with her hands: “I don’t want to talk about it.” DANIEL nods, rolls onto his back, stares at the ceiling. HELEN turns her head and looks at the framed photo beside the bed:
Helen, aged around 12, laughing happily along with her mother.
37 INT. JASPER’S BEDROOM. NIGHT
JASPER reads an illustrated bible book – the double page spread in front of her: SODOM AND GOMORRAGH.
38 INT. DANIEL AND HELEN’S BEDROOM.NIGHT
DANIEL stares at the ceiling, caught up in some inner turmoil. HELEN lies beside him, eyes closed. DANIEL slips out of bed, careful not to wake HELEN.
HELEN opens her eyes, watches:
DANIEL dressing. When he finishes he turns, sees HELEN looking at him. She shakes her head, smiles, holds her arms out to him beckoning him to come back to bed.
I won’t be long.
HELEN nods, withdraws her arms.
39 INT. JASPER’S BEDROOM. NIGHT
JASPER, asleep, wakes as she hears a door close. She gets out of bed, walks to the window, stands in the dark, watching:
DANIEL push his Harley down the street, kick start it.
40 DANIEL AND HELEN’S BEDROOM. NIGHT
HELEN lies under a sheet, staring at the ceiling; caught up in her own inner turmoil. The sound of Daniel’s Harley receding into the distance can be heard.
JASPER (voice off)
HELEN smiles, nods, flips back the sheet. JASPER walks up, crawls into bed, rests her head on HELEN’S breast.
I can hear your heart going boom boom, boom…really fast.
HELEN strokes JASPER’S hair affectionately.
41 EXT. KING’S CROSS. NIGHT
DANIEL drives past night clubs, strip joints and hookers in Sydney’s ‘red light’ district.
42 EXT. KING’S CROSS BACK STREET. NIGHT
DANIEL drives past a mobile ‘soup kitchen’ from which food is being dispensed to HOMELESS PEOPLE. He waves. Some wave back.
43 DANIEL AND HELEN’S BEDROOM. NIGHT
JASPER lies with her head on HELEN’S breast.
Did I do something to hurt dad’s feelings?
What makes you think that?
JASPER shrugs, hugs HELEN tight. HELEN strokes JASPER’S hair.
44 EXT.BACK STREET. WOOLLOOMOOLOO. NIGHT
DANIEL drives slowly, looking for someone. Up ahead he sees GRANT, shuffling along the footpath pushing a supermarket trolley filled with his worldly possessions.
DANIEL stops, gets off his motor bike, grabs the camera slung around his neck, slinks across the road – stalking GRANT, camera at the ready, looking for a good angle. As he prepares to take a photo a police car drives by, siren blaring. GRANT turns to look at the police car. Click. DANIEL has captured the moment. GRANT sees DANIEL, recognizes him, waves. DANIEL smiles, raises his hand in greeting.
45 EXT. GRANT’S ’HOME’. NIGHT
DANIEL sits with GRANT – his hair matted, unwashed, his clothes dirty, on a section of pavement that is Grant’s ‘home’. DANIEL hands GRANT a post card photo of:
Grant, eyes blazing in his ragged face, looking at the camera animatedly in a moment of intense intimacy. Across the photo are the words GRACE OF GOD and, in smaller print, INVITATION.
GRANT looks at the photo, hands it back to DANIEL.
I prefer my memories.
46 ANZAC BRIDGE. LATE AFTERNOON
HONEY looks excitedly through the windscreen as she drives over the Anzac Bridge, approaching downtown Sydney. JOHN is asleep in the passenger seat, snoring. HONEY nudges him.
Wake up y’old codger!
JOHN wakes, looks out the window.
Well here we be! Good on ya, Katie. You’re a good girl.
And you’re a bad man.
47 EXT. OPERA HOUSE. SUNSET.
HONEY, backpack at her side, sits cross-legged on the ground, her journal open in front of her. She has stuck a post-card of the Opera House in it and is making a diary entry alongside it. She looks up at JOHN, some distance away, talking animatedly and angrily on his mobile. He hangs up; walks up.
Been a bit of a setback…nothing to worry about…
JOHN is not a convincing liar.
…but it’s going to be a few days before that job materializes. In the meantime…
HONEY shakes her head, holds up her hands: ‘No way”
48 EXT. KINGS CROSS. NIGHT
HONEY, her small backpack slung over her shoulder, stands at the side of the road in Kings Cross, close to THREE PROSTITUTES. JOHN stands on the other side of the road keeping an eye on her. HONEY looks miserable.
49 INT. DANIEL’S STUDIO ‘LOFT’. NIGHT
DANIEL, an unlit cigarette in his mouth, lies on the futon in the ‘loft’ staring into space.
This ‘loft’, Daniel’s ‘cubby house’, has in it family photos of his boy and teenage selves, objects collected during travels that have sentimental value, childhood teddy bear etc.
DANIEL snaps out of his reverie, sits up, looks down through the Indian curtains to the selection of framed photos resting up against a wall.
50 INT. ‘GRANNY FLAT’. DANIEL AND HELEN’S HOUSE. NIGHT
HELEN, her cheeks streaked with tears, sits on the bed in a room in which the presence of her mother is all too evident. Nothing in the room has changed since Helen’s mother died.
There are several vases filled with dead and wilting flowers. HELEN stands, takes a bunch of dead flowers from a vase, holds them for a moment as tears well. She wills herself not to cry, puts the dead flowers back in the vase.
JASPER (voice off)
HELEN turns. JASPER, in her nightdress, is standing in the doorway. HELEN wipes the tears from her eyes.
JASPER shakes her head, walks up wraps her arms around HELEN.
51 EXT. KINGS CROSS. NIGHT
HONEY stands at the side of the road. A car pulls up. She walks up to the passenger window, leans in, talks for a moment to the (unseen) driver. HONEY looks across the road at JOHN watching her. She gets into the car. It drives off.
52 INT. DANIEL’S STUDIO. NIGHT
DANIEL looks closely at one photo:
A portrait of Grant.
On an impulse DANIEL walks fast to the desk on which his computer rests, picks up the keys to his motor bike, tossing the unlit cigarette into a waste paper bin as he does so.
53 EXT. DANIEL’S STUDIO. PARKING LOT. NIGHT
Daniel puts on his helmet, kick starts his Harley.
54 INT. BACK STREET. NIGHT
HONEY sits in the passenger seat, looking nervously at a YOUNG MAN in the driver’s seat. He is as nervous as she is.
You’ll think I’m totally weird.
I don’t do…weird stuff…
It’s not that…
Tears well in his eyes.
I’m just…so lonely.
HONEY reaches out, takes his hand.
The YOUNG MAN starts to cry. So does HONEY. They look at each other crying and can’t help but laugh.
Told you I was weird.
Hey, join the club.
You wanna drink?
HONEY nods. The YOUNG MAN reaches into the back seat and produces a cask of wine.
55 INT. GRANNY FLAT. NIGHT
HELEN and JASPER are snuggled up together in bed.
Why doesn’t dad want to cuddle me anymore.
Because you’re a young woman now.
But I haven’t even got any boobs yet.
You don’t need boobs to be a woman.
Why’s it OK to cuddle you but not dad?
When you’re older you’ll understand.
When I’m a woman?
HELEN laughs, holds JASPER tight.
56 INT. SUPERMARKET. NIGHT
DANIEL fills a trolley with foodstuffs.
57 INT. CAR. KINGS CROSS. NIGHT
HONEY, quite drunk, the cask of wine resting in her lap, indicates to the YOUNG MAN, driving, to drop her close to JOHN, standing on the pavement ahead. The YOUNG MAN slows.
No, keep driving…
HONEY, plastic cup in hand, slinks low in the seat as they drive past JOHN, a look of panic in her eyes. The YOUNG MAN looks at her with a mixture of tenderness and confusion.
58 EXT. GRANT’S ’HOME’. NIGHT
DANIEL walks from his motor bike to Grant’s ‘home’, his arms laden with supermarket plastic bags filled with groceries.
GRANT lifts his arm in greeting, smiles.
59 EXT. KINGS CROSS BACK STREET. NIGHT
HONEY sits in the gutter drinking wine from a plastic cup, the wine cask on the pavement beside her. She wipes tears dismissively from her eyes, opens her backpack, extracts John’s knife, stares at it, takes another big slug of wine.
60 INT. GRANNY FLAT. NIGHT
JASPER is asleep on HELEN’S breast. The fingers of one of JASPER’S hands are intertwined with HELEN’S.
61 EXT. GRANT’S ’HOME’. NIGHT
GRANT takes a packet of cigarettes from a new carton, opens it. In front of him: the food and other groceries Daniel has bought him. GRANT smiles, nods his head in thanks, pats DANIEL’S shoulder.
62 EXT. BUILDING SITE. NIGHT
HONEY carrying the wine cask, scales a wire mesh fence, walks to stairs of the building under construction.
63 EXT. BUILDING SITE. 10th FLOOR. NIGHT
HONEY arrives at the 10th floor, walks to within a few feet of the edge. There is no wall. She moves closer to the edge.
64 EXT. GRANT’S ’HOME’. NIGHT
Seen through the lens of Daniel’s camera:
GRANT holds a freshly opened packed of cigarettes out to DANIEL - who takes a photo. Click. A fire engine drives by, siren wailing, lights flashing. DANIEL refuses a cigarette with a shake of his head, lowers the camera.
Trying to resist temptation.
65 EXT. BUILDING SITE. 10TH FLOOR. NIGHT
HONEY stands at the edge of the building, looking down. A police car pulls up. She upends the cask of wine, opens the spigot, drinks from it, picks up the knife, runs the tip of its blade across her heavily scarred arm.
Close to the edge, knife in hand, HONEY looks down to where two police cars are parked, lights flashing.
66 INT. GRANNY FLAT. NIGHT
HELEN stares into space – sadness in her eyes.
67 EXT. GRANT’S ’HOME’. NIGHT
GRANT reaches for Daniel’s camera.
Want to get a photo of you trying to resist temptation.
DANIEL laughs hands GRANT his camera.
I’ve just got to press this button, right?
DANIEL nods, looks into the lens. He waits and waits.
What are you waiting for?
For you to look like you’re resisting temptation.
DANIEL laughs. Click. A happy snap!
You a happy man, Daniel?
DANIEL smiles, shrugs, looks at GRANT – whose eyes are focused on his. DANIEL is unnerved by the intensity of his stare. The fire engine heard earlier has pulled up out of sight but it’s flashing lights reflect in the windows of a building at the end of the street. DANIEL grabs his camera from GRANT, stands.
68 EXT. 10TH FLOOR/STREET. NIGHT
Standing precariously close to the edge, more than a little drunk, HONEY’S attention is focused on the flashing red light of the fire engine. DANIEL runs into the frame.
The rest of this sequence is split between what takes place on 10th floor and what DANIEL sees through his lens and records in a succession of photos.
HONEY looks from the fire engine lights to the Goblin (unseen) on her shoulder. She tries to brush, flick it away. There is a ‘mad’ look in her eyes. She does not notice young CONSTABLE DAVID (early 20s)who has joined her on the 10th floor.
POLICEMAN (voice off)
HONEY swings around, stares at the POLICEMAN. Her balance at the edge is precarious.
I’m David. And you?
HONEY ignores the question.
DANIEL, in the street looks up, takes photos as DAVID moves closer to HONEY. DAVID speaks but we do not hear what he says.
CONSTABLE DAVID takes a step forwards. HONEY edges back, perilously close to the edge, moving the tip of the knife to a point midway between her breasts. CONSTABLE DAVID stops, holds his arms up to indicate that he will move no closer.
HONEY looks down, sees:
Crowd in the street, including DANIEL, looking up. HONEY’S balance is precarious.
You know if you stab yourself right there you’ll hit your sternum and it’ll hurt like hell but you won’t get your heart.
HONEY shifts the tip of the knife.
A bit more to the left and make sure you find a gap between the ribs…
HONEY stares at him. This is not the script she had in mind.
Aren’t you…like…supposed to…talk me out of killing myself.
Nah, I just want to make sure you do it properly and don’t make too much of a mess. Coz you know who has to clean it up!?
HONEY drops the hand with the knife in it to her side.
Life sucks and then you die, ay?
HONEY thinks for a moment, looks directly at CONSTABLE DAVID.
I want more than that.
Join the club.
Is there a joining fee?
DAVID smiles, steps forward, reaches out and takes the knife from her hand. HONEY falls into his arms, holds him tight.
69 EXT. STREET OUTSIDE BUILDING SITE. NIGHT
As CONSTABLE DAVID leads HONEY out into the street a SECOND POLICEMAN joins him – a pair of handcuffs in his hands. HONEY sees the handcuffs.
DAVID gestures to the SECOND POLICEMAN to back off, put the hand-cuffs away, but it is too late – HONEY bolts down the street, straight towards where DANIEL stands taking photos. The SECOND POLICEMAN catches HONEY quickly and roughly. HONEY puts up a fight, screams like a banchee.
Let me go…fucking arsehole…
HONEY screams as she kicks and scratches the SECOND POLICEMAN. CONSTABLE DAVID steps between them, pushing the SECOND POLICEMAN away. DANIEL keeps taking photos.
HONEY holds her arms out towards DANIEL: a plea for help. DANIEL takes a photo. Click.
...to be continued...