Monday, January 28, 2013

HONEY # 3

...continuing on from HONEY # 2


70 EXT. BACK STREET. NIGHT

DANIEL, running fast, turns into a back street, stops, looks back, waits for a moment. He is not being chased

71 STREET OUTSIDE BUILDING SITE. NIGHT

CONSTABLE DAVID opens the back door to the paddy wagon for HONEY as the Fire Engine drives off. 

HONEY
I want to sit up the front with you?

CONSTABLE DAVID  
You can’t.

HONEY (grins)
That’s not a nice thing to call a lady!

72 INT. PADDY WAGON. NIGHT

HONEY, backpack in her lap, sits between CONSTABLE DAVID and the SECOND POLICEMAN who is driving.  CONSTABLE DAVID has emptied the contents of Honey’s wallet in his lap.

CONSTABLE DAVID
No ID?

HONEY (grins)
Identity free.

CONSTABLE DAVID
Got a name, I hope!

HONEY
No-one in particular.

CONSTABLE DAVID
Gotta be someone.

HONEY
Okay, you can call me ‘someone’.

CONSTABLE DAVID
How old are you, ‘someone’?

HONEY
Sixteen. What about you guys? (A BEAT) Your names, I mean.

The two cops exchange looks.

CONSTABLE DAVID
Constable Timmins.

HONEY
Your first name’s ‘constable’!?

CONSTABLE DAVID
David.

HONEY
Davo. And you?

SECOND POLICEMAN
Trevor.

HONEY
Trev and Davo. You both got girlfriends? Boyfriends?

73 INT. DARKROOM

DANIEL, bathed in red dark room light, immerses a white sheet of photographic paper in a tray of developing solution. A ghost image appears. It is Honey – her arms held out, the expression on her face a plea for help. 

74 INT. POLICE STATION. NIGHT

HONEY draws a caricature of the DUTY SERGEANT in her journal. TREVOR and DAVID and OTHER POLICE are in the room.

HONEY
I’m hungry, I need a meat pie or something, and a can of coke and…

The POLICE are not sure how to deal with HONEY.

HONEY
…and I’ve got my period so I need some tampons and…

DUTY SERGEANT
Now hang on a second, missy ‘someone’. You can’t just…order us around like you own the place.

HONEY
Police are public servants, right?

The DUTY SERGEANT nods warily.

HONEY
And I’m a member of the public, right?

The DUTY SERGEANT smiles. The OTHER POLICEMEN laugh. 

HONEY
Don’t suppose any of you guys have a durri do you?

The DUTY SERGEANT holds a packet of cigarettes out to HONEY.

75 INT. DANIEL’S STUDIO. NIGHT

DANIEL stands in front of a rack with a dozen or so 10 x 8 photos hanging from it. We see them from behind, their white backs only. As DANIEL looks at them it becomes clear that there is one, in particular, that excites him.

76 EXT. SUBURBAN STREET. NIGHT

As he approaches his house DANIEL switches off the engine of his Harley and cruises the last 50 meters silently. There is just a hint of dawn in the eastern sky.

77 INT. DANIEL AND HELEN’S BEDROOM DAWN

DANIEL creeps into the bedroom, sees the bed empty. He walks to the window, looks out, sees:

Through window of the Granny Flat, HELEN sitting on the edge of the bed staring into space; JASPER asleep beside her.

78 INT. GRANNY FLAT. DAWN

DANIEL appears in the doorway, a 10 x 8 photo in his hand. HELEN, lost in her memories, doesn’t notice him at first. DANIEL moves towards her. She becomes aware of him, wipes the tears from her eyes dismissively. DANIEL sits beside her, tries to put his arm around her. She pulls away, stands up, holds up her hands: “No”. DANIEL gestures ”OK”.

HELEN
Sorry…

DANIEL gestures “OK” again, stands, walks towards the door. HELEN covers her face with her hands for a moment, emotionally confused, then rushes to intercept DANIEL at the door.

JASPER watches her parents. They do not notice her.

HELEN clings to DANIEL, crying. He strokes her gently. HELEN takes the photo from his hands, looks at it.

HELEN
Wow!

79 EXT. POLICE STATION. DAY

HELEN walks from a police station towards her car.

HELEN (voice off)
Officially, cops couldn’t tell me anything… protocols, procedures, bla bla…

80 EXT. ART GALLERY. NIGHT

DANIEL, HELEN and JASPER (all dressed up in their best) make their way towards the Gallery entrance.

HELEN
…unofficially…she’s sixteen but won’t tell them her name, where she’s from…calls herself ‘Someone’…I’ll follow it up tomorrow…

DANIEL
Thanks. 

HELEN
Nervous?

DANIEL nods. HELEN takes his hand.

DANIEL kisses her on the cheek. JASPER takes DANIEL’S other hand as they walk past the DOORMAN.

81 INT. ART GALLERY.NIGHT

JASPER’S  point of view as they walk into the gallery:

Well dressed PATRONS drink champagne, eat canap├ęs, looks at black and white photos of street people on the walls.

JASPER
Shit, there’s Jasmin?

HELEN
Jasper! Language.

JASMIN wearing high heels, short skirt, breasts barely contained by an uplift bra, talks animatedly with a PATRON.

JASPER
She looks just like her photo.

As they move into the crowded gallery, as DANIEL is greeted by FRIENDS and PATRONS, JASPER can’t take her eyes off JASMIN.

We follow JASPER at the level of her eyes as she moves through the crowd – eyes open, observing, glancing at photos, looking up at PATRONS, stopping in front of:  

Jasmin, dressed in a micro-mini skirt, tight tank-top, argues with a policeman - hands on his hips, exasperated, at the end of his tether. Jasmin challenges him – finger pointed just an inch from the policeman’s nose.

JASPER stares at the photo, points her finger at it in imitation of Jasmin’s gesture. She turns to see, through the crowd, DANIEL and HELEN walking up to JASMIN. Introductions.

On the other side of the gallery:

DANIEL
My wife, Helen.

JASMIN smiles warmly.

JASMIN 
Hi Helen.

HELEN smiles nervously.

HELEN
Hi Jasmin.

JASMIN 
You’re even more beautiful than Danny Boy said.

HELEN looks at DANIEL, smiles, links her arm through his.

JASMIN
You do know your husband is mad as a cut snake, don’t you?

HELEN nods, laughs, relaxes.

On the other side of the gallery JASPER watches with interest as HELEN and JASMIN talk with increasing animation.

Elsewhere in the gallery DANIEL stands in front of a photo that is clearly an exhibition favourite. The TEEN MODEL Daniel smiled at in his studio, flirts with DANIEL now.

TEEN MODEL 
She’s awesome…her eyes…wow! All the photos…I mean…

HELEN, talking with JASMIN, observes:

The TEEN MODEL laughing with DANIEL. She touches him on the chest as she throws her head back to laugh. A middle aged woman (MIRIAM), note pad in hand, taps DANIEL on the shoulder.

Back with DANIEL and the TEEN MODEL as he turns.

MIRIAM 
I’m Miriam Coulter. From ‘Art Today’.

DANIEL is pleasantly surprised.

MIRIAM 
Have you got a moment?

Elsewhere in the gallery HELEN and JASMIN continue their talk. DANIEL and MIRIAM can be seen talking in the background.

HELEN
…from your photo…I thought you were pretty scary.

JASMIN (laughs)
It’s all an act. I’m a closet wimp…

HELEN smiles, sips her champagne.

HELEN
Jasmin, I hope you don’t mind… what… I mean…if you don’t mind my asking…

JASMIN
‘What’s a nice girl like you doing working in a place like this?’

HELEN laughs.

MIRIAM writes in her note book. HELEN and JASMIN can be seen talking in the background. JASMIN is doing most of the talking. HELEN nods, listens – intrigued; fascinated. 

MIRIAM 
So, your first exhibition?

DANIEL nods. MIRIAM raises her eyebrows; surprised.

MIRIAM 
This is good work, Daniel. Very good. You should be proud. The photo of the girl…marvelous. Dynamic…

MIRIAM gestures to the photo with the crowd in front of it.

Back with HELEN and JASMIN. HELEN’S glass is being re-filled with champagne by a WAITER.

HELEN (laughs)
My fantasies!? Don’t get me started…

JASMIN 
Nothing shocks me anymore… French, Golden showers, B & D. I actually quite like B & D. Whipping men! Yeah! I’m not too keen on Greek, though…

HELEN, fascinated, does not notice JASPER’S approach.

HELEN
Greek?

JASMIN 
Anal. And I won’t kiss ‘em. Not for any money. That’s where I draw my line.

JASPER (voice off)
Who won’t you kiss for money?

JASMIN 
Hello sweetheart.

HELEN is shocked to discover JASPER standing beside her.

JASMIN 
What’s your name? I’m Jasmin.

JASPER
I’m Jasper. This is my mother, Helen.

JASMIN 
Let me guess, Jasper. Nine? Ten?

JASPER
Nine and a half.

JASMIN
My son is…nine and three quarters. Donald.

JASPER
You have a son!?

JASMIN (nods)
And a daughter, Abigail. Abbie’s three.

JASPER
Jasmin, what do prostitutes actually do to men?

JASMIN laughs. HELEN tenses up.

JASMIN (laughs)
You should talk with your mum about that.

JASPER looks up at HELEN but she is blushing and speechless.

JASPER
Mum?

HELEN, lost for words, laughs a little nervously.

GALLERY OWNER (voice off)
Everyone!

The GALLERY OWNER, microphone in hand, stands in front of a large black and white photo of a bearded hobo (Grant) pushing a shopping trolley filled with his worldly possessions.

GALLERY OWNER 
Well, Daniel, here we are. How many years has it taken? Eight?

DANIEL
Nine.

GALLERY OWNER
For nine years Daniel, has been stalking the streets of Sydney late at night terrorizing his subjects with his camera…No, seriously…

82 EXT. ENTRANCE. ART GALLERY. NIGHT

GRANT approaches the front entrance to the art gallery.

GALLERY OWNER (voice off)
It is through Daniel’s photos that we come to know those in our community that are all too often out of sight out of mind; hidden from view. It is…

83 INT. ART GALLERY. NIGHT

HELEN looks proudly at DANIEL; JASPER swells with pride.

GALLERY OWNER 
…through Daniel’s ability to get to know these men and women as individuals and not merely as subjects…

84 EXT. ENTRANCE. ART GALLERY. NIGHT

The GALLERY OWNER continues with his speech as GRANT stands smiling at the confused and embarrassed DOORMAN.

GALLERY OWNER (voice off)
…his ability to breach the gap between ‘us’ and ‘them’…

DOORMAN 
I’m sorry sir but the gallery’s not open to the public this evening.

GALLERY OWNER (voice off)
It is through Daniel’s ability to get to know his subjects as friends…

85 INT. ART GALLERY. NIGHT

Through the crowd DANIEL can see the DOORMAN trying to block GRANT’S entrance into the gallery.

GALLERY OWNER (voice off)
…and through his skill with a lens that we may meet these unfortunate men and women who have fallen through society’s many cracks…

PATRONS look towards the entrance.

DOORMAN 
I’m sorry sir.

86 EXT. ENTRANCE. ART GALLERY. NIGHT

The DOORMAN blocks GRANT’S entrance.

GALLERY OWNER (voice off)
…but who demand our understanding, our compassion.

GRANT
Nonsense!

GRANT pushes past the DOORMAN with his shopping trolley.

GALLERY OWNER (voice off)
Each of these men and women has a name, a history. They are someone’s son, someone’s daughter, someone’s mother, father…

87 INT. ART GALLERY. NIGHT

All eyes turn to GRANT, smiling, pushing his shopping trolley towards DANIEL – delighted to see him. 

DANIEL
Everyone, this is my friend, Grant.

GRANT holds his hand aloft to greet the PATRONS.

GRANT
I changed my mind. So where is it?

DANIEL points to the photo of Grant. GRANT walks up, looks at it for a moment, leans close to DANIEL.

GRANT (sotto voce)
Still prefer m’memories.

The gallery PATRONS wait patiently and silently as DANIEL and GRANT have their sotto voce conversation.

GRANT
Remember when old Charlie put his shoes on the wrong feet…

GRANT chuckles. DANIEL feels a little awkward. 

HELEN
Perhaps Grant would like to say a few words on behalf of the…men and women on the other side of the lens.

GRANT shakes his head. HELEN takes the microphone from the GALLERY OWNER, hands it to GRANT. He looks at the assembled PATRONS, in no hurry, sees JASPER, smiles. JASPER smiles back.

GRANT
I’m proud to have Daniel as a friend. He’s a good bloke. There’s been lots of nights…

GRANT sees the photo that drew so much attention earlier. He walks towards it, stands in front of it, looks at it closely:

HONEY, held firmly by two angry-looking policemen, stares with blazing eyes directly, questioningly, into the eyes of the viewer. Her partially unbuttoned shirt is open and part of one of her breasts can be seen.

GRANT 
What’s her name, Daniel?

All eyes turn to DANIEL.

DANIEL
I don’t know. 

A deathly silence envelops the gallery.

DANIEL
I took it last night. I don’t know who she is.

MIRIAM 
I don’t understand…you mean you don’t have her consent?

DANIEL shakes his head.  

LATER

The PATRONS  are gone now. DANIEL stands in front of the photo of Honey, dejected. The GALLERY OWNER is switching off lights. DANIEL lifts the photo of Honey from the wall.

HELEN and JASPER stand in the doorway watching him. JASPER walks up to DANIEL, wraps her arms around his waist, hugs him tight. DANIEL strokes her head, looks over to HELEN – a desperate look in his eyes. His hands shake. HELEN walks up.

HELEN
Jasper, I want to speak with your father. Alone.

JASPER nods, walks off reluctantly.

HELEN
Darling, don’t be a drama queen. It’s a hiccup, not a death sentence.

DANIEL stares at HELEN – a haunted look in his eyes.

HELEN
I don’t want Jas to see you like this.

88 YOUNG HONEY’S BEDROOM. NIGHT

From outside YOUNG HONEY (9) is seen framed in the window looking down into the back yard; puzzled. When the significance of what she is looking at dawns on her, YOUNG HONEY’S puzzlement turns into terror. She opens her mouth and screams. A blood curdling scream.

89 INT. JUVENILE DETENTION CENTRE CELL. NIGHT

HONEY jolts awake in her bed – her face pale, wet with sweat. She looks at her shoulder. Her POV:

There is no sign of the Goblin on her shoulder.

...to be continued...

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