Despite it being
the major (indeed, the only) investor in the development of the screenplay for
HONEY, no one at Screen Australia is allowed to read this 7th draft (or is it the 8th draft?) of the screenplay
because doing so would place the reader at risk! At risk of what is a question
(amongst many) that Ruth Harley’s Alice in Wonderland SA refuses to answer. The
screenplay may be amateurish, it may be second rate or it may be a potential
Academy Award winner, who knows!? Certainly Screen Australia will never know
because it will remain unread – punishment
for a screenwriter who had the temerity to ask questions that Ruth Harley and
the SA Board did not want to answer! The dangerous absurdity of Screen Australia’s
ban (the first of its kind since the days of Joe McCarthy in the 1950s) seems
to have escaped the attention of members of a filmmaking community reticent to
bite one of the few hands that is likely to feed them. Yes, understandable on
one level, but in not standing up to Ruth Harley and the Board the film
community has green lit its acceptance of the mafia like tactics Screen Australia employs to silence critics.
Opening credit sequence. Mendelssohn's Violin Concerto in E minor, Opus 64 is heard over. A match is lit. A young girl's hand, holding the burning match, lights a votive candle, illuminating the church vestibule.
In a high wide shot the YOUNG GIRL carries the candle across the vestibule, places it alongside other burning candles.
A small congregation watches as a PRIEST swings a smoking incense-filled silver thurible on either side of a coffin.
The YOUNG GIRL'S hand moves back and forth through the candle flames - caressing them, being caressed by them.
YOUNG GIRL (VOICE OVER)
'I just want to be normal' Honey said when I asked her what she wanted most in life.
2 EXT. OUTBACK AUSTRALIA. LATE AFTERNOON
Music over and credits continue:
Close on: HONEY, in her late teens, staring into space, lost in her memories; her face bathed in late afternoon sun.
YOUNG GIRL (VOICE OVER)
There's a bit in one of her poems that goes:
HONEY, wearing jeans and a long-sleeved shirt, crouches close to the edge of a bluff overlooking a vast outback landscape. In front of her is a pile of leaves and twigs.
YOUNG GIRL (VOICE OVER)
'I'm not bad and I'm not mad but I am, it is true, a little bit sad.'
HONEY strikes a match, lights the leaves.
3 JASPER'S BEDROOM. DAY
Music and credits continue over JASPER, 9, wearing jeans, t-shirt, curly pink wig, looking at a mirror. The reflected image reveals skinny legs, flat chest, spindly arms.
YOUNG GIRL (VOICE OVER)
'The last thing I want is to be normal,' I said.
In one hand ,a plastic guitar. JASPER, lips liberally daubed with red lipstick, mimes music emanating from a tape deck: JASPER playing at being an androgynous rock star.
YOUNG GIRL (VOICE OVER)
Honey laughed and got that look in her eyes...
4 EXT. OUTBACK AUSTRALIA. LATE AFTERNOON
Music and credits continue over HONEY watching as the fire bursts into life.
YOUNG GIRL (VOICE OVER)
...like she was looking into outer space or the future and made up a poem on the spot. It went...“If I could be you and you could be me; How happy we would surely be...”
HONEY is mesmerized by the flames.
5 JASPER'S BEDROOM. DAY
Music and credits continue over as JASPER wipes the lipstick from her lips, takes off the pink wig. Her blonde hair falls below her shoulders.
YOUNG GIRL (VOICE OVER)
I can’t remember the rest. I should have written it down.
JASPER appraises at the image of herself in the mirror.
YOUNG GIRL (VOICE OVER)
You know that feeling where you think you couldn’t possibly forget something really important that
happens to you and you do...forget it?
6 EXT. OUTBACK AUSTRALIA. LATE AFTERNOON
Music and credits continue over as a small Green Goblin in the midst of the flames looks over its shoulder at the camera and smiles maliciously.
Close on HONEY, her eyes on the Green Goblin - her face white and covered in a sheen of perspiration.
YOUNG GIRL (VOICE OVER)
And how you can remember something that happened in he past so clearly you can’t be sure it really happened the way you remember it?
HONEY extracts credit cards, a driver's license and Medicare card from her wallet and throws them in the fire.
YOUNG GIRL (VOICE OVER)
And then there’s lies. Not just the ones people tell each other but the ones they tell themselves.
HONEY watches the contents of her wallet burn. Deep in the background there is a car - a figure pacing impatiently up and down beside it.
YOUNG GIRL (VOICE OVER)
But stories are just lies, Honey said, and no-one complains that they’re not true.
HONEY takes a battered photo from her wallet. We catch only a brief glimpse of what appears to be a woman and a girl before HONEY throws it into the fire. She watches as the edges turn brown and begin to burn. In a sudden movement HONEY reaches down and plucks the photo from the fire.
7 JASPER'S BEDROOM. DAY
Music and credits continue over JASPER making faces at herself in the mirror - a smile, a frown, a silly face, a serious face...
YOUNG GIRL (VOICE OVER)
I never used to think like this before I met Honey.
JASPER picks up a pair of scissors, looks at her reflection.
YOUNG GIRL (VOICE OVER)
I can’t imagine what my life will be like now she’s gone.
Final credit: HONEY
8 INT. CAR. DAY
CLOSE ON a journal collage: a pressed flower, a caricature of a smiling octopus, a post card of a green fern seedling curling up from barren bushfire-burnt soil.
NEWS READER (RADIO)
…Another scorcher predicted for today…
HONEY, in the passenger seat, tries to find room on the page for a photo of a happy mum, dad and daughter (not Honey). A battered blue teddy bear, one arm missing, sits on the dash.
NEWS READER (RADIO)
...no relief in sight for the heat that…
HONEY reaches out to change the station. The driver, JOHN, late 40's, sips beer from a bottle, reaches out to stop her.
NEWS READER (RADIO)
…saw temperatures in the high 30s yesterday…
HONEY withdraws her hand for a moment. When JOHN withdraws his, she reaches out quickly and changes to a music channel:
RADIO
“One day a near Selina Lord, I let him slip away…”
JOHN smiles, hands the bottle of beer to HONEY.
RADIO
“He's lookin' for that home, and I hope he finds it…”
As she takes a swig of beer, JOHN turns the music down.
RADIO
“But I'd trade all of my tomorrows for one single yesterday to be…”
HONEY reaches out and turns the music up again. JOHN holds his hands up: “OK, you win.”
HONEY smiles, returns to her journal.
RADIO
“…holdin' Bobby's body next to mine…”
9 EXT. OUTBACK ROAD. DAY
John's beat up old blue Holden passes a sign: THANK YOU FOR VISITING SOUTH AUSTRALIA. Singing over from the radio.
RADIO
“Freedom's just another word for nothing left to loose…”
10 EXT. ROADSIDE CAFÉ. DAY
JOHN, in the drivers seat, hands a cheque book through the window to HONEY, standing by the car. She is not happy. She glares at JOHN for a moment, turns petulantly and walks towards the café.
JOHN watches her, takes out a cigarette.
11 INT. ROADSIDE CAFE. DAY
HONEY carries meat pies, a loaf of sliced white bread and assorted junk food to the counter.
HONEY places a cheque on the counter. The PROPRIETRESS behind the counter notices the bandage protruding from the sleeve, points to a sign: SORRY NO CHEQUES
PROPRIETRESS
Sorry dear!
HONEY
Dad's wallet got stolen.
The PROPRIETRESS glances to where JOHN, in the background, can be seen filling the car with petrol. She raises her eyebrows questioningly. HONEY flashes an innocent young girl's smile.
HONEY
Cross my heart and hope to die.
PROPRIETRESS (SMILES)
Well I hope you don't die, dear. Not for a long time yet.
A LITTLE LATER
HONEY standing in the doorway of the café, clutching her arm full of food. The PROPRIETRESS looks at HONEY'S bandaged arm.
PROPRIETRESS
Does your mother know where you are?
In the background JOHN can be seen leaning against the car, smoking a cigarette, his eyes HONEY.
HONEY
My mother's dead.
PROPRIETRESS
Oh, I'm sorry dear. So it's just you and your dad?
HONEY looks back towards JOHN, nods.
12 EXT. OUTBACK ROAD. DAY
The Holden is parked at the side of the road, boot open. John kneels, unscrewing the number plate.
HONEY sits closeby, cigarette in hand, crying. JOHN shouts at her.
JOHN
For chrissakes, Catherine!
HONEY wipes tears from her eyes, puffs on her cigarette as JOHN screws a new number plate in place, throws the 'old' number plates into the boot, alongside another set of number plates, three DVD players, two TVs, and other stolen goods.
13 INT. CAR. OUTBACK ROAD. DAY
HONEY sweats profusely. Her face is pale. JOHN drives on a deserted outback road. HONEY looks at her shoulder. Her POV:
The Green Goblin, angry, sits on her shoulder. He points at her accusingly, opens his mouth to speak. JOHN'S POV:
HONEY covers her ears, closes her eyes. There is no sign the Goblin. HONEY opens her eyes, tries to flick the (now invisible) Goblin away.
JOHN looks at HONEY with concern.
JOHN
Katie!
JOHN takes a vial of pills from his pocket, hands them to HONEY. With shaking hands she tips 10 or so pills into her hand. JOHN knocks them from her hand.
JOHN
Three!
HONEY nods, picks up three tablets, throws them in her mouth. JOHN hands her his can of beer. HONEY washes the pills down with a swig, looks at her shoulder again - terrified.
14 INT. YOUNG HONEY'S BEDROOM. NIGHT
YOUNG HONEY, aged 9, lies awake in her bed cuddling a blue (two-armed) teddy bear. There is fear in her eyes. She hears the door to her room open, closes her eyes.
HONEY'S MOTHER, wearing a white night dress, walks in and kneels beside Honey's bed. She looks at her daughter, madness in her eyes, reaches out, brushes hair from YOUNG HONEY'S neck, leans close to kiss her neck, her face, her ears. Tears fill her crazed eyes.
JOHN (VOICE OFF)
Fucken bullshit!
15 INT. CAR OUTSIDE PUB. LATE AFTERNOON
HONEY, asleep in the passenger seat, her journal in her lap wakens in shock. JOHN, sitting in the driver's seat, drunk, grabs the journal, throws it out the window, starts the car.
HONEY (SCREAMS)
No!
16 EXT. CAR OUTSIDE PUB. LATE AFTERNOON
HONEY leaps out of the car in a panic as JOHN starts to drive off. As she starts to pick up her broken journal and the photos, newspaper clippings, pressed flowers etc, JOHN stops a little down the road.
As HONEY inspects her damaged journal JOHN backs up, pulls alongside HONEY crouched at the side of the road.
JOHN
Get in.
HONEY shakes her head. JOHN leaps out, grabs HONEY, drags her to the car, pushes her into the passenger's seat.
17 INT. CAR OUTSIDE PUB. LATE AFTERNOON
HONEY flips through her journal as JOHN staggers around the back of the car and falls into the driver's seat. HONEY looks for something in her journal but can't find it. She panics as JOHN starts the car, pulls out onto the road.
HONEY (SCREAMS)
Stop.
18 EXT. CAR OUTSIDE PUB. LATE AFTERNOON
HONEY leaps from the car, runs back, looks for something but can't find it. And then she sees it, picks it up. It is the photo she had thrown in the fire - its edges burnt.
19 INT. CAR. OUTSIDE PUB. LATE AFTERNOON
HONEY sits in the blue Holden, outside a pub in an outback town, sweating in the heat. She looks out the window at:
JOHN, in the beer garden - drinking and talking with TWO MEN.
HONEY picks up her fountain pen, mouthing words silently to herself as she looks down at:
Her journal resting on her lap. Honey has started a new double-page montage. There is a caricature of John, a photo of an octopus cut from a magazine, an artist's impression of Joan of Arc burning at the stake, the photo of the mum, dad and daughter. Honey has written the beginnings of a poem.
How much blood…
HONEY thinks for a moment, writes some more for a moment before looking back at:
JOHN regaling the TWO MEN with a story. They laugh appreciatively. HONEY watches them for a moment. Her attention is caught by the family sitting at an adjacent table:
The MOTHER, in her 30s, sits alongside the FATHER, in his 40s, her head resting on his shoulder. They both look at their DAUGHTER, in her mid-teens, standing closeby telling them an animated story. The MOTHER and FATHER laugh. The MOTHER looks up at the FATHER lovingly. The DAUGHTER glows with happiness as she registers her parents appreciation of her story. The trio could be an advertisement for the 'perfect family'.
20 INT. MOTEL ROOM. NIGHT
JOHN, in underpants only, sits on a single bed watching TV as he drinks from a longneck bottle of beer. He is very drunk.
HONEY, in jeans and shirt, sits on another bed, repairing her journal with sticky tape. She secures the burnt photo: a mother with her young daughter sitting in her lap. Alongside it another photo of an octopus clinging to a rock underwater.
HONEY becomes aware that JOHN is standing beside her. She closes her journal, clutches it to her protectively.
JOHN
Bedtime.
HONEY looks at him, scared. She shakes her head.
JOHN
Get into the fucken bed.
HONEY shakes her head. JOHN reaches out to grab her journal. HONEY clutches it to her chest. JOHN grabs her. HONEY breaks away from him, runs into the adjacent bathroom, stands under the shower recess, clutching her journal to her, terrified.
JOHN staggers to the door, a large hunting knife in his hand.
JOHN
Get into the fucken bed.
HONEY shakes her head.
HONEY (CRYING)
I don't care if you kill me.
JOHN holds the knife to his own throat.
JOHN
It's me I'll fucken kill!
JOHN moves runs the knife across his scrawny chest, draws blood. HONEY watches, transfixed. He reaches forward, turns the shower tap on. Water pours over HONEY, clutching her journal, trying to protect it from the water.
HONEY walks from the shower like a zombie, past JOHN, into the bedroom, wipes water from her journal, places it on the table, moves to JOHN'S bed, lies on her back, stares at the ceiling. JOHN, knife at his side, watches her, shakes his head.
JOHN
What the fuck!
JOHN staggers to the bed, flops alongside HONEY.
JOHN
Fucken bitch!
JOHN tries to get under the covers. Suddenly, HONEY turns to him, grabs him, wraps her arms around him, holds him tight.
HONEY
I'm sorry.
JOHN pats her reassuringly: “It's OK”.
LATER
HONEY lies on the bed staring at the ceiling, a 'mad' look in her eyes, JOHN asleep beside her, snoring. She looks at her shoulder. HONEY'S POV:
The Green Goblin smirks at her. HONEY tries to flick it away but her hand passes right through it
A mad look in her eyes, HONEY swings her legs off the bed, flicks at her shoulders to rid herself of the now invisible Goblin, stands, looks back at John, sees the knife on the floor beside the bed, moves over picks it up, grasps it tightly, looks with anger at JOHN'S blotchy face. Her eyes blaze as her grip on the knife tightens.
21 DIRT ROAD. BLUE MOUNTAINS. EARLY MORNING
The wheels of a motor bike spinning fast on a dirt road.
DANIEL, late 30s, wind in his hair, drives his Harley Davison fast on a on a dirt road - crash helmet and a blue duffle bag strapped to the back of the bike. As he leans into a sharp curve in the road the bike slides out from under him; skids sideways along the dirt road, disappearing in a cloud of dust.
The dust clears. DANIEL lies beside his motor bike in the bush, opens his eyes, looks at the gash on his arm for a moment, feels his body for other wounds, stands, grimaces a little, rights his Harley, kick starts it, drives off.
22 DINING ROOM. DAY
HELEN, mid 30's, pretty, her blonde streaked hair stylishly groomed, lifts a framed photo, looking for a got place to hang it on a wall that already has several framed photos hanging on it. Mendelssohn's Violin Concerto in E minor, Opus 64 can be heard.
The neat and spotlessly clean room is dominated by a white leather lounge suite and large aquarium filled with exotic tropical fish. The dining table is neatly set for three. On it rests an antique brass chafing dish and a bottle of Brandy.
All the walls are adorned by framed black and white professionally taken family photos - some of which include Helen as a late teen and early 20s model.
HELEN, happy with the position she has found for the photo, places it back on the carpet, leaning up against the wall.
23 INT. JASPER'S BEDROOM. DAY
JASPER brushes her lustrous long blonde hair, looks at:
A pair of scissors on her dresser.
Close on JASPER thinking.
24 EXT. CLIFF FACE. DAY
Mendelssohn's Violin Concerto in E minor, Opus 64 continues as a foot, in a rock-climbing shoe, seeks out a cleft in the rock 20 feet from the ground.
DANIEL, 'solo climbing' (no ropes), clings to the face of a cliff - his concentration intense. He releases one hand, dips it into a chalk pouch at his waist, reaches up, his chalk-white fingers searching out something he can grip. He finds a small rock extrusion, explores it with his fingers, grips onto it. He releases one of his feet - moving it to a small cleft on the rock face.
25 DINING ROOM. DAY
Mendelssohn's Violin Concerto in E minor, Opus 64 continues over HELEN as she finishes hammering a stud into the wall. She pauses for a moment to pay full attention to a much-loved part of the concerto (the music over sourced to her CD player) before resuming her hanging of a photo whose contents we do not see. She lifts it and hangs it from the stud in the wall. The stud gives way, the photo falls, disappears from frame. The sound of shattering glass.
26 CLIFF TOP. DAY
Mendelssohn's Violin Concerto continues over DANIEL, sweating, sitting on top of the cliff looking out over a mountains and valleys, oblivious to his bleeding arm. The only sounds: the wind and occasional bird cries. He takes a cigarette packet from his pocket, extracts a cigarette, holds it between his fingers, looks at it closely for a moment, puts it in his mouth, draws on it, unlit. He closes his eyes for a moment - imagining, remembering.
DANIEL looks up, sees a bird hovering motionless in the wind. He stares at the bird for a long moment.
Pull back to reveal DANIEL a small figure in a vast Blue Mountains landscape.
27 INT. BATHROOM. DAY
HELEN stands in front of a three mirrored bathroom cabinet looking at the cut on her finger, a band-aid in her hand.
As she lifts her bloody finger to put it in her mouth she looks at her reflection. Dissatisfied with what she sees, she opens one of the mirror doors so that she can see a reflection of her profile. She then reaches out to move the third mirror so that she can see her other profile and catches, in reflection:
JASPER, her hair cut crudely short. HELEN reacts with shock.
28 EXT OLD FACTORY PARKING LOT. DAY
DANIEL rides his motor bike into the parking lot outside a renovated factory. He parks beside a truck that has PITT ART SUPPLIES AND FRAMING written on the side of it.
DANIEL parks, moves fast to the entrance, trying to catch up with a MAN pushing a trolley filled with large wooden packing cases. His mobile rings. He takes it out of his pocket.
29 INT. FOYER. OLD FACTORY. DAY
DANIEL, mobile to his ear, walks into an upmarket complex of studios for photographers and others involved in the advertising and fashion industries. He follows the trolley of packing cases.
DANIEL (ON MOBILE)
I'm here…
DANIEL greets a slim TEEN MODEL with a smile as she and other MODELS walk by. TRACY, early 30s, appears in a doorway up ahead, mobile to her ear, opening the doors for the trolley.
DANIEL
Sorry, sorry, sorry…
TRACY shakes her head.
DANIEL
Traffic!
30 INT. PHOTOGRAPHIC STUDIO. DAY
From a high perspective, framed by colourful Indian cloth, DANIEL can be seen following the trolley through the door into a large studio space - the furniture and interior design of which bespeaks his success as a commercial photographer.
TRACY
You've forgotten, haven't you?
DANIEL looks across the studio to a glass-enclosed conference room in which THREE ADVERTIZING EXECUTIVES sit at a table.
DANIEL grimaces, collects himself and starts to walk towards the conference room. TRACY reaches out, stops him.
TRACY
Wait.
She takes his hands, looks at them. His fingers are stained with white chalk dust. TRACY shakes her head, wets her fingers with her tongue, wipes the chalk stains from his fingers. DANIEL submits to this sheepishly. TRACY notices the wound on DANIEL'S arm, shakes her head.
31 INT. DANIEL'S STUDIO. CONFERENCE ROOM. DAY
DANIEL sits at the table with the THREE AD EXECUTIVES, a band aid on his wounded arm. Referring to the mock-up ad in front of him:
AD EXECUTIVE
We love this 100%…OK, 95%…it's just…the girl…her smile…
DANIEL'S attention is on the packing cases on the other side of the studio. One has been unpacked and TRACY is looking at the framed photos inside it.
AD EXECUTIVE
…perhaps there's something you could do in photoshop to make her look…happier…
32 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.
HONEY
Wake up y'old codger!
JOHN wakes, looks out the window.
JOHN (SMILES)
Well here we be! Good on ya, Katie. You're a good girl.
HONEY
And you're a bad man.
JOHN smiles.
33 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.
JOHN
Been a bit of a setback…nothing to worry about…
JOHN is not a convincing liar.
JOHN
…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”.
34 EXT. DANIEL'S HOUSE. LATE AFTERNOON
DANIEL pulls up on his motor bike alongside a large SUV in the driveway in front of a large timber home of modern design. JASPER runs through the front door and down the path.
As DANIEL gets off his motor-bike he registers JASPER'S short hair with shock. HELEN appears in the front doorway.
JASPER (EXCITED)
Tell me you like it?
Before DANIEL has a chance to respond HELEN indicates with a shrug and upheld hands that she had nothing to do with this.
DANIEL
I though we had an agreement.
JASPER
You and mum had an agreement!
DANIEL shakes his head. JASPER smiles seductively, holds out her arms. DANIEL holds up his hands, walks past her, towards HELEN. JASPER pouts for a moment but takes this in her stride.
35 INT. DINING ROOM. NIGHT
JASPER, face up close to the aquarium, purses her lips, kisses a tropical fish on the other side of the glass as DANIEL, in the background, pours kerosene into the burner at the base of the chafing dish while HELEN moves first course dishes aside.
DANIEL
You want to look like a boy?
JASPER turns to face DANIEL - grins, nods.
JASPER
You and mum always wanted a boy.
DANIEL
Not a Tomboy.
DANIEL lights the burner under the chafing dish.
JASPER
Well, if you and mum make me a brother I'll grow my hair and act like a girl.
HELEN (SMILES)
Will you now?
HELEN pours Brandy from the bottle into a measuring cup as JASPER walks up, dips her finger in a pot of honey, puts her finger in her mouth.
HELEN
You washed your hands?
JASPER ignores HELEN as she pours the Brandy into the pan.
JASPER
Anyhow, it's my hair!
DANIEL
Your mother just asked you a question!
JASPER
Yes, I've washed my hands… millions of times.
DANIEL
Jas, you asked if you could cut your hair. We said no. It's…
JASPER
But it's my hair and…
DANIEL
When you're grown up you can decide…
JASPER
That's discrimination
DANIEL
Jasper! How many times…?
JASPER
But dad…
HELEN
Hey, you two! I really do not want an argument right now…
The Brandy in the flambé pan is boiling now.
JASPER
When's a good time for an argument, mum?
HELEN smiles, takes a long match from a box.
HELEN
How about 10.15 tomorrow? I think! Have to check my diary.
JASPER laughs. HELEN strikes the match alight.
HELEN
You want honey or maple syrup?
JASPER
Both.
HELEN smiles as she lights the Brandy fumes. Flames leap up.
36 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.
JASPER
Kiss!
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.
JASPER
Not a fish kiss.
DANIEL pouts his lips even more - pretends to be a fish - kisses her again. JASPER laughs.
37 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.
38 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.
39 INT. JASPER'S ROOM. NIGHT
JASPER holds her hands in prayer under her chin.
JASPER
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…
40 INT. DANIEL AND HELEN'S BEDROOM. NIGHT
DANIEL and HELEN 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.
DANIEL
Hey…!
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.
41 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.
42 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.
YOUNG MAN
You'll think I'm totally weird.
HONEY
I don't do…weird stuff…
YOUNG MAN
It's not that…
Tears well in his eyes.
YOUNG MAN
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.
YOUNG MAN
Told you I was weird.
HONEY
Hey, join the club.
YOUNG MAN
You wanna drink?
HONEY nods. The YOUNG MAN reaches into the back seat and produces a cask of wine.
43 INT. JASPER'S BEDROOM. NIGHT
JASPER reads an illustrated bible book - the double page spread in front of her: SODOM AND GOMORRAGH.
44 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.
DANIEL
I won't be long.
HELEN nods, withdraws her arms.
45 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.
46 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)
Mum?
HELEN smiles, nods, flips back the sheet. JASPER walks up, crawls into bed, rests her head on HELEN'S breast.
JASPER
I can hear your heart going boom boom, boom…really fast.
HELEN strokes JASPER'S hair affectionately.
47 INT. SUPERMARKET. NIGHT
DANIEL walks down the aisle of a late night mini-mart. He places foodstuffs in a basket.
The INDIAN CHECKOUT MAN places a carton of cigarettes in Daniel’s bag as DANIEL slaps his credit card on the bench.
48 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.
49 EXT. KING'S CROSS. NIGHT
DANIEL drives past night clubs, strip joints and hookers in Sydney's 'red light' district. He has two cameras slung around his neck, his bag of provisions between his legs. He drives slowly, his eyes peeled, looking for someone. In the background JOHN can be seen waiting across the road from:
HONEY, getting out of the YOUNG MAN’S car carrying her backpack in one hand and the cask of wine in the other.
JOHN crosses the road, joins HONEY. She hands him a few $20 bills. JOHN pats HONEY’S arm, nods, smiles. HONEY pushes his arm away aggressively, turns and walks off. JOHN walks after her, tries to stop her. HONEY starts to make a scene. JOHN backs off, shaking his head. HONEY looks at him for a moment then walks off.
50 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.
51 INT. DANIEL AND HELEN'S BEDROOM. NIGHT
JASPER lies with her head on HELEN'S breast.
JASPER
Mum?
HELEN
Mmmm?
JASPER
Did I do something to hurt dad's feelings?
HELEN
What makes you think that?
JASPER
Dad want to cuddle me anymore.
HELEN
Because you're a young woman now.
JASPER
But I haven't even got any boobs yet.
HELEN (LAUGHS)
You don't need boobs to be a woman.
JASPER
Why's it OK to cuddle you but not dad?
HELEN
When you're older you'll understand.
JASPER
When I'm a woman?
HELEN laughs, holds JASPER tight.
52 EXT. BACK STREET. WOOLLOOMOOLOO. NIGHT
DANIEL, driving slowly, sees GRANT, a street person, 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.
53 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.
HONEY rolls up her sleeve and uses the tip of the knife to make a series of small cuts on the inside of her wrist.
54 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.
GRANT
I prefer my memories.
55 EXT. KINGS CROSS BACK STREET. NIGHT
HONEY sits in the gutter wrapping toilet paper from a roll around her bleeding arm. She rolls the sleeve of her shirt over her arm, stares into space, sees:
The Green Goblin - laughing, dancing in mid-air, beckoning with his arm.
HONEY stands, follows the Green Goblin.
56 INT. DANIEL AND HELEN'S BEDROOM. NIGHT
HELEN, tears streaming down her cheeks, lies in bed looking into space. JASPER is asleep, her head on HELEN’S breast.
HELEN moves JASPER’S head onto the pillow, careful not to wake her.
57 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 affectionately.
58 EXT. BUILDING SITE. NIGHT
HONEY carrying the wine cask, scales a wire mesh fence, walks to stairs of the building under construction.
59 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.
60 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.
DANIEL
Trying to resist temptation.
61 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 other (unbandaged) heavily scarred arm.
Close to the edge, knife in hand, HONEY looks down to where two police cars are parked, lights flashing.
62 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)
Mum.
HELEN turns. JASPER, in her nightdress, is standing in the doorway. HELEN wipes the tears from her eyes.
HELEN
Did I wake you?
JASPER shakes her head, walks up wraps her arms around HELEN.
63 EXT. GRANT'S 'HOME'. NIGHT
GRANT reaches for Daniel's camera.
DANIEL
What?
GRANT
Want to get a photo of you trying to resist temptation.
DANIEL laughs hands GRANT his camera.
GRANT
I've just got to press this button, right?
DANIEL nods, looks into the lens. He waits and waits.
DANIEL
What are you waiting for?
GRANT
For you to look like you're resisting temptation.
DANIEL laughs. Click. A happy snap!
GRANT
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.
64 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)
Hey…
HONEY swings around, stares at the POLICEMAN. Her balance at the edge is precarious.
POLICEMAN (KINDLY)
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.
CONSTABLE DAVID
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.
CONSTABLE DAVID
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.
HONEY
Aren't you…like…supposed to…talk me out of killing myself.
CONSTABLE DAVID
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.
HONEY
But…
CONSTABLE DAVID
Life sucks and then you die, ay?
HONEY thinks for a moment, looks directly at CONSTABLE DAVID.
HONEY
I want more than that.
CONSTABLE DAVID
Join the club.
HONEY
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.
65 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.
HONEY (SCREAMS)
No
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.
HONEY
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.
66
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!
67
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.
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? (A
BEAT) Boyfriends?
68
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.
69
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.
70
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.
71
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.
72
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.
73
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!
74
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…
75
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.
76
INT. ART GALLERY. NIGHT
JASPER'S
point of view as they walk into the gallery:
Well dressed PATRONS drink champagne, eat
canapés, 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? Five?
DANIEL
Six.
GALLERY
OWNER
For six years Daniel, has been stalking the
streets of Sydney late at night terrorizing his subjects with his camera…No,
seriously…
77
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…
78
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…
79
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…
80
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.
81
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…
82
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.
...to be continued...
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