Monday, March 16, 2015
# 2 HONEY
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.
Just arrived from outer space. I’m an alien.
Got a name, I hope!
No-one in particular.
Gotta be someone.
Okay, you can call me 'someone'.
How old are you, 'someone'?
Sixteen. What about you guys? (A BEAT) Your names, I mean.
Your first name's 'constable'!?
Davo. And you?
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, struggling with the police.
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.
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.
…and I've got my period so I need some tampons and…
Now hang on a second, missy 'someone'. You can't just…order us around like you own the place.
Police are public servants, right?
The DUTY SERGEANT nods warily.
And I'm a member of the public, right?
The DUTY SERGEANT smiles. The OTHER POLICEMEN laugh.
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. 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…
77 EXT. ART GALLERY. NIGHT
DANIEL, HELEN and JASPER (all dressed up in their best) make their way towards the Gallery entrance.
…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 nods. HELEN takes his hand.
DANIEL kisses her on the cheek. JASPER takes DANIEL'S other hand as they walk past the DOORMAN.
78 INT. ART GALLERY. NIGHT
JASPER'S point of view as they walk into the gallery:
Well dressed PATRONS drink champagne, eat canapés, look at black and white photos of street people on the walls.
As they move into the crowded gallery, DANIEL is greeted by FRIENDS and PATRONS.
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, early 30s, 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 the actual JASMIN - wearing high heels, short skirt, breasts barely contained by an uplift bra.
JASPER’S eyes open wide in wonder.
On the other side of the gallery, introductions:
My wife, Helen.
JASMIN smiles warmly.
HELEN smiles nervously.
You're even more beautiful than Danny said.
HELEN looks at DANIEL, smiles, links her arm through his.
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. A slim YOUNG WOMAN, early 20s, flirts with DANIEL.
She's awesome…her eyes…wow! All the photos…I mean…
HELEN, talking with JASMIN, observes:
The YOUNG WOMAN laughing with DANIEL. She touches him on the chest, throws her head back; laughs. MIRIAM, middle aged, note pad in hand, taps DANIEL on the shoulder. He turns.
Daniel, I'm Miriam Coulter. From 'Art Today'.
DANIEL is pleasantly surprised.
Have you got a moment?
Elsewhere, HELEN and JASMIN continue their talk. DANIEL and MIRIAM can be seen talking in the background.
…from your photo…I thought you were pretty scary.
It's all an act. I'm a closet wimp…
HELEN smiles, sips her champagne.
Jasmin, I hope you don't mind… what… I mean…if you don't mind my asking…
'What's a nice girl like you doing working in a place like this?'
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.
So, your first exhibition?
DANIEL nods. MIRIAM raises her eyebrows; surprised.
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.
My fantasies!? Don't get me started…
Nothing shocks me anymore… French, Golden showers, B & D. I actually quite like B & D. Whipping men! Yeah! Not too keen on Greek, though…
HELEN, fascinated, does not notice JASPER'S approach.
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?
HELEN is shocked to discover JASPER standing beside her.
What's your name? I'm Jasmin.
I'm Jasper. This is my mother, Helen.
Let me guess, Jasper. Nine? Ten?
Nine and a half.
My son is…nine and three quarters. Donald.
You have a son!?
And a daughter, Abigail. Abbie's three.
Jasmin, what do prostitutes actually do to men?
JASMIN laughs. HELEN tenses up.
You should talk with your mum about that.
JASPER looks up at HELEN but she is blushing and speechless.
HELEN, lost for words, laughs a little nervously.
GALLERY OWNER (voice off)
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.
Well, Daniel, here we are. How many years has it taken? Eight?
For nine years Daniel, has been stalking the streets of Sydney late at night terrorizing his subjects with his camera…No, seriously…
79 EXT. ENTRANCE. ART GALLERY. NIGHT
GRANT approaches the front entrance to the art gallery with his shopping trolley.
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 through …
80 INT. ART GALLERY. NIGHT
HELEN looks proudly at DANIEL; JASPER swells with pride.
… Daniel's ability to get to know these men and women as individuals and not merely as subjects…
81 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'…
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…
82 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.
I'm sorry sir.
83 EXT. ENTRANCE. ART GALLERY. NIGHT
The DOORMAN blocks GRANT'S entrance.
GALLERY OWNER (voice off)
…but who demand our understanding, our compassion.
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…
84 INT. ART GALLERY. NIGHT
All eyes turn to GRANT, smiling, pushing his shopping trolley towards DANIEL - delighted to see him.
Everyone, this is my friend, Grant.
GRANT holds his hand aloft to greet the PATRONS.
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.
Remember when old Charlie put his shoes on the wrong feet…
GRANT chuckles. DANIEL feels a little awkward.
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 PATRONS, in no hurry, sees JASPER, smiles. JASPER smiles back.
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.
What's her name, Daniel?
All eyes turn to DANIEL.
I don't know.
A deathly silence envelops the gallery.
I took it last night. (A BEAT) I don't know who she is.
I don't understand…you mean you don't have her consent?
DANIEL shakes his head.
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. DANIEL looks over to HELEN - a desperate look in his eyes. His hands shake. HELEN starts to walk towards him. JASPER follows.
Jasper, I want to speak with your father. Alone.
JASPER nods, stops reluctantly. HELEN walks up to DANIEL.
No need to be a drama queen. It's a hiccup, not a death sentence.
HELEN indicates the photo in DANIEL’S hands.
We’ll track her down, get her consent...
DANIEL stares at HELEN - a haunted look in his eyes.
I don't want Jas to see you like this. (A BEAT) I mean...
From the other side of the gallery, JASPER watches as HELEN talks with DANIEL.
HELEN’S attempts to cajole him do not work. She gives up, walks back towards JASPER. DANIEL, his head lowered, stares at the floor.
JASPER walks towards DANIEL, passing HELEN half way across the gallery.
HELEN gestures to her to leave her father alone. JASPER ignores her, walks up to DANIEL, wraps her arms around his waist, hugs him tightly. DANIEL tries to smile for her.
DANIEL’S and HELEN’S eyes meet.
85 INT. CAR. NIGHT
HELEN drives, JASPER in the passenger seat.
If you had just one wish, one wish in the whole wide world, what would it be?
Your father’s going to be OK.
You’re just saying that to shut me up.
No, that’s not true. (A BEAT) OK, I wish that you'd stop asking me so many questions....so many difficult questions...so late at night.
What’s difficult about saying what you want?
HELEN thinks about this for a long moment.
What’s difficult is...not being sure what you want.
Telling the truth.
But...you think I don’t tell you the truth?
JASPER does not answer.
JASPER looks out the window. HELEN is annoyed.
86 EXT. HIGHWAY. NIGHT
The wheels of a motor bike spinning on an asphalt road.
DANIEL, wind in his hair, drives his Harley Davison fast - crash helmet and a blue duffle bag strapped to the back.
DANIEL opens the throttle, roars down the deserted highway.
87 YOUNG HONEY'S BEDROOM. NIGHT
YOUNG HONEY looks out the window of her bedroom at:
CAROL, in a white night dress, moving around in a storage shed in the back yard - filled with old furniture, boxes etc. Her movements are purposeful but it is difficult, from YOUNG HONEY'S POV to make out just what she is doing.
CAROL picks something up that is out of view.
YOUNG HONEY watches.
CAROL picks up a can of petrol, unscrews the cap.
As the significance of what she is looking at dawns on her, YOUNG HONEY'S fear turns into terror. She opens her mouth to scream.
88 INT. JUVENILE DETENTION CENTRE CELL. NIGHT
HONEY jolts awake in her bed - her face pale, wet with sweat. She sits for a long moment, reaches for her journal, flips through to a page with a photo of a giant squid. She gently removes the sticky tape holding the photo in place. Hidden behind it is a razor blade.
89 EXT. DIRT ROAD. BLUE MOUNTAINS. DAWN
DANIEL is off the beaten track now, on a dirt road. As he leans into a sharp curve in the road the bike slides out from under him, skids sideways along the 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.
90 EXT. CLIFF FACE. SUNRISE
DANIEL reaches into the blue duffle bag tied to the back of his Harley, takes out his climbing shoes and a leather pouch of chalk, which he attaches to his waist.
A LITTLE LATER
A foot, in a rock-climbing shoe, seeking 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 leather 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.
91 CLIFF TOP. DAY
DANIEL, sweating, sits 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 takes out a box of matches, lights a match, watches the flame, lets the match burn right up to his fingers. He does not flinch as the flames burn him. The match burns itself out. DANIEL looks at his white burned fingers.
92 INT. KITCHEN. DAY
JASPER, dressed for school, eats her breakfast cereal.
You know how in fairy tales, the Prince and Princess always get to live happily ever after!
HELEN laughs, nods.
But even if they do live happily ever after, they still die like grandma and…
HELEN, smiles, holds a finger to her lips.
Shhhh! Eat you cereal. That’s an order!
JASPER opens her mouth to respond. HELEN runs a finger across her lips - zip.
JASPER smiles, runs her finger across her lips - zipping them shut. A game they play.
93 INT. CAR. DAY
HELEN drives. JASPER beside her, school backpack on her lap, is deep in thought. Out of a long moment of silence.
I’ve decided don't want to ever die.
No one wants to ever die.
That's not true.
What do you mean?
JASPER looks directly at HELEN, does not answer. HELEN breaks eye contact with JASPER.
94 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.
TRACY, early 30s, appears in a doorway, frowning, tapping her watch, shaking her head: “You naughty boy!”
95 INT. PHOTOGRAPHIC STUDIO. DAY
From a high perspective, framed by colourful Indian cloth, DANIEL can be seen walking through the door with TRACY into a large studio space - the furniture and interior design of which bespeaks his success as a commercial photographer.
You forgot, didn't you?
DANIEL looks across the studio to a glass-enclosed conference room in which 3 ADVERTIZING EXECUTIVES sit at a table. He grimaces, starts to walk towards them. TRACY stops him.
She takes his hands, looks at them.
DANIEL’S 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.
96 INT. DANIEL'S STUDIO. CONFERENCE ROOM. DAY
DANIEL, all smiles and good cheer, a band aid on his wounded arm, walks into the room.
Sorry, sorry, sorry…traffic!
The 3 AD EXECUTIVES smile effusively: “Not a problem.”
A LITTLE LATER
A mock up for an ad that features a family - mum, dad, son and daughter (Anglo-Saxon) smiling as they eat in a fast food restaurant.
AD EXECUTIVE (voice off)
We love this 100%…OK, 95%...
“FAST? Yes. NUTRITIOUS? Yes? CHEAP Yes? Let your taste buds be the judge.”
DANIEL sits at the table with the 3 AD EXECUTIVES. Referring to the mock-up ad in front of him:
…it's just…the daughter…her smile…
DANIEL'S attention is on his mobile phone on the table, vibrating. A message.
…perhaps there's something you could do in photoshop to make her look…happier…
Not a problem. How much happier? 10%? 20%? 50%?
The AD EXECUTIVES look at DANIEL, exchange glances.
Just joking. I’ll fix it, don’t worry. Now....(if you’ll excuse me)
DANIEL reaches for his phone, reads the message, walks out, leaving the AD EXECUTIVES looking confused.
97 INT. JUVENILE DETENTION CENTRE. DAY
DANIEL and REBECCA (Welfare Officer, early 30's) walk down a corridor. DANIEL carries a large leather portfolio, crash helmet and his camera case slung around his shoulder.
She won't tell us her name. Has no ID so we don't...There's nothing we can do if we don't know who she is, where she's come from…
HONEY (voice off)
Give it to me! Fuck you, Melissa.
As DANIEL and REBECCA turn the corner they see:
HONEY, kicking and screaming, held by TWO YOUTH WORKERS to prevent her attacking a YOUTH WORKER (MELISSA) who holds her journal. DANIEL and
REBECCA stop a little distance away.
You going to behave yourself?
HONEY turns to REBECCA.
Tell her to give it to me.
MELISSA addresses REBECCA.
She won't do what she's told.
I don't have to obey your fucking rules. I shouldn't even be here.
REBECCA nods to MELISSA: “Give her journal back to her.” MELISSA thrusts the journal into HONEY'S hands aggressively.
MELISSA (sotto voce)
HONEY drops her journal, picks up a chair, throws it through a large window. Glass flies everywhere. The YOUTH WORKERS jump on HONEY. REBECCA joins them.
HONEY puts up quite a fight but is quickly subdued.
Held fast, HONEY registers DANIEL - staring at her. The beginnings of a smile appear on her face.
98 EXT. JUVENILE DETENTION CENTRE RECREATION AREA. DAY
HONEY, clutches her journal, sitting alongside REBECCA. DANIEL sits next to REBECCA. In the background boys and girls (aged 12 - 16) are engaged in various leisure activities.
I don't want that slut to know my secrets.
HONEY looks past REBECCA at DANIEL.
Or anyone else…
Well, you can relax, 'someone' because I definitely don't want to know your secrets.
No-one can hurt you if they don't know who you are.
REBECCA pats HONEY affectionately on the knee.
Yes, but no-one can love you either if they don't know who you are.
You love me, Bec, and you don't know who I am.
They should name a hurricane after you. 'Hurricane…'someone''…
HONEY smiles, puts her arm around REBECCA, rests her head on her shoulder, but keeps her eyes on DANIEL.
Love is what hurts the most, eh?
But you can't live without love.
I'm not going to live without it.
HONEY looks at the crash helmet in DANIEL'S lap - against which he raps his fingers.
Bit old to be riding a motor bike, aren't you?
I'm going to leave you two to it.
REBECCA tries to stand. HONEY holds onto her.
Like men with comb-overs driving sports cars…
REBECCA disentangles herself from HONEY, stands.
No more chairs through windows, OK? Staff'll go on strike.
HONEY holds her hand out to DANIEL.
DANIEL opens his portfolio, takes out the photo, hands it to HONEY. She looks at it for a long moment. REBECCA walks off.
Who is this girl?
DANIEL watches HONEY, fascinated, as she looks at the photo.
It's not me.
HONEY looks at DANIEL. He raises his eyebrows questioningly.
I guess it's a little bit of me.
You got a cigarette?
HONEY looks at DANIEL'S nicotine-stained fingers.
HONEY takes DANIEL'S right hand, looks at it.
How many times?
HONEY touches DANIEL'S white blistered fingers.
How'd you burn your fingers?
HONEY points to the sticking plaster on DANIEL'S arm.
Accident. Motor bike.
Show me your arms.
DANIEL holds his arms out, palms upwards - more scars.
Rock climbing, motor bike…
We've got something in common, eh?
HONEY holds out her arms, palms held upwards. Her arms, from wrist to elbow, are covered in hundreds of scars.
Both accident prone.
Except mine aren't self-inflicted.
Whatever you say Mr Photographer. (A BEAT) So, you're gunna pay me to use this!
DANIEL nods, hands HONEY an envelope. She opens it, looks at the $100 bills, closes the envelope quickly, looks around to make sure that no-one has noticed, stuffs it in her pocket.
I’m going to need a name, though...
DANIEL takes a folded contract out of his pocket.
'Someone' won't be enough.
I can be whoever you want me to be.
But can you be whoever you want to be?
I try, but fuck it's hard. First figuring out who you want to be and then figuring out what you have to do to be that person. (A BEAT) Or are you just born how you are and you just have to live with that?
Ah, big question…
And the big answer?
DANIEL smiles, shakes his head.
You're the grown up here, you're supposed to have the answers.
DANIEL laughs. HONEY looks directly into his eyes, making him feel a little uncomfortable.
And how about you, Mr. Photographer? Are you who you really want to be?
'I try but fuck it's hard.'
Two things in common, eh?
HONEY nods, smiles shyly as she looks at DANIEL. He is confronted by this sudden intimacy. Referring to the photo:
Which bit is you?
I don't know, Daniel. She's a mystery to me this girl.
HONEY looks at DANIEL, head tilted to one side. There is a moment of intense intimacy here that DANIEL shies away from.
And the man who took the photo?
HONEY looks directly at DANIEL. He laughs, shakes his head, looks at his watch.
He's running very late and…
DANIEL waves the contract in the air. HONEY takes it, looks at it, positions her pen as if to sign it.
If he comes to visit me tomorrow she'll tell him her name and sign his contract.
He's busy tomorrow.
The next time he's not busy. And she'll make him a little list of things for him to bring.
DANIEL smiles, shakes his head.
DANIEL holds out his hand. HONEY shakes it. Laughs happily.
99 INT. REBECCA'S OFFICE. DAY
REBECCA stands at the window of her office, looking out to:
DANIEL and HONEY on the other side of the Recreation yard.
JOHN (voice off)
But I'm her father!
REBECCA turns, faces JOHN, seated closeby.
I don't set the bail conditions Mr.Williams.
JOHN, indignant, looks through the window at:
HONEY writing in her journal; DANIEL standing beside her.
100 EXT. JUVENILE DETENTION CENTRE RECREATION AREA. DAY
HONEY finishes compiling a list, tears the page from her journal and hands it to DANIEL. He looks at it, laughs.
OK. I’ve...(got to go)
HONEY nods, smiles. DANIEL is unsure how to take his leave. HONEY walks up, stands close; very close.
My name's Honey. Short for Honesysuckle. Honeysuckele Williams. I'm not really bad and I'm not really mad, ‘but I am, it is true, a little bit sad’. That’s from one of my poems.
No more chairs through windows, Honeysuckle Williams, okay? (HONEY nods) Promise?
HONEY smiles, nods, turns and runs off to join her friends, not looking back.
DANIEL watches HONEY, in something of a state of shock.
101 INT. REBECCA'S OFFICE. DAY
JOHN, his face set hard, looks out through the window into the yard, his attention focused on DANIEL, looking at HONEY and her friends for a moment before turning to walk off.
102 EXT ROCKS. OCEAN BEACH. LATE AFTERNOON
DANIEL, carrying a fishing rod and a basket with bread, cheeses, bottle of wine towards:
HELEN and JASPER, fishing from the rocks. JASPER smiles as she sees her father approach. HELEN'S smile is more forced.
I've already organized dinner! At home!
DANIEL kisses HELEN on the cheek, blows a kiss to JASPER.
Just a few mosquitos.
A LITTLE LATER
DANIEL baits a hook. HELEN pours wine into two plastic cups.
Did she sign?
DANIEL shakes his head.
DANIEL holds his hand up: 'Not now'. HELEN is annoyed.
A LITTLE LATER
HELEN finishes her wine, her eyes on:
DANIEL and JASPER fishing nearby - chatting and laughing together. HELEN pours herself another cup, watches them.
103 INT. BEDROOM/EN SUITE BATHROOM. NIGHT
DANIEL cleans his teeth, his eyes on HELEN undressing in the adjacent bedroom. She is in a bad mood.
…step-dad's been pimping her but…
I don't understand why she didn't just sign today!
…but she won't make a statement against him…
And you let her keep the money! Sorry, but…!
Okay, what is it?
What is what?
You’re pissed of about something else, obviously!
And you can’t figure out what?
No, I’m not psychic.
That’s for sure!
DANIEL shakes his head. He does not want this argument!
That girl at the opening? The one who looked about 14 and couldn't keep her hands off you.
DANIEL holds his hand up: 'stop'.
Do you think she's attractive?
I'm not going to do this.
If I was a man I'd want to fuck her.
Stop. Helen. Please.
The thought didn’t occurred to you?
HELEN glares at DANIEL for a moment, crumbles, starts to cry, wipes tears from her eyes. DANIEL puts his arms around her.
Mum was the only one who understood me.
DANIEL nods, strokes HELEN'S hair. She looks up at him, her eyes brim full of pain and confusion. DANIEL kisses her lightly, affectionately, on the lips.
Why do you close your eyes when we kiss? When we fuck? Make love?
DANIEL has no answer.
104 EXT. RECREATION YARD. DAY
DANIEL, paper bag in hand, walks with REBECCA. They approach SIMMO, aged 15, looking through the window of the Gymnasium.
Simmo, you got nothing better to do?
She's fucking weird, Bec!
REBECCA indicates with a gesture that SIMMO should leave. He does. DANIEL and REBECCA look through the window at:
HONEY dancing alone in the gymnasium. No music can be heard.
105 INT. GYMNASIUM. DAY
HONEY dances gracefully, eyes closed. DANIEL steps into the silent gym. HONEY opens her eyes, smiles, holds her hand up in greeting as she dances in time to music only she can hear.
REBECCA smiles, indicates to DANIEL that she’ll leave him to it. HONEY dances on until REBECCA is gone.
You think I'm crazy?
Depends what you're dancing to! (A BEAT) My guess is…not heavy metal?
HONEY laughs, closes her eyes. DANIEL watches her; notices Honey's journal lying on the floor closeby.
HONEY stops dancing, walks to DANIEL, drops to the floor alongside her journal, legs crossed, pats the floor beside her: “Sit!” DANIEL sits, hands the paper bag to HONEY.
HONEY claps her hands excitedly, like a little girl, looks inside the paper bag - extracts a packet of cigarettes.
You shouldn't be smoking at all, you know.
Thanks for worrying about my lungs.
HONEY pulls out a bar of chocolate.
You're not worried about my teeth?
Thought you were busy today.
So, if not heavy metal…?
HONEY laughs, shakes her head. DANIEL gestures: 'What?'
You have to guess.
Is there a prize for guessing right?
Me. (A BEAT) Angel music.
No. No harps. Just voices.
They talk to you? The angels?
No, they just sing.
Can you see them?
You mean are they real? (A BEAT) Or just in my imagination? (A BEAT) If they weren't real I wouldn't be able to hear them, would I? Unless I was mad, of course. (A BEAT) But I'm not mad. And I'm not bad…
'But I am, it is true, a little bit sad.'
HONEY beams a happy smile.
And you? (A BEAT) When you're half way up one of your cliffs, do you ever think “I'll just step into space, leave my body, leave my aching heart with its scars…live with the angels forever?”
DANIEL and HONEY look at each other for a long moment.
What if there are no angels?
HONEY thinks for a moment, her eyes on DANIEL'S.
Life wouldn't be worth living if there weren't any angels.
HONEY pauses, suddenly vulnerable. DANIEL holds eye contact with her for a long moment before she shrugs, looks away for a moment, as if to break some spell and then back at DANIEL.
Have you got an angel watching over you?
DANIEL opens his wallet, takes out a photo of himself, Helen and Jasper: a happy family.
Helen and Jasper.
Jasper…born in March, right? Birthstone...
DANIEL smiles, nods. HONEY takes the photo, looks at it.
Was it love at first sight?
The moment she was born, yes.
I mean, when you met Helen?
About how you and Helen fell in love.
You really want to know?
A Saint-Saens Violin Concerto is heard low at first.
“Once upon a time...”
Once upon a time...
…to be continued…