…continuing…
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)
Just
arrived from outer space. I’m an alien.
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? 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.
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. 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.
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.
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:
DANIEL
My
wife, Helen.
JASMIN
smiles warmly.
JASMIN
Hi
Helen.
HELEN
smiles nervously.
HELEN
Hi
Jasmin.
JASMIN
You're
even more beautiful than Danny 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. A slim YOUNG WOMAN, early 20s, flirts with DANIEL.
YOUNG WOMAN
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.
MIRIAM
Daniel,
I'm Miriam Coulter. From 'Art Today'.
DANIEL
is pleasantly surprised.
MIRIAM
Have
you got a moment?
Elsewhere,
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! 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…
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.
GALLERY OWNER
…
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'…
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…
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.
DOORMAN
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
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…
84 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 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. (A BEAT) 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. DANIEL looks over to HELEN - a
desperate look in his eyes. His hands shake. HELEN starts to walk towards him.
JASPER follows.
HELEN
Jasper,
I want to speak with your father. Alone.
JASPER
nods, stops reluctantly. HELEN walks up to DANIEL.
HELEN
No
need to be a drama queen. It's a hiccup, not a death sentence.
HELEN
indicates the photo in DANIEL’S hands.
HELEN
We’ll
track her down, get her consent...
DANIEL
stares at HELEN - a haunted look in his eyes.
HELEN
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.
JASPER
If
you had just one wish, one wish in the whole wide world, what would it be?
HELEN
Your
father’s going to be OK.
JASPER
You’re
just saying that to shut me up.
HELEN
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.
JASPER
What’s
difficult about saying what you want?
HELEN
thinks about this for a long moment.
HELEN
What’s
difficult is...not being sure what you want.
JASPER
Thank
you.
HELEN
For
what?
JASPER
Telling
the truth.
HELEN
But...you
think I don’t tell you the truth?
JASPER
does not answer.
HELEN
Jasper!?
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.
JASPER (chirpy)
You
know how in fairy tales, the Prince and Princess always get to live happily
ever after!
HELEN
laughs, nods.
JASPER
But
even if they do live happily ever after, they still die like grandma and…
HELEN,
smiles, holds a finger to her lips.
HELEN
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.
JASPER
I’ve
decided don't want to ever die.
HELEN
No
one wants to ever die.
JASPER
That's
not true.
HELEN
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.
TRACY
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.
TRACY
Wait.
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.
DANIEL
Sorry,
sorry, sorry…traffic!
The
3 AD EXECUTIVES smile effusively: “Not a problem.”
A
LITTLE LATER
CLOSE
ON:
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%...
The
text:
“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:
AD EXECUTIVE
…it's
just…the daughter…her smile…
DANIEL'S attention is on his mobile phone on the
table, vibrating. A message.
AD EXECUTIVE
…perhaps
there's something you could do in photoshop to make her look…happier…
DANIEL
Not
a problem. How much happier? 10%? 20%? 50%?
The
AD EXECUTIVES look at DANIEL, exchange glances.
DANIEL
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.
REBECCA
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.
MELISSA
You
going to behave yourself?
HONEY
turns to REBECCA.
HONEY
Tell
her to give it to me.
MELISSA
addresses REBECCA.
MELISSA
She
won't do what she's told.
HONEY
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)
Slut…
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.
HONEY
The
photographer.
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.
HONEY
I
don't want that slut to know my secrets.
HONEY
looks past REBECCA at DANIEL.
HONEY
Or
anyone else…
DANIEL
Well,
you can relax, 'someone' because I definitely don't want to know your secrets.
HONEY
No-one
can hurt you if they don't know who you are.
REBECCA
pats HONEY affectionately on the knee.
REBECCA
Yes,
but no-one can love you either if they don't know who you are.
HONEY
You
love me, Bec, and you don't know who I am.
REBECCA (smiles)
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.
HONEY
Love
is what hurts the most, eh?
REBECCA
But
you can't live without love.
HONEY
I'm
not going to live without it.
HONEY
looks at the crash helmet in DANIEL'S lap - against which he raps his fingers.
HONEY
Bit
old to be riding a motor bike, aren't you?
REBECCA
I'm
going to leave you two to it.
REBECCA
tries to stand. HONEY holds onto her.
HONEY
Like
men with comb-overs driving sports cars…
REBECCA
disentangles herself from HONEY, stands.
REBECCA
No
more chairs through windows, OK? Staff'll go on strike.
HONEY
Good.
HONEY
holds her hand out to DANIEL.
HONEY
Show
me.
DANIEL
opens his portfolio, takes out the photo, hands it to HONEY. She looks at it
for a long moment. REBECCA walks off.
HONEY
Who
is this girl?
DANIEL
watches HONEY, fascinated, as she looks at the photo.
HONEY
It's
not me.
HONEY
looks at DANIEL. He raises his eyebrows questioningly.
HONEY
I
guess it's a little bit of me.
DANIEL
Which
bit?
HONEY
You
got a cigarette?
DANIEL
Don't
smoke.
HONEY
looks at DANIEL'S nicotine-stained fingers.
HONEY
Liar.
HONEY
takes DANIEL'S right hand, looks at it.
DANIEL
I
quit.
HONEY
How
many times?
DANIEL (smiles)
A
few.
HONEY
touches DANIEL'S white blistered fingers.
HONEY
How'd
you burn your fingers?
DANIEL
Accident.
HONEY
points to the sticking plaster on DANIEL'S arm.
HONEY
And
this?
DANIEL
Accident.
Motor bike.
HONEY
Show
me your arms.
DANIEL
holds his arms out, palms upwards - more scars.
DANIEL
Rock
climbing, motor bike…
HONEY
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.
HONEY
Both
accident prone.
DANIEL
Except
mine aren't self-inflicted.
HONEY
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.
DANIEL
I’m
going to need a name, though...
DANIEL
takes a folded contract out of his pocket.
DANIEL
'Someone'
won't be enough.
HONEY
I
can be whoever you want me to be.
DANIEL
But
can you be whoever you want to be?
HONEY (laughs)
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?
DANIEL
Ah,
big question…
HONEY
And
the big answer?
DANIEL
smiles, shakes his head.
HONEY
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.
HONEY
And
how about you, Mr. Photographer? Are you who you really want to be?
DANIEL (grins)
'I
try but fuck it's hard.'
HONEY
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:
DANIEL
Which
bit is you?
HONEY
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.
HONEY
And
the man who took the photo?
HONEY
looks directly at DANIEL. He laughs, shakes his head, looks at his watch.
DANIEL
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.
HONEY
If
he comes to visit me tomorrow she'll tell him her name and sign his contract.
DANIEL (laughs)
He's
busy tomorrow.
HONEY
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.
HONEY
Deal?
DANIEL
Deal.
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.
REBECCA
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.
DANIEL
OK.
I’ve...(got to go)
HONEY
nods, smiles. DANIEL is unsure how to take his leave. HONEY walks up, stands
close; very close.
HONEY
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.
DANIEL (smiles)
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.
HELEN
I've
already organized dinner! At home!
JASPER
Mum!
DANIEL
kisses HELEN on the cheek, blows a kiss to JASPER.
DANIEL
Any
bites?
JASPER (laughs)
Just
a few mosquitos.
A
LITTLE LATER
DANIEL
baits a hook. HELEN pours wine into two plastic cups.
HELEN
Did
she sign?
DANIEL
shakes his head.
HELEN
But…
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.
DANIEL
…step-dad's
been pimping her but…
HELEN
I
don't understand why she didn't just sign today!
DANIEL
…but
she won't make a statement against him…
HELEN
And
you let her keep the money! Sorry, but…!
DANIEL
Okay,
what is it?
HELEN
What
is what?
DANIEL
You’re
pissed of about something else, obviously!
HELEN
And
you can’t figure out what?
DANIEL
No,
I’m not psychic.
HELEN
That’s
for sure!
DANIEL
shakes his head. He does not want this argument!
HELEN
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'.
HELEN
Do
you think she's attractive?
DANIEL (angry)
I'm
not going to do this.
HELEN
If
I was a man I'd want to fuck her.
DANIEL
Stop.
Helen. Please.
HELEN
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.
HELEN
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.
HELEN
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.
REBECCA
Simmo,
you got nothing better to do?
SIMMO
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.
HONEY
You
think I'm crazy?
DANIEL (smiles)
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.
DANIEL
You
shouldn't be smoking at all, you know.
HONEY
Thanks
for worrying about my lungs.
HONEY
pulls out a bar of chocolate.
HONEY
You're
not worried about my teeth?
DANIEL
smiles.
HONEY
Thought
you were busy today.
DANIEL
So,
if not heavy metal…?
HONEY
laughs, shakes her head. DANIEL gestures: 'What?'
HONEY
You
have to guess.
DANIEL
Is
there a prize for guessing right?
HONEY
Me.
(A BEAT) Angel music.
DANIEL
Harps?
HONEY
No.
No harps. Just voices.
DANIEL
They
talk to you? The angels?
HONEY
No,
they just sing.
DANIEL
Can
you see them?
HONEY
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…
DANIEL
'But
I am, it is true, a little bit sad.'
HONEY
beams a happy smile.
HONEY
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.
DANIEL
What
if there are no angels?
HONEY
thinks for a moment, her eyes on DANIEL'S.
HONEY
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.
HONEY
Have
you got an angel watching over you?
DANIEL
Two.
HONEY
Two!
DANIEL
opens his wallet, takes out a photo of himself, Helen and Jasper: a happy
family.
DANIEL
Helen
and Jasper.
HONEY
Jasper…born
in March, right? Birthstone...
DANIEL
smiles, nods. HONEY takes the photo, looks at it.
HONEY
Was
it love at first sight?
DANIEL
The
moment she was born, yes.
HONEY
I
mean, when you met Helen?
DANIEL
nods.
HONEY
Tell
me.
DANIEL
What?
HONEY
About
how you and Helen fell in love.
DANIEL
You
really want to know?
A
Saint-Saens Violin Concerto is heard low at first.
HONEY
“Once
upon a time...”
DANIEL (laughs)
Once
upon a time...
…to
be continued…
No comments:
Post a Comment