Thursday, January 31, 2013

HONEY # 6

...continuing on from HONEY # 5

LATER.

It is close to sunset now. DANIEL fishes from the rocks. HELEN

closeby, looks at JASPER and HONEY laughing together as they fish. She
has mixed feelings about Honey.

DANIEL looks from HONEY and JASPER to HELEN, places his hand

affectionately on her knee. HELEN smiles tentatively

CLOSER on HONEY and JASPER.


HONEY

…but I drove my mum crazy.

JASPER

I drive mum and dad crazy, too. It’s my job.

HONEY

No, I mean mad crazy…

HONEY looks out to sea, lost in painful memories. JASPER watches her, puzzled.


135 INT. DINING ROOM. NIGHT


DANIEL, HONEY, HELEN and JASPER have finished their main course. A

bowl of crepe mix sits by the chafing dish – along with a bottle of
Brandy and several bottles of liqueurs.

JASPER

What kind of mental illness?

HELEN

Jasper!

HELEN gestures ‘no’ to JASPER. DANIEL gestures ‘It’s OK.’ HONEY,

unsure, takes her cue from DANIEL.

HONEY

Bi-polar, schizo, personality disorder, disassociative disorder… you
name it, I’ve got it – depending on which shrink you talk to.

HONEY registers HELEN’S unease.


HONEY

But I’m not dangerous. Except to myself.

JASPER

Why are you dangerous to yourself?

HELEN

Jasper!

After a moment of awkward silence, HELEN picks up a box of

long-stemmed matches, takes out a match, strikes it. CLOSE ON:

The re head of he match bursting into flame.


136 YOUNG HONEY’S BEDROOM. NIGHT


YOUNG HONEY, clutching her blue teddy bear, watches from the window as

her mother, in the garden shed, splashes liquid from a can over the
furniture and accumulated domestic clutter.

CLOSE ON HONEY’S MOTHER sitting in the middle of the shed, the can of

liquid held above her head.

CLOSE ON: YOUNG HONEY as her puzzlement gives way to a realization of

what it is her mother is doing.

HELEN (voice off)

Honey?

137 INT. DINING ROOM. NIGHT


CLOSE on a flambé pan – in which a close-to-perfectly symmetrical

crepe is enveloped in flames.

CLOSE ON HONEY looking at the flames – mesmerized.


HELEN (voice off)

Honey?

HONEY snaps out of her reverie as HELEN flips the crepe onto a plate,

hands it to DANIEL, addresses HONEY.

HELEN

What do you want on yours? Brandy, curacao,  Cointreau, Grand Marnier, cognac?

HELEN gestures to the array of liqueurs.


HONEY

Um. Cointreau.

HELEN is not happy with the crepe she has just made.


HELEN

Not perfect, but…

DANIEL smiles, cuts a piece of crepe, skewers it with a fork.


HONEY

What’s wrong with it?

HELEN

Ideally, it should be perfectly symmetrical.

HONEY grabs the fork from DANIEL’S hand, puts it in her mouth.


HONEY

Tastes symmetrical to me. Very symmetrical. In fact it’s the most
perfectly symmetrical crepe I’ve ever tasted.

HELEN laughs, unscrews the top to the Cointreau bottle, pours some

into a small glass jug then pours the Cointreau from the jug into the
flambé pan.

HONEY looks on, fascinated, as HELEN strikes a long match, sets fire

to the Cointreau. A strange look appears on her face as she sees the
flame leap up.

A LITTLE LATER


HONEY sits on a white leather couch, a plate with crepe on it resting

in her lap. JASPER sits beside her. A violin concerto playing on the
sound system plays as HONEY runs one hand over the soft white
upholstery.

HONEY

How do they get leather so soft?

JASPER

By making it out of plastic.

HONEY

No way!

JASPER

Way…

As HONEY’S eyes scan the photos on the wall, most of them including

Helen – as a young woman in her late teens and as a young mother -
JASPER looks at HONEY’S scarred arms. She opens her mouth to ask HONEY
a question but stops when she sees HELEN shake her head and frown.

DANIEL notices this interchange. His eyes meet HELEN’S for a moment:

“Relax, it’s OK.” HONEY notices this in a glance.

HONEY

You were so beautiful when you were young, Helen. (A BEAT) But even
more beautiful now that you’re…

HELEN

What am I now?

HONEY

Young at heart.

HELEN (laughs)

I wish…

Both HONEY and JASPER notice a look that passes between DANIEL and

HELEN. JASPER has a question for HONEY

JASPER

If you had just one wish, one wish in the whole wide world, what would it be?

HONEY

The truth?

JASPER

You’re not allowed to not tell the truth. Isn’t that true, dad?

DANIEL nods.


HONEY

To have a sister just like you.

JASPER

Yes, yes, yes…

JASPER’S glee at the prospect is cut short when she sees the frozen

smile on HELEN’S face.

HELEN

Anyone for another crepe?

HONEY

Can I make one?

A LITTLE LATER


An explosion of flame as HONEY splashes brandy into the flambé pan

straight from the bottle.

HELEN

Honey, no! Not straight from the bottle! Into the measuring cup first.

For a moment, as she looks at the flames, HONEY seems not to have heard HELEN.


HONEY

Okay.

HELEN

So tell us about the octopus?

JASPER and HONEY look at each other, laugh; shake their heads.


JASPER

Our secret.

DANIEL

Come on!

JASPER

You have your secrets, we have ours.

138 INT/EXT. GRANNY FLAT. NIGHT


HONEY sits on the bed, happy, as HELEN takes a clean neatly folded

towel from a cupboard and hands it to HONEY. Evidence of Helen’s
mother’s residency have mostly been removed.

HONEY

Thanks Helen.

HELEN smiles, holds up her hands: “It’s nothing.”


DANIEL and JASPER, both smiling happily, stand in the doorway.


HELEN’S attention is drawn to something that has fallen to the floor

beside the bed. She picks it up, looks at it:

a GET WELL SOON card.


HELEN’S face darkens with sadness.


HONEY

Don’t be sad, Helen, your mother is in heaven.(A BEAT) Singing with the angels.

HELEN bites her lip, wipes the moisture from her eyes.


LATER


HONEY is sprawled on the bed, writing a poem in her her journal. Light

flashes in her eyes. She looks up:

JASPER, leans out of the window of her upstairs bedroom, flashlight in

hand – its beam hitting HONEY in the face. She beckons HONEY with her
hand: “Come”.

HONEY shakes her head. JASPER nods her head. HONEY laughs, shakes her

head. JASPER nods in a very exaggerated manner, points her finger:
“This is an order, not a request.”

139 INT JASPER’S BEDROOM. NIGHT


HONEY walks into Jasper’s bedroom. JASPER, sitting up in bed reading a

book, raises a finger to her lips: “Shhhh…”. HONEY smiles, tiptoes
melodramatically  over to JASPER’S bed. JASPER tries not to laugh out
loud, which causes HONEY to laugh also.

140 INT. DANIEL AND HELEN’S BEDROOM. NIGHT


HELEN and DANIEL lie alongside each other in bed.


DANIEL

Worrying isn’t going to help.

HELEN

And burying your head in the sand is?

DANIEL

She has to find out about the real world sooner or later.

HELEN

Honey is not the real world.

DANIEL gestures ‘all this’ with his free arm.


DANIEL

And this is?

HELEN

Yes. Yes. Yes. I love all ‘this’ (A BEAT) Don’t you?

DANIEL

I don’t know. I really don’t. I wish I did but…!

DANIEL and HELEN stare at each other, each of them looking for

something and not finding it.

JASPER (voice over)

Angrily, King Nebuchadnezzar ordered that the furnace be made seven
times hotter than usual…

141 INT. JASPER’S ROOM. NIGHT


HONEY lies alongside JASPER in bed – their two heads close. JASPER has

her illustrated bible book propped up on her chest. HONEY listens with
fascination as JASPER reads.

JASPER

…and that Shadrach, Meshach, and Abednego be tied up and thrown in.

CLOSE ON a coloured illustration of Shadrach, Meshach and Abednego

being thrown into the fiery furnace.

JASPER (voice over)

The flames were so hot…

CLOSE on HONEY – totally absorbed by the story.


142 INT. DANIEL AND HELEN’S BEDROOM. NIGHT


DANIEL and HELEN lie in bed looking at each other.


JASPER (voice over)

…that the soldiers who threw them in were killed on the spot.

DANIEL turns his head away.


JASPER (voice over)

But when King Nebuchadnezzar looked in…

HELEN reaches out with her hand, turns DANIEL’S face back to her,

looks him in the eye.

JASPER (voice over)

…he saw Shadrach

DANIEL kisses HELEN lightly on the lips.


JASPER (voice over)

…Meshach, and Abednego…

HELEN grabs DANIEL’S head, tries to kiss him passionately. He avoids

her lips as he holds her tight.

143 INT. JASPER’S ROOM. NIGHT


CLOSE ON: Shadrach, Meshach, and Abednego walking around inside the

fiery furnace.

JASPER (voice over)

…walking around unbound and unharmed…

HONEY is hypnotized by the images of flames.


144 DANIEL AND HELEN’S BEDROOM. NIGHT


DANIEL and HELEN make love with an intense but awkward animal passion.

HELEN tries to kiss DANIEL but he avoids her lips.

145 INT. JASPER’S ROOM. NIGHT


SLOW ZOOM past Shadrach, Meshach and Abednego to the shadowy figure in

their midst.

JASPER (voice over)

…And there was a fourth man in the fiery furnace whom King Nebuchadnezzar said…

CLOSE ON: HONEY’S face.


JASPER (voice over)

…looked like the Son of God…

146 INT. SHED. YOUNG HONEY’S HOME. NIGHT


HONEY’S MOTHER, seen through the window of the backyard shed, finishes

pouring liquid from the small can over her head, picks up a pack of
matches, looks at it for a long moment, takes out a match. This is
Honey’s remembered POV.

YOUNG HONEY, seen through the window of her bedroom, looks on in horror.


JASPER (voice over)

Honey!

147 INT. JASPER’S ROOM. NIGHT


CLOSE ON the shadowy figure in the midst of the flames.


JASPER (voice over)

Do you?

HONEY pulls her attention away from the flames.


HONEY

Do I what?

JASPER

Believe in God.

HONEY

I don’t think he believes in me.

JASPER

I believe in you.

HONEY smiles, turns to look into JASPER’S eyes.


HONEY

You do?

JASPER smiles, nods. HONEY is overjoyed.


148 INT. DANIEL AND HELEN’S BEDROOM. NIGHT


DANIEL and HELEN, both glistening with sweat, lie naked in each

other’s arms but both stare into space – lost in their separate
private reveries.

149 EXT/INT GRANNY FLAT. NIGHT


HONEY creeps in through the door to the granny flat, closes the door

behind her.

A LITTLE LATER: HONEY sits up in bed writing in her journal.


LATER


It is morning now. HONEY is asleep, her open journal resting on the

bed beside her. JASPER, dressed for school, stands in the open doorway
looking at her.

150 INT. KITCHEN. DAY


DANIEL pours coffee into a mug, looks out the window at: HELEN

watching JASPER looking through the doorway to the granny flat at
HONEY.

151 EXT/INT GRANNY FLAT. NIGHT


HONEY lies in bed, eyes open. The sound of a motor bike being kick

started is heard. HONEY swings her legs out of bed, grabs her journal,
picks up a vial of pills beside the bed.

152 EXT. STREET OUTSIDE DANIEL AND HELEN’S HOUSE. DAY


DANIEL drives away from his home on his motor bike, overtakes Helen’s

car – with HELEN and JASPER in it. He waves to JASPER as he passes.
JASPER waves back.

153 INT. DINING ROOM. DAY


HONEY, a glass of water in hand, inspects the cover of the CD resting

on top of the music system: Mendelssohn's Violin Concertos. She
presses ‘play’.

The violin concerto plays as HONEY tosses two pills in her hand into

her mouth, washes them down with a sip of water, walks and stands
before a wall covered with photos – most of which include Helen at
various ages. In all of them she appears beautiful and in many, smiles
enigmatically.

154 INT. CAR. DAY


The music continues over JASPER, school backpack in her lap,

determined not to answer HELEN’S questions as she drives.

HELEN

Because they have 8 arms?

JASPER shakes her head.


HELEN

Because…they don’t have a skeleton?

JASPER shakes her head.


155 INT. DINING ROOM. DAY


Mendelssohn's Violin Concerto continues over HONEY, seen through the

aquarium filled with exotic tropical fish, moving to sit on the white
leather couch. She picks up one of Helen’s photo albums, opens it,
turns pages slowly.

156 INT. CAR. DAY


Music continues over. driving, JASPER in the passenger seat.


JASPER

It’s a secret.

HELEN

You don’t have to keep secrets from me.

JASPER

I know I don’t have to.

157 INT CAR/EXT OLD FACTORY PARKING LOT. DAY


Music continues over Music continues over DANIEL driving his motor

bike into the parking lot adjacent to his studio – seen from the
inside of a car, over the shoulder of a woman,

158 INT. DINING ROOM. DAY


Music continues over HONEY turning the last pages of one of Helen’s

photo albums, closing it, picking up another.

159 INT. CAR OUTSIDE SCHOOL. DAY


Music continues over. JASPER is about to get out of the car to join

other students walking into school.

HELEN

You can be an infuriating little girl, sometimes.

JASPER

You can be an infuriating big girl sometimes.

JASPER kisses HELEN quickly on the cheek and is out of the car in a flash.


160 EXT OLD FACTORY PARKING LOT. DAY


Music continues over. DANIEL acknowledges the woman in the car with a

wave, looks back towards the entrance of the old factory then walks up
to the car to greet its driver.

TRACY stands behind the glass entrance door to the factory, looking

out. Her POV:

The car drives out of the parking lot.

...to be continued...

Wednesday, January 30, 2013

yet another letter for Rachel Perkins, 20,000 page views on!


Rachel Perkins
Blackfella Films
10 Cecil St.
Paddington 2021                                                                                            30th Jan 2013

Dear Rachel

Sometime this week my blog will receive its 20,000th page view.  Whilst my most visited post used to be  WHY MY COMPLAINT ABOUT SCREEN AUSTRALIA IS RELEVANT TO ANYONE BUT MYSELF”, now it is my 15th Oct letter to you written from  the foyer of Screen Australia on the day of my first arrest:

http://jamesricketson.blogspot.com.au/2012/10/for-rachel-perkins-from-screen.html

751 people have viewed this post and, I presume (hope!), that 751 fellow filmmakers (curious onlookers!?) wonder why it is that you have never answered any of the questions I asked in this or any of my previous (or subsequent) letters to you.

On 16th June last year you expressed your ‘concern’ and told me that you would look into my complaint that I had been banned without being provided with any evidence of the crimes for which I had been found guilty. For eight months now, since the May 10th ban, you have been in a position to present me (and the 751 readers of my letter to you) with evidence that I have  intimidated or placed at risk members of Screen Australia’s staff. You have not done so. Why?  What kind of risk? Intimidated who? When? Evidence!? Such questions are not rhetorical, though you will not answer them. Why? Because no matter how hard you might try, no matter how loosely you interpret or define ‘intimidate’ and ‘place at risk’, there is not one sentence, one phrase or even one word in any of my correspondence that qualifies as evidence of the charges laid against me. You have been complicit in an exercise in character assassination. How could you do this, Rachel? Mind you, the same question applies to Claudia Karvan and Richard Keddie and the rest of the Board – all of you, for reasons I can only conjecture at, prepared to implement a ban and engage in character assassination based on what you all know to be a lie.

I do not expect that the ban will be lifted for as long as the current regime is in power – a regime that includes yourself. However, having been making films for more than 40 years, I see Screen Australia’s ban as simply another in a long line of hurdles, challenges, to be overcome – as is the case, as you know, for most committed filmmakers in the industry fro the long haul. I will continue to make films despite Screen Australia’s clear desire to make this as difficult as possible. One of my screenplays that Screen Australia refuses to read and assess on the grounds that in so doing members of SA staff would be placed at risk (I shake my head and smile as I write this) has been picked up for development in the US.

As for HONEY, (see HONEY #1 on my blog) this is a project that was effectively banned by Screen Australia back in 2009 when SA decided, since I was not a ‘proven producer’ (despite the evidence to the contrary, on top of close to 40 years filmmaking experience) that no application could be accepted from me by Screen Australia for script development!

best wishes

James Ricketson

HONEY # 5

...continuing on from HONEY # 4


101 INT. REBECCA’S OFFICE. DAY

REBECCA looks at the photocopy of a Birth Certificate in her hands.
JOHN watches HONEY and DANIEL in the recreation area.

REBECCA
Photocopy’s not enough…

DANIEL stands. HONEY  stands, facing him.

102 EXT. JUVENILE DETENTION CENTRE RECREATION AREA. DAY

HONEY and DANIEL stand, facing each other.

HONEY
My name’s Honey. Short for Honesysuckle. Honeysuckele Williams. I’m
not really bad and I’m not really mad…

DANIEL (smiles)
No more chairs through windows, Honeysuckle Williams, okay? (HONEY
nods) Promise?

HONEY smiles, nods.

103 EXT ROCKS. OCEAN BEACH. LATE AFTERNOON

DANIEL, carrying a fishing rod and a basket with bread, cheeses,
bottle of wine towards where HELEN and JASPER fish 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 as 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.

104 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?

HELEN strides to the storage closet, opens the door, takes the plastic
bag from behind the red suitcase, dumps its contents on the bed:
Daniel’s climbing shoes and bag of climbing chalk.

HELEN
You told us you’d stopped.

DANIEL
I don’t want you to worry. Or Jas.

HELEN
You know with her bible stuff…Jasper’s obsessed with death…

DANIEL
That’s why I…

HELEN
Lied. (A BEAT) You want to break her heart?

DANIEL shakes his head. He does not want this!

HELEN
And what about that girl at the opening… the model. 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’s never 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.

105 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.

106 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.

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, fascinated; 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 or just in my imagination? (A BEAT) If they
weren’t real I wouldn’t be able to hear them, eh? Unless I was mad, of
course, which some people think I am. I’m not mad and I’m not bad…
(QUOTING) ‘but I am, it is true, a little bit sad.’ And you?

DANIEL smiles, a bit out of his depth here.

HONEY
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. There would
just be devils and…

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 in your life?

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…

HONEY takes the photo, looks at it. DANIEL watches HONEY stare at the
photo with an intensity that intrigues him. She seems to have
forgotten that he is there.

107 INT. DINING ROOM. DAY

HELEN’S photo albums are spread out on the table in front of her and
the white leather couch beside her.

HONEY (voice off)
Helen said ‘no’!?

As she listens to a Saint-Saens Violin Concerto she fixes photos into
her most current album.

DANIEL (voice off)
She said no…she couldn’t meet me because of her boyfriend…

108 EXT. GYMNASIUM. DAY

SIMMO looks in through the window at HONEY and DANIEL talking.

DANIEL (voice off)
…and I said yes she could and she said no and I said yes and…

109 INT. GYMNASIUM. DAY

DANIEL and HONEY sit together on the floor.

DANIEL
…eventually she got tired of saying ‘no’ and agreed to meet me and…

HONEY claps her hands excitedly.

HONEY
Yes, yes, yes, yes, yes…my favorite word in the whole universe: ‘Yes’!

DANIEL
…and nine months later Jasper was born.

HONEY
No way!

DANIEL (nods)
Angel number two.

HONEY smiles happily, looks from DANIEL to the photo – lost again in
her own memories. Her mood darkens.

HONEY
My mother never says yes. It’s always no. No, no, no…

DANIEL
But your mother’s dead. (A BEAT) Isn’t she?

HONEY
Yes, but…

HONEY looks away; evasive.

DANIEL
No ‘buts’.

110 INT. DINING ROOM. DAY

As the Saint-Saens Violin Concerto continues over HELEN sets a black
and white photo of herself and Jasper asleep in bed, cuddling, into
the album. It is a beautiful photo. Too beautiful, perhaps, as a
result of the photoshop work that has been done on it.

111 INT. GYMNASIUM. DAY

CLOSE ON a post card photo of a green fern seedling curling up from
barren bushfire-burnt soil – stuck in Honey’s journal.

HONEY (laughing off)
But…Life is full of ‘buts’.

DANIEL looks up from Honey’s journal, open in his lap.

DANIEL
‘Yes, but what if…!’ Usually an excuse not to do something you want to do.

HONEY
Or something you’re scared to do.

DANIEL
What are you scared to do?

HONEY  (laughs nervously)
I’m too scared to tell you.(A BEAT) Is there anything you’re too
scared to tell anyone? Even someone you love? (A BEAT) Especially
someone you love?
DANIEL smiles, raises his eyebrows, clearly does not want to pursue
this line of conversation

DANIEL
Do you want to tell me about your mother?

HONEY is silent for along moment, picking at a scab on one of the cut
wounds on her arm. She looks at her shoulder, panic in her eyes. She
flicks at her shoulder, tries to brush the unseen Goblin away.

HONEY stares at DANIEL, stares through him; in a zone.

DANIEL (panicking)
Honey, what is it? What’s wrong?

HONEY looks at her shoulder, panic in her eyes. She flicks at her
shoulder, tries to brush the unseen Goblin away. She has turned pale;
is sweating profusely. She looks at DANIEL as if she does not know who
he is. She looks at her hands as if she does know what they are.
DANIEL takes her hand, holds it.

DANIEL
Honey!

HONEY holds his hand tight – her whole body shaking now. DANIEL’S
mobile rings. He ignores it; looks around, sees:

SIMMO, in shock, looking in through the window. He signals to SIMMO to
get help.

DANIEL
What is it, Honey?

HONEY stares at him blankly, her eyes darting then to one shoulder and
then the other. HONEY’S POV:

The Green Goblin is sitting on her shoulder, laughing maliciously.

112 YOUNG HONEY’S BEDROOM. NIGHT

YOUNG HONEY looks out the window of her bedroom at:

HONEY’S MOTHER, 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.

It dawns on YOUNG HONEY what her mother is doing. She opens her mouth
to scream – panic and terror in her eyes.

113 INT. GYMNASIUM. DAY

HONEY, her mouth open, panic and terror in her eyes, stares at DANIEL.
She has turned white and her face glistens with sweat.

REBECCA rushes into the Gymnasium with a bottle of pills and a glass
of water. She sits beside HONEY, hands her some pills. HONEY throws
them into her mouth, washes them down with a gulp of water, looks at
her shoulders, clings to REBECCA tightly.

DANIEL’S mobile phone rings. He ignores it.

HONEY
Don’t leave me.

REBECCA
I’m not going anywhere.

HONEY lays her head on REBECCA’S  breast.

A LITTLE LATER

HONEY lies in REBECCA’S arms, REBECCA strokes her hair. DANIEL’S
mobile rings again. He glances at the screen.

HONEY
You need to get back to your angels?

DANIEL
Soon…

HONEY
I’d better sign your contract, ay?

DANIEL takes the contract from his pocket, looks at it. HONEY holds
out her hand. DANIEL hesitates, hands it to her.

HONEY
Pen!

DANIEL takes a pen from his pocket, holds it out to HONEY. She looks
at it, then up into DANIEL’S eyes.

DANIEL shakes his head, puts the pen back in his pocket.

DANIEL
I’m not going to use the photo.

HONEY nods, takes the envelope full of $100 bills from between pages
of her journal, holds it out to DANIEL.
DANIEL
No, that’s your bail.

HONEY
But…

DANIEL
No ‘buts’. (A BEAT) I want you to get away from John…

HONEY
Yes, but…(why)? I’m just someone whose photo you took, ay?

DANIEL shakes his head.

HONEY
Who am I, then?

DANIEL shakes his head, lost. He looks at REBECCA. She can’t help him.
HONEY hugs REBECCA tight but her eyes are on DANIEL.

114 EXT. JUVENILE DETENTION CENTRE. DAY

DANIEL stands at the front entrance with REBECCA.

REBECCA
When we track down her family…

DANIEL
Yes, please, let me know. And if there is anything…

HONEY (voice off)
Daniel!

DANIEL and REBECCA turn to see HONEY struggling with TWO YOUTH WORKERS
in the entrance.

HONEY
I’m not going to run off!

REBECCA nods to the YOUTH WORKERS. They release their grip on HONEY.
She walks up to DANIEL, clutching a small parcel wrapped in newspaper.

HONEY
It’s a present. For you.

She holds the parcel out to DANIEL. DANIEL holds his hands up, shakes
his head. A blue car pulls up in the parking lot.

DANIEL
No, Honey.

HONEY lowers the parcel, thinks a moment then suddenly throws it to
DANIEL. He catches it reflexively; laughs. HONEY smiles, spins on her
heels, walks back toward the entrance. DANIEL calls out to her:

DANIEL
I’ll accept it on one condition.

From JOHN’S POV sitting in the blue Holden:

HONEY spins around.

HONEY
What’s your condition, Mr Photographer?

DANIEL
No more chairs through windows.

HONEY smiles, nods.

DANIEL
Promise?

HONEY
Promise.

The smile disappears from HONEY’S face as she sees JOHN get out of the
blue car. DANIEL follows her stare, sees JOHN.

DANIEL
Tell Rebecca what he’s been doing to you? They can charge him.

HONEY
He’s all I’ve got.

...to be continued...