14
The Grazier’s Daughter
By Mel Manar © 2010
CHARACTER PROFILES
HELEN is a 42 year old, tall, slender, brunette. She’s a successful artist yet also an extremely private woman who lives alone in the bush with her dogs.
POLLY is an extremely wealthy, cheeky old art enthusiast (in her 80’s) covered in ‘bling’.
BABY HELEN is Helen as an infant - a placid, content soul.
GIRL HELEN is Helen as a 7-9 year old - a pretty, imaginative, compliant child with a deep love and connection with the natural world. She’s also a confused girl who yearns to be loved and nurtured by Elizabeth. TEEN HELEN is Helen as a 14-16 year old – a reluctantly obedient ‘housekeeper’ with an adventurous spirit, a passion for natural art and a deeply discontented heart from life in a disconnected family.
ELIZABETH is the stern Catholic woman who raises Helen – a gold cross hangs from her necklace. She’s a thin, petite woman in her 40’s when Helen is born. Her cold, hard expression is a disguise for her wounded heart.
DAN (the grazier) is in his 40’s when Helen is a baby. He’s a tall, handsome, hard working man with a likeable, scruffy appearance. He’s Elizabeth’s husband but also Helen’s biological father - after an affair with the live-in governess. Due to this situation, he’s generally an anxious character.
The GOVERNESS is Helen’s biological mother – a very attractive, slender, brunette woman in her early 20’s when she births Helen.
JANE is a conservative looking 12 year old with a bitter heart as she comprehends her mother’s predicament.
ADAM is a sweet, wiry 10 year old boy who emulates his father’s scruffy appearance.
JENNY is a timid, clingy, yet sweet 8 year old girl.
AUNTY RAE is an Aboriginal elder – a strong, wise, no-nonsense woman who comprehends Maban reality. She acknowledges Helen’s innate love, respect, appreciation and connection to country and therefore protects and guides her.
1 INT. INNER CITY ART GALLERY. NIGHT. 1.
It’s 1987 in a crowded, up-market art exhibition, HELEN stands anxiously by a wall with champagne in hand. She’s approached by POLLY who has long adored Helen’s massive signature piece hanging beside them, titled ‘Rae of Hope’ – a sensual, captivating painting of a young girl in a canoe on a river.
POLLY
(hobbling through crowd)
Oh there you are my dear Helen,
hiding in the corner as usual –
fabulous turnout – well done!
HELEN
(kissing both cheeks)
Nice to see you again Polly.
POLLY
Yes, yes – but we both know why
I’m here – now, please don’t make
an old girl get down on her knees
Helen – I may never get up again!
Helen grins and glances back at the huge painting.
HELEN
She’s not for sale Polly.
POLLY
Good gracious child – everything
is for sale! My final offer is
one million dollars.
HELEN
She’s my baby Polly – I just can’t
part with it.
POLLY
Ohhhh, babyshmaby…
She hobbles off into the crowd.
POLLY (CONT’D)
That’s the problem with bloody
artists today – all just too well fed!
Helen grins thoughtfully and turns to proudly admire her
‘Rae Of Hope’.
FADES TO:
2 INT. HOMESTEAD HALLWAY. DAY 2.
It’s summer of 1955 in remote Far Northern Queensland.
A heavy, dark wooden door is closed. Behind it come sounds of agony.
GOVERNESS (O/S)
(screaming, moaning, blaspheming)
Ohhhhh please God… please get
it the hell out of me!!!…
Then silence.
BABY HELEN (O/S)
(suddenly)
Wailing.
ELIZABETH, frantically swings the door open. She’s holding the newborn wrapped in a towel. She’s sweating profusely. She looks clammy and sickened. She slams the door shut behind her and leans on it momentarily making a Catholic gesture – Holly Trinity.
ELIZABETH
(panicked whisper)
Forgive me Father!
She closes her eyes and swallows hard with dry mouth. She takes a deep breath and quickly walks away. Behind the door now come the sounds of a woman sobbing.
GOVERNESS (O/S)
Sobbing.
3 EXT. HOMESTEAD YARD. DAY 3.
In the dry, hot, windy and barren landscape, a large black CROW with bright green eyes sits in a tree outside a dilapidated homestead.
CROW
(repeatedly)
Calls.
4. EXT. HOMESTEAD YARD - VERANDAH. DAY 4.
The GOVERNESS walks down the dusty garden path with suitcase in hand. An old red mail truck waits at the gate idling. She throws her case on the back and gets in the front with a male driver. She hangs her head low and offers no farewell.
A family stands watching the governess from the verandah. DAN stands scratching his head looking perplexed. JANE sneers in the direction of the truck. ADAM looks sweetly confused about his teacher’s departure, while JENNY softly weeps in his arms. Elizabeth, holds BabyHelen in her arms with a cold, hard expression. The dust swirls as the truck pulls away - two KELPIE pups run after it. A crow watches from a tree.
CROW
Calls.
KELPIES
Bark.
5. INT. HOMESTEAD BATHROOM. DAY 5.
Elizabeth is on her knees bent over an old bathtub. She scrubs BabyHelen vigorously with soap in the shallow water as she mutters under her breath. The gold cross bangs against the bathtub. She’s sweating with an intense, bitter look. Dan appears in the doorway behind her. He stands silently watching. The crow can be seen in a tree outside the bathroom window.
ELIZABETH
Please Lord, give me strength…
6. INT. HOMESTEAD LOUNGE ROOM. DAY 6.
A grandfather clock keeps a solemn beat in the gloomy lounge room. The mantle above the roaring fire is decorated with Catholic figurines and a large cross hangs on the wall. Jane, Adam and Jenny gather dressed in very formal private school uniforms. They awkwardly kiss and hug Elizabeth before picking up their suitcases and heading out the door. Dan approaches Elizabeth to kiss her and she turns her head – he kisses her cheek. BabyHelen is happily playing in her playpen – winter sunlight highlights the content child. Dan looks down at her and smiles awkwardly before anxiously picking up his swag and hat and following the children out the door.
CROW
Calls.
Seven Years Later (1962)
7. EXT. HOMESTEAD YARD. DAY 7.
In sweltering heat, a crow’s shadow scoots across the parched earth. It perches itself upon a rickety fence. It looks into the window where a conservatively dressed 7 year old GIRL HELEN is kneeling on the floor.
CROW
Calls.
8. INT. HOMESTEAD LOUNGE ROOM. DAY 8.
GirlHelen folds washing in the (still gloomy) lounge room. The grandfather clock seems to tick in slow motion. Elizabeth enters and dumps another large basket of linen on the floor before her. GirlHelen looks up to meet with her severe glare. Elizabeth walks out. GirlHelen is sad and perplexed. She hears the crow, turns to the open window, grins and continues folding.
CROW
Calls.
9. INT. HOMESTEAD KITCHEN. DAY 9.
One crisp morning, Dan walks into the house – dirty and dusty but still handsome – drops his swag and hangs up his hat. GirlHelen stops drying dishes and runs to him.
HELEN
Pappa!!
They embrace and he swings her around.
DAN
Hey, how’s my girl?
Elizabeth pulls GirlHelen away from Dan and sternly sends her outside. Dan dares not interfere.
10. EXT. RIVERBANK.DAY 10
Girl Helen sits under a tree dressed in a long, grey pinafore and lace up boots. She looks uncomfortable. She draws pictures of the trees in the mud – they are exceptional drawings for her age. Two kelpies sit by her side watching a crow as it hops around them. She smiles and looks around nervously before taking her shoes off and rubbing her feet in the dirt.
CROW
Calls.
11. INT. HOMESTEAD LOUNGE ROOM. DAY 11
GirlHelen sits by the fire and attempts to read Elizabeth’s Bible.
GIRL HELEN
(very awkwardly)
The Old Test…a…ment
Elizabeth enters the room and snatches the book from her hands. She grabs GirlHelen’s arm and curses as she shoves her out the door.
ELIZABETH
(angrily)
It’s not for the
likes of you Helen!
12. EXT. RIVERBANK. DAY 12
A warm spring day - GirlHelen walks along the riverbank – barefoot and dress hitched up. She paddles in the water with the kelpies. The crow is with them. She draws in the mud – her pictures show faces in the rocks and trees – some sad or mad, but many smiling and laughing.
The landscape is wild and erotic in her eyes. Sensuality is everywhere – she compares her own smooth thighs to the branches of a young tree and assesses the ‘vulva’ in the fork of the branches. She gently touches the sculptured human forms she sees entwined in the phallic 6ft termite mounds. She inhales and shivers when a warm afternoon breeze caresses her skin.
13. INT. HOMESTEAD KITCHEN. DAY 13
Elizabeth sits at the kitchen table eating lunch with Dan. GirlHelen is making her own sandwich. With plate and glass in hand, she hopes for an invite to join them as she walks past the table, but is again met with Elizabeth’s cold stare and ushered outside. Dan looks perplexed and smiles awkwardly, but looks down and says nothing.
14. EXT. RIVERBANK. DAY 14
It’s hot. Helen paddles in the river with sandwich in hand – she slips in and her dress gets wet and muddy. She panics, taking it off, washes it and hangs it over a branch to dry – she then jumps into the water - the feeling of swimming naked elates her. The kelpies also jump in - she plays and laughs joyously. The crow seems to enjoy itself too.
KELPIES
Barking.
CROW
Calling.
15 EXT. RIVERBANK – BUSHLAND. DAY 15
(POV) Through the eyes of SOMEONE cautiously approaching in the distance. Twigs snap with each gentle footstep as they stand behind a tree watching Helen in the water. Helen and the kelpies remain unaware of the onlooker.
16. EXT. HOMESTEAD VERANDAH - YARD. DAY 16
Elizabeth and Dan sit staring into the summer sunset on the verandah as they talk and drink tea.
DAN
…I’ll be home in
3 weeks Lizzie…
ELIZABETH
Three, six… I just can’t
live like…
GirlHelen approaches with boots in hand, wet hair and a very dirty dress on – kelpies by her side. Elizabeth slams her cup down on the table, stands and aggressively drags her inside.
ELIZABETH
… In the name of…
Dan stands to defend GirlHelen but Elizabeth glares at him, pushing him aside – he retreats. The kelpies run away - the crow seems agitated.
17. INT. HOMESTEAD LOUNGE ROOm. DAY 17
The next morning, Dan hugs GirlHelen goodbye – she is sobbing heavily. He attempts to kiss Elizabeth but is again met with a turned cheek – he grabs his hat and swag and solemnly walks out the door. GirlHelen runs out the door after him.
HELEN
(continual pleading)
Please don’t go pappa!…
JUMP CUT TO:
18. EXT. HOMESTEAD YARD-DRIVEWAY. DAY 18
GirlHelen is hysterical as she follows Dan through the front gate begging him not to leave – she clings to his leg as he mounts his horse – she scurries alongside, stumbling as tears blur her vision.
HELEN
(hysterical)
Then just take me with you!
With a tear in his eye Dan kicks the horse and bolts away leaving his distraught daughter on the ground.
19. EXT. HOMESTEAD VERANDAH. DAY 19
Elizabeth stands watching the commotion. She shows a glimpse of remorse.
20. EXT. HOMESTEAD YARD-DRIVEWAY/RIVER. DAY 20
GirlHelen drags herself up out of the dirt – she throws a handful of dirt in Dan’s direction. When he’s out of sight, she turns and bolts past the house, ignoring Elizabeth’s demands to come inside.
ELIZABETH
(bluntly)
Come Helen…
Did you hear me?… (CALLING)
CROW
(in tree)
Calls.
Elizabeth looks up at the crow curiously.
GirlHelen keeps running towards the river (with kelpies at her heals). She stumbles as she kicks off her shoes and tears off her dress – she runs as fast as she can – naked, screaming and crying … but eventually a calmness overcomes her as she runs through her ‘heart-land’. She unhitches her hair and there is strength and determination in her eyes…
JUMP CUT TO:
7 years later (1969)
21. EXT. RIVERBANK. DAY 21
… A beautiful young woman (14 year old TEEN HELEN) running naked along the riverbank – dress in hand. She smiles as the kelpies trot along side her - the crow is in pursuit. She looks strong – physically, mentally, emotionally and spiritually.
22. EXT. BUSHLAND. DAY 22
TeenHelen approaches a cliff face where she has carved an exquisite picture into the rock – it appears near completion. She throws her dress to the ground and picks up a rock to continue her work. There is catholic symbolism and images of sadness – but also earthly symbols, dogs, crows and faces representing love, protection and freedom. In this moment, she continues work on an unusual looking woman – a spirit woman of sorts.
23. EXT. BUSHLAND. DAY 23
(POV) Through the eyes of someone cautiously approaching in the distance. Twigs snap with each footstep and a bush rustles as someone squats watching the naked girl drawing on the cliff. TeenHelen and kelpies remain unaware of the onlooker.
24. EXT. RIVERBANK. DAY 24
Now sunset, TeenHelen begins to walk home. In the distance on the other side of the narrow river she can see a dark skinned, topless woman sitting on the bank fishing. She has a canoe anchored nearby. TeenHelen quickly dons her dress. She darts behind trees attempting to hide the kelpies. The Aboriginal woman waves to her and smiles. TeenHelen peeks around a tree and waves gingerly but runs straight home, kelpies and crow faithfully in tow.