The Courtroom

MID-SHOT OF HEC, turning his head back to face Judge and Jury.

judge: (Confused) Well, um, thank you Hec.

LONG-SHOT OF JURY, multiple of whom are holding handkerchiefs and trying to hold back tears, looking from one another to Hec with admiration and sympathy. MID-SHOT OF JUDGE.

judge: If there are no more statements, we can discuss sentencing and care.

MONTAGE OF SENTENCING DISCUSSION: Jury pondering and questioning amongst one another; Paula trying to snatch the police’s handcuffs; Judge goes over her notes, straightening up her eyeglasses. All of a sudden, TK walks over to Jacinta, whispering in her ear. Jacinta rises out of her chair.

jaCinta : Your honour, Mr. TK has offered an alternate solution.

TK stands up and speaks his idea passionately to the judge.

judge: That might just work.

Screen goes black for 0.5 seconds. CAMERA SHIFTS TO LONG-SHOT OF THE BACK OF THE COURTROOM, NEAR THE DOOR. TK picks up Ricky’s bags, the same ones seen at the start of the movie.

CAMERA PANS TO HEC, (OTS-SHOT). Hec stares blankly at Ricky.

heC: (Monotonously) See ya, kid.

r iCk Y: (Tentatively )Bye, Hec. Ricky turns and walks towards door with TK and Kahu. TK opens door, Ricky and Kahu leave first.

r iCk Y: Can I get a Diet Coke?

CAMERA ZOOMS OUT, Ricky-Baker-song plays (O.S, non-diegetic) End

1. EXT. IN THE BUSH MAJESTICAL PLACE – DAY r iCk Y: Wow, this place is majestical! heC: Yeah, majestical. Come on, we have a mission. r iCk Y: What do we do? Look for bird droppings? Or track it? r iCk Y: Aw man, that was really close, that one! heC: You got the photo? r iCk Y: Yeah, but it would have been cool if we could catch the bird though. heC: Yeah well, we can’t keep it… C’mon, let’s head back r iCk Y: Me and uncle Hec went to a majestical place and found a huia

CLOSE UP SHOT as a hiking boot steps on a stick. LONG SHOT OF OWNER OF THE BOOT – RICKY. RICKY and HEC walk into the scene together.

CAMERA PANS TO A BRANCH. A huia lands on a tree branch not far from RICKY and HEC. RICKY clamps his hand over his mouth, silently takes out his camera and takes a photo. After a snap of the camera, the bird is startled away.

2. EXT. IN THE BUSH, NEXT TO A CREEK – DAWN heC: (whispering) Wake up kid. r iCk Y: Go away (Hec muffles Ricky’s mouth) heC: The bird is here. Next to our camp. r iCk Y: No, it’s not.

LONG SHOT OF TENT. HEC and RICKY are asleep in camp; the tent is half open. The huia lands close to the camp and begins to sing, HEC wakes up and spots the huia and quietly shakes RICKY.

Ricky peels open his eyelids and sees the huia r iCk Y: Yeah, it is. heC: You want to take some more photos?

Ricky climbs further into the tent to find his camera but when he comes back out the bird is gone r iCk Y: Where did it go? r iCk Y: You reckon it has chicks? heC: I think it was a male. r iCk Y: Maybe a wife and chicks? heC: Maybe.

Hec: (shrugs) Probably to its home.

3. INT. CABIN IN THE BUSH – NIGHT r iCk Y: (looks up) Uncle, if we showed the photos to the museum, what would happen?

MEDIUM SHOT OF RICKY. RICKY reads a book titled: Extinction –Extinct species of New Zealand, HEC is cooking some food.

CAMERA SWITCHES TO HEC , who is still cooking heC: I dunno, maybe experts are going to come to see it? r iCk Y: Wouldn’t the bird be like us then? Having to run away? heC: (turns around) Yeah, what are you reading kid? r iCk Y: A book about dead animals. heC: Then why’d you ask? r iCk Y: I just, I just thought that, that bird may have chicks, it may have a family. But if we hand the photos to the museums, them people. Lots of people would try catch it wouldn’t they? heC: Yeah r iCk Y: Then they’d just be like us, having to run through a million hectares of bush. heC: (pause) Yeah…yeah they would Why don’t you sleep, and think it over in bed?

4. EXT. IN THE BUSH CLOSE TO HOME – DAY r iCk Y: (turns head, faces HEC) Uncle. heC: (Looks at Ricky) Hmmm? r iCk Y: I was thinking, maybe we could keep the photos to ourselves. I thought about it, I think we are famous enough from our skux life. heC: You thought it over? r iCk Y: Yeah, I wouldn’t want the bird to be hunted. I mean, it was fun being a criminal, but then the bird might not like it. And it might not survive like us. It might go into the zoo or something like that. heC: You sure about it? r iCk Y: It belongs to the bush, and I don’t want people and hunters to go to that place. It was majestical, but people don’t belong there. heC: Oh alright, it’ll be our secret, eh? r iCk Y: (RICKY hugs HEC) Thank you uncle! heC: (HEC pats RICKY on the back) I have a haiku for our adventure, want to hear it? heC: (clears his throat) Me and the fat kid We let the bird go home To the majestical place. r iCk Y: That was good, but not as good as mine! We saved the bird From the terminator And it was the best.

CAMERA LONG SHOT, OVERHEAD ANGLE. RICKY and HEC are walking through the trees and undergrowth. They pause for a break and sit down on a log in the undergrowth.

The Huia r iCk Y: (nods) Yeah!

5. INT. IN THE FARM – DAY k ahu: So, did you find the bird? r iCk Y: (Looks at Hec) Naw, saw something like it. But it wasn’t a huia, must have been something like it, though. k ahu: Did you have fun? r iCk Y: (nods) Yeah, we had a lot of fun! Me and uncle, we…

LONG SHOT OF KAHU AND HER DAD. CAMERA SWITCHES TO RICKY AND HEC ON THE EDGE OF THE BUSH. RICKY starts to run and CAMERA ZOOMS OUT TO SHOW EVERYONE ON THE SCREEN. RICKY slows to a walk when he nears KAHU.

CAMERA PANS UP TO THE SKY, and RICKY’s voice slowly fades out.

EXT. WAINUIOTOTO BEACH (NEW CHUMS BEACH), COROMANDEL – DAY

Non diegetic sound – ‘Aline’ by Jarvis Cocker (0-30s)

CLOSE ON LUKE’S DRESS SHOES (10 s ) ON THE RIGHT SIDE. WE HOLD ON HIS SHOES FOR A SHORT TIME to show the audience their worn condition. He is sitting on a bench looking at the ocean in thought. Soft sounds of the ocean can be heard in the distance. CAMERA MOVES UP SLOWLY AND VERTICALLY, shows LUKE’S tired appearance.

CLOSE ON LUKE’S FACE (RIGHT SIDE). He is facing the sea. Non diegetic sound – ‘Aline’ fades out luke: (monotonously)‘Cowards die many times before their deaths; The valiant never taste of death but once.’ luke (cont’d): Shakespeare, Julius Caesar , Act 2, Scene 2, when Julius thought his cowardice was weak, yet deadly. I have always wondered what it would be like to be a brave coward. luke (cont’d) : (chuckling) A brave coward. My Father.

LUKE turns to face the camera. He begins an aside.

LUKE turns back to the ocean.

Flashback begins.

CUT TO:

INT. BARLOWE FAMILY HOME – NIGHT

Non diegetic sound – ‘Bad Things’ by Cults (0-40s)

CAMERA CUT TO CLOSE OF FRONT DOOR HANDLE, no noise at all. We hold for a while, suddenly the door handle rattles as if someone is struggling to open it. ZOOM OUT, SHOW THE WHOLE SPLINTERED DOORWAY. ANDREW (father) throws his weight against the door, door opens and slams into the wall.

CUT TO:

BIRDSEYE 360° SHOT – LUKE IN HIS CHILDHOOD BED; HE IS SIGNIFICANTLY YOUNGER.

LUKE is in bed, tugging a sheet around his body securely.

Zoe Bokas

Family Line luke (V.O): my father was a man of very few words.

CLOSE ON LUKE’S FACE (display of fear) luke (V.O) : But my mother was always there to soften the blows. CUT TO BLACK. luke (cont’d): She loved candles. Every time I would smell the sweet, delicate smell of lavender or the fresh aroma of eucalyptus, I knew that even though I was at home, I was safe. Safe with her.

CAMERA PANS RIGHT TO LUKE’S BEDROOM DOOR AS IT OPENS. Light pours into the room.

Non diegetic sound – ‘bad things’ stops SILENCE.

CUT TO BLACK.

Sound of a lighter clicking (3 times). A flame finally appears, SHARON (mother) lights a candle on the kitchen counter. CAMERA PANS TO THE LEFT to show YOUNG LUKE standing next to countertop with SHARON moving towards him. She reaches out and takes his face in her hands.

Non diegetic sound (faintly) – ‘Aline’ (2:17-2:45)

SHARON takes LUKE’S hands and pulls him towards the middle of the aged and weathered kitchen. Floorboards creak as they move.

CAMERA FOLLOWS THE PAIR AS THEY BEGIN DANCING. ARC SHOT AROUND THE PAIR.

CAMERA CUTS BACK TO CANDLE, it is melting. LUKE visibly matures and grows while they dance.

CAMERA CUTS BACK TO CANDLE, it is almost fully melted. SHARON grows older and wrinkled as they dance.

Finally, CAMERA CUTS TO CANDLE to show it is fully melted and the flame dies out.

Non diegetic sound – ‘Aline’ stops luke (cont’d) (V.O) : Until I didn’t feel safe anymore. luke (cont’d): I love you, mum.

LONG SHOT of LUKE, dressed in a crinkled, t-shirt with old and faded jeans. He is walking along the pier at Wainuiototo Beach. He stops and looks out to the ocean.

MEDIUM SHOT, LUKE pulls out a plastic bag. He holds it for a while, as if contemplating what he should do. Taking a deep, laboured breath, he finally decides to open the bag and spread its contents into the ocean.

LUKE turns to leave, CAMERA TURNS WITH HIM, AS LUKE WALKS AWAY, CAMERA STAYS PUT AND WATCHES HIM.

CUT BACK TO:

EXT. WAINUIOTOTO BEACH (NEW CHUMS BEACH), COROMANDEL – DAY

LUKE faces the ocean. CAMERA CUTS TO THE SKY as a huia bird whistles and flies over the sea.

Seeing this bird represents the fact that LUKE is at peace with his trauma. While society has written off this bird as extinct, LUKE is able to find it by becoming one with his memories and expressing his emotions, rather than seeking to repress them.

CLOSE-UP AT EYE LEVEL WITH LUKE luke: My mother was a safe haven. Every day that I lived on my own was a day where I cowered in my thoughts, away from my father. I dealt with the realisation that I was stuck and that I would never escape. It was a feeling that I thought would never leave. Fear. luke (cont’d): (looking at the camera) I am not afraid anymore.

CUT TO BLACK.

Non diegetic sound – ‘Aline’ by Jarvis Cocker (0-15s)

mia Sinnett

INT. BELLA AND HEC’S HOUSE — 4.28 PM – FULL CAMERA SHOT heC: There you go, buddy. (Hec pats Zag on the head.)

OLD MAORI MUSIC PLAYING SOFTLY. FULL CAMERA SHOT OF DINING ROOM. The clock showing 4.28pm is ticking on the wall of the room. The sun is going down, and the light is gloomy. CAMERA PANS TO THE BACKYARD. BELLA is hanging clothes on the line out the back of the house, gently humming. CAMERA SHOT PANS TO THE KITCHEN.

HEC is feeding ZAG dry food and bends down to give Zag a bowl of water.

HEC goes to find RICKY to see what he’s up to. HEC walks from the kitchen to RICKY’s bedroom heC: Hi mate, whatcha up too? r iCk Y: Not much, just uh readin’ a book. heC: Nice, what uhh… book you readin’? r iCk Y: Don’t know, some book that is kinda interestin’, I guess.

CAMERA TRACKS HEC DOWN THE HALLWAY INTO RICKY’S BEDROOM. Music continues.

HEC finds RICKY in his bedroom, reading, with the hottie in his arms. RICKY is listening to music with headphones over his ears.

MEDIUM CAMERA SHOT, MOVES CLOSER TO RICKY.

‘Uptown Funk’ by Mark Ronson plays.

PANS CLOSE-UP CAMERA SHOT.

HEC sees RICKY’s headphones over his ears, and speaks loudly, to be heard.

HeC: Well, why don’t cha take Tupac outside for a run!

PANS TO LONG CAMERA SHOT.

Long pause r iCk Y: Uhhhh, fine... r iCk Y: Come on, Tupac! (Tupac barks twice.) r iCk Y: I’m a Maori Warrior! bella : Thanks for the cup of tea, Hec. heC: No worries, Ricky’s outside playing with Tupac. Long pause of silence. bella : I’m so happy we found Ricky, we are turning into a family and he’s becoming one of us… bella (cont’d) : I know you are a bit upset with Ricky coming into our lives... but we finally have a child to protect and love. bella (cont’d) : Look Hec, just accept him. I don’t know why you are so judgmental about this new change in our lives. bella : Our lives were terrible before Ricky came. We were lonely a nd we’ve been through so much! heC: Don’t worry, Bella, calm down. We have each other at least... bella : Well... I’m going to go and finish the washing, I hope you know t hat I want a family, Hec. heC: Okay, okay... bella : Hec, I… I can’t breathe... bella (cont’d) : Hec... look after the boy... I know you’ll struggle, but be t here for him..., for me... (Breathing heavily) heC: I... I will, I love you my darling. You know I never needed anyone but you, good-bye my love.

Music stops playing from RICKY’s headphones as he takes them off. EXCITING MUSIC PLAYS.

RICKY jumps up from his bed, slides his shoes on and runs out the door past Hec.

RICKY then finds TUPAC and jogs to his favourite spot in the tall grass of the fields. RICKY puts two lines of muddy dirt on his cheeks.

RICKY runs off with TUPAC.

Music stops abruptly.

SOFT MUSIC PLAYS IN BACKGROUND. CLOSE-UP CAMERA SHOT ON HEC AND BELLA.

HEC sees RICKY and has a small smile on his face. BELLA comes inside and sits down with Hec.

Long pause.

BELLA sips her cup of tea slowly, hoping HEC will agree with her, but HEC doesn’t say anything. HEC instead looks out the window with a thoughtful glance.

There is another long pause; it is obvious that HEC doesn’t want to say anything.

Finally, HEC looks up from his tea, looking nervously at BELLA.

CLOSE-UP CAMERA SHOT MOVING FROM HEC TO BELLA.

Eternal Love heC: (breathes in deeply) Okay, okay. I know that’s what you want Bella, I unde rstand.

(HEC sighs and nods at BELLA.)

HEC reads his book and drinks his tea by himself.HEC is still reading when he hears BELLA yell in pain. He jumps out of his chair.

MEDIUM CAMERA SHOT FOLLOWS HEC AS HE RUNS. HEC quickly finds BELLA on the ground whimpering in pain holding her chest. BELLA is struggling to breathe.

CLOSE-UP SHOTS ON HEC AND BELLA’S FACES.

HEC holds BELLA in his arms, looking lost, not knowing what to do. BELLA holds her chest.

I… love... you (Faint breath.)

EXTREME CLOSE-UP CAMERA SHOT ON HEC AND BELLA. Bella lets out her final and last breath and slowly closes her eyes slumping into Hec’s arms...

FADE IN:

Ext. In The Bush — Day – Close Up r iCk Y: (Whispering to himself) I’m a gangster. It’s okay. I’m a gangster.

THE CAMERA IS STATIONED AT WORM’S EYE VIEW, depicting an array of thin Monterey Pine trees. The trees seem to extend upwards for miles and bend around a singular apex. Their colour is a rich green and they appear to be well-nourished. The air is still, and the slits between tree branches reveal a baby-blue sky, and rays of sunlight flooding in from the left of the frame. Suddenly, we see the bottom of RICKY’s shoe as he hurriedly steps over the camera.

THE CAMERA PULLS BACK INTO A LONG SHOT OF RICKY’S BACKSIDE where we see him running through the forest in a fluster, seemingly trying to escape from some kind of unseen threat. Non-diegetic music plays. We hear quick paced drumming.

THE CAMERA PANS ALONG RICKY’S SIDE , showing his head bobbing up and down as he moves.

WITH RICKY ALWAYS IN FRAME, THE CAMERA CONTINUOUSLY SWITCHES ANGLES to signify RICKY’S fear and disorientation. Ricky stumbles this way and that over tree branches and loose twigs.

We hear the DIEGETIC SOUND of RICKY’s panting and his feet crunching against leaves as he runs. RICKY looks ahead, and fret dawns on him when he sees a dead end. Out of the blue, a white wall appears in front of RICKY. The wall, slowly increasing in size, depicts a dark and intimidating shadow.

THE CAMERA NOW SWITCHED TO A FULL SHOT OF RICKY, where he slams his back against the ground and sprawls his arms and legs out behind him. RICKY looks up at the shadow, his lip quivering as he prepares to defend himself from the shadow creature.

To RICKY’s confusion, the size of the shadow begins to decrease, until a small creature emerges from behind the corner of the wall. The creature is a little bird.

The Bush Angel r iCk Y: Holy s***! You scared me little bird… WAIT! I KNOW YOU… r iCk Y: Oooh Christ! What happened to you? r iCk Y: Hm. All better. Damn, I’m really not bad. Maybe I could be a doctor!

RICKY is now thinking as he paces up and down in the cave. You’re the hukuka, huiabo, hantalu… erm, that doesn’t sound quite right. Oh! Huia bird, that’s what you are. Uncle Hec spotted you! You’re the one that was supposed to be extinct.

The bird limps toward RICKY, its wing damaged.

RICKY examines the wing. He pulls a leaf off a small bush behind him and wraps it around the bird with sticks. It doesn’t really achieve anything, but RICKY is satisfied with himself.

All of a sudden, a bright light appears where the bird once was and RICKY covers his eyes. He is depicted in a CLOSEUP THE CAMERA THEN REFOCUSES ON THE SPOT IN FRONT OF RICKY WHERE BELLA IS NOW STANDING , wearing all white (like an angel) her hair blowing back.

Non-diegetic angelic sound plays

RICKY’s mouth falls wide open bella : But I thought you were going to be a gangster. r iCk Y: I- wha- wha- (whispers). ..BELLA? bella : (Whispers) Oh Ricky. (Breathes deeply into the top of his head) I’ve missed you more than I’ve missed slaughtering pigs. r iCk Y: I don’t … I don’t understand. How are you … you died! What happened? AHHH AM I DEAD?! (Pinches himself to see if he’s dead). bella : No Ricky, ya duffer! You’re very much alive. And as for me… well, you don’t need ta know the details dear, the important thing is that I’m here now. (Smiles at him) bella : I wrote a haiku for ya Ricky. Wanna hear it? r iCk Y: Nah, I think I’m better at haikus than you no offence..

RICKY blinks once, twice, rubbing his widened eyes in utter shock. He gasps violently.

He immediately runs towards BELLA and they share a tight embrace. BELLA’s expression is assuaged and relieved.

RICKY is at a loss for words, but then proceeds to smile, as he is elated at BELLA’s appearance.

Ya see…

Rick-y finds Bell-a

In the for-est of heav-en

I think I am dead

TA DAAAAA bella : Wow Ricky! Clearly you’ve been practising! Tell me what you think of this…

Ri-cky the bad egg

Has hatched in-to a chick-en

Rea-dy for the world r iCk Y: Do you think I’m a chicken! Because I don’t know how to feel about that- bella : No silly, it’s called a metaphor! r iCk Y: Ohhhhhhhh… ….What? bella : It’s a bit hard to explain… let me show you! r iCk Y: AHHHHHHHHHHHHHHHHHHHHHHHHH

What’d you think of that RICKY!

BELLA smiles with pride. RICKY looks at her confused.

BELLA chuckles to herself at RICKY’s innocence.

Suddenly, BELLA’s Huia bird wings appear on her back. RICKY thinks she looks like an angel. A halo of light expands behind her back, and NONDIEGETIC, angelic music plays as BELLA lifts RICKY from his feet and props him on her back. BELLA pauses, before rapidly soaring into the sky.