THE BILLABONG
by
Jack Byrne
jackaroo_byrne@hotmail.com
1.
FADE IN
EXT. BUSY MELBOURNE STREET 1875 – AFTERNOON
DR MARK TURNER, 26, a tall, handsome young man with dark,
curly hair is about to mount his horse. He is dressed in
black riding coat, long black riding boots and leather
gloves. His clothes are impeccably neat and of obvious
quality. He is caught up by a boy of about fourteen,
carrying a bag of potatoes over one shoulder.
TIM
SANDRINGHA
M
Dr Turner!
Dr Turner!
MARK
Hello, Tim.
How are you?
TIM
SANDRINGHA
M
Great, sir. Abby’s all
better, thanks to you.
Mark mounts his horse easily and turns to Tim.
MARK
That’s excellent, Tim.
your mother?
How’s
TIM
SANDRINGHA
M
She’s great, doc.
Tim grins broadly and waves.
Mark rides away with a friendly nod, is greeted by
several people and responds in kind as he rides.
2.
EXT. TOORAK, LEAFY AVENUE – LATER
Mark rides past a sign with the words ‘Governor’s
Residence’ and into the next set of gates. He rides to
the stables and is greeted by his stable boy. He leaves
his horse after petting it on the nose, then walks into
the home, puts his medical bag down and takes off his
coat and tie. He picks up a newspaper and sinks into an
armchair with a contented sigh, obviously at home.
EXT – SAME HOME – MORNING
Mark walks through the same room carrying an old medical
tome, then walks out past the stables and to a covered
outdoor area and settles down to read. A maid, DORIS
DOWNS, 45, follows him out with a tray.
DORIS
Here’s your tea, sir.
MARK
Thank you, Doris.
Mark takes cup of tea. Doris leaves.
STATHAM HOLLINGSLY, 18, peeks over the hedge and watches
Mark surreptitiously, then casually walks over to where
he is sitting. He is slim and handsome.
STATHAM
HOLLINGSLY
Hello, Mark
MARK
Hello, Statham. How are you
this morning? All set for
college?
STATHAM
HOLLINGSLY
Pretty much.
Mark says nothing, but waves Statham over to the table.
Statham sits right next to Mark, and Mark looks a little
surprised.
3.
MARK
How’s your father?
STATHAM
HOLLINGSLY
Do you mean did I speak to him
yet? No. I thought about
what you said, though. A lot.
Mark nods slowly and turns to look at Statham.
MARK
And what conclusion did you
come to?
STATHAM
HOLLINGSLY
This.
Statham lunges forward awkwardly to kiss Mark on the
lips. Mark is obviously surprised, but returns the kiss
with interest for a long time, before breaking it off.
STATHAM
HOLLINGSLY
I’m sorry, I’m so sorry!
MARK
Don’t be.
Mark looks around.
MARK
But you need to learn caution.
Anyone could have seen us
then.
Statham hangs his head in shame, but Mark kisses him on
the forehead very gently. Just then a clap of thunder
startles them both and it starts to rain.
STATHAM
HOLLINGSLY
I have to go. I’m expected
for morning tea.
MARK
We’ll talk soon.
They scatter to their homes, taking opposite directions
4.
INT. GOVERNOR’S MANSION – SAME
GOVERNOR HOLLINGSLY, 50, dressed in fine clothing, draws
back from a picture window where he has an excellent view
of Mark and Statham Hollingsly racing in from the rain.
Governor Hollingsly scowls in disgust. A door opens
noisily downstairs and Statham runs in.
Governor Hollingsly walks out to the top of the stairs,
and begins to walk down. Statham glances up.
STATHAM
HOLLINGSLY
Good morning, Father.
GOVERNOR
HOLLINGSLY
Is it?
Statham blinks, looking concerned.
GOVERNOR
HOLLINGSLY
My study.
Now.
INT. STUDY IN GOVERNOR’S MANSION – SAME
Governor Hollingsly is speaking furiously to Statham
Hollingsly, gesticulating in out the window, obviously
angry. The words ‘sick’ and ‘filthy’ can be heard in his
diatribe.
INT. BEDROOM IN GOVERNOR’S MANSION - SAME
Statham Hollingsly sits in a chair, sobbing
uncontrollably. He twists the sheets of his bed in his
5.
hands, then looks toward the window longingly, but then
puts his head back in his hands and sobs again.
INT. MARK TURNER’S HOME – LATER
The storm has turned into a relentless downpour. Doris
is serving Mark tea. Mark walks to the window and peers
out through the rain.
MARK
This isn’t letting up.
DORIS
No sir it ain’t.
They look outside to see Governor Hollingsly’s carriage
leaving, suitcases piled on top. Two horses are tied to
the back of the carriage.
MARK
I wonder where the governor is
off to.
DORIS
Peter, their stable boy told
Alan that they’re off to his
father-in-law’s for a few
days.
MARK
Why take the spare horses
though?
DORIS
Peter came to tell Alan the
blacksmith’s finally back in
town, sir. Alan took your
horse in this morning too.
The governor’s horses would
take priority though, I
imagine. We might not see
Alan back for a while.
6.
MARK
Oh, good. Banjo’s front shoe
was a bit loose yesterday. I
did mention that to Alan.
DORIS
Aye, doctor, that’s why Alan
took him up. I’m sure he’ll
do him straight after the
governor’s ones, you being a
doctor and all.
MARK
What about that beautiful
black mare, the one they’ve
had so much trouble with? Why
aren’t they taking her to the
blacksmith too?
DORIS
The one that killed the
breaker? How can you say
she’s beautiful, doctor, when
she has the heart of a devil,
from all accounts?
Doris looks at Mark, realizing she has spoken out of
line.
DORIS
Begging your pardon, doctor.
MARK
That’s all right.
DORIS
Young Peter told me last week
they can’t even get in her
stall now, sir. I don’t like
their chances of getting her
along the road to the smithy.
MARK
What the devil are they doing
with her? A fine horse like
that, they can’t just leave
her to rot in a stable. I
thought she was bought for
Statham to ride.
7.
DORIS
I don’t know, sir. I don’t
think they know what to do
with Regret.
INT. MARK’S HOME – A LITTLE LATER
Doris is serving Mark tea on a tray. There is a knock at
the door behind them, and Doris turns to open it. ALAN,
55, in riding clothes and an oilskin is standing there,
soaking wet, holding his hat in his hand. He nods at
them both respectfully.
ALAN
Doctor, Ma’am.
MARK
Alan! I wondered if you would
make it back. Is the river
up?
ALAN
Oh aye, Doctor, it’s up all
right. Three feet over the
bridge rails. I’m afraid your
horse is stuck at the smithy’s
on the other side sir. By the
time I did my other errands
and walked back to get him the
bridge was cut. Never seen it
come up so fast in me life.
Took everyone by surprise.
MARK
Is Banjo safe?
ALAN
Banjo? Oh aye. He was safe in
a stall when I left. John
will just keep him up there,
and his place is way up on the
hill. But I’m afraid it means
you’ll have no horse for a few
days, until this goes down.
I’m sorry, sir. I feel I
should have realized quicker.
8.
Alan hangs his head and looks at his feet.
MARK
It can’t be helped. You did
the right thing to turn back
and come home safe. I don’t
think there’ll be many
callouts in this, in any case.
ALAN
I brought your things from the
market as you asked, Mrs
Downs.
DORIS
At least we’ll eat, then, and
we’re all safe and dry. It
could be worse.
Alan nods.
ALAN
If you don’t mind then Doctor,
I’ll be gettin’ dry and
tending me dogs.
MARK
Of course, Alan. We don’t
want you with the pleurisy.
Go to it.
Lightning strikes close. Doris and Alan jump with
fright, but Mark just raises an eyebrow and walks back to
his chair. The servants leave the room.
EXT. MARK TURNER’S HOME – THAT NIGHT
The rain continues to pour down. There are lights within
the building, but outside it is dark. Tim Sandringham
stumbles along the road to the front door, obviously
exhausted, and falls against the door, banging it
frantically.
9.
INT. MARK TURNER’S HOME – SAME
A loud banging sounds from the front door – the sound of
someone knocking desperately.
TIM
SANDRINGHA
M
Dr Turner!
Dr Turner!
Doris hurries through the house to the front door,
followed closely by Alan and Mark. They open the door
and Tim Sandringham collapses into their arms.
DORIS
Tim!
TIM
SANDRINGHA
M
Doctor, please! It’s Mum and
Abby, they’re hurt bad!
MARK
What?
What happened?
Mark is already grabbing his doctor’s bag by the door and
reaching for his coat.
TIM
SANDRINGHA
M
A tree fell on the house.
Mum’s bleeding and Abby’s out
cold! They’re trapped, sir!
MARK
My God, boy!
horse –
Alan, bring my
He and Alan stare at each other, horrified.
MARK
I have no horse.
Mark turns to Tim.
MARK
Did you bring a horse, boy?
10.
Tim shakes his head.
TIM
SANDRINGHA
M
I don’t own no horse, sir. I
ran all the way ‘ere, I did.
MARK
I need a horse. The governor.
What’s left in his stables?
Alan shakes his head.
ALAN
They’re all over the river up
at the smithy’s doctor.
There’s only…
MARK
The black mare.
ALAN AND
DORIS
Doctor, no!
ALAN
Regret? She killed a man
already, sir! Joe said she’s
only waiting for the dogger!
TIM
SANDRINGHA
M
Mum’s gonna die if we don’t
get back fast!
MARK
Bring me my saddle and bridle.
Get a dry coat for Tim. I’ll
need him to show me the way.
Doris crosses herself as Alan shakes his head and runs
out the back. Doris grabs a dry coat from the rack and
helps Tim out of his soaked coat and into the dry one.
They wait anxiously by the open front door.
11.
DORIS
He’ll not come back. That
mare will kill him in the
stall.
EXT. GOVERNOR HOLLINGSLY’S STABLES
Mark, cloaked and carrying a saddle, arrives at the house
and pounds furiously on the door. A butler answers.
MARK
I need a horse!
emergency!
There’s an
BUTLER
Doctor Turner?
horse!
We have no
MARK
You have the mare, Regret!
The butler shakes his head.
BUTLER
The mare’s a demon, Doctor!
You’ll never get in the stall
with her, let alone saddle
her!
MARK
I’ve no time for your
nonsense, man! She’s all we
have!
BUTLER
No, doctor! I won’t allow it!
She’ll kill you as soon as
look at you!
MARK
By God man, I’m taking her.
There are other lives at
stake, not just mine! A woman
and a young girl!
12.
The butler hesitates, and Mark makes an impatient sound
and runs around the house, approaches the stables, which
he enters, saddle under his arm. There is silence, then
angry squeals and bangs, then silence again. Then out
the stable door bursts Mark, mounted on a black
thoroughbred mare which is bucking and pigrooting.
Somehow he steers her down the drive and up to his home.
EXT. MARK TURNER’S HOME – SAME.
Regret plunges about, squealing as Mark rides her to his
front door. Tim, Doris and Alan are waiting out the
front, but shrink back against the door in terror.
MARK
Tim! Come on boy!
dither.
Don’t
Tim hesitates, looking at the plunging horse.
MARK
It’s your mother and your
sister, boy! Have a nerve!
Mark reaches down an arm and Tim reaches up and is pulled
onto Regret behind the doctor. The doctor turns and
gives the mare her head. She takes off in a flat gallop
into the pouring rain and darkness.
DORIS
Oh, God be with them! Did you
see? He rides the devil!
ALAN
He rides LIKE the devil. I
never thought I’d see the day
anyone rode that mare. But if
anyone could, it would be the
good Doctor.
13.
EXT. THE SANDRINGHAM’S, A MODEST HOUSE - SAME
Men are sawing with a cross cut saw (long saw with a
handle at either end) at a large branch, part of a tree
which has fallen onto the house, and MRS SANDRINGHAM is
sobbing audibly from under the branches. A small group of
people has gathered to help and are holding up gas lamps
and carrying away branches.
MRS
SANDRINGHA
M
Abby!
Abby talk to me!
There is no response from ABBY SANDRINGHAM, 4, the small
girl lying beside the woman in the rain. Mrs Sandringham
groans as she looks down at her arm, caught between a
large branch and a broken oak table which it has crushed.
Blood pulses from a deep gash in her arm where a glass
platter was broken. There is a sudden clatter of hoof
beats and the black mare Regret arrives with Mark Turner
and Tim Sandringham. Tim jumps down and runs to the
house, and Mark follows him, handing off the reins of the
mare to a random person. The mare stands quietly, sides
heaving and body steaming.
MARK
Cover that horse!
Mark follows Tim to where his mother is.
TIM
SANDRINHAM
Mum!
Mum?
MRS
SANDRINGHA
M
Tim!
TIM
SANDRINGHA
M
I brought the doctor!
Mark walks in amongst the branches, and looks about
carefully to make sure nobody is watching, then takes a
handhold on a sawn-off branch and lifts at the main trunk
of the tree. It moves.
MARK
Everybody back! The tree’s
cut through! It’s falling!
14.
All the men around him move back from the tree. The tree
is nowhere near cut through, but Mark, unseen by the
others in the darkness and rain, lifts the trunk and
throws it off Mrs Sandringham, who screams with pain as
the weight of the branch comes off her arm. Mrs
Sandringham’s wounded arm gapes open and starts to bleed
profusely, but Mark quickly wraps a cloth around it to
hold the wound closed. He looks at Abby, and turns to
look for help.
MARK
Get in here, Tim! Hold this
tight around your mother’s arm
and don’t move until I tell
you so!
Tim is pale and exhausted but nods and does what he is
told.
MRS
SANDRINGHA
M
Abby!
Is she?
Mrs Sandringham sobs. Mark is already examining Abby,
checking her over for injuries. As he feels her neck for
a pulse, she moans.
MRS
SANDRINGHA
M
Abby!
MARK
She was knocked for six, poor
lass, but I think she’ll be
okay. Here, you men take her
and get her warm and dry.
Don’t move her or give her any
food or water until I examine
her properly.
ABBY
SANDRINGHA
M
Mum?
CROWD
(Cheers)
15.
MARK
You there, come and take hold
of this bandage for me. Tim,
go with your sister.
TIM
SANDRINGHA
M
Aye sir, thank you sir!
A man picks up Abby. Tim releases the bandage to another
random man from the crowd. Mark picks up Mrs Sandringham
and carries her from the wreckage of the house. They
follow the group carrying Abby.
MARK
Somebody care for my horse!
Two men lead Regret towards the house where they are
taking Mrs Sandringham and Abby, and out the back,
obviously to the stables.
INT. HOUSE NEXT TO THE SANDRINGHAM’S – SAME
Mark is finishing up the stitches on Mrs Sandringham’s
arm, and a teenage girl is giving her a glass of water.
Mark binds the wound and pulls a medicine bottle out of
his bag, pours a small amount into a measuring glass and
hands it to the girl.
MARK
Give her this too.
dull the pain.
It will
The teenage girl nods and Mark stands up, stretches, then
walks over to where Abby is lying on a cot. He checks
her temperature and listens to her breathing and feels
her pulse. She wakes at the touch.
ABBY
SANDRINGHA
M
Doctor Turner?
16.
MARK
Hello again, Abby. You’ve
been in the wars lately,
haven’t you?
ABBY
SANDRINGHA
M
Is Mummy all right?
MARK
She’s going to be just fine.
What do you remember?
ABBY
SANDRINGHA
M
There was a bang, and then my
head hurt. Something fell on
Mummy. I tried to get up but
the floor rushed up and hit
me.
Mark smiles.
MARK
You passed out. The floor
didn’t come up and hit you.
ABBY
SANDRINGHA
M
Well, the roof did, so I
thought the floor must have
too.
MARK
A tree fell on your house.
Mark pats Abby’s shoulder.
MARK
How many fingers am I holding
up?
ABBY
SANDRINGHA
M
Three?
No, two.
17.
MARK
How many?
ABBY
SANDRINGHA
M
Two.
MARK
I think you’ll be just fine,
Abby. Try to stay awake for a
while now, all right? You can
sleep later.
Abbey nods, but almost immediately falls asleep again.
Mark frowns.
TIM
SANDRINGHA
M
Is she going to be okay,
Doctor?
MARK
She should be. But I’d better
stay until the morning to keep
an eye on them both. And I’d
like your mother to come in
and stay at my house for a
week after that. That arm
could get infected.
A man has come in the door just then and hears what Mark
says.
MAN
You’ll have to stay anyway,
Doctor. The river came up
fifteen more feet. Nobody’s
going anywhere for a few days.
EXT. ROAD – A FEW DAYS LATER
Mark is mounted on Regret again, and
His oilskin is in a roll at the back
grateful townsfolk gather around him
leave. A woman in a shawl hands him
his clothes are dry.
of his saddle, and
as he is about to
a canvas bag.
18.
SHAWL
WOMAN
There’s cheese and wine in
there, Doctor, and a flask of
water too, for your ride.
MARK
Thank you. I’ll let my maid
know to prepare a room for Mrs
Sandringham and Abby.
MAN
They’re just harnessing the
horses up now sir, but I
daresay they’ll be a few hours
behind you, with you on that
fine mare and all!
Mark laughs and pets Regret’s neck. Regret arches her
neck up against his hand.
MARK
This brumby?
MAN
She seems to have taken to
you, Doctor!
Mark salutes them and rides away. Regret throws a frisky
buck, but he just laughs at her antics and gives her free
rein. She takes off at a gallop, which Mark sits easily.
Tim Sandringham helps his mother and Abby into a
brougham, and waves them goodbye as the horses walk away
quietly in the same direction Mark took.
EXT. GOVERNOR HOLLINGSLY’S MANSION – MIDDAY
Mark arrives riding at a calm walk on Regret, but
hesitates when the house comes into view and he sees a
group of about ten troopers gathered around his own gate,
and the mortuary carriage parked at the Governor’s front
door.
He urges Regret into a canter and rides to the mortuary
carriage, which is just pulling away. He hails the
driver.
19.
MARK
What happened?
Who’s..
MORTICIAN
The governor’s eldest son.
Mark halts Regret, obviously shocked.
MARK
Statham?
Mortician nods, his face solemn.
MARK
But… how?
MORTICIAN
Hanged himself.
Mark is visibly shocked
quietly as the carriage
to the Governor’s gate,
stirrup when there is a
and pulls Regret up, sitting
moves away. He walks Regret up
and is taking one foot out of the
shout from his own gate.
GOVERNOR
HOLLINGSLY
There he is!
Arrest that man!
Mark is visibly still shaken, then shocked as the
troopers approach. He looks behind him, but the road is
empty. He puts his foot back in the stirrup, looking
wary.
MARK
Me?
What have I done?
The Governor draws his weapon and Mark is visibly alarmed
as a young trooper dismounts and approaches him, drawing
his weapon too.
GOVERNOR
HOLLINGSLY
Caught red-handed too, riding
her, the bastard!
MARK
What?
20.
GOVERNOR
HOLLINGSLY
He stole my horse!
MARK
It was an emergency!
lives!
I saved
The senior constable wavers, and turns to the Governor.
GOVERNOR
HOLLINGSLY
You’re filth, is what you are!
Filth and horse thieving
trash! What did you do to my
son, eh?
MARK
I… I don’t understandGOVERNOR
HOLLINGSLY
Grab him, before he gets away!
He raises his gun and points it at Mark. Mark tenses up
and instinctively closes his legs around Regret’s sides,
and Regret freezes, ready for flight. The young
constable who has dismounted chooses that moment to make
a lunge for Regret’s reins, but Regret rears up, pulling
him off balance and right into the line of the Governor’s
rifle, which was aimed at Mark. There is a gunshot, and
the constable releases Regret and falls to the ground.
GOVERNOR
HOLLINGSLY
He’s got a gun!
Mark stares at the constable on the ground, who is
obviously dead.
MARK
No!
But gunshots pepper the air around Mark and all he can do
is hang on as Regret panics, spins and gallops away up
the road.
21.
EXT. AUSTRALIAN BUSH – DAYLIGHT
Mark appears, riding on Regret, both almost
unrecognizable under layers of dust. He rides into a
small town and past a general store, then pulls his horse
up and hitches her. He goes in and pulls out several
coins, buys salt, flour and sugar. The storekeeper eyes
him suspiciously. Mark turns to leave and sees his own
face on a wanted poster saying he has stolen a horse and
shot a policeman. He spots himself in a mirror. He is
so covered in dust and grime that the shopkeeper did not
recognize him. He mounts Regret and rides away quickly.
EXT. LOG HOME, AUSTRALIAN BUSH – DAYTIME
ALICIA KELLY, 3, races in to the house, obviously
excited.
ALICIA
Daddy, daddy!
JIM KELLY, 22, a handsome young man, powerfully built and
tanned, in long trousers, a rough cotton shirt and riding
boots, scoops her up just as a DAVID KELLY, 2, runs up
after her.
DAVID
Bang! Bang!
The boy runs into his father’s legs.
JIM
Whoa there, tiger!
The boy grabs the girl’s skirt and tugs on it. She
squeals. Both children scream with excitement.
JIM
Ow!
Hush now!
He puts his free hand to his ear and makes a show of
rubbing it. The children giggle, and Jim carries Alicia
into the kitchen, where his wife DAPHNE KELLY, 21, is
cooking.
22.
JIM
Hello, darling.
Daphne looks tense even as she accepts the kiss, then
breaks it off to speak.
DAPHNE
How did you go with Moriarty?
Jim puts Alicia down and she and David run off into the
front of the cabin, squealing and playing.
JIM
He said he’d lend us the
money.
Daphne looks surprised.
JIM
But.
Daphne’s face falls.
DAPHNE
But what?
Jim hesitates, obviously reluctant to reveal the
information he is about to give her.
JIM
He wants a lien on the farm as
security.
DAPHNE
Oh, God, Jim!
JIM
We don’t really have any
choice. Nobody else in the
district’s got the money.
DAPHNE
What if something happens?
What if we lose the cattle?
You know what this place is
like. There’s fires and
floods and those awful bloody
snakes everywhere…
23.
JIM
It’s our only choice. It’s
this or sell up now. We can’t
run a farm without stock.
He hugs her.
DAPHNE
I know, I know.
The children run into the kitchen.
DAVID
Mummy, when’s dinner?
ALICIA
I’m starving.
Daphne smiles.
DAPHNE
You’re filthy dirty too, you
little villain. Go get washed
up.
She shoves the children out the door, and then pushes Jim
out too.
DAPHNE
All of you!
Jim pretends to be offended, but follows the children
outside. He works the pump for them as they scrub at
their faces and hands, and then both children haul the
pump handle up and down so he can wash too.
They all come back in and settle down to a meal. Alicia
only eats half her meal though, then sits back looking a
little miserable.
JIM
What’s wrong, honey?
ALICIA
I don’t know. I’m just not
hungry as I thought.
DAVID
I’ll have it!
24.
Alicia looks to her father for permission.
she pushes her plate towards David.
Jim nods, and
ALICIA
May I be excused, Daddy?
JIM
Yes.
Daphne stops eating and watches Alicia leave the room.
DAPHNE
That’s not like her.
JIM
She’s probably just tired.
They’ve been running around
all afternoon. I could see
them from up on the hill.
DAPHNE
How’s the clearing going?
Jim shrugs.
JIM
All right. It’s always slower
with one. DadJim stops and looks down.
Jim takes a deep breath.
Alicia puts a hand on his arm.
JIM
The fences are all fixed. If
we take that loan from
Moriarty then we can get cows
in from this Saturday’s sales.
Daphne sighs.
DAPHNE
I guess we’ll have to, then.
Jim nods.
25.
EXT. JIM’S FARM GATE - DAYTIME
Jim Kelly, mounted on a big bay mare, and two stockmen
push a herd of about twenty cattle through a gate.
STOCKMAN
ONE
Righto, Jim!
JIM
Thanks, Benno, George. I’ll
see you at church tomorrow.
They wave and ride away, back up the road. Jim follows
the cows in to the pasture, watches until they settle
down to graze, then rides down to the log house.
Daphne comes to the door to greet him.
Jim kisses her.
JIM
Well, that’s the first lot.
Sean said he’s coming by next
week and will cut out the
other twenty and put them in
the gate for us.
DAPHNE
They’ll need branding.
Jim sighs.
DAPHNE
What?
JIM
He doesn’t want me to brand
them until I’ve paid him for
them. In case, you know, in
case they end up back at his
place.
Daphne purses her lips and shakes her head.
JIM
He’s not going to steal his
own cattle, Daph. He knows
I’ll know them by sight.
26.
DAPHNE
It’s not him I’m worried about
so much. What if someone else
nicks them? I don’t like to
have unbranded heifers on the
place.
JIM
I’m always here. They’re
never left to their own.
They’ll be fine.
Daphne sighs. Jim looks around.
JIM
Where are the kids?
DAPHNE
Inside.
JIM
Those two?
something?
They sick or
Jim grins, but Daphne looks worried. Jim does not see
this, as he is walking past her to go inside.
INT. FARM HOUSE – SAME
Jim walks into the hut. David is sitting at the table
colouring in a picture of a cow, and Alicia is drawing
another one for him.
DAVID
Hello, Dad.
Jim nods and tousles his hair.
Alicia.
He sits down next to
JIM
Can I have a look?
Alicia smiles and hands him the drawing.
Jim takes it.
27.
JIM
It’s really good, honey.
He leans over and kisses her on the forehead, but looks
taken aback. He feels her forehead.
JIM
Honey?
DAPHNE
Yes?
Jim stands up and waves Daphne over.
JIM
Feel her forehead.
Daphne does, and pales. The two adults look at each
other, both looking worried.
ALICIA
What’s wrong, Daddy?
JIM
Nothing, sweetheart.
Daphne looks at David, and puts a hand on his forehead.
DAPHNE
Jim.
Jim checks David’s temperature and frowns.
JIM
Maybe they should have cool
baths.
Daphne nods and disappears out the back.
sound of a bucket clanging.
There is the
EXT. FARM HOUSE – SAME
There is a large tin tub on the low veranda, with a leanto roof over the top. Daphne is filling a bucket from
the pump and walking it to the tub. It is about a third
28.
full and she is sweating from exertion. Jim comes out to
take the bucket off her, and she goes back inside.
She brings the children out and undresses them, then
stares and pulls Jim’s arm. They look at David’s torso,
which is showing several red spots. Jim swallows, and
Daphne checks Alicia and finds the same thing.
JIM
I’ll ride for Doctor Rickard.
Just bath them and put them to
bed, all right?
Daphne nods, unable to speak.
EXT. FARM – SAME
Jim mounts his bay mare, Shiloh, and rides at a fast
canter out of the farm yard.
JIM
Come on, Shiloh.
girl!
Come on,
Shiloh speeds up to a hard gallop.
EXT. ROAD INTO TENTERFIELD – DAY
Jim gallops into town and hitches his horse out the front
of a building with ‘Dr Rickard’ on a plaque on the front.
He rushes into the building, but remembers to take off
his hat as he enters.
INT. DR RICKARD’S ROOMS - SAME
JIM
Mrs Daly!
29.
The people in the waiting room look up at him. One woman
is red-eyed from crying, and several feverish children
sit with their worried looking parents.
MRS DALY
Jim?
What’s wrong?
JIM
My children. They both have a
fever and spots.
A woman behind Jim bursts audibly into tears. Jim looks
around.
JIM
What is it?
MRS DALY
Measles. It’s all through the
district.
Jim pales visibly.
JIM
Measles?
illness.
That’s a city
MRS DALY
Yes, and we think the
folk that visited the
picnic brought it in.
every child was there
down with it.
city
church
Near
has come
JIM
What do I do?
MRS DALY
Best to bring them in. Old
Doctor Bentley is coming in to
help and we’ve set up cots in
the manse.
Jim stands there, hesitating.
MRS DALY
(Gently) the quicker you get
them here, the better chance
they’ve got, love.
30.
Jim turns, walks out and mounts his horse.
JIM
Come on, Shiloh.
He gallops away again.
EXT. FARM HOUSE – LATE AFTERNOON.
Jim is carrying Alicia to the wagon. Shiloh is harnessed
up and standing, looking tired. David is in the wagon,
lying down looking ill. Daphne sits in the back with the
children.
DAPHNE
All set
JIM NODS, GETS UP INTO THE DRIVER’S SEAT.
JIM
Come on, Shiloh.
Shiloh starts up slowly
JIM
Come on girl.
DAPHNE
Oh, give her the whip!
JIM
She’s done nearly fifty miles
already today, and on the hard
road at that. I’ll not whip
her up just to throw the
children all about the wagon.
Come on girl.
He clicks his tongue and Shiloh moves reluctantly into a
methodical trot.
31.
EXT. THE MANSE, TENTERFIELD – NIGHT
Lamps are set up and several people are helping with the
horses. A man takes Shiloh’s reins and people help Jim
and Daphne carry the children inside. Jim turns as he is
about to go in the door.
JIM
Take care of her, Bill. She’s
had a long hard run all day.
THE MAN
Aye. She’ll be in the livery stables with me, Jim.
JIM
Thanks, Bill.
Jim enters the building. Dr Bentley is examining
Alicia’s stomach, and shakes his head, looking sad.
looks at David and nods to the nurse beside him.
He
DR BENTLEY
They’ve got it all right.
Bring them through.
DAPHNE
Oh, Jim!
Daphne bursts into tears. Jim holds her in his arms,
then takes Alicia from the man holding her and carries
her into the makeshift hospital. He and Daphne sit
between David and Alicia, who are looking very ill.
A woman cries and doubles over at the end of the room, as
Dr Bentley draws a sheet up over a baby’s face. She
throws herself over the bed, sobbing.
Jim hugs Daphne.
He notices Alicia watching him.
ALICIA
What happened, Daddy?
JIM
Never mind, love.
ALICIA
Are we going to die too?
JIM
No.
32.
ALICIA
(Whispers) Promise?
Jim nods but cannot answer.
INT. MANSE, TENTERFIELD – NIGHT.
Dr Bentley draws a sheet up over Alicia’s still face.
DR BENTLEY
I’m sorry, Jim.
Jim shakes his head, unable to speak. He looks at
Daphne, sobbing by the bedside. David’s form is covered
too.
DR BENTLEY
I’ll make all the arrangements
for you. Go home.
Jim stares at him, his face blank.
JIM
(Faintly) Home?
Dr Bentley shakes his head as Jim and Daphne walk out.
The nurse walks up to him.
NURSE
Both of them.
That’s awful.
DR BENTLEY
I’ve seen it happen too often.
NURSE
Those children were so strong,
too, and older.
DR BENTLEY
Sometimes it’s the ones you
least expect.
33.
EXT. MANSE, TENTERFIELD – MORNING.
Jim supports Daphne as they leave the makeshift hospital
and climb into the wagon. A small group of people
surrounds the wagon, offering sympathy. Shiloh looks
rested and shiny, and paws with impatience.
Jim helps Daphne up into the passenger seat, then gives
Shiloh her head. She sets off at a smart trot, and Jim
pulls Daphne closer to him on the seat. They both look
slumped and broken.
EXT. FARM HOUSE – SEVERAL WEEKS LATER, DUSK.
Daphne is putting out dinner. Her clothes are untidy,
the buttons crooked, her hair a mess, and her eyes a
little glazed. Jim sits at the table reading.
DAPHNE
David! Alicia!
Dinner!
Jim looks up at her sharply.
JIM
Daph...
Daphne interrupts him sharply.
DAPHNE
Where are they?
Jim shakes his head and goes back to reading a book. She
puts out four plates of food, and Jim closes his eyes.
DAPHNE
David, did you wash your hands
before coming to dinner?
Jim purses his lips but says nothing.
34.
DAPHNE
Sit up straight, Alicia!
Jim picks up his knife and fork and begins eating slowly.
DAPHNE
AliciaJIM
(Shouts) They’re not here, all
right? They’re gone!
Daphne stares at him, her face blank.
Jim stands up and grabs her by the arm, knocking one of
the spare plates of food off the table. He drags her
outside and she begins to struggle and fight to get free
as he pulls her toward the back of the house. Daphne
covers her eyes with her free hand.
DAPHNE
No! No!
JIM
(Shouting) They’re dead!
They’re dead and buried! For
God’s sake stop talking to
them!
Daphne is reluctant, but looks at the gravestones, her
eyes evasive.
DAPHNE
(Whispers) Someone died.
JIM
David and Alicia! It was
David and Alicia who died!
Daphne shakes her head, then breaks away and runs off
sobbing. Jim falls to his knees before the three
headstones. One is older, but the other two are fresh
and have David and Alicia’s names on them.
35.
INT. FARM HOUSE – NIGHT
The table is as it was left earlier, with two untouched
meals, one on the floor and Jim’s with only a few
mouthfuls out of the edge. Jim is sitting there with his
head in his hands. Daphne enters, and he jumps up and
embraces her.
JIM
I’m sorry.
Daphne looks much more lucid than she did earlier.
DAPHNE
No, I’m sorry. It’s just
sometimes, I forget.
Jim nods and hugs her.
JIM
But, I need to forget too,
Daph. And when you keep
talking to them like that, I
can’t.
DAPHNE
You can’t forget! Don’t tell
me you can do that.
Jim shakes his head sadly. They hug each other, standing
in the quiet, empty house. Eventually Daphne stands up,
and Jim looks at her hopefully.
DAPHNE
Oh, those kids haven’t eaten a
scrap of their dinner again!
Jim closes his eyes.
EXT. FARM HOUSE – DUSK
Daphne is walking around, calling.
DAPHNE
David?
Alicia?
36.
She wanders farther afield, still calling the children,
and eventually walks off into the trees.
EXT. FARM HOUSE - NIGHT
Hoof beats sound.
Jim dismounts from Shiloh.
JIM
Daph, I’m home!
He hitches Shiloh in front of the house, walks into the
house, and immediately sniffs, looking concerned. He has
a look around and frowns at the pot of food boiled almost
dry on the fireplace. He lifts it off with a cloth. It
is smoking and obviously burnt.
JIM
Daph?
Daphne!
Jim walks around the house, then farther afield around
the farmhouse, and starts to sound worried. He cups his
hands around his mouth and calls several times.
JIM
Daphne!
Jim mounts Shiloh again and continues to search for
Daphne as the night deepens.
Jim searches all night. About two hours after dawn, he
rides up a ridge for a vantage point, then sees a prone
form in a dress lying down by the creek behind the house.
He gallops Shiloh down there and leaps off to run to
Daphne. He turns her body over, but she is dead. He
shakes her and calls her name, then falls sobbing over
her body.
EXT ROAD INTO TENTERFIELD – DAY
Jim drives the wagon into town straight to the doctor’s
office. He stops the wagon and puts his head in his
hands. Mrs Daly comes out.
37.
MRS DALY
Jim?
Jim waves wordlessly at the back of the wagon. Mrs Daly
walks around to the back of the wagon and stops, then
runs into the surgery.
MRS DALY
(Sobbing) Dr Rickard!
Dr Rickard comes out and takes in the situation.
walks up and looks at Daphne, then up at Jim.
He
DR RICKARD
Jim, what happened?
JIM
She wandered… she wandered
off. I found her like this.
Dr Rickard peers up at Jim, who is staring straight
ahead.
DR RICKARD
I’ll get some help.
People start to gather around the wagon, but Jim still
stares straight ahead.
INT. DOCTOR RICKARD’S WAITING ROOM – AN HOUR LATER.
Jim is sitting on a chair, staring straight ahead. Dr
Rickard walks out, his face solemn. He sits next to Jim
and waits for a long time, until Jim turns to look at
him.
DR RICKARD
I found a snake bite, Jim.
Jim raises both eyebrows but says nothing.
to stare into space.
He continues
38.
DR RICKARD
It’s
move
will
run.
from
lad.
no good telling you to
past this. Only time
help. You’ve had a bad
Don’t expect too much
yourself for a while,
Jim manages to meet his eyes, but his gaze is blank.
DR RICKARD
I’ll sort out the –
Dr Rickard indicates the interior of his surgery with a
tilt of his head.
JIM
(Bitterly) I know the drill.
DR RICKARD
Go home, Jim.
you can do.
There’s nothing
JIM
Home?
What’s that?
DR RICKARD
I don’t know what to say.
Jim nods mechanically.
JIM
Can I see her first?
Dr Rickard hesitates, then nods and leads Jim into the
back of the surgery.
EXT. FARM – DAYTIME
There is another fresh grave out the back of the house.
Jim rides up to the front of the house, dismounts from
Shiloh and walks inside.
39.
INT. FARM – SAME.
Jim stands in the log hut, looking around, then picks up
a china cup and throws it violently across the room. He
picks up several more things and smashes them, then sits
sobbing at the table. Suddenly he appears to make a
decision and begins to collect things from around the
house – a rolled up tent, a rolled swag, a billy can, an
axe, a bucket and a hoof rasp. He goes to the pantry
with a canvas bag and packs flour, salt and sugar.
He loads up Shiloh with the gear and rides away, but does
not take the road to the front of the property. Instead
he heads overland across the farm. He stops to check the
cattle on the way and count them.
Jim sets up camp in the scrub near a billabong on the far
side of the property from the house. He puts up the
tent, unrolls his swag, then cuts down several saplings
to make a makeshift yard for Shiloh between four trees.
EXT JIM’S CAMP – MORNING
Jim wakes up and looks around. He gets up and brings
Shiloh some water, then picks up his axe and walks up to
a large ironbark tree some distance from the tent and
Shiloh. He spits on his hands, hefts the axe and takes
his first swing at the tree.
EXT. TENTERFIELD DOCTOR’S OFFICE – DAYLIGHT
Jim Kelly rides out from town on Shiloh.
and looks rough and dirty.
He is bearded
From the other direction two riders approach. SEAN
MORIARTY, 45, is mounted on a fine grey horse. His
daughter ANNABEL MORIARTY, 18, is riding side-saddle.
Both are dressed finely, Annabel in a long riding habit
with a voluminous skirt. She is riding a pretty mare.
Both peer at Jim as he approaches.
40.
SEAN
MORIARTY
By heavens.
I see?
Is that Jim Kelly
Annabel Moriarty looks straight at Jim, but obviously
doesn’t recognize him. She continues to look around.
ANNABEL
MORIARTY
Where, Daddy?
Sean Moriarty nods at Shiloh and Jim.
SEAN
MORIARTY
On the bay.
Annabel stares at Jim, obviously finding it hard to
believe it is him.
SEAN
MORIARTY
Jim!
Jim Kelly!
Jim looks up and immediately recognizes Moriarty and his
daughter.
JIM
Mr Moriarty.
Annabel.
Jim doffs his hat and makes to ride on.
SEAN
MORIARTY
How are my cattle doing up at
your place?
Jim stops Shiloh.
JIM
Your cattle?
SEAN
MORIARTY
The ones you borrowed.
JIM
The money I borrowed.
cattle are mine.
The
41.
Sean Moriarty smiles and shrugs.
SEAN
MORIARTY
Whichever way you want to look
at it, I suppose.
JIM
They’re fine, Sean.
SEAN
MORIARTY
Because Tom and the boys, they
rode over the other day to see
how you were going, and they
told me the place was deserted
and the cattle nowhere to be
seen. I’d hate to lose my
stock.
JIM
Well, next time tell Tom to
open his eyes and look over
the whole selection before he
calls it in as deserted. I’ve
camped over by the billabong
and I’m building yards to
brand the cows. The cows are
hanging around there too. But
Tom’s no tracker, is he?
SEAN
MORIARTY
He said the house was in
disrepair.
Jim says nothing. Annabel looks from Jim to her father,
looking concerned.
ANNABEL
MORIARTY
Daddy…
Sean Moriarty ignores her and rides up close to Jim. His
tone changes.
SEAN
MORIARTY
This is not like you, Jim.
42.
JIM
Well, things happened.
SEAN
MORIARTY
I heard about your family.
I’m sorry.
Jim stares at him woodenly.
SEAN
MORIARTY
But this is a tough land.
have to move on.
You
He gives Jim a meaningful look and then looks over at
Annabel. Jim follows his gaze. He meets Moriarty’s eyes
and looks incredulous.
SEAN
MORIARTY
(In a low voice) Open your
eyes, Jim. There are a lot of
fine women in this district.
And I could do with a sharp
man like you to help me with
my holdings.
Jim stares at him.
Annabel moves her horse closer, trying to hear what they
are saying. She looks sympathetically at Jim, and glares
at her father. She seems to have heard something.
ANNABEL
Daddy, don’t you think it’s a
little early to be sayingSEAN
MORIARTY
Hush, Annabel.
Annabel ducks her head, looking angry.
mare away and sulks.
She moves her
SEAN
MORIARTY
You’ll want a woman who does
what she’s told.
Jim stares at him, saying nothing.
43.
SEAN
MORIARTY
It’s a good offer, Jim.
Opportunities like this don’t
come along often to struggling
young men like you.
JIM
I’ll keep that in mind.
Sean Moriarty’s lips tighten.
SEAN
MORIARTY
(Voice softens) I know you
think you’ll never get over
Daphne, Jim.
Jim winces at Daphne’s name.
SEAN
MORIARTY
But you’ll have to move on
eventually. I’m just letting
you know where to look, when
that time comes.
Jim says nothing for a while.
JIM
It’s a bit early to be
considering my future, Sean.
SEAN
MORIARTY
You don’t want to leave it too
long. To be quite honest, it
all turns on a young girl’s
fancy. There’ll be a hundred
men who’ll jump at this offer
if you don’t take it up soon.
JIM
Maybe… maybe I can talk to you
again when I come in to sell
the weaners.
SEAN
MORIARTY
Why wait that long?
44.
JIM
(Lowers voice even more) Sean,
I’ve no real interest in
Annabel.
Moriarty rolls his eyes and smiles.
SEAN
MORIARTY
(Whispers) I know that. You
know that. What is it about
women, that they always want
the men who don’t want them?
Jim shakes his head.
JIM
I don’t know.
SEAN
MORIARTY
Think about the offer, Jim.
You’d be set for life. I’ve
no other heirs. Your son
would inherit Mayberry, as
well as your father’s
selection.
Jim stares at Sean Moriarty, then glances at Annabel, who
is sitting on her horse about twenty yards away, still
sulking, but sneaking the occasional look at Jim.
JIM
Why me? What interest does she
have in me? There are a dozen
richer men in the district.
Sean shrugs.
SEAN
MORIARTY
You taught her to ride,
remember? When she couldn’t
handle that pony I bought her.
She was fourteen, Jim. It’s a
funny age. All I know is my
little girl has her heart set
on you ever since. I don’t
care who she marries, so long
as he’s competent. But she
does, and that’s enough for
me.
45.
JIM
It’s too soon, Sean. After
everything that happened.
Look, Annabel’s sweet, but…
I’m a bit of a mess to be
serious.
SEAN
MORIARTY
Life moves on. Give it a few
months, and come calling, all
right?
Jim shrugs.
SEAN
MORIARTY
Of course, you wouldn’t have
to sell the weaners then. I
wouldn’t be asking for the
loan back if you were family.
You could keep them and grow
your own herd faster.
Jim doesn’t appear to know what to make of that comment,
and doesn’t answer.
SEAN
MORIARTY
(Out loud) We’d love to see
you!
Annabel looks up, looking hopeful.
SEAN
MORIARTY
Come over and be neighbourly,
girl! No point sitting off
alone over there.
Annabel rides her horse over and looks shyly at Jim.
ANNABEL
How have you been, Jim?
Sean Moriarty rolls his eyes heavenward at her question,
but Jim ignores the gaff.
46.
JIM
I’m getting there. How’s your
riding going?
ANNABEL
Oh, really well. Daddy’s
taking me down to the Royal
Show next Easter to find a new
horse.
JIM
What’s wrong with the one
you’re on?
SEAN
MORIARTY
Oh, it’s a pretty enough horse
but it doesn’t have the ideal
movement. I want something
with real presence, and a
little taller. Something
suitable for a lady.
JIM
The search for perfection, eh
Sean?
Sean gives him an odd look.
SEAN
MORIARTY
Tell him about your lacework,
Annabel!
ANNABEL
Oh father, it’s nothing.
Jim laughs.
JIM
You? Doing lacework? The
young girl I met would never
sit still long enough to do
anything like that.
SEAN
MORIARTY
She won the local competition
and her doilies are in the
Easter Show.
47.
Annabel obviously ignores her father touting her
abilities and addresses Jim’s comment.
ANNABEL
People change, Jim.
The conversation falters, and Sean Moriarty, sensing the
awkwardness between them, moves to ride away.
SEAN
MORIARTY
Well, it’s good to catch up.
Don’t be a stranger, Jim. Come
over sometime for a beer.
JIM
Sure.
ANNABEL
Goodbye, Jim.
JIM
Good day.
They ride in opposite directions.
EXT. MORIARTY’S RUN – AN HOUR LATER
Jim rides along the road, then slows Shiloh as he
approaches a gate with the property name ‘Mayberry’ on
the gate. He slows, then looks up beside the road.
There is a knoll there, and he urges Shiloh up the knoll
until he reaches a vantage point, then turns and stops
her to look over Moriarty’s run. The land extends for as
far as he can see, with herds of cattle in the distance
and the silver reflection of creeks and billabongs
throughout. He shakes his head, obviously impressed, and
looks thoughtful. Then he rides down to his own farm and
back to the camp.
48.
EXT. AUSTRALIAN BUSH – SOME MONTHS LATER
Jim has cleared a small area among the dense gum trees.
There is a koala in the trees above him. Jim chops at a
tree with his axe, fresh sawdust and newly cut logs and
rails nearby. A set of ironbark stockyards is halfbuilt. Kangaroo droppings mix in the fresh sawdust at
his feet.
Jim is shirtless but in long trousers and heavy boots,
sweat running down his face.
He stops swinging the axe and tries to drag a log over to
the stockyards but stops, obviously exhausted, and sits
on a stump to relax. He wipes the sweat of his forehead
with his arm, then takes a bit of the dried bread sitting
on the stump, then reaches for his water bottle.
A rifle shot sounds and kicks up dust at his feet. He
jumps up and leaps behind the stump, looking around
panicked, then reaches down to his leg and rubs it. He
looks where he was standing and sees an olive brown snake
twisting in its death throes. Jim cocks his head and
looks around, but then turns looking dizzy as a gun cocks
behind him.
Mark Turner is now dressed in dark jeans, leather boots,
kangaroo-hide hat and dark shirt. He looks at Jim over
the barrel of his gun.
MARK
Did he get you?
JIM
Opens his mouth to speak but passes out.
MARK
Shit.
Mark puts his gun down in time to grab Jim before he hits
the ground.