Honey Page #5

Synopsis: Honey Daniels is a 22-year-old, sexy, tough-minded, part-black, part-Latina hip-hop dancer in New York's East Harlem who dreams of making it big as a music video choreographer. She teaches hip-hop dancing at a local youth center and encourages the local kids to attend to keep them off the streets and out of trouble. When luck shines on Honey in the form of a famous music video director, named Michael, who casts her in one music video, she's encouraged to make the transition from dancer to choreographer. But Honey's sudden success comes with a price when Michael refuses to take "no" for an answer to his sexual advances and then tries to sabotage her career by blackballing her out of the business.
Genre: Drama, Music, Romance
Director(s): Bille Woodruff
Production: Universal Pictures
  8 nominations.
 
IMDB:
5.3
Metacritic:
37
Rotten Tomatoes:
21%
PG-13
Year:
2003
94 min
$30,222,640
Website
469 Views


All right. l gotta go.

You wild out.

Tear that place up. Okay.

Hey.

Hey, sweetie.

Oh, this is--

Well, this is where you live here.

What's with the threads?

Q. Walker's black-and-white party?

Yeah, that's the sh*t right there.

That's the biggest party of the year.

Got anyjuice?

l thought we were going to a meeting.

Business and pleasure

are the same thing.

You know that, Honey.

lf l knew it was a party,

l wouldn't have canceled

on my best friend's birthday.

You would rather go to Atlantic City,

which will always be there,

with friends you always see,

instead of going to

the hottest party in town with me?

Look.

Everybody is gonna be there.

All right? Artists, producers,

other choreographers.

lt would be career suicide

if you didn't go.

All right. Change into that,

and, uh, l'll meet you downstairs.

Okay?

Okay.

Hey, uh, can l use your phone?

Yeah, yeah. Hold on.

l'm gonna go upstairs

and find a quiet room, so--

You heard her, B.

She's gonna find a quiet room upstairs.

Remember, stake if it's 16.

lf it's less, hit or something like that.

All right. Well, uh, l miss you.

Happy birthday.

This is a nice crib, huh?

Oh. Hey, Michael.

You scared me.

- What are you doing?

- l'm just looking.

- At the house?

No, l'm looking at you.

That's the cognac speaking.

Here. Thanks.

You know, the first time

l ever saw you, l said to myself,

''That girl is so fine.''

Quit playin'.

Who's playing? l'm not playing.

No, seriously.

No, seriously.

Come on. Stop. Stop! Stop!

Get off of me.

B*tch, how you gonna

play me like that?

Oh. Oh, l see. l see.

You're one of those.

l'm not one of anything.

l'm just not up for this.

What about, ''l owe you so much, Michael''?

''You're the best thing that ever

happened to me, Michael. ''

Professionally, yeah.

All right. That was all talk.

That was all talk, right?

Just so you could get ahead in life?

No, no, stay. Don't leave.

You made it. You're here. Stay.

Look, it's a fancy party.

You came in a fancy car.

You're drunk.

l'm gonna do you a favor.

l'm gonna pretend like

none of this happened.

See you on Monday.

- One and two, three and four.

Five, six, nice.

Okay, Ginuwine,

come through.

Okay, Raymond.

Shaker boys, in front.

Come on, shake it up.

Go, shake it. Come on.

Come on. Shake it good, boys.

Oh, oh, oh, oh!

Oh, oh, oh, oh!

Oh!

That was great.

You guys were terrific.

l'm lovin' it.

Hey, hey, yo!

Good job!

That was hot.

Where is he?

l don't know.

Ginuwine!

We're ready for a rehearsal, sir.

lt's all set for you.

Hey, Mike.

Hi, how you doin'?

Hold that for a while.

All right, let's see this.

Playback.!

All right, guys.

Just like we rehearsed.

- Five, six, seven, eight.

Cut. Cut! Cut.

Go get the car or something.

Nah, it's not--

it's not working.

Which part?

The whole part.

The whole kid thing.

lt's horrible.

No, Michael. Don't do this.

l was thinking l wanted

to make it a little more sexy,

you know. A little more real.

What's more real than these kids?

Oh, no.

Michael, don't do this.

lf you want to get back at me, do that,

but don't take it out on these kids.

Katrina, baby.

Hey.

- All right, now l'm gonna

give you some music.

- Okay.

And l want you

to listen and then move.

Got you.

Go do your thing.

Do not take away the one thing

they have to be excited about.

Look. l have a lot

to do today, all right?

So if you want to get paid,

pack up your sh*t and take

your little friends out of here.

l want you to fire 'em. l want you

to tell them why you're not using 'em.

What's going on?

Don't worry about it.

What makes you think

l care what you want?

Yeah, the label called.

They're not into the kid thing at all.

For real? Aw, man. All right.

- l'm so sorry.

- So it's not gonna happen?

No. He changed his mind

about what he wants.

- Why?

-Just because.

- You made him mad, didn't you?

- Not intentionally.

Look,you guys.

There will be other opportunities.

No, there won't. Let's go, y'all.

This is wack.

Oh, you're funny, right? Okay.

What happened

to your big dance career?

lt's weak, man.

Thug life, baby.

Yo.

That's what it is.

l like those.

Yo. Go cop those for me, man.

Let's move. Come on, go.

Come on, ladies. Let me see it.

Five, six, seven, eight. Turn.

Front. Back.

lf that's the girl we heard about,

then no way.

l can't get a job anywhere.

Michael's blackballing me.

You sure about that?

Yeah, and all he has to do is mention

he doesn't want me working.

What kind of clown would do that,

stop somebody from earning a living?

l guess he figures since he gave me

my career, he can take it away.

Hey. He didn't give you anything.

You get hired because you've got drive,

talent and love for what you do.

That's a gift from God,

not some video director.

The thing is,

l was counting on that money.

Not for me, for the kids.

That studio could be unbelievable.

lt could change their life.

Hmm, paying off that balance?

Actually, l came for an extension.

l need more time.

How much?

l don't know.

l sort of hit a financial snag.

Miss Daniels,

if l could help you, l would.

But l've already agreed to keep

this property off the market

for two full weeks for you.

That's the best l can do.

l know it's a lot of money.

l'm sorry, Honey.

We just don't have it.

And even if we did--

Evelyn, don't.

Even if you did what, Ma?

Honey, a commitment like that,

you take that on, you are

gonna be stuck here forever.

You'll never leave.

Oh, l forgot. l'm supposed to see

all the beautiful things in this world.

Well, there's nothing wrong

with my wanting that for you.

No, but what about what l want?

You're 22 years old.

You don't know what you want.

You know what l see

living in this neighborhood?

l see kids go from bad homes

to bad schools and back again.

And l've seen you unlock a door to

a place where those kids can feel safe.

Maybe l'm dumb because l haven't

been to Paris or Milan or wherever,

but to me,

it doesn't get much better than that.

lt was everything l always wanted.

But when l had got it,

it felt like nothing, less than nothing.

And now losing it feels even worse.

l'm not looking for sympathy.

l just need someone to talk to,

someone l know and trust.

l'm so sorry, Gina.

l totally let you down.

Do you think you could

ever trust me again?

l don't know.

Maybe.

You're my girl.

You know the first thing l thought

when l saw that picture in the paper?

- That hood rat lied to me.

- No, that was the second.

- That hood rat

skipped out on my birthday.

- No, that was the third.

What was the first?

That hood rat went

to the black-and-white party

and she did not bring me.

l know you're in a jam right now,

but, Honey,you got skills.

And that's gonna take you places.

l just thought that, you know,

being your girl and all,

l'd get to go too.

You can.

No, l can't.

l'm just your friend.

You're the one with the goods.

You're the one that people want.

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Alonzo Brown

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Submitted on August 05, 2018

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