SHIPS IN THE
NIGHT is 13 part internet drama series that follows four taxi drivers from
different ethnic backgrounds over one warm summer’s night in Sydney, Australia.
see Ep # 1 below
SHIPS features:
MATT - early
40s, of Anglo Saxon heritage
FATIMA – late
20s, family from the Middle East; ANWAR -
mid 30s, from Somalia
LOUIS – 50’ish,
from China (real name Liu Wei).
The 5th lead
character in these interlocking stories is:
RACHANA –
40’ish, Indian, Taxi company switchboard operator
1 EXT. KINGS CROSS. NIGHT
Credit sequence.
Kings Cross on a quiet weekday night. There are more spruikers outside strip clubs than there are customers. It is a warm night.
There are also more taxis on the street and on the taxi rank that there are late night revellers looking for a ride.
MATT, early 40s, Anglo Saxon, leans up against his cab. He holds an unlit cigarette, plays with it. He is wearing neatly pressed slacks and a tan sports jacket with a club logo on the breast pocket.
MATT is solidly built. A former footballer. His muscles have turned a little soft and he sports a small pot belly.
MATT does not notice the WOMAN TAXI DRIVER in the cab behind him, watching him, smiling as he puts the unlit cigarette in his mouth and draws on it absentmindedly.
This is FATIMA, late 20s, of Arabic descent, wearing a colourful hijab.
MATT looks at his watch impatiently, raps his fingers on the roof of the cab. He notices FATIMA looking at him - her face breaking into a happy smile as she shakes her head.
MATT smiles sheepishly, pulls his stomach in as FATIMA leans out the window.
FATIMA
Lost cause!
Matt smiles, walks up to FATIMA’s cab.
MATT
Bit of the pot calls the kettle black, don’t you think, Fats.
FATIMA creases her eyebrows. She does not understand. MATT contemplates explaining for a moment; gives up. Grins.
MATT
Towelhead like you wouldn’t understand.
FATIMA
Infidel. (A BEAT) Your night?
MATT
How do you say ‘fucked’ in Arabic.
FATIMA
Neek hallak.
MATT
Neek hallack.
FATIMA
You trying to start a new fashion?
FATIMA looks down at Matt’s feet. He is wearing one black sock and one white sock inside his comfortable slip on shoes.
MATT looks down, smiles. He hadn’t noticed. A taxi pulls away from the head of the rank. Taxis
move forward. MATT waves goodbye to FATIMA, jumps back in his cab.
NOTE: FATIMA is a central character in SHIPS IN THE NIGHT
2 EXT. CAHILL EXPRESSWAY. NIGHT
Credit sequence continues. A taxi drives along the Cahill Expressway towards the Sydney Harbour Bridge; the Sydney Opera House in the background. A song by ‘MENTAL AS ANYTHING’ comes on the radio: “If you Leave me Can I come Too?”
3 EXT. SYDNEY HARBOUR BRIDGE. NIGHT
Credit sequence continues. Tilt down from the Harbour Bridge to reveal MATT, through the windscreen of his taxi. A YOUNG COUPLE cuddles in each others arms.
4 INT. CAB. NIGHT
Credit sequence continues. MATT turns the music up a little, bops along to it. An old favourite.
MENTAL AS ANYTHING
“Don't let it happen again
'cause that I couldn't take…”
A smile plays on MATT'S lips. The song brings back memories. The YOUNG MAN and YOUNG WOMAN, late teens, uni students, look at MATT bopping along to the music, exchange looks.
MENTAL AS ANYTHING
“…once was quite enough…”
MATT mouths the words. He knows them by heart.
MENTAL AS ANYTHING
“…It's easy to forgive,
harder to forget.”
MATT, having forgotten his passengers, sings along:
MATT
“If you leave me, can I come too?
We can always stay…”
The YOUNG COUPLE watch MATT from behind, bopping along with greater enthusiasm now. What he lacks in singing talent he makes up for with passion. They laugh, shake their heads.
MATT
“…But if you leave me, can I come too?
And if you go, can I come too?”
The YOUNG WOMAN, a little drunk, leans forward, her head close to MATT'S, breaking into his memories as she speaks:
YOUNG WOMAN
Any chance of listening to something from this century?
MATT (GRINS)
Nope.
YOUNG WOMAN
Like, we're paying you, right…?
MATT
To get you home, darling, not to be your DJ.
The YOUNG MAN laughs, pulls her back into his arms.
YOUNG WOMAN (PETULANT)
We're paying him, right! I mean…
The YOUNG MAN stops her with a kiss. MATT looks in the rear-vision mirror at them as they kiss, whisper conspiratorially.
End credit sequence.
5 EXT. SUBURBAN STREET. NIGHT
Matt's taxi makes its way down a leafy street in an affluent suburb. The sound of a rooster crowing announces the arrival of a phone call on Matt’s mobile phone.
YOUNG WOMAN (VOICE OFF)
Next left, thanks driver.
The left hand indicator of the taxi flashes yellow.
6 INT. TAXI. SUBURBAN STREET. NIGHT
MATT reaches into the left side pocket of his sports jacket with his left hand, takes out his mobile phone. We catch a glimpse of the logo on his jacket - long enough to register the word ROOSTERS. On the LCD screen: Juliet. MATT smiles, presses an icon. A photo appears onscreen:
a smiling girl (15, 16) with braces on her teeth.
MATT
Sweetheart.
JULIET'S VOICE
Hey, dad. (A BEAT) You driving?
MATT
Yep. (A BEAT) You okay?
JULIE
Can you talk?
MATT
Call you back in five, okay?
JULIET'S VOICE
Promise?
MATT
Promise.
Juliet hangs up. MATT is driving now down a street with a park on one side; big expensive houses on the other.
The YOUNG WOMAN takes off her high heeled shoes, exchanges looks with the YOUNG MAN. MATT does not notice.
YOUNG MAN
Anywhere here thanks…
MATT slows, pulls to the side of the road, looks at the meter.
MATT
$36.
The YOUNG WOMAN gets out, carrying her shoes. The YOUNG MAN walks to the driver’s door takes out his wallet.
The YOUNG WOMAN, shoes in hand, walks barefoot into the park.
As the YOUNG MAN opens his wallet the YOUNG WOMAN breaks into a sprint. The YOUNG MAN smiles sheepishly at MATT; shrugs.
YOUNG MAN
Sorry…
He turns and runs into the park.
MATT
Fuck!
MATT is out of the car in a flash and giving chase.
7 EXT. TAXI/PARK. NIGHT
MATT chases the YOUNG WOMAN, the YOUNG MAN veering off in another direction.
MATT is a big barrel-chested man whose muscles have lost their tone. He can run fast, however, and is rapidly gaining on the YOUNG WOMAN. He is within grabbing distance when one of his casual slip-on shoes has come off and he stumbles.
MATT stops, picks his shoe up, continues the chase. The YOUNG WOMAN is now pulling away from him. MATT, in his frustration, throws his shoe at her. It would be a direct hit were it not for the fact that the YOUNG WOMAN turns at just the right moment, sees the shoe coming at her, reaches out and catches it - letting out a joyous whoop as she does so.
MATT, out of breath, puts his hand to his heart, tries to bring his rapid breathing under control.
The YOUNG WOMAN, 30 meters away, slips her high-heeled shoes back on; walks casually up a street on the other side of the park - tossing Matt's shoe into the air, catching it.
MATT looks down at his feet: one black sock, one white sock. He takes off his remaining slip-on shoe and turns to return to his cab. He hears laughter, turns and sees:
The YOUNG MAN running up to the YOUNG WOMAN. She passes Matt's slipper to him as if it were a football. The YOUNG MAN catches it and they stroll off, laughing.
MATT ambles back towards his cab, shoulders stooped in weary resignation, clutching his one slip-on shoe - a small lonely figure illuminated by the headlights of his taxi.
8 INT. CAB. SUBURBAN STREET. NIGHT
MATT drops into the driver's seat, shuts the door, stares into space a long moment. The sound of a rooster crowing. Matt's mobile is ringing but he does not to hear it.
Suddenly, explosively, MATT smashes his left fist into the windscreen. It does not break but from his painful yelp and the way he shakes his wrist it is clear MATT has hurt himself. He looks at his knuckles.
The skin is broken. Blood appears. Only now does he register the rooster crowing sound from his left jacket pocket. He moves to reach into the pocket with his left hand, notices that small droplets of blood have appeared on his knuckles. He decides to get his mobile with his right hand. It is an awkward maneuver and by the time he has the mobile in his hand the mobile has stopped ringing.
MATT
Fuck!
MATT looks at his bloodied knuckles, licks the blood away, grimaces a little; it stings. He opens and closes his fist, checks for broken bones. There seem to be none but he is in pain. He tries to press 'J' and 'U' on the keypad with his left hand, but with the pain and his big fingers he has difficulty pressing the right keys on the small device. He gets it eventually. The photo of Juliet appears onscreen.
VOICE MESSAGE
The person you have called is not…
MATT terminates the call, tries again.
VOICE MESSAGE
The person you have called is not available. If you wish to…
MATT terminates the call, returns his mobile to his left jacket pocket. His raw knuckles come into contact with cloth. Ouch! Worse, there is a bloodstain at the edge of the pocket.
MATT shakes his head, curses at himself wordlessly, reaches out, opens the glove compartment, takes out a packet of Kleenex tissues and tries to clean up the blood on his jacket with it. This only serves to spread the stain over a larger area. MATT hangs his head, shakes it. He is at the end of his tether. He reaches forward, turns on the ignition.
9 INT/EXT. CITY STREET. NIGHT
MATT drives, a blood stained Kleenex tissue wrapped around his knuckles. He doesn't like the music he is listening to, punches a button on the radio; changes stations. He doesn't like the new musical option either, punches another button in frustration. The sound of a rooster crowing. MATT takes his mobile out, glances at the screen: Juliet, lifts it to his ear, sees a police car approaching, drops it from view, waits till the police car passes, checks his rear vision mirror, lifts it to his ear. Before he has a chance to speak:
JULIET'S VOICE
You still got a passenger?
MATT
No.
JULIET'S VOICE
You were going to call me back!
MATT
I tried, but got your message bank.
JULIET'S VOICE
I didn't get any message. (A BEAT) You driving?
MATT
I'm pulling over. Hang on.
MATT slows, moves to the side of the road, stops.
JULIET'S VOICE
You okay? You sound…
MATT
I'm fine. You?
JULIET'S VOICE
You want the long story or the twitter version?
MATT (SMILES)
How's school?
JULIET'S VOICE
Uni…
MATT (GRIMACES)
I meant uni…
JULIET'S VOICE
Cool. Going really well.(A BEAT) I know it's late, but…
Juliet needs a little encouragement but is not getting it.
JULIET'S VOICE
I need…
JULIET pauses. MATT'S mood changes.
MATT
Is your mother there?
JULIET'S VOICE
No. This is me calling…Fuck dad!
MATT
Okay, it's just…the last time…
JULIET'S VOICE
The last time was the last time…I'm sorry… I shouldn't have hung up on you…
MATT
It's OK.
JULIET'S VOICE
No, it's not OK.
MATT
OK.
MATT is at a loss how to talk to his daughter. A long silence.
MATT
You still there?
JULIET'S VOICE
Yes. Sorry for calling so late… early…but…
MATT
It's OK, I've pulled over. (A FEW BEATS) (A BEAT) How is your mother?
JULIET'S VOICE
You don't really want to know!
MATT
Okay.
JULIET'S VOICE
Okay, okay, okay!(A BEAT) Hassling me bigtime…about, you know…that money…you know…for my teeth!
MATT
Why doesn't she call me herself?
JULIET'S VOICE
I didn't call you about my teeth.
MATT
Okay.
JULIET'S VOICE
Jesus, dad!
MATT
What?
JULIET'S VOICE
Doesn't matter?
MATT
Tell her I'll put some money into her account tomorrow, okay… today…How much do you need?
JULIET'S VOICE
Whatever you think I'm worth. Bye dad.
Juliet hangs up. MATT shakes his head, angry with himself. He tries to call Juliet back, gets her message bank:
VOICE MESSAGE
The person you have called…
MATT terminates the call - angry; at a loss to understand. As he stares out through the windscreen a car approaches, it's high-beam headlights blinding him for a second and drawing his attention to something on his windscreen. He leans forward, looks at it closely, but can see nothing.
MATT turns on the interior light but can still not make out what it was he saw. He picks up a flashlight, shines it on the windscreen, finds the right angle. There is a tiny crack where his fist met the glass.
MATT laughs, shakes his head. It is not a happy laugh. He looks down at his bloody Kleenex covered knuckles. His attention is caught by a soft cracking sound. The tiny crack is growing - one inch, two inches…and then it stops. MATT stares at it; his jaw clenched tight.
10 EXT. TAXI RANK. NIGHT
MATT sits in his taxi, six cabs back from the head of the rank. The street is almost deserted.
On the other side of the road, unseen by MATT, TRACY, mid teens, in mini skirt, 'boob tube' and very high heels, walks purposefully past THREE DRUNKEN YOUNG MEN in the street now who make no attempt to hide their hormone-driven interest.
11 INT. CAB. TAXI RANK. NIGHT
MATT holds his mobile at his ear:
MESSAGE
The person you have called is not…
He places his mobile on the seat beside him, takes the blood-stained Kleenex from his knuckles. The bleeding has stopped but he has raw pink wounds on three knuckles. MATT places the Kleenex in a plastic rubbish bag at his feet, takes a wad of $10 and $20 bills from his money pouch.
12 EXT. CITY STREET. NIGHT
TRACY ignores the THREE DRUNKEN YOUNG MEN leering behind her as she stands at the edge of the road across from the taxi rank, checking out the various drivers - one of whom is a very handsome (and very black) young African man by the name of ANWAR - a few taxis in front of
MATT.
TRACY is dressed and made up to look 19 but probably only 17. Perhaps 16. No longer a girl, not yet a woman but trying hard.
A nervous skinny red-haired man, BLUE, (late teens) calls out from behind a tree - a plaintive pleading in his voice.
BLUE (VOICE OFF)
Trace!
TRACY ignores him, steps off the curb.
13 INT. CAB. TAXI RANK. NIGHT
MATT finishes counting his nights takings, shakes his head. A bad night! He leans forward to look at the crack in the window. It has not grown any bigger. He looks at his watch, yawns and takes a sign from under his seat, sticks it on the windscreen: SOUTHERN SUBURBS
TRACY crosses the road, her eyes on ANWAR.
She is out of MATT’S field of vision and he barely notice her as she leans against ANWAR’S cab, talking to him through the driver’s window.
Close on MATT. He takes a slim parcel (10” x 8”) tied with a ribbon from the bag beneath his legs, opens the envelope attached to it, takes out a greeting card, flips it open, takes a pen from his pocket with his damaged hand.
He does not notice ANWAR, smiling broadly with his perfect white teeth, shaking his head to TRACY. A definitive but polite ‘no’. TRACY looks back towards MATT.
NOTE: ANWAR, a gay Christian Somali is a central character in SHIPS IN THE NIGHT.
CLOSE ON MATT as he thinks about what to write (MATT is left-handed) his attention is caught by TRACY.
TRACY (VOICE OFF)
Squeeze me!
MATT looks up. TRACY smiles at him with bright red lips.
TRACY
Can you drive me home?
MATT nods in the direction of the head of the rank.
MATT
Gotta take the first cab in the rank.
TRACY
Ouch! What did you do to your hand?
MATT dismisses the question with a gesture, looks back down at the greeting card.
TRACY
For someone you love?
MATT
Sorry, but you gotta take the first cab in the rank.
TRACY
When my boyfriend gives me a present it's usually because he's fucked up bigtime.
MATT nods, notices TRACY playing nervously with a silver ring on her finger. She points to the head of the rank.
TRACY
First cab in the rank?
MATT nods. TRACY nods, smiles and, as she turns to walk off, waves goodbye to MATT like a young child: thumb outstretched and four fingers moving, flapping up and down: 'ta ta'.
MATT watches her for a long moment as she walks to the head of the rank. He picks up his phone, calls Juliet again, holds the mobile to his ear:
VOICE MESSAGE
The person you have called.
MATT looks at his mobile for a long moment - with mixed feelings about the call he is about to make: “S”, “E”…Serena. After several rings, Serena answers the phone.
SERENA'S VOICE
Hey…
MATT
Hey…(SILENCE) Just…I'll be there in 45 mins, max. Okay? (SILENCE) Unless…!?
A long silence. MATT grimaces; waits
SERENA'S VOICE
Okay.
Another awkward silence. MATT'S attention is caught by the red-haired young man, BLUE, at the head of the rank arguing with someone obscured from his view.
MATT
But not if you don't want me to…
SERENA'S VOICE
Forty five minutes, right?
MATT
Sixty max…
SERENA'S VOICE
Okay.
Serena hangs up. MATT hangs up, sighs, looks to the head of the rank where, judging by his body language, BLUE is losing his argument.
MATT returns the mobile to his left jacket pocket, looks at his bloody knuckles for a moment, then down at the greeting card. He writes:
You know…
The deep base throbbing of a revving car engine intrudes. MATT sees, in the mirror at the side of his car, a 'pimped out' purple sedan (outsize wheels, gold dragon decals along the sides) cruising slowly up in the adjacent lane.
The purple sedan pulls up alongside him. The man in the passenger seat, whom we will get to know as GBH, has a shaved head with skull-and-crossbones tattoo. He looks to where BLUE is arguing. A malicious smile appears on his face.
MATT tilts his head slightly to read the letters tattooed beneath the skull-and-crossbones in italic script: GBH.
GBH turns, sees MATT looking at him; contorts his face with an angry snarl (“What the fuck are you looking at!”) as he looks directly into MATT'S eyes - challenging him to look away. MATT holds his gaze, shakes his head ever so slightly: (“Sorry, mate, I'm neither intimidated nor impressed!”)
GBH raises his fist aggressively at MATT, who raises his bloody-knuckled fist in response. Macho standoff!
The DRIVER of the purple sedan draws GBH's attention to the fact that BLUE has interrupted his argument and is looking towards them - fear in his eyes. As BLUE turns and runs off GBH gestures to the DRIVER to drive. He puts his foot on the accelerator and the purple car careens down the road, tires screeching, in the direction that BLUE is running.
MATT watches the purple car pull up close to BLUE, running. GBH - a tall solidly built man carrying about 30 kilos too much weight - leaps from the car and, with surprising agility, gives chase. BLUE, in an attempt to evade him, rushes onto the road. GBH catches him in the middle of it, lifts him by the scruff of his jacket off the ground. BLUE, tiny compared with GBH, waves his arms around, talks fast, trying to placate GBH. GBH relaxes his grip, lowers him to the ground. BLUE lifts his knee hard between GBH'S legs.
MATT watches GBH crumple to the ground in agony as BLUE races off, disappearing from view.
GBH struggles to his feet and hobbles back to the purple car, bashing the bonnet hard with his fist before getting back in. The purple car then performs a radical u-turn - tyres screeching - and drives back in the direction it came from.
MATT catches a glimpse of GBH as the purple sedan passes - his face expressing both his rage and his humiliation.
MATT'S attention returns to the gift card in his hands. As he thinks about what he is going to write, he sees:
At the head of the rank TRACY leans towards the driver talking to him through the window. MATT looks back down at the card, writes tentatively - not just because his hand hurts but because he is uncertain how to express himself. He continues with his writing:
You know how much…
MATT looks up, sees:
TRACY, two cabs in front, leaning close to talk to the driver through the window. The driver, not won over by her bright smile, shakes his head. TRACY looks back at MATT, grins, shrugs her shoulders.
MATT shakes his head.
TRACY moves to the cab in front of MATT. She leans to talk to (and smile at) the driver through the window, lifting one leg slightly in the air in a 'sexy' gesture she has seen in some movie. She is trying to play the role of vamp but hasn't quite got her performance right yet.
MATT looks back down at the card, continues writing, pauses, thinks what to write next.
You know how much I…
TRACY walks up, grinning cheekily.
TRACY
You are the first cab in the rank, now. (A BEAT) They all said no?
MATT nods, looks back down to the parcel and greeting card.
TRACY
Problem is, I haven't got any money.
MATT, not wanting to be rude but wanting her to go away, raises his pen as if to continue writing on the card.
TRACY
On me, that is. I lost my wallet and…
MATT
…but you've got money at home, right?
TRACY
Right.
MATT
And you'll just run in and get it while I wait in the street?
TRACY
I'm not a runner. Promise. I need…
Realizing that she is not getting through to MATT, TRACY invests her next 'I need' with a 'desperate' edge.
TRACY
I need…I need…
MATT looks at her properly for the first time. TRACY smiles innocently, plays the ingénue.
TRACY
Do I look like a runner?
MATT looks at her for a moment, his face giving nothing away. TRACY spins around in a pirouette followed by an arabesque.
MATT shakes his head, smiles.
TRACY
Is that a 'no' or a 'yes'?
MATT
Written all over you. (A BEAT) Haven't got a mum or dad to pick you up?
TRACY
Nup, I'm a test tube baby. (A BEAT) A mum.
MATT
She know where you are?
TRACY
Hope not. (A BEAT) You got a daughter?
MATT smiles, looks down at the card resting on the parcel.
TRACY
I'll take that as a yes. How old is she? (A BEAT) Sorry, I'm a motor mouth…
TRACY leans closer to read what he has written. MATT closes the card.
TRACY
For someone you love?
MATT
I'm not driving you home.
TRACY
But I'm driving you mad, ay?
MATT
Barking.
TRACY
Woof.
MATT laughs, thinks a moment.
MATT
Where's home?
TRACY
Rydalmere.
MATT
That's west! I'm heading south.
He points to the 'SOUTHERN SUBURBS' sign. TRACY nods.
TRACY
I'm Tracy by the way.
MATT
Pleased to meet you, Tracy.
TRACY
Liar! (A BEAT) You’re not pleased at all.
MATT smiles.
TRACY
Not gunna tell me your name?
MATT shakes his head. TRACY laughs, leans across MATT to look at his Driver's ID, bringing her head very close to his.
TRACY (READS)
GQ 1734.
TRACY looks at him for a long moment.
TRACY
Were you good looking when you were young, GQ 1734? (MATT SMILES) Hey, you've got quite a sexy smile, GQ. For a man your age!
MATT
And you've got too sexy a smile for a girl your age.
TRACY (LAUGHS)
Wanna take me home? (A BEAT) Where d'you live?
MATT
Cronulla.
TRACY
Long way from Rydalmere to Cronulla, ay?
MATT moves his taxi closer to the head of the rank; TRACY following alongside.
MATT (NODS)
But a good fare this time of night… $70? $80. One of these guys (HE GESTURES TO THE CABS IN THE RANK BEHIND HIM) will take you…for sure.
TRACY
Not if I tell them I don't have money.
MATT
You really do have money at home?
TRACY nods. MATT drives forward a little. TRACY follows.
MATT
Then don't tell him you've lost your wallet.
TRACY
Lie, you mean?
MATT
No, just don't volunteer…
TRACY
Y'reckon not telling the whole truth is the same as lying? I mean if no-one asks for the whole truth and you…someone…keeps stuff secret? Is that lying?
MATT
I reckon secrets are OK?
TRACY
Tell me a secret. One of yours.
MATT laughs, shakes his head.
TRACY
You tell me one of yours and I'll tell you one of mine.
MATT
I'm sorry Tracy, my shift's finished so…
TRACY
I know, you can't drive me home. That's OK. But you can talk to me, right, till you get a fare?
MATT
Even if you had money…I've got to be somewhere…a promise I've made…
TRACY
Promises are important to keep, ay?
MATT nods, suddenly remembers his own recent promise to Juliet. He takes out his mobile, pauses, looks at TRACY.
MATT
Sorry…
He makes a 'sorry' gesture. TRACY shrugs (“It's OK”),
MATT
It's private.
TRACY
That's OK. I'm good at keeping secrets. (A BEAT) Girlfriend?
MATT smiles, moves forward a little further in the rank, TRACY walking alongside.
TRACY
Aha! So, what did you do to piss her off or what didn't you do you should have done?
MATT smiles, shakes his head.
TRACY
Someone you love, ay? Wife? Girlfriend? (A BEAT) or boyfriend?
MATT
Daughter.
TRACY'S mood changes from playful to serious.
TRACY
See, I was right. You do love her? Your daughter? What's her name?
MATT looks at TRACY for a long moment.
MATT
Juliet.
TRACY
As in Romeo and…?
MATT
As in…(A BEAT) About your age.
TRACY
No way! (A BEAT) You and her mum still together?
MATT
No, they live in Melbourne.
TRACY
Does she know you're her dad?
MATT (LAUGHS)
Of course.
TRACY
Do you love her? More than anything in the whole wide world? (A BEAT)
Sorry. (A BEAT) None of my business. (A BEAT) But do you?
MATT
Yes.
TRACY
She's lucky, ay?
MATT
I guess…
TRACY
K. See ya.
TRACY, subdued now, all of her cockiness having deserted her, turns, starts to walk off. MATT calls out to her.
MATT
Tracy!
She turns, her face breaking into a hopeful smile.
MATT
You be careful, okay?
TRACY'S smile fades.
MATT
And I know this is the kind of thing that your mum and dad probably say, but…You shouldn't be out alone at this time of night.
TRACY (CHILDLIKE)
Yes dad.
This throws MATT for a moment. He looks at her. TRACY slips back into acting like a confident young woman, smiling 'sexily' in a way she has seen women do in some movie.
TRACY
See ya.
MATT nods. TRACY hesitates, her eyes on the taxi windscreen.
TRACY
You know you've got a crack in your windscreen?
MATT nods. TRACY hesitates a moment before walking off. After a few paces she stops, thinks to herself.
MATT, mobile in hand, watches her. After a long moment TRACY walks back and stands by Matt's window. Her cockiness has been replaced with a quiet vulnerability. She looks from his bloodied knuckles to the windscreen.
TRACY
Did the windscreen do something to hurt your feelings?
MATT is thrown by the question; is not sure how to respond.
TRACY
I have days like that too. Like yesterday. Yesterday sucked bigtime. But…
MATT's mobile emits the sound of a rooster crowing. TRACY smiles but is still caught up in her own vulnerability. MATT looks at the screen:
Juliet
He wants to take the call but is still processing what Tracy has just said. The rooster crowing stops. TRACY, capable of switching personas at the drop of a hat, slips back into being the ingénue.
TRACY
What if I have to hitchhike home and get raped or murdered or something and you read about it in the paper? How are you going to feel?
MATT
If you do a runner on me and I can't make my mortgage payments this week how do you reckon I'm going to feel?
TRACY
Like you want to hit someone.
TRACY indicates MATT'S bloody knuckles.
MATT (DEFENSIVE)
I didn't hit anyone.
TRACY
Didn't say you did. Said you want to.
MATT
No I don't.
TRACY raises her fists and makes a little boxing gesture. MATT smiles, shakes his head.
MATT
Can't call your dad and get him to pick you up? Have you got a dad?
TRACY
Yes and no.
MATT
Test tube baby, ay!
TRACY
Biological, yes, but…the rest of the dad stuff…(SHAKES HER HEAD) uh huh! Mum's had to cope with me all alone.
MATT
You know who your dad is?
TRACY bites her lip, plays nervously with her hair.
TRACY
Yes, but he doesn't.
MATT
Doesn't know he's your dad?
TRACY
Maybe that too. (A BEAT) Not sure if he knows…doesn't know… He's pretty clueless.
MATT
You've met him!?
The thin sound of an upbeat pop song from Tracy's mobile.
TRACY
A squillion times. I've known him since before I can remember.
TRACY takes out her mobile, looks at the LCD screen, sees who the caller is, walks to the front of the cab, speaks abruptly.
TRACY (ON PHONE)
What!
MATT watches her through the cracked windscreen as TRACY listens for a moment before venting her anger:
TRACY (ON PHONE)
You promised me! I trusted you and you lied to me. Your promises are worth fuck all. I never want to see you again.
TRACY punches 'end' on her mobile petulantly, plays absent-mindedly with a silver ring on her left index finger for a moment, walks back to stand by his window.
TRACY
Men! Can you explain men to me?
MATT
Can you explain teenage girls to me?
TRACY (GRINS)
Cost ya a ride t'Rydalmere.
MATT laughs. The sound of the passenger door opening.
PASSENGER (VOICE OFF)
You right for Cronulla, mate?
MATT turns, sees the smiling face of a MIDDLE AGED MAN leaning in through the front passenger door.
MATT
Sure.
As the PASSENGER drops into the seat, MATT looks at TRACY. He catches the moment of disappointment in her face before she smiles, gives him a double thumbs up.
TRACY
Cronulla! Way to go.
MATT nods, smiles, as the PASSENGER fastens his seat belt.
TRACY
Fun talking to ya.
TRACY pauses for a moment before turning to walk off.
MATT
For me too, Tracy.
TRACY turns, beams a smile at him for a moment, turns keeps walking. MATT turns on the ignition.
PASSENGER (FRIENDLY)
Had a good night?
MATT seems not to have heard. He looks back out the window. TRACY has almost reached the other side of the road.
PASSENGER
Guess it would have been better if you'd scored that bit of teen pussy.
MATT ignores the PASSENGER; turns on the meter. The muffled sound of a rooster crowing. The PASSENGER ogles TRACY.
PASSENGER
What's better than fucking a 16 year old girl?
MATT takes his mobile from his pocket: Juliet.
PASSENGER
Fucking a 14 year old girl.
The PASSENGER laughs. MATT ignores him, talks into his mobile.
MATT
I wish you'd stop doing that, sweetheart!
JULIET'S VOICE
Doing what?
MATT
Hanging up on me.
JULIET'S VOICE
You don't have a clue, do you?
MATT
About what?
JULIET'S VOICE
Anything.
MATT
I'm not psychic, Juliet.
JULIET'S VOICE
You can say that again.
PASSENGER
Can't live with 'em, can't shoot 'em, eh!
JULIET'S VOICE
Who's that? What did he say?
MATT
Nothing.
JULIET'S VOICE
I heard what he said. Arsehole! Bye dad.
Juliet hangs up.
PASSENGER
Hey, you know your hand's bleeding?
MATT ignores him, taps 'J' and 'U' on the keypad of his mobile when the sound of a rooster crowing announces the arrival of a text message from Juliet:
Fuck you!
MATT stares at the text message. Natural sound drains away as MATT raises his eyes.
14 EXT. CAB. TAXI RANK. NIGHT
Looking through the windscreen at MATT, staring into space. His eyes focus on the two inch crack as it grows slowly another half inch, another inch, then stops. The PASSENGER'S lips move but neither MATT nor the audience hears any words.
15 INT. CAB. TAXI RANK. NIGHT
Close on MATT. Natural sound drains back in.
PASSENGER
Can we fucking…go…!?
He indicates the ticking meter. MATT nods, checks for traffic before leaving the curb, sees TRACY across the road - arm outstretched; hitching.
THREE YOUNG DRUNKEN MEN closeby have spotted her. TRACY puts a good deal of effort into ignoring them. She turns, looks at MATT looking at her. She waves to him as she did before - thumb outstretched and four fingers moving, flapping up and down exaggeratedly: 'ta ta'. Without thinking, MATT moves his hand as if to replicate the gesture but stops himself. MATT looks calmly at the PASSENGER for a long moment.
MATT
Sorry, I can't take you to Cronulla.
The PASSENGER, incredulous, looks at TRACY, back at MATT.
PASSENGER
You're fucking kidding, right!?
MATT
Sorry, but…the driver behind me…
The PASSENGER stares at MATT - who reaches across him and opens the passenger door, undoes the PASSENGER'S seat belt.
16 EXT. CITY STREET. NIGHT
TRACY watches the PASSENGER get out Matt's cab on the other side of the road, slam the door.
PASSENGER
Cunt!
MATT pulls out from the curb, prepares to do a U-turn. TRACY smiles. The PASSENGER shouts at MATT as he begins his U-turn:
PASSENGER
Give her one for me too, arsehole!
Matt's cab pulls up alongside TRACY.
TRACY
You offering me a ride or what?
MATT
'Long as you don't take me for one!
TRACY (EXCITED)
Yay.
The PASSENGER (whom we will get to know as Craig) jumps into the back seat of ANWAR’S cab, pulls the door shut angrily.
TRACY opens the front passenger door, leaps in happily.
MATT
Seatbelt.
TRACY fastens her seat belt, looks at MATT with a big happy smile.
As he pulls out from the kerb, MATT sees FATIMA drive past with THREE YOUNG WOMEN in the back seat of her cab.
ANWAR turns and smiles warmly at his new and very angry passenger - whom we will get to know as CRAIG. When he realizes that his driver is black, CRAIG shakes his head, makes no effort to hide his shock.
CRAIG
Fuck me!
ANWAR beams a white smile at CRAIG.
ANWAR
Shouldn’t we introduce ourselves first?
No comments:
Post a Comment