Questions for Sally Neighbour re 4 Corners Julian Assange programs

Dear Sally Neighbour

I am what you describe in your tweet as an Assange “Zombie supporter” and this letter an expression of the “madness” you refer to.

I am a filmmaker with 45 years of experience making documentaries. I understand how the raw material of many hours of ‘rushes’ can be edited in accordance with journalistic ethics to reveal the truth (or as close as possible to it) of the subject being explored.

I understand also how filmmakers with a bias, a pre-conceived idea of where the truth lies, or hell-bent on propaganda and character assassination, can manipulate the footage they are working with to achieve their desired result, whilst creating the illusion of ‘balance’. 

I am also an Australian citizen who spent 15 months in a Cambodian prison, falsely charged with having engaged in espionage. Based on the two 4 Corners ‘Assange’ programs you were Executive Producer for I am thankful that the ABC did not apply its investigative skills to informing the Australian public about the reasons for and circumstances surrounding my incarceration.

There are many criticisms that can be made  of the 4 Corners Assange programs and, no doubt, others working in the 4^thEstate with a commitment to truth, accuracy and integrity in journalism, along with members of the viewing public, will write letters of complaint to you and the ABC also. You can dismiss all such criticism as having come from ‘zombie supporters’ if you so choose, but I would suggest that if 4 Corners is to maintain its credibility as an investigative program, the ABC should take note of these criticisms and respond accordingly.

There are many errors of fact, distortion, bias and omission that stand out for me in these two programs but I will address only one of them here, for the time being:

In Part One, “Hero or Villain”, segments of Wikileaks’ 2010 ‘Collateral Murder’ video were included. The most horrific 2^ndpart of it was not. In this excluded footage we see a van driving up to rescue survivors of the airborne attack in which two Reuters journalists, amongst a dozen or so others, were killed. The rescue van has two children in it, visible to the helicopter’s camera. The unarmed rescuers were executed by the US military and the two children injured in this unprovoked attack on them. One US soldier is seen with an injured child in his arms, running from the scene of the carnage.

Hillary Clinton was US Secretary of State in 2010 when Wikiieaks published this video, revealing beyond a shadow of a doubt that the US military was guilty of a war crime. Why were the following questions not asked of Clinton? Or, if they were asked, why were her answers not included in the program?

(1)  Did the murder of unarmed rescuers and the wounding of two children by the US military constitute a war crime?

(2)   If, on the basis of the audio-visual evidence available it seems as though a war crime was committed, why have no US military personnel been charged?

(3)  Regardless of the legality or illegality of these killings, do you believe that it was in the interest of the public that this footage be published by Wikileaks?

Why was the 2^ndpart of the “Collateral Murders” video not included in your program?  Why did 4 Corners notdelve into the question of why it is that the perpetrators of the ‘collateral murders’ have notbeen charged with a war crime? The question could have been put not only to Hillary Clinton but to others in the 4 Corners program critical of Assange.

Was this editorial omission made because you felt it would embarrass Clinton? Was it because its inclusion would horrify an ABC audience? Learning that the US military fires on unarmed civilian rescuers and children, with the clear intent to kill them and is able to do so with impunity? Or was it that you feared audiences might think to themselves, “Congratulations to Wikileaks and Julian Assange for having brought this war crime to our attention,” and respond with sympathy and understanding to his current plight?

Not showing any of the 2^ndpart of the ‘Collateral Murder’ video amounts to editorial censorship of the kind that 4 Corners practiced in so many ways in its Assange ‘investigation’, whilst at the same time attempting to create the impression of impartiality and balance. 

I have 4 questions for you, for the 4 Corners team and for ABC management vis a vis the “Collateral Murders” video:

(A)If 4 Corners, in July 2019, came into possession of cogent audio-visual evidence that a war crime had been committed by the US military recently, would the ABC broadcast it? 

(B)If the ABC would broadcast it, would the national broadcaster allow staff to censor it by cutting out  those parts of it that did not reflect well on a political party or politician that members of ABC staff were supporters of?

(C)Given the threat that the imprisonment of Julian Assange poses for all of us in the 4^thEstate, and for our democracy, would the ABC decide not to broadcast such a video out of fear that members of its staff might be extradited to the United States to face espionage charges?

(D)Was Julian Assange given an opportunity to respond to the various allegations made about him in accordance with what must surely be a fundamental principle of investigative journalism?

Hero or villain, like him or hate Assange, this last question goes to the heart of what should be of the greatest concern to all journalists working at the ABC. 

In your recent “Zombie follower’’ tweet, along with your “Putin’s bitch” re-tweet a couple of years ago, in your refusal to ask Hillary Clinton tough questions, you have revealed yourself to have a clear bias against Assange and in favour of Hillary Clinton. You should have recused yourself as Executive Producer for these two programs. Indeed, ABC management should have not allowed you to executive produce the programs under the circumstances.

For me, a longtime viewer and fan of 4 Corners (40 or so years), you have besmirched the reputation of one of the most important programs on Australian TV  and damaged the reputation of the ABC at the same time. 

I believe that you should either resign in shame for having executive produced such an ill-researched, poorly-crafted and biased program or, in future, adhere to the investigative journalism standards that have provided 4 Corners with its good reputation worldwide.

best wishes

James Ricketson

FOLLOW UP OPEN LETTER TO PETER GRESTE RE JULIAN ASSANGE

Dear Peter

Following on from my ‘open letter’ to you of 2^ndJuly.

 ‘New Matilda’ recently published the following comment in relation to the Global Conference for Media Freedom held in London last week, which you attended:

Peter Greste backtracked on former denunciations of Julian Assange, noting that the Wikileaks founder is part of an ecosystem of “whistleblowing, accountability and publishing of journalism”, which “we need to be protecting as a whole”. 

Is this statement an accurate description of your current view of Julian Assange’s status as a journalist, editor and publisher? If so, will you, in a follow-up Opinion piece in the Sydney Morning Herald, be amplifying your belief that, as part of the ‘whistleblowing ecosystem’, Assange is in need of ‘protection’?

Your status as a journalist jailed in Egypt, as a Professor of Journalism, as spokesperson for ‘Alliance for Journalists’ Freedom and as writer of Opinion pieces such as “Julian Assange is no journalist” (12^thApril 2019) give you enormous power to shape Australian public opinion. Indeed, you have already done so. Over the past few months I have had several conversations with friends who read  your “Julian Assange is no journalist” piece and formed their opinions accordingly. My own experiences have made it possible for me to mount a powerful argument as to why Assange is a journalist but I cannot, as you can, reach a large readership with my counter-arguments.

A public declaration from yourself that Assange is a journalist  and Wikileaks a publisher will help demolish one of the arguments presented by those in the media who present his ‘non-journalist’ status to justify their refusal to support him. Only when the bulk of Australian journalists focus on Assange’s status as a journalist, facing the very real possibility of dying in a US jail, and leave aside questions relating to his character and personality, (including refraining from snide “Putin’s bitch” references) will Australian public opinion swing behind Julian. 

Until there is a change in public opinion, the Australian government – both sides of the political spectrum – will sit on the fence, unwilling to upset our ally, the United States. Only with a change in public opinion will Scott Morrison and Anthony Albanese pluck up the courage to say to the UK government, “We request, in the most forceful manner, that you respect Julian Assange’s human and legal rights, the free speech rights that accrue to him as a journalist and publisher, and refuse to extradite him to the United States.”

I look forward to reading your next Opinion piece, Peter.

cheers

James

AN OPEN LETTER TO THE WALKLEY’S BOARD - re Julian Assange

AN OPEN LETTER TO THE WALKLEY’S BOARD

Dear Clare

On behalf of the Walkely’s Board you have registered a complaint with the World Socialist Web Site (WSWS) regarding an incorrect statement I made in my open letter to Peter Greste:

"In response to James Ricketson's open letter
(https://www.wsws.org/en/articles/2019/07/04/rick-j04.html) the WalkleyFoundation would like to clarify that the 2011 Walkley Award for
Outstanding Contribution to Journalism was awarded to Wikileaks, not to
Julian Assange individually, though the judges acknowledged Assange’s
role as editor in their remarks.It would be appreciated if this could be corrected. Many thanks, Clare Fletcher."

I stand corrected. However, Wikileaks is clearly Julian Assange’s ‘baby’. To distinguish between Assange as editor and Wikileaks’ “Outstanding Contribution to Journalism” strikes me as hair-splitting, especially so as he faces the very real possibility of dying in a US prison as a result of Wikileaks’ “outstanding contribution to journalism,” to quote a Statement released by the Walkley’s Board on 16^thApril 2019:

“In 2011, Wikileaks, with Julian Assange as its editor, received a Walkley Award in Australia for its outstanding contribution to journalism. Walkley judges said Wikileaks applied new technology to “penetrate the inner workings of government to reveal an avalanche of inconvenient truths in a global publishing coup”. One of those many inconvenient truths was the exposure by video of US helicopter attacks in Baghdad that killed 11 civilians including two Reuters journalists…”

The Walkley Board clearly acknowledges that Assange/Wikileaks has played a significant and important journalistic role this past decade and more and is to be congratulated for doing so. However, such praise on the part of the Walkley Board is qualified by:

“Julian Assange’s personality and his more recent actions do not weaken the principle driving the Walkley Foundation’s concerns in this matter: that when he released the original Wikileaks material in 2010 Assange was assisting a whistleblower to reveal information in the public interest.”

I am curious to know why the Walkley Board feel the need to mention “Julian Assange’s personality” in this press release? In what way is his personality relevant to his role as Editor, Publisher or Journalist of Wikileaks? And what ‘recent actions’ of Assange’s are you referring to? 

A smear campaign, replete with innuendo, scuttlebutt and character assassination focusing on his ‘personality’,  has been waged against Assange within significant sections of the media over past 9 years. Perhaps inadvertently, this paragraph in the Walkley Statement adds weight to the argument  that Assange is somehow deserving of his ill treatment at the hands of the UK, US and Australian governments and not worthy of community support as an Australian citizen and award-winning journalist, editor and publisher.

I am happy to amend my original statement regarding the Walkley Award. I would appreciate it if the Walkley Board likewise amended its 16^thApril press release in such a way as to acknowledge that “Julian Assange’s personality” is irrelevant and to exclude references to ‘recent actions’ without specifying what these are and in what way they are relevant.

best wishes

James Ricketson

AN OPEN LETTER TO PETER GRESTE

Dear Peter, 

Do you still stand by your assertion, made in a Sydney Morning Herald opinion piece last April, that Julian Assange  “is not a journalist, and WikiLeaks is not a news organisation”? 

Assange has been a member of MEAA for the past 10 years, was awarded a Walkley for the ‘Most Outstanding Contribution to Journalism’ in 2011, amongst many other journalism awards. In November 2011 the UK Hight Court described Assange as “…a journalist, well known through his operation of Wikileaks” and the US Army’s Counterintelligence Centre described WikiLeaks as a ‘news organisation’ and Assange as a ‘writer’ and ‘journalist’.

Even if it is still your contention that Assange is not a journalist, do you believe, on the basis of evidence available to you, that Assange, an Australian citizen, should be extradited to the United States to face espionage charges?  

When I was imprisoned in Cambodia, also charged with espionage, you showed your compassion and used your influence as a journalist, who had likewise been charged with espionage and spent 400 days in an Egyptian prison, to alert the Australian public to my plight. You told Fran Kelly:

“You really can’t conceive of that length of time in prison until you actually have to confront it in all its stark reality… The Australian Government insists that it’s a defender of the basic democratic principles in the region, including the rule of law, due process, basic human rights. And if it wants to be taken seriously and with respect then it needs to forcefully stand by those values in cases like James’. I think the Government clearly needs to do more.”

You also said: 

“In Egypt’s case, Australia had very few levers that it could pull. It’s got far more levers…in Cambodia’s case – diplomatic levers, economic levers and so on.”

When I was found guilty of espionage you wrote on twitter:

“Australian film-maker James Ricketson sentenced to six years jail in Cambodia. Outrageous affront to due process, freedom of the press and the rule of law.”

Along with Phillip Adams, Elizabeth Farrelly, John Pilger, Piers Akerman and other journalists who wrote or broadcast in relation to my case, you played an important role in generating public support for me. This, in turn, placed pressure on the Australian government to use all the diplomatic tools available to it to extricate me from prison. The government did eventually step up to the plate and, behind the scenes, make significant diplomatic efforts to help me. Three weeks after I received a 6 year jail sentence I was on a plane back to Australia.

Do you believe that Citizen Julian Assange is any less deserving of intervention on the part of the Morrison government than I was?

Do you believe that the Australian government is doing enough to protect Citizen Julian Assange’s basic human rights?

Do you believe that, as an Australian citizen, he is deserving of a 175 year jail sentence for doing nothing more, on the basis of the evidence available to us all in July 2019, than what a good investigative journalist/publisher does all the time?

Julian Assange turns 48 today. He has been locked up in an Embassy for 7 years – five times longer than you were locked up in Egypt and I in Cambodia Cambodia. We have both experienced what you refer to as the ‘stark reality’ of incarceration. I would not wish the experience on anyone ,and particularly not on a fellow journalist.

Again, Peter, thank you for the journalistic help you provided me in my time of extreme need. Please do the same for Julian Assange –  as both an Australian citizen andas a journalist. Please join with the growing number of journalists worldwide who fear the ramifications, if Assange is extradited, for freedom of speech, freedom of the press and the health of democracies such as Australia’s, at a time when President Donald Trump has declared we journalists to be enemies of the people.

cheers

James

PROMISES - part # 5

Following on from “Promises” Part Four…

43 (continued) INT. CAB. PARKING LOT. ‘GLUTTONS’

Tracy nods, looks nervously at Matt.

MERILY  

And you'd be Matt…?

Merily’s smile bears the vestiges of her youthful coquetry.

MERILY  

The famous Matt Patterson. Thanks heaps for taking care of Britney for me...(A BEAT) Cool. 

Tracy rolls her eyes. Matt's mobile rings: Serena. Matt reaches out, presses the green icon. Serena's voice comes through loud and clear on the speaker.

SERENA'S VOICE

So, you've got your phone back!? 

MATT(CHEERFUL)

Mission accomplished!

SERENA'S VOICE

You 'gunna' be here soon or should I put some new batteries in my vibrator, or… 

MATT

You should probably know that...

SERENA'S VOICE

…maybe join Tinder?

MATT

…we've got an audience…

SERENA'S VOICE

Oh! Who?

MATT

Tracy...Britney...and her mum.

SERENA'S VOICE(LAUGHS)

Hi Tracy-Britney’s mum.

MERILY

Hi…

SERENA'S VOICE

Serena. You finished with Matt yet, Britney?

MATT

It's all over...be there soon.

SERENA'S VOICE

Soon? Like, before…? 

MATT

I love you, Serena.

There is a long silence.

SERENA'S VOICE

Have we got a bad connection or did you just say…?

MATT

You heard right. I love you. 

There is a long pause. Tracy and Merily listen in with great interest.

SERENA'S VOICE

I love you too. (A BEAT) You're not on drugs are you?

MATT(LAUGHS)

Be there soon.

SERENA'S VOICE

K. (LAUGHS) If you’re not here soon I’m going to start without you. (A BEAT) If I can remember where I put those new batteries.

Merily listens through the passenger window; wide eyed.

MATT(SMILES)

You can save the batteries.

SERENA'S VOICE

For another time?

MATT(LAUGHS)

You’ll never need them again. Gotta go.

SERENA'S VOICE(LAUGHS)

Roger that!

Serena hangs up. Matt smiles, puts his mobile in his jacket pocket.

MERILY

Well, that was an eye-opener!

TRACY

Why? You’ve got a vibrator! 

Merily turns red; a frozen smile appears on her face. To Matt:

MERILY

What happened to your hand?

MATT

Windscreen was pissing me off and…

Matt makes a faux boxing gesture. Tracy smiles. Matt gestures to Merily. 

MATT

Hop in, Merily. I’ve got a question for you?

Tracy looks daggers at Matt as Merily opens the rear passenger door.

MATT

And Britney.

Merily gets in; leans forward, smiling. 

MERILY

Shoot.

MATT  

First up, Tracy...Britney...have you got something you want to tell your mum?

Tracy glares at Matt, tries to remain calm; shakes her head.  

MATT  

Merily, have you got anything you want to ask your daughter?

MERILY

Yes! Britney, where did Tracy come from?

TRACY

I hate Britney!

MERILY  

I know, but...

MATT

Was it you who decided on Britney?  Or her biological dad?

Merily looks at Tracy, who is having difficulty maintaining her composure.

MERILY

Oh, um...! Me…

MATT

Do you mind if I ask you a personal question, Merily?

Tracy tries to catch Matt's eye to warn him off.

MERILY

Not about vibrators, I hope!

TRACY

Mum’s is purple. “Greedy Girl Rabbit”.

Merily laughs brittlely; blushes.

MATT

Have you ever sent Tracy... Britney...to see a therapist...a psychiatrist.

MERILY

No. (A BEAT) Do you think I should? (A BEAT) She's got a vivid imagination, of course...very vivid... but that's not a problem is it? Making up stories? I mean, JK Rowling has made a good living making up stories. Very good. Did it a bit myself when I was young... invisible magic friends... handsome princes...you know...fairy tale stuff...then of course I grew up and...

Matt nods, looks at Tracy. She is not happy at the direction the conversation is taking. To Merily:

MATT

I hear some amazing stories driving a cab.

MERILY 

I can imagine.

MATT

A few nights ago I had a girl around Tracy's age...Tiffany…who really wanted to talk. Regular little motor-mouth…no pause button.

MERILY

Reminds me of someone I know.

Merily looks at Tracy, smiles. Tracy is trying to make eye-contact with Matt but he avoids her stare.

MATT

Her mum’d told her her dad'd done a bolt before Tiffany was born. And Tiffany spent most of her life wondering who her dad was. She wanted to know what he looked like, whether she was anything like him at all...that sort of thing...

Merily’s frozen smile suggests that this is not a story she wants to hear!

MATT

She'd lie in bed at night thinking about him, crying herself to sleep...longing for the father she never knew...

Tracy, eyes wide in horror, is trying hard not to freak out.

MATT  

Then Tiffany suddenly finds out who her dad is; that he's not living on the other side of the world. That he lives right here, in Sydney. Amazing, eh?

Matt looks directly at Merily, who is having difficulty keeping the frozen 'interested' smile on her face.

MERILY

That’s…awesome...

MATT

And she knows him well. Really well.

MERILY

Wow! What a story!

MATT

Yes, and you won’t believe what happened next.

Merily and Tracy listen in wide-eyed horror.

MATT

Tiffany decided she'd never tell her mum she not only knew her dad was alive but knew who he was.

MERILY

I love happy endings.

MATT

But that’s not the end.

MERILY

It's not!?

They do not notice the arrival of Harmony’s red sedan in the background.

MATT

No, the story ended when Tiffany's mum, who had no idea that her daughter knew who her dad was, decided she wanted to tell Tiffany the truth about her dad.

MERILY

Oh...(A Beat)... she does!? Did? (A BEAT) That’s probably for the best, ay? 

(She turns to face Tracy)

What's that thing you’re always saying about the truth?

TRACY

“The truth will set you free.” 

Tracy and Merily look at each other for a long moment. Neither they nor Matt see Juliet approaching.

Merily smiles, reaches out, brushes aside a strand of Tracy's hair that has fallen out of place. 

MERILY

Feel like a whopper with the works?

Tracy laughs as Juliet walks up to the driver’s window; smiling.  Matt sees her:

MATT

Sweetheart!

Tracy turns; sees Juliet.

TRACY

Juliet?

JULIET(EXCITED)

Tracy? At last!

TRACY(EXCITED)

Yay! This is my mum, Merily.

JULIET

Hello Tracy’s mum.

MERILY

Britney’s mum.

JULIET

Britney!?

TRACY

I can explain...

MATT

In a minute. 

(He points at Tracy, playfully)

Sit!

TRACY(LAUGHS)

Woof.

(to Merily)

Excuse us for a moment.

MERILY

Woof.

Tracy’s face breaks into a smile as Matt gets out of the cab, kisses Juliet on the cheek:

MATT

You get my message?

JULIET 

No. You get mine?

Matt laughs,  takes Juliet’s hand, leads her a few metres from the cab, stops; hugs her tight.

Merily and Tracy look out through the window at Matt and Juliet hugging.

MERILY

Cradle snatcher!

TRACY

Mum! That’s her dad.

MERILY 

Her dad!

TRACY

Yes.

They look at each other for a long moment.

TRACY(POINTED)

Her dad.

Merily can’t hold Tracy’s penetrating gaze; looks away.

MERILY

Is that Blue?

Merily has seen: 

Blue, arms loaded up with burgers, French fries and drinks, emerging from the entrance into ‘Gluttons’.

44 EXT. PARKING LOT. ‘GLUTTONS’. NIGHT 

Matt and Juliet, both smiling, break from their hug. Neither of them notice GBH’s purple sedan in the background, pulling into ‘Gluttons’.

JULIET

What was your message?

MATT 

Ladies before gentlemen.

JULIET 

Age before beauty!

MATT 

I’ll have that test for you...the DNA...but I want you to know that…understand that regardless...Shit..!

Matt sees GBH’s purple sedan pulling up close to Blue. 

MATT

Fuck.

NOTE: The rest of this scene moves fast; high drama mixed with comedy.

GBH gets out, moves fast towards Blue; who tries to make a getaway.

Matt runs full tilt towards the entrance to ‘Gluttons’ as GBH grabs Blue. 

JULIET(SCREAMS)

Dad, no!

Tracy and Merily get out of the cab in the background. Spider and Rat get out of the purple car; look on. They want blood.

GBH grabs Blue, who struggles to free himself from GBH’s grasp. GBH is about to hit Blue when Matt arrives, from behind; grabs GBH’s  arm.

MATT

No!

GBH spins around.

GBH

You!

He let’s Blue go, hits Matt with a powerful backhander that sends him sprawling. 

Juliet runs up, leaps onto GBH; screaming.

JULIET

Fuckin' arsehole!

She bashes him with her fists, pulls his hair. GBH barely notices her as he moves to grab Blue again.

Tracy, angry, moves to run to Matt and Juliet’s aid. Merily restrains her. 

Matt, lying stunned on the ground, struggles to his feet as Blue tries to kick GBH in the groin. He misses. GBH grabs his leg. Blue falls to the ground. GBH flicks Juliet off.

Tracy breaks free of Merily, runs back towards the cab. 

Matt and Blue struggle to their feet.

Matt, nose bloodied, lip bleeding, goes to Juliet’s aid.

JULIET

I’m OK.

Matt, seeing that she is OK, turns back to GBH - whose fists are at the ready, shifting his weight from one foot to the other as if he was in a boxing ring. 

Matt, mad as a hornet, raises his fists; ready for a fight.

45 INT. CAB. NIGHT

Tracy, a wild look in her eyes, opens the door, picks up her purse, opens it; looks inside. In the background Matt and GBH can be seen circling each other, fists at the ready.

46 EXT. GLUTTONS. NIGHT 

A small crowd has gathered – young men and women armed with smartphones, ready to film the impending fight. Spider shouts out:

SPIDER

Beat the shit out of him GB.

Matt, mad as a hornet, is ready to do battle. So is GBH. Two testosterone-driven Alpha Males strutting their stuff!

GBH

You fucking want me to beat the shit out of you?

Matt looking at the sea of smart phones aimed at him and GBH, is struck by the absurdity of this confrontation.

MATT 

Mmmm, let me think. Do I? Don’t I? (A BEAT) Nah, not tonight, GB. Think I’ll pass, if that’s OK with you?

Confused, GBH looks to Spider and Rat for direction.

MATT

But you don’t really want to beat the shit out of me either, do you?

Spider and Rat nod; clearly eager for GBH to beat the shit out of Matt!

Meanwhile, close on:

Tracy as she leaps out of the taxi, knife in hand. She sees GBH, fists clenched, step close to Matt. She runs towards them.

With Matt and GBH. Matt speaks calmly.

MATT  

If your mates weren't here, there'd be no-one to impress, would there?

GBH keeps his fists raised ready for battle but this is not part of any ‘macho confrontation’ script he is familiar with!

MATT   

What’s your real name, GBH?

GBH

Um…Wayne.

MATT

Right, Wayne, here’s what’s going to happen….

Tracy runs between Matt and GBH, brandishing her knife, jabbing it at him wildly; dangerously.

TRACY

Don’t you fucking touch him ya....ya big ugly brute. 

Matt grabs Tracy’s arm.

MATT

Tracy! Don’t be stupid...

TRACY 

Fuck off...

Matt wrestles with Tracy to get control of the knife. 

TRACY

Leave me alone...fuck you...

GBH watches, eyes wide; gobsmacked. 

Matt twists Tracy’s wrist; forces her to drop the knife. Matt kicks it away - towards Merily. Tracy is in a rage. She hits Matt hard on the chest; starts to cry. Matt holds both her wrists firmly. She looks at him,  vulnerable and lost; her face wet with tears.

Matt wraps his arms around her; holds her close as she cries.

Merily and Juliet look on in shock! Merily picks up the knife; recognizes it. 

Tracy pulls away from Matt’s embrace; pulls herself together. Spider to Blue:

SPIDER

Give us our fucking money, Blue.

Tracy glares at Spider. Matt to GBH:

MATT

How much?

GBH

Um…Eight hundred bucks.

MATT

OK. Wait right here. 

Matt turns, starts to walk back to his cab; leaving GBH confused; sheepish.

GBH

OK.

GBH avoids the dirty disapproving looks from Spider and Rat. 

SPIDER

You're a fucking wimp, GBH.

Spider snarls, strides towards Blue, intent on beating the shit out of him. 

SPIDER 

This little fucker needs to learn a fuckin’ lesson.

Tracy steps between Blue and Spider; jobs Spider in the chest with her index finger. 

TRACY

You’re the arsehole needs a lesson!

SPIDER

Yeah, cunt! You and whose army?

TRACY

Did you just call me a cunt?

SPIDER

Yeah, what of it.

Tracy’s eyes blaze. She adopts a karate stance.

SPIDER

Cunt, cunt, cunt, cunt...

Tracy lets out a terrifying battle cry, spins and delivers a perfectly executed roundhouse karate kick to Spider’s rib cage.

SPIDER

Ahhhhhgggghhhh!

47 INT. CAB. GLUTTONS. NIGHT

Matt watches through the windscreen as Spider slumps to the ground – shocked and amused at the one time.

He takes out his night's earnings, counts his money. 

48 EXT. GLUTTONS. NIGHT 

GBH goes to Spider’s aid as Tracy joins Merily and Juliet.

GBH

You OK, bro?

Spider, angry and humiliated, pushes him away.

SPIDER

Fuck off!

Merily brandishes Tracy’s knife.

MERILY

I’ve been wondering what happened to this!

49 INT. CAB. ‘GLUTTONS’ NIGHT

Matt has finished counting his night’s takings. He hasn’t got $800.

MATT

Shit.

He takes out his wallet, extracts a couple of fifty dollar notes but still hasn't got enough. 

MATT  

Fuck!

Matt's attention is caught by a cracking sound. He looks at the window - the cracks growing a few more inches as he watches. He shakes his head, smiles, looks down at the seat beside him, makes a decision, opens the cab door.

50 EXT. GLUTTONS. NIGHT

Matt hands cash to GBH. Spider can be seen in the background hobbling back to the pimped out car.  

MATT

$650 and...

Matt holds out the small parcel, wrapped with a ribbon. 

MATT  

...something worth $150.

GBH takes the parcel, holds it as if it really was a present for him. The beginnings of a smile appear on his face.

Spider, leaning up against the car, shakes his head in disgust.  

GBH

Can I open it? Now?

MATT

Sure.

GBH starts to undo the ribbon carefully. Matt sees the greeting card, slips it out of the envelope. 

As he unwraps the parcel GBH is careful not to tear the paper. He is now just a kid opening a present. Inside he finds a Kindle.

MATT  

Should be able to get $150 for it… 

GBH

This is one of those things ya can read books and stuff on, right?

(Matt nods)

I never been a big one for reading. 

BLUE

You should read 'Girl with the Dragon Tattoo', GB. Fucking awesome! Or if ya just want to hear the audio...

GBH nods, trying hard to hide his excitement from Spider and Rat.

51 INT. GLUTTONS. NIGHT

Matt and Merily stand at the counter of Gluttons. Merily hands the young woman by the cash register $50. 

MATT 

No therapist?

Merily shakes her head.

MERILY 

No therapist.

MATT 

And... the story about her dad? 

MERILY

She tells the truth sometimes. But sometimes the truths the last thing you want to hear, ay Matt?

Matt laughs as Merily receives change from her $50 and is handed a multi coloured disc.

52 EXT. GLUTTONS. NIGHT

As GBH plays eagerly with his iPad, changing font sizes, Matt and Merily, in the background, move to a laminated table as their order is being filled.

Closeby, Tracy, Blue and Juliet talk.

JULIET(INCREDULOUS)

A virgin!?

TRACY(EVASIVE)

Sortov.

Blue’s eyes dart between Tracy and Juliet.

JULIET

Sortov! You’re either a virgin or you aren’t!

TRACY

Depends on how you define ‘virgin’!

Juliet nods, gestures to Tracy to continue: “And your definition is?”

Out of a few moments of awkward silence:

BLUE

I’ll google it.

53 INT. GLUTTONS. NIGHT

Matt and Merily sit at a laminated table. Merily places the multi coloured disc on it.

MERILY(FLIRTATIOUS)

Ask me anything you like...except about my vibrator.

MATT

Do you think Tracy...Britney...is a virgin?

Merily bursts out laughing, rests her hand on Matt’s arm.

54 EXT. GLUTTONS. NIGHT

GBH walks awkwardly to the purple sedan, iPad in hand. He moves to get into the front passenger seat but Rat is sitting there. GBH climbs sheepishly into the back seat.

55 INT. GLUTTONS. NIGHT

MERILY 

I would never actually read Britney’s diary, of course. (A BEAT) Except when she leaves it lying around and wants me to read it.

56 EXT. GLUTTONS. NIGHT

Blue reads from his smartphone as the purple sedan pulls out of Gluttons.

BLUE 

Virgin. “A person who has never had sexual intercourse.”

Blue looks at Tracy questioningly. She looks away evasively. 

BLUE 

There’s another one. “ A person who is naive, innocent, or inexperienced in a particular context.”

TRACY(SMILES)

I like that one. 

Blue beams a happy smile.

57 INT. GLUTTONS. NIGHT

MERILY 

Me? Yes…

(She laughs; touches Matt’s arm) 

I’ve kept a diary since I was 13 but it’s so well hidden there’s no way Britney could ever find it. 

She looks at Matt questioningly. He shrugs: “Wouldn’t have a clue.”

The multi coloured disk begins to flash and vibrate. Merily smiles. Matt smiles. 

58 EXT. GLUTTONS. NIGHT 

Merily, in the passenger seat of a taxi, clutching a ‘burger with the lot’ talks to Tracy through the open window. 

Matt, Tracy, Blue and Juliet stand close by clutching their fast food.

MERILY 

Behave yourself, darling...Or...

TRACY(LAUGHS)

...don’t get caught.

MERILY(LAUGHS)

I’m beginning to like ‘Tracy’. 

Tracy smiles, leans through the window; kisses her mother on the cheek.

CLOSEBY

Blue, Juliet and Matt talk. Merily’s taxi pulls out of the parking lots as Tracy walks up to them.

BLUE 

Thanks,  Matt...For, like... you know...your advice.

MATT

Thanks for yours, Blue (TO TRACY) And thanks to you, too...Britney!

Tracy laughs.

JULIET(LAUGHS)

Nobody going to thank me?

Tracy laughs, hugs Juliet as Matt holds out his hand to shake Blue’s. He takes Matt’s hand, shakes it for a moment before moving forward to hug him. Matt accepts the hug reluctantly at first but then hugs him tightly in return.

59 INT. CAB. NIGHT 

Matt drives; Tracy in the passenger seat. A gap between them.

JULIET

It doesn’t matter, dad. It’s in the past.

MATT

This is not an excuse...just... an explanation. 

(Juliet nods) )

I promised I'd move to Melbourne to be close to you, right? 

Juliet nods

 and...I didn't...because...fuck, It broke my heart so much every time I had to say goodbye to you and...(A BEAT)...you remember what I was like…

(Juliet nods )

And your mother said to me if I was going to cry like that every time I saw you she...she'd rather I didn't come...which is why I stopped coming to the house... and remember...we'd meet in the park or at the pier or somewhere 'safe' where your mum wouldn't have to see me? 

(Juliet nods )

And then when you stopped wanting to...to...hug me, and...

JULIET

Oh, dad! 

Juliet reaches out, touches his arm.

JULIET

It wasn't because I didn't want to but because...when I stopped being a girl...became...and I thought...I was very confused....am still pretty fucking confused and not sure...if...

Tears well in her eyes

MATT

Hey, I’ll have the test, but you…

JULIET

No. You don’t need to. 

Juliet smiles through her tears; shakes her head.

Matt nods: OK. He smiles. They drive on in silence for a moment; exchanging looks; reaching a mutual understanding.

JULIET

When you stopped coming to Melbourne every second weekend...

MATT

Because I didn't think you wanted me to. It felt like you were pushing me away.

JULIET

I was, because it hurt so much that you weren't there and...I thought  it might not hurt so much if I didn't see you at all...but all that happened was...it broke my heart...but I was also pissed off...angry that you didn't come... and...

MATT

I’m sorry.

JULIET

I didn’t make it easy. 

MATT

That’s true.

JULIET(SMILES)

You don’t have to agree with me.

Matt’s mobile rings in its cradle. Juliet leans forward, looks at the screen.

JULIET

Serena.

Matt nods: “Yes, answer it”

Juliet reaches out; presses ‘accept’. On ‘speaker’.

SERENA’S VOICE

You’re on your way, Britney tells me.

MATT

Be there in twenty.

SERENA’S VOICE

She called to apologize for fucking up my birthday. 

MATT

It was me fucked it up.

SERENA’S VOICE

It’s not fucked up. I got the best birthday present I could ever wish for.

MATT

You did? 

SERENA’S VOICE

I did hear right, right? ‘I love you’.

MATT(LAUGHS)

That’s just half my present.

Juliet laughs.

SERENA’S VOICE

Who’s that?

MATT

Someone I want you to meet.

JULIET

Me, Serena. Juliet. The prodigal daughter.

SERENA’S VOICE

Great! Looking forward to it, Juliet. So, you’re the other half of my present!?

MATT(LAUGHS)

No.

SERENA’S VOICE

Oh...what’s the other half?

MATT

You’ve made a list of ‘stuff’ you want to talk about, right? 

SERENA’S VOICE(LAUGHS) 

Britney told you?

MATT 

Couldn’t help herself. (A BEAT) A long list, I hear.

SERENA’S VOICE

You are a difficult man, Matt. You know that, don’t you?

MATT

And you’re not a difficult woman?

SERENA’S VOICE

Do you think I am difficult? 

(Matt laughs) )

Do you have a list?

MATT

No, you’re fine, just as you are.

SERENA’S VOICE

So are you, I guess…but I just wish you…

MATT

Would talk about ‘stuff’ a bit more?

SERENA’S VOICE

I’d like that.

MATT

OK...be there soon...love you.

SERENA’S VOICE

Love you too.

Matt reaches out, terminates the call.

He and Juliet sit in companionable silence for a moment. The silence is broken by a dinging sound from Matt’s phone. Both he and Juliet look at the screen. (We do not see what is displayed on it.) 

Matt is shocked. Juliet’s eyes open wide in surprise. She reaches forward, takes the mobile from the cradle, looks closely at the screen; laughs.

JULIET

You really should clear your Google search history, dad.

Matt turns bright red in embarrassment. Juliet looks closely at the screen, tilts the mobile sideways; winding Matt up.

JULIET

Is that…anatomically possible?

MATT

Let me explain…

JULIET

No need, dad. Each to his own. (A BEAT) Is Serena a contortionist?

MATT

It’s a running joke between us.

JULIET

Sure, dad!

(She laughs)

Whatever you say. (A BEAT) Am going to clear your ‘history’, OK.

MATT (SMILES)

Woof.

Juliet clears the ‘history’, replaces Matt’s mobile in its cradle, looks at Matt and laughs.  He smiles.

The end credits continue to roll as:

Matt’s mobile rings again.  Juliet leans forward, reads from the screen:

JULIET

Unknown caller.

Matt reaches out, presses the appropriate key:

TRACY'S VOICE

Hey, Matt!

MATT

Hey, Tracy!

TRACY'S VOICE

Ya never did tell me why ya wanted me to tell you about my dad!?

MATT(SMILES)

Know I told you I never had a girlfriend called Merily?

TRACY'S VOICE

Yeah.

MATT

I lied. (A BEAT) Different Merily, but I wanted to be sure...

Tracy's loud laughter is heard.

TRACY’S VOICE

True?

MATT

Maybe. (TRACY LAUGHS) You got Blue with you?

TRACY’S VOICE

Yeah, can’t get rid...

BLUE’S VOICE 

...the skinny little cunt!

TRACY’S VOICE

Blue!

BLUE’S VOICE

Sorry. 

MATT

You never finished your porn story, Blue.

BLUE’S VOICE 

Yeah, well...can’t really do it with Tracy here...

TRACY’S VOICE

It’s OK, Blue, I know you’re a wanker.

JULIET 

And I want to hear how google cured you of your porn addiction, Blue.

Tracy laughs. So does Blue.  

BLUE’S VOICE

Well, one night, see, I went to type 'p-o-r-n' into google like I had heaps before but I typed 'p-o-r-b' by mistake and before I knew it I was looking at a map of a town in Poland called Szklarska Porbe but I didn't have a fucking clue where Poland was so I typed 'P-o-l-a-n-d' into google and before I knew it I was finding out things about Poland I had no idea I wanted to know. 

Matt turns, smiles at Juliet. She smiles back. 

BLUE’S VOICE

Ask  me any question about Poland and I'll probably know the answer - like how Mount Kosciuszko is named after Tad…something Kosciuszko...then there's another Polish guy called Roman Polanski - a paedophile film  director who got into trouble fucking a 13 year old girl...

Matt reaches out, takes Juliet’s hand. She holds it tight, moves closer to Matt. His smile widens. 

BLUE’S VOICE

And...so, next time I felt like looking at some porn I typed C-U-N…Y and instead of…you know…and next thing I'm looking at City University of New York  and all the courses they have…

Juliet moves closer still. Matt laughs happily. Juliet rests her head on Matt’s shoulder; smiling very happily.

BLUE’S VOICE

…4,000 fucking courses and it was then I realized how much I didn't know and…google became my...you know...place to go when the old porn thing reared its ugly head.

Up ahead, seen through the cracked windscreen, a figure stands at the side of the road, arm outstretched, trying to flag Matt down. 

BLUE’S VOICE

All I have to do is make a little spelling mistake and fucked if I know what I'll be finding out about next!  

As he drives past the figure, his face lost in shadow, Matt gestures 'Sorry'. The figure waves back: OK.

BLUE’S VOICE

And that's how I learned to love words and started collecting them and met Tracy and she taught me this word I'd never fucking heard of - 'serendipity', you know…

JULIET( STARTLED)

That’s...

Matt glances in the rear-vision mirror, sees GBH - his body slumped in defeat - clutching his new Kindle; its screen blue. 

BLUE’S VOICE

...looking for one thing but finding something else that's way better than the thing you were looking for....

Matt and Juliet’s eyes meet. They both laugh in unison.

BLUE’S VOICE

Anyhow that's how I went looking for porn and found Trace. 

Matt slows, looks at the rear-vision mirror - in which GBG can be seen loping towards the cab. 

BLUE’S VOICE

Beautiful Tracy. My soul mate.

Tracy’s happy laughter is heard. GBH appears at the passenger window; blue-screened iPad in hand.

BLUE’S VOICE

Serendipity.

GBH recognizes them; beams big happy smile at Matt and Juliet.

Freeze Frame

THE END