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Ruby Tuesday
Act I
1. EXT. FARMHOUSE. DAY.
A CROW sits on a branch of a barren tree. It peers into the kitchen window of a dilapidated, uncared-for rural cottage.
The hot air blows dust across the dry yard and the broken gate swings in the breeze.
Through the window sit a couple at a table. They are prematurely aged. Cracked teacups sit in front of them. A half bottle of cheap scotch sits on the table. The woman, HILDA, holds a letter and reads laboriously, mouthing the words silently. Her husband, FRANK, watches her.
FRANK
(reaching for the letter)
Where's the money then? Why haven't they
sent us a cheque?
HILDA waves him away.
HILDA
They reckon she's dead.
FRANK
News to me.
HILDA
She's not dead you idiot. She's at
school. It's the welfare department.
They reckon she's dead and now we
don't get no more child allowance.
FRANK
So what do we do?
HILDA
Oh, send them a box of chocolates.
What do you think, you moron?
Tell them they're wrong of course.
FRANK
Well I'm not bloody writing to them.
FRANK reaches for the letter again, pulling at HILDA as he does. HILDA loses her temper and clouts him.
FRANK opens the letter from HILDA. He looks at it without comprehending it. He shoves it back at her. She dumps it onto a pile of unpaid bills sitting on the kitchen bench.
FRANK storms out, slamming the door behind him.
The CROW squawks and flies off the branch.
2. EXT. AERIAL VIEW OF COUNTRYSIDE. DAY.
The CROW'S eye view shows a poor rural township on the outskirts of sprawling suburbs. The CROW flies over disused wheat silos, defunct freight tracks, government commission houses and the main street.
We see a small church, a pub, a Masonic temple.
The CROW flies into the school yard and settles on the branch of a tree.
3. EXT SCHOOL YARD. DAY.
Through the classroom window, an ageing NUN in full habit slams a pointing stick against the blackboard on which the six times table is printed. A gross of SCHOOL CHILDREN drone the rote lesson in the heat of the afternoon.
Underneath a tree, a young child, RUBY, sits in a grubby uniform. Her knees are scabby and her hair is a bird's nest. She holds a blackboard ledger in her hands copying sentence after sentence of detention. 'RUBY O'ROARKE MUST NOT PLAY WITH MATCHES'
Ruby absent-mindedly draws a picture of a bird in flight.
The CROW caws and flaps its wings.
RUBY
(looking up)
Hello, crow.
RUBY watches the bird. She looks around at the hose sitting curled up in the sun.
RUBY
I bet you're thirsty.
RUBY runs to the hose. She turns on the tap and points the spout at the CROW. It caws and dodges the stream.
The NUN walks around the corner of the school house.
NUN
Ruby O'Roarke! You wicked girl.
RUBY turns to see the NUN and sprays her with the hose. The NUN shrieks.
RUBY drops the hose and runs away laughing.
The CROW jumps from its perch and flies away.
TITLE & CREDITS: RUBY TUESDAY
4. EXT. BIRD'S EYE VIEW. TWILIGHT.
The CROW soars over the rural outpost. It flies across time, travelling past the small town, towards MELBOURNE, AUSTRALIA.
Against the setting sun, it flies over sprawling suburbs, over the smoking city to the run-down inner city suburbs where derelict terraces stand beside renovators' dreams, out to a street where old poverty meets new money.
It lands on a tree overlooking the small backyard of a Inner Suburban Terrace. RUBY'S HOME. The CROW caws.
Beneath a HILL'S HOIST,(a metal umbrella-like clothes line) a woman, RUBY (late thirties), lies on the damp grass watching the clouds race through the evening sky. She wears a long dress of soft red material.
Near her a small clump of autumn leaves smoulder in a pile.
OFF SCREEN, Ruby's ten year old daughter, FUCHSIA, calls to her.
FUCHSIA
Ruby? Come inside. You'll
catch your death.
5. INT. RUBY'S HOUSE. EVENING.
RUBY'S house is a cosy, eccentric arrangement. Potted plants
fill every room. Wild flowers in glass jars decorate small
wooden tables. Newspapers and books litter the floor and shelves. Water and oil paintings hang on walls and stand on home-made easels.
Her kitchen is wild and alive. Small trees and herbs grow in pots around the floor and shelves. The rafters are strewn with drying flowers, chili and garlic. The trunk of a tree
is wedged between the walls from which photos and saucepans hang from nails. Ivy climbs the walls. Large glass jars display preserved food. A large wooden table, one end slightly chipped and burned, is the central focus of the room.
Throughout the house, STRAY CATS of all varieties, many of them wounded, some missing limbs, some SCORCHED, climb over the furniture. There are SCORCH MARKS in the carpets and walls.
FUCHSIA stands at the old wood-fired stove stirring a saucepan. She wears a slightly torn and very worn wedding dress with fairy wings attached.
RUBY wanders through the house patting the cats. She opens the fridge. It is filled with dozens of large fresh carrots and a litre of milk. She removes the milk and pours it into seven shallow saucers. The cats scamper to lap it up.
RUBY
Fuchsia, that smells delicious.
FUCHSIA
(licking the spoon)
Is delicious. It's soup. Come on,
Ruby. They'll be famished.
RUBY
All right, sweetie. I'll just get wrapped up.
6 EXT. MRS O'KEEFE'S FRONT DOOR. EVENING.
RUBY and FUCHSIA stand by their home-made trolley on the front porch of a modest home. They both wear scarves. Sitting on top of the trolley is a cardboard box. Steam rises from the box.
FUCHSIA rings the bell.
An old woman, MRS O'KEEFE calls.
MRS O'KEEFE
That you, Ruby?
FUCHSIA
And Fuchsia.
The door opens. MRS O'KEEFE is there beaming at them. She is slim and graceful and wears an old, tailored day suit. A long grey plait sweeps down her shoulder.
FUCHSIA
I won a book for the best story today.
MRS O'KEEFE
Well bully for you.
RUBY levers a plastic Tupperware container of soup from the box. She gives it to MRS O'KEEFE. MRS O'KEEFE hands RUBY a letter. RUBY slips it inside her coat.
FUCHSIA
I wrote about that time you rode
your horse from Newcastle to Ballarat.
MRS O'KEEFE
Oh, my aching bottom.
MRS O'KEEFE waves and closes the door.
RUBY and FUCHSIA cross the street with their trolley. The street is filled with terraced cottages. Some are renovated, others dilapidated.
7 EXT. EUDORA'S FRONT PORCH LATER.
Ruby's trolley sits on the porch. The cardboard box is empty. A light switches on. The door opens. RUBY and FUCHSIA step onto the porch. An old woman, EUDORA, steps out behind them.
EUDORA is large and buxom. Her grey hair is shaped into a crazy beehive. She wears a leopard print leisure suit
with satin slippers.
RUBY
See you, Eudora.
FUCHSIA
Tomorrow you can show me the rhumba.
EUDORA laughs and swivels her hips.
EUDORA
Cha, Cha, Cha.
RUBY
Oh, Eudora. Do you have my mail?
EUDORA remembers she forgot. She disappears for a moment. RUBY and FUCHSIA practice a fox trot.
EUDORA
Here we are.
She hands RUBY an envelope.
RUBY
(pecking her on the cheek)
Thanks, see you tomorrow.
RUBY and FUCHSIA sing and fox-trot down the path and onto the street.
8. INT. RUBY'S BEDROOM. MORNING.
Ruby's bedroom is decorated with old bolts of cloth draped around the ceiling. Some have burn holes in them. The colours are soft and light. A fire extinguisher gleams by the bed.
RUBY stands in front of her wardrobe wearing a long slip. The doors are wide open, revealing a full length mirror and a neatly ordered rack of clothing.
The clothing is marked in sections, each labelled with a woman's name: CATHERINE, MARGARET, JOAN, CECELIA and DIANNA.
FUCHSIA lies on the bed, trailing a piece of silk through her hair.
RUBY selects a garment from the section marked 'CATHERINE'. She holds the floral dress against her body and stares at herself in the mirror.
An angry image of the NUN appears in the glass.
RUBY
(Casually, under her breath)
Piss off!
The NUN disappears.
FUCHSIA
I like the blue one better.
RUBY
But that's Margaret's. This is for
Catherine's appointment, tomorrow.
FUCHSIA
Can't they swap?
RUBY
Not ever.
RUBY flashes FUCHSIA a fantastic smile. She lies down on the bed and runs a hand through Fuchsia's hair.
RUBY
What's your boyfriend's name?
FUCHSIA
What boyfriend?
RUBY
Don't you have a boyfriend?
FUCHSIA
Yuk!
RUBY
Funny you. So pretty.
FUCHSIA
Daddy has a new girlfriend.
She jogs every day.
RUBY gets up and studies herself in the mirror.
FUCHSIA
She has enormous breasts.
RUBY laughs.
RUBY
Lucky Carl.
9. EXT. RUBY'S FRONT PORCH. MORNING.
RUBY kisses FUCHSIA good-bye. CARL, Ruby's ex-husband (late thirties) waits in a shiny antique Rover at the curb.
RUBY waves to CARL. He barely returns the gesture.
FUCHSIA frowns and sighs.
RUBY
Bye-bye, darling. Be sweet. I'll see
you next weekend.
FUCHSIA
(hugging Ruby)
He doesn't mean it, you know. He still has your
photo in his top drawer.
RUBY
(gently)
And what are you doing looking in his top drawer?
FUCHSIA
Sometimes I need a big hanky.
FUCHSIA grins.
FUCHSIA
Bye, Ruby. Love you.
FUCHSIA skips down the concrete path to her father's car.
RUBY watches them leave.
10 INT. SOCIAL SECURITY BUILDING. MORNING.
RUBY dressed in the floral dress with a scarf around her head,stands in long queue. She carries a large tote bag. She smiles sweetly at people. Others in the line are a mix of the down-trodden and disinterested.
In her hand she holds a departmental form. The queue moves ahead. A bored counter CLERK calls a name
CLERK
Catherine O'Keefe.
RUBY steps forward with her form and smiles at the clerk.
11 EXT. URBAN STREET. SAME.
RUBY wanders down the street. She tugs the scarf from her head to reveal a long thick plait. She disappears into a public toilet.
CUT TO-SECONDS LATER
RUBY exits the public toilet. She wears jeans and a jacket and large dark glasses. Her hair hangs in a pig-tail over her shoulder. She wears dark makeup and boots on her feet. She looks hip and sexy.
She continues walking.
12 INT. SOCIAL SECURITY BUILDING #2. SAME.
As before. RUBY steps up to the counter and passes the CLERK #2 a departmental form. The clerk reads it and stamps it.
CLERK #2
Thank you, Margaret.
RUBY smiles.
13 INT. CLIFFORD'S KITCHEN. MORNING.
Businessman CLIVE CLIFFORD finishes his morning coffee and reads his paper in his designer kitchen. He is well dressed in a tailor-made suit. His silvering hair is swept back revealing a strong, handsome face. He's the
mid-forties, fit executive.
His impeccably dressed and equally attractive wife, ANGELA, walks past him.
Outside, a GARDENER is watering the rose bed. Through the window we see the gardener swing the hose and accidentally squirt it into the open window of a gleaming blue JAGUAR.
ANGELA confronts CLIFFORD.
ANGELA
Janie's got a piano concert tonight.
CLIFFORD
(Still reading)
Swell.(HE STANDS AND COLLECTS HIS SUIT JACKET)
ANGELA stares at him. He kisses her deliberately, passionately, on the mouth.
CLIFFORD
(standing, grinning)
Well, wish me luck.
ANGELA
(deadpan)
I wish you luck.
CLIFFORD laughs, scoops up his keys. He carries his briefcase and jacket out the door to the car.
14 EXT. CLIFFORD'S CARPORT. SAME.
The gardener slinks away behind the shed.
.
CLIFFORD puts his briefcase and jacket carefully on the back seat of the car, climbs in, starts up the motor.
15 INT. CLIFFORD'S CAR. SAME.
CLIFFORD'S face shows a look of discomfort.
16 EXT. INNER URBAN STREET. MIDMORNING.
CLIFFORD'S Jaguar speeds through the streets. It paces through an amber light and veers around an OLD MAN on a zebra crossing. The man raises a fist in indignation. He steps across the road.
A WOMAN is standing by the curb in front of a welfare shop. She is dressed in track suit pants, bargain basement running shoes and a sloppy-joe. She carries a large blue and red striped laundry bag with her.
It is RUBY. Something across the road has caught her eye.
ACROSS THE STREET
CARL and Carl's girlfriend, FIONA, (late twenties) exit CARL'S BOOKSHOP. FIONA is tall and leggy and very good looking. FUCHSIA is tugging at Carl's sleeve. CARL is preoccupied with FIONA and trying to kiss her good-bye.
FUCHSIA
Carl! I'll be late for school.
CARL
(starry eyed)
So Friday, Friday's good. We could
have dinner, do dinner. (GRINS) Eat.
FIONA
(almost interested)
Sounds like fun. Dinner
for two?
(LOOKING AT FUCHSIA, NON-PLUSSED)
or three?
CARL
Definitely two.
FUCHSIA is quiet. Something over the road catches her eye. She stares at her disguised mother for a moment. RUBY stares back, smiles and disappears into the welfare shop.
FIONA leans over to CARL. They kiss. FUCHSIA groans. FIONA frowns. CARL looks awkward.
17 EXT. RUBY'S STREET. EVENING.
RUBY wanders along her street, dressed as Ruby O'Roarke. She carries a large pumpkin and a string grocery bag.
Overhead, the NUN scoots past.
NUN
Ruby O'Roarke. You'll never
amount to anything.
RUBY
Fuck off!
A woman walking towards Ruby crosses the street in alarm.
JOE GRIMALDI, a pensioner and another of Ruby's neighbours is standing at his letter box clearing junk mail. He sees Ruby. Feigns anger. He points to a 'No Junk Mail' sticker on the letter box.
JOE
Do they need a literacy test for this?
RUBY shrugs.
RUBY
Nice evening for it.
JOE
(coy)
You have something in mind?
RUBY
(laughing)
Nothing special.
JOE
Lucky I have a fire permit.
I should start one with this
rubbish in their warehouse.
RUBY
Use it on your roses.
JOE
Believe me, not even this
shit is good enough for my roses.
(HE RIFLES THE MAIL)
Ah! But one man's
trash is another woman's treasure.
Here you are, Ms Joan Orleans.
He hands Ruby an official looking letter. She smiles warmly at him and slips it into her grocery bag without looking at it.
RUBY
How's Christina?
JOE
Same, same. She likes Playschool now.
She sings, she claps, she spits her
food in time. Today we finger painted.
RUBY
Tomorrow?
JOE
Tomorrow we try with the nappies.
Like bloomers they are.
Safety pins (HE HOLDS HIS HANDS OUT,
A FOOT IN LENGTH) this big.
RUBY
Any luck with the home care?
JOE
No luck. No cashola.
Besides, it's me that needs
the home care. I'm starting to
enjoy Playschool. Go home now,
or that little girl will think
you have run away with me.
RUBY
I should be so lucky.
He wanders back into his house.
18 EXT. RUBY'S STREET CORNER. EVENING.
RUBY walks down the street. FUCHSIA is waiting at the corner. RUBY and FUCHSIA exchange kisses and keep walking.
FUCHSIA
Did you know three species of birds
disappear from the world every day?
disappear from the world every day?
RUBY
Where do they go?
FUCHSIA
They don't go anywhere.
They're extinct.
RUBY strokes Fuchsia's hair.
RUBY
(smiling)
I'm sure they go somewhere.
FUCHSIA laughs knowingly at her.
RUBY stops at Mrs O'Keefe's cottage. She opens the letter box, extracts the mail, sorts through it and drops one envelope into her bag.
She opens the gate and walks quickly to her door. She places the other mail and some groceries on the front porch. She keeps the pumpkin and the carton of milk. She knocks on the front door.
RUBY
(calling)
It's only me Silvie. Silvia?
I've got a few things for you.
She waits, hears nothing. RUBY walks back down to Fuchsia.
FUCHSIA
She must be snoozing.
They continue walking.
RUBY
We're a bit late. The moggies
will be making such a racket.
FUCHSIA
Mrs. Scarabellotti will start
banging on the windows again.
RUBY
Mrs. Scarabellotti will
find her toilet exploding
if she's not careful...
FUCHSIA
(imitating-wagging a finger)
Ruby O'Roarke, I'll call the police.
RUBY
...while she's sitting on it.
They both share a naughty laugh.
FUCHSIA
Why were you late?
RUBY
Oh, you know, extra visits
to make. Special visits.
FUCHSIA
With men?
RUBY
Sometimes.
FUCHSIA
(innocently)
Are you a prostitute?
RUBY stares at Fuchsia.
FUCHSIA
Fiona says you must be.
RUBY
Who's Fiona?
FUCHSIA
(exasperated)
Carl's girlfriend. She says
that's how you pay the rent.
that's how you pay the rent.
RUBY
Do you know what a prostitute is?
FUCHSIA
Sort of.
RUBY stops walking.
RUBY
A prostitute is someone
who gets paid for the use of their
body. For sex, usually.(SHE CONTINUES
WALKING- ABSENTMINDEDLY) What does Fiona do?
FUCHSIA
She's a model.
19 EXT. RUBY'S FRONT DOOR. SAME.
FUCHSIA skips ahead to get the key from its hiding spot under a rock. On the verandah she discovers a hessian bag dumped at the doorstep. It contains three kittens.
FUCHSIA scoops them out. She cuddles each of them and rubs them against her face.
RUBY
How many this time?
FUCHSIA
Three babies.
RUBY
Three! I've just about run
out of names. How about you?
FUCHSIA
Michael, Gabrielle and Raphael.
RUBY
Oh?
FUCHSIA
The three archangels. Carl
gave me a new book about them.
RUBY
(picking up a kitten)
Hmm.
FUCHSIA
They're good angels.
RUBY
I'm sure they are, sweetheart.
FUCHSIA
Gabrielle was the messenger, Raphael
the sweet one and Michael led
the war against Satan.
The kitten Ruby is holding tries to bite her hand.
FUCHSIA
That one can be Michael.
RUBY
Come on, feeding time.
She opens the front door to a chorus of mews.
20 EXT. STATE PARLIAMENT HOUSE. DAY.
A mass demonstration spills onto the steps of parliament. An angry mob of men and women, young and old chant protest slogans. A man on the back of a flat bed truck addresses the crowd over a portable PA system. Protesters carry placards reading, 'Welfare not War', 'Social security is your security from us', and 'The wages of sin are better than the dole.'
CLIFFORD and his colleague, TYSON ARLON (early thirties), skirt around the rear of the demonstration past the police cordon. ARLON is officious, unctuous and suave. A pedant.
21 INT. ANTEROOM, STATE TREASURER'S OFFICE. MORNING.
CLIFFORD and ARLON are waiting to see the TREASURER. CLIFFORD is staring out of the office to the street below. ARLON is reading a Women's Day magazine.
CLIFFORD watches as PROTESTERS hurl eggs and rocks at the mounted police. The police jostle the crowd, dragging out individuals and making arrests.
The mob begins to scatter.
CLIFFORD shudders and stands away from the curtain.
CLIFFORD
Have you noticed you never see good
looking women on protest marches?
ARLON
(indifferent)
Good looking women don't march....
(ARLON TURNS A PAGE)..they lobby.
A young female SECRETARY enters the antechamber carrying a tray of coffee and cups.
She smiles a little at CLIFFORD. He beams, gallantly darts to the door and opens it for her. Their eyes meet for a fraction of a second. She blushes, ever so slightly, and exits.
CLIFFORD
God, I'd kill for a cigarette.
ARLON
Steady, Clive. It won't take a
minute. Pure formality.
CLIFFORD
Damn it, I wish they'd get on
with it.
ARLON
It's a done deal, Clive. We've got
the contract. Now it's just politics.
Pointing at the TREASURER'S door.
CLIFFORD
Well that useless prick's politics
has kept us waiting for six months.
A ROAR from the street. CLIFFORD takes a quick peek. From his face we infer the protest has become very violent.
He winces.
CLIFFORD
I bet you never got arrested
at a protest march, Tys?
ARLON
(stoic)
What would be the point?
The door opens. The SECRETARY steps out.
SECRETARY
The Treasurer will see you now.
Through the door, the TREASURER is leaning on his desk.
CLIFFORD and ARLON step toward him.
CLIFFORD
(beaming)
Mr Treasurer, a very good
morning to you.
22 EXT. RUBY'S FRONT DOOR. EARLY MORNING.
RUBY opens her door. Half a dozen cats streak out. She wanders down the concrete drive wearing a worn but exotic- looking robe. It is obviously cold but her feet are bare.
The curtains on the neighbour's side window move.
RUBY
Morning, Mrs Scarabellotti.
The curtains recede quickly.
Ruby walks to Mrs Scarabellotti's mailbox and takes the morning paper.
A light catches her eye. It is an ambulance parked down the road. It is parked outside MRS O'KEEFE'S cottage. Two ambulance officers are carrying her on a stretcher out to the waiting van.
A small crowd of people mill about.
RUBY notices the old lady's food delivery still sitting on the front porch. She runs to the ambulance.
Her eyes meet the old lady's. MRS O'KEEFE gives RUBY a little wave.
The ambulance door closes and the vehicle departs.
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Act II
23 INT. RUBY'S KITCHEN. MORNING
The camera pans past the stolen newspaper. The headlines read, 'Government Shake-up. Welfare-Pension Plan Overhaul'
A small radio mounted on a ledge rattles with official voices debating the news.
RUBY is standing over the stove, stirring two hard-boiled eggs in a saucepan. Her mind is someplace else.
FUCHSIA enters, switches the radio over to jazz music. Ella Fitzgerald sings, 'Nice work if you can get it' in the background.
FUCHSIA hoists herself up on the kitchen table and stares at
Ruby in comfortable silence.
FUCHSIA
You don't have to stir them for
too long, Ruby.
24 EXT. CARL'S BOOKSHOP. MORNING.
RUBY and FUCHSIA walk down the busy street to Carl's shop. FUCHSIA is neatly dressed, ready for school. RUBY is in a long skirt and blazer with thick raised heels and stockings, her hair in an attractive bun.
They are both playing, trying not to step on the pavement cracks.
25 INT. CARL'S BOOKSHOP. SAME.
Inside the bookshop, a small fire burns in a hearth. Next to it is a reading chair and coffee table with literary magazines. The shop looks more like a personal den than a place of business.
FUCHSIA makes a bee line for the counter. She puts on her father's glasses.
RUBY
(playing)
I'd like the latest best seller
by the great Fuchsia O'Roarke.
FUCHSIA
(imitating Carl)
Madame, you show excellent taste.
RUBY laughs.
RUBY
(whispering)
I have to go now.
FUCHSIA
(also whispering)
Where to?
RUBY
(whispering)
I have an appointment.
FUCHSIA
(whispering louder)
Oh. Poo. Wish you could come to
school with me today.
RUBY
Yuk. Hate school.
They both giggle. CARL'S footsteps are heard coming down the wooden stairs at the back of the shop.
CARL
Fiona?
The giggling turns to laughing.
FUCHSIA
It's Fuchsia!
He steps into frame. Sees Ruby.
CARL
Oh. Hello, Ruby.
CARL immediately busies himself with a pile of books, stacking them on the shelves.
RUBY
How are you, Carl?
CARL
(dismissive)
Fine.
CARL
(puzzled)
I told you Fiona would pick you up today.
FUCHSIA and RUBY exchange a furtive look.
QUICK DISSOLVE TO
26 EXT. RUBY'S BACK PORCH. MORNING.
FIONA calls at the backdoor of Ruby's house. She knocks tentatively and calls 'hello'. A cat jumps up to the window-sill and hisses through the glass.
FIONA screams and trips backward.
QUICK DISSOLVE TO
27 INT. CARL'S BOOKSHOP. SAME.
Carl confronts Ruby.
CARL
You said you were busy today.
RUBY
I am.
CARL
Doing what?
RUBY sighs, 'same as it ever was'.
FUCHSIA
Ruby has an appointment.
CARL
Really? Work?
RUBY
(quietly)
Not exactly.
The frost on the window melts. The fire in the hearth rages on and beads of perspiration break out on Carl's forehead.
RUBY leans over and softly wipes Carl's brow. It is an old, familiar gesture. He is transfixed for a moment. Ruby holds his gaze.
CARL
(deliberately breaking the moment)
By the way, we're taking Fuchsia
to my mother's next weekend.
RUBY stares at him in disbelief.
She turns to FUCHSIA for help.
CARL(cont)
It's her birthday.
RUBY
(distraught)
Again?
CARL
I want her to meet Fiona.
FUCHSIA looks nervous, ready to cry. She hates it like this.
CARL (cont)
She insisted.
RUBY is confused.
CARL (cont)
Mother, not Fiona.
RUBY
Or what? No more pocket money?
CARL sighs 'same as it ever was.' RUBY twitters nervously, like a bird.
RUBY
(to FUCHSIA)
But what about our adventure? Fuchsia!
CARL
I'm within my rights, Ruby.
RUBY'S face hardens. A small log rolls out from the fireplace and ignites the rug in the hearth place.
CARL
Damn.
He runs to extinguish it.
RUBY hugs Fuchsia tightly, gives her a big kiss and runs out of the shop.
28 INT. CLIFFORD'S OFFICE. DAY
CLIFFORD sits back in his comfortable office chair staring out over the city skyline. Like a child, he whirls the chair around once, twice.
A knock on the door.
An immaculately groomed young woman, his secretary, MALA, enters carrying files and a cup of coffee for CLIFFORD.
MALA
Arlon wants to see you.
She arranges the files in a cabinet, places some on his desk, with the coffee. She obviously knows her way around and is very comfortable there.
CLIFFORD
(half under his breath)
What does the little ferret want now?
MALA
Someone as desperate as him, I suppose.
CLIFFORD
Mala, Mala, I have so much work to do.
MALA
Poor baby. No rest for the wicked.
CLIFFORD
(mildly theatrical)
So cruel, so callous. Here I am,
working the New Deal, wracking
my brains to find a better way...
MALA isn't paying attention
CLIFFORD (cont)
.. for people like you, like me..
He spins himself again. She smiles despite herself.
MALA
And the rest?
CLIFFORD
Ah, to hell with them.(HE GRINS)
Social Welfare. What do they call
that? An Oxymoron.(HE CHUCKLES)
MALA
Oh, cut the crap, Clive. By the way,
your wife called. Wanted to know if
you remembered your son's debating
final tonight.
CLIFFORD
I forgot. Don't tell her
that. Tell her I have to meet
with the finance committee.
MALA
You don't have anything scheduled
for tonight.
CLIFFORD leans into her at his desk.
CLIFFORD
Pencil something in.
MALA smiles and exits.
ARLON steps in behind her, catches the nuance, smiles thinly to himself. He takes a seat at CLIFFORD'S desk. He throws CLIFFORD a CD ROM.
ARLON
I've just been to the Minister's office.
CLIFFORD
So what do you want now, a blowjob?
ARLON
(ignoring the comment)
Inside that, you'll find all the security
details for accessing cash flow. Here's
your access card. Sign this.
(HE HANDS HIM A DOCUMENT)
The program will be fully operational
in twenty-four hours.
(HE LEANS BACK, SATISFIED)
You know, for a second I
thought they wouldn't sign them over.
CLIFFORD
Stalling. They make an art form out of it.
Tradescant Inc. You know, to my knowledge,
no other company has pulled off a deal like this.
ARLON
(bored)
No-one realised what a cash cow job
placement would be when they de-regulated
the government employment service.
CLIFFORD
(not listening)
It's not without criticism, mind.
Those jealous little backbenchers whining
about our profit margin. Just because they
couldn't organise a punch-up at a footy club
while we give this system the kick
up the arse it needs.
ARLON
(carrying on regardless)
Senior staff have two entries, all other
staff have one. You need all five to
access the piggy bank.
CLIFFORD
So what if we make a reasonable profit?
We're giving the unemployed something
to do with their miserable little
lives instead of getting smacked
out in arcades. I tell you,
crime will decrease, you watch.
ARLON
Get to know them asap and for god's
sake don't show them to Mala.
CLIFFORD
And what about you Tyson?
ARLON
Clive?
CLIFFORD
Do you have total clearance classification?
ARLON
(grinning)
Of course not. Why would I?
29 EXT. CITY SOCIAL SECURITY BUILDING. DAY.
A vagrant sits on the steps of a building trying to share a cigarette with a small dog chained to a post.
RUBY skips past him, dressed in the skirt and jacket.
30 INT. CITY SOCIAL SECURITY BUILDING/ FOYER. SAME.
RUBY enters the building. The atmosphere is tense. The waiting seats are filled to overflowing with social security recipients.
A television plays a soap opera.
The queues are very long.
RUBY takes a number and squeezes into a seat. From her large tote bag she removes a colourful, half-finished woollen jumper and begins to knit.
A MAN in worn jeans, t-shirt and runners is remonstrating with the woman at the counter.
MAN
I don't have to take this shit! This
is your screw up.
The man storms off and slumps into a seat.
The soap opera finishes and a news break flashes up showing the TREASURER interviewed by journalists. His face fills the screen, flocked by microphones.
NEWS REPORTER
In a surprise decision
In a surprise decision
today, the government has awarded the
human resource company, Tradescant Inc,
the tender to take over the operation
of the Department of Social Security.
The Treasurer...
The reporters voice is drowned out by an angry mob in the foyer. Jeers and shouts erupt around Ruby.
Security staff enter from behind doors.
The angry MAN hurls a soft drink bottle at the television, smashing the set.
Three security guards descend on him. They hold him in a headlock and frog march him past RUBY behind the closed doors. Several other guards begin to herd angry clients toward the exit.
A WOMAN at the counter ushers RUBY into a small interview room.
31 INT. INTERVIEW CUBICLE. SAME.
A harangued looking SOCIAL SECURITY CLERK sits behind a small interview desk ruffling papers in a large folder file.
RUBY takes a seat.
SOCIAL SECURITY CLERK
Joan, you've been on our books for over
(SHE GLANCES AT FILES) twelve months,
is that right?
RUBY
That's right.
SOCIAL SECURITY CLERK
(reading)
Joan Orleans, single, no dependents, etcetera.
There's not much to say Joan. Except... (SHE COUGHS)
Outside there is another angry roar. The angry man's voice can be heard in the background over the partition.
MAN
(shouting)
You're all a bunch of cock suckers.
(HIS VOICE IS MUFFLED OR GAGGED SUDDENLY)
SOCIAL SECURITY CLERK
(to RUBY- nervously)
I'm not supposed to tell you this,
but unless you want to end up cleaning
old people's toilets for ten
cents an hour you better co-operate.
RUBY
I don't understand.
SOCIAL SECURITY CLERK
(glancing at the file)
Joan, you have secretarial skills, you're
computer literate. You should
have been working months ago.
A large crash is heard outside followed by the sound of physical violence.
MAN (OFF SCREEN)
You're all blind mullets swimming in your own
sewerage. We're not fucking lepers. You think
you can change the way people feel
with a stroke of a pen. Screw you.
SOCIAL SECURITY CLERK
(panicked)
Look, Joan. The free ride's over. New
directives from Head Office. Everyone's
off benefits. It's crisis time.
(SHE CALMS A LITTLE) Tradescant are placing
those with skills on training programs.
Those who want to work are going to have
to fight for it. As for the rest...who
knows? Listen Joan, I like you. I'll
see what I can do.(SHE LOSES COMPOSURE)
I don't even know if I have a job anymore.
A male WORKER opens the interview door, interrupting.
WORKER
(quickly)
Stop work meeting in the tea room. Now.
SOCIAL SECURITY CLERK
(rising)
I won't be your case manager anymore.
(SHE EXITS, CRYING) I'm really sorry.
She runs out. RUBY sits alone in the cubicle. She pokes her head outside.
32 INT. CITY SOCIAL SECURITY FOYER. SAME.
The foyer is deserted. The counters are abandoned. Glass from the smashed television and broken window panes lies on the carpet.
Outside, three police cars are parked on the curb.
RUBY sees the angry man pushed into a waiting police van. The affray is over. Onlookers gather around the scene. Police and security guards hold them at bay.
33 INT. JOE'S LIVING ROOM. EVENING.
The living room is filled with ROSES. JOE sits in his undershirt and firemen's overalls spooning pureed pumpkin from a little plastic bowl into his invalid wife's mouth.
The TV is on. Joe keeps half an eye trained on CHRISTINA, wiping the food from her mouth. From the other, he watches Wheel of Fortune.
CHRISTINA spits her food. He barely notices.
Through his window we see RUBY on her way home in RUBY clothes. She carries a large bunch of beetroot. She stops at Joe's letter box and removes a letter. She looks at it. A frown furrows her brow.
34 EXT. RUBY'S STREET. SAME.
RUBY passes MRS O'KEEFE'S front fence. A large flat-bed truck is parked outside.
RUBY eyes the letter box. No-one is around. She makes a bee line for it. Before she can open it, two large men exit the front door carrying an old sofa.
RUBY keeps walking.
35 INT. RUBY'S LIVING ROOM. EVENING.
A fire is burning. The radio is playing some old jazz.
RUBY stands at an easel painting a picture of herself in a field of corn, with a crow on her shoulder.
A small cat-fight erupts. RUBY ignores it.
36 EXT. ANNETTE BENTON'S FRONT DOOR. EVENING
FUCHSIA, CARL & FIONA wait outside the front door of Carl's mother, ANNETTE BENTON'S, impressive house. All three are extremely well dressed and a little nervous.
Dogs can be heard barking inside.
The large door opens. Two yapping silky terriers leap out and hurl themselves at Fiona.
ANNETTE, a well preserved 60 year old, stands in the doorway. She wears a white leisure suit with gold trim. She peers down at her guests.
ANNETTE
Fuchsia, darling. What are you wearing?
37 INT. RUBY'S KITCHEN. EVENING.
FUCHSIA is cutting up vegetables. RUBY is watering plants.
FUCHSIA is wearing a homemade koala suit. She opens the fridge door. It contains the beetroot, parsley some strawberries and a magazine.
RUBY
Beetroot again?
FUCHSIA produces a huge bunch of parsley.
FUCHSIA
No! Gum leaves and wild rice.
RUBY claps her hands.
RUBY opens a cupboard. The NUN is waiting, wagging her finger. RUBY closes the cupboard again.
RUBY
Mrs O'Keefe died, Fuchsia. She had a stroke.
FUCHSIA
I know. Joe told me.(SHE LOOKS AT RUBY)
It'll be okay.(WHISPERING) She told me
she wanted to fly with the angels.
FUCHSIA gives RUBY a hug.
FUCHSIA
Are you scared when people die?
RUBY
Death is part of life too.
I miss them, that's all.
(BRIGHTENING) I missed you last week.
FUCHSIA
(quietly)
Hmm.
RUBY
(fishing)
Did you have a good time?
FUCHSIA
Sort of. Gran had one of her big dinners.
She made Fiona sit next to her all night.
RUBY
What about you?
FUCHSIA
I had to go to bed.
RUBY
Boring.
FUCHSIA
I wish you'd been there.
RUBY
They'd roast me alive, darling.
FUCHSIA
You would have liked it.
RUBY
I doubt it.
FUCHSIA
No, you would. Gran picked a
fight with Carl. Then he
went and hid outside. Then
Fiona got drunk and spewed into the
fireplace. It was excellent.
FUCHSIA opens Ruby's bag and begins sorting Ruby's things. She pulls out a pile of papers. She sorts the newspapers, the paper-back books and the junk mail. She finds a letter marked 'Joan Orleans' with Joe's address on it.
FUCHSIA
Who's Joan?
RUBY pretends not to hear.
FUCHSIA
Ruby? (SHE SPELLS OUT THE NAME)
Joan Or-leeens. Don't they mean Ruby?
RUBY
No. They mean Joan.
FUCHSIA
But you said she wasn't real.
RUBY
She's not. Not really real. Realish.
FUCHSIA looks at RUBY.
RUBY walks around the room, moving vases and paint pots. She stares out of the window.
RUBY
I can see the first star. I get the wish.
She turns to see Fuchsia staring at her with an odd expression.
RUBY takes a chair and pulls it round to her daughter.
RUBY
(pointing at letter)
This.. is how I pay the rent.
FUCHSIA picks up the letter and reads the letter-head.
FUCHSIA
(reading)
Department of Social Security.
And you're Joan?
RUBY
And Margaret and Catherine
and Eloise and Cecelia.
FUCHSIA
And Dianna?
RUBY
No. Not any more. Dianna had
complications. She had to go.
FUCHSIA
I thought they were for fun?
RUBY
(draws a breath)
They are fun. Lots of fun.
FUCHSIA
(not understanding)
Are you on a pension? My
friend Zoe's mum is on a pension,
but she only has one name.
RUBY
Well I have five. Six, if you count me.
But that's the point. They don't count me.
FUCHSIA
Who don't?
RUBY
The government. They don't know who I am.
FUCHSIA
Why not?
RUBY
Because I'm lucky. Because my parents
forgot to tell them I was still alive.
FUCHSIA is very confused.
RUBY(cont)
My name was erased from the Government
records when I was your age, by mistake.
It never went back on. Then I left home
and I met Carl. Then you came along.
(SHE HESITATES) Then he went away and
I couldn't get a job, or a
pension. I couldn't even get a
library card. So I made someone else up.
Someone better qualified to get a job.
FUCHSIA
Like Catherine and Margaret?
RUBY
And Joan.
FUCHSIA
And did they?
RUBY
For a while. Part time, here and there.
Like juggling. But it got harder and harder
to find work so they all went on benefits.
One by one. That's how come
I could afford to feed all our friends.
FUCHSIA
Can't they afford it?
RUBY
Not these days. (SHE POINTS TO THE LETTER)
Now I'm not sure what we'll do.
FUCHSIA
Why?
Why?
RUBY
They've stopped all the pension money.
(SHE RIPS OPEN THE LETTER)
The cats surround the table, mewing for food.
FUCHSIA waits, bug-eyed. RUBY reads silently.
FUCHSIA
What does it say?
RUBY
It says I have an interview.
FUCHSIA
A job?
RUBY
Not me, Joan. Joan has an interview.
FUCHSIA
Do I have to call you Joan, now?
RUBY
(laughing)
Of course not. I'm still Ruby.
Let's just say Joan is my professional name.
DISSOLVE
38 INT. RUBY'S LIVING ROOM. MORNING.
RUBY is half-dressed as JOAN and searching for a lost shoe in the living room. She moves piles of books, papers, paintings, and eventually cats until she finds it. She stares at herself in the mirror, enjoying the game.
CUT TO
39 INT. URBAN APARTMENT. MORNING.
CLIFFORD is standing at a bedroom mirror buttoning a shirt and tying on his tie. A satisfied smile crosses his face. MALA wanders past in a bathrobe.
40 EXT. CARL'S BOOKSHOP. MORNING.
CARL and FIONA are saying farewell for the day.
FUCHSIA stands nearby, bored and waiting to go to school.
FIONA appears a little agitated. She pecks CARL on the cheek. He hoped for more.
FIONA grabs Fuchsia by the hand and leads her towards her car. FUCHSIA trails behind, waving to her dad.
FIONA
(to Fuchsia)
Don't you ever call me Aunty Fiona again.
CUT TO
41 INT. TRADESCANT INC. FOYER. MORNING.
RUBY enters the foyer, a little overwhelmed by its officious atmosphere. She looks well groomed, attractive. She carries a small leather document satchel. Through the windows a defaced GREENPEACE billboard can be seen outside.
Inside, everything is electronically operated. Security guards man X-Ray detectors scanning handbags and briefcases.
She sees workers stepping through an airport-style metal detector.
She sees them place security cards into slots and pass through the archway.
The foyer is teeming with staff, disappearing into lifts and corridors.
42 INT. REAR ENTRANCE TRADESCANT. SAME.
In a rear stairwell, CLIFFORD slips a personal security card into a scanner and punches in his security number.
The door opens.
CUT TO
43 INT. CARL'S BOOKSHOP. MORNING.
CARL is on a ladder, adjusting the bell over his door. He climbs down, turns the CLOSED sign to OPEN and opens the door once or twice to test it.
ANNETTE appears at the door. He turns the sign to CLOSED. She is not amused.
CUT TO
44 INT. TRADESCANT FOYER. SAME.
RUBY approaches the x-ray machine. She places her satchel on the conveyor belt. It travels through. She steps up to the arch. A SECURITY GUARD stops her.
SECURITY GUARD
You need a security pass.
RUBY
I don't have one.
SECURITY GUARD
Need one.
RUBY
Where do I get one?
The GUARD points to the information counter.
RUBY notices her satchel has hit the end of the conveyor belt and is sitting in a slump on the floor below.
RUBY approaches a WOMAN behind the information counter.
RUBY
I need a pass.
WOMAN
(scooping up day list)
What's your name?
RUBY stares for a second.
RUBY
Joan Orleans.
WOMAN
(shaking her head)
Nope, not here.
RUBY
I have an appointment.
WOMAN
Do you work here?
RUBY
Not yet.
WOMAN
If you worked here you'd have a pass.
RUBY
I have a job interview.
WOMAN
No. You need a pass.
RUBY
I have a letter.
WOMAN
Let me see it.
RUBY looks over to where her bag lies on the other side of security containing her interview letter.
45 INT. TRADESCANT FOYER. SAME.
From a private entrance CLIFFORD appears. He heads for the elevator but notices RUBY remonstrating with the SECURITY GUARD. He watches for a moment.
CLIFFORD approaches the SECURITY GUARD.
From behind the METAL ARCH he speaks to RUBY.
CLIFFORD
Could I be of some help?
RUBY
(getting nervous)
I'm supposed to be here.
CLIFFORD
I'm sure you are.
RUBY
I'm Joan Orleans.
CLIFFORD
Hello, Joan. I'm Clive.
RUBY
I have an interview today.
CLIFFORD
Ah! One of our new recruits.
RUBY
I have a letter from the department.
CLIFFORD
Can I see it?
RUBY
Of course. As soon as your minder
gives me my property.
CLIFFORD shoots the SECURITY GUARD a look. He promptly hands over the bag.
SECURITY GUARD
Sorry, sir.
CLIFFORD smiles, forgiving the SECURITY GUARD.
Joan beams at CLIFFORD. She hands him the letter.
CLIFFORD scans it.
CLIFFORD
Joan. Why don't we get you off to
a flying start at Tradescant.
He gallantly produces a security pass, slots it in and turns off the electronic beam.
He winks at the SECURITY GUARD and with a sweep of his arm escorts RUBY through the arch.
46 INT. TRADESCANT CORRIDOR. MID MORNING.
CLIFFORD and RUBY stand outside room 23. He holds her slightly by the elbow.
CLIFFORD
Here we are.
RUBY
I'm late.
CLIFFORD
Not too late.
RUBY
I hope not. I really want this job.
CLIFFORD
Really? Fancy working for Tradescant do you?
RUBY
Yes. Yes I do. Do you think the
supervisor will disqualify me?
ARLON
I doubt it. He likes charming women.
RUBY
Don't they all.
RUBY smiles and opens the door.
DISSOLVE
47 INT. RUBY'S BEDROOM. EVENING.
RUBY sits at a dresser applying makeup. She is dressed in an extravagant but moth-eaten kimono and paints her lips into that of a Geisha.
Outside the rain beats against her windows. Candles burn around the room.
Lightning streaks the sky outside. There is a loud boom of thunder.
RUBY jumps. She stares at herself in the mirror. She smiles, it turns grotesque. She runs a hand over her makeup, smearing it.
Another boom of thunder. The cats howl from another room.
There is a loud crash.
RUBY
(urgent)
Fuchsia!
RUBY rushes to the living room.
CUT TO
48 INT. RUBY'S LIVING ROOM. SAME
The easel is lying on the floor. RUBY'S latest painting is ripped through.
RUBY is in a state. She turns around the room, disoriented.
A loud banging on the door.
RUBY
Fuchsia!
RUBY runs to the door. She opens it violently.
Another lightning strike.
RUBY sees her mother, HILDA standing there.
RUBY screams and collapses.
Arms reach out to grab her. It is JOE
JOE
Ruby. It's okay. It's okay.
He holds her head as she sobs.
49 INT. TRADESCANT DATA ENTRY STATION. DAY.
ARLON steps through a door and scans the room, appraising his staff. His eyes come to rest on RUBY.
RUBY stares at the computer screen, engrossed in her work, tapping on the keyboard.
The camera pulls back to reveal: five, ten, twenty, fifty other staff members in data entry, all busy at their work stations.
50 INT. FUCHSIA'S CLASSROOM. DAY.
FUCHSIA sits at her desk, writing a story. She stares out the window. The CROW lands on a nearby branch. She smiles.
Behind the CROW, FUCHSIA sees FIONA'S car pull up to the busy carpark.
CUT TO
51 EXT. SCHOOL PLAYGROUND. DAY.
FIONA is waiting, leaning on the bonnet of her car. She appears a little agitated. There are no other cars left in the carpark.
The camera pans back to reveal Fuchsia hiding up a tree.
FIONA gives up, climbs into her car and drives off.
FUCHSIA claps.
52 INT. CITY TRAIN. EVENING.
RUBY travels home on the peak hour commuter. She stands hanging onto a hand rail.
Around her, other commuters are buried deep in newspapers, books and magazines or staring out the window to the grey outside.
RUBY reads the headlines. POLICE ARREST DEMONSTRATORS.
A tall man behind Ruby runs a hand over her bottom.
She quietly places her heel into his ankle.
He grimaces in pain.
RUBY exits the next stop.
53 EXT. RUBY'S STREET. MORNING.
RUBY wanders along the street dressed for work.
A rubbish truck swings by. JOE is riding on the tray.
JOE
(singing)
'Ruby, Ruby, Ruby do you love me?'
RUBY turns to see Joe.
She is delighted. She runs out onto the road and climbs up onto the tray.
JOE
Where to Madame?
RUBY
The station. I have to get to work.
JOE
(surprised)
Well in that case, we better get a move on.
He hits the side of the truck.
JOE
Carlo, step on it. Ruby O'Roarke
is a woman of the world.
The old truck cranks up and changes gear.
54 INT. TRADESCANT STAFF ROOM. DAY.
RUBY is busy at her terminal.
ARLON appears. He walks down the row of workers. Patrolling. He stops at Ruby's desk.
ARLON
Hello there.
RUBY
(startled)
Hello.
ARLON
Settled in then?
RUBY
Thank you, yes.
ARLON
Managing?
RUBY
Yes.
ARLON
Good. Good for you.(BEAT)
I wouldn't want you to over-do it.
RUBY looks at him, questioningly.
ARLON
I ran a check on your files.
RUBY stifles a look of panic.
ARLON(CONT)
You were very lucky to get a
position with Tradescant, weren't you?
RUBY stays calm.
ARLON (cont)
I have to be honest, Joan. You
weren't my first choice.
RUBY blinks.
ARLON
(leaning close)
How'd you do it?
RUBY is unsure how to respond. 'Does he know?'
RUBY
I needed a job.
ARLON smiles, straightens up and wanders off.
RUBY follows him with her eyes.
55 INT. CARL'S BOOKSHOP. EVENING.
RUBY enters the cosy shop.
Inside, CARL and FUCHSIA are sorting a new batch of books.
RUBY, still dressed in her JOAN work clothes, looks very smart. CARL nearly drops his bundle in surprise.
FUCHSIA
Ruby!
RUBY
(to FUCHSIA)
Hello, darling. Ready to go? Hello Carl.
CARL
(puzzled)
Ruby.
CARL stares at Ruby with a fixed interest. A thermometer on the wall begins to rise imperceptibly. Slowly the windows of the shop start to steam up, just a little. CARL absentmindedly removes his vest and wipes a little sweat from his brow.
CARL
I think I might as well let Fuchsia run
the shop. I'm sure she'd do a much
better job than me.
FUCHSIA
Could I, Daddy?
RUBY remains by the door, looking shy and awkward.
CARL
Fuchsia told me you have a job
now. She said you work for the dole.
RUBY
For the employment company,
Tradescant. Data entry. Nothing special.
CARL
It's a start, Ruby.
RUBY
It's just a job, Carl. Come on,
Fuchsia, we have to take Gabrielle
to the vet.
FUCHSIA exits to collect her coat and bag.
CARL
Trouble in heaven again?
RUBY
The archangel Michael doesn't approve
of other denominations stealing his Kit-E-Kat.
CARL
You can have them put down you know.
RUBY
(bristling slightly)
If people are going to let animals
breed in captivity, they should look
after them.
CARL
It's not up to you to save every stray.
RUBY
(interrupting-this is an old argument)
It's not the poor cats' fault that
they aren't wanted.
The thermometre plummets. CARL retreats, shivers, and puts his vest back on.
FUCHSIA appears rugged up in coat, mittens and scarf.
FUCHSIA
Ready. Bye, daddy. Take good care of the shop.
CARL
I will. Bye, beautiful. (beat) Bye, Ruby.
RUBY nods, awkwardly.
56 INT. RUBY'S LIVING ROOM. EVENING.
RUBY and FUCHSIA are dressed in artists' smocks with scarves in their hair. They stand in front of home-made painting easels, a larger one for Ruby, smaller for FUCHSIA.
Everywhere cats. A small fire glows in the hearth. There are fresh scorch marks in the old sofa. One of the cats looks particularly singed.
FUCHSIA is giving RUBY a painting lesson.
FUCHSIA
Ruby, you're my best pupil.
RUBY
Why thank you, Miss O'Roarke.
FUCHSIA
Benton.
RUBY
Pardon?
FUCHSIA
Benton. Carl made me
change my name. He showed me some papers.
He said it would be less confusing at school.
RUBY
(disturbed)
For him maybe.
FUCHSIA
Does it matter?
RUBY starts to paint vigorously.
RUBY
Course it matters. Your name matters.
You have your own name and it's
Fuchsia O'Roarke.
FUCHSIA
Why does it matter?
RUBY grabs her by the shoulders, surprising her.
The fire in the hearth flares.
RUBY
Because it's who you are. I gave
it to you. You've got to know who you are.
FUCHSIA
I know who I am. You'd
didn't have a name. Even if you couldn't
say my name.
RUBY
(releasing her)
So do you prefer to be Fuchsia Benton?
FUCHSIA
No, but it made Carl happy. And Gran.
RUBY
(slapping paint)
I bet it did. Next they'll try
and tell you I'm not your mother.
FUCHSIA
Don't be upset, mummy. I'm me. I'm Fuchsia.
And you're Ruby and Carl's Carl and
Fiona's gone away now, so she doesn't count.
RUBY stares at Fuchsia, waiting for more.
FUCHSIA
What does co-dependent mean?
RUBY
(po faced)
I don't know.
FUCHSIA
That's what Fiona said, 'Carl, you're too
co-dependent for me.'
RUBY starts to paint more freely now. There is a sparkle in her eye.
FUCHSIA
(observing)
Fiona did teach me about colour co-ordination.
She said blue and green should never be
seen, unless there's something in between.
RUBY
Well you know what I think?
(PAINTING A SWEEP
OF COLOUR) Blue and green can do
what they bloody well like.
She daubs Fuchsia on the nose. The two of them shriek with laughter.
57 EXT. PARK BENCH. AFTERNOON.
CARL and FUCHSIA are snuggled up together on a bench waiting for RUBY.
FUCHSIA
Platypuses aren't birds.
CARL
No, they're monotremes.
FUCHSIA
But they have a duck bill.
And they lay eggs.
CARL
I think God was in a good mood when he made
platypuses. He picked a little bit here,
(HE PRETENDS TO PICK A PIECE OF FUCHSIA)
and a little piece here.
FUCHSIA starts to giggle
CARL (cont)
And another piece here and he stuck
them all together.
FUCHSIA
God isn't a he.
CARL
Oh, all right. She. She stuck them
all together. Great, feminism at
your age. I suppose Ruby told you that?
FUCHSIA
Ruby says God isn't a he or she,
especially not a man who sits around
checking up on us all the time.
CARL
No, that's Bill Gates.
FUCHSIA
Ruby says God is the way
you feel things. She says
beauty and misery is all a part
of life and you can live with anything
as long as you accept it.
CARL
And what do you say?
FUCHSIA
I think God is like the angels.
CARL
Really?
FUCHSIA
Something beautiful to help people
not worry about dying.
CARL is taken aback.
CARL
Do you see any Angels, darling?
FUCHSIA
Of course. (SHE POINTS) Here comes one now!
CARL turns to see RUBY walking toward them from the far end of the park.
She is dressed in a long dress made from soft material. Her long hair is partially piled on her head with long strands trailing down her neck and back. She carries a colourful parasol (slightly torn) and an elegant old shawl.
CARL stops for a moment, staring at her.
FUCHSIA watches him watching RUBY.
FUCHSIA
Ruby and I went to a concert last week.
Then we came home and hung all
the paintings up so the cats
wouldn't climb over them.
CARL
That's a turn up for the books.
FUCHSIA
I keep telling you, everything is different now.
CARL
What about the old women? Are you still
feeding half the neighbourhood?
FUCHSIA
Ruby says she can't afford as much
now that she has her job.
CARL
Don't you mean the other way round.
FUCHSIA
No. I don't think so.
RUBY approaches. FUCHSIA runs to give her a huge hug.
RUBY
Darling, I missed you.
RUBY scoops her up and plonks her down on the bench.
RUBY
Hello, Carl.
She forgets herself and gives him a peck on the cheek.
FUCHSIA'S face lights up.
FUCHSIA
Let's go for a walk, all three of us!
CARL looks around for an escape. RUBY stares at the trees.
FUCHSIA
Come on.
FUCHSIA skips off before they can stop her.
CARL
Well, can't hurt, I suppose.
CARL stands and offers Ruby his arm, in a polite manner to cover his nervousness.
RUBY takes a deep breath, stands and takes Carl's arm. They walk towards Fuchsia, who is waving her arms about and cart-wheeling.
58 EXT. RUBY'S BACK PORCH. TWILIGHT.
CARL, RUBY and FUCHSIA arrive home. FUCHSIA skips up the steps, without giving her father a chance to say farewell.
FUCHSIA
I'll feed the cats.
CARL
Fuchsia, wait...
RUBY
Relax, Carl. She enjoys it. It won't take long.
CARL drops down onto the porch step to wait. RUBY leans against the railing.
The CROW drops down, sits on the HILL'S HOIST.
CARL
Christ, more crows. It's a wonder the
cats don't nab them.
RUBY
They never would.
CARL
Don't bet on it.
RUBY
I'd stake my life on it.
CARL
(smiling)
That's a big claim
RUBY returns the smile. Inside a clatter of dishes is drowned out by the chorus of hungry cats.
CARL
She's growing up.
RUBY nods.
RUBY
Look! The first star. Make a wish.
CARL
(gently)
You make a wish, you saw it first.
RUBY closes her eyes tight, wishing like a child. CARL stares at her.
A plate clatters to the floor inside. There is brief pandemonium. CARL stands, as if to help.
OFF SCREEN, FUCHSIA calls.
.
FUCHSIA
I'm alright.
RUBY
Leave her. She likes to do it by herself.
CARL
She's very independent.
RUBY
I hope so.
CARL
Just like her mother.
RUBY
(cool)
Not quite. I understand it's
Fuchsia Benton now?
CARL
(biting)
Fuchsia? No. It's Joan now.
RUBY
What?
CARL
Joan, Joan, Fuchsia's got it into her head to be
called Joan now, for some ridiculous
reason. I suppose you put her up to this?
RUBY
(withdrawing)
I don't know what you're talking about.
CARL
Oh, bullshit, Ruby. It
started when we decided Fuchsia should
get used to her legal name.
RUBY
We?
CARL
Annette and I. Annette wants to
include her in the will. And then Fuchsia
started this Joan business. 'I don't want
to be Fuchsia Benton, I want to be Joan. Like Ruby'.
RUBY looks away to change the subject.
RUBY
Well perhaps Fuchsia is old enough
to choose a few more things in her life.
CARL
(getting angry)
Like where she wants to live I suppose?
RUBY
(sharply)
Well why not? It might leave you a
bit more space for your big-titted girlfriends.
CARL
Thanks to you I don't have any
girlfriends at all.
RUBY
How is that my fault?
CARL
Never mind. Fuchsia is not
coming to live with you and that's that.
Do you want to go to court again?
RUBY evidently does not.
CARL(cont)
Look at this place. It's a disaster
area. It's a catastrophe.
(HE RECOGNISES HIS BAD PUN)
Half the time you don't even feed Fuchsia,
and the other half, it's a food
factory for every pensioner in the street.
FUCHSIA hears the familiar sound of her parents angry voices. She scoops up a kitten and creeps into her room.
RUBY
What's wrong with a little charity?
CARL
Because you can't even afford
a telephone. Christ!
RUBY
Who would I call? You?
CARL
How about an exterminator?
RUBY
Well that's all Fuchsia needs,
another sterile environment.
CARL
Well if you bothered to maintain
this place a little you'd...
RUBY
I'd what? Get custody? You hypocrite.
It was good enough for us once. Wasn't it?
Until your mother made you an offer too
good to refuse. Has it made you happy,
Carl? Are you happy now that
you have money instead of me?
CARL
Drop it, Ruby. Just drop it.
RUBY
Why? That's the point,
isn't it? Fiona thinks I'm
a prostitute. Well why not? What's wrong
with that? After all, it's not the oldest
profession, Carl, it's the only profession.
CARL
Leave Fiona out of this.
RUBY
Why? She's on the game too, isn't she?
CARL
Dammit, Ruby, she works for a living.
RUBY
We all work for a living, Carl,
only some get paid and others pay with
their lives. Are you getting
your life's worth, Carl?
CARL
That's your excuse for welshing all
That's your excuse for welshing all
these years is it? Gainful employment is a
waste of time, to you. Will I tell that to the
judge? 'Your honour, I wish to retain full
custody of my impressionable ten year
old daughter because my wife would rather keep her
daughter in a hippy slum than give
her a proper education.'
RUBY forgets herself and rushes at CARL. He grabs her. Holds her. Tries to pin her hands down and away from his face.
RUBY
How do you think your mother makes money?
Do you think she's ever done a decent day's work? What
about corporations, multi-nationals,
the Government? For Christ's sake, the whole
stinking lot?(SHE TRIES TO PUSH HIM AWAY)
It's all the same game.
The energy switches. The anger turns to intense, mutual physical attraction. We see how and why they were once lovers. They have an extreme connection.
CARL holds Ruby closer, kisses her once fully on the mouth. She doesn't pull away.
Passionately now, they kiss each other, wrapping themselves around each other.
CARL picks RUBY up. He carries her through the back door, through the kitchen and into RUBY'S bedroom.
CUT TO
59 INT. FUCHSIA'S BEDROOM. SAME.
FUCHSIA stands in her bedroom jumping up and down and making tiny silent claps. She squeezes a kitten.
CUT TO
60 INT. RUBY'S BEDROOM. SAME.
CARL and RUBY move together. It is sensual, familiar. They undress each other. They begin to make love, still a little wary of each other.
The bedroom is lit by candles. They start to flicker in their wicks. They grow brighter, the flames grow longer.
They illuminate the FIRE EXTINGUISHER sitting next to the bed.
CARL and RUBY are on the bed, consumed with each other.
The candles spark and ignite, filling the room with long knives of FLAME.
CARL is getting very excited. The bed ignites.
CARL jumps off the bed, mid-coitus. He picks up a sheet and thrashes it around on the floor until it is extinguished. The flames on the candle wicks also die.
RUBY picks up the FIRE EXTINGUISHER.
CARL
(panicked)
Shit, Christ. Jesus! Ruby, why
do you do that to me?
RUBY douses him with foam.
CARL (cont)
For God's sake, stop it. (SHE DOES) I can't stand
it. It scares me, Ruby. (HE PACES THE ROOM)
Oh, God. I swore I wouldn't. It's hopeless,
it's just hopeless.
CARL hurls himself about the room, falling over, grabbing clothes. He is disoriented and awkward. He storms out.
RUBY curls up in a ball on the bed, hugging the extinguisher and staring at the ceiling.
61 INT. FUCHSIA'S BEDROOM. EVENING.
FUCHSIA sits on her bed with her bedclothes draped around her, cuddling a kitten. The front door slams.
DISSOLVE
62 INT. CLIFFORD'S OFFICE. DAY.
A meeting is in progress. ARLON and MALA are present with three EXECUTIVES.
CLIFFORD is bored. He is standing at the window. He gazes below and sees RUBY sitting outside in a small courtyard attached to the building.
CUT TO
63 EXT. COURTYARD. SAME.
RUBY is sitting by herself on a bench throwing her lunch crumbs to a flock of pigeons. The CROW swoops in and scares them.
64 EXT. RUBY'S BACK PORCH. AFTERNOON.
A pair of legs in long trousers can be seen sitting on the porch steps.
RUBY enters the backyard via the driveway. She wears her work clothes. She carries an over-large zucchini and a new
paint brush in her teeth.
RUBY
Hey, Joe. How's Christina?
RUBY sits down next to JOE
JOE passes RUBY a cup of tea. A pot sits next to the tea things. He pulls a biscuit from his cardigan pocket and offers it to her.
JOE
Not so good, not so good. But,
(HE THROWS HIS HANDS IN THE AIR).. we manage.
RUBY
I'll come round, Saturday. Do some laundry.
JOE
You do too much already. It is enough
that you sit with me, hear my troubles.
RUBY
I'll drop by anyway, Fuchsia can
come with me.
come with me.
JOE
And see me in my underwear? That kind of
trauma your daughter can do without.
Believe me. So, are you winning
the rat race?
RUBY
Hardly. I barely have time to
spend with Fuchsia.
JOE
She grows.
RUBY
Yes, she grows.
JOE
And you, do you still have time for you?
RUBY
My time will come.
JOE
Well I haven't had an emergency call
in a while. Does this mean no more..?
(HE WIGGLES HIS EYEBROWS)
RUBY
Just one little... incident. Last week.
JOE
Nobody hurt, I hope?
RUBY
Just Carl's pride.
JOE
Ah-cha.
RUBY
And Fuchsia. She must have heard
the ruckus..but not a peep.
JOE
Just like her mother.
RUBY
I'm glad you're here. It's good you give
yourself a break once in a while.
JOE
A break, yes. Sometimes it is good that I
go for a walk, clear my head, sit with
a pretty woman. (HE SIGHS. STOPS PRETENDING)
It's not so good, Ruby.
Christina gets worse. Food
she will barely eat. The time it
takes to wash and dress her...
JOE is silent for a moment. RUBY stares into the backyard.
RUBY curls her hand into his. JOE looks into RUBY'S eyes.
JOE
(whispers)
She no longer remembers my name, Ruby.
Two tears fall down ether side of Joe's face. RUBY kisses them both, hugs him for a moment.
Her arms drop down his back as she embraces him. She deftly removes his WALLET from his back pocket.
JOE straightens up. Recovering quickly.
JOE
This job of yours. They pay you well?
RUBY
No, (SHE SMILES) but there are
some advantages.
JOE
Such as?
RUBY
Job satisfaction.
RUBY and JOE laugh despite themselves. JOE stands to leave. He dusts himself off, stretches in exaggerated pain.
JOE
We are a nation of clever cattle
wandering voluntarily to the slaughter.
(HE PRODUCES A LOTTERY DOCKET)
I go now to see if I am a
millionaire. What does it say for a
man when his only hope is the lottery?
RUBY
Come again soon, Joe.
JOE
I am such fun, I will come again tomorrow.
(HE TAKES RUBY'S FACE IN HIS HANDS)
Ruby O'Roarke, you are one of a kind.
JOE shuffles off down the drive-way.
RUBY slumps back onto the porch steps. She stares into the backyard. The crow flies low, swoops in and lands on the Hills Hoist.
RUBY
There are some lurks and perks, eh crow?
RUBY pulls out JOE'S wallet from under her shawl. She pulls out his pension card. RUBY looks up. The NUN also flies low over the backyard.
NUN
Wicked, wicked girl.
RUBY throws a stone at her. It bounces off her head.
DISSOLVE
65 INT. TRADESCANT ELEVATOR. LATE AFTERNOON.
CLIFFORD is walking MALA to the lift. She is carrying a load of paperwork. CLIFFORD presses the button.
CLIFFORD
How about a quickie in the elevator?
MALA
Clive, sometimes you are all charm.
CLIFFORD
You used to like it.
MALA
Before Tyson installed the closed
circuit cameras.
The elevator arrives.
66 INT. DATA ENTRY LEVEL FIVE. EVENING
Staff are leaving for the day.
ARLON walks past with an attractive young staff member at his side.
ARLON
Nonsense. I'm delighted to help.
They exit through the glass doors.
The camera pans around the floor to RUBY sitting at her work station. She looks over her shoulder.
RUBY double checks the office. It is empty.
From her pocket, she produces JOE'S PENSION CARD.
RUBY begins to scan the files on her computer. She logs into the tax file section and enters her transaction number. She types in JOE GRIMALDI and SOCIAL SECURITY NUMBER and hits return. A warning message appears on her screen accompanied by a loud electronic alarm. 'This is an unauthourised entry- Access denied'.
RUBY jumps, in fright. She checks the office floor nervously. She quickly shuts down the computer and gathers her things to leave.
CUT TO
67 INT LEVEL FIVE ELEVATOR LOBBY. SAME
RUBY is waiting nervously.
The elevator arrives. The doors open. CLIFFORD is standing there.
CUT TO
68 INT. CARL'S BOOKSHOP. EVENING.
FUCHSIA dangles her legs over the counter, kicking it as she swings. CARL is finishing the book-keeping.
CARL
Fuchsia, could you find someplace else to sit?
FUCHSIA
Joan.
CARL
(sighing)
Joan, could you find someplace else to sit?
FUCHSIA
I'm waiting for Ruby.
CARL
(exasperated)
For the last time, Fuchsia, she isn't
coming tonight.
FUCHSIA
I don't believe you.
CARL
Well take your disbelief to the bathroom
and get cleaned up. Annette will be here soon.
69 INT. ELEVATOR. EVENING
CLIFFORD
Working late?
RUBY nods.
CLIFFORD (cont)
How very dedicated. You're Joan. Aren't you?
RUBY nods again.
The elevator arrives. The door opens to the lobby. They step out. RUBY sees the SECURITY GUARD. She blanches just a little. CLIFFORD notices but covers.
CLIFFORD
Here, Joan. You're in luck. We can take
a short cut.
He leads her down the side stairwell to his private entrance.
CUT TO
70 INT. PRIVATE ENTRANCE CORRIDOR. SAME
In the dark of the corridor, CLIFFORD produces his security pass.
CLIFFORD
I asked Tyson about you. He said you were
very qualified.
RUBY
I am.
CLIFFORD
He also said you wouldn't say boo to a ghost.
RUBY
Ghosts don't scare that easily.
CLIFFORD
Is that so? Here we are.
CLIFFORD keys in his number and pushes open the heavy door. A cold gust of wind hits them both.
CLIFFORD
Glad my car's heated.
Want a lift somewhere?
RUBY
No thanks.
CLIFFORD
You're crazy. It's freezing. Get in.
71 INT. ANNETTE'S DINING ROOM. EVENING.
FUCHSIA, CARL and ANNETTE sit in almost silence around the large oak dining table sipping soup. They are all well dressed.
Breaking the silence, Fuchsia lets out a large belch. It makes her giggle.
Amidst the glowering of his mother, CARL works hard not to giggle as well.
72 INT. CLIFFORD'S CAR. SAME
CLIFFORD
Where to?
RUBY
The station.
CLIFFORD
Come on. We can do better than that.
RUBY smiles, a little nervous.
CLIFFORD(cont)
How are you finding the work?
RUBY
Fine.
CLIFFORD
You're a terrible liar, Ruby.
That job would bore the knickers off a nun.
RUBY
I don't mind.
CLIFFORD
Really? Wouldn't you like something a
little more challenging?
RUBY
Like what?
CLIFFORD
You tell me.
CLIFFORD swings the car into an arterial road.
RUBY
Where are we going?
CLIFFORD
It's too cold to catch a train.
Besides, it's dangerous at night.
It's much warmer in here.
(HE TURNS DOWN THE HEATER) A bit too warm.
RUBY
Stop the car!
CLIFFORD swerves and hits the brakes.
CLIFFORD
What's wrong?
Before he can stop her, RUBY jumps out of the car. It is raining.
RUBY
Nothing. I forgot to get something.
RUBY steps away. CLIFFORD stares at her. She leans in again.
RUBY
I want to learn about computers.
CLIFFORD
(puzzled)
Right.
RUBY
Thanks for the lift.
RUBY walks off quickly in the rain.
CLIFFORD stares after her in the rearview mirror.
73 INT. ANNETTE'S GUEST ROOM. NIGHT.
FUCHSIA lies awake listening to CARL and ANNETTE argue.
CARL
She'll never agree to it.
ANNETTE
She won't have much choice.
CARL
She'll go nuts. Let's wait another year.
ANNETTE
No, another year is too late. Another year
in that public zoo and she'll end up
just like her mother. Is that what
you want for Fuchsia, Carl?
Is that what you want?
74 INT. TRADESCANT HEAD OFFICE. DAY.
RUBY appears, dressed as JOAN at MALA'S desk. RUBY looks a little puzzled. MALA gives her the once over.
RUBY
I'm told to report here today.
MALA
I don't think so. We aren't expecting anyone.
RUBY looks around nervously.
MALA
Perhaps you better pop back to data entry.
You don't want to get your pay docked.
RUBY
No. Someone else has my work station now.
I just turned up this morning and they
sent me up here.
MALA
Who did?
RUBY
Security. They gave me a new pass.
ARLON enters from the corridor.
MALA
Well it's news to me.
ARLON
(from behind)
But not me.
They both turn.
ARLON(cont)
Mala Wilson, I'd like you to meet
Joan Orleans. Joan, Mala.
MALA
What's going on Tyson?
ARLON
(non-plussed)
Personnel redeployment. A
new training scheme. We're test driving
it up here. With Joan.
MALA
Well no-one informed me.
ARLON
Really. How peculiar.
Clive thought it was a great idea.
Come with me, Joan.
RUBY looks alarmed. MALA is not impressed. ARLON leads RUBY into his office.
75 INT. TRADESCANT HEAD OFFICE. DAY/LATER.
RUBY is sitting at her new desk, sorting papers. The office staff, including MALA and ARLON are busy at work.
CLIFFORD enters from the corridor.
CLIFFORD
(general)
Morning.
The staff respond, congenially, habitually.
MALA
Afternoon, Clive.
CLIFFORD gives MALA a big smile.
He slows passing Ruby's desk.
CLIFFORD
(smiling)
Welcome aboard.
RUBY smiles, tries to make nothing of it. It is subtle but MALA notices. So does ARLON.
76 INT. CLIFFORD'S OFFICE. SAME
CLIFFORD is sitting at his desk sorting messages. MALA enters.
CLIFFORD
Mala?
MALA
What's going on?
CLIFFORD
Another day. Another dole recipient off
the list. How about you?
MALA
I think the office is getting a little crowded.
CLIFFORD
Joan? Relax, Mala. It's a great idea.
We create the scheme, get a little
publicity, brighten up someone's
dreary life. It doesn't cost us a cent.
What's your problem?
MALA
We're not a baby sitting club for the
illiterate. We're professionals.
CLIFFORD
And you are a professional secretary.
MALA
With enough qualifications to wallpaper
this room.
CLIFFORD
(smiling)
Then put them to use and get started
on the Premier's conference. Okay?
77 EXT. PUBLIC PARK. DAY.
RUBY and FUCHSIA are wearing overalls and gumboots. They are planting fruit trees in the public park.
FUCHSIA
This is fun, Ruby. (WATERING A SAPLING)
How old will I be when I can eat the fruit?
RUBY
About thirteen.
FUCHSIA
Thirteen. I can get a job then.
RUBY
Now why would you want to do that?
FUCHSIA
So you can stay home and paint again.
So I can buy you things.
RUBY
I don't need anything, sweetie.
Just you.
FUCHSIA
Then why do you work?
RUBY
So we can eat. I guess.
FUCHSIA
Then why doesn't everybody just
stop working and grow food?
RUBY smiles at Fuchsia.
A COUNCIL WORKER sees them from across the park. He shouts at them and starts running toward them.
RUBY grabs the shovel and watering can.
RUBY
Quick, Fuchsia, run.
FUCHSIA obeys, laughing.
78 INT. CLIFFORD'S OFFICE. DAY.
RUBY nervously carries in a tray of coffee.
CLIFFORD, ARLON and the TREASURER are in a meeting.
The TREASURER stops talking when RUBY enters. CLIFFORD waves him on.
CLIFFORD follows RUBY with his eyes.
ARLON notices everything.
RUBY tries not to look at either of them.
TREASURER
The Prime Minister's concerned that
things are moving too swiftly, Clive.
CLIFFORD
Well what do you expect? He's a
politician for Christ's sake.
TREASURER
Well what am I? Whinnie the Poo? Look,
the public has barely had time to catch its breath.
CLIFFORD
We're not giving them a massage,
Mike. Our brief was to sort out your
mess and take the heat for it.
ARLON seizes his chance. As RUBY exits he quietly excuses himself and follows.
CUT TO
79 INT. ARLON'S OFFICE. SAME.
RUBY is staring at ARLON'S computer. He steps in behind her.
ARLON
Can I help you with anything?
RUBY
(jumps a little)
I was wondering if you needed any
more filing done?
ARLON
Has Mala run out of projects for you?
RUBY
Looks like it.
ARLON
Where is she?
RUBY
On her lunch break.
ARLON seizes his chance.
ARLON
Pity. (HE MOVES IN A LITTLE CLOSER)
You must be feeling very happy with
yourself, Joan. Landing a job up here.
RUBY is silent.
ARLON (cont)
Must be that will to work. Hmm?
(HE LEANS IN) I know your little secret,
Joan. (HIS HAND HOVERS ABOVE HER BREAST)
Did a little creative writing on your CV,
I think.(RUBY STAYS COOL) Don't worry.
Your secret's safe with me.(ARLON IS INCHES
FROM RUBY'S FACE) It's a fair exchange.
You look after me, and I won't tell
Clive how much of a half-wit
he's just promoted.(HE SNIFFS HER)
The TREASURER and CLIFFORD step out of Clifford's office. They shake hands.
CLIFFORD
Good of you to drop by, Mike. Tys! Be a
chap and see the Treasurer to his vehicle.
ARLON ceases his preying.
ARLON
Certainly, Clive, with pleasure.
The TREASURER and ARLON head for the elevators.
CLIFFORD
Where's Mala?
RUBY
At lunch.
CLIFFORD
(to Ruby)
Right. Well, time's money. come into
my office Joanie. We'll see if you
can take care of it.
ARLON hears this interchange. The elevator doors close as RUBY enters CLIFFORD'S office.
80 INT. TRADESCANT HEAD OFFICE. EVENING.
CLIFFORD and MALA and ARLON are leaving the office.
CLIFFORD
Mala, is that itinerary ready for
the Premiers' conference?
MALA
I'll have it on your desk by Friday.
CLIFFORD
Friday is two days too long.
(SNAPPING HIS FINGERS) Get with it, woman.
The elevator arrives. They climb in.
MALA
Clive, you can be such a prick sometimes.
ARLON smirks. The doors close.
The door to the women's toilets opens. RUBY steps out. She heads for ARLON'S office.
RUBY takes a seat at ARLON'S desk.
She turns on the computer. She gingerly lifts up the keyboard and slides out a small key blue-tacked to the board. Checking the office floor, she slides the key into a small disk file in the third drawer.
She levers out a floppy disk and inserts it into the computer. She opens the disk. It contains information about the security access numbers and classifications. RUBY scribbles a few of them down.
She punches in a number. This time the computer makes a fanfare and RUBY knows she has accessed the mainframe.
She produces Joe's pension card again and starts typing his information in. RUBY punches in a code. A screen appears with Joe's file on it.
CUT TO
81 INT. CLIFFORD'S PRIVATE ENTRANCE. SAME.
CLIFFORD has returned to the office. He lets himself in.
82 INT. ARLON'S OFFICE. SAME.
RUBY taps into the menu again. It flashes up NO ACCESS.
83 INT. CLIFFORD'S OFFICE. SAME.
CLIFFORD picks up the phone.
84 INT. ARLON'S OFFICE. SAME.
RUBY sees the phone light up. She accidentally knocks a file off ARLON'S desk and drops the file key.
85 INT. CLIFFORD'S OFFICE. SAME.
CLIFFORD hears a noise outside. He puts the phone down.
CUT TO
86 INT. ARLON'S OFFICE. SAME.
CLIFFORD steps into the corridor, sees the light. He moves toward ARLON'S office. He sees RUBY, dressed as JOAN.
CLIFFORD
Well, what in the name..?
RUBY
(jumping)
Oh God, I didn't hear you come in.
CLIFFORD
Obviously. What the hell are you doing here?
RUBY
I'm, I'm just...
CLIFFORD
Does Tyson know you're here?
RUBY
Not exactly.
CLIFFORD
(marching over to the screen)
I'm sure he does not.
CLIFFORD turns the screen around to face him. On it is a Tradescant form letter.
He looks at RUBY
RUBY
(sheepishly)
I'm practicing.
CLIFFORD
I don't understand.
RUBY
(rambling)
Practicing. I'm trying to improve
my computer skills.
CLIFFORD
How did you get in?
RUBY
I hid in the women's toilets.
CLIFFORD begins to laugh. She is harmless.
CLIFFORD
Hmm, remind me to tell Arlon.
RUBY
Please don't. He'll sack me. He already
knows I lied.
CLIFFORD
What about?
RUBY
I doctored my qualifications. Just a bit.
I really needed a job.
CLIFFORD
Really? You are a surprise packet, Joan.
CLIFFORD recognises a chance when he sees one.
CLIFFORD
Alright. You can trust me. Ingenuity needs
its rewards. But you can't do this,
Joan, stay late. You'll get me into trouble.
RUBY
Aren't you the boss?
CLIFFORD
(dryly)
No, Mala is.(CHARMING) I assume you're
not charging me overtime for this.
RUBY
(blushing, half laughing)
Of course not. (SHE FLIRTS A LITTLE)
Perhaps I should.(HE LAUGHS)
You're working late yourself.
CLIFFORD
I, my dear, am a slave to the system.
Always something to be done. Never enough
time. Never enough help. Perhaps I
need to find someone else who likes
to work late. (HE GRINS)
RUBY
Maybe you have.
CLIFFORD grins like a Cheshire.
RUBY is covering a small key.
87 EXT. TRADESCANT CARPARK. NIGHT.
CLIFFORD leads RUBY out of his private entrance into the Carpark. The cold wind bites.
RUBY clutches her coat tight around her. CLIFFORD gallantly opens the front door for her. She gets in. He climbs in the driver's side. He starts up the car.
CLIFFORD
So. How about we try this again. Hungry?
CUT TO
88 INT. RESTAURANT. EVENING.
RUBY and CLIFFORD are well into the third bottle of wine and reaching the end of their meal. They share a deadly looking dessert.
CLIFFORD is quite drunk, waxing lyrical and enjoying himself. He sneezes, twice.
RUBY
Are you unwell?
CLIFFORD
No, just allergic. Cheap wine, cigarettes,
cats, (WINKS) Pretty women.
So do you like me, like working
for me I mean?
RUBY
Yes, I like....
CLIFFORD
(interrupting)
I like you. I can talk to you.
(HE GRABS HER HAND) Talk to me, Joan.
Tell me all about yourself.
RUBY takes a breath
CLIFFORD(cont)
Because I want to know everything.
You intrigue me. You know that Tyson thinks
you're pretty hot stuff. (HE WINKS)
RUBY
(stoic)
I think he wants to sack me.
CLIFFORD
No, no he wouldn't do that.
You leave it with me. We've just started
to have fun. We don't want you to go now.
RUBY scoops up some dessert and offers Clifford a spoonful. He takes it eagerly but misses a bit.
89 EXT. RESTAURANT CARPARK. NIGHT.
CLIFFORD is fumbling over RUBY up against his car. He is a sloppy seducer, running hands everywhere, too drunk for subtlety.
He tries to kiss her.
She sneaks a hand into his pocket and produces the keys. She presses the infra red button and unlocks the car.
RUBY
Clive, Clive, I'm getting cold.
CLIFFORD takes the keys from her hands, not interrupting his groping for a second. He opens the back door and eases her into the car. He climbs on top of her.
Hands and legs are everywhere.
The windows are steaming up. CLIFFORD is having difficulty with RUBY'S clothes.
CLIFFORD
Still cold, baby?
RUBY
A little.
CLIFFORD
How can you be cold? It's steaming in here.
He buries himself into her neck. He hoists himself and starts to remove his trousers. He gets a strong whiff of Ruby's coat and comes up sneezing.
CLIFFORD sits in the back of his company car with his pants down to his knees, sneezing and choking.
RUBY slides up next to him. Her hair disheveled. Her makeup is smeared. Her dress is askew.
CLIFFORD
(wheezing)
Cats. You've got a cat.
RUBY
A couple.
CLIFFORD
No good, can't breathe. Need puffer.
He points at his glove box. RUBY leans forward. Opens it. Removes the asthma spray. Hands it to him.
CLIFFORD takes deep breaths and inhales the substance.
CLIFFORD
Not much of a turn on, eh?
90 INT. EUDORA'S LIVING ROOM. EVENING.
A cosy, humble room. Old lamps and furniture decorate the place. A small electric fire glows.
In the corner, a scratchy gramophone plays Bing Crosby.
FUCHSIA is dressed in a cape and an old hat. She is dancing slowly to the music.
EUDORA is in her chair.
RUBY enters, carrying a pot of tea and cups on a tray.
RUBY
No biscuits tonight. Economy drive.
EUDORA & FUCHSIA
Boo.
RUBY
Eudora, thank you again for minding Fuchsia.
EUDORA
Not at all. We've had a lovely time.
RUBY
Eudora, thank you again for minding Fuchsia.
EUDORA
Not at all. We've had a lovely time.
RUBY sets the things down and begins to pour. The gramophone winds down. RUBY sips her tea.
FUCHSIA
Eudora, when you're dead, can I have
the gramophone.
RUBY chokes on her tea.
EUDORA
(laughing)
It's alright. We were just having a
little chat about it.
FUCHSIA
Eudora says that our bodies are just ships
in the night that eventually run aground and get rusty.
EUDORA
And carbuncled.
FUCHSIA
But the soul sails on. That's why
she isn't afraid of dying.
EUDORA
No, it's just the living that gets a
bit difficult sometimes.
(SHE LEVERS HERSELF OFF THE CHAIR)
Nature calls. (beat) More often these days,
I might add.
She hobbles off to the bathroom.
FUCHSIA
Are you afraid of dying, Ruby?
RUBY
No, but I'd miss you.
CUT TO
91 EXT. RUBY'S STREET. EVENING.
RUBY and FUCHSIA wander home. FUCHSIA still wears the cape.
RUBY
It's so late and you haven't done
your homework yet.
FUCHSIA
Homework? You never make me do it.
RUBY
I never had to before. Why don't you
like it these days?
FUCHSIA
You used to do it with me.
RUBY
I don't have so much time anymore.
FUCHSIA
You have the same time. You just spend
it somewhere else.
RUBY
(gently)
Fuchsia, please understand. I have
to work late now.
FUCHSIA
With that man?
RUBY
(cautious)
Yes.
FUCHSIA
Maybe you are a prostitute after all.
FUCHSIA runs ahead, her cape flying, leaving RUBY standing in shock.
RUBY
Fuchsia!
FUCHSIA
(calling behind)
My name is Joan.
92 INT. ARLON'S OFFICE. MORNING.
ARLON is alone at his desk. He is staring at the computer screen in disbelief. He hears CLIFFORD arriving for the day.
He gets up and closes the door. He returns to his screen.
CLIFFORD sticks his head into the office.
CLIFFORD
Hey, Tys!
ARLON jumps.
CLIFFORD(cont)
Steady. What's the problem, man?
ARLON
Nothing. I think.
CLIFFORD notices ARLON'S expression.
ARLON(cont)
Did you run the system last night?
CLIFFORD
No. Why should I?
ARLON
Was anyone else here?
CLIFFORD
(pointedly)
No. I was alone. Don't tell me there's
an error in your state of the art program, Tys?
ARLON
Of course not.
CLIFFORD
Fine.
ARLON
Good.
CLIFFORD
Good.
CLIFFORD leaves ARLON staring incomprehensibly at the screen.
93 EXT. RUBY'S STREET. MORNING.
RUBY is rushing down the street. JOE steps out of his driveway and is nearly bowled over.
JOE
Hey, Speedy Gonzales.
RUBY
I'm late for work. Have you seen Fuchsia?
JOE
Slow down. You'll kill somebody.
Yes, I have seen her. She came by for some
porridge with Christina. They watched cartoons together.
Then she went to school.
RUBY
I slept in.
JOE
So take a break. You're a
public servant, aren't you? Give
yourself something to do in the afternoon.
RUBY
(slowing)
Sorry, Joe. Things are getting on top of me.
JOE
I can see that. Fuchsia?
RUBY
I had her last night. Trial basis,
on a school night. I blew it.
JOE
You're only human, Ruby.
RUBY
They want to send her to boarding
school, her Grandmother, Carl.
JOE
So say no. You're her mother
for goodness sake.
RUBY
Where her Grandmother's concerned,
'No', means 'I'll see you in court.'
JOE
Ruby. What's going on? You don't
look yourself lately.
RUBY
I'm okay. I have to go.
I'm late as it is. Thanks for feeding
Fuchsia. (SHE STOPS.
PULLS SOMETHING FROM HER BAG)
Here.(SHE HANDS HIM HIS WALLET)
I found it in the garden. Bye.
She runs off. He shakes his head.
JOE
So I'm forgetting things now.
(HE CALLS DOWN THE STREET)
Take the time to smell the roses.
94 INT. TRADESCANT FOYER. MORNING.
RUBY enters the foyer, rushed and in disarray. Outside the remains of the defaced GREENPEACE billboard looks worse. Next to an image of a baby seal covered in oil are the words 'EAT MORE MEAT.'
RUBY rushes for the security arch. She slips in her pass. An alarm goes off. She shrieks.
SECURITY GUARD
Calm down. We've had a breach,
changing the locks.
RUBY
(not understanding)
What?
SECURITY GUARD
(as if she's stupid)
A security breach. Had to issue new
passes. Everyone got theirs this morning.
RUBY
I'm late.
SECURITY GUARD
Dah.
RUBY
Call Clifford. He'll let me in.
SECURITY GUARD
Not this time.
RUBY
Call Clifford. Clive Clifford.
Tell him Joan is
stuck at the gates of hell and wants
to get to work. Do you hear me?
The SECURITY GUARD is taken aback by Ruby's command. He reluctantly leans over, picks up an internal phone and calls. He listens.
SECURITY GUARD
Yes sir.
He produces a sizable key, puts it in the device and shuts the system down.
RUBY
Thank you.
RUBY rushes through and up the escalator.
SECURITY GUARD
(out of the side of his mouth)
Screwing our way to the top, are we?
RUBY stops, wheels around, slowly descends the escalator taking twice the time as it is carrying her forward. She steps off and confronts the guard.
She says nothing. She just stares at him. He breaks into a sweat.
SECURITY GUARD
Sorry, miss.
RUBY steps back on to the escalator and travels up majestically.
95 INT. TRADESCANT HEAD OFFICE. DAY.
RUBY arrives at her office. Pandemonium has broken out.
MALA is standing at her desk. A box of her personal things in front of her.
Around her, pot plants are strewn, pictures are smashed.
RUBY arrives in time to see MALA fling a metal tape dispenser into CLIFFORD'S door, leaving a gash in the wood.
Staff are peeping out from cubicles.
MALA
Arsehole!
MALA turns to see RUBY standing, staring, open-mouthed.
MALA
(to the closed door)
Now that you've got yourself another suck,
you can get her to make excuses to your wife.
She hurls a framed photo at the door.
ARLON sticks his head out. He signals to RUBY.
RUBY takes the chance and slips into his office.
ARLON
Where the hell have you been?
RUBY
I slept in.
ARLON
Brilliant.
RUBY
What's going on?
ARLON
Clive sacked Mala.
MALA
(outside, overhearing)
He didn't sack me. I resigned.
She hurls another object at Arlon's office. Scoops up the rest of her belongings and marches toward the elevator.
STAFF applaud her as she goes.
The elevator is delayed.
They keep clapping.
MALA turns on them.
MALA
Screw you all to hell.
She takes the stairwell.
ARLON
Was it Gallilleo, who
said, 'it's better to get
a job on your back than resign on
your knees?' Back to work folks,
the show's over.
RUBY slips into CLIFFORD'S office before ARLON has a chance to stop her.
96 INT. CLIFFORD'S OFFICE. SAME.
CLIFFORD is spinning in his chair. He ducks slightly when RUBY enters.
CLIFFORD
Coast clear?
RUBY
What was that all about?
CLIFFORD
Nothing much, just a bit of personnel redeployment.
We had a screw up with the system and Mala
thought her qualifications would serve better
elsewhere. Take a seat, Joanie,
we've got lots of work to do.
RUBY sinks into a seat.
CLIFFORD(cont)
First up, here. (HE THROWS HER A NEW PASS)
That will get you in via the private access.
Mala doesn't need it anymore.
RUBY fingers the pass.
CLIFFORD(cont)
She's left me in the lurch,
sly bitch. Never mind, shit happens.
Joan, I want you to assist me at the
Premiers' conference this weekend.
RUBY
I can't.
CLIFFORD
I'm sorry?
RUBY
I can't, not this weekend.
CLIFFORD
I'm not asking you, Joan, I'm telling you.
(SNAPPING HIS FINGERS) Get it?
RUBY
But my..
CLIFFORD
But my arse, Joan. I'm doing you a favour.
Whatever you've got on, cancel it. It's not
like you've got kids to worry about.
Book yourself a room at the Sheraton. My wife
will be staying with me, so stay on another floor.
Mala finished the agenda, thank Christ, but
you'll have to bone up.
(HE THROWS HER A WAD OF MONEY) And get yourself
something decent to wear. Two dinners, openers
on Saturday and the wank swank on Sunday.
RUBY stares at the money.
97 EXT. PUBLIC PARK. AFTERNOON.
The sun strains to shine through the clouds.
RUBY lies in Joan's clothes in the damp grass staring above her.
FUCHSIA skips up beside her and plonks herself down on the grass next to her.
FUCHSIA
Oh Ruby, this is wet!
RUBY
It's not so wet.
FUCHSIA
You'll catch a chill.
RUBY
I like it. Wet and sweet. It's soft.
I feel safe here darling.
FUCHSIA sighs and snuggles in next to her mother.
FUCHSIA
You beat me.
RUBY
What's that?
FUCHSIA
You beat me here. You're early.
Usually, you're late.
RUBY
(not listening)
Mmn.
FUCHSIA
I'm sorry about our fight.
RUBY
(looking at her daughter)
It's okay, baby.
FUCHSIA
(sing song)
Joan of Arc, lived in a Park,
above a windy city.
When she looked down, upon the town,
her heart was filled with pity.
RUBY
What are you saying, darling?
FUCHSIA
St. Joan. We're reading about her
at school. Anna says..
RUBY
Who's Anna?
FUCHSIA
My teacher. You know.
RUBY
Of course, darling.
FUCHSIA
Joan of Arc, lived in the dark,
in a tower made of stone. She met her fate,
burnt at the stake, and suffered all alone.
RUBY
That's very brutal, Fuchsia.
FUCHSIA
St Joan died happier than she lived.
Anna said she resurrected her country's
identity by hiding her own. She was valorous.
RUBY
Valorous and dead.
FUCHSIA
Better than cowardly and alive.
RUBY
Do you really believe that?
FUCHSIA
Yes. I don't know. But
Anna says they couldn't really kill her.
A soldier found God when they burned her.
He went back the next day and found her
heart, still beating.
RUBY
(getting up)
This is morbid. Let's go home.
I'm hungry.
98 INT. RUBY'S BEDROOM. EVENING.
RUBY stands in front of the mirror holding another of JOAN'S business suits in front of her. She swaps it for a second- hand evening dress. It doesn't look like JOAN. With the other hand she holds back her hair as she wears it to work.
She drops the hair, then the clothes in a heap in front of her. She stands in an antique silk petticoat. She stares at herself. She looks beautiful and tragic. There is a deep sadness in her eyes.
The NUN materialises in the mirror. The NUN stares hard at RUBY without saying anything. The NUN'S face begins to morph into RUBY'S MOTHER, HILDA.
RUBY
(agitated)
Leave me alone.
The NUN/HILDA remains.
RUBY (cont)
Go away!
Still the NUN remains.
RUBY cannot get rid of her. She slams the wardrobe door. The mirror breaks. Shards of glass fall at RUBY'S feet.
She hugs the clothes to her and kneels down, leaning dejectedly against the wardrobe.
FUCHSIA
(calling)
Ruby?
RUBY
(covering)
Everything's fine, darling.
CUT TO
99 INT. RUBY'S LIVING ROOM. EVENING.
A small open fire is burning. Cats laze around the hearth place looking sated.
FUCHSIA is painting a picture of JOAN at work. Her painting shows JOAN in an office window, surrounded by slightly grotesque and over-sized versions of CLIVE, ARLON and MALA.
RUBY wanders in behind Fuchsia. She wears a shawl around her petticoat. She catches Fuchsia's concentration and stares at her daughter and the painting for a moment.
RUBY
What do you call that?
FUCHSIA
The Premiers' Conference.
RUBY
It's not very flattering.
FUCHSIA shrugs, a little sullen.
RUBY (cont)
Fuchsia, it's not my idea to be at
this thing all weekend.
FUCHSIA
Then don't go.
RUBY
I'm afraid I have to.
FUCHSIA
I didn't think you were afraid of anything.
100 INT. RUBY'S KITCHEN. LATER/EVENING.
RUBY and FUCHSIA sit at the kitchen table. A kettle simmers on the stove. Rain falls gently outside.
FUCHSIA and RUBY are cutting out pieces from the newspaper.
FUCHSIA is cutting coloured pictures from magazines and making pretty collages in her scrap book.
RUBY is cutting news items and sticking them in a separate scrap book.
FUCHSIA
(looking up)
What are you doing?
RUBY
(winks)
Homework.
Act III
101 EXT. SHERATON HOTEL. MORNING.
RUBY approaches the five star hotel. She stares up at the building. She carries a small suitcase with her.
102 INT. HOTEL ROOM. DAY.
RUBY and ARLON are sitting at a hotel table sorting papers. They both look exhausted. They are surrounded by lap tops, mobile phones, fax machines, snack food, etc. RUBY hands ARLON a sheet of paper.
ARLON
(flustered)
No. No. No! Not that one. I told you,
this is for tomorrow's press conference.
CLIFFORD enters.
CLIFFORD
Jesus, Arlon. Do I have to do everything myself? You
were supposed to meet me downstairs ten minutes ago.
ARLON
(rising)
Coming, Clive. Einstein here screwed up the schedule.
ARLON scoops up a pile of papers, his suit jacket and half a pastry. He shoves the pastry in his mouth and follows an agitated CLIFFORD out the door.
CLIFFORD
(closing the door)
Get this mess sorted out, Joan. Dinner's at eight.
103 INT. SHERATON HOTEL BAR. EVENING.
CLIFFORD is drinking with businessmen. Next to Clifford is his wife, ANGELA. She looks impressive.
RUBY appears outside the glass door of the bar. She looks beautiful in a long, attractive but makeshift gown.
CLIFFORD'S gaze swings toward the door of the bar. He does a double take. He slips away.
CLIFFORD
Where have you been?
RUBY
Changing.
He takes a long look at her, undressing her with his eyes.
RUBY
I'm not coming to the dinner party.
I just came to tell you.
CLIFFORD knows she means it. Changes tack.
CLIFFORD
Okay, okay, sure. My wife's coming now.
It might be a bit, you know.
RUBY
I'm going up to my room.
I'll be available again in the
morning to pack everything up.
CLIFFORD
That's fine. Get some sleep. Look,
there's still a few things I need to
check with you. (HE GLANCES AT HIS WATCH)
Why don't I meet you in your
room in, say, five minutes?
RUBY
Ten.
104 INT. HOTEL ROOM. NIGHT.
RUBY wanders around the hotel room staring at the street scene below. She looks like herself. No more masks.
She lights two candles. They float in water bowls.
A knock on the door. She opens it to CLIFFORD.
For a moment CLIFFORD is at a loss. The woman he knows as JOAN is not there anymore. He is not sure who she is.
RUBY
What do you need?
RUBY looks relaxed, beautiful, alluring.
CLIFFORD
I beg your pardon?
RUBY
You said there were a few more
things to check.
CLIFFORD
Yes, a few things to finalise.
He is comfortable now. He moves to the bar. Pours himself a drink.
CLIFFORD
You want a drink?
RUBY
No thank you.
He begins to remove his coat, then his tie. Not suggestively, but as if he is at home on any other night.
CLIFFORD
I'm glad you were here this weekend.
It's a bit desperate. All the women
on this conference look like men.
RUBY
I thought you came here to lobby.
CLIFFORD
Work, lobby, work, it's
all the same in the end. The bloody
PM's taking all the credit anyway.
That's politics. Might as well enjoy the ride.
He sidles up to her. Runs his hands over her.
CLIFFORD
Oh Joan, Joanie, Joan. You've
got a great arse.
He buries himself in her breasts. Ruby looks at the ceiling.
CLIFFORD(cont)
Aren't you going to take
off your clothes? (HE DOESN'T WAIT
FOR A RESPONSE) Here. I will.
He tries to unzip her dress. She sidles out of his grasp.
CLIFFORD(cont)
How old are you?
RUBY
Does it matter?
CLIFFORD clumsily dumps RUBY on the bed. He is all over her, at the same time ripping off his clothes. She tries to move from underneath him. CLIFFORD is getting excited now.
CLIFFORD
Oh! Oh god I want to come.
Hope you're on the pill, Joan. I'm not
supporting any more brats.
Christ I wish we could legislate
parental licences. Some of the cracked
up lunatic no- hopers. Public school retards,
private school arseholes. And then we're
supposed to find them a job. And pay
them. You've got to be kidding.
(HOPELESSLY EXCITED)
Come on, Joan, pay back time.
I really want to fuck you.
Suddenly the room billows into a pall of FLAME and SMOKE. The BED CLOTHES catch fire. The CURTAINS explode in flames.
CLIFFORD screams and jumps up. His hair is alight, his pubic hair is smouldering. The fire alarm sounds.
CLIFFORD begins to slap his head to extinguish his burning hair.
The water jets are activated.
Grabbing a half-burning sheet around him, he bolts for the door and runs bellowing down the hall.
RUBY stands exultant in the centre of the room, sprayed by water. Smoke and steam seethe around her.
105 EXT. SHERATON HOTEL ENTRANCE. NIGHT.
Amid FIRE ENGINES,POLICE and ON-LOOKERS, HOTEL GUESTS stream out of the hotel. RUBY strides out, head high in her wet hair and singed evening dress. She carries a small suitcase.
106 EXT. REAR ENTRANCE/TRADESCANT. NIGHT.
RUBY produces the pass CLIFFORD gave her. She slips it into the electronic box and lets herself into the building. No alarms.
107 INT. CLIFFORD'S OFFICE. SAME.
RUBY sits down at Clifford's desk. She turns on his computer. The screen lights up her face. She looks around for a moment, stares at the scene below, then swivels back in the chair. She produces her scrapbook. Opens it.
She produces Clifford's pants from her suitcase. She pulls out his wallet, opens it. She produces a piece of paper from the wallet and smiles.
RUBY leans forward, selects a file and starts typing.
108 INT. CLIFFORD'S OFFICE. DAWN.
The sun is rising. RUBY is still typing. The light fills the office. She looks worn, with wet/dried hair, but light and elated.
CUT TO
109 INT. TRADESCANT FOYER. SAME.
The CLEANING STAFF enter. SECURITY GUARDS assume their posts. OFFICE STAFF filter in. Banks of fluorescent lights rise up the building.
CUT TO
110 INT. CLIFFORD'S OFFICE. MORNING.
RUBY is racing against the clock. She begins shutting down the system. The phone rings. She stops.
CUT TO
111 EXT. TRADESCANT CARPARK. SAME.
CLIFFORD'S car pulls into his private spot. Through the tinted windows we can just make out his face shaded by sunglasses.
112 INT. CLIFFORD'S OFFICE. SAME.
The phone rings again. RUBY looks at it.
She continues shutting down the computer.
CUT TO
113 INT. REAR ENTRANCE SAME.
CLIFFORD'S hair is singed. His face shows slight scalding. He is wearing cotton gloves, dark glasses and a fresh business suit.
CUT TO
114 INT. CLIFFORD'S OFFICE. SAME.
RUBY switches off the computer. She collects her things.
She heads for the rear access, puts a hand on the door handle.
CUT TO
115 INT. REAR ACCESS STAIRWELL. SAME.
CLIFFORD has reached the door. He puts a hand on the handle, opens the door and lets himself into his office.
He is alone.
CUT TO
116 INT. CLIFFORD'S OFFICE. SAME.
CLIFFORD switches on his computer. He buzzes the front desk. There is no answer. He can hear voices in the office.
He moves to the door. Opens it.
Through the doorway. He sees two staff members arriving.
He sees another woman. She is wearing overalls, large glasses with her hair in a scarf. She is carrying a bucket and a mop. She exits the women's toilets.
She looks at Clifford for a moment. He looks at her. She steps into the waiting elevator.
He closes the door.
CUT TO
117 INT. TRADESCANT FOYER. SAME.
RUBY in overalls, rides down the escalator. She produces her security pass. She steps up to the security guard, flashes him a big smile, slots in her pass and steps through.
To the guard's surprise, she leaves her bucket and mop at the front door and steps outside into the blinking sunlight.
RUBY passes the GREENPEACE sign. Half of it has completely fallen off, leaving half a seal and the word PEACE only.
118 EXT. URBAN STREET. MORNING.
RUBY paces down the street. She removes the scarf and glasses and stuffs them in her bag. She stops to remove her shoes and shoves them into a St.Vinney's charity bin.
She undoes her braces and steps out of the overalls. She shoves them into the bin as well. Underneath she is wearing a long Ruby skirt.
She reaches the train station. Hundreds of commuters pour down the steps to the subway to rush to work.
Ruby stands back. She watches them for a beat and continues walking along the street.
She stops at a fruit stall and buys some grapes, feeding them to herself as she walks.
She turns her conservative winter coat inside out and wears the coloured red nylon lining out for show.
She passes a bank with large reflective glass walls. For a moment she sees her reflection.
A VAGRANT is asleep in the doorway. RUBY hands him a wad of notes. He stares at her.
A smile crosses her lips. She feels great.
She keeps walking, passing an RSPCA good-will shopfront.
119 EXT. RSPCA ANIMAL PENS. MORNING.
A WORKER is hosing out one of the animal pens. The sounds of cats and dogs can be heard. Over the noise, Radio National is playing on a free-standing radio.
Another OFFICE WORKER steps outside, a fazed expression on her face.
OFFICE WORKER
I just got a call from head office.
For some reason the government has just
deposited ten million dollars in
our bank account.
The male worker keeps on hosing.
120 INT. GREENPEACE HEAD QUARTERS. MORNING.
A scruffily dressed GREENPEACE EMPLOYEE settles into his seat in his small office. The walls are decked with posters and a huge map of the world and a large white board calendar.
He sits down at the computer. He switches it on, sips his coffee, opens his e-mail and nearly falls backwards out of his chair.
GREENPEACE EMPLOYEE
Fuck!
A colleague steps into the office.
COLLEAGUE
What's wrong?
.
GREENPEACE EMPLOYEE
Someone's just sent us eighty
million dollars.
121 INT. ABC RADIO STUDIO. MORNING.
The NEWS READER settles into a booth, headphones on. She picks up the news sheet, scans it quickly.
The news intro music is playing.
The PANEL OPERATOR cues the announcer.
The NEWS READER does a double take.
The PANEL OPERATOR opens the channel.
NEWS READER
Shit!
122 INT. CARL'S BOOKSHOP. MORNING.
CARL is setting up for the day, listening to the radio. FUCHSIA is packing her bag for school.
They both hear the NEWS READER'S expletive.
They both look at each other.
FUCHSIA giggles.
NEWS READER
(on radio)
The government has today consolidated its
commitment to public broadcasting by providing
the Australian Broadcasting Commission with an
overnight funding boost of one hundred
and sixty million dollars...
CARL turns the radio down.
CARL
Time for school, Fuchsia.
123 INT. CLIFFORD'S OFFICE. MORNING.
The phone rings. CLIFFORD hits the speaker switch as he passes and makes his way over to the cupboard. He opens it, grabs the Berocca and drops two capsules into water.
The TREASURER'S voice can be heard on the speaker phone.
TREASURER V/O
Clifford, have you completely lost your mind?
What kind of a half-arsed cowboy operation
are you running down there? The PM
just had me for breakfast.
CLIFFORD'S face pales. He runs to the phone. His cotton-gloved hands run through his hair.
124 INT. CARL'S BOOKSHOP. MORNING.
CARL is trying to get FUCHSIA to go to school.
CARL
I don't care, Fuchsia, you're going to
school. What's wrong with you lately?
FUCHSIA
I just want to see Ruby.
CARL
Well you can't, and that's that.
You'll see her on the weekend.
You'll see her on the weekend.
FUCHSIA
That's what you said last
weekend and then you took me to Gran's.
CARL
Now listen...(HE STOPS, SOFTENS) Ruby has
work to do. Look.. I don't get it, you love school.
FUCHSIA
(upset)
I don't. I hate it. I want to see Ruby.
She bursts into tears. CARL is puzzled, he puts his arms around her.
CARL
What is it, honey? Are the other
kids teasing you?
FUCHSIA'S face turns from misery to joy. She looks past Carl through the window. CARL turns.
RUBY is at the window, making funny faces.
She opens the door and steps in. FUCHSIA rushes into her arms.
FUCHSIA
Ruby!
RUBY scoops her up and cuddles her like a baby.
RUBY
(warmly)
Hello, Carl.
CARL
(curious, non threatened)
Ruby.
RUBY
I've come to collect Fuchsia.
FUCHSIA
Hooray!
He is about to remonstrate.
RUBY
I know it's not my day, but I need
to spend some time with her.
CARL
But school?
RUBY
(smiling)
Sometimes smelling roses is more
important than school.
CARL recognises something important is up.
CARL
(hesitant)
Alright, I give in.
(JOKING) I wish I had time to play.
Wait here, I'll get Fuchsia's things.
He disappears upstairs.
RUBY and FUCHSIA share an intimate moment. They hold each other tight, saying nothing. There is a simple understanding between them.
RUBY
Wait for me, will you?
FUCHSIA nods. RUBY follows CARL upstairs.
FUCHSIA turns the CLOSED sign on the door to OPEN and plants herself importantly at the front counter.
125 INT. CARL'S APARTMENT. SAME.
CARL'S upstairs apartment is quaint, neat, painted in
attractive colours. It is comfortable and clean.
CARL is packing FUCHSIA'S clothes into a small bag. RUBY steps softly into the room.
CARL
(helpful)
I won't be long.
RUBY
Carl.
He looks at her. Something has changed. Ruby takes the bag from his hands. Drops it gently to the floor. She holds his hand for a moment, stares him in the eyes. He does not look away.
RUBY
Carl..
CARL
Ruby, it's alright, I'm..
RUBY kisses him, deeply on the mouth. She steps back and looks at him. He pulls her toward him, returning her kiss. It is deep and warm and sweet. They hold each other firmly. Tears are streaming down Ruby's face. He kisses the tears, her face, her mouth.
CUT TO
126 INT. CARL'S BOOKSHOP. SAME.
FUCHSIA is reading a kid's book and tapping her feet, humming to a jazz tune on the radio.
CUT BACK TO
127 INT. CARL'S APARTMENT. SAME.
CARL and RUBY are holding each other close. They run their hands over each other's hair, face, neck and shoulders, kissing often.
DISSOLVE
128 INT. TRADESCANT HEAD OFFICE. DAY.
The camera pans across the office. It looks like a small bomb has hit it. Arlon's, Mala's, Joan's and other desks have all been ransacked. DETECTIVES stand around drinking cups of tea and interviewing Tradescant staff.
A detective opens CLIFFORD'S door and steps inside.
129 INT. CLIFFORD'S OFFICE. SAME.
Inside the office, CLIFFORD is sitting behind his desk. He is a figure of comic despair. Three detectives stand around his desk. One of them, DETECTIVE SERGEANT MILLS, is questioning him.
MILLS
Mala Wilson?
CLIFFORD
She resigned. Last week.
MILLS
Really? And what about Tyson Arlon?
Two more DETECTIVES are over by the window, enjoying the view and discussing the case.
DETECTIVE #1
(sotto- to other detective)
Said he was having a meeting with her when it went up.
DETECTIVE #2
(sotto- smirks)
A nude meeting.
They both giggle.
ARLON steps into the office. He is dressed in casual clothing. He wheels around in shock.
All in the room turns to stare at him.
ARLON
(in shock)
Clive. Tell me it isn't true.
130 INT. CARL'S BEDROOM. DAY.
CARL is curled up in bed. RUBY is dressing. He rolls over.
CARL
You're going?
RUBY
Yes.
CARL
Not now. It's good. Like it used to
be. Better. Ruby, stay.
RUBY
No, (SMILES) I have things to do. I'll take Fuchsia..
CARL
(alert immediately)
Fuchsia!
RUBY
She's alright.
She sits beside him on the bed. She strokes his forehead.
RUBY(cont)
That was delicious.
He smiles, tries to pull her toward him again.
CARL
Don't go. We can talk now.
RUBY places a finger over his lips to quiet him.
RUBY
I'm going, Carl. I want to.
(SHE LEANS DOWN TO HIS EAR- WHISPERING) Trust me.
RUBY sweeps out the room. Carl gets up slowly, pulls back the curtains and stares outside.
Beneath him, he watches FUCHSIA and RUBY skip out the shop and down the street, happy as two children.
131 INT. CLIFFORD'S OFFICE. AFTERNOON. 131
CLIFFORD and ARLON are sitting, exhausted, in chairs. Next to them is a bottle of half-empty scotch. They cradle glasses in their hands.
Around them the debris of remaining files sit in boxes or lie scattered around the floor.
ARLON
It's exceptional. Not a clue. They can't
come up with a thing. Joan frigging
X. Didn't anyone
get to know her? You shagged her.
CLIFFORD
(ignoring him)
She must have planned this for weeks.
ARLON
She was a kook.
CLIFFORD
A kook? Tyson, did you say a kook?
A single woman, who nobody can identify,
who doesn't have a telephone, a credit
card, a gym membership, no hairdressing
account, no library number,
driver's license, video card,
mortgage, bank account.
Who conned me out of a job, a security
pass, lead me on, set me up, stole my pants,
my wallet, used my computer to defraud
the government of three hundred million
dollars and then disappears like a puff of
smoke into the city without a
trace? I don't think kook is
somehow good enough Tyson.
I think she's a fucking genius and she's
laughing at every single one of us.
ARLON
I tried, Clive, I tried to warn you.
CLIFFORD
You're full of shit, Arlon. You and
your Fort Knox program. She broke it
open like a piggy bank.
ARLON
(rising)
Now just a second, Clive. I wasn't
stupid enough to screw her.
CLIFFORD
(joining him)
Not for want of trying, you little prick.
ARLON
What kind of idiot keeps his pin numbers
on a piece of paper in his wallet?
CLIFFORD
You employed her.
ARLON
Under your instructions.
CLIFFORD
You checked her files for Christ sake.
ARLON
Well she obviously isn't working alone.
She must have contacts. They have to get a
lead soon, and when they do..
CLIFFORD
When they do, what? I don't care if they
frigging tar and feather her, Arlon. It's over.
ARLON
I don't see why we all have to abandon ship just
because the captain screwed up.
CLIFFORD
Have you gone completely mad? Do
you think for one moment the government
is going to trust either of us with five
cents after this? We're through.
I'm through. And you? You're in breach of
the securities act. You're cactus. Dog
meat. You're the next bag boy in
Her Majesty's Prison. Oh, they're gonna love you.
It is too much for Arlon. He takes a swing at Clifford. He misses.
CLIFFORD picks up the half-empty bottle and hurls it at ARLON. He ducks. The door to CLIFFORD'S office opens. The bottle smashes against the door.
CLIFFORD'S wife ANGELA is standing there.
ANGELA
(po faced)
Hello, Clive.
132 EXT. STREET. DAY.
JOE is at an Automatic Teller Machine. Next to it is an appliance shop with a bank of televisions in the window.
He withdraws some money and looks at his transaction record.
JOE
Mother of mercy.
He looks up. In various televisions, the midday news shows a picture of Ruby. It is a security/passport type photo and not a very good likeness. Under it reads, JOAN X MASTERMINDS SECURITY BREACH.
JOE
Oh, Ruby.
133 INT. CARL'S BOOKSHOP. DAY.
CARL is busying himself unwrapping books.
His mind is not on his work.
He puts the book aside, collects his coat and turns the sign to CLOSED. The radio is still playing. The music is interrupted by the midday news with the bulletin about JOAN X, as CARL steps outside and locks the door.
134 EXT. RUBY'S BACKYARD. AFTERNOON.
RUBY and FUCHSIA carry a box of books down the verandah steps. RUBY looks disheveled but vibrant and alive. The cats scatter around her feet. They are alive with activity.
RUBY'S CROW sits ever sentinel perched on the Hills Hoist.
RUBY and FUCHSIA carry the box down to the Hills Hoist, adding them to a pile of books, paints, paintings and clothing.
FUCHSIA
Don't you want to keep some of them?
RUBY
Nope.
FUCHSIA holds up a painting Ruby made of herself with the CROW on her shoulder.
FUCHSIA
Not even this one?
RUBY
The lot. Everything must go. No more
baggage. Please trust me, Fuchsia.
FUCHSIA
Don't you love this stuff?
RUBY
Yes, but it's just stuff. It's not important.
FUCHSIA
Then why..?
RUBY
It's like Eudora said about the
ship. Life comes and goes. You have to
make the most of it but you can't
hang on to anything.
RUBY takes FUCHSIA by the shoulders.
RUBY (cont)
Fuchsia, this life..is wonderful, magnificent.
Every day is precious. But people forget.
They get unhappy and they don't know why.
So they make rules to make things work. But
they just make themselves unhappier. They make
rules and then they change them on you. It's a
game, a nasty little game. But
we don't have to play it their way.
RUBY leans her head on FUCHSIA'S chest.
RUBY (cont)
I can hear your heart beating.
(SHE LOOKS AT FUCHSIA) Fuchsia, trust me.
This is all you ever have to listen to, forever.
FUCHSIA
I love you forever, Ruby.
RUBY holds FUCHSIA'S face in her hands and smiles.
135 EXT. RUBY'S STREET. DAY.
A police car drives slowly up the street.
MRS SCARABELLOTTI peers out from behind her curtains.
She watches as the car slows, and stops outside her house.
A POLICE WOMAN steps out, places her cap on her head and stares at the old woman's house. She glances up and down the street. She looks next door at Ruby's front yard.
She walks slowly up to the front door.
136 EXT. RUBY'S BACKYARD. SAME.
RUBY and FUCHSIA are still piling books etc onto the pile, which has doubled in size.
RUBY hears her front door bell ring. She glances apprehensively up at the CROW.
FUCHSIA
I'll get it.
She looks over her shoulder to the house next door. The curtains close.
RUBY
Stay here, Fuchsia.
She turns and heads up the steps to answer the doorbell.
137 EXT. RUBY'S FRONT DOOR. SAME.
RUBY partially opens her front door. The POLICE WOMAN is waiting.
POLICE WOMAN
Mrs O'Roarke?
RUBY
Ruby. I'm not married.
POLICEWOMAN
Miss O'Roarke we have received a series of
complaints regarding the number of cats
that inhabit this property.
RUBY glances next door.
RUBY
Has Mrs Scarabellotti been complaining again?
POLICEWOMAN
(smiling slightly)
Look, you do have a lot of cats. Too many. I
understand you take in strays and neuter them.
I've been to see the vet. He thinks you're a saint.
But this must be the fifth complaint we've received
this month. I'm afraid the cats will have to go.
RUBY
(po faced)
Kill them.
POLICEWOMAN
Your vet said he'd help out. Here.
(SHE HANDS RUBY A WARRANT ORDER)
I'll do you a favour. Get rid of the cats
by the first of the month and I'll
come back and check up on things then.
She steps back, checks the curtain next door, shakes her head and smiles sheepishly at Ruby.
The POLICE WOMAN walks off down the path.
RUBY collects a kitten running through her legs and nuzzles its fur.
138 EXT. RUBY'S BACKYARD. SAME.
RUBY stands in front of her pile. It is stacked at least a metre at it's peak.
FUCHSIA
Who was that?
RUBY
The Avon lady.
RUBY stands staring at the pile. The reality begins to overwhelm her. Tears slip down her cheeks.
The cats run wild, circling the stack.
The CROW caws loudly.
RUBY stares trance-like.
FUCHSIA
Don't cry, mummy.
RUBY
I like crying.
FUCHSIA
I do too. Gran says I shouldn't,
but sometimes I cry for no reason at all.
RUBY
They're the best times.
FUCHSIA
There's one last box.
FUCHSIA skips off.
The wind picks up. The CROW caws again.
The NUN swirls through the wind. She circles the backyard. It is Ruby's mother, HILDA.
NUN/HILDA
Just who do you think you are?
RUBY'S hand turns into a fist. The wind gets stronger. The cats run wild.
RUBY
(screaming)
I'm Ruby. Ruby, you old bitch. I'm Ruby!!
RUBY drops to her knees at the base of the pile. The NUN disappears over Ruby's triumphant cry.
139 INT. LOCAL POLICE STATION. DAY.
The POLICE WOMAN and her partner walk into the station to their desks. A uniformed officer is posting photo's of JOAN X to the police notice board.
POLICEMAN
(to Police Woman)
This is all a bit excessive isn't it?
Every station on full alert.
Bloody media everywhere.
(DRAMATIC) The hunt for Joan X. She looks
like she wouldn't hurt a mouse. Want a coffee?
The POLICE WOMAN stops for a moment. Stares at the notice board.
POLICEWOMAN
(ABSENTMINDEDLY)
White and one.
She picks up the phone and presses an intercom number.
POLICEWOMAN (cont)
(she draws a breath)
Sarge, you got a minute?
140 EXT. RUBY'S BACKYARD. LATE AFTERNOON.
RUBY is still nestled at the bottom of the pile, half singing to the crow.
RUBY
Joan of Arc, lived in a Park,
above a windy city.
When she looked down, upon the town,
her heart was filled with pity.
FUCHSIA joins her with her paintings and a few books. She dumps them on the pile.
FUCHSIA
What are you saying, darling?
RUBY grabs her daughter's hands and swings her around dancing.
RUBY
Joan of Arc, she made her mark and burned to
tell her story. They tried to make, her
heart to break. She spent her life for glory.
RUBY swings FUCHSIA around again.
The backyard fence is suddenly lined with helmeted, flak-jacket SPECIAL SQUAD. A loud hailer shouts 'POLICE. DON'T MOVE'.
RUBY freezes. FUCHSIA screams.
RUBY
Run, Fuchsia!
She pushes her daughter toward the house. FUCHSIA runs. Ruby steps back, against the pile.
She turns toward the back wall of the garden.
More SPECIAL SQUAD skim the back wall and block her path.
She turns in fright and scrambles onto the pile under the Hills Hoist, clinging to the pole.
Cats scream from the house and circle the pile. They run over everything, in and out of the way, through police feet.
The COMMANDING OFFICER summons her over the loud hailer.
CO
Put your hands in the air.
RUBY shrinks in fright on the pile. The police officers aim their guns at her.
CO
Put your hands in the air, up,
where we can see them.
RUBY raises her hands obediently and clings to the pole.
CO
Move away, slowly.
RUBY is too terrified to move. She is completely confused. It petrifies her. She stays motionless, almost in a trance on top of the pile.
A television news HELICOPTER roars overhead. PHOTOGRAPHERS try to break the police ranks.
The CO realises the situation is already out of control. He speaks into a tiny transmitter attached to his sleeve.
CO
(barking into the gadget)
Get that chopper out of here.
This is a bloody circus.
CARL runs into the yard. He stops in his tracks when he sees the police action.
CO
(into the transmitter)
Nobody move, I repeat nobody move. The suspect
is guarding a possible weapons depository.
Nobody advance. She could have anything buried there.
MRS SCARABELLOTTI looks out her window. A policeman aims his gun at her. She closes the window and pulls the blind.
FUCHSIA appears on the verandah. A police officer is holding her.
FUCHSIA
Daddy!
CARL rushes toward her. He is detained by another officer.
FUCHSIA
(yelling)
Daddy, make it stop. Tell them who you are.
CARL
This is insane.
CO
Who the hell are you?
CARL
I'm her husband.
CO
Bullshit.
CARL
You have to believe me. Let me talk to her.
CO
Stand back. You are interfering in police
procedure. Sergeant, get this man out of here.
CARL throws off the SERGEANT'S arm and paces toward RUBY.
CARL
Ruby...
The SERGEANT rifle-butts CARL in the face. He falls stunned and bloodied to the ground.
RUBY clutches her stomach.
FUCHSIA screams and struggles free. She runs toward her father. RUBY screams.
The CATS HOWL madly and hiss at the crowd. The HELICOPTER hovers overhead.
FUCHSIA breaks free and reaches her father.
FUCHSIA
(crying)
Tell them, daddy. Tell them who she is, please.
CO
(into transmitter)
Alright, time to bring her in.
Two officers move in behind RUBY. The cats hiss again. It sets them off-guard for a second.
FUCHSIA
(screaming)
Tell them.
CARL staggers up,
CARL
(to CO)
Her name is Ruby O'Roarke. For god's
sake, let her go.
FUCHSIA can't stand it anymore. She leaves CARL and runs toward RUBY.
The police aim their guns at her.
RUBY screams. This time it is more high pitched keening.
Suddenly, the pile ignites in a BALL OF FLAME and engulfs RUBY in seconds.
CUT TO
THE VIEW FROM THE HELICOPTER
The fire throws the riflemen to their feet. It forces the police and media back. FUCHSIA stands stock still, meters from the flames.
CARL staggers toward Fuchsia. The rifleman holds him back.
C/U on CARL, in shock.
SCREAMING CATS lurch from the flames scattering among the crowd.
The SPECIAL SQUAD scramble, shocked. The CO stares at the flames.
There is silence. The wind picks up. A heartbeat can be heard, it gets louder.
The camera pans in to FUCHSIA'S shocked face, staring at the flames. Tears pour down her cheeks.
CUT TO
FUCHSIA'S POV
Fuchsia sees the flames on the pyre recede. RUBY appears as a young woman in MEDIAEVAL BATTLE ARMOUR
She is JOAN OF ARC.
She steps from the flames, unscathed. She looks at FUCHSIA, puts a finger to her lips and smiles, beatifically, triumphant, serene.
FUCHSIA'S face transforms from grief to exultation and joy.
RUBY/JOAN signs to FUCHSIA, she places a hand over her heart. 'I love you.'
RUBY walks away, her image fading.
FUCHSIA is serene.
The CROW swoops in. FUCHSIA sees it and laughs, half-crying.
The camera flies with the CROW. It spirals up and over the debris, over the poor suburbs, past the city and out to sea.
FADE TO BLACK
MUSIC OVER: 'RUBY TUESDAY' by the Rolling Stones.
~
