ON THE PLATFORM – EVENING – EXT
EXPENSIVE MALE SHOES FALL ON THE PLATFORM WITH A STEADY TAP TAP OF FOOTSTEPS. THE FEET ARE ENVELOPED IN A FOGGY MIST FLOWING UPWARDS FROM THE TRACK BELOW. BACKGROUND MUSIC IS MUFFLED ‘CHATANOOGA CHOO CHOO’ GLEN MILLER.
A SHARPLY TAILORED SUIT LEADS UP TO A WELL GROOMED HEAD, PANAMA ASKEW, ROLL-UP CIGARETTE DROOPING TO ONE SIDE OF HIS MOUTH. HE EXHALES SMOKE SLOWLY AND STAGGERS A LITTLE AS HE COMES TO A STANDSTILL.
PROTAGONIST/NARRATION O/S
So, I was there, waiting for my train right
CUT TO: SOLITARY BLINKING STREET LIGHT ILLUMINATING ONLY THE SMALL PATCH OF MIST
FLOATING AROUND IT’S LAMP…
PROTAGONIST/NARRATION O/C (CONT’D)
It was dark, y’know, pitch black kinda night
CUT TO: OUR PROTAGONIST STANDING ALONE ON THE PLATFORM, ROLL-UP IN HAND.
PROTAGONIST/NARRATION O/C (CONT’D)
And I’ve got such a headache, it was pounding, All my thoughts were blurring together, clouding
CUT TO: THE LENGTH OF THE TRACK, DARK AND FOGGY, IN THE DISTANCE THE SINGLE LAMP OF THE APPROACHING TRAIN, LIKE A WHITE PINPRICK.
PROTAGONIST/NARRATION O/C (CONT’D)
Any semblence of reality into history, Where the train had got to, a mystery
SFX : THE DISTANT SOUND OF A TRAIN WHISTLE
CUT TO: OUR MAN PULLING HIS ROLL UP TO HIS MOUTH, DEEPLY INHALING AND SWAYING SLIGHTLY…
PROTAGONIST/NARRATION O/C (CONT’D)
So there I stand, smokin’ my roll-up and swayin’
THE GRIMY FACE OF A TRAMP APPEARS BEHIND THE SHOULDER OF OUR MAN, HE APPEARS TO WHISPER CONSPIRATIVELY IN THE PROTAGONIST’S EAR.
PROTAGONIST/NARRATION O/C (CONT’D)
And then there’s this bloke behind me sayin’ Don’t get on the third carriage, it’s not so nice
OUR MAN TURNS TO FACE HIS ADVISOR, BUT FINDS THE PLATFORM EMPTY
PROTAGONIST/NARRATION O/C (CONT’D)
So I turn to tell him to mind his own business but he’s gone…
CUT TO: THE TRAIN APPROACHES AND PULLS IN AT THE PLATFORM, A LARGE NUMBER THREE ON THE CARRIAGE IN FRONT OF OUR MAN
PROTAGONIST/NARRATION O/C (CONT’D)
And the train pulls in on a river of steam, And I look in through the window of carriage three and dream;
CUT TO: OUR MAN APPROACHES THE CARRIAGE WINDOW, INSIDE IT’S BLURRY, DRUNK BLURRY. BUT HE CAN MAKE OUT A FIGURE, SLOWLY SHARPENING…
PROTAGONIST/NARRATION O/C (CONT’D)
That inside there’s this woman with open arms and red lips, Who wants to take me as the man inside loves gyrating hips…
THE IMAGE INSIDE THE CARRIAGE IS SHARPER NOW, A WOMAN, 1940’S STYLE LOUNGE SINGER. SHE’S BECKONING HIM IN, VOLUPTUOUSLY CARESSING HER BODY.
PROTAGONIST/NARRATION O/C (CONT’D)
And be lost in a fantasy where I’m not so bloody useless,
NOW HE CAN SEE HIMSELF IN THE CARRIAGE WITH HER, KISSING HER NECK, SHE’S REMOVING HIS JACKET AND PUTTING HIS HAND TO HER BREAST.
PROTAGONIST/NARRATION O/C (CONT’D)
At everythin, that I’m a fucking God and not such a messbBut there’s this breath on my neck, see,
CUT TO: OUR MAN TURNING AROUND TO LOOK AT THE PLATFORM BEHIND HIM, HIS HAND ON HIS NECK, WHERE A BREATH HAS BEEN, ALL THAT HE SEE’S IS MIST, LOOPING AND WINDING IT’S WAY ALONG THE PLATFORM…
PROTAGONIST/NARRATION O/C (CONT’D)
Which reminds me, Of what that bloke said, So I ignore my fuzzy head
CUT TO: OUR MAN WALKING BACKWARDS WARILY AND MOVING ON TO THE NEXT CARRIAGE, AND TAKES ONE LAST LOOK BACK AS HE JUMPS INTO THE TRAIN.
PROTAGONIST/NARRATION O/C (CONT’D)
And pass carriage three.
CUT TO: THE TRAIN PULLING AWAY FROM HIS HOME STATION. HE STANDS ALONE ON THE PLATFORM, DAY IS BREAKING AND AS CARRIAGE THREE PASSES HE BEGINS TO RUN…
PROTAGONIST/NARRATION O/C (CONT’D)
I go home, filled with regret and too much gin…
THE TRAIN IS TOO FAST AND HE GIVES UP THE CHASE. HE STANDS ON THE VERY END OF THE PLATFORM WATCHING THE TRAIN DISAPPEAR INTO THE DISTANCE
PROTAGONIST/NARRATION O/C (CONT’D)
And I still wonder now, if I should’ve gone in…
FADE OUT.
© K. J. Lander 2009