01x07 - The City and the Taxi Driver

[bunniefuu]

- I love my work.

(seductive tango music)

- So who's David?

- The love of my life.

- I never stopped loving you.

- He's the only long-term relationship

that you have ever had, and there is nothing to tell?

- There's nothing to tell.

- [Madeleine] He's married.

It doesn't mean anything.

- Then why don't you tell that to Eddie, then?

- What are you, his mom now?

- His girlfriend's falling in love with you.

- I wanted to tell you myself.

I just, I was gonna end it with Rob first.

- Now you don't need to.

- We're all alone.

(bright engaging music)

Don't ask me why I do this.

I don't know.

I do know, actually.

So I can pretend to be someone else for a minute.

It's not long enough.

No offense, but please be gone when I've opened my eyes.

- Hey.

- Hey.

- You going already?

- So are you.

Sorry, work.

- I had a really great time last night.

So what do you do anyway?

- I'm a hooker.

You owe me bucks.

I'm in the public service, for some reason.

(bright engaging music)

I should have studied law.

- [Psychiatrist] And why do you say that?

- I started, I dropped out.

- And why's that?

- Six years was too long,

and all the other students were assholes,

which is why they wanted to be lawyers.

And I didn't think I was an assh*le.

So I dropped out.

I'm quitting the force.

- And what do you think you'll do instead?

- Get a life.

- Talk about what you think is wrong with your present one.

- I'm sick of feeling like sh*t.

- [Psychiatrist] And you think it's the job

that's making you feel like this?

- What else?

- We have Madeleine Delaney here with us observing tonight.

She's considering switching from defense

to the good guys, prosecuting for the DPP.

She wants to see how we work, so behave.

Operation Full Moon.

Two males and a female over a six month period,

all young, and according to reports, good-looking

until our guy smashed them in the face with a brick.

- The motive was not robbery.

- [Guido] What about sexual as*ault?

- Not that I can detect.

- Straight?

Gay?

- One man was gay.

The assailant, assuming it's the same person,

does not seem to discriminate.

The one woman survived thinks he tried to pick her up first.

- [Cameron] Description?

- Not coherent.

She thinks that he crossed himself before he hit her,

and given the att*cks with the brick and the way he used it,

it's possible that our suspect

is either himself ugly or d*sfigured.

- Or an angry builder.

(snickering)

- So we know for certain that the att*cks took place

or so meters from dance clubs on the strip

on a Friday when there was a full moon.

(howls)

- All right, so given all that, what we're actually

looking for is a disco, angry, builder werewolf.

- Settle, settle.

Tonight, according to the calendar,

it seems that the odds for an att*ck

are high, hence Operation Full Moon.

So you all will be going clubbing while

you're carrying out routine duties as required.

Questions?

Donna, Cameron, Miss Delaney is riding with you tonight.

- Oh, great.

- Eddie, you and Guido are partnering for the night.

You're all in stripper cars, good luck.

- [Guido] Let's go dancing.

- So is this full moon thing for real?

- Yeah, it's in the stats.

Itt causes king tide in the criminal brain.

- Haven't used the full moon defense yet though, mate?

- Is that what you're wearing?

- Yeah, we're supposed to blend in

not stick out like dogs' balls.

- [Madeleine] Why don't you say what you really think?

- Why don't you try this?

Don't worry, it stretches.

- [Guido] That's a good jacket.

- [Eddie] Thanks.

- What do ya reckon?

- Looks good, you look like a poof.

- I am a poof and you're riding in my car.

- Ugliest poof I ever saw.

(police radio chatters)

- I feel like a queen.

Smile, two, three.

Wave, two, three.

Pearls, two, three.

- [Cameron] Okay, what's the story?

- Donna doesn't approve of my love life.

- Bullshit.

- Is that it?

Is it Eddie?

- What's the story with you and Madeline?

What's going on there?

- No story.

(phone rings)

- No story.

- Mercia.

Oh Paul, how are you?

Hey, thanks for ringing.

This is Guido.

- Hi, Guido.

- Hello, Paul, stranger, we haven't seen you.

- [Eddie] Oh you know, busy.

- You know lunatic is Italian for moon?

Like, yeah, lunar, full moon.

- It's Latin.

George.

These men are from the police.

Do you wanna tell them what the man told you?

- Well, he said he'd been told to k*ll someone.

- [Eddie] Did he say who told him?

- God.

That's what he thought.

- [Guido] What'd this guy look like, George?

- George is blind, Guido.

- He was between and , a bit taller

than me, medium height, no accent.

He looked down when he spoke.

He didn't wanna look me in the eye.

And he will k*ll.

(dark dramatic music)

He's possessed by demons.

- George, the church doesn't really

recognize demonic possession anymore.

(George scoffs)

- There's a demon inside this man, and he'll k*ll for it.

Well, he's done it before, am I wrong?

(dramatic music)

- [Donna] Southwest , we're back up southwest .

- [Male Voice On Radio] Southwest , copy that.

What's your ETA?

- [Donna] About two minutes, radio.

(siren blares)

Do you wanna get that light up, mate?

(siren blares)

- Oh, yeah.

So what did Eddie do?

- He didn't do anything.

- It's what I did.

I didn't save myself for him.

(tires screech)

sh*t!

- Bullshit!

You were leading him on the whole time you were

screwing around with Rob or whatever his bloody name is.

- Except that there wouldn't have been

a problem if you hadn't said anything.

- He's a mate.

- Oh, so this is a cop mate-ship thing, is it?

- Yeah, something you wouldn't know anything about.

(clattering)

(intense yelling)

- Let's find some stairs, huh?

- Is that what you call mate-ship?

- You've got a problem with the truth, Madeleine.

- Whose truth?

Yours, mine, Eddie's?

There are lots of different truths.

- Lawyer speak.

Why are you here?

Why the job change, you know?

You're not here to bust crims, really.

Have a think about it.

You're here because you're still after Eddie.

- [Madeleine] That is ridiculous.

- Yeah, and in case it doesn't work out,

you've got the nice, shiny BMW in the garage.

- Come on then, you bitch

What are you gonna do about it?

What are you looking at, you dickhead?

(intense yelling)

- Police!

- Police.

(intense yelling)

- Excuse me sir, I'm not gonna ask you again.

Can you put the timber down, please?

- No, I won't.

- Sir would your timber down?

(shouting)

- [Angry Man] Oh, shut up!

- Don't make me do this, please.

- [Angry Man] What?

- [Donna] I said put the timber down.

- Oh, I'm gonna fight--

- Madeleine, get down!

(shouting)

(puffs)

(screaming)

- [Man On Police Radio] Southwest urgent.

Radio, armed robbery, cut price liquor store.

Edward Street, camera down.

- sh*t, Madeleiene.

- [Man On Police Radio] Offender's in a red Mustang.

Rego is Indigo Tango Papa Zero Zero Eight.

High speed, westbound, Emerald Road.

We're in pursuit.

- We're still Westbound on Emerald Road

approaching Addison Road.

- I knew this would happen, sh*t.

- Shut up!

(police radio chatters)

- Let's go.

- All right, take him down to the station.

We'll be there later.

(tires squealing)

(engine roaring)

- Southwest , they've just turned

into the Market Street car park,

Market Street car park.

We're gonna go in pursuit.

- Southwest , we'll back up .

- [Male Voice On Radio] Can we get

the Dunmore exit covered, please?

Can we get back up--

- They went outside

You reckon they went outside?

- [Madeleine] Will they?

- Sure.

(police siren wailing)

(tires squealing)

(engines roaring)

(intense action music)

(radio chatter)

- Radio, Southwest , we're on level A, A.

(g*n sh*ts fires)

(glass shatters)

sh*ts fired, sh*ts fired.

- [Radio] Unit , sh*ts fired.

- Guido, wait for backup, Guido.

Wait for backup!

- They'll like red rags

to a bloody bull, both of them.

(tires squealing)

(siren waiting)

(g*n sh*ts fire)

(sirens blare)

(g*n sh*ts fire rapidly)

- Get down, get down!

(g*n sh*t f*ring)

- [Guido] Officer down, officer down!

- Idiots, idiots!

- Who is it, we'll help him.

(sirens blare over radio chatter)

- Southwest urgent, request for an ambulance

to this location, please.

Officer has been wounded.

Both offenders in custody.

The ambulance is on their way.

- Are you all right?

- Yeah, I'm fine.

- I should f*cking sh**t you myself.

- What's goin' on?

What are you upset about?

- [Eddie] Ambulance is on their way, mate.

Okay, you all right?

You all right?

- Yeah, yeah, we're fine.

- [Donna] They said someone was sh*t.

- [Eddie] Yeah, no, no, it's this boy here.

- What's going on?

What?

What?

- I'm quitting.

- [Guido] Don't be stupid.

- [Cameron] I'm sick of it.

- Come on, you can't.

- Yeah, give me a reason.

- I might get an ugly partner.

- You might get one that's right in the head.

- Come on, who's right in the head, eh?

You know, we're all sick in the head, it's a prerequisite.

If anyone's not right in the head, it's me.

I want you to stay.

- Shut up.

Really, shut up.

- Well, she stabbed me with a fork.

- [Cameron] Your wife?

- Yeah, bitch.

That's not the first time, neither.

It's the first time with a fork though

- Do you want me to organize some counseling?

- [Angry Man] Counseling?

- [Cameron] Yeah.

- We've been married for years.

- [Cameron] That's a long time.

- [Angry Man] Yeah.

- I'm impressed.

- Yeah, you wanna know what our secret is?

- Sure.

- We get things off our chest, you know?

We don't let things stew.

Look, she would have just have had the dog bit me.

- [Cameron] So how did the dog manage to bite

your husband in the middle of his back?

- It's a Jack Russell.

They jump.

- [Cameron] What's the chance of it happening again?

- Are you married?

- No.

- [Angry Woman] Boyfriend?

- Not at the moment.

- You?

- No.

- You think you know sh*t about what you're talking about.

(howling)

(screaming)

- Come on, mate.

- I'm stupid, I'm stupid

- Come on, mate.

Nobody's stupid, what's your name?

- [Crazy Man] I'm stupid!

- Of course you're not stupid, eh?

What's your name?

They're all right, what's your name?

- Trevor.

- Good day, Trevor.

Now, Trevor, what's going on here?

- [Trevor] I'm stupid!

- [Irena] No, you're not, of course, you're not stupid.

- [Eddie] Hey, Everything okay?

- It's fine.

Now come on, put your belt on.

Will you put your belt on for me, Trevor?

Come on, make my job easy.

Just put your belt on.

- [Trevor] I'm stupid.

- [Irena] Will you put your belt on for me?

(radio voices chatter)

- [Angry Voice On Radio] The souls will

burn in hell for eternity.

- [Calm Voice on On Radio] Doesn't the Bible say,

'Thou shalt not k*ll'?"

- [Angry Vocie On Radio] You don't understand.

Oxford Street it the new Sodom.

Kings Cross is the new Gomorrah.

- Hey sir.

Is that a radio there or a tape?

- [Peaceful Voice On Radio] Would you

like to talk to me privately?

- [Angry Voice On Radio] I can't give you a number.

The time to talk is over.

- [Peaceful Voice On Radio] There's always time to talk.

- [Angry Voice On Radio] The way

of the flesh is an abomination.

The streets must be cleaned.

- [Peaceful Voice On Radio] What do you mean by cleaned?

- [Angry Voice On Radio] If you live for the sins

of the flesh, you must die for the sins of the flesh.

(dance music)

- Hi.

- Hi.

- Jeff.

- I know.

- See you later.

- Okay.

- All right.

- Hey, he's cute.

You guys want a drink?

- [Both] Yes.

- Sorry.

Watch out, eh?

Thanks.

- What?

- Are you interested in him yourself?

Is that why you're pissed off with me?

- Look Madeleine, Eddie wants the whole deal, true love.

Marriage, kids, 'til death do us part.

- How do you know that?

- I'm the same.

- Look, whatever it was gonna be

with Eddie and I, I blew it, okay?

I know that.

Big mistake.

- Hey Cam, Cam!

Hey, it's really good to see you, you look awesome.

Did you get my message?

- No.

- Well, I rang, I left a message.

You look awesome.

- Thanks.

Listen, I've gotta go.

I'll see you later.

- Can we talk?

Just a five minutes out of your life, come on.

- Hey.

- Hey.

- In the men's again, eh?

- Yeah, yeah.

- Look, I'm not trying to hassle you all right?

I just wanna talk to you.

Maybe we can go somewhere a little bit quieter.

I've just been thinking about you a lot.

I just wanna talk to you that's all.

- There's nothing to talk about.

- Please, I've been looking for you for weeks.

- Is he bothering you?

- Look, I can't talk now, all right?

Some other time, just let it go.

- You hear what she said?

She said let it go.

- Who are you man, who are you?

- Who are you?

She just wants some space.

(intense dance music)

- [Cameron] Here I am.

Dressed as bait.

This is what I wear four nights a week.

Is this what I am?

- Witness says she heard screams.

She saw man run and catch a cab.

- Did he have a brick?

- Brick.

- Hey, I'm the detective to see you.

Apparently the officer says that you

saw a guy getting a cab, yeah?

- Yeah, I did, he jumped into a yellow cab.

Don't know the company, just caught

it on the corner and that's all I saw.

- Hey, what do we got?

(intense dramatic music)

- [Donna] You okay, come on Madeleine.

- [Guido] Cameron.

- I know him.

- [Guido] What?

- His name's Jay.

He wanted to talk to me about

half an hour ago and I gave him the flick.

- Hey come on, come and sit in the car.

- All I he wanted was five minutes, you know.

I wouldn't give him five minutes.

- [Eddie] Everything all right?

- Yeah, I'm fine.

- [Guido] No ID.

- [Cameron] Not really.

- [Guido] But you know him?

- [Cameron] Yes.

- [Guido] Look, Cameron I need a name.

- I don't know, okay.

I know him but I don't know his name.

- All right.

- And there's a possible witness, Jeff.

- Jeff?

- Jeff somebody and he could still be at the club.

We need to get the uniforms onto it, okay?

- Right.

- And I don't know his f*cking name either, all right?

- Okay, I'll get on to it.

(dramatic music)

- Can I help you?

- Control asked me to check in.

- Are you a cab driver?

- Yeah.

- Right, okay, what's your name.

- John Patmos.

- Okay, John, did you pick up a fare here earlier?

- Yeah, I did, a man about just down there.

- Where did you drop him off.

- Central Country Platforms.

- Did you get a good look at him, John.

- Yeah, I watched him all the way there.

- He was, there was something wrong with him.

- What do you mean?

- He was weird, hyper.

- Okay, we're gonna ask you to come down

to the station now, if you don't mind, John.

Help us out with the description.

- Yeah, well someone's gonna have to call my boss.

- Yeah, that's fine, we can organize that.

Eddie, look after him for a bit.

- Is it true you're quitting?

- I don't wanna talk about it.

(engaging dramatic music)

- Put me in jail, go on, put me in jail.

- Look at that, he's pissed one me.

- Jesus loves you.

- Look at that, he's pissed on my shoes.

- [Trevor] Jesus loves you.

- Yeah, wear shoes like that and I'd piss on them.

- [Trevor] I don't care, put me in jail,

put me in jail please, Jesus loves you.

- Will you take responsibility for him?

- Yeah, yeah, if you give me the forms.

It's all right madam, it's sorted out.

- [Trevor] Just put me in jail, just me in jail.

Jesus loves you, Jesus loves you.

- Found your cell phone?

It makes sense that you're a cop now.

You're a real black widow, you know.

- Watch your mouth, Jeff.

- So, they told you what happened to Jay?

- [Jeff] Was his name Jay?

- Yes.

- At least you remember his name, that's something.

- Jeff, somebody's dead

We don't find the felon, we almost never do, mate.

- [Cam] What happened after I left?

- I went to the toilet.

I was in the men's toilet, remember that?

- No, what happened between you and Jay?

- He actually wanted to talk about you.

He actually wanted some advice from me about you.

Can you believe that?

He actually thought that he loved you.

- So what were your movements after I left the club?

- You think that I k*lled him?

It wasn't me who k*lled him.

- [John] Less of a hairline.

- How's that, the hair good for you or?

- Look, I'm not sure anymore.

The more I think about it the less I'm sure.

I think it's darker.

- Darker hair?

- Yeah.

- You all right, you wanna take a break and?

- We appreciate your help.

- [John] You're welcome.

- He looks familiar.

I'm Cameron by the way, Cameron Smart.

- [John] Smart?

- Yeah, Cameron.

- You smart?

- [Cam] Not very.

- No I mean smart, not smart, smart.

- Right.

- Cameron, sorry there's

people here, Jay Stubbings' parents.

- I'll do it.

- No, I will, I will.

Mr. And Mrs. Stubbings, I'm Detective Smart.

- Well what happened, who did it?

- We don't know yet.

- [Mrs. Stubbings] Why, was it a fight?

- No, we don't believe so.

- Well if it wasn't a fight, what did he

have wort stealing, a few dollars, , dollars--

- [Cam] It wasn't a robbery, Mr. Stubbings.

- [Ray] Well if that's not a reason,

there has to be a reason.

- [Mrs. Stubbings] He was such a sweet, sweet boy.

- Yes, I know.

- You know?

- I spoke to Jay about half an hour before he d*ed.

He was happy, he was having a good time.

- You knew him?

- Slightly, yes.

We met about a month ago, five weeks ago, yes.

- You're Cameron?

- Yes.

- Slightly, you say you knew him slightly.

Well, he thought you were wonderful.

He rang you and he left messages.

What did you talk about?

- We didn't.

- [Ray] What do you mean, you didn't?

- We didn't talk I was--

- Are you telling me that you

didn't have time to talk to him?

You slept with him and you didn't have time to talk my son?

You make me ashamed to be a woman.

(intense dramatic music)

(fists b*at)

(engaging dramatic music)

- No offense, but f*ck off.

- Yeah, I will, in a minute.

- Yeah, that's great, that's lovely.

Listen, I don't need a crisis nurse, all right.

Now I mean it, just piss off.

- [Tracy] Yeah, I will, in a minute.

- Five minutes he wanted.

Five minutes of my shitty life for all of his.

- And who appointed you God?

I mean, you are not responsible

for every sparrow that falls.

- He's not a f*cking sparrow.

He was a person, all right.

He was a good person.

I don't need a shrink, okay?

I've got a shrink.

I'm up to here with shrinks, all right.

I'm shrunk, don't worry about it.

- Yeah, well I'm not a shrink.

I'm just a woman, same as you.

- You're not ashamed.

- I used to be.

I got over it, getting over it.

- [Eddie] Sorry.

- No it's fine, we're done.

- What's your take on this guy?

- Weird.

- He's drying up on me, I thought, well you got

something going with him maybe you wanna give him a try?

- Hey.

Do you need a coffee, John?

- I don't drink coffee.

- [Cam] I thought cabbies lived on it.

Let me just check this, okay?

Okay so.

Okay, so you you didn't see this guy

until he stepped into your cab.

- He's a lonely cab driver, they go bird gay.

- He's clean, no record, nothing.

- He came voluntarily.

We haven't got any reason to suspect him.

- [Cam] Why were you parked in a laneway?

- [John] Sorry?

- Well, if you weren't cruising you must have been parked

and if you were looking for work

why would you park in a laneway?

- Are you a detective?

- Yes.

- Why do they let you dress like that?

- [Cam] Don't you like it?

- No.

- I think you do.

- [John] No, I don't.

- It's okay.

- I don't like it.

- Do you keep records of the nights that you drive?

- I drive most nights.

- So is it possible that you were working in the city

on the nights of the other murders?

- [John] Why?

- 'Cause you're an observant man, John.

You watch things, don't you?

You might have seen something that you didn't think

was important then and you might remember it now.

What?

They're just legs.

Too sexy?

You must see a lot of sexy stuff

in the back seat of your cab?

Do you?

- Don't talk like that.

Please.

- [Cam] Do you ever see people doing it in the backset?

- Don't.

- [Cam] Do they?

- Don't.

- [Cam] They do do it, though?

- No, I would put a stop to it.

I wouldn't let it happen.

- How can you put a stop to it

if they're going chock-a-block in the backseat?

I mean, why don't you just watch?

I'd watch.

- It's a sin.

It's a sin to watch it in the flesh.

Can I go now?

Can I go now, please?

- Yeah, we'd like you to stick around

a bit longer if that's all right.

- Okay.

- All right, this is the scene of the first m*rder.

It's the Francis Street Car Wash.

You remember how clean John kept his cab?

Yeah, have a look at this.

Who's this guy?

Is that him?

- If he wants to leave you have to let him leave.

- If he tries to leave, I'll arrest and then I'll apply

to the on-call magistrate for another eight hours.

- Thank you for coming in.

- George, hello.

- Eddie.

- Please sit down.

- [Eddie] There's a seat right here.

Thank you, that all right?

- [Cam] So how often do you wash your car?

- Every night.

- Do you know the car wash on Francis Street?

- Yeah, know the car wash.

- [Cam] Ever use it?

- [John] Sometimes.

- That sounds like him.

- Did you use it on the night of February th?

- It's possible.

Look, it's possible I washed it there,

I don't remember where I wash it, I wash it every night.

- Have you played the talk-back tape to him?

- That sounds like him too,

but in all conscious I couldn't swear to it.

- [Cam] Why do you wash your car every night?

What's the point?

- The streets are filthy.

- What do you mean by filthy?

- You know what I mean.

- No, I don't.

- Yes, you do, it's depraved.

- Well, I suppose we're all depraved.

- We don't have to give into those things.

- [Cam] What things?

- You know what I mean.

- Urges, hmm, I've got them.

You've got them, we could--

- No.

No.

- This guy's taking us for a ride.

- Proves he's got a sense of humor.

It doesn't prove he did it.

- We're not angels.

We're not far from animals.

We've got animal lusts.

- That's an evil thing to say.

- No, it's not, and you're not evil.

Anything you wanted to tell me,

anything at all, I wouldn't condemn you.

We're alike, you and I.

Any thoughts, any urges, I wouldn't think

badly of you because I'm no better.

(sensual music)

Tell me, John.

Tell me, I know you want to.

I won't think you're evil.

You're just human.

Tell me, John.

(sensual jazz music)

- Interview over, we're gonna have to let him go.

We've lost him, f*ck.

Check his clothes, check his shoes.

If they're clean, let him go.

- But he did it.

He'll do it again.

- Get the evidence and prove it.

- He's just gonna go and smash some other poor bastard

in the face with a brick and then go and wash his car,

read his damn Bible, this is wrong.

- It's wrong to hold him.

- He's a m*rder*r, all right.

He might not be able to help but he's a m*rder*r

and he needs to be locked away.

- [Sharon] Cameron, that's it.

(intense dramatic music)

- [Cam] He asked for five minutes.

Five minutes of my life for all of his.

I'm sorry Jay.

- We're like chalk and cheese, aren't we?

You and me?

- Yeah, I suppose we are.

I'm the chalk and you're the cheese.

(intense dramatic music)

- Check it out.

- You people frighten me.

- These guys.

Hey, I'd miss you too much.

- You a convert yet, Madeleine?

- It was a very educational night.

- Yeah, well the car park was good I suppose.

- No, I'll stay where I am, thanks very much.

- Hey guys, too dirty.

Oh he knows we're on to him, he'll probably retire.

- Nah, he's one a mission from God.

- He wants to confess.

(intense dramatic music)

He wants to confess.

(intense dramatic music)

- Hello John, you know Eddie and Cameron?

Do you mind if we come in?

(gate creaks)

May the Lord, who frees you from sin,

save you, and raise you up.

Now John, let's just take this moment

to remember God's presence here with us now,

and know that we can place our trust

in his Spirit, in his mercy.

But you don't need to be afraid to talk if you need to.

These people aren't your enemies, John.

You don't need to be afraid of the truth.

- I love you.

(sensual jazz music)

- The man who was bhased to death last night, did you do it?

- Yes.

- [Cam] And Paul Barry?

- Yes.

- [Cam] And Keith McManus, and Michael McMennimy?

- Yes.

Yes, yes, yes.

- Thank you.

(engaging dramatic music)

- Cameron?

Why you wanna quit?

- I don't like my life.

- All right, this isn't life.

All right, it's work.

And you're good at it, all right.

(engaging dramatic music)