Sweet As (2022) Movie Script
1
[gulls squawking]
[machinery clatters and hums]
[gulls squawk]
[ship horn blares]
[aeroplane roars in distance]
[door chime rings]
[machinery whirrs]
[engine revving]
[truck rumbling]
[water drizzling]
[tap squeaks]
[light footsteps]
[squeaks]
[breathes heavily]
[crunches]
['Malu Mabu Liyan'
by Matalja plays on headphones]
Malu Mabu Liyan...
[sighs]
Troubles in my heart
Ooh, whoa
Malu Mabu Liyan...
[hip-hop music
plays loudly outside]
[knocking at door]
[knocking and thudding]
[knocking continues]
[footsteps recede]
- [hip-hop music continues]
- [people chatting and laughing]
[woman] Yeah, I reckon, hey?
Mum.
Someone tried
to push open my door.
Back in your room.
[man] Whoa, whoa, whoa!
Where you going, baby girl?
I just wanted you to come out
and have some fun for once.
[grunts] Mum!
[woman] I said,
get back in your room!
Murra! Murra!
[door slams]
Get out!
[man] Fuck this.
All of you,
get the fuck out now!
[panting]
[phone beeps]
[coin clatters]
[hip-hop music
plays in distance]
[gravel crunches]
[brakes squeak,
handbrake clicks]
[car door opens]
You alright? Stay here.
- [door opens]
- What's going on, Grace?
[Grace] What the fuck
are you doing here?
[officer]
Grace, Grace, calm down!
[Grace] Called you again,
didn't she?
- [officer] Back on the gear?
- [Grace] Nah! Fuck off!
[engine chugging steadily]
[ship horn blares]
[officer] And the bus leaves
from the shire at nine o'clock?
[dog barks in distance]
- [glass clinks]
- OK. Seven days, did you say?
Thank you.
Yeah, yeah, I appreciate it.
Look, I know it's short notice.
- [bottles clink]
- [Grace groans]
[officer] Alright,
I gotta go. Thank you.
[handcuffs rattle]
[Grace] Get these things
off me, arsehole!
[officer] Morning, sis.
You happy now?
DCP gonna come for you.
They can fucking have you!
I'd rather be out on the streets
then stay in this
ngarbie house with you!
Get these fucking things off me.
- [Murra] No, Uncle.
- Gotta go goomboo.
Are you gonna
let me piss myself?
[handcuffs click]
[stomping footsteps recede]
How long has she
been back on for?
[car engine starts]
Mum? Mum!
Don't leave!
[engine fades]
[officer] Murra, we need to make
some serious changes
around here, OK?
But I want you to think about
your future, alright,
what being independent means.
Maybe... maybe that's without
Mum for a little while, OK?
- I'm not staying here.
- No, you're not.
I've organised
for you to go away.
It's some kind of photo safari
for at-risk kids.
- Mental cases?
- No, for kids like you, Murra.
I'm not going.
Hey.
You're my niece
and I love you, alright?
But we've run out
of options here.
[door creaks]
[traffic whooshes]
[clothes ruffling]
[zipper buzzes]
- [water spraying]
- [dog barks in distance]
[spraying stops]
I'm not going on
that stupid trip.
[magpies warbling]
Mum! [breathes shakily]
[clattering]
Everything OK?
You want some breakfast?
Well, get ready, then.
[mouths]
[people chattering]
[woman] Oi!
Ya cheeky buggers!
- [people murmuring]
- Hello, everyone.
My name is Fernando Castillo.
Feel free to call me Nando
if that's easier for you.
I'm a youth worker and
the photography team leader.
You guys have met
my colleague Mitch.
Look, guys, I just wanted to say
I know you may seem to feel
a little bit nervous
about our seven days travelling
to the Pilbara country,
but I want to...
to promise to you guys
and I want to assure you
that we are going to create
something wonderful
on our road trip together...
with this,
but more importantly this,
to capture poignant moments
with these magnificent beauties,
embracing the old
to re-examine our place
in this constantly changing
world in which we live in,
which is why
I'm going to remind you
that all gadgets,
including mobile phones,
are going to be
excluded from the trip.
Well, you know,
we want you to look at the world
through a lens, not a screen.
So here's to you guys,
the time that we are
going to have together
and, uh, our brave
new adventure.
[scattered applause]
[Fernando] Yeah, we can clap.
We can clap. Yeah.
OK. That's it.
You text me every hour, OK?
- Hey...
- No, not here.
Mum?
Keep your hands
off my man, yeah?
[woman] Shut ya trap, Kylie!
Get on the bus.
Tell 'em straightaway
if you start to feel...
sad, OK?
You'll be right.
Alright, be safe, listen to
country and stay out of trouble.
[sighs]
[Mitch] Glad you
could join us, Murra.
Mitch, uh, lovely to put
a face to the name.
Thank you for doing this
at short notice.
Oh, no worries, no worries.
Oh, you're lucky
you got a good uncle.
He worked a small miracle
to get you on the bus.
Yeah, so lucky.
She's actually
a really good kid.
We've only caught her
shoplifting the one time.
[Fernando] OK, guys,
come together for
our first group photo.
- [Mitch] Alright, in you get.
- [kids chatter and laugh]
Hey, get in there.
Yeah. Close.
Close, close, close!
OK.
[camera beeps]
[Mitch] Wait for it.
[camera clicks]
Did that work?
- [Fernando] Yeah. It's great.
- Great.
Uh-uh-uh! Not so fast, Elvis.
Your phones.
Alright, give 'em here.
I promise
you are going to survive.
Uh, but what are we
gonna do for music?
You see, there's this mystical
device called a radio.
- [scoffs]
- Come on.
Thank you.
Sean, thank you.
Kylie.
It's OK, Murra.
Your Uncle Ian will let us know
if there's any news
from your mum.
Alright, in you go.
[bus engine starts]
- [Mitch] Let's do this!
- [Fernando] Whoo-hoo! Vamos!
[woman] Cadjup, you mob!
['Pukulpa' by Electric Fields]
['Pukulpa' continues]
['Pukulpa' continues on radio]
[woman on radio] You're with
Sandy Dann across the Pilbara.
We're moving to a chilly
27 degrees out there.
Might be time to get
those jumpers out.
[Fernando] Listen,
these cameras have film inside,
but each roll of film
takes only 24 photos.
- So we have to be selective.
- [Kylie] These are stupid.
[Fernando] Maybe different
is what you mean, no?
No, I meant stupid.
Yeah, what's the point?
I mean, you have
to really consider
each photo that
you choose to take.
This is not like with
the smartphones where it's...
[clicks rapidly]
point and shoot frenzy.
You know, like, you have
to stop and take the time
to see the story
that is in front of you.
- Like...
- [camera whirrs]
the 'Ball Breaker'?
- [camera clicks]
- [Mitch] You watch it.
[Fernando chuckles]
Yeah. That is the title.
But, uh, what is the story
behind our 'Ball Breaker'?
Because, remember,
every picture has a story.
My grandad used to play
the didgeridoo.
He would say, "This is
our story, not a tune."
Yeah. I mean, that... that is it.
The camera
will be our instrument
for telling our stories.
She's going to be a natural, no?
[chuckles]
[laughs weakly]
[Fernando] OK, so we want you
to take this time now
to play around with the cameras.
Remember that your vision,
your heart,
this is what creates
a great photo, in my opinion.
[Mitch] Alright, everybody,
let's pack up our chairs.
We gotta hit the road.
['Aboriginal Woman' by
Bart Willoughby plays on radio]
[kids chattering indistinctly]
[Elvis] Flasher than these ones.
[Elvis continues chattering]
You is rich, boy!
Aboriginal woman,
she's here to stay
Aboriginal woman,
never fade away...
[Elvis] Work it, Kylie.
[Kylie] Elvis,
get out of my shot!
[Elvis] How do you
look at the photos?
[Sean speaks indistinctly]
[Kylie] Sean, my God,
if you don't stop
kicking the back of my seat...
- [thudding]
- [Kylie] Sean, I'm serious.
- Fuck off!
- [Sean] Sorry.
These seats are uncomfortable.
['Aboriginal Woman'
continues on radio']
[camera whirrs and clicks]
['Aboriginal Woman'
continues on radio']
[chuckling]
[woman on radio] Next up
we're chatting to Sylvia Clarke
on the release of her
new album 'Shapes',
a mixture of country
and electro-pop.
[Kylie] Does anyone
have any snacks? Anything?
[door lock beeps]
[Fernando] OK, guys.
Out you come.
[engine rumbling]
- [woman] Hey, brother!
- [woman 2] Hey, Murra!
- [man] Hey! Hello, my girl!
- [girl] Hey, hey!
- Hey, Pop Jimmy!
- [woman] Hey, Murra!
[Pop Jimmy] Hey, I know
that cheeky face there.
- You're Jerry's grandson.
- [Elvis] Yeah.
Sorry for your loss
of your nan, my boy.
- [boy] Sorry, Uncle.
- [boy 2] Sorry, my brother.
- [girl] Sorry there, cuz.
- [woman] Sorry, my little uncle.
[woman 2] Sorry, brother.
You guys seem
to have family everywhere.
- [Mitch scoffs]
- [Pop Jimmy] Hello, my girl!
- Who you?
- [woman] Here, sissy!
- Come this way.
- [Fernando] Yeah, you go.
Hey, Uncle.
I'm Mitch Kotonel.
- Yeah, I'm from over east way.
- You sure?
You look like
different mob to me.
True? Yeah, well,
I grew up that way.
But, um, my mum,
she's still looking for her mob.
Yeah? You look
after yourself, my girl.
- You got family here.
- [woman] Hey, girl.
- Thanks, Uncle.
- No worries.
OK, you mob be good, now.
- [Mitch] You too.
- [Pop Jimmy] Love you. Be good.
- See yas! See you! Bye!
- [people shout farewells]
- [woman] Love ya!
- [woman 2] See ya!
OK, chicos!
Kylie, try to keep up
with the group, please.
Ai yi yi!
I put new film inside
your cameras.
This is our first stop.
Remember, we want you
to use the cameras
to explore the landscape.
We're going to meet back here
at the bus in two hours.
[Mitch] Watch out for snakes!
Stick with me.
I eat snakes for breakfast.
Weet-Bix are for weak bits.
[Elvis chuckles]
Was that
your grandfather before?
Gran's mum's brother's son.
Our families are
the same like that.
So big and so wonderful.
[camera clicks and whirrs]
Same, same.
[Fernando] Yeah. Same, same.
[birds calling,
insects chirping]
[frogs croaking]
[person shouts] Cooee!
[birds squawk]
[Elvis] Cooee!
[Kylie] Hairy nuts!
[Elvis] Hairy nut hole!
[Kylie] Sean's got a stupid hat!
- [Sean] Hey!
- [Kylie laughs]
- Dave's got a big 'ole!
- [all laugh]
[all] Dave's got a big 'ole!
[Mitch] Hey!
Are you serious?
Look at where we are.
Country offers you so much
and this is how you treat it?
I'm sorry, Aunty.
- Sorry.
- Sorry.
[Mitch] You mob got
an opportunity here.
Don't waste it.
Come on.
[insects chirping]
[birds singing]
[leaves rustling softly]
[gentle contemplative music]
[camera whirrs]
[camera clicks]
[gentle music continues]
[bee buzzes]
[camera clicks]
[camera clicks]
[camera whirrs]
[camera clicks]
[cockatoos squawking]
[insects chirping]
[engine rumbling]
[train rattling and screeching]
[Mitch] Right, girls' room,
boys' room.
Restaurant, 6:30.
[Fernando] Take your cameras.
You are all free till then.
So go and explore
and experiment, OK?
- We can go anywhere?
- [Mitch] Within reason.
- [Mitch] Alright?
- Sweet.
[Elvis] I've never
stayed in a motel before.
[truck rumbling]
[Elvis] Oh, they're so little!
Huh! Look!
Look how many there is!
[phone beeps]
[coin clatters]
[line ringing]
[phone ringing]
[line continues ringing]
- [phone beeps]
- [coin clatters]
[thuds phone]
Where's my money?
Fuckin' poxy phone!
Oi, stop breaking
our phone, you dog!
[footsteps approach]
You'll keep.
[Kylie chuckles]
- [camera clicks and whirrs]
- Murra making friends.
[Elvis] I found the gaming room.
- We found the gaming room.
- Yeah.
I got a better idea.
Oi, can you help me?
[Murra] Oi.
[footsteps approach]
You get me a goon bag?
Yeah, sure. Sweet.
[woman] There you go, Simmo.
Enjoy your lolly water.
[Simmo] Yeah.
[Simmo] You drinking alone?
[Elvis] My cousin
used to have a BMX.
It was red,
so I went really fast.
[laughter]
- [Murra] Greedy-guts.
- [Kylie] Settle down!
[Elvis] Save some for us.
- I've never been kissed.
- [Elvis] What?
Don't look at me,
you little perve.
[laughs] Yeah, Sean.
Kylie's only got
eyes for me, hey?
Uh, uh, uh, uh.
You couldn't handle this, Elvis.
Come on, Murra.
Help a brother out.
Go away. You look like
one of my cousins.
[laughter]
[Kylie] Hey, if, uh,
Fernando looked like a cousin,
I'd still pash him.
- [Murra] Gross!
- [Elvis chuckles]
[Kylie] You're a virgin, I see.
How boring.
Yeah, you're not, I see.
How boring.
I call this one the Elvis dance.
- [Kylie] Oh, my God.
- [laughter]
Dad reckons
I came out feet-first.
- Howling like a hound dog.
- [Kylie] You're so embarrassing.
He said, "That's an 'Elvis'
right there for sure."
[Kylie] Stop it.
[Sean] My entire
family's called 'Sean',
just boring old 'Sean'.
But your name is so beautiful.
Murra! [laughs]
It's Rumurra.
It means 'the sun'.
My mum said I was her sunshine.
Murra! Oh, Murra!
- [Murra] Oh, God.
- [Kylie] Shut up!
- [Elvis beatboxes]
- [Sean continues singing]
- [Kylie] Oh, my God!
- [Murra] Stop it!
- Sit down!
- Oh, Murra, sunshine!
Why are we all here, then,
if our poxy parents
are so great?
Why do dingoes howl
with their eyes closed?
Try it.
[all howl]
[laughter]
- [dogs bark and howl]
- [Kylie] Shit.
- [Elvis] Yo, run!
- [Murra] Run!
- [Kylie] Go, go, go, go, go!
- [Murra] Hurry up!
['Stealing From Tomorrow'
by Pirra]
When the lights
and the shadow
Cross your face
Coming on,
I can feel it close enough
I can steal it away...
- [Elvis] Oh, look at that!
- [Murra] Look how blue it is.
- [Kylie] Awesome.
- [Murra] Let's get in there.
I can feel it close enough
- I can steal it away...
- [Murra] Let's go.
[Elvis] Sean,
pass me the goon bag!
[Kylie] You need floaties, Sean?
[all whoop and shout]
['Stealing From Tomorrow'
continues]
And we steal
It all
From tomorrow
We just want
It all
Today
Stealing all the fun away...
[kids chattering and laughing]
[song fades]
- [Kylie] No!
- [Elvis laughs]
[camera clicks]
[chattering and laughing
continues]
[splash]
[Elvis] Murra? Murra!
Get her, Sean!
[Kylie] What is happening? Sean!
[Elvis] Murra, are you OK?
[Kylie] What just happened?
Are you OK?
[Elvis] Sean,
where are you going?
[Murra] Wait!
So stupid! You're stupid!
- Oh, don't be a baby.
- Don't call me that!
Well, that's what you are,
a crybaby.
Why are you even here anyways?
'Cause I think about
killing myself all the time.
Hey, Sean, bud, are you right?
Sean, wait up.
[camera clicks and whirrs]
Murra making friends...
again.
Hey, what happened?
In the pool?
Nothing.
Let's go.
[Kylie] Hey, smell that?
[Murra] Who's got the gunja?
[Simmo] Oh, hello, girls.
[Murra] It's my old
mate from the bottle-o.
- It's me underage drinker.
- [Murra chuckles]
- You want a toke?
- Might be.
[Kylie] I'll take that.
- [Murra] Oh.
- [Kylie laughs]
[Murra] Whoa, head spin.
- [Elvis] Which room is it?
- [seat clatters]
[both snort and laugh]
[Fernando] Hey!
- Where have you been?
- [Sean] Swimming.
Drinking.
Where are the girls?
[Kylie laughs] It looks like
a little pink mushroom!
[both laughing]
[Kylie] Oh, the bottle's empty.
[camera clicks]
[Kylie chuckles]
Kylie, we should get going.
Why the rush?
Back off, you perve.
What did you say,
you little cock-teaser?
- We're just gonna get going, OK?
- [Kylie] Murra?
[girl] That's that cheeky
little dawg from today!
They're trying to moonj
ya big bungee balls, Simmo.
Have fun, girls.
You wanna go busting yourself,
cheeky girls, eh?
[engine starts]
[girl shrieks]
Get off me, you bitch!
- [bus horn blares]
- [girls shouting]
[Kylie] Murra! Murra! Stop!
[brakes squeak]
- [Mitch] Stop it!
- [girl] Oh, shit.
- You're lucky this time, dog!
- [Murra] You the dog!
[Mitch] What the hell's
going on?
Where have youse been?!
Get on the bus.
- My camera.
- [Mitch] Get on the bloody bus!
[insects chirping]
[owl hoots]
- [latch clicks]
- [door creaks]
[camera whirrs]
[camera clicks]
[truck rumbling]
[birds chirping]
[Mitch] I don't know.
How can we trust any of you?
I mean, Jesus Christ,
it's not even the first day.
Just... just give us
one more chance, please.
[Fernando] Why?
The camera.
You said every picture
has a story.
Maybe we have one.
[Mitch] So you'd each
take responsibility
of keeping each other on track?
[all] Yes.
Because if one of you,
just one of you messes up,
you're all gone.
- You understand?
- [Elvis] Yes, Aunty.
- Yes, Mitch.
- Yes, Aunty.
[Mitch] Oh, Jesus, help me.
Alright, let's go. Come on.
- [Kylie] Yes!
- [Elvis] Whoo!
[Mitch] Gotta get
to this camp site.
[Kylie] Whoo!
Let's hit the road.
[Elvis] These
are all free, right?
[Kylie] Elvis,
seriously, come on.
[Fernando] Come on, man.
- [Elvis chuckles]
- [Kylie] Elvis!
[radio announcer]
Join us for our next segment
'Good Nuff Feed'
where we learn about what
deadly bushtucker is in season
and who is the single
lovely people out there.
[Kylie and Elvis chattering]
['Roadtrain' by Pigram Brothers
plays on radio]
Unfolding like a flower
Dewdrop in the dawn
Rising like a mountain...
Hey, are you OK?
I just want you to know,
for whatever reason
if you feel like you need to
talk to someone, I'm here, OK?
OK.
Starting to rise now
My shadow's up the wall
And I'm rolling
like a roadtrain
Four dogs and 30 tonne
Gliding like a mountain
Towards the blazing sun
Sun...
[Mitch] Alright, gang,
here's our home
for the next two nights.
[Fernando] OK, chicos,
let's set up the tents.
- [wind rustles]
- [birds call]
[people chatter in distance]
[camera whirrs and clicks]
- [Kylie] That's it.
- [camera clicks]
[Mitch] What youse doing?
Come on! This tent's
not gonna build itself!
We've still got dinner to cook.
[Sean] OK, so we just need
to fold it up for the night
and I think we're pretty good.
[Elvis] And, of course,
I'm a proud Pilbara breed.
I got family everywhere.
I'm deadly, as you can see.
I like fishing, hunting
and my culture.
And I love reggae music.
[group exclaim]
- [Fernando] Like Bob Marley?
- Yeah.
[Mitch] So who's up next? Kylie?
I'm a Cancer.
I like walks in the park
and setting fire to things.
[Sean] Cancer is above us now,
uh, right over there
by the moon.
- See?
- [Mitch] Hmph.
[Elvis] Old Man Emu's up there
too, hidden in the Milky Way.
Can you guys see?
[Kylie] Oh, yeah. Cool.
[Elvis] I had to follow
Old Man Emu to get home once.
- [fire crackles]
- [owl hoots]
[Fernando] OK.
I'll have a turn now.
I was born in Nicaragua,
but, uh, when I was very young,
my parents and I,
we had to leave from there
for some very
complicated reasons.
But, uh, my mother was a very
well-known photographer
and my father was a journalist.
So I was lucky enough
to... to travel
and... and to live in
many, many different places.
And in the process of that time,
she passed her love
of photography on to me.
Photography allowed me
to express what I was feeling.
Hence why I love to pass
my love of photography
on to you guys.
Things that I love?
Photography, of course. [laughs]
And mountains.
I, uh... I like mountains.
[Kylie] I think you forgot to
mention the word 'photography'.
- Ahh! [chuckles]
- [Elvis] Good one, Kylie.
May I go to bed now?
You know you don't
have to ask that, man.
God, why didn't you
say that earlier?
Hey, hey, hey! Dishes. Come on.
[Fernando] I was about to
get the marshmallows out.
- [Mitch] Mm-hm. More for us.
- [Fernando laughs] Yeah.
Hey, take that for me, please.
[insects chirping]
How do you know when
a guy likes you likes you?
Because he wants to fuck you.
[phone beeps]
[keypad clicking]
- [line beeps]
- Oh, no reception!
- [insects hum]
- [birds twitter]
[footsteps crunching]
[birds squawking in distance]
[Fernando] Do you need
some help to get down or no?
Yeah? So put your foot there.
Careful. There you go.
- Thank you.
- That's OK.
[Sean exhales]
[soft moving music]
[Elvis sighs]
['Pitjantjara' by Frank Yamma]
[Mitch] Waiba country.
Hello, ancestors.
Waiba old people.
I'm Mitch, Michelle Kotonel.
Um, I come here with respect,
with a good heart
and I ask that
I have safe passage
and safe passage for our friends
on your beautiful country.
Come over.
Get a rock.
Rub it and make sure
you get your sweat on it.
[Kylie] Why your sweat?
[Elvis] So ancestors
will recognise you.
[Kylie] Huh! Cool.
Never done this before.
So I, uh...
wanted to get you started
on the manual cameras.
Here. Hold onto this.
What a place to learn, huh?
- [Elvis] Work it, Kylie.
- OK, chicos!
We're going to head off
into the gorges.
- Who's coming?
- [Sean] I'll come.
[Elvis] We'll stay
for our model shoot.
Fantastic.
[Mitch] I'll be staying here
with these two.
OK, we'll be back before dark.
Let's go, guys.
[gentle guitar music]
[camera clicks]
[Fernando] See there,
with a manual,
you can choose to focus.
[Fernando continues
indistinctly]
[camera clicks]
['Nguura' by Headland
ft. Maanyung]
[camera clicks]
['Nguura' continues]
[water trickling]
[camera clicks]
[Fernando] Wow!
[Sean] Whoa.
[camera clicks]
- This camera's amazing.
- Yeah?
What were you taking a photo of?
The waterfall.
- Just there?
- Yeah.
[camera clicks]
So here now, you see how
it is AF? That is auto focus.
So that's what
you have been using
for the time that
we have been on the trip.
- But if I come down...
- Mm-hm.
- it's manual focusing.
- Can I see?
[Fernando] Yeah, of course.
- Can you teach me sometime?
- Yes. Yes, of course.
I can teach all of you.
[Sean] Awesome. Thanks so much.
OK. Let's go.
[insects chirping]
[Fernando] Just watch your step.
[Fernando] This is incredible.
Wow! Look at the forms.
The contrast of the
colour palette, the layers.
It is just fantastic.
[camera clicks]
[Fernando] OK, guys,
let's keep moving.
The waterfall should
be further this way.
[flowing water]
[flies buzz]
[Fernando] Oh, I cannot believe
that we have
this place to ourselves.
This place is like...
[chuckles] I don't know
how to say it.
Like, it's like nothing
I have ever seen.
Wow!
I mean, imagine this place
in the monsoon season.
Look where
the waterline comes up.
It's just fantastic.
[camera clicks]
Where is Sean?
It's OK. I seen him
not too long ago.
He's taking a photo.
He'll catch up with us.
[water splashes]
Come in.
[Fernando] I should probably
go get Sean. No?
He knows where we are.
Come on. The water's so nice.
[Fernando] OK, then. Yeah.
It'll be nice to cool down
while we wait for Sean.
Stay like that for a second.
[camera clicks]
What does the photo
say about me?
What's my story?
It's called 'Little Hero'.
You are strong.
And brave.
I'm not that little.
Murra, you have the wrong idea.
I'm sorry.
We have to go.
Come on. Get your
things, please.
[Fernando pants]
[breathes shakily]
[Fernando shouts] Sean!
Sean!
Sean! Sean!
[Fernando pants]
[Mitch] This is too late, mate.
Any darker and it
gets dangerous.
I know.
- Is Sean here?
- No.
Everybody, grab a torch.
We have one hour
until it gets dark.
Fernando, Elvis,
you head out that way.
Kylie, you're with me.
Murra, you stay here.
- [Fernando] Elvis, come with me.
- [Mitch] Come on, come on!
- Let's hustle!
- [Fernando] Now!
[running footsteps]
Come on!
[sombre music]
[all shouting and calling out]
- [Mitch] Sean!
- [Kylie] Sean! I'm serious!
[Fernando] Sean!
['Abala Barlawa'
by Kardajala Kirridarra]
[Murra] Sean!
Sean, where are you?
Sean! Can you hear me?
Sean!
Where are you, Sean?
Sean?
Sean!
Sean!
[breathing heavily]
[pants]
[insects hum]
[torch shatters]
I guess we better get back
before it's too dark.
[Fernando crying]
Sean!
- [Elvis] Sean!
- [Fernando] Sean!
- Sean, Sean...
- [Mitch] Are you alright?
- [Fernando] Are you OK?
- [Kylie] What happened?
[Mitch] Are you hurt, bub?
You, with me.
What happened?
Did you just fucking leave him?
- No, he stopped following us.
- God, you are such a bitch.
How would you feel
if we abandoned you?
Been there, done that,
so back the fuck off.
- Oh, you want to go?!
- [Elvis] Let's go.
- Get off me!
- Let's go!
[Kylie] I am over
all of this. I am done!
- [insects chirping]
- [owl hoots]
[rustling]
- [zipper buzzes]
- Kylie?
What are you doing?
Where are you going?
Kylie! Stop!
Don't act like you give a shit.
I can't get reception out here.
He loses his mind
if I don't text back.
Well, that's his problem.
You don't know fuck all
about fuck all.
You're just a stupid virgin
giving love eyes to Fernando.
- I'm doing what, bitch?
- OK. That's enough.
Give me the phone, Kylie.
No.
Murra, back to the tent, please.
[birds tweeting]
[Mitch] Hey, are you alright?
Yeah.
I've been sleeping
on my back again.
Well, we're headed out today.
Give the spirits
some peace and quiet, hey?
Now, why don't you
go wake up Sean?
[Elvis] Buddy,
are you awake? Sean?
[zipper buzzes]
Where is she?
You kids, you're not making it
easier for us, true God.
[sighs] We knew that
coming on board.
Now, her I can read.
You, not so much.
I've been watching you,
walking around with your camera,
giving everyone
and everything a story.
And I wonder, what's yours?
Do you think you're here just
'cause we needed to fill a seat?
'Cause what's next
after this, Murra?
What do you want?
[gentle pensive music]
[zipper buzzes]
[grunts]
['Love My Darkness'
by Lady Lash]
In the middle of my heart
And the face
'Cause, baby,
I'm the only one
Who's keeping me alive
Love my darkness
Just maybe
you can show me the light
We all have these
moments to cry
Lay me in a bed of roses
When I die
Ooh-ooh-ooh...
[Mitch] Come on, come on,
come on. Game on!
[Kylie] Oh, thank God.
Anything but a photo.
Elvis, Sean, you're with me.
The other two, with him.
- Come on!
- OK, let's go! Come on, Murra.
[Mitch] If you can,
if you can, if you can!
[Mitch] Oh!
- [Mitch] No, he didn't!
- [Elvis] Come on, Fernando.
- Come on, Sean. Get on Murra!
- [Kylie] Go on, Murra!
[Elvis] You're supposed
to be helping, Sean.
[all yelling and shouting]
[all cheering]
- [Murra] Fernando, here!
- [Sean] Come on, Elvis!
[Kylie] Here, here, here.
No! What?
[Fernando] Hey, Murra,
that was for Kylie.
[Kylie] What the hell?
Here, Murra!
[Fernando] Find space!
Go! Pass to Kylie!
[Elvis] In, Sean!
[Kylie] Pass to me. Pass to me.
[ELVIS] Hey, that's for Kylie.
- [Fernando] Oh, in!
- [Mitch] Ohh!
- [Elvis] Sean!
- [Fernando] Kylie, find space.
- Yeah, Fernando!
- [Fernando] Kylie, Kylie!
- This one's for you.
- [Murra grunts]
- [Elvis] Hey!
- What the hell are you doing?
- We're on the same team, idiot!
- Are we?!
He's not that into you, Murra.
He's being nice to you.
- That's all.
- [Mitch] OK, that's enough.
- Everyone needs to relax now.
- You know what?
You're just a jealous loser
with a paedo boyfriend.
And you are the one who's
made this all about dick.
[Elvis] Yo, yo, yo!
Stop it! Stop it.
- Hey! Hey!
- Hey, Kylie, stop!
- Get off me!
- Stop!
- Settle!
- Relax!
Relax.
[Murra] Well,
there's a photo for you,
the travelling
fucking freak show!
- No, we're not.
- Yes, you are. You're losers.
I don't need any of youse.
I'm out.
Murra!
- [Fernando] Murra! Murra!
- [Mitch] Murra!
- [Fernando] Come back!
- [Mitch] Just get in the bus!
- [Mitch] Quick!
- [Fernando] Come on!
- [Mitch] In the bus!
- [Fernando] Kylie! Now!
- [panting]
- [vehicle approaching]
- [horn honks]
- [hip-hop music playing]
- [man] Sucked in, ya dumb dog!
- [men laugh]
[screams]
[pants and cries]
[breathes heavily]
[exhales heavily]
[engine rumbling in distance]
[bus horn honking]
[Elvis shouts] Murra!
[Fernando] Stop, please.
[bus door opens]
[Elvis] Yor, yor!
Min Min light gonna get you!
[Mitch] Murra,
come get back in the bus, bub!
[bus creaking]
[bus engine starts]
[door buzzes and closes]
- [insects chirp]
- [frogs croak]
- [Kylie] Guys!
- [Sean] Hello?
[Elvis] I don't know
where they went.
[Kylie] Murra,
get out here right now!
Mitch!
- [Kylie] Mitch!
- [Sean] Hello?
[Kylie] Where the hell are they?
[Elvis] Maybe they got abducted.
- [Murra] Not funny, Elvis.
- I can't believe they did this.
[Murra] How could
we not hear them leave?
[Sean] People die
like this all the time.
[Kylie] Screw this.
I am outta here.
Uh, I think they went that way.
[Sean] You shouldn't do that.
You should never
leave your vehicle.
- What vehicle, idiot?
- [Elvis whistles]
- [camera whirrs and clicks]
- [chuckles]
I call this one 'Smash It Out'.
You kids wanna argue?
Wanna fight?
Go on, then. Smash it out.
Yeah, that's what I thought.
Now, let's show this mob
what Pilbara breed be like.
Let's go.
[Sean] This is hardly
enough water.
- [Murra] This is not gonna last.
- [Sean] There's water somewhere.
We just need shopping gear.
[Sean] Something...
This'll do.
[Sean] Oh, dear.
I know how this ends.
['Come On!!!'
by Karrku Reggae Band]
[Murra] You twist it...
and then you suck
the honey out.
Oi.
[rustling]
[Murra] Shh! It's a bush turkey.
- [grunts] Yeah!
- [thud]
That was pretty hot.
You can't handle
all this, Kylie.
[laughs]
['Come On!!!' continues]
[Kylie] That was delicious.
- Who'd have thought it?
- [Sean laughs]
[Elvis] Yeah, there's big mob
tucker out there.
Next time, we'll go my country.
We've got oysters bigger
than the size of your hand.
[Elvis] Ooh!
[Sean] I can't wait to do that.
[all] Me too.
Gather 'round.
[camera clicks]
- 'The Deadlyz',
- [Kylie laughs] Yes, we are.
- [Sean] Deadlyz. I love it.
- [Elvis] That's us.
[Sean] 'Deadly' is good, right?
I'm sorry, Elvis.
I never asked why
you were here, brother.
[inhales and exhales deeply]
I was walking back home
and a couple of blokes grabbed
me and took me outta town.
They roughed me up pretty bad.
And then they
left me there to die.
Like, really die.
I haven't left
my community since.
I guess I just wasn't ready.
But I'm really glad that I did.
[Sean] I'm glad we're
fricken here too together.
- [all laugh]
- [Elvis] Hey, look out.
Swearing. Good go.
I'm Rumurra Nagula.
I like strolls along the beach
and chocolate mint ice-cream
and photography.
[Kylie blows raspberry]
[both chuckle]
I'm sorry I've been
such a dickhead.
The truth is...
my mum abandoned me.
Has on and off
ever since I was a little girl.
I suppose that's why I'm here.
And a little run-in
with some frozen goods.
[Elvis] Munga frozen goods.
[chuckles]
[Murra] But I felt invisible
for a long time now.
I'd do stupid things
just so Mum would see me...
and wouldn't leave me again.
But you guys see me.
And this camera...
it's given me a story.
I'm Rumurra Nagula.
[camera clicks]
And I'm gonna be OK.
['Black Smoke'
by Emily Wurramara]
I'll be sleeping
under stars tonight
Not sure exactly
where I'll be...
[Sean] Try not to jibber
all night, Elvis.
[Elvis] I don't know
what I'm doing
when I'm asleep, you Munyong,
just like you don't know
that you fart all night,
you durring devil.
[laughter]
Black smoke
Writing in the sky tonight
Everything will be alright
If you let go
Humans
All gathered
in the place tonight
Everything will be alright
If you let go
Ooh-ooh-ooh-ooh
Ooo-ooh
Ooh-ooh.
[song fades]
[birds singing]
[Sean] How long
is this gonna take?
[Elvis] Shh, I can hear the bus,
I can hear the bus.
[Kylie] I'm suffocating
under here!
- [Elvis] Shut up!
- [Murra] Stay still!
[Elvis] Sean, get your
foot out of my face!
[door buzzes and opens]
[engine shuts off]
[murmurs in Spanish]
Sean!
- Elvis!
- Murra!
- Kylie!
- We never should have left them.
- This was a terrible...
- [loud fart]
[Elvis] Arggh,
recycled bush turkey!
[Kylie] Oh, yuck!
What are you doing,
ya stinky ring?
[Murra] For the love
of God, get out the way!
- [Elvis] Oh, yuck!
- [Fernando] No, no, no, no...
[all exclaim and laugh]
- [Fernando] Oh, my God!
- [Mitch] Arggh!
[Fernando] What were
you guys thinking?
[Elvis] What were
you guys doing?!
[Fernando] Oh, I'm so happy
to see you guys.
[Mitch] Is everybody OK?
[Fernando] Why would
you do that?
- [Kylie] Why would you do that?
- [Fernando] No, no...
[Mitch] We weren't
that far away.
We were just up the river.
[gentle bright music]
[both chatter and laugh]
- And just pull that down?
- Pull that down. Yeah.
Oh, no, sorry.
- OK, here.
- [both laugh]
Push in the clutch,
then ease off the clutch.
Slow... Like, slowly
press the accelerator.
- OK.
- Right?
- Yeah?
- Now.
Now. Nice one.
['Two People' by Robbie Miller]
Why don't you ask me
To bend the rules?
I'd shake off
this cloak for you...
[splashing and laughing]
Dark days haunt you, yeah
These past sins weigh
Deeply decay your mind
Ooh-ooh-ooh, ooh-ooh-ooh
Ooh-ooh-ooh...
- [camera clicks]
- Oh-oh-oh
Ooh-ooh-ooh, ooh-ooh-ooh
Ooh-ooh-ooh
Oh-oh-oh-oh
It takes a moment
just like this
For two people to exist
Don't blame your head noise
Or what you've
once destroyed
'Cause it will only work
To make it worse
Ooh-ooh-ooh, ooh-ooh-ooh
Ooh-ooh-ooh,
oh-oh-oh-oh
Ooh-ooh-ooh, ooh-ooh-ooh...
[camera clicks]
Oh-oh-oh-oh
Ooh-ooh-ooh, ooh-ooh-ooh
Ooh-ooh-ooh,
oh-oh-oh-oh
Ooh-ooh-ooh, ooh-ooh-ooh
Ooh-ooh-ooh,
oh-oh-oh-oh
Why don't you ask me
To bend the rules?
I'd shake off
this cloak for you
Dark days haunt you, yeah
These past sins weigh
Deeply decay
Your mind
It takes a moment
just like this
For two people to exist
Don't blame your head noise
Or what you've
once destroyed
'Cause it will only work
to make it worse
Ooh-ooh-ooh...
[camera clicks]
Ooh-ooh-ooh,
oh-oh-oh-oh
Ooh-ooh-ooh, ooh-ooh-ooh
Ooh-ooh-ooh,
oh-oh-oh-oh.
[Ian exclaims]
Excuse me.
You seen anyone
by the name of Murra?
She about your height.
That good, eh?
Come here.
Missed ya, Pop.
Mum.
You won't believe what I got.
And it was all free!
- [squeals]
- [laughs]
[man] Oi!
No, no, no, no, no.
I don't think so, buddy.
- [man] Get outta my way.
- Hey...
Hey!
I don't think so.
- You alright?
- Yeah, yeah.
[woman] Kylie, over here!
This everything?
Ready to go?
Give me a sec.
- [Fernando] Heya.
- Ahh.
[Fernando] Thank you.
Well, that's it!
What next for you mob, I wonder.
[Sean] Great things.
Oh, yeah? I reckon so.
- And you?
- Oh, well, I got stuff to do.
You know, I got, uh...
I got places to go,
I got people to meet.
Hey, koonj, just leave us, then.
Yeah!
Alright. Look, enough of that.
I don't do goodbyes.
[Murra] Not so fast.
One last time?
Yeah!
- Come on.
- [Elvis] OK.
- Come on.
- [Murra] Ready?
- All say, "Mabu Liyan!"
- [all] Mabu Liyan!
[camera clicks]
OK, guys. Hey, bring it in.
Come on.
Stay brave. OK?
- [all laugh and whoop]
- [Mitch] Oh! Whoa!
Alright, alright, alright.
[Elvis] See you.
- Stay safe, bro.
- Yep.
- See you, guys.
- [Sean] Bye, Elvis!
[Kylie] Bye!
Here.
Don't ever put it down.
[moving music]
[bus horn honks]
Yeah. OK!
I'm coming.
Bye, Murra.
[bus engine starts]
[car engine starts]
You alright?
[Elvis] Hey! Where's mine?
[Kylie] I thought you was
saving that for me, Elvis!
- [Elvis] See ya, Kylie!
- [Kylie] Bye, loser!
[Sean] See ya, Kylie!
[scoffs]
Kid brain.
- You alright?
- Can I stay at yours?
- No.
- [Murra chuckles]
[Ian] Yes.
[door creaks in distance]
[clock ticking]
[camera clicks]
[gulls squawking
[dog barks in distance]
[Grace] Hey, why don't you
sleep over here tonight?
And we can look at them
slides together, hey?
Yeah. That'd be nice.
I'll call Uncle, let him know.
['Don't You Worry'
by Electric Fields]
Something inside
sayin' don't you worry
It's all in good time,
no need to hurry
So don't you worry, baby,
don't you worry, baby
Don't you worry, baby
We're on the train now
Here on the track,
the diesel's humming
You gotta watch out
You gotta know
the beat you're drumming
Didn't you know,
didn't you know?
Didn't you know?
Didn't you know now?
Ohh, ohh, ohh,
all of the diamonds
All of the diamonds
in your pocket
Didn't you know now?
They're all for you, baby
They're all for you
Ohh, ohh, ohh
So don't you worry, baby,
don't you worry, baby
Something inside
sayin' don't you worry
It's all in good time,
no need to hurry
So don't you worry, baby,
don't you worry, baby
Don't you worry, baby,
don't you worry
So don't give up
on me now, baby
Don't give up,
no, don't, don't give up
Don't give up
on me now, baby
Don't give up,
no, don't, don't give up
Don't give up
on me now, baby
Don't give up,
no, don't, don't give up
Don't give up
on me now, baby
Hey, hey
Back on the track now
Every day is a silver dollar
Didn't you know now?
It ain't about
what's in your wallet
Didn't you know,
didn't you know?
Didn't you know?
Didn't you know, child?
Ohh, ohh, ohh,
all of the diamonds
All of the diamonds
in your pocket
Didn't you know now?
They're all for you, baby
They're all for you, baby,
ohh, ohh, ohh
So don't you worry, baby,
don't you worry, baby
Something inside
sayin' don't you worry
It's all in good time,
no need to hurry
So don't you worry, baby,
don't you worry, baby
Don't you worry, baby,
don't you worry
So don't give up
on me now, baby
Don't give up,
no, don't, don't give up
Don't give up
on me now, baby
Don't give up,
I got you, baby
Something inside
sayin' don't you worry
I got you, baby,
it's all in good time
No need to hurry
So don't you worry, baby,
don't you worry
I got you, baby,
don't you worry
I got you, baby,
no need to hurry
So don't you worry, baby,
don't you worry
I got you, baby,
something inside
No need to hurry
So don't you worry, baby,
don't you worry
I got you, baby,
don't you worry
I got you, baby,
no need to hurry
I got you, baby...
[gulls squawking]
[machinery clatters and hums]
[gulls squawk]
[ship horn blares]
[aeroplane roars in distance]
[door chime rings]
[machinery whirrs]
[engine revving]
[truck rumbling]
[water drizzling]
[tap squeaks]
[light footsteps]
[squeaks]
[breathes heavily]
[crunches]
['Malu Mabu Liyan'
by Matalja plays on headphones]
Malu Mabu Liyan...
[sighs]
Troubles in my heart
Ooh, whoa
Malu Mabu Liyan...
[hip-hop music
plays loudly outside]
[knocking at door]
[knocking and thudding]
[knocking continues]
[footsteps recede]
- [hip-hop music continues]
- [people chatting and laughing]
[woman] Yeah, I reckon, hey?
Mum.
Someone tried
to push open my door.
Back in your room.
[man] Whoa, whoa, whoa!
Where you going, baby girl?
I just wanted you to come out
and have some fun for once.
[grunts] Mum!
[woman] I said,
get back in your room!
Murra! Murra!
[door slams]
Get out!
[man] Fuck this.
All of you,
get the fuck out now!
[panting]
[phone beeps]
[coin clatters]
[hip-hop music
plays in distance]
[gravel crunches]
[brakes squeak,
handbrake clicks]
[car door opens]
You alright? Stay here.
- [door opens]
- What's going on, Grace?
[Grace] What the fuck
are you doing here?
[officer]
Grace, Grace, calm down!
[Grace] Called you again,
didn't she?
- [officer] Back on the gear?
- [Grace] Nah! Fuck off!
[engine chugging steadily]
[ship horn blares]
[officer] And the bus leaves
from the shire at nine o'clock?
[dog barks in distance]
- [glass clinks]
- OK. Seven days, did you say?
Thank you.
Yeah, yeah, I appreciate it.
Look, I know it's short notice.
- [bottles clink]
- [Grace groans]
[officer] Alright,
I gotta go. Thank you.
[handcuffs rattle]
[Grace] Get these things
off me, arsehole!
[officer] Morning, sis.
You happy now?
DCP gonna come for you.
They can fucking have you!
I'd rather be out on the streets
then stay in this
ngarbie house with you!
Get these fucking things off me.
- [Murra] No, Uncle.
- Gotta go goomboo.
Are you gonna
let me piss myself?
[handcuffs click]
[stomping footsteps recede]
How long has she
been back on for?
[car engine starts]
Mum? Mum!
Don't leave!
[engine fades]
[officer] Murra, we need to make
some serious changes
around here, OK?
But I want you to think about
your future, alright,
what being independent means.
Maybe... maybe that's without
Mum for a little while, OK?
- I'm not staying here.
- No, you're not.
I've organised
for you to go away.
It's some kind of photo safari
for at-risk kids.
- Mental cases?
- No, for kids like you, Murra.
I'm not going.
Hey.
You're my niece
and I love you, alright?
But we've run out
of options here.
[door creaks]
[traffic whooshes]
[clothes ruffling]
[zipper buzzes]
- [water spraying]
- [dog barks in distance]
[spraying stops]
I'm not going on
that stupid trip.
[magpies warbling]
Mum! [breathes shakily]
[clattering]
Everything OK?
You want some breakfast?
Well, get ready, then.
[mouths]
[people chattering]
[woman] Oi!
Ya cheeky buggers!
- [people murmuring]
- Hello, everyone.
My name is Fernando Castillo.
Feel free to call me Nando
if that's easier for you.
I'm a youth worker and
the photography team leader.
You guys have met
my colleague Mitch.
Look, guys, I just wanted to say
I know you may seem to feel
a little bit nervous
about our seven days travelling
to the Pilbara country,
but I want to...
to promise to you guys
and I want to assure you
that we are going to create
something wonderful
on our road trip together...
with this,
but more importantly this,
to capture poignant moments
with these magnificent beauties,
embracing the old
to re-examine our place
in this constantly changing
world in which we live in,
which is why
I'm going to remind you
that all gadgets,
including mobile phones,
are going to be
excluded from the trip.
Well, you know,
we want you to look at the world
through a lens, not a screen.
So here's to you guys,
the time that we are
going to have together
and, uh, our brave
new adventure.
[scattered applause]
[Fernando] Yeah, we can clap.
We can clap. Yeah.
OK. That's it.
You text me every hour, OK?
- Hey...
- No, not here.
Mum?
Keep your hands
off my man, yeah?
[woman] Shut ya trap, Kylie!
Get on the bus.
Tell 'em straightaway
if you start to feel...
sad, OK?
You'll be right.
Alright, be safe, listen to
country and stay out of trouble.
[sighs]
[Mitch] Glad you
could join us, Murra.
Mitch, uh, lovely to put
a face to the name.
Thank you for doing this
at short notice.
Oh, no worries, no worries.
Oh, you're lucky
you got a good uncle.
He worked a small miracle
to get you on the bus.
Yeah, so lucky.
She's actually
a really good kid.
We've only caught her
shoplifting the one time.
[Fernando] OK, guys,
come together for
our first group photo.
- [Mitch] Alright, in you get.
- [kids chatter and laugh]
Hey, get in there.
Yeah. Close.
Close, close, close!
OK.
[camera beeps]
[Mitch] Wait for it.
[camera clicks]
Did that work?
- [Fernando] Yeah. It's great.
- Great.
Uh-uh-uh! Not so fast, Elvis.
Your phones.
Alright, give 'em here.
I promise
you are going to survive.
Uh, but what are we
gonna do for music?
You see, there's this mystical
device called a radio.
- [scoffs]
- Come on.
Thank you.
Sean, thank you.
Kylie.
It's OK, Murra.
Your Uncle Ian will let us know
if there's any news
from your mum.
Alright, in you go.
[bus engine starts]
- [Mitch] Let's do this!
- [Fernando] Whoo-hoo! Vamos!
[woman] Cadjup, you mob!
['Pukulpa' by Electric Fields]
['Pukulpa' continues]
['Pukulpa' continues on radio]
[woman on radio] You're with
Sandy Dann across the Pilbara.
We're moving to a chilly
27 degrees out there.
Might be time to get
those jumpers out.
[Fernando] Listen,
these cameras have film inside,
but each roll of film
takes only 24 photos.
- So we have to be selective.
- [Kylie] These are stupid.
[Fernando] Maybe different
is what you mean, no?
No, I meant stupid.
Yeah, what's the point?
I mean, you have
to really consider
each photo that
you choose to take.
This is not like with
the smartphones where it's...
[clicks rapidly]
point and shoot frenzy.
You know, like, you have
to stop and take the time
to see the story
that is in front of you.
- Like...
- [camera whirrs]
the 'Ball Breaker'?
- [camera clicks]
- [Mitch] You watch it.
[Fernando chuckles]
Yeah. That is the title.
But, uh, what is the story
behind our 'Ball Breaker'?
Because, remember,
every picture has a story.
My grandad used to play
the didgeridoo.
He would say, "This is
our story, not a tune."
Yeah. I mean, that... that is it.
The camera
will be our instrument
for telling our stories.
She's going to be a natural, no?
[chuckles]
[laughs weakly]
[Fernando] OK, so we want you
to take this time now
to play around with the cameras.
Remember that your vision,
your heart,
this is what creates
a great photo, in my opinion.
[Mitch] Alright, everybody,
let's pack up our chairs.
We gotta hit the road.
['Aboriginal Woman' by
Bart Willoughby plays on radio]
[kids chattering indistinctly]
[Elvis] Flasher than these ones.
[Elvis continues chattering]
You is rich, boy!
Aboriginal woman,
she's here to stay
Aboriginal woman,
never fade away...
[Elvis] Work it, Kylie.
[Kylie] Elvis,
get out of my shot!
[Elvis] How do you
look at the photos?
[Sean speaks indistinctly]
[Kylie] Sean, my God,
if you don't stop
kicking the back of my seat...
- [thudding]
- [Kylie] Sean, I'm serious.
- Fuck off!
- [Sean] Sorry.
These seats are uncomfortable.
['Aboriginal Woman'
continues on radio']
[camera whirrs and clicks]
['Aboriginal Woman'
continues on radio']
[chuckling]
[woman on radio] Next up
we're chatting to Sylvia Clarke
on the release of her
new album 'Shapes',
a mixture of country
and electro-pop.
[Kylie] Does anyone
have any snacks? Anything?
[door lock beeps]
[Fernando] OK, guys.
Out you come.
[engine rumbling]
- [woman] Hey, brother!
- [woman 2] Hey, Murra!
- [man] Hey! Hello, my girl!
- [girl] Hey, hey!
- Hey, Pop Jimmy!
- [woman] Hey, Murra!
[Pop Jimmy] Hey, I know
that cheeky face there.
- You're Jerry's grandson.
- [Elvis] Yeah.
Sorry for your loss
of your nan, my boy.
- [boy] Sorry, Uncle.
- [boy 2] Sorry, my brother.
- [girl] Sorry there, cuz.
- [woman] Sorry, my little uncle.
[woman 2] Sorry, brother.
You guys seem
to have family everywhere.
- [Mitch scoffs]
- [Pop Jimmy] Hello, my girl!
- Who you?
- [woman] Here, sissy!
- Come this way.
- [Fernando] Yeah, you go.
Hey, Uncle.
I'm Mitch Kotonel.
- Yeah, I'm from over east way.
- You sure?
You look like
different mob to me.
True? Yeah, well,
I grew up that way.
But, um, my mum,
she's still looking for her mob.
Yeah? You look
after yourself, my girl.
- You got family here.
- [woman] Hey, girl.
- Thanks, Uncle.
- No worries.
OK, you mob be good, now.
- [Mitch] You too.
- [Pop Jimmy] Love you. Be good.
- See yas! See you! Bye!
- [people shout farewells]
- [woman] Love ya!
- [woman 2] See ya!
OK, chicos!
Kylie, try to keep up
with the group, please.
Ai yi yi!
I put new film inside
your cameras.
This is our first stop.
Remember, we want you
to use the cameras
to explore the landscape.
We're going to meet back here
at the bus in two hours.
[Mitch] Watch out for snakes!
Stick with me.
I eat snakes for breakfast.
Weet-Bix are for weak bits.
[Elvis chuckles]
Was that
your grandfather before?
Gran's mum's brother's son.
Our families are
the same like that.
So big and so wonderful.
[camera clicks and whirrs]
Same, same.
[Fernando] Yeah. Same, same.
[birds calling,
insects chirping]
[frogs croaking]
[person shouts] Cooee!
[birds squawk]
[Elvis] Cooee!
[Kylie] Hairy nuts!
[Elvis] Hairy nut hole!
[Kylie] Sean's got a stupid hat!
- [Sean] Hey!
- [Kylie laughs]
- Dave's got a big 'ole!
- [all laugh]
[all] Dave's got a big 'ole!
[Mitch] Hey!
Are you serious?
Look at where we are.
Country offers you so much
and this is how you treat it?
I'm sorry, Aunty.
- Sorry.
- Sorry.
[Mitch] You mob got
an opportunity here.
Don't waste it.
Come on.
[insects chirping]
[birds singing]
[leaves rustling softly]
[gentle contemplative music]
[camera whirrs]
[camera clicks]
[gentle music continues]
[bee buzzes]
[camera clicks]
[camera clicks]
[camera whirrs]
[camera clicks]
[cockatoos squawking]
[insects chirping]
[engine rumbling]
[train rattling and screeching]
[Mitch] Right, girls' room,
boys' room.
Restaurant, 6:30.
[Fernando] Take your cameras.
You are all free till then.
So go and explore
and experiment, OK?
- We can go anywhere?
- [Mitch] Within reason.
- [Mitch] Alright?
- Sweet.
[Elvis] I've never
stayed in a motel before.
[truck rumbling]
[Elvis] Oh, they're so little!
Huh! Look!
Look how many there is!
[phone beeps]
[coin clatters]
[line ringing]
[phone ringing]
[line continues ringing]
- [phone beeps]
- [coin clatters]
[thuds phone]
Where's my money?
Fuckin' poxy phone!
Oi, stop breaking
our phone, you dog!
[footsteps approach]
You'll keep.
[Kylie chuckles]
- [camera clicks and whirrs]
- Murra making friends.
[Elvis] I found the gaming room.
- We found the gaming room.
- Yeah.
I got a better idea.
Oi, can you help me?
[Murra] Oi.
[footsteps approach]
You get me a goon bag?
Yeah, sure. Sweet.
[woman] There you go, Simmo.
Enjoy your lolly water.
[Simmo] Yeah.
[Simmo] You drinking alone?
[Elvis] My cousin
used to have a BMX.
It was red,
so I went really fast.
[laughter]
- [Murra] Greedy-guts.
- [Kylie] Settle down!
[Elvis] Save some for us.
- I've never been kissed.
- [Elvis] What?
Don't look at me,
you little perve.
[laughs] Yeah, Sean.
Kylie's only got
eyes for me, hey?
Uh, uh, uh, uh.
You couldn't handle this, Elvis.
Come on, Murra.
Help a brother out.
Go away. You look like
one of my cousins.
[laughter]
[Kylie] Hey, if, uh,
Fernando looked like a cousin,
I'd still pash him.
- [Murra] Gross!
- [Elvis chuckles]
[Kylie] You're a virgin, I see.
How boring.
Yeah, you're not, I see.
How boring.
I call this one the Elvis dance.
- [Kylie] Oh, my God.
- [laughter]
Dad reckons
I came out feet-first.
- Howling like a hound dog.
- [Kylie] You're so embarrassing.
He said, "That's an 'Elvis'
right there for sure."
[Kylie] Stop it.
[Sean] My entire
family's called 'Sean',
just boring old 'Sean'.
But your name is so beautiful.
Murra! [laughs]
It's Rumurra.
It means 'the sun'.
My mum said I was her sunshine.
Murra! Oh, Murra!
- [Murra] Oh, God.
- [Kylie] Shut up!
- [Elvis beatboxes]
- [Sean continues singing]
- [Kylie] Oh, my God!
- [Murra] Stop it!
- Sit down!
- Oh, Murra, sunshine!
Why are we all here, then,
if our poxy parents
are so great?
Why do dingoes howl
with their eyes closed?
Try it.
[all howl]
[laughter]
- [dogs bark and howl]
- [Kylie] Shit.
- [Elvis] Yo, run!
- [Murra] Run!
- [Kylie] Go, go, go, go, go!
- [Murra] Hurry up!
['Stealing From Tomorrow'
by Pirra]
When the lights
and the shadow
Cross your face
Coming on,
I can feel it close enough
I can steal it away...
- [Elvis] Oh, look at that!
- [Murra] Look how blue it is.
- [Kylie] Awesome.
- [Murra] Let's get in there.
I can feel it close enough
- I can steal it away...
- [Murra] Let's go.
[Elvis] Sean,
pass me the goon bag!
[Kylie] You need floaties, Sean?
[all whoop and shout]
['Stealing From Tomorrow'
continues]
And we steal
It all
From tomorrow
We just want
It all
Today
Stealing all the fun away...
[kids chattering and laughing]
[song fades]
- [Kylie] No!
- [Elvis laughs]
[camera clicks]
[chattering and laughing
continues]
[splash]
[Elvis] Murra? Murra!
Get her, Sean!
[Kylie] What is happening? Sean!
[Elvis] Murra, are you OK?
[Kylie] What just happened?
Are you OK?
[Elvis] Sean,
where are you going?
[Murra] Wait!
So stupid! You're stupid!
- Oh, don't be a baby.
- Don't call me that!
Well, that's what you are,
a crybaby.
Why are you even here anyways?
'Cause I think about
killing myself all the time.
Hey, Sean, bud, are you right?
Sean, wait up.
[camera clicks and whirrs]
Murra making friends...
again.
Hey, what happened?
In the pool?
Nothing.
Let's go.
[Kylie] Hey, smell that?
[Murra] Who's got the gunja?
[Simmo] Oh, hello, girls.
[Murra] It's my old
mate from the bottle-o.
- It's me underage drinker.
- [Murra chuckles]
- You want a toke?
- Might be.
[Kylie] I'll take that.
- [Murra] Oh.
- [Kylie laughs]
[Murra] Whoa, head spin.
- [Elvis] Which room is it?
- [seat clatters]
[both snort and laugh]
[Fernando] Hey!
- Where have you been?
- [Sean] Swimming.
Drinking.
Where are the girls?
[Kylie laughs] It looks like
a little pink mushroom!
[both laughing]
[Kylie] Oh, the bottle's empty.
[camera clicks]
[Kylie chuckles]
Kylie, we should get going.
Why the rush?
Back off, you perve.
What did you say,
you little cock-teaser?
- We're just gonna get going, OK?
- [Kylie] Murra?
[girl] That's that cheeky
little dawg from today!
They're trying to moonj
ya big bungee balls, Simmo.
Have fun, girls.
You wanna go busting yourself,
cheeky girls, eh?
[engine starts]
[girl shrieks]
Get off me, you bitch!
- [bus horn blares]
- [girls shouting]
[Kylie] Murra! Murra! Stop!
[brakes squeak]
- [Mitch] Stop it!
- [girl] Oh, shit.
- You're lucky this time, dog!
- [Murra] You the dog!
[Mitch] What the hell's
going on?
Where have youse been?!
Get on the bus.
- My camera.
- [Mitch] Get on the bloody bus!
[insects chirping]
[owl hoots]
- [latch clicks]
- [door creaks]
[camera whirrs]
[camera clicks]
[truck rumbling]
[birds chirping]
[Mitch] I don't know.
How can we trust any of you?
I mean, Jesus Christ,
it's not even the first day.
Just... just give us
one more chance, please.
[Fernando] Why?
The camera.
You said every picture
has a story.
Maybe we have one.
[Mitch] So you'd each
take responsibility
of keeping each other on track?
[all] Yes.
Because if one of you,
just one of you messes up,
you're all gone.
- You understand?
- [Elvis] Yes, Aunty.
- Yes, Mitch.
- Yes, Aunty.
[Mitch] Oh, Jesus, help me.
Alright, let's go. Come on.
- [Kylie] Yes!
- [Elvis] Whoo!
[Mitch] Gotta get
to this camp site.
[Kylie] Whoo!
Let's hit the road.
[Elvis] These
are all free, right?
[Kylie] Elvis,
seriously, come on.
[Fernando] Come on, man.
- [Elvis chuckles]
- [Kylie] Elvis!
[radio announcer]
Join us for our next segment
'Good Nuff Feed'
where we learn about what
deadly bushtucker is in season
and who is the single
lovely people out there.
[Kylie and Elvis chattering]
['Roadtrain' by Pigram Brothers
plays on radio]
Unfolding like a flower
Dewdrop in the dawn
Rising like a mountain...
Hey, are you OK?
I just want you to know,
for whatever reason
if you feel like you need to
talk to someone, I'm here, OK?
OK.
Starting to rise now
My shadow's up the wall
And I'm rolling
like a roadtrain
Four dogs and 30 tonne
Gliding like a mountain
Towards the blazing sun
Sun...
[Mitch] Alright, gang,
here's our home
for the next two nights.
[Fernando] OK, chicos,
let's set up the tents.
- [wind rustles]
- [birds call]
[people chatter in distance]
[camera whirrs and clicks]
- [Kylie] That's it.
- [camera clicks]
[Mitch] What youse doing?
Come on! This tent's
not gonna build itself!
We've still got dinner to cook.
[Sean] OK, so we just need
to fold it up for the night
and I think we're pretty good.
[Elvis] And, of course,
I'm a proud Pilbara breed.
I got family everywhere.
I'm deadly, as you can see.
I like fishing, hunting
and my culture.
And I love reggae music.
[group exclaim]
- [Fernando] Like Bob Marley?
- Yeah.
[Mitch] So who's up next? Kylie?
I'm a Cancer.
I like walks in the park
and setting fire to things.
[Sean] Cancer is above us now,
uh, right over there
by the moon.
- See?
- [Mitch] Hmph.
[Elvis] Old Man Emu's up there
too, hidden in the Milky Way.
Can you guys see?
[Kylie] Oh, yeah. Cool.
[Elvis] I had to follow
Old Man Emu to get home once.
- [fire crackles]
- [owl hoots]
[Fernando] OK.
I'll have a turn now.
I was born in Nicaragua,
but, uh, when I was very young,
my parents and I,
we had to leave from there
for some very
complicated reasons.
But, uh, my mother was a very
well-known photographer
and my father was a journalist.
So I was lucky enough
to... to travel
and... and to live in
many, many different places.
And in the process of that time,
she passed her love
of photography on to me.
Photography allowed me
to express what I was feeling.
Hence why I love to pass
my love of photography
on to you guys.
Things that I love?
Photography, of course. [laughs]
And mountains.
I, uh... I like mountains.
[Kylie] I think you forgot to
mention the word 'photography'.
- Ahh! [chuckles]
- [Elvis] Good one, Kylie.
May I go to bed now?
You know you don't
have to ask that, man.
God, why didn't you
say that earlier?
Hey, hey, hey! Dishes. Come on.
[Fernando] I was about to
get the marshmallows out.
- [Mitch] Mm-hm. More for us.
- [Fernando laughs] Yeah.
Hey, take that for me, please.
[insects chirping]
How do you know when
a guy likes you likes you?
Because he wants to fuck you.
[phone beeps]
[keypad clicking]
- [line beeps]
- Oh, no reception!
- [insects hum]
- [birds twitter]
[footsteps crunching]
[birds squawking in distance]
[Fernando] Do you need
some help to get down or no?
Yeah? So put your foot there.
Careful. There you go.
- Thank you.
- That's OK.
[Sean exhales]
[soft moving music]
[Elvis sighs]
['Pitjantjara' by Frank Yamma]
[Mitch] Waiba country.
Hello, ancestors.
Waiba old people.
I'm Mitch, Michelle Kotonel.
Um, I come here with respect,
with a good heart
and I ask that
I have safe passage
and safe passage for our friends
on your beautiful country.
Come over.
Get a rock.
Rub it and make sure
you get your sweat on it.
[Kylie] Why your sweat?
[Elvis] So ancestors
will recognise you.
[Kylie] Huh! Cool.
Never done this before.
So I, uh...
wanted to get you started
on the manual cameras.
Here. Hold onto this.
What a place to learn, huh?
- [Elvis] Work it, Kylie.
- OK, chicos!
We're going to head off
into the gorges.
- Who's coming?
- [Sean] I'll come.
[Elvis] We'll stay
for our model shoot.
Fantastic.
[Mitch] I'll be staying here
with these two.
OK, we'll be back before dark.
Let's go, guys.
[gentle guitar music]
[camera clicks]
[Fernando] See there,
with a manual,
you can choose to focus.
[Fernando continues
indistinctly]
[camera clicks]
['Nguura' by Headland
ft. Maanyung]
[camera clicks]
['Nguura' continues]
[water trickling]
[camera clicks]
[Fernando] Wow!
[Sean] Whoa.
[camera clicks]
- This camera's amazing.
- Yeah?
What were you taking a photo of?
The waterfall.
- Just there?
- Yeah.
[camera clicks]
So here now, you see how
it is AF? That is auto focus.
So that's what
you have been using
for the time that
we have been on the trip.
- But if I come down...
- Mm-hm.
- it's manual focusing.
- Can I see?
[Fernando] Yeah, of course.
- Can you teach me sometime?
- Yes. Yes, of course.
I can teach all of you.
[Sean] Awesome. Thanks so much.
OK. Let's go.
[insects chirping]
[Fernando] Just watch your step.
[Fernando] This is incredible.
Wow! Look at the forms.
The contrast of the
colour palette, the layers.
It is just fantastic.
[camera clicks]
[Fernando] OK, guys,
let's keep moving.
The waterfall should
be further this way.
[flowing water]
[flies buzz]
[Fernando] Oh, I cannot believe
that we have
this place to ourselves.
This place is like...
[chuckles] I don't know
how to say it.
Like, it's like nothing
I have ever seen.
Wow!
I mean, imagine this place
in the monsoon season.
Look where
the waterline comes up.
It's just fantastic.
[camera clicks]
Where is Sean?
It's OK. I seen him
not too long ago.
He's taking a photo.
He'll catch up with us.
[water splashes]
Come in.
[Fernando] I should probably
go get Sean. No?
He knows where we are.
Come on. The water's so nice.
[Fernando] OK, then. Yeah.
It'll be nice to cool down
while we wait for Sean.
Stay like that for a second.
[camera clicks]
What does the photo
say about me?
What's my story?
It's called 'Little Hero'.
You are strong.
And brave.
I'm not that little.
Murra, you have the wrong idea.
I'm sorry.
We have to go.
Come on. Get your
things, please.
[Fernando pants]
[breathes shakily]
[Fernando shouts] Sean!
Sean!
Sean! Sean!
[Fernando pants]
[Mitch] This is too late, mate.
Any darker and it
gets dangerous.
I know.
- Is Sean here?
- No.
Everybody, grab a torch.
We have one hour
until it gets dark.
Fernando, Elvis,
you head out that way.
Kylie, you're with me.
Murra, you stay here.
- [Fernando] Elvis, come with me.
- [Mitch] Come on, come on!
- Let's hustle!
- [Fernando] Now!
[running footsteps]
Come on!
[sombre music]
[all shouting and calling out]
- [Mitch] Sean!
- [Kylie] Sean! I'm serious!
[Fernando] Sean!
['Abala Barlawa'
by Kardajala Kirridarra]
[Murra] Sean!
Sean, where are you?
Sean! Can you hear me?
Sean!
Where are you, Sean?
Sean?
Sean!
Sean!
[breathing heavily]
[pants]
[insects hum]
[torch shatters]
I guess we better get back
before it's too dark.
[Fernando crying]
Sean!
- [Elvis] Sean!
- [Fernando] Sean!
- Sean, Sean...
- [Mitch] Are you alright?
- [Fernando] Are you OK?
- [Kylie] What happened?
[Mitch] Are you hurt, bub?
You, with me.
What happened?
Did you just fucking leave him?
- No, he stopped following us.
- God, you are such a bitch.
How would you feel
if we abandoned you?
Been there, done that,
so back the fuck off.
- Oh, you want to go?!
- [Elvis] Let's go.
- Get off me!
- Let's go!
[Kylie] I am over
all of this. I am done!
- [insects chirping]
- [owl hoots]
[rustling]
- [zipper buzzes]
- Kylie?
What are you doing?
Where are you going?
Kylie! Stop!
Don't act like you give a shit.
I can't get reception out here.
He loses his mind
if I don't text back.
Well, that's his problem.
You don't know fuck all
about fuck all.
You're just a stupid virgin
giving love eyes to Fernando.
- I'm doing what, bitch?
- OK. That's enough.
Give me the phone, Kylie.
No.
Murra, back to the tent, please.
[birds tweeting]
[Mitch] Hey, are you alright?
Yeah.
I've been sleeping
on my back again.
Well, we're headed out today.
Give the spirits
some peace and quiet, hey?
Now, why don't you
go wake up Sean?
[Elvis] Buddy,
are you awake? Sean?
[zipper buzzes]
Where is she?
You kids, you're not making it
easier for us, true God.
[sighs] We knew that
coming on board.
Now, her I can read.
You, not so much.
I've been watching you,
walking around with your camera,
giving everyone
and everything a story.
And I wonder, what's yours?
Do you think you're here just
'cause we needed to fill a seat?
'Cause what's next
after this, Murra?
What do you want?
[gentle pensive music]
[zipper buzzes]
[grunts]
['Love My Darkness'
by Lady Lash]
In the middle of my heart
And the face
'Cause, baby,
I'm the only one
Who's keeping me alive
Love my darkness
Just maybe
you can show me the light
We all have these
moments to cry
Lay me in a bed of roses
When I die
Ooh-ooh-ooh...
[Mitch] Come on, come on,
come on. Game on!
[Kylie] Oh, thank God.
Anything but a photo.
Elvis, Sean, you're with me.
The other two, with him.
- Come on!
- OK, let's go! Come on, Murra.
[Mitch] If you can,
if you can, if you can!
[Mitch] Oh!
- [Mitch] No, he didn't!
- [Elvis] Come on, Fernando.
- Come on, Sean. Get on Murra!
- [Kylie] Go on, Murra!
[Elvis] You're supposed
to be helping, Sean.
[all yelling and shouting]
[all cheering]
- [Murra] Fernando, here!
- [Sean] Come on, Elvis!
[Kylie] Here, here, here.
No! What?
[Fernando] Hey, Murra,
that was for Kylie.
[Kylie] What the hell?
Here, Murra!
[Fernando] Find space!
Go! Pass to Kylie!
[Elvis] In, Sean!
[Kylie] Pass to me. Pass to me.
[ELVIS] Hey, that's for Kylie.
- [Fernando] Oh, in!
- [Mitch] Ohh!
- [Elvis] Sean!
- [Fernando] Kylie, find space.
- Yeah, Fernando!
- [Fernando] Kylie, Kylie!
- This one's for you.
- [Murra grunts]
- [Elvis] Hey!
- What the hell are you doing?
- We're on the same team, idiot!
- Are we?!
He's not that into you, Murra.
He's being nice to you.
- That's all.
- [Mitch] OK, that's enough.
- Everyone needs to relax now.
- You know what?
You're just a jealous loser
with a paedo boyfriend.
And you are the one who's
made this all about dick.
[Elvis] Yo, yo, yo!
Stop it! Stop it.
- Hey! Hey!
- Hey, Kylie, stop!
- Get off me!
- Stop!
- Settle!
- Relax!
Relax.
[Murra] Well,
there's a photo for you,
the travelling
fucking freak show!
- No, we're not.
- Yes, you are. You're losers.
I don't need any of youse.
I'm out.
Murra!
- [Fernando] Murra! Murra!
- [Mitch] Murra!
- [Fernando] Come back!
- [Mitch] Just get in the bus!
- [Mitch] Quick!
- [Fernando] Come on!
- [Mitch] In the bus!
- [Fernando] Kylie! Now!
- [panting]
- [vehicle approaching]
- [horn honks]
- [hip-hop music playing]
- [man] Sucked in, ya dumb dog!
- [men laugh]
[screams]
[pants and cries]
[breathes heavily]
[exhales heavily]
[engine rumbling in distance]
[bus horn honking]
[Elvis shouts] Murra!
[Fernando] Stop, please.
[bus door opens]
[Elvis] Yor, yor!
Min Min light gonna get you!
[Mitch] Murra,
come get back in the bus, bub!
[bus creaking]
[bus engine starts]
[door buzzes and closes]
- [insects chirp]
- [frogs croak]
- [Kylie] Guys!
- [Sean] Hello?
[Elvis] I don't know
where they went.
[Kylie] Murra,
get out here right now!
Mitch!
- [Kylie] Mitch!
- [Sean] Hello?
[Kylie] Where the hell are they?
[Elvis] Maybe they got abducted.
- [Murra] Not funny, Elvis.
- I can't believe they did this.
[Murra] How could
we not hear them leave?
[Sean] People die
like this all the time.
[Kylie] Screw this.
I am outta here.
Uh, I think they went that way.
[Sean] You shouldn't do that.
You should never
leave your vehicle.
- What vehicle, idiot?
- [Elvis whistles]
- [camera whirrs and clicks]
- [chuckles]
I call this one 'Smash It Out'.
You kids wanna argue?
Wanna fight?
Go on, then. Smash it out.
Yeah, that's what I thought.
Now, let's show this mob
what Pilbara breed be like.
Let's go.
[Sean] This is hardly
enough water.
- [Murra] This is not gonna last.
- [Sean] There's water somewhere.
We just need shopping gear.
[Sean] Something...
This'll do.
[Sean] Oh, dear.
I know how this ends.
['Come On!!!'
by Karrku Reggae Band]
[Murra] You twist it...
and then you suck
the honey out.
Oi.
[rustling]
[Murra] Shh! It's a bush turkey.
- [grunts] Yeah!
- [thud]
That was pretty hot.
You can't handle
all this, Kylie.
[laughs]
['Come On!!!' continues]
[Kylie] That was delicious.
- Who'd have thought it?
- [Sean laughs]
[Elvis] Yeah, there's big mob
tucker out there.
Next time, we'll go my country.
We've got oysters bigger
than the size of your hand.
[Elvis] Ooh!
[Sean] I can't wait to do that.
[all] Me too.
Gather 'round.
[camera clicks]
- 'The Deadlyz',
- [Kylie laughs] Yes, we are.
- [Sean] Deadlyz. I love it.
- [Elvis] That's us.
[Sean] 'Deadly' is good, right?
I'm sorry, Elvis.
I never asked why
you were here, brother.
[inhales and exhales deeply]
I was walking back home
and a couple of blokes grabbed
me and took me outta town.
They roughed me up pretty bad.
And then they
left me there to die.
Like, really die.
I haven't left
my community since.
I guess I just wasn't ready.
But I'm really glad that I did.
[Sean] I'm glad we're
fricken here too together.
- [all laugh]
- [Elvis] Hey, look out.
Swearing. Good go.
I'm Rumurra Nagula.
I like strolls along the beach
and chocolate mint ice-cream
and photography.
[Kylie blows raspberry]
[both chuckle]
I'm sorry I've been
such a dickhead.
The truth is...
my mum abandoned me.
Has on and off
ever since I was a little girl.
I suppose that's why I'm here.
And a little run-in
with some frozen goods.
[Elvis] Munga frozen goods.
[chuckles]
[Murra] But I felt invisible
for a long time now.
I'd do stupid things
just so Mum would see me...
and wouldn't leave me again.
But you guys see me.
And this camera...
it's given me a story.
I'm Rumurra Nagula.
[camera clicks]
And I'm gonna be OK.
['Black Smoke'
by Emily Wurramara]
I'll be sleeping
under stars tonight
Not sure exactly
where I'll be...
[Sean] Try not to jibber
all night, Elvis.
[Elvis] I don't know
what I'm doing
when I'm asleep, you Munyong,
just like you don't know
that you fart all night,
you durring devil.
[laughter]
Black smoke
Writing in the sky tonight
Everything will be alright
If you let go
Humans
All gathered
in the place tonight
Everything will be alright
If you let go
Ooh-ooh-ooh-ooh
Ooo-ooh
Ooh-ooh.
[song fades]
[birds singing]
[Sean] How long
is this gonna take?
[Elvis] Shh, I can hear the bus,
I can hear the bus.
[Kylie] I'm suffocating
under here!
- [Elvis] Shut up!
- [Murra] Stay still!
[Elvis] Sean, get your
foot out of my face!
[door buzzes and opens]
[engine shuts off]
[murmurs in Spanish]
Sean!
- Elvis!
- Murra!
- Kylie!
- We never should have left them.
- This was a terrible...
- [loud fart]
[Elvis] Arggh,
recycled bush turkey!
[Kylie] Oh, yuck!
What are you doing,
ya stinky ring?
[Murra] For the love
of God, get out the way!
- [Elvis] Oh, yuck!
- [Fernando] No, no, no, no...
[all exclaim and laugh]
- [Fernando] Oh, my God!
- [Mitch] Arggh!
[Fernando] What were
you guys thinking?
[Elvis] What were
you guys doing?!
[Fernando] Oh, I'm so happy
to see you guys.
[Mitch] Is everybody OK?
[Fernando] Why would
you do that?
- [Kylie] Why would you do that?
- [Fernando] No, no...
[Mitch] We weren't
that far away.
We were just up the river.
[gentle bright music]
[both chatter and laugh]
- And just pull that down?
- Pull that down. Yeah.
Oh, no, sorry.
- OK, here.
- [both laugh]
Push in the clutch,
then ease off the clutch.
Slow... Like, slowly
press the accelerator.
- OK.
- Right?
- Yeah?
- Now.
Now. Nice one.
['Two People' by Robbie Miller]
Why don't you ask me
To bend the rules?
I'd shake off
this cloak for you...
[splashing and laughing]
Dark days haunt you, yeah
These past sins weigh
Deeply decay your mind
Ooh-ooh-ooh, ooh-ooh-ooh
Ooh-ooh-ooh...
- [camera clicks]
- Oh-oh-oh
Ooh-ooh-ooh, ooh-ooh-ooh
Ooh-ooh-ooh
Oh-oh-oh-oh
It takes a moment
just like this
For two people to exist
Don't blame your head noise
Or what you've
once destroyed
'Cause it will only work
To make it worse
Ooh-ooh-ooh, ooh-ooh-ooh
Ooh-ooh-ooh,
oh-oh-oh-oh
Ooh-ooh-ooh, ooh-ooh-ooh...
[camera clicks]
Oh-oh-oh-oh
Ooh-ooh-ooh, ooh-ooh-ooh
Ooh-ooh-ooh,
oh-oh-oh-oh
Ooh-ooh-ooh, ooh-ooh-ooh
Ooh-ooh-ooh,
oh-oh-oh-oh
Why don't you ask me
To bend the rules?
I'd shake off
this cloak for you
Dark days haunt you, yeah
These past sins weigh
Deeply decay
Your mind
It takes a moment
just like this
For two people to exist
Don't blame your head noise
Or what you've
once destroyed
'Cause it will only work
to make it worse
Ooh-ooh-ooh...
[camera clicks]
Ooh-ooh-ooh,
oh-oh-oh-oh
Ooh-ooh-ooh, ooh-ooh-ooh
Ooh-ooh-ooh,
oh-oh-oh-oh.
[Ian exclaims]
Excuse me.
You seen anyone
by the name of Murra?
She about your height.
That good, eh?
Come here.
Missed ya, Pop.
Mum.
You won't believe what I got.
And it was all free!
- [squeals]
- [laughs]
[man] Oi!
No, no, no, no, no.
I don't think so, buddy.
- [man] Get outta my way.
- Hey...
Hey!
I don't think so.
- You alright?
- Yeah, yeah.
[woman] Kylie, over here!
This everything?
Ready to go?
Give me a sec.
- [Fernando] Heya.
- Ahh.
[Fernando] Thank you.
Well, that's it!
What next for you mob, I wonder.
[Sean] Great things.
Oh, yeah? I reckon so.
- And you?
- Oh, well, I got stuff to do.
You know, I got, uh...
I got places to go,
I got people to meet.
Hey, koonj, just leave us, then.
Yeah!
Alright. Look, enough of that.
I don't do goodbyes.
[Murra] Not so fast.
One last time?
Yeah!
- Come on.
- [Elvis] OK.
- Come on.
- [Murra] Ready?
- All say, "Mabu Liyan!"
- [all] Mabu Liyan!
[camera clicks]
OK, guys. Hey, bring it in.
Come on.
Stay brave. OK?
- [all laugh and whoop]
- [Mitch] Oh! Whoa!
Alright, alright, alright.
[Elvis] See you.
- Stay safe, bro.
- Yep.
- See you, guys.
- [Sean] Bye, Elvis!
[Kylie] Bye!
Here.
Don't ever put it down.
[moving music]
[bus horn honks]
Yeah. OK!
I'm coming.
Bye, Murra.
[bus engine starts]
[car engine starts]
You alright?
[Elvis] Hey! Where's mine?
[Kylie] I thought you was
saving that for me, Elvis!
- [Elvis] See ya, Kylie!
- [Kylie] Bye, loser!
[Sean] See ya, Kylie!
[scoffs]
Kid brain.
- You alright?
- Can I stay at yours?
- No.
- [Murra chuckles]
[Ian] Yes.
[door creaks in distance]
[clock ticking]
[camera clicks]
[gulls squawking
[dog barks in distance]
[Grace] Hey, why don't you
sleep over here tonight?
And we can look at them
slides together, hey?
Yeah. That'd be nice.
I'll call Uncle, let him know.
['Don't You Worry'
by Electric Fields]
Something inside
sayin' don't you worry
It's all in good time,
no need to hurry
So don't you worry, baby,
don't you worry, baby
Don't you worry, baby
We're on the train now
Here on the track,
the diesel's humming
You gotta watch out
You gotta know
the beat you're drumming
Didn't you know,
didn't you know?
Didn't you know?
Didn't you know now?
Ohh, ohh, ohh,
all of the diamonds
All of the diamonds
in your pocket
Didn't you know now?
They're all for you, baby
They're all for you
Ohh, ohh, ohh
So don't you worry, baby,
don't you worry, baby
Something inside
sayin' don't you worry
It's all in good time,
no need to hurry
So don't you worry, baby,
don't you worry, baby
Don't you worry, baby,
don't you worry
So don't give up
on me now, baby
Don't give up,
no, don't, don't give up
Don't give up
on me now, baby
Don't give up,
no, don't, don't give up
Don't give up
on me now, baby
Don't give up,
no, don't, don't give up
Don't give up
on me now, baby
Hey, hey
Back on the track now
Every day is a silver dollar
Didn't you know now?
It ain't about
what's in your wallet
Didn't you know,
didn't you know?
Didn't you know?
Didn't you know, child?
Ohh, ohh, ohh,
all of the diamonds
All of the diamonds
in your pocket
Didn't you know now?
They're all for you, baby
They're all for you, baby,
ohh, ohh, ohh
So don't you worry, baby,
don't you worry, baby
Something inside
sayin' don't you worry
It's all in good time,
no need to hurry
So don't you worry, baby,
don't you worry, baby
Don't you worry, baby,
don't you worry
So don't give up
on me now, baby
Don't give up,
no, don't, don't give up
Don't give up
on me now, baby
Don't give up,
I got you, baby
Something inside
sayin' don't you worry
I got you, baby,
it's all in good time
No need to hurry
So don't you worry, baby,
don't you worry
I got you, baby,
don't you worry
I got you, baby,
no need to hurry
So don't you worry, baby,
don't you worry
I got you, baby,
something inside
No need to hurry
So don't you worry, baby,
don't you worry
I got you, baby,
don't you worry
I got you, baby,
no need to hurry
I got you, baby...