Showing posts with label commuting. Show all posts
Showing posts with label commuting. Show all posts

Monday, 11 April 2016

KAYLA'S GOT IT IN 'ER YARD

Yo. Put yas lil sis on.

Is lil sis there?

I talk to sis, lahk.

Yo. Can yoo corl me?

I spendin’ Easter wiv ma famlee.

S’wot ah sed: Ma famlee.


E's mah key worker.

De one at de Jobcentre.

Yah.

Ah try ta get a appointmen'.

Mah appointmen'.

I want mah appointmen' wiv ma key worker.

E’s just wastin’ mah teym, man.

E’s just wastin’ mah teym, innit?


So. Hasim sed all she has to do is dat online bankin’ fing, innit?

I tol’ him ta let me knorr when it all goes keck, lahk.

Coz it’s easier, know wot I sayin’?

Maybe mah mom done dat. Coz ah don’t know ‘ow online bankin’ works.

It’s gonna say ‘Chantal’, innit?

Ahm on da treen.

Yo. I need da monnay now.

Maaaaaannnnn.

I tol’ dem, day put dat monnay in.

But she needs to contac’ dem, to see if da monnay when in.

Ma key worker.

No. I jus’ want him too corl me wiv a date.

I already tol’ dem.

When ‘e’s in. When ‘e’s actually in.

Das wot ahm tryin’ to say.

Ya sorted it aht nah.

Coz yoos fought ah wazzint gonna pay dat monnay, cha?

Das wot ah said n shit.


Woah, bruv.

How they gonna know?

Unless they got cameras in tha property, how they gonna know I’m there?

I wanna pay mah rent, man.

I wanna pay mah rent.

But they have’ta know I sacrificed tha rent for the par’ee.

So I pay another four’ee pahnds next week.

An’ de week after dat.

An’ when mah bro comes back to me, and says - 

‘yo tryin’ to take da piss, dude.’

When ‘e sez that, I can say -  

‘Mon, when mah bwoys come up, yah? I go dahn inna car and try a save monnay.’

Simple, yah?


Get a job, yah? Workin’, at least ya know ya gonna get ya monnay bwak, even if ah spend it, ya knorr?

Kayla’s got it in ‘er yard, innit?

So ah get mah stifficate on Wednesday, yah?

Yo, Steph. It’ll be easier when e’s at nursey.

If he’s at nursey, yoos can get a part-time job.

Steph, wah yoo listen ta peeple?

Wah yoo listen ta peeple?

You know dem African Caribbean peeple, dey strict, yah?

Dem African Caribbean peeple, dey don’t call it abuse.

Dey don’t abuse, but if yoo tark back...

Leyk, if yoo tark back to yer mom...

Dat’s why black men never tark back too yoo.

Listen.

I’s in a restaurant, yah?

An’ this was a white lady, yah?

An’ she had this four-year-old, yah?

An’ this four-yeah-old sed to her mom, yah? - ‘‘Shut the fwuck up, I don’t wanna listen too yoo.’’

If that was mah kid, I’d twist its ears off, yah?

I’d teck away all its toys, lahk, yah knorr?


Yo. Steph?

Yo.

I’s in de tunnel.

Fwuuuk. Dumb bitch.


Me meck ya pum-pum ‘appeh /

Me meck ya pum-pum creh /

Me meck ya pum-pum sing somm-teym /

La-la / La-la.


Yo. Steph? - Yoos there?

Ver’ black, I know.

Ver’ ghetto, man, ver’ ghetto.

Ay-ay-ay eye.


Ya don’t leyk monnay?.../

...An’ I jus’ wanna get friendly wiv ‘er /

Wanna get friendly wiv ‘er /

Ya see a big batty, where ya fine dat? /


- Can ah ‘ave a taxi, pleez?

Ahm goin’ ta Hawfawn Road, Handswerf.

Fank you so much.

Aht.


‘Ey, big batty gyal, good evenin’ /

I c’n see dat ya chicken needs seeznin’ /

Big batty gyal, good evenin’ /

I c’n see dat ya chicken needs seeznin’.


Yo. I kwalled you, bitch.

Ey lahk yoo too.

I do. I do I do I do.


Baby, bend ovah n breck ya back /

Bring ya friend over n breck ya back /

De way she bend over n breck ‘er back /

Ah nearly fell over n broke me back.


Yo. ‘Ave you ‘erd ‘is bars, blud?

Iss not abaht guns n niggas choppin’.

Young G.

Is it choo?

That CB was at the faht, yesterdee?

Was CB's at the faht?

CB’s related to Saucer?

Was CB’s dere?

Yo. Was CB’s at de faht?

How could CB’s be at de war, if ‘e’s in jell?

Ah ‘erd ‘e was in jell.


We greynd so hard, inner London /

Buh’ widdout big batty I can't funcshun.


Yeah. ‘I’s ‘ere. No. Ah sed, I’s ‘ere. I’s comin’ inta Birmingham raht nah.

S’wot ah sed.

Where yoos parked?

Ah’m still on de treen.

Aht.

Fwuuuk.







............................................................



Saturday, 1 January 2011

Commuted Sentences: I ]

Interior, Train, Evening.

Woman gets on. Plump, but attractive. She sits a few seats away. It’s the quiet London commuter train, that passes through Birmingham just after the local one that’s usually packed, so there are plenty of seats.

She obviously doesn’t use this train very often, because the protocol amongst its regulars, is to not use the phone, or if you do, keep your voice down. She takes out her phone -

- ‘HELLO IT'S ME!’

- ‘...’

- ‘KNACKERED. BEEN ON MY HANDS AND KNEES ALL DAY - AND NOT IN THE WAY I LIKE, HA!’

- ‘...’

- ‘BEEN DOING A NO-HANDS MASSAGE.’

- ‘...’

- ‘YEAH, I USE MY TONGUE, HAHA - !’

- ‘...’

- ‘NAH, I USE MY ELBOWS.’

- ‘...’

- ‘YEAH, JUST BEEN TO AN AA MEETING.’

- ‘...’

- ‘GOT A BACK WAX BOOKED. EXTREMELY HIGH END. DON'T KNOW HOW THAT’S GOING TO WORK. A BIT LIKE NICKY CLARKE’S. TWENTY QUID HAIRCUT, FORTY QUID FACIAL MASSAGE. BUT I HAVEN'T SOLD ANYTHING YET, AND YOU KNOW WHAT I’M LIKE WITH SALES.’

- ‘...’

- ‘OH, I WAS ALWAYS BOTHERED.’

- ‘...’

- ‘CHEEKY COW.’

- ‘...’

- - ‘BUT I’M OFF THE POP, NOW.’

- ‘...’

- - ‘NO, I’M GONNA HAVE A UNIFORM, PINK AND BLACK. VERY RETRO.’

- ‘...’

- ‘ANTON KNOWS. MY DAD KNOWS. THAT’S WHAT THEY TEACH YOU IN AA: ONE DRINK IS NEVER ENOUGH. I’VE NEVER HAD JUST ONE DRINK, EVER.’

- ‘...’

- ‘IS SHE LIKE ME?’

- ‘...’

- ‘DOES SHE HAVE PIZZAZZ?’

- ‘...’

- ‘DIDN'T THINK SO. I CAN SMELL PIZZAZZ DOWN THE PHONE.’

- ‘...’

- ‘I CAN SMELL PIZZAZZ.’

- ‘...’

- ‘YEAH.’

- ‘...’

- ‘I CAN SMELL PIZZAZZ DOWN THE PHONE.’

.....................................................................................

You can see from the above example, that just a few minutes of half a dialogue, and the listener’s mind starts to construct a story. It also explains, perhaps, why so many thrillers are set on public transport: People naturally give away huge chunks of exposition, either directly with speech, or more subtly, with body language.

In the examples following this, we will see other stories spun out of the occasionally bizarre public behaviour of total strangers.

We will also explore, in a later episode, what happens when the observer becomes an participant in one of these scenes.