A DEVIL AMONG US

A PLAY BY

David William Kirby

The Dogbreaths Publishing

COPYRIGHT-D.W.K-AUGUST 1998

A devil among us©The DogbreathsPublishing

David William.KirbyAll rights reserved dwkglynrde5@yahoo.co.uk

PART ONE

SCENE ONE; INT DAYWe find ourselves in the centre of a silent prison wing. The suns rays beam through the sky lights set high in the roof and the clutter of buckets being pulled across the floors ring out as the cleaners are unlocked by the morning screws. One, dressed smartly in his pressed white shirt, standing with a clipboard in his hand looks up the landings to an officer situated thirty feet above him on C landing. The Senior tweaks his moustache and calls to the other.

SENIOR OFFICERAre you ready for today’s roll call Sir?

OFFICER ON C LANDINGSir............

SENIOR OFFICERJust one for today; Marks in 41.

OFFICER ON C LANDINGRight you are Sir...

He stomps across the landing in his heavy boots until he is standing outside a cell marked 41.

Marks! Get yourself ready (He puts his key in the lock and open’s the door. Inside he finds a prisoner standing with his kit already together in his arms) You’re going home today..

MARKSDon’t I know it...

The prisoner runs down the landing and down the stairs at the end. Then on the ground floor he approaches the senior officer.

SENIOR OFFICERDon’t be so eager Son, you’ve been here for ten years a few more minutes will not hurt.

MARKSDo you want to bet on that?

SENIOR OFFICERSlow down boy. (He shouts up) Any more for any more?

OFFICER ON C LANDINGThat’s your lot up here.

OFFICER ON B LANDINGNo one here guv.

SENIOR OFFICERWe’ll let’s be having you then Son, walk this way.

MARKS does as he is told and following the man feels the stare of a thousand eyes following him across the hall. Eyes that had burned into his back for the past ten years. Accusing eyes, eyes filled with hatred. Eyes that would kill if they could. As the wing door closed behind him for a final time Marks could feel then looking at him through the small, high cell windows. Voices in the wing murmured as he walked across the courtyard, one loud voice above the rest echoed out filling him for the last time with fear, with shame, with self loathing...

VOICEMarks you nonce; they should have topped you....

SCENE TWO INT DAY.He is led into the reception area and his property box placed upon a table in front of him. He opened the lid and looked quietly at the creased shirt and jacket that he’d last worn

ten years ago. It still had the spit encrusted on it that had been his reward for being convicted. He had to put on the shirt and trousers but the jacket could stay there, he thought, in the box. Once he had dressed a prison officer led him to a small room.

OFFICERSit in there will you Marks, the probation want to have a word before you get discharged.

So he sat in the small room waiting for seemed like an eternity. Every now and then an eye would cover the spy hole in the door and he’d hear the muffled voices of his persecutors as they condemned him again. The door was opened and an old woman entered. He recognised her as the probation officer who had told him that his parole had come through. That he was being discharged after ten years instead of the fifteen he’d been sentenced.

PROBATION OFFICER.Now Marks, you know why I am here?

MARKSI have a feeling yes....

PROBATION OFFICERI don’t like to push the point but we are very concerned that you are still determined to return to your previous address.

MARKSWell if you’re that fucking pissed about it keep me in for a few more years.

PROBATION OFFICERYou know we can’t do that, but we don’t want to set you up to fail, that’s all.

MARKSReally? Well, I own that house and I am going to live in it weather you like it or not.

PROBATION OFFICERWith your victim living just three doors away.

MARKSWhat fucking victim? The only victim around here is me; a victim of British Justice. Do you understand what I’m saying to you?

PROBATION OFFICERThat you are still in a state of denial. That’s very dangerous

MARKSOh fuck off. Look, nothing you can say is going to prevent me from going home, not you, not this place, not even fucking Jesus; I’ve done my time, so we might as well finish this right now.

PROBATION OFFICERThere is a lot of opposition in the community about you returning; It could be a very big mistake. If you get hurt no one would be responsible except yourself. Do you remember what happened to Cook?

MARKSDon’t you compare me to that monster, he deserved everything he got. Not me though, I have been hurt so bad already that nothing, except death perhaps, could be worse. So, can I go now; I have some life to catch up on. You know....LIFE.

PROBATION OFFICERThey might kill you; they feel that strongly. The boy is older of course, wiser, stronger. What are you going to do if you bump into him, or his father? It could get very nasty....

MARKSYou have nothing to worry about, If I bump into that kid again, I’ll ask him why he did it.

PROBATION OFFICERWhat, grass you up? I think that is obvious.

MARKSObvious is it? I don’t think so. You lot have been missing it for fucking ten years. Missing the fact that his evidence was as flimsy and contradictory as you could get and that I had been set up by the bastard.

PROBATION OFFICERI beg your pardon. That boy was thirteen years old when you.....

MARKSWhen I what!

PROBATION OFFICER...Is it any wonder he got confused in the witness box. Today kids of that age are shielded from the court, hidden from the defendant, when they give evidence. It’s not easy you know. No, I can’t believe that a kid of that age would have the nerve to delude himself so convincingly. He’d not lie about that...although I do believe you would.

MARKS

Well it’s none of your bloody business anyway now. So if you don’t mind...

PROBATION OFFICERHere’s the name and address of the office you have to report to. They want you to go there this afternoon. If you don’t turn up they’ll report you; you know what that could mean.

MARKSJust get on with it will you...

PROBATION OFFICERRight then, sign this...(she passes a form across the table with an envelope) Here’s your discharge grant, thirty five pounds and twenty nine pence. There’s also a travel pass that’ll get you home.

MARKSThanks for nothing...

The probation officer leaves the room and very soon a prison officer enters who calls Marks. |He is led down a narrow dark corridor, one that looked vaguely familiar; it was the one he’d last seen ten years previously, and at the end of it a row of windows lit up a narrow wooden door. The officer unlocked the door and sunlight filled the corridor with a bright haze. Marks steps outside to the world he’d previously been snatched from and the guard whispered..

.YOU’LL BE BACK.

As the door slammed behind him.

SCENE 3 EXT DAYA car pulls up beside him and a craggy old man looks out the driver’s side window.

OLD MANWant a cab Sir, a taxi, to the train station, it’s quite a way, no busses out here you know.

MARKSI suppose I don’t have much of a choice then do I.

OLD MANNot really Sir; I always come up here first thing. There’s always one or two of you coming out around this time; captive market I suppose you could say.

MARKS gets in the back of the vehicle and the driver pulls away. Every now and then he looks in his rear view mirror and exchanges a kind glance.

...Been doing long have you Sir?

MARKSIt’s been ten years....

OLD MANOh, that is a long time, out on parole are you?

MARKSYes...

OLD MANI went away you know. When I was a young man. That was a long time ago now but I still remember it clearly today. Experiences like that linger in your mind for the rest of your life; they do. It was before me and the misses moved down this way. I suppose we did that to get out of the smoke. Life was hard then and there was always the temptation to get involved; if you know what I mean. I got nicked with the boys from Malta. Brother’s they were and well, you see them earning a few quid and, well you want it for yourself. It was harder then of course and even harder in prison. I bet you never had to live on bread and water did you?

MARKS(Thinking of the harsh reality he’d left behind. The violence, the psychotic atmosphere, the cruelty, he could remember it all) No, not bread and water...

OLD MANWe did, sometimes for months, it was how they used to break you. It’s a basic need isn’t it. The need for food. I mean they could brainwash you by depriving you of it; it’s not like that today is it?

MARKS(He saw visions of sadistic guards wielding truncheons and beating the red flesh of broken men. He saw other prisoner’s taking roughly sculpted daggers to the eyes of others. Blood ripping through their guts, entrails and spittle on the ground, it all came back to him, EVERY BLOODY LAST DROP.) No, it’s not like that...

OLD MANAnd you missed your family and friends. We didn’t have monthly visitors let alone radios or telephones to keep in touch. I didn’t see my Bess for ages. Oh, she wrote of course; I suppose you had congenital visits didn’t you, getting your end away regularly, eh, I bet you was?

MARKS( vision flashed briefly in front of his eyes. Just a fleeting glimpse before he could squint and suppress it. Heavy breath on the back of his neck. The bed metal bed post banging against the cell wall. The pain!) Er, no.

OLD MANNo, oh well. Here we are. You can get the train from the platform over there and it’ll take you all the way into the city. There’s one every twenty minutes.

MARKSHow much do I owe you?

OLD MANThat’s a tenner please.

MARKSRight....

OLD MANDid I ask what you went away for; I like to know. You know, I might have someone famous in the car and not even know about it.

MARKS(Handing over a ten pound note and opening the car door.) Me, Oh, I got six years for buggering a minor; oh, and another four years for performing an indecent act in a public place, namely a park bandstand. Then another five for assaulting a fellow convict, who deserved it. Bye the way, the assault was the only one I actually admit to. Good day.

He heard the driver curse him under his breath as he drove away but, Marks thought, he didn’t mind taking the money did he?

SCENE 4 ; EXT DAY.

MARKS gets off a bus and orientates himself to his surroundings. The place looks the same except the buildings were a little grubbier then he’d remembered. He becomes aware that he is being looked at and gazes across the road to see a group of youths standing looking at him. MARKS walks on and finds the street he was looking for. As he begins to walk down it a stone comes over the road and scuttles off the curb near his feet. MARKS looks around momentarily and continues to walk. Another stone flies over and this time catches him on the shoulder. He stops and looks around.

MARKSWhat’s wrong with you cunts?

ELDER BOY.Nonce. We don’t want you around here...

MARKSYou don’t know what you’re talking about.

He turns and continues to walk, another stone flies over and hits him again and he starts to walk faster. Soon he is running as fast as he can aware that the boys were only meters behind him. Occasionally they got him with a stone and it hurt but he kept on running until he saw the house he was looking for.

He sped up to the house and ran down the small path that led to it’s door. The keys were ready as he stepped into the porch. Suddenly the door was open and he was in. Closing it with a bang he sighed, relieved that he was home

SCENE 5 INT DAY,MARKS looks around the house that was his home. The place was in a bit of a mess. Someone had got in and smashed whatever they could. There was torn paper and broken glass every where. The sofa in the lounge had been slashed and there was graffiti on the walls.

MARKSOh my god...

He walked over to the window and looked out. He could see the kids there, waiting for him to go out, waiting to follow him no doubt. MARKS looked a little harder and he saw standing behind them a grown man, he was smiling and nodding his head towards the house, talking to a younger man.

GROWN MAN (to younger)I wondered when you would turn up. (He whispered under his breath.)

Looking around the room Marks decided to tidy it up as he was going to stay there he had work to do. The place hadn’t been cleaned for ten years and it looked like the birds and foxes had made it their home .He picks up a broken photograph frame and looks at the torn picture.

He went to the kitchen and looked under the sink for a bucket. Then her filled it with water and went to the lounge wall scrubbing at the graffiti as if his life depended on it. To his surprise the paint came away; it was going to be easier then he thought and this made him smile.

SCENE 6 INT DAY.MARKS walks into the office of a middle aged woman who is sitting at a desk. She is in her forties and still beautiful. He hair swept up off her face and her neat smart attire. She looked very formal but relaxed. He sat uncomfortably on the chair facing her for a few awkward moments before she looked up at him smiling.

MARKSMrs Martin is it?

JANEPlease call me Jane..

MARKSOh, Jane it is then...

JANEHow are you finding it so far?

MARKSIt’s good, very good. I had some kids throw stones at me earlier but it was easier then I thought it was going to be.

JANEPerhaps the worst is still to come.

MARKSPerhaps.

JANEAre you ready for that?

MARKSHow can anyone be ready for anything? You just have to deal with these things as and when they arise.

JANEHow about the boy?

MARKSWhat does that have to do with it?

JANEIf you run into him., it could be a little tricky.

MARKSLike the little bastard might say I fucked him again.

JANE...Well, not quite...

MARKSI’m sorry. You know I didn’t do this don’t you?

JANEI have been told that you are in a state of denial; I’m not interested in that, only that you do not make the same mistakes again.

MARKSA state of denial, that’s ripe. It doesn’t matter what I say does it, you always have some stock answer to it; some text book psychology that puts everyone in their own little box, all neat like. It makes me sick. What about my life eh, no one seems to care about that do they?

JANEI’m going to try to care; if you let me.

MARKSThat’s big of you. I’ll tell you what I’m going to do shall I. I’m going to clear my name and when I do you lot will all have to eat horse shit. Now can I go.

JANE

How do you anticipate doing that, you can’t approach the victim, Wayne Person, that’s in you’re parole papers. In fact you can’t approach him at all. So, trying to vindicate yourself is hardly worth risking going back inside for another five years is it?

MARKSAre you threatening me?

JANELook, look let’s start again eh. You have to come and spend at least half an hour here, with me each week for the next five years. I will eventually make it once a month and then every six months as we get to know one another. So, let’s try to do this in a way that will benefit you. A way that will help you fit back into society. I do want to help.

MARKSIf that’s true then when I start to find out why that kid got me locked up you’ll be right there beside me?

JANEI will do what I can to help, but you have a role in this too by keeping out of trouble, you have to help yourself. Is that clear?

MARKSDon’t you worry about that. I will be helping myself. I need to get a job though, any ideas?

JANELet me think about that one. Are you on the phone where you are?

MARKSI will be.

JANEThen let me have your number. I’ll see you in one week then. Same time, is that okay with you?

MARKSYes.

JANEGood, till then , then...

SCENE 7 INT DAY.MARKS open’s his eyes hearing the sound of the telephone ringing. He rubs the sleep from them and looks at the clock. It’s 8.30. Picking up the telephone and placing it to his ear he hears JANE’S voice at the end of the line.

JANEMy secretary gave me your number, I’m sorry to call so early but I may have a job for you.

MARKSGreat.

JANE Can you come to my office later this morning?

MARKSSure, about eleven?

JANEGreat, see you then?

MARKSFine. (He hears the line go dead and hangs up.)

Getting out of bed he walks to the bathroom and has a pee. It is a brisk, cold morning and the air freezes on his lips. The house is a little tidy although he has had to throw out most of his belongings having found shit over a lot of it. Human shit., This made him think about the prison toilets and how nice it was to be able to piss in private. Going down stairs he saw that a letter had been delivered which surprised him slightly because he expected the mail to come later. The letter aroused even more suspicion when he saw that it did not have a stamp on it and that the address on the front was written in scrawled handwriting. He walked into the kitchen in his underwear and placed the letter on the side while he made a cup of tea. Then once the kettle had boiled her sat at his table and opened the letter.

He only reads the first line before he screwed it up into tight ball and threw it across the room.

SCENE 8 EXT DAYDressed in a suit and tie MARKS opens his front door and steps into the street. He notices an old woman in the garden next door. She was watering the roses but stopped as she saw him approaching.

OLD WOMANI don’t know how you dare hold your head up; shame on you.

MARKSAnd what do you fucking know eh?

OLD WOMANI beg your pardon?

MARKSAnd so you should, beg that is. You should get on your fucking knees and beg my fucking pardon for coming out with such crap. I mean, who the fuck are you?

OLD WOMANI’ve lived in this street most of my life and I know all about you my friend. I know all about you; I might be old but my memory is fine.

MARKSObviously you don’t know jack shit otherwise you’d keep your fucking mouth shut.

An old man teetering on two walking sticks comes up the neighbour’s path and stands beside the woman.

OLD MANDo you mind Sir, that’s my wife you’re talking too.

MARKSWell you should keep the old cow under control before she gets you both into serious trouble.

OLD WOMANI speak my mind I do, it’s just that the truth hurts sometimes. Some people don’t want to hear it.

OLD MANThere, there dear, I’ll handle this.

MARKSIf you knew the truth you’d hold your vicious tongue.

OLD MANWe just want to live in peace. Personally I don’t give a damn what you did as long as you leave us alone. Do you hear?

MARKS

I’ll leave you alone if you do the same for me, how’s that?

OLD MANThat sound’s about right to me....

OLD LADYBut Percy, he’s a child....

OLD MAN...Just give it a rest will you, now go inside I think those roses have had all the water they need, it is frosty out here, you shouldn’t even be doing it....

The woman does as she is told.

...Take no notice of her, she means no harm. Whatever happened in the past is just that, history, I don’t care if you did or didn’t do it; just leave us alone and we’ll get on fine.

MARKSWell I care that I didn’t do anything. I care that ten years of my life was taken from me. I care about that all right.

OLD MANI am old, I understand what you are saying. You’ll have to excuse my wife though. She’s beyond sensible reason. It’s the papers you know, they influence people’s opinion but not me; I’ve got an open mind.

MARKSGood. Thank you. Now good day...

SCENE 9 INT DAYMARKS walks into an office and sits on a chair which is next to a desk. Shortly after a fat man in a faded suit [MR BOWLER] walks in smoking a cigarette. He coughs and puts the cigarette out in an already full ashtray. The form which he is holding is pushed across the desk towards MARKS.

Mr BOWLERJust stick your name on the bottom there and I’ll tell you a bit abut the job. How much did the probation tell you?

MARKSJust that it’s six quid and hour and I’d be painting and decorating.

MR BOWLERThat’s right; I’ve got a team of guys who work on various sites around the capital, they go where ever they are needed, now coz they’re all ex-cons it’s a good idea to keep your conviction’s to yourself; they’re not the brightest of people and it could be a bit tricky if they know you’re a sex pest.

MARKSWho told you that?

MR BOWLERI have to know, the probation wouldn’t send me anyone without giving me an indication of their little foibles. For instance I wouldn’t send someone who’d been done for poisoning to make tea for an old peoples home. Now as I know you have a thing for kids I couldn’t possible put you somewhere you might be tempted like a....

MARKSI do not ‘Have a thing for kids’. I wouldn’t call having a ‘Thing for Kids’ a foible anyway but let’s get one thing straight right, I am not a child molester....

MR BOWLER....I’m only going by what the probation said...

MARKS...Well they’re wrong, I was not guilty.

MR BOWLERThat’s what they all say; now don’t get all shirty, do you want this job or don’t you?

MARKSJust as long as we understand each other.

MR BOWLERI think we do. Now I’ll take you over to meet your foreman. You’ll have to report to him each morning and he’ll tell you what you should be doing. He sign’s your time sheet every day, I must get your timesheet here every Tuesday or you wont get paid on the Friday. Let’s get going. You’ll be working in Clapham this week...

SCENE 10 INT DAYBOWLER and MARKS walk into a house which is being decorated. There are two young men in the lounge painting and another on the stairs. The one on the stairs approaches and holds out his hand to MARKS

BOWLERMarks, this is Mr Phillips, or Joe to you, He’s your foreman over this end. Any problems and you’ll see him is that clear.

MARKSYha, nice to meet you.

JOEAnd you son, you’ll be working in there with the lads, Mike and Pete, can you use a paintbrush?

MARKSI’ve done a bit in the past.

BOWLERYou’ll be okay, just throw it around a bit and don’t splash the furniture.

JOEPete!

PETEYes Guv?

JOEThis is the new boy, show him where to get some overalls will you.

PETENo problem, eh, follow me.

MARKS follows the man into the lounge.

JOEHe don’t look like a nonce case does he?

BOWLERYou’d better keep that to yourself; we don’t want any trouble do we?

JOEHe looks like he can handle himself doesn’t he?

BOWLERYou’ll be all right with him won’t you? I don’t want any trouble.

JOE Sure, just leave him with me, he’ll be okay....

PETEThere’s your kit, grab a brush from over there and get going with those skirting, they’re a doddle they are. When you’re finished give me a shout and I’ll give you something else to do.

MARKSFine.

After he is dressed in an overall MARKS begins to paint the skirting board as he was told; shortly after MIKE approaches.

MIKEI’m a bit busy here so could you do me a favour?

MARKSWhat’s that?

MIKEPop upstairs and see if Joe’s got the tin of striped paint for the ceiling will you?

MARKSStriped paint?

MIKEYha, the blue and black one, he’ll know what you’re talking about?

MARKSAre you sure?

MIKEYha, he’ll know the one.

MARKS looks a little confused but puts down his brush and leaves the room. Pete looks at Mike and sniggers.

PETEYou little bastard?

A few seconds later they hear JOE’s voice echoing out around the building.

JOEI suppose those little cunts are trying to wind me up, now fuck off and do some work.

MARKS enters the lounge again as Mike and Pete start sniggering .

MARKSVery funny.

MIKESorry mate, but you gotta have a laugh haven’t you?

MARKSNot at my expense you don’t.

PETEDon’t take it so seriously, he’s only pulling your leg.

MARKSWell I’ll be pulling his back when the time is right.

MIKELighten up a bit mate, it’s only a joke.

MARKSHa, bloody ha, ha...

SCENE 11 EXT NIGHTMARKS is walking down the road to his house when he is aware that someone if following him. He turns to look but just sees a shadow in the darkness. Walking on he hears the sound of footsteps approaching and turns suddenly clenching his fist.

MARKSWhat do you want?

An old woman startled by his sudden movement holds her bag to her chest.And lets out a little start.

Oh, I am so sorry, I thought you were.....

WOMANYou gave me a fright.

MARKSSorry, I don’t know what came over me...

He watches her disappear into the darkness ahead and continues to walk. Suddenly he is thumped from behind and staggers forwards, a boot comes out of the bushes at his side

and smashes into his stomach. He falls to the floor and looks up briefly to see the face of the man he saw yesterday and that of a youth. They run off laughing.

MARKS staggers home and as he comes up his path sees the slogan ‘NONCE’ in red paint, two feet high on the side of his house. He opens his front door and goes in.

SCENE 12 INT NIGHT.MARKS goes to the sink and runs some cold water. He puts a dishcloth in the stream and places it on his eye. After soothing it for a while he takes of his shirt and nurses a wound to his elbow.

A few moments later he takes the bucket from under his sink and goes outside to the front of the house. He scrubs the paint and finds that, being still wet, it comes away easily although it takes him into the early hours to finish.

SCENE 13 INT DAY.MARKS walks into the lounge where the two others are painting and dons his overall,

MIKEWhat time do you call this?

MARKSI had a late night.

PETEThe guv’s looking for you and he ain’t very happy.

MARKSOh, so fucking what...

As he speaks JOE comes into the room.

JOEI WAS WONDERING WHEN YOU’D GET IN!

MARKSI’m sorry, okay, I had a bit of bother last night.

JOEI can see. Who did that to your eye?

MARKSI’ve got a fair idea.

JOEYou’ve not been up to your funny business have you, coz if you have I’ll have to tell Mr Blower.

MARKSYou don’t half come out with some crap don’t you.

PETEWhat does he mean by that?

MARKSYou’re just full of shit.

JOEDon’t you talk to me like that Sonny or you’ll be out of here quicker then you can say boo to a goose. I can see you’ve had a hard time so I’ll forget it this time, but you’ve been warned....

PETEWhat funny business?

JOE turns and leaves the room.

What funny business?

MARKSHe’s talking a load of bollocks, now forget it.

PETEYou’re not a nonce are you?

MIKEJust leave it will you.

MARKSWhat the fuck are you going on about?

PETEA nonce?

MIKE

Leave it for fucksake.

MARKSNo, I want to know what I’m being accused of?

PETECalm down mate. I was only joking.

MARKSCAN’T YOU SEE THAT I’M IN NO MOOD FOR JOKING?

PETEI’m sorry okay, let’s just forget it.

MIKECome on, let’s start again shall we?

MARKSOkay, I’m sorry, It’s just some arseholes round where I live, they don’t want ex cons in the same street.

MIKEI’m sorry to hear that. What a bunch of cunts, still, you won’t find that sort of grief here will he Pete?

PETEYou’re not wrong. Here, I’ll give you a hand with those tins, they’re the heavy ones.

SCENE.14..EXT..NIGHTMARKS is making his way home again. At the top of his road he sees a face he knows on the other side of the road; the youth is looking at him. MARKS crosses the road and the youth runs away so MARKS starts running too. The youth runs into an alley and MARKS follows into it. The alley is dark and the sound of his quickening footfalls echo down it as he pursues the youth.

Coming out the other end he looks up and down and sees the youth disappearing around a corner at the end of the street. He runs and catches up with the youth.\

MARKSCome here you. It’s Wayne isn’t it?

YOUTHLeave me alone

MARKSBut I want to speak to you...

Just then a torch light is shone on the two and a voice echoes out of the darkness

POLICEMANWhat’s going on here then?

YOUTHIt’s him, he just followed me?

MARKSI only wanted to speak to you.

YOUTHLet me go.

POLICEMANDo as the lad says please.

MARKS lets the youth go and turns to face the policeman.

MARKSI was attacked last night....

POLICEMANAnd you think this lad has something to do with it?

MARKSI’m not sure.

YOUTHI’ve never seen him before, honest guv, can I go now?

POLICEMANGo on, off with you...

The young man runs away into the darkness.

You’re name is Marks isn’t it?

MARKSThat’s right.

POLICEMANIf I were you I’d stay well away from young men. Is that clear, I’ve got your card marked.

MARKSIs that right?

POLICEMANIf you know what’s good for you.

MARKSLast night I had my fucking head kicked in, but you don’t care about that are you, just so long as I stay away from the lads; that’s all you’re worried about.

POLICEMANThat’s right, now haven’t you got a home to go to?

MARKSFucking hypocrite.

POLICEMANOff you go, before you get yourself into more trouble.

MARKSOh fuck off...

SCENE..15....INT/.NIGHTMARKS is at home watching t.v when he hears the letter box open softly. He gets up and goes to the street door. Pulling a note through the letter box he opens the door and looks up and down the street. There is no-one around. He closes the door and opens the note that had been pushed through. In scrawled handwriting he read;

All the answers you’re looking for are at the park.Try looking at the track...

He screwed the paper up and went to the kitchen to make some tea.

SCENE..16..INT/.DAY

MARKS is sitting in JANE’S office. She becomes aware of his eyes on her legs and pulls her skirt down.

JANEAnd how’s the job going?

MARKSIt’s okay, the lads give me a ribbing sometimes but it’s only to be expected.

JANEAnd what about the boss, is he treating you okay?

MARKSWell he wouldn’t get any awards for maintaining confidentiality; but beside s that he’s okay.

JANEHow did you get the black eye?

MARKSJust some kids locally, they thought they’d tell me that I wasn’t welcome.

JANEWell we did expect something like that.

MARKSIt’s not as bad as I thought it would be.(pause) Are you in a relationship with anyone?

JANEWe are here to talk about you, not me, so that’s hardly relevant.

MARKSWell I think it’s totally relevant. I mean, have you never read Berns, ‘ I’m Okay, You’re not Okay’. Isn’t it about being on the same level as your client, modelling their behaviour. You can hardly do that if you are up in some lofty ivory tower now can you?

JANEThat’s so if you are into Berns. I personally dislike the humanistic model and prefer a psychodynamic approach...

MARKS

Analytical eh? Just blame it on the parents. They say Freud was into his daughter, have you read that? That’s why he came up with his thoughts on penis envy, he was projecting it upon her.

JANEYou’ve read a great deal.

MARKSNot much else to do when you’re banged up at night; unless you’re into fucking you’re cell mate that is. Personally I never was.

JANEDon’t they call that institutional Homosexuality?

MARKSI don’t know, we always called it ‘giving your cellie one.’ Some guys got into it. Some were almost married on the wing. You’d see it all the time with lifers; I guess the system does it to them.

JANEOr it is there already and the system gives it an opportunity to come out...

MARKS..Of the closet? No, if that was the case everyone would be at it surely.

JANEHow about you?

MARKSThere’s nothing queer about me. I’ve never taken it up the arse or wanted to shovel shit. My sexuality is totally straight thank you very much.

JANEYour history does disagree of course.

MARKSOh of course, you would say that wouldn’t you. I mean if you, for one moment, considered the opposite you’d have to admit that the whole fucking system is crap wouldn’t you. So, just fucking carry on being blind to the fucking truth, like the rest of them.

JANEI’m sorry, I didn’t mean to upset you. (pause) Tell me about yourself, it may help me not to make the same mistake in future.

MARKSWhat do you want to know?

JANEHave you any siblings, what about other family, relationships, that sort of thing?

MARKSI was sixteen when I left home and that was the last time I saw my folks. They’re still in Ireland where I grew up. It was partly the troubles and partly the violence at home that made me run away. I came to England and never looked back. When I was twenty I came here and started working for a local cab firm to make some money. I used to do a bit of this and that and earned a few quid along the way, that’s how I bought the house. Then I got involved with a young woman. We were very close, her name was Mary. A good catholic woman.

We lived together for a few months and then I got nicked. I couldn’t hold on to her once that had happened. She stayed with me until the trial and then she went. That was over ten years ago, I don’t know where she is now. What about you?

JANEI left home when I was twenty to go to university. I got into the Probation Service after getting my CQSW. It was that or social work, which I didn’t fancy. My parents live in Northampton. I see them about every six weeks.

MARKSAnd your love life?

JANEThat would be telling wouldn’t it. Tell me about the offence.

MARKSWhat do you want to know that’s not already on file?

JANEThat’s the official version of what happened. You keep saying it’s not the real version of events so what is the truth as far as you’re concerned?

MARKSHow much time have you got?

JANEAs long as it takes.

MARKSWell, where do I start?

SCENE. 17EXT..DAY

We find MARKS walking a dog in the park.

MARKS’ NARRATIONIt’s summer time, well, the end of summer. The trees are just turning brown after a long hot spell that turned the grass brown and the soil dry. It had been oppressively hot and I was glad that the temperatures had dropped. It felt comfortable again. We, myself and Mary, had a small dog called Chrispy. She was a friendly little thing and had the habit of sniffing people out inquisitively. Getting used to their smells. She’s never sniff a stranger’s crutch, just around their feet.

She enjoyed meeting strangers and sniffing their feet for some reason. Anyway, there we were in the park, the one by the Eastbrook pub. It goes down at the back where there’s a lake and a bandstand. Chrispy liked to jump into the lake when it was hot but this day she just wanted to sniff out some kids that were in the bandstand.

They were very friendly, two boys aged about fifteen or sixteen. They were stroking her and giving her the sort of attention that dogs love. I asked why they weren’t at school and they looked at each other as if to say, without words of course, that they were bunking off. That was the first time I’d met him;

Wayne Person, and his younger friend, Smithy.

A few days later I was walking Chrispy again in the same park but around the other side of the lake. There’s a small play area where a play leader has a hut and he keeps balls and nets in there for the kids to use during the summer holiday. I was just walking past and Chrispy had just done what dogs do the best, when I heard a aloud scream.

There was a real commotion and I went towards the hut to see what was going on. Inside I caught this play leader guy giving one of the kids I’d seen earlier in the week; a real good hiding. He was kicking shit out of the boy.

I called for him to stop but he was a powerful, fit guy and the damage had already been done. After I called out to him the man threw Wayne against the door and he ran off. The play leader said after that he’d caught Wayne selling drugs to a younger kid and went on

to justify his actions by saying he’d lose his licence if he got caught and that this would spoil it for all the other kids.

Well I could appreciate what he was saying but I thought he had gone over the top bit. Even though I did not say anything else he suddenly turned on me and in the most offensive way possible told me to fuck off.

Later that day I saw Wayne sitting on a bench crying. Well Chrispy found him and I sort of just got involved. I made the mistake of thinking I could help the boy change his druggy lifestyle if I befriended him.

What a fool I was.

I took him home and told Mary what had happened and we tried to counsel the lad about the dangers of taking drugs and that. Soon, after a cup of tea, I asked if he lived close by and this sort of freaked him out; he got up and left suddenly. He didn’t even take his coat as he was in such a rush. Mary said she’d put it away as no doubt we’d see him again.

The next time I did see him was the following weekend, it was raining, the sky was black and moody like it was going to streak with lightening at any moment. Mary had persuaded me to take the dog out again and although it was raining heavily she had not been out all day and she was getting pretty jumpy. We were going past the play leader’s hut when I saw a young boy smoking a cigarette outside. I thought they might have seen Wayne so I went over to it.

Strangely the boy saw me coming and kicked heavily on the Play-leader’s hut and he came out looking really pissed off. I could see over his shoulder a group of boys were in the hut with him and they came out to look. He went mad saying that I had no right to be on the play ground and that I must have been a nonce or a sex beast or something. He kept saying it over and over again

‘You’re into little boys aren’t you...’ and ‘You’re a nonce case ain’t cha...’ Over and over again, screaming loudly. It was so strange I couldn’t even explain what I wanted or who I was looking for.

I picked Chrispy up and headed away from him pretty quickly, I mean, it’s not the sort of thing anyone wants to be called is it. A few minutes later I heard a whistle and when I turned around d there was this boy Wayne. He was cold and wet and his face was really swollen. He came running up to me and asked me to help him. Pleading for help. I wasn’t sure what I could do.

The bandstand was nearby and we ran to it to get out of the rain. Once we were there the boy just broke down and cried uncontrollably. I tried to find out what was wrong but he just sobbed and sobbed and it was impossible to get any sense out of him.

I said that we had his coat at home and that he was welcome to come there and then to collect it and spend a bit of time with me and Mary till he had calmed down. He was very paranoid looking over his shoulder the whole time and being anxious. He said he would come eventually and as we came down the steps from the bandstand I saw the Play-leader coming towards up. Wayne just ran.

This guy, this bloody arsehole, then came up to me and punched me in the fucking face. I mean today I’d kill the bastard but then, I was just so shocked. He said ‘Stay away from these kids...’ and then went off. The next time I saw Paul it was in court.

SCENE 17 INT DAY.Jane sat back in her chair and sighed.

JANEHe was the boy who made the disclosure about you?

MARKSLied about me, yes.

JANEWhy would he do that?

MARKSI have thought about that every day for the past ten years. In those days there was a lot in the media about child abuse and the need for professionals to listen to kids. It was around the time that there had been a couple of sensational child murders and neglect cases where the professionals had been criticised for not acting quickly enough or for not listening to the kids they were caring for. It was like this laid a foundation for the court to listen a little too hard to the kids and not take into account anything else. I think today they are a bit more fair-minded about these things, but then it was a different story.

JANEWhat makes you think things have changed?

MARKSI read the papers you know, I think the courts have got to the stage where they accept that kids can be little bastards if they want as well as little angels. I don’t think uncollaborated testimony would stand up in court like it did back then. The jury thought I was guilty

before I even got into the dock and then, there was little Wayne telling his heart rendering story and just banging the nails home. I was dead and buried before the defence even spoke a word.

JANEInteresting, although I am not sure if I agree with your views on the verdict...

MARKSBut you would say that wouldn’t you. Being the court’s representative you couldn’t collude with me to doubt the jury’s verdict, no, no. That wouldn’t do would it?

JANENo, I couldn’t, collude, with you. Shall we meet next week at the same time?

MARKSIf you want, and guess what?

JANEWhat?

MARKSIt’s my first pay-day, how about if I take you to dinner?

JANEI’m not sure about that, after all, we do not really know each other yet. Let’s spend a little more time in this office first; I’m not turning you down forever, just for now. It will give you something to work towards...

MARKSYou should have been a Social Worker. Okay, point taken, I’ll work towards buying you a meal if you work towards trusting me more; agreed?

JANEAgreed.........

SCENE 18 INT NIGHT.MARKS is at home watching the six PM news. The main story was about prison riots in London and there was footage of men on rooftops throwing tiles at screws down below. MARKS shook his head remembering the savagery of the prison wing. He remembered walking across a landing one day and seeing a screw getting boiling water thrown in his face. The way his skin blistered and started to peal, the screams of agony, then the bells

sounding and a huge mob of them running into the wing. They were smashing truncheons into the faces of any cons that were within reach and the whole place was like Bedlam or Hell...Suddenly he heard the door bell.

MARKS gets up and goes to the front door. Looking through the spyhole he saw no one in the evening light. Gingerly he opened the door and found a young red haired boy on a bicycle looking at him. The boy was dressed in tight fitting top and looked no more then twelve years old.

MARKSYes, can I help you?

BOYCan I come in, like?

MARKSCome in, what for?

BOYWell, just come in like, if you want?

MARKSI don’t understand? Do you want to use the toilet or something?

BOYNo.

MARKSWell what then?

BOYI thought you’d want me to come in. Keep you company like. I know you’re on your own.

MARKSLook, if this is some sort of joke I don’t find it very funny?

BOYDon’t you like me then?

MARKSWhat?

BOYDon’t you fancy me ? I thought you’d fancy me; being a batty boy and that...

MARKSI don’t know who sent you here but you had better fuck off before I loose my temper.

BOYOkay then, if you don’t want it, I’ll go away..

MARKSYes, why don’t you do that you little fucking moron. Go on, turn your little fucking bike around and bugger off. Bye...

The boy turns and rides away.

...Prick. Whatever next?

MARKS goes back to the lounge and continues to watch the news. Lighting a cigarette he thinks about what had just happened and flicks through the channels. Just then another ring at the doorbell disturbs him.

..I don’t believe this.

He gets up and goes to the door. Looking through the spyhole he is surprised to see a policeman standing outside with a man in a raincoat. MARKS opens the door.

MAN IN RAINCOATMy name is DC Pointer; this is constable James; we believe that you have a young boy in there and we want to know what you are doing?

MARKSYou fucking cunts, you’re trying to set me up aren’t you?

DC POINTERDo you mind telling us what you are doing?

MARKSI’m sticking a carrot up his arse while balancing on his fucking bicycle, what do you think I am doing?

DC POINTERYou do know that’s illegal don’t you?

MARKSWhat balancing on a bicycle, sorry, I must tell my auntie, she does it all the time.

DC POINTERStep aside and let us in please.

MARKSYes, why not, and bring the uniformed officer with you; that’s right, in you come...

The step inside and MARKS closes the door after them. POINTER looks around and tells the officer to go upstairs to search the bedroom.

POINTERWhere is he then?

MARKSWho, where is who?

POINTERThe young boy, where is he?

MARKSHe...He is exactly where you have sent him next.

POINTER

Look Marks, I don’t know what your game is but I am finding it very un-funny. Now, did you or did you not just confess to having a young boy in here...

UNIFORMED OFFICER...A boy who you were sexually assaulting with a carrot?

POINTER.If there is a boy in here, where is he?

MARKSI’m glad that you are not finding it at all funny, because I am not finding it funny either. First of all you send a young kid around here...

POINTER...We did what?

MARKS...Then you bang on my door accusing me of ‘Doing things’ with him..

POINTER..Now look here...

MARKSThen you barge your way in here and accuse me of secreting him somewhere as if I’m playing some bloody awful game. Now what am I, a fucking cunt or something?

POINTERI’m sorry but you have it all wrong. We were called by an anxious parent who said they saw you dragging a kid in here no less then half an hour ago. We were just investigating that report as we would...

MARKSWho said they saw me dragging a kid in here?

POINTER...As we would with any report of that nature..

MARKSWHO SAID THEY SAW ME!

POINTERI’m sorry, I can’t divulge that information.

MARKSWho said they saw me?

Uniformed officerYou heard the officer. We are not at liberty to divulge that information...

MARKSRIGHT THEN! Out, go on, there’s the door, get out of my house...

POINTERNow Sir, we are only doing our job, there’s no need to take that tone...

MARKSNo need? What the fuck are you on. Now get the fuck out of my fucking house before I really loose it.

UNIFORMED OFFICERYou’d want us to do it if it was one of your children; wouldn’t you?

MARKSOUT, out, out...

UNIFORMED OFFICERHis own kids, that’s a laugh. He’s not fit to be a parent Guv...

POINTERCome on officer, before we have to nick him for breach of the peace.

MARKSYou are not fit to be a police officer; if you were you’d know when someone was using you to get at me. Is that clear; you’re nothing but a pawn in someone’s sick game...

POINTERWhat’s that you’re saying?

marksYou heard, you’re just being used like they were the first time; manipulated to get at me; some kid string’s you a line and you fall for it every time...

POINTEROnly time will tell if that’s the case, good night to you...

MARKSGood night, piss off...

SCENE 21 INT/.DAY

MARKS Is in the house painting with his two companions. They have done the emulsions and the woodwork, They are all concentrating on the window frames.

PETEIt’s really coming along now isn’t it? Even with Paddy on board we’ve managed to get the job done.

MIKEDon’t know about that, it does look wicked., what do you think Mate?

MARKSGreat, just fucking great, now what did you mean by that...?

PETEOh, some one’s in a bad mood, can’t take a joke.

MARKSOh fuck off...

PETEDon’t get stroppy with me mate or I’ll empty this fucking tin of pain over your fucking head.

MARKSWell come on then, you stupid cunt, come on. I’ve had it up to here with you lot. I’m fucking sick of it...

PETECome on you fucking thick, Irish bastard. Don’t just say it, giving it the mouth all the time, let’s see some action.

JOE {Coming into the room}What’s all the noise about?

PETEAsk that silly bastard. The thick, Irish knob can’t take a joke

MARKSYou fucking arsehole, that’s all you are. A fucking, stupid arsehole and I don’t have to take this type of crap of you or anyone.

PETEIf I was a kid you’d take it though wouldn’t you. I’ve heard you like to take it off kids..

MIKECome off it Pete...

MARKSWhat do you mean by that, eh, what do you fucking mean by that?

PETELook in the paper if you can read; they say that you’re not only a Thick Mick, you’re also a nonce as well.

JOE Shut up you! Does someone mind telling me what’s going on here?

MARKSI’ll tell you shall I. I’m sick of him, I’m sick of doing this and I’m fucking sick to the teeth of the papers? Do you know what? If I had a gun I’d either rob a bank or blow my fucking brains out.

PETEKnow the I.R.A as well do you mate? If you did blow your brains out you’d be doing us all a favour.

JOEShut the fuck up will you man! Now I can see you need to chill out a bit Marks , do you want to go outside for a break.

MARKSChill out, you’re fucking right there...

JOEWhere are you going?

MARKSTo fucking chill out...

PETELet him go..

JOEWhat about the job?

MIKEJust leave him, he’ll come back when he’s calmed down..

JOEWhat have I said about you boy’s winding him up!

MIKE And coming out with that shit about the papers; that’s wasn’t very nice.

PETEIt’s fucking true I tell you, I saw it in the local newspaper.

JOEWell you should have kept it to yourself, I never had you down as one who believed everything he saw in the bloody local rag. I don’t think he’ll ever come back you know what it’s like when you come out the can, you just can’t take it...

PETEExcept if it’s up the arse, eh Mike?

MIKELeave it out man.

PETE...Seriously, he’ll come back, you wait and see...

JOEHe fucking better or the guys at NACRO will have our grant; you wait and see...

SCENE 22 EXT DAY.We find MARKS looking frantically through a local newspaper, being watched cautiously by the newspaper stand keeper. until he finds the story on page four. Accompanied by an old photograph, there it was, raking the past up like a bad memory. He read the headline and gritted his teeth. The first few lines gave him the gist of the whole piece; ‘Sex monster returns to haunt his victims’

MARKSBastards.

He screws the paper up.

NEWSPAPER STAND OWNERAre you going to buy that

MARKSI wouldn’t wipe my arse with it...

He throws the paper back down upon a pile of others and walks off.

SCENE 24 EXT DAYMARKS steps into his street and slows down as he looks ahead and sees a police car. Then looking further along the road he sees a group of people standing opposite his home. He knew they were there waiting for him and for a second he stood wondering if he should go any further. Part of him wanted to turn around and run but the other, fuelled by determination and anger forced him to walk forwards and face the mob.

They saw him coming and a group of very young kids ran down towards him screaming obscenities frantically called back by fat slags pushing yet more children in tatty pushchairs. The group were mainly women but the odd man was scattered in their mists,

Beer bellied and unshaven they loitered with snarls on their faces and clenched fists. An older teenager here and there spat across the road as MARKS got closer and the few policemen in attendance held the mob back.,

‘Nonce’ they cried, ‘Sex case, shirt lifter.....’

One, buried deep in the mob, threw a milk bottle which smashed at MARKS heel. The glass shattered around his feet and he kicked a fragment that then flew through the ai.r ‘Go back to prison you Bastard.” A woman shouted as MARKS turned slightly and stuck two defiant fingers up to the crowd.

He fumbled for his door keys and as he slide the Yale key home an old tomato splattered against the door covering him in stale tomato. He wiped his face and got in as fast as possible before slamming the door behind him.

Stepping into the lounge he peered outside the window before pulling the curtains closed. Before the last bit of light was stopped from invading the room MARKS noticed the unmistakable yellow plastic jacket of a policeman coming up his path.

MARKSWhat now....

He went to the street door upon hearing the sharp rapping on the door knocker.

..What do you want?

POLICEMANCan you open the door please sir.

MARKSCan I what?

POLICEMANCan you open the door please?

MARKS sighs and pulls the door open slightly.

POLICEMANIs your name Nial Marks?

MARKSOf course it is, what do you want?

POLICEMANI’ve been told to come and offer you protective custody.

MARKSProtective what?

POLICEMANProtective custody, You can come with me to stay in a police cell. For your own protection.

MARKSIs this a fucking joke?

POLICEMANI don’t think so sir, look at them (gestures to the crowd) They really want your blood. You’ll be safe with us.

MARKSI’ve just spent ten years behind bars and now you’re wanting me to go and spend another ten voluntarily, you’re fucking having a laugh ain’t ya?

POLICEMANNo sir, it’s something we can offer all sex offenders now.

MARKSSo you can keep your beady eyes on them I bet, well I’d rather be eaten by that lot then volunteer to go with you thank you very much. Oh, and I’m not a sex offender.

POLICEMANYha, that’s right . We cannot guarantee your safety out here you know?

MARKSSo fucking what? Do you think I really give a shit, now piss off before I really get angry.

The policeman walks away shaking his head as MARKS steps outside.

...And you can tell those cunts that if any of them, any of them, come near me or my property I’ll not be responsible for their fucking safety; is that clear?

He slams the door and goes back into the lounge to peer out of the window again.

NARRATIONThe fucking arseholes, with their shitty clothes and their shitty kids, their shitty language and their fucking shit filled brains. That’s right, smirk at me, call me names, tell me that I’m a fucking monster because while you’re doing it you don’t have to think about the misery that exists in your shallow little lives.

That’s right, you in the blue, you, the one with the fag hanging out your mouth and the screaming brat at your knee. What gives you the right to stand outside my house and condemn me. What gives you the right to snarl and spit, kiss your teeth with snotty contempt and teach your kids the same behaviour.

Because at the end of the day, when judgement comes, it’ll be you that’s accused of fucking kids heads up, not me. It’ll be you who’s said to be the monster, the destroyer of kiddie heaven.

I’ll be with the blessed soul who lived this hell called life to appreciate the wonders of the next Death. What about you? The fat bastard in the ill fitting shirt. The gormless twat of a man standing over a pram occupied by the fruit of your loins. What a sour lemon that’ll be.

Rock that little baby with your thick tattooed fingers and smile your toothless smile, rock that small child with your violent fists and show it what a horrible life it is growing into. A life filled with hate, a life filled with the loud screams of persecution. Show it what a dog you are and what a bitch life can be.

Howling in the wind like a brute on a leash. What sort of induction is that to the child. What will it teach it about compassion, friendliness, what will it tell that child about mankind, about love?

Yha, you can scream your abuse; you can point your criminal fingers my way. You can hiss my name behind cupped hands or shout it loud in the street of shame. You can wish me dead for all I care and still not know my truth. For behind these shallow eyes, behind the wrinkled skin; behind the hate fuelled gossip lives a proud man.

Me, I have nothing to feel ashamed about. I will meet my god with the same pride that holds me today. It is you who should be condemned, not I....

SCENE. 25 INT...DAYMARKS looks across the table and lights a cigarette. JANE waves her hand in front of her face as he puffs smoke in her direction.

JANEI didn’t know you smoked.

MARKSWell, now you do...

There followed a long pause as MARKS smokes the cigarette down to the tip and pushes it out in the ashtray.

JANEAre you upset about loosing the job?

MARKSNot particularly....

JANEI have spoken to Joe, he is prepared to give you another chance.

MARKSThat’s big of him.

He takes another cigarette and sparks it up. The smoke hangs in the air like the thick silence between the two. JANE is uncomfortable with the silence which MARKS enjoys. He maintains it just to see her looking de-skilled; suddenly she can’t stand it any more.

JANEYou seem to be smoking a lot today.

MARKSHaven’t you heard, it steadies the nerves.

JANELook, are you going to tell me what is bothering you or are you going to carry on like this until I have no choice but.....

MARKS...But what! Throw me back in jail, parade me in front of the magistrate and revoke my license? Is that what you’ll do. And you wonder why I don’t trust you. How can I when you’re prepared to flush me down the bog at the first sign of trouble.

JANE...To end this interview, I was going to say. I have no power to put you back in jail and I don’t think I want to. All I know is that during the time we have been meeting I have been taken by your honesty. I thought you did trust me and it saddens me to hear that you don’t. Now I know something is on your mind and perhaps if you share it with me it might help.Help you to get it off your chest and help me develop some insight into what bothers you.

MARKSI’m sorry, I didn’t mean to be so unkind; if it’s any consolation I didn’t mean it.

JANEIt is. Now what is bothering you?

MARKSOnly if you promise to have dinner with me next week.

JANEI’m not sure.

MARKSPlease, come on, I’ll open my heart right now if you just give me that pleasure? Quid pro quo.

JANEOh, go on then. How can I refuse when it’s put like that? Quid pro quo.

MARKSRight then, great. I feel better already.

JANECome on, open your heart. I want my moneys worth you know.

MARKSIt was nothing really, just an article I saw in the newspaper last week. It said I was a monster or something, coming back to haunt my victims. That really hurt you know, seeing that in print. Well I can just about put up with verbal abuse but when it’s in the paper it kinda gets under your skin.

JANEThat must have been horrible.

MARKSYha, and you know what, since then I’ve had this 24 hour vigil outside my house like I’m some sort of werewolf or something. First of all it was a large crowd of mothers and fathers with their babies in prams. Then it was just the fathers and the older teenagers and now it the bloody church. Religious nutters who throw holy water over me whenever I go to put the rubbish out.

JANEI’m so sorry, I didn’t know, you should have told me earlier. Do you want me to see if I can get you into temporary accommodation?

MARKSNo I do not.

JANEI guess we’re not having dinner at your place?

MARKSYha, you’ll have to take me somewhere I’ve never been to before.

JANEOkay, I’ll think about that one. Let me phone you next week.

MARKSGreat. That’s great. You won’t forget will you?

JANENo, I won’t forget.

MARKSExcellent, well, till next week?

JANERight you are. If you’re sure I can’t do anything to relieve the problems at home?

MARKSYou’ve done enough; thank you....

SCENE.27EXT.DAYMARKS is carrying some milk and a newspaper towards his home. He looks ahead and sees the small crowd on the other side of the road to his house. They consist of two women and a man who is holding a bible. The man sees MARKS coming and suddenly starts to sing a hymn about evil in the world. MARKS finds the scene bizarre and crosses the road to speak to them. The man recoils in horror as he approaches and holds the bible up for protection. One of the women crosses herself.

MARKSIf only you knew how stupid you look.

MANGet behind me Satan..

WOMAN # 1OUR FATHER, WHO ART IN HEAVEN...

MARKSCan’t you just go home now, I mean, no one is interested.

MANHALLOWED BE THY NAME..

MARKSIt’s not as if anyone else gives a shit except you lot...

WOMAN # 2GOD is interested; he is always interested when EVIL manifests its self.

MARKSYou’re talking out your arse...

WOMANHoly mother of Mary, he’s wallowing in profanity.

MARKSShut up, you silly cow. I mean, what’s all this supposed to prove? We all get it that you believe in God.

MANGOD will not tolerate your EVIL. We’re here to ram the message home.

WOMAN # 1And show the local kiddies that we will protect them.

MARKSReally, I think it just makes you look like a bunch of prats. Still, at least I won’t get burgled with you lot out here, keep up the good work.

MANWe will not go until you have been banished from this God fearing community.

MARKSYou’ll be here a long time then, you’d better get some sandwiches...

As he crosses the road a milk bottle crashes at his feet, the glass sprays everywhere as MARKS looks around. The god squad are looking down the road and he does the same to see a young man running away laughing.

...You think that’s funny do you?

He puts down his pint of milk and chases the man. He puts up a good speed and it does not take long before he’s over a fence chasing the man across a nearby playing field. The young man is laughing all the time even as MARKS is right behind him as the two run behind some old out-buildings on the other side of the field. MARKS trips the man up and they both fall to the ground.

...So you thought that was funny did you...

He turns the man over onto his back, the two look each other in the eyes but MARKS is intrigued when he sees the young man peers over MARKS shoulder. He looks around and finds the shadow of three men falling across him...

...Oh shit.

SCENE..29.INT/.NIGHT.JANE is looking over a table towards MARKS. The table has a white cloth on it and a single rose in a glass stand. The silver cutlery has been placed in readiness for the meal.

JANEDo you want to tell me how you got your black eye?

MARKSNot really.

JANEHow about the cut on your nose, oh, that does look sore. I bet you weren’t bashed by the god squad?

MARKSNot unless they’ve taken to wearing steel toe capped boots.

JANEIf I’m not mistaken that’s the second time you’ve been beaten up since your release.

MARKSYou are not mistaken...

A waiter arrives and gives both a menu.

WATERWould Sir like some wine perhaps?

MARKSI’ll have a cold beer if you have any..

WAITEROnly bottled.

MARKSThat’ll do nicely.

JANEI’ll have a glass of wine. Mmmm, the lamb looks good.

MARKSI’m not sure.

JANEHow long are you going to put up with it, I mean, next time it could be serious.

MARKSI am not going to be frightened away. If I had anything to be guilty about I would, but as I haven’t they can go and fuck themselves.

WAITERSir, your beer, and a glass of wine for you madam. Have you decided on your starters?

JANEI’ll just have the lamb please.

MARKS

Can I have the beef please {looking at Jane} It’s not all Nuevo Cuisine is it? The portions are too small for my liking.

WAITERAll the meals are served with a variety of vegetables Sir.

MARKSGood, thank you.

JANESo how long will you have to put up with this punishment?

MARKSI’m not sure although it has occurred to me that it’s not all incidental. You see a couple of things have happened recently which seem orchestrated. Like someone is writing a plan and I’m the main character in it. Last week a young boy arrived on my doorstep and invited himself in, just as I told him to fuck off two old bill arrived expecting to find me screwing the bastard.

It was weird. And the story in the papers, I don’t think that was the result of intrepid reporting, no, someone gave them that story and wanted to set up the aggro that occurred since. It’s not all come together yet but I’m sure I’m on to something..

JANEBeing paranoid perhaps?

MARKSWho me? I gave up paranoia the day I came out of rule 43. Life’s too short. Did anyone ever tell you that you have beautiful eyes?

JANEYes, my father.

MARKSHave you got a man in your life, except me?

JANENo. I am foot loose and fancy free. I guess it was because I spent a lot of time studying and then I put a lot of energy into my career. No time for men I’m afraid..

MARKSThat’s sad. I guess we’re both the same in that respect, having been tied up for a good few years. Missing out on life...

JANE..And love.

MARKSI’ve not been with a woman for a long time; when I was inside I thought it’ll only be a couple of days before I met someone and fell into bed with them but life’s not like that.

JANEMaking relationships is the hardest thing. Surely Nial, you have some girls you can look up don’t you, a good looking fellow like you?

MARKSNo one wants to get involved with a jail bird; particularly a sex case. It’s worse then being found guilty of murder. Do you really think I’m good looking?

JANEVery good looking, and sweet with it. I can’t imagine you doing what they said.

MARKSThank you. I didn’t you know. Oh you don’t believe me now but you will. I’ll find out one day...

JANEBut surely the truth would have come out during your trial, they just don’t lock people up with out going into it first?

MARKSDon’t they. Well I’m living proof that they do. In my case they just wanted to hang someone and I was the best target they had; it was all based on the evidence of one person. That’s British Justice for you. I guess if I’d been British it may have been different but back then all Irish people were monsters.

Killers and Rapists, it fitted in with the media’s view of the world. I would never have been convicted if I was tried in Ireland or Eire.

WAITERMadame, your lamb, and Sir, the beef. Would you like your potatoes roasted or boiled?

MARKSBoiled

JANERoasted....

They both giggle...

..This wine is going to my head. {She reaches out for her glass and knocks it over. MARKS stands suddenly and mops up the wine with his napkin but the waiter gestures for

him to sit again as he mops the last up with a small towel} I’m sorry. I’m dropping everything tonight.

MARKSReally, you better invite me back to your place.

JANEHmm, not everything.

MARKSCome on, what have you got to loose, we’re two adults, two lonely adults.

JANESpeak for yourself; besides, I could get into trouble.

MARKSI won’t tell anyone.

JANEPlease stop it, please?

MARKSCouldn’t you pretend that we’re friends just for once; instead of client and probation officer?

JANEWe are friends but I must have some boundaries; it wouldn’t be fair otherwise.

MARKSFair to who?

JANETo you of course...

MARKSPlease?

JANENo.

MARKSPlease?

JANENo, no...

SCENE.30..INT/.NIGHTWe find them in bed making love.

JANE...No...No...Ahhhh no. Oh YES. Please. Yes..yes..yes.

They roll over and she looks out of the window as the sun rises. He curls up beside her and kisses her gently on the cheek.

MARKSAre you okay?

JANEI feel really guilty, I should never had done this.

MARKSPlease, don’t say that. It wasn’t that bad was it?

JANEOf course not, you were the most considerate lover I’ve ever known. I just think my job should have come first.

MARKSInstead we both came together...

JANEHa ha, very funny. (Throws pillow at him.) Look, I’ve got to go to work. You can stay here if you want.

MARKSNo, I’ll go with you. I have some things to do today. Can I see you again?

JANEI guess this is going to get in the way of our ‘Professional Relationship’. I’ll need to think about it.

MARKSThanks.

JANEFor what?

MARKS

For not blowing me out. Owe you one.

JANEYes, I think that you do.

Break Devil among us Part 2

SCENE.31EXT..DAYWe find MARKS walking through the street with a smile on his cut and bruised face. He appears to be a man without troubles today. Thinking of how they left each other that morning.....

JANEI’ve got to go now.... Thank you for last night.

MARKSIt was nothing. So....

JANESo....

MARKSI’ll phone you later in the week?

JANEYha, I’d like that. I would have....

MARKS...Thought about things?

JANE...You got it. It’s not you, it’s me. I just have to decide if I can handle this....

MARKSI understand. You’ll miss your train.

JANEOh, yha. Look I....

MARKS...What?

JANE....Er, just phone me please. See you.

MARKSNo problem. Bye.

JANEBye.....

He stops thinking and concentrates on his journey again.

He turns into the street not far from his house where a couple of shops are situated. Going inside the newsagent to buy some cigarettes and a paper something catches his eye.

SHOPKEEPERThat will be three fifty please.

MARKSDo what.

SHOPKEEPERThree fifty, for the fags and paper.

MARKS takes a five pound note from his wallet and throws it down on the counter before leaving the shop.

....Your change Sir. Ah. Ignorant Bastard.

He leaves the shop and looks across the road. He sees the young boy that came to his house less then a week ago trying to set him up. The boy was on a bicycle and chatting with another boy across the road. MARKS crosses it and approaches them, they do not see him coming and ride off slowly.

MARKS does not call out but follows them swiftly. He has a feeling that they are heading towards the park.

NARRATION

It was him, the lad that had tried to set me up the other night just before Hinge and Bracket arrived expecting me to be elbow deep in Vaseline. Expecting to find the boy spread like Marmite across my bed sheets. There he was confirming that the incident was not a dream but actually happened, I’d doubted my sanity such was the unreal quality of the incident.

Now he appears to be heading to the park as if butter wouldn’t melt in his mouth. If anyone were to see him they’d think ‘He’s a nice boy’ They’d say ‘Doesn’t he look sweet, ah bless him. They’d see his shiny combed hair and his spotless skin and the neat and cleanly pressed clothes and they’d say ‘What a smashing lad.’

They wouldn’t know that this kid would send me to prison, charged with the most hideous of crimes to be beaten every day and have spit in my food at every meal. They’d not see the mind full of spite and the rock hard heart that would sell a man for the price of a packet of cigarettes.

They’d not know his selfishness. And there he was, no more then a hundred yards away, casually enjoying his world; with no thought of the horror he could have created for me.

I was unsure what to do. I could have picked up a club and beaten the bastard within an inch of his life but then I thought, he’s a kid and WE DON’T HIT KIDS DO WE? I could have grabbed him by the shoulders and shook him until his eye- balls rattled in their spheres. Until his tongue turned blue and tears rolled across those rosy red cheeks of his.

Then I thought, No, not even I, the local bogey man; me the dream monster; could do that.

He was heading for the B.M.X track n the park that I used to know when I walked the dog all those years ago. I got to the park and it held dark memories of those days and even my quarry faded into the background as those vivid pictures returned to haunt me. Not since my first night in prison had they been so clear, as I lay there in the darkness wondering how I’d got in that mess.

Then my boy was alone and I hid behind a tree so not to alert him. Over the hills his bike went and down the other side. His laughter echoing out around me. Over the bump and down the other until I heard the wheels coming closer and he was there in my clenched fist.

BOYOyez. What are you fucking doing.

MARKS

Don’t you remember me laddie? Don’t you remember these craggie eyes , these pursed lips; don’t you remember the face you tried to have incarcerated last week? Look harder then, it’ll soon come back.

BOYAre you mad or something? HELP, A NUTTER’S GOT HOLD OF ME?

MARKSYou’ll have to shout louder then that if you want someone to help you. This is a big, lonely park and right now there’s just you and me here.

BOYOh God, you’re going to hurt me aren’t you, please don’t, please mister.

MARKSHaven’t you remembered my face yet, LOOK BOY, it’s me. You came to my house last week.

BOYFucking hell, you’re going to kill me ain’t ya? HELP!

MARKSKill you?

BOYHelp, please HELP ME PLEASE....

MARKSKill you, I wouldn’t waste my energy. I don’t want to kill you...

BOYReally {Gulp} what do you want then?

MARKSI want to know who sent you to my house last week. I mean you didn’t just think to yourself ‘I know, lets go and wind that poor bastard up and while we’re at it try to get the fucker ten years in the can...’ did you. You weren’t just hanging around bored, with nothing to do before suddenly having a craic at my fucking expense. No, of course you weren’t. So, who was it who sent you?

BOYI don’t know.

MARKS

Don’t give me that SHIT. You either tell me now or I will KILL YOU. You got that, I’m a ruthless paedophile remember; I could tear your arse so wide you’d shit yourself every time you sat down. There, think about that, now...Who told you to go to my house and what you should say, who was it?

BOYSerious, I don’t know his name but I’ll show you who he is. It was one of the elder kids from over there, by the play centre. There’s always a group of kids there and one of them gave me a fiver for doing it. He said it was for a joke. I didn’t mean it...

MARKSA FUCKING JOKE? Now, you’ll show me which one it was before I get really angry.

BOYWhat, you want me to show you now?

MARKSThat’s right, now. Come on.

He drags the boy across the park towards the area where the kids hung out by the play scheme. From behind a tree they look and indeed, find a ground of kids hanging around.

..Is he there?

MARKS demands but the boy shakes his head.

BOYHe might be inside, he knows the play leader really well and they sometimes hangout inside the hut.

They continue to watch and to MARKS surprise the hut door opened and out stepped a young man. He lit up a cigarette and blew the smoke into the wind. MARKS knew his face immediately.

...That’s him.

The boy said excitedly.

...That’s the boy who gave me a fiver. Can I go now, please?

MARKS relaxed his grip and the boy was gone. Running as fast as he could towards where he’d left his bike; leaving MARKS mesmerised by the sight he saw.

NARRATION

There he was, looking as if he had not a care in the world. Yes, his eyes were a little older, he was taller but I could not mistake that face. The face that looked a cross the hungry court house. The face that sent me to jail. Still trying to put me away after all this time. But he is no longer a confused little boy, he’s now a fully grown man.

SCENE.32.INT/.NIGHT.MARKS and JANE are laying in bed. The lights are low and the radio is on in the background; she is laying across his chest playing with the hair on his belly; both are deep in thought.

JANEAre you going to tell me what’s bothering you?

MARKSSorry, I’ve not been very good company tonight.

JANEI just wish there was something I could do that would help.

MARKSNo one can help me now, I have to sort this out alone.

JANECouldn’t you just give me a little clue; I might be able to help. You won’t know unless you say.

MARKSI wish you could help; but you can’t.

JANEWell what ever it is good luck. I hope you find a solution and can start to enjoy life..

SCENE.33/EXT..NIGHT..We’re in the park after the sun has gone down. A group of boys are larking around in the shadows when one falls from his bike and lets out a small scream.

BOY # 1Right, I’m going home, you can’t see a thing in here...

BOY # 2 Scaredy Cat, Scaredy Cat, Thinks his tough but he’s just fat.

BOY # 3First one to the gates is the winner.

BOY # 2My bike’s faster then the speed of sound...

BOY # 1Hang on....

BOY # 3My bike’s faster then a speeding bullet..

BOY #1Oyez, come back...

The other two go speeding off in the darkness leaving the other on his own.

...The chain’s come off’ mi’ bike. Oyez, Come back......Bloody bastards.

He begins to push his bike in the direction from which his friends went. It is dark and his feet get caught in the dead blades of a shrub making him stumble forwards.

...Shit.

Suddenly he hears the crack of a dry branch being snapped underfoot. He looks up momentarily before shrugging and pulling his foot loose from the shrub. Walking on he stops thinking that he heard the sound of the same shrub being trodden underfoot behind him. He looks over his shoulder and strains his eyes.

...Is any one there?

Hearing no sound in the darkness he continues to walk and yet with every step he feels someone behind him breathing softly. His pace quickens and in the darkness he feels the hot breath of some one close on his shoulder. He peers around and gasps...

...Oh, it’s you...

The two other boys are by the park gates laughing that their friend had not caught up with them yet. Thinking that it was a hoot that his chain had broken and so he had to follow them on foot. Suddenly a cry rings out, a blood curdling scream that makes their blood run cold through their veins. They both look at each other and gulp back their terrified breath.

They both ride off down the road, leaving the park and it’s frightening darkness behind them.

SCENE..34./EXT. DAYMARKS is walking home in the rain. He calls into the shop near the end of his road and buys a pint of milk. The shop keeper looks at him strangely as he passes over the change. MARKS goes back into the street and quickens his step approaching the top of his road. He looks down and sees a group of people on the pavement outside his house.

MARKSFucking shit! What is it now?

He quickens his pace and is surprised when he gets closer that the crowd of around twenty people features no children. Just angry looking adults. There were about ten weeping women who were howling into hankies and beside them a group of men mostly old pensioners but a couple of young thugs. They approached MARKS as he got closer.

WOMANThat’s him; that’s the bastard.

THUG # 1Oy Mate; I want a word with you.

WOMAN #2TERRY, DON’T, HE’S NOT WORTH IT.

THUG # 2Why did you do it mate, why did you touch him?

MARKSLook, what’s going on here?

WOMAN # 1Terry, please?

THUG # 1So you think it’s okay to have sex with children do you mate?

MARKSI don’t know what this is about but you’d better just fuck off and leave me alone.

THUG # 2What did you say mate?

He reaches out and smashes MARKS in the face. The other kicks him in the stomach and MARKS falls forwards.

WOMAN # 1OH NO, TERRY, YOU’LL GET INTO TROUBLE, LET THE POLICE DEAL WITH THE BASTARD. Terry!

The other thug kicks MARKS in the face forcing him upright and his friend lunges forwards. Instinctively MARKS lifts the milk bottle and smashes it in the first thug’s face. The women scream as blood rushes out the gaping cut that result.

MARKSThere, you fucking asked for that.

The other thug goes mad and screams out a hysterical cry as he lunges his head towards MARKS nose; it smashes as his forehead ploughs through the bridge in an ear piercing bone splitting crunch.

THUG # 2You bastard. Why did you take him?

MARKSWhat are you talking about?

The thug kicks MARKS in the stomach again and throws him through his neighbour’s gate. The punching him in the eye causes MARKS to fallback against the front door of the old man who lives in the next house. The Thug cries out again and looks up to the rain soaked sky before preparing to go in for the kill. Suddenly the door opens and MARKS falls into the neighbour’s hall. The door closes behind him.

SCENE.35.INT/.DAYMARKS is shocked, bleeding over the old man’s tiled hall. Suddenly there is a frantic banging on the door and the letter box opens.

THUG # 2Open this fucking door before I kick it in.

OLD MANGo away you, the police will be here soon and you’ll be in big trouble.

THUG # 2Open this fucking door?

OLD MANI said go away.

THUG # 2Open up you bastard.

There are several loud kicks on the door but it hold it’s strength. They hear the women calling the thug away as thunder claps through the sky beyond the door and suddenly there is silence; except for the steady tap of rain against the solid wooden door.

OLD MANI think they have gone now.

MARKSThanks, I think you saved my life.

OLD MANI never did like violence. You look like you need a drink, come, let me help you.

The old man leads MARKS into the kitchen where his wife is waiting. She looks at him with contempt as he enters and leaves the room by another door.

...Take no notice of her. She is old and set in her ways.

MARKSI’m sorry, I’ll go if it’ll be easier for you.

OLD MANIn time. Now do you see why people didn’t think it was a good idea that you returned. There’s a lot of hatred around and you, well, you’ll get blamed for everything.

MARKSIt was all a long time ago. Those men, they were just babies when I left before. I don’t understand why they would want to hurt me?

OLD MANPerhaps this? {He slides over a copy of that day’s newspaper, on the front cover he sees a photograph of a young boy. The boy he had caught the previous day. The headline above the picture shouted ‘BOY FOUND STRANGLED IN PARK’} Now do you see?

MARKSOh no. {He reads on and the sub heading proclaimed ‘Body found half naked and sexually assaulted’} Oh god..

MARKS begins to sob uncontrollably and the old man places his hand on his shoulder as the tears flood the newspaper.

...They think I did this. It’s too terrible...OH GOD!

OLD MANFirst you have to fight with them, next you’ll be fighting with the police. I’m sure they’ll want to speak to you.

MARKSThis is terrible. I know this boy.

OLD MANReally, when did you see him last?

MARKSYesterday, it was yesterday. He was fine then. My God, I can’t believe it?

OLD MANYou’ll have to ask yourself if any one saw you together, this would be very interesting to the police. Don’t you think?

MARKSYou’re right, I can’t go home, they’ll come for me again and this time I’ll be put away for life. You must believe me; I had nothing to do with this.

OLD MAN You do not appear to by a killer. Still, it would be best if you spoke to the police, no matter how difficult it could be....

MARKSI couldn’t do that, you don’t understand but I wouldn’t be given a fair chance, not with my history...

OLD MAN...If you are innocent you’ll have nothing to worry about....

MARKS...They said that last time and look what happened then. Ten years of my life just wiped out. I can’t afford another ten years..

Just then they hear a crash and both men go to the window overlooking the street.

OLD MAN

I think they are in your house...

They hear things being smashed up and the cracking of plaster and wood. The two women are across the road smoking cigarettes and looking anxious. MARKS sees that they are not alone, a couple of other people had joined them. MARKS looked at them and was amazed to see the older boy that the kid from yesterday pointed out. He was standing behind the women; a little further back; there but not really involved.

...They are definitely in your house, I am sorry.

More banging rang out and the shattering of glass split the air but MARKS attention was miles away,he was examining outside the house, on the other side of the road looking into that young mans eyes.Then the young man stepped to one side and MARKS saw standing behind him a face he recognised....

MARKSSee across the road Old Man, there is a young man standing?

OLD MANDo you mean the boy in the blue shirt and jeans, the one looking so casual he could be waiting for a bus? I’m sure that’s Wayne Pearson.

MARKS {Looking pleased with himself}Yes, that’s the one; now do you see a fellow standing behind him, a fellow in a rugby shirt?

OLD MANMy eyesight is not very good these days and I can only just make out the boy. I do see someone standing behind him but he isn’t very clear. If he came a little closer perhaps I would know his face but at this moment I don’t; sorry.

MARKS rubbed his chin and thought very hard for a moment before his attention was caught by the OLD MAN.

...I can tell who these two chaps are? {Two uniformed policemen are coming up the garden path being directed by the women}

MARKSSo can I, have you got a back door, quick show me?

OLD MANOh, please speak to them, don’t run.

MARKSNo, I’ll never trust them again. Now, where is the back door?

He stands and runs to the back of the house. As he enters the kitchen, pursued by the old man, the Police knock loudly on the street door. ...Oh I’ll find it.

OLD MANPlease, you’ll only get into more trouble.

MARKSNever. {He opens the back door and peers out side at the trees that lined both sides of the garden.

OLDMAN...If nothing I say can will stop you then please watch the stream at the end of the garden. If you go that way it is narrow enough to cross. Then you are in Digby Street. Turn left and you’ll have the choice of the railway lines or the park. You’ll find shelter there. Now go, quickly.

The rapping on the street door becomes more and more intense before the letter box open’s and a beady pair of eyes peers through. The OLD MAN makes as if he had not heard the knock and peers up the hall towards the street door vacantly.

SCENE..36.EXT..DAYMARKS is running as fast as he could through the streets beyond the garden and down beside the railwaytracks. He comes across a disused railway out house and breaks the door to get in. He sees a small attic room which he climbs up a step ladder to get into and then he pulls the ladder up towards him before closing the attic door. The attic has a small window through which MARKS peers feeding into his paranoia, making sure he wasn’t pursued. Suddenly a train rushes by only inches from the window and he jumps with fright although this quickly dissolves in the all invading roar of the engine.

NARRATIONPeering outside at that noisy world full of steam and smoke, blasting noises and train whistles made me feel insane. Like I’d really lost my head this time. What a head to loose. Puffy and bleeding, cut and bruised. This face told stories. I thought about the thugs red knuckles as they smashed into my eye earlier and the wailing of the women as he gritted his teeth and kick my bollocks. To think, they were wailing and crying for him, like it was him who was getting the pasting.

The I thought of Jane and the kindness in her smile, the soft touch of her fingers against my face. I loved her smell, the way she breathed, I loved her wonkey eyebrow and that twitch she sometimes had which made her look cute. Exposed her nervousness; So frail and feminine and yet strong and determined. What would she say if she could see me now. If she could see me hiding like this, a frightened, cowering animal. What would she say about that!

I won’t let them do this to us. If I just think, think very hard about this. Let me think about all that has gone on. Ten years in a nutshell, let me put it in perspective and somewhere, just somewhere, I might find an answer.

Now what is the thread that runs through it all, what thing or person is at the centre of each one of those ten, hard years? Of course it’s him. He’s been there from the beginning. Everywhere I look it’s bloody Pearson. He was there when I got beat up, he was there when the story was in the paper, he was the one who bribed the poor bastard who copped it yesterday and he was there today before the old bill arrived. I’ve got to speak to him and that’s not going to happen if I spend all my time in here; hiding like a dog is it; IS IT FUCK!

SCENE..36EXT.DAYMARKS steps out of the railway out house just as it begins to rain, the soft water washes the blood from his hair and face and makes him look less battered; just wet.

He crosses the road between the tracks and the park and enters through the big iron gates. He slips through the trees and down towards the Play-leader’s hut. When it is in sight he hides behind a tree to spy on the place. As expected he finds Wayne Pearson and a couple of older boys outside the hut smoking cigarettes.

After a while PEARSON says goodbye and walks away flicking his cigarette cockily as he strolls into the rain. MARKS goes after him. The two move along the path back towards the gates when the Play-leader’s hut door opens and the play leader stand in the doorway shadowed by the frame. He sees MARKS creeping up on PEARSON and gestures for the other two boys to follow him.

MARKSHay, YOU! Wait....

PEARSON turns around and sees MARKS approaching him. He looks surprised and strangely calm. MARKS looks a pitiful sight as he hobbles towards the young man.

...I need to speak to you...

PEARSON is about to say something when his look turns to horror and his hand goes out and up. He turns his palm towards his face and stifles a scream. MARKS turns vaguely

startled and then his eyes glazed over; falling to the ground in slow motion. Behind him stands the Play-leader holding a hammer. Blood streaked across the handle.

SCENE..37 INT/NIGHT.

We find an ambulance man pulling MARKS along on a stretcher. He is peering through his bloated eyes towards the ceiling and the bright lights above him. They pull the stretcher into the ‘Resus’ room and cut off his clothing. He blacks out.

Some time later he opens his eyes and sees Jane looking down at him. He blacks out. Then she appears again, the sun is flowing into the ward and it is busy with nurses and auxiliary staff.

JANEAre you with us now?

MARKSI think so. Where am I?

JANEYou’re in St Mary’s. You’ve been here for three days.

MARKSNo!

JANEYes, you are very lucky to have made it. It was touch and go for a while. Can you remember what happened?

MARKSI was jumped, I think I was jumped from behind.

JANEThat’s not what they think...{She nods towards the door and Marks sees a uniformed policeman standing there} They’re only letting me stay here because I’m your probation officer. As soon as they know you have come around they’ll want to speak to you about what happened.

MARKSWell you’d better get them then...

JANENo, be quiet. The have been told that you were about to kill another boy. That you were seen stalking a boy in the park and that you were stopped from attacking him. There are witnesses...

MARKSWhat fucking witnesses, and that so called ‘boy’ is twenty two years old. Wayne ‘bloody’ Pearson. Don’t you see that he is the key to all this, I have to speak to him...

JANECreeping up behind him in the middle of the park isn’t the right way to go about it. Now you’ll have to slow down a bit Nial or you’ll end up seriously hurt. Dead even. Are you listening to me?

MARKSI’ll have to get out of here. Have you got your car keys on you?

JANEWhat?

MARKSYour keys woman, have you got them on you?

JANEYes, of course I’ve got my keys. Why?

MARKSGive them to me. I’ll need your car if I get out of here later.

JANEBut how will I get home?

MARKSGet a bloody bus. I need it if I’m to get out of here.

JANEOh Nial, why are you doing this to me, to yourself. I can’t just give you my ....

MARKSStop, please, I’ll come to your flat tonight, as soon as I can get away; they don’t suspect that we’ve been together do they?

JANENo, I don’t think so.

MARKS

Good, slip them under my blanket. Come on woman.

She does as she is told and then shudders as a voice comes from behind her.

POLICEMANIs he with us yet?

JANENo, he’s not with us at all.

POLICEMANWell is there much point to you staying. If he comes round I’ll call your office and you can interview him in the station.

JANEYou’ll be here for the rest of the night will you?

POLICEMANWell there’s a hand over at ten PM and I’ll be off then. I’ll pass your details on to the P.C who takes over.

JANEOkay officer, I’ll get going. Good bye.

POLICEMANI’ll come to the door with you and leave him to the nurses. I’ve never liked hospitals myself, they give me the creeps.

JANEWait, let me pull this curtain around a little, I want to preserve his confidentiality. (She pulls the curtain which is hanging on a rail that circles the bed around so the bed is completely enclosed) I think it’s important especially with a uniformed constable on the ward.

POLICEMANYou’re too conscientious you are; I bet it doesn’t matter to him.

JANEYes, I’m sure you’re right.

POLICEMANNothing matters to him in his condition.

They walk off towards the door and MARKS opens one eye to see the clock in the ward through the crack in the curtain. It read 6.00 PM.

He must have dozed off but when he looks at the clock again it is ten too eleven. He can hear the voices of nurses in the next room and the sound of footfalls approaching. A voice said hello to the policeman who was at his position by the door and the policeman returned the greeting.

POLICEMAN #1I’ve been waiting for you.

POLICEMAN # 2What do you mean, I’m early. Blimy, where is every body?

POLICEMAN # 1You wouldn’t believe that people are dyeing to get into this place would you?

POLICEMAN # 2Ha, Ha very funny. Seriously, where are the nursing staff?

POLICEMAN # 1The little beauties are in there, and that’s just the fella’s, I’ve not seen any female staff. You’re in for a long night.

POLICEMAN #2Is that him, in there?

POLICEMAN 1It certainly is. Out for the count he is, we’ve not heard a whisper for three days. Apparently he was caught messing about with a young lad and the bloke that caught him gave him a dig. Who can blame him really, any man would do the same. The officer who was doing the night watch, the one you’re covering for, couldn’t come tonight so hence you’re here? I suppose you’ll want more of a handover won’t you?

POLICEMAN # 2I’ll want a cup of tea. Can we go in there with the crumpet, I might be on the pull tonight if I’m lucky?

POLICEMAN # 1The only thing you’ll pull is your plonker when you’re having a piss in the morning. The staff in here are either bull dike lesbians or camp little fairies; you don’t look like you bat at the other wicket so you’ll best bring a book in to read? Come on I’ll introduce you to matron and sister.

MARKS hears them walk across the wards and tap on the door to an adjacent room.

..Can we join you for a couple of minutes, my replacement wants a cuppa?

He hears them enter and the door close behind them. He slips out of bed and crouched on his haunches. He looks in the bed side locker to see if any of his clothes are there. He finds only a pair of trousers and a pair of socks which he puts on. MARKS pulls himself under the beds towards the door and then runs out of the ward. Between the two entrance doors he sees a couple of white doctor’s coats and helps himself to one. Then he rushes through the hospital, bare footed looking for an exit

SCENE.38.INT.NIGHT.Jane is in her flat pacing up and down. Suddenly she hears a rap on the door and steels herself before pulling it open. She is relieved to find him outside and she pulls MARKS in helping him to the lounge sofa.

JANEMy god, you’ve lost a lot of blood, you should never have done this.

MARKSI’ll be okay, really, all I need is a hug. A good strong hug.

She does as she is asked and looks towards the window as he falls to sleep in her arms. It is raining outside the streaks of rainwater flowing down the window creates smooth patterns. The patter of raindrops flow into a soft hum and she falls to sleep in his arms.

SCENE 39...EXT...DAYWAYNE PEARSON is walking through the street after the rain had stopped smoking a cigarette. He is unwashed and dazed. He stands across the road to a house and looks blankly across the road. The house has no front door and the windows are smashed. The nicely hung net curtain in the lounge is billowing in the wind through the shattered frame. Across the wall at the front of the house is the word ‘NONCE’ in foot high letters. PEARSON spits and looks along the road. He sees someone and turns the other way suddenly.

His pace quickens and he tries to get to the nearest corner as soon as he can when a voice calls out to him.

VOICECome here you! I want a word.....

This puts a fearful expression on his face and he speeds up almost coming to a run as he turns the corner. He realises that the end of the road he is in leads to the park and he

stops dead in his tracks seeing the gates looming ahead of him. The sound of foot falls approaching behind makes him dart forwards into the park and towards the trees.

...Come back Wayne, you can’t get away from me. The voice echoes out around him but he continues to run. The sky is cold and grey as he tramps into a wooded area and shadows fall across the shrubs which he tramples underfoot. Finding a large tree to hide behind the young man stops to take in breath. Although it is not cold he sees the condensation on his panting breath and a shiver snaps through his spine. A crack, wood splitting underfoot, makes him start and he rushes out of his hiding place through a clearing in the trees. Over a Verge he sees the Play-leader’s hut ahead, shadowed and in partial darkness PEARSON runs towards it.

SCENE..40...INT/.NIGHT.PEARSON pushes open the door and enters the hut. He looks around for somewhere to hide and takes his chance leaning up against a bookcase where he can’t be seen from the door. In the silence of night he hears the door creak open. He is so frightened his breath becomes laboured and the more he tries to stay silent the louder his breath becomes as if it is filling the room. Suddenly a face comes out the darkness.

MARKSYou must have known that I’d come for you. All that was debatable was how long you’d have to wait.

PEARSONNo, listen....

MARKSNo, you listen. I have waited ten years for this. I’ve spent every night for ten bloody years dreaming of this evening. This hour, I’ve spent ten fucking years thinking about this precise second and what I’d do to you . Have you ever wondered what that is like?

PEARSONI want....

MARKS...HAVE YOU EVER WONDERED what it’s been like spending everyday of my life like the worst sort of animal on Earth. Have You? Well? No you bloody well haven’t. Do you know what they do to child molesters in prison? Have a look at my face why don’t you. Go on, have a good bloody look because this is only the half of it. See the blood and the scars and the missing teeth. Can you see the dents in my skull where my heads been banged against the bloody wall so many times it’s flat on one side. Can you bloody see that?

Well let me tell you what you can’t see, let me try to put into the words the hurt in my soul. The pain I have in my heart when I think about the hatred I have experienced. Me! You see in there, {Bangs on chest} In there, my feeling and emotions have been shot to pieces. I don’t exist, I just grin and bare it Me; the grin and bear it man, that’s what I am. That’s me.

So, I sat in my cell, having gob in my food and piss in my water for ten years waiting for this moment and you know what. It’s a bloody anti-climax. I mean, what am I going to do, come on, you know me so well, what am I going to do?

PEARSONI’m sorry okay.

MARKSYou’re sorry, that’s a pissing laugh that is. You’re sorry. Well how the fuck do you think I feel? Eh. Now what do you think I am going to do to you?

PEARSONI don’t know, okay, I don’t know.

MARKSThat’s right, you don’t know, because really, inside you don’t know me at all. You stood in the dock and told those cunts that I was a monster. That I was a beast. I’ll tell you what I’m going to do shall I?

PEARSONYha, what?

MARKSI’m going to ask you some questions and you know what? You’re going to answer them honestly.

PEARSONI don’t know...

MARKSI beg your pardon, did you say you didn’t know? Surely you can’t mean that for once you are afraid of telling the truth, after all, it wasn’t a problem when you were in the dock. Even though at that time your truth was really a pack of shit.

PEARSONLook I’m sorry you went to prison, I really am but it wasn’t me...

MARKS

I know, Son.

PEARSONI tried to tell you but you wouldn’t listen would you. You just kept poking your nose in and so you had to go. That was it, you had to go...

MARKSWhat, like that kid the other day, I had to go?

PEARSONThat had nothing to do with me, I tried to tell you....

MARKSHow did you do that then, running away every time I came to speak to you, come on I’m all ears...Hang on, did you write that note?

Suddenly the light went on in the hut.

PLAY LEADER What note was that Wayne?

MARKS turns around and sees the Play-leader enter the room and close the door behind him.

..Come on WAYNE, I’m waiting and I’m sure Mr Marks here is interested...

MARKSI knew it was you, all along. You got him to lie about me didn’t you?

PLAY LEADERYou’re a danger to kids. It’s the only way to get filth like you off our streets. You’re the scum of the earth you are; nothing but filth. I wouldn’t spit on you if you were on fire.

MARKSOh very convincing, do you know what, even I’d be fooled by you if I didn’t know...

PLAY-LEADERYou, you know nothing.

MARKSI know enough my friend.

PLAY LEADER

Pearson, HERE! (He slaps his palm against the side of his leg and Pearson crosses the room to stand at his side. The play-leader reaches up and starts to stroke the back of the young man’s head} Come on Mr Know it all; what’s the story, Morning glory?

MARKSYou’ve got him well under control haven’t you. It occurred to me the other night, when I was laying in hospital. I was thinking about Him {Points at Pearson} and what role he played in all this. After all, it was his testimony that put me away.

Then I realised that he wasn’t the only one who featured in all this. Then I got to thinking about my experience of you. How every time I saw you it your violence which stood out. You, with your access to young boys and the control you had over them. The way you bullied them. It’s all too sexual, it’s about domination isn’t it? That’s why you had to get rid of me?

That’s why that poor kid was got rid off a couple of days ago. You were afraid that he’d tell about you. Tell about your need for sexual violence; you’re the beast around here aren’t you?

PLAY LEADERYou think that you’re so clever don’t you. Me, using violence to control these kids? You really are quite stupid really, the truth is they want to be used. They all want me to beat up on them, to make them cry, they want me to give them rank and power so that they can use the younger ones. They want me to fuck them. It’s the law of the jungle, the smaller ones get eaten by the bigger animals and guess what; I’m the biggest animal in the zoo.

MARKSYou’re really sick.

PLAY LEADERYou want to see, watch it with your own eyes do you. (He pulls PEARSON’S hair and pushes his face down to his crutch) Watch my slave satisfy me. That’s why you have been poking your nose into my business isn’t it, because you envy me; you want to be me but you don’t have the balls.

MARKSWayne, you don’t have to do that, Wayne?

PLAY LEADERCome on slave, show our friend how good it is to worship me. Show him what he is missing out on. You can have it too Marks if you come and join us.

MARKSWayne?

PLAY LEADERYou see, they all love it. I can get this one to do any thing I want; he has been one of my most loyal little workers. Bringing me lots of new little friends to play with.

MARKSYou fucking despicable cunt! I swear you’ll go down for this.

PLAY LEADER.I’m afraid not (He pulls PEARSON’S head up and places the cold steel blade of a knife against his neck) You see I’m the good guy. It’s you who is the monster around here and when I take this blade and cut your throat they will give me a medal for it. (He pushes Pearson towards a bundle of ropes on the floor) Tie him up!

MARKSSo when you thought I was going to suss out what you were up to you had me nicked and thrown in jail to divert the attention from your self. Okay I can understand that. But why did you kill that kid, what was the sense in that; I just can’t understand why you did that?

PEARSONHe was going to tell you that...

PLAY LEADER ..I’d fucked his tight arse for the past two years. That’s what. The kid was too stupid to know what was good for him. Still, it’s all theoretical now. Have you tied him up yet.

PEARSONI think so...

PLAY LEADERGet out the way, let’s look at this. Yha, that’ll do. I bet you feel really vulnerable now?

MARKSYou will smile on the other side of your face when you get life.

PLAY LEADERMe, I’m getting the Victoria Cross I am, for bravery. I’m going to rescue this poor bastard from you. A dirty old nonce case. Here?{He passes the knife to PARSON}

PEARSONWhat do I want with that?

PLAY LEADERWe’re going to play a game. Here take it.

He passes the long steel blade to PEARSON and tells him to stand slightly behind MARKS who is tied securely to a chair.

...Now go on, slit his throat.

PEARSONI can’t.

PLAY LEADERCome on, be a good boy. You know what happens to bad boys don’t you?

PEARSONYes...

PLAY LEADERWell DO IT!

PEARSONI can’t, please don’t make me...

The play leader stands close to him and lifts PEARSON’S elbow a little making the blade come level with MARKS neck.

PLAY LEADERDo it. On the count of three. Okay?

PEARSONOkay...

PLAY LEADEROne.......Two......Three....

The blade jerks forwards and blood splashes across the hut’s floor. The play leader falls forwards and crashes to the floor. Pearson drops the knife and starts to cry.

MARKSCome on Son, you can untie me now, it’s all over.

The young man does what he is told and they both hug each other tightly in the centre of the hut. The twitching body of the play leader still in a pool of blood at their feet.

PEARSONI’m sorry, I really am.

MARKS

Don’t you worry Son, it’s all over now, for both of us.

PEARSONNo it isn’t, I’ll be tried for his murder and then it’ll be me in prison.

MARKSNot after they hear this you won’t. {He reaches into his breast pocket and pulls out a small tape recorder. He switches the tape off and places it back in his pocket} I always wondered when I’d need that. Come on, we need to phone the police.

They both step out of the hut and into the night air. MARKS pulls the door closed after switching off the light.

...I think this place will need to be closed.

PEARSONThank god. It’s been so long.

SCENE..41..INT/.NIGHT..JANE and MARKS are laying on the bed and sun light is streaming through the window illuminating the whole room.

JANEI always knew that there had to be an explanation, you didn’t seem the type.

MARKSIs there a type. I mean look at him. An active member of the community. A man with a good reputation and community kudos. He was the last person anyone would expect to have a penchant for young boys? Yet he was at it all the time I was in jail, generations of kids fell into his clutches and never told anyone. It amazes me how perverted some people can get and how a system evolves that helps them continue. Year after year until..

JANE..A hero comes along to sort it out.

MARKSNo, I’m not a hero. I was a victim but now I’m a winner.

JANECareful you, being big headed isn’t cool. All I know is that the first time I saw you I knew you were innocent.

MARKSBut you’d say that about any one you fancied. Still, one good thing has come out of this.

JANEWhat’s that then?

MARKSI’m not your bloody client any more. Hip, Hip, Horrah.

The END

C:The Dogbreaths 1998DWK Hackney2010