Goathead

Goathead A screen-play The Dogbreaths Publishing

A modern day Horror Story

A screen-play by David William Kirby The Dogbreaths Publishing Scribd Edition Scribd Edition, License Notes This ebook is licensed for your personal enjoyment only. This ebook may not be resold or given away to other people. If you would like to share this book with another person, please purchase an additional copy for each recipient. If you’re reading this book and did not purchase it, or it was not purchased for your use only, then please return to Scribd and purchase your own copy. Thank you for respecting the hard work of this author. 

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c:2000 all rights reserved Scene One. Int: Hall Day We are in a sparsely furnished East London house. The furniture is black and worn. There is a still mist in the air and the sound of bluebottles buzzing. Upon the wall in the lounge is a huge skull of a goat, it’s bleached bones adding the only contrast to the room. There is a loud rapping on the door. From the upstairs room a figure emerges. She is tall and thin. Tattooed and dreadlocked, the pierced creature looks down towards the door and curses under her breath. Toots Wait, I’m coming. (She opens the door and is faced by JAY, a big girl. Big breasts, big ass and big mouth, as, Jay likes to describe herself. She is wearing tight leather shorts and a black bra showing the tattoos across her arms and chest. Bleached blond spiky hair sticks out from her leather cap.) Jay Want a chip? (She holds out an opened packet of French fries) I had to get something on the way over I was starving; beside that tart in the chip shop, Wow, what a doll. (She enters the house and toots shuts the door) Are you eating properly? You look a mess Girl.

Toots

I thought you were coming on Saturday to get the rest of your stuff. If I’d known it was today I would have told her and we could have been ready for you. Jay You don’t look well; I bet you’ve not had a dinner recently have you. Anyway babe, today is Saturday, I gotta get my gas mask because there’s a do on at the pub tonight; I’ll get the rest of my things later. (She settles on the sofa and eats some more fries) Toots Yha, she’s asleep at the moment. Jay Do you mean to tell me she’s still here? I thought I told you to take her to the hospital; or at least to the doctor. Toots No, I couldn’t do that, they may have taken her away from me. Have you seen my hash? Jay I’ve only just arrived babe, Jesus, you don’t look right, and what’s that fucking smell babe; it stinks like rotting fish? Toots Oh, I need to open the windows, it’s all these summer flies. Oh, there it is. (She picks up a small clay pipe and a small box. Loads the pipe with hash and takes a deep puff as her head disappears in a cloud of smoke. Jay waves the fumes away from her face and snarls)

Scene two: Int Day Another East London house but much more comfortable, a mother is cooking breakfast for her husband and son. Mother What are you doing today Joe Joe I’m going to have a kickabout in the park. Dad I’ve got noting planned, thought I’d watch a bit of telly later. Mother Oh… Scene two (a) Inside Toots house Jay, head-buts the chip’s wrapper into the bin, and stands. She prepares to go to the cellar door. Jay I’m going to miss my cellar, I had it just right, a cross between a torture garden and a dungeon. I’ll come back for my chains and handcuff, okay babes. Don’t answer that. You look brain dead, just like her up stairs. Toots Don’t be wicked, she’s just sleeping that’s all. Jay Well I guess you and sleeping beauty will feel better having the house to your selves. Toots No, we miss you Jay. When she gets better we’ll come and see you.

Jay If you don’t get her to a hospital babe, the only place you’ll be going is the morgue. (She leans into the cellar and turns on a dim light before descending.) I know that gas mask was here somewhere. Toots She’ll be okay, with me looking after her. All I need to do is find the right medicine to replace her hormones. She needs some get up and go, you know, some testosterone. Once I find out where to get her some pure hormone I’ll give it to her and she’ll be right as rain. You wait and see.. Jay Yha Babe, How do I look (peers up from cellar in gas mask) Cool eh? Toots Once I figure out how to get some testosterone she’ll be better. Jay (Coming from cellar) Yha Babe, whatever you say but I think she don’t need hormones she needs a doctor. I mean what did she have that night, a handful of pills, smack, coke, booze. No wonder she collapsed; I just can’t believe you still have her here. Toots It wasn’t the drugs, they just fucked up her hormones, and she never did have many girly hormones anyway, so all the male ones have been sort of sucked out of her. Now she’s an empty box, I just need to replace them hormones and she’ll be right as rain. Jay If you say so Babe, personally I think you need a good dinner inside you and a doctor, but who am I, just a stupid les-fuck, Do what you think is right, babe, I’ll be back for my hand cuffs next

week. Shall I take you to the supermarket, you can get some grub in. I got the car outside. Toots Do they sell testosterone there? Jay Yha babe, course they do… Look I’ll see you next week, and promise me something?’ Toots Yha, anything. Jay Get her a doctor. (She opens the front door, pecks Toots on the cheek and leaves) Scene three. Toots bedroom, Day Toots has taken Jays advice and has made some soup. She is in the bedroom. It is dark and bare except for a mattress in the middle of the room and thin, coloured fabric hanging from the ceiling. The body upon the mattress is covered in more soft fabric, which you can see her body through. The body is thin and emaciated, the sound of flies fill the air. As Toots places a spoonful of food onto the still lips it just sits there or runs down the white cheek. The fabric billows in a soft breeze creating the only movement in the room. Toots Come on baby, eat something, you need your strength, I can see you wasting away in front of my eyes. Take the food in babe, it will give you strength, get the breath of life into these frail limbs, into your still lungs, it will rise you from your slumbers; baby, let mamma feed you.

Scene 4 INT NIGHT, TOOTS LOUNGE Toots is in the dark thinking. She looks up at the skull on the wall and seems to take advice from it. Opening a small box she remove a strip of cellophane, which traps three microdot pills. She places them in her mouth and crushes them between her teeth. After a short while the candles in the room grow brighter and the buzzing of flies almost becomes music in her brain. She stands, realising what she must do. SCENE 5 INT: NIGHT: LOCAL PUBLIC HOUSE The music from a jukebox echoes through the smoky bar. Their faces seem distorted to her as Toots moves through the crowd of men who too are intoxicated. She is aware of their eyes looking at her, at her large breasts poking through the thin blouse she chose to wear. It was a fly-trap, she had planned for those eyes to look, to want, she had planned for them to be hypnotised by her. One leans forwards, he looks like a rat, yes, she thinks, this is the type of rat I need. He places a drink in her hand and she knocks it back. He laughs and shows his rotting teeth. She grabs his arm and pulls him towards her. Then they are heading for the door. SCENE 6. INT NIGHT THE LOUNGE (They stumble into the lounge and Toots lights a candle. The man looks about him in disgust at the state of the house but his mind quickly returns to the woman. He stares at her breasts and one of his rat-like hands reach out for her. Man You fucking horny little bitch; come here and let me feel you up. ( Toots looks at the snorting pig and does as he says. His hand goes to her crutch). You really like that don’t cha bitch? If you took a little bit more care, bit of make up, you could be quite a looker. Yha, all you need is your hair done and a bit of make-up…

Toots Well thanks for saying. You could be better yourself you know, all you’d have to do is cut that fucking ugly head off, give me a nod and I’ll get my axe. Man (Grabs his crotch) This is the only axe you’ll need babe, come on get on your knees and take a closer look. (She flicks back her hair and looks down at him, taking out her pipe she loads the top and lights it disappearing in a cloud of smoke) You like the wacky backy do you love, well I’ve smoked it once or twice, give me a hit on that and I’ll show you. Toots Why not? (She passes him the pipe and he sucks badly on the end before having a coughing fit.) Ha, you’re funny. Man Well, I like me beer more, and me women or course. (rubs his crotch again) Yes, I like me women. Toots Do you like me? Think I’ve got a nice pair of titties do you? Man Yha darling, not bad, not bad at all. Come on. Sit down here and have a feel of the merchandise, you wont be disappointed. Toots

(Lifting her skirt exposing her knickers) I know what you want, you want to eat my pussy; come eat mamma’s pussy. Man Oh, you fucking horny bitch. (He kneels before her and puts his face in her crotch, she steps back and he follows her as she leads him into the hall, all the while she steps back and he follows till they are outside the cellar door) Oh, come on, let me eat you; Let me eat that fucking pussy… Toots You ready for this? Man I’ve never wanted it so bad before. Toots Well close your eyes then, close your eyes and let momma feed you. (He does as he’s told and she reaches into the cellar and feels around for the knife, which is hanging on the coat hook, then she swings it in a wide arch from above her head into the man’s eye. He screams with terror as his hand goes to the wound and blood spurts through his fingers. She swings down again and again slicing into him, he reaches out to stop the blows and the knife pierces his hand, then he is crawling away and she is upon him, sticking the blade in, again and again until he is a bloody mess on the floor. You fucking bastard, why did you take so long to die. (She kneels over him panting, sweat running through her hair. Then with a surge of energy she turns his body over and undoes his trousers, Tugging at the fly she smiles wryly to see that he still had an erection even though he was dieing. She pulls down his trousers and under-pants. Then, taking

his testicles in one hand and the knife in the other, she swipes down and cuts through the scrotum.) Sorry Mate, but I need your hormones. I guess you won’t have much use for them anyway; not where you are going. (She stands and looks down at the man as his breath slows and becomes thick with his blood. A spurt blows up and she steps to one side so it doesn’t splash her. Toots then goes into the kitchen, placing the two kidney shaped pieces of meat into the blender and she turns it on. Soon they are a red liquid mess.) Oh, that looks lovely. Just what the doctor ordered. (She goes into the hall and ignores the body on the floor, climbing the stairs to the bedroom.) SCENE 7 INT NIGHT THE BEDROOM (Toots kneels over the body of her sleeping goddess; taking a spoon she scoops a small amount of the blood mess into the mouth. It just stays there upon her lips.) Toots Come on baby, eat, this is the medicine you need, just take some in and swallow, it will make you stronger. (Soon she realises it is not doing any good and she screams out in pain. Throwing the pot and its contents against the wall. The soft fabric billows in the moonlight as blood splashes over a sheet.) SCENE 8 INT DAY. THE OTHER SUBERBAN SEMI Mother is smoking a cigarette and looking out the window at the grey skys. Joe walks into the room and goes to his mother; he reaches out and touches her hand.)

Joe Penny for your thoughts Mother Oh, I donno, it’s this weather, it makes me feel gloomy. Like something bad is going to happen. Are you off out now? (She smiles towards him benignly) Joe Yha, we are going to the park to play football. Mother Again, I don’t know where you get the energy. You’d better take a coat Joe, I know it's sunny but it looks like it’s going to rain. Joe I’ll be alright Mum, see you later. (He kisses her gently on the cheek before turning and heading to the street door.) Mother Just be careful. And don’t be late. SCENE 9; INT DAY: TOOTS HOUSE (The is a loud rapping on the door and Toots opens her eyes to hear Jay calling out her name. Toots goes to the window and looks outside, she sees Jay, and another friend called Liz and a man that they know called Ozzy. They see her looking out the window and call her down. Toots remembers she has a body in the hall and rushes downstairs. She opens the cellar door and pushes the body through it before straightening her clothing and opening the street door.) Jay Hi Baby, we come over to see if you fancy going for a drive. Shit, babe you look rough, have you eaten today?

Liz Alright Toots, I’ve got something you’re going to love babe, it’s only a gram but it’s fucking well strong. Got a mirror and a blade? Jay They’re in the front room babe, by the stereo, don’t you think she’s lost weight? (The three barge past Toots and enter the house) Liz No, she looks cool. Anyway, I found the C.D, not stereo, that’s what they had in the fucking seventies. Now what about a blade? Jay Here use my credit card, sorry I always say stereo, it’s a habit. (She turns to face Toots and smiles) Toots man, you missed a blinding night last night. Toots Oh, right… Jay There was this geezer, all done out in rubber, like; it must have cost him £500.00 quid, Ozzy Five hundred at least. Jay I dragged him up on the stage and got me cuffs out and I started to rip it all off him. He was screaming like a baby. Not me vest he said… Ozzy

Then the Pants. Jay Yha, then I tore off these fucking rubber pants man, rubber, they weren’t even real leather, and guess what? Toots He was invisible under them? Jay No Man, he had these fucking stupid batman undies on. What did they look like. Liz Yha, little pictures of batman all over them and on the arse…. Ozzy Pow! Jay In great big letters, Pow. I pissed myself. Then the fucker had to walk about all night with these stupid pants on and his big old rubber boots. What a prat. He had the fucking cheek to complain. He came up to the bar with his fucking prissy queen mate and started shouting at me that he’s going to send me a bill for the clobber I ruined. So you know that lump of wood behind the bar, that big lump I keep for tossers who need bashing? I took that out and smashed him over the fucking head with it. Ozzy You should have heard the crack. Liz I pissed myself. Here, who wants a line of this coke? Jay

I had him down as a poser right away, that’s why I let him have it. I mean if you come to a leather club you got to be into leather or it’s just a fashion trip. I can’t stand those posers man, I’ll do them every time. Liz Here toots have a line of this (passes her the mirror and watches as toots sucks in a thick line before passing the mirror to Ozzy) I thought he looked like old bill, Ozzy No, you could see he wasn’t a copper, his feet were too small. (He nods towards toots who is staring blankly at the floor) Is she alright? Jay You alright babe? Cor, talk about an acid casualty, I bet you’ve had those microdots that were in that box. Toots Only three. Jay Jesus, no wonder you are spaced out. girl. I bet you’ve not had any dinner yet either have you? Toots This is all I need, (She lights her pipe and sucks in the hash smoke) This and my baby’s pussy. Liz If you sucked my pussy right now you’d die of an overdose, I’ve got so many drugs in my system today I am positively loaded. Jay I’d suck your pussy anyday. babe. Come here you sexy bitch.

Ozzy Oh fuck this, if you dikes are going to start bumping pussy I’m going out for a walk. It’s a really nice day and I’m on a nice buzz (Jumps up and starts dancing) I could get into raving in the park or something. Toots, fancy that? Jay You fucking raving poof. Liz A right little raver. Oh, look at him dancing. Jay What a raver…He’s got all the moves. If I was straight I could go for that arse. Ozzy You leave my arse out of it. Oh come on girls, talk about space cadets. Just get you lot; you look like extras for one of those drug driving adverts. (Points at Toots) Look kids, this is what drugs do to your brains. Toots Oh, you guys. Jay (She is sitting behind Liz rubbing her neck)I have to get some stuff from the cellar. Toots You can’t (stands defensively and looks serious.). Jay Oh, for fuck sake, she’s alive. (They all start laughing before Jay looks at Toots and her expression changes.) Now, why can’t I get my stuff?

Toots You can, but not today, er, we have put a lot of stuff in the cellar and you can’t get down there. Not today, not at the moment, leave it for the time being please. Jay Oh but I needed… Liz (Turing to face Toots) I thought you were rubbing my neck. Carry on, Babe, that was nice. Jay Oh, yah. Cool. (Continues to rub Liz’s neck and shoulders.) Toots Let’s all go to the park. I could do with going out. Give me another line of that coke and that will really get me on the right track. Liz Sure, where’s the mirror? Oh Jay, that’s really soothing. Jay (Rubbing Liz’s neck and sniffing behind her ear) You are fucking lovely, babe, I could really suck your clit… Ozzy (Pulling a disgusted face)Do me a favour. Jay You’re only jealous because you didn’t pull last night. Ozzy Fuck you, Bitch. I could have pulled if I wanted too. Liz

Yha, I saw that queen cruising you. Sniffing his amyl and rubbing up against him. You were like a dog on heat. Ozzy Who, that fat, leather queen, the one with the beard? Do me a favour; if I wanted to be fucked by a fifty year old I’d make sure he had better drugs then amyl nitrate. No, horrible. Give me a young pair of balls any day. Jay I bet he had a big dick though… Liz Fucking huge. Ozzy It’s not the quantity dear, it the quality. Middle aged cum is just so insipid, and all those grey pubes. No, give me young, hung and full of cum any day. There’s more vitality in a pair of teenage hips; the thought of it? Oh, dear I might have to go and have a wank if we carry on like this. Jay Please… Toots Is that true? Liz Fuck me, have you had that coke yet. Do me a line will you. (Toots does as she is asked and passes the mirror to Liz) Toots Is it? Ozzy

What’s that babe? Toots That younger men have better come? Ozzy I’m not an expert, like, I’ve not done a survey or nothing but in my experience I’d say yes. As a geezer gets older his balls dry up, like everything else. Jay Disgusting, fucking dried up old balls. How sickening is that. That’s why I love pussy. Pussy matures with age, like a good wine. Liz Yha, men mature like ropy old cheese. Eh, Ozzy man, that’s what you got to look forwards to; old cheesy dick. Ha… Toots Yha, let’s go to the park. (Toots sniffs loudly before hooting and taking a hit from her pipe) Come on, I can feel that coke now. I’m buzzing like a busy, busy bee… OZZY She’s off… Jay Anything to get away from these flies in here… Liz Right then; we’re off to the park. SCENE 10 EXT DAY. THE LOCAL PARK (The four walk through the park. Ozzy is carrying a tape player and has the music playing loud. Liz has a pack of

beers and is being cuddled by Jay. Toots is leading and is stepping in pace with the throbbing music. She is half walking and half dancing, like a ballerina in time with the throbbing bass-line. They find a clearing beneath a tree and settle down to enjoy the sunny weather) Ozzy I love this track, if there’s anything guaranteed to make me dance my tits off it’s this. (Two old ladies out with their dog, a poodle, pass the group on a nearby path. They look over at the strangers and throw them disapproving frowns.) Jay Alright Darling? (She winks and smiles at one of the ladies holding up a beer bottle) Why don’t you come over and have a drink, you can bring your dog too. Ozzy And the poodle, Love (laughs). Liz Yha, come and have a line of coke darling, take the weight of your hush puppies. Don’t be scared, we’ll all be dikes together. We are the original Darby and Dyke club. Ozzy Yha, I’m the biggest lesbian in East London. Jay Biggest queen, more like. Ozzy Bitch. Toots

Leave them alone, man. They’re not hurting anyone. (she takes out her pipe and loads it before disappearing in a cloud of smoke.) (The two old ladies shake their heads and walk away swiftly, calling their dog in the process.) Jay Only having a bit of fun, babes. No harm in that is there. Beside the old dears looked like they needed a bit of gossip to chat about. Liz Yha, they’ll be discussing us all the way back to the sheltered housing project. (Two black guys who are strolling thought the park hear the music and see the group. They decide that as there are women and only one boy, to investigate. The sight of toots smoking her pipe makes them smile. One of the men calls out, as they get closer.) Man 1 You Okay, girls? Jay Cool Babes, you okay? Man 1 I could be better. Liz I think he want a toke on your pipe Toots. How about it? Toots As long as he don’t take the piss.

(The two men sit on the grass beside Liz and Jay who are laying arm in arm. Toots loads the pipe and passes it to the man who spoke.) Pass it back over here when you’ve had a toke. (The black guy sucks in the smoke and blows a huge dark puff of thick smoke before passing the pipe to his mate. The second guy does likewise and turns to pass the pipe to Liz, putting his hand on her knee as he leans across.) Man 2 Here you are Baby, that’s a nice bit of hash man. (He smiles at Liz, then at Jay) You’re a fine looking woman; you two look close; that’s nice. Hmm. Hay Breathren, two sisters’ are doing it for themselves, bro.. (He laughs) Liz That’s right brother, the sisters are doing it themselves, so get your hand off my knee. (The guy looks at the expression on jay’s face and removes his hand.) Jay You’ve had a smoke, now you can both fuck off. Man 1 Cool it sister, only being friendly. You know, chilling… Man 2 Yha, chill out sister. The sun’s out, the weather’s warm; all’s good in the world. Man 1 (Standing) We were on our way. Thanks for the smoke. (They both smile and walk away laughing.)

Liz You alright babe? (Stroking Jay’s thigh) Jay Yha Babe, it’ll take more then two wankers to wind me up. I need a sandwich. Or maybe a bag of chips. (Rubs her belly) Hmmm, chips. Toots I need to take a dump. Ozzy Charming. Toots Seriously, I ain’t kidding. I gotta go and take a dump. (She stands and starts to walk away from the group.) Jay Where are you going? Toots, come back Man… Liz Let her go; she’s on another planet. Ozzy Fucking state of her; she needs a good wash. Did you smell that house? Shit, made me feel sick. Jay Oy, that’s my mate you’re talking about. (She stands and shouts after Toots) Babe, I’ll come round later in the week to get the rest of my stuff. My gasmask and that… (She calls out loud) Toots?

Ozzy You need a fucking gas mask in that place. Serious, the girl’s Got issues. Liz I’m glad we don’t have to go back there, Jay. It did stink didn’t it babe. Here come and give me a kiss. Jay You fucking sexy tart, come here (Rolls upon Liz and they start kissing passionately) Ozzy Bumping pussy again. (Toots walks through the park towards the direction of home. Her expression blank. Then something caught her attention stopping her dead in her tracks. It was the sound of voices ringing out across the park. She slowly walked to a bush and peered over it. There in the distance is a group of boys kicking a ball about. One boy catches her eye. He is young but tall for his age, thickset legs and a wide, strong smile. He fascinates her. He has the face of a boy but the confidence of a man; she feels drawn to him.) SCENE 11: INT DAY. Toots HOUSE Toots is struggling to get the body up the cellar stairs and into the hall where it was previously. She struggles with the bloody corpse through the house and out the back door into the small, scruffy back garden. There is a shallow hole already dug and she pushes the body into it. Taking a spade Toots starts to cover the body with dirt, soon only a few fingers poke out like the buds of a strange fruit beginning to sprout.

SCENE TWELVE: THE PARK: DUSK Toots is behind a bush looking on furtively. She has pulled her hair back from her face and has applied a splatter of lipstick and mascara. She has a clean top on and only the dirt under her fingernails hints at her earlier activity. She is watching the boy; he is running the ball toward the makeshift goal expertly before kicking it between the posts past another boy in goal. He raises a fist into the air and shouts as she loads a pipe and busts it sending smoke signals above the bush. The boy is aware that someone is watching but cannot make out from where, and then he sees her, their eyes meet across the distance and they stare silently at each other. His attention is broken when one of his team pats him on the back. The boys gather together as the shadows grow longer; sitting on the grass talking about the game. After a while some of them walk off and the boy decides it’s time for him to go. He gathers his things and heads towards the path. Shortly he hears footfalls behind him and turns to see her joining him. Toots Excuse, have you got a light? (She holds up her pipe and smiles awkwardly) Joe (He looks at the pipe and sniffs) No sorry, I don’t smoke. Toots (Catching up with him) Do you know if there is a shop or newsagents where I can…? Joe No sorry, I don’t…

Toots Hold on will you. It’s getting dark and I don’t like to walk through the park when it’s dark, can’t I walk with you? Joe Sure. (He stops and looks at her closely) Do you live round here? Toots Not far. Just over there, in fact. Joe And you don’t know where the shops are? Toots Oh, I’ve not lived here long. How about you? Joe I live about a mile away. (He looks at the tattoos on her arms) Are you a punk rocker? Toots I’ve not been called that for ages. I used to listen to punk rock, but not any more, today I listen to mainly dance music. How about you? Joe I like Brintney Spears, she’s cool. The Sugarbabes, Girls Aloud. That sort of thing. Toots Girly electro, that’s cool. I like girl bands as well. (They begin to walk together from the park.) What’s your name? Joe Joseph, but people call me Joe.

Toots Cool, My names Francis, or Francesca, my folks were into that sort of thing; people call me Toots because I hate Francis. It’s a pet name, a nickname… Joe Is your Dad a train driver, you know, toot-toot (makes train sounds.) Choo-choo. Toots That’s funny… Joe You have a slight accent. Are you Scottish? Toots (Laughs) You’re a scream… Joe What’s funny? Toots I’ve been called lots of things but never Scottish. I like the kilts though, they’re cool. I’m from America, New York. Is my accent that noticeable? My folks say I sound cockney when I call them. Joe I guess so. Toots Most people think I’m Australian or a Kiwi, but not so much now-adays. I’ve lost my accent a lot. Joe

Is Los Angeles near New York? I’ve never been there but I’ve seen Britney in Los Angeles. I’ve also heard people talk about those places too. I’ve never been anywhere except Brighton, we go there sometimes. Toots They are no-where near each other; in fact L.A and New York they’re thousands of miles apart. Joe Wow, are they? Toots I like Brighton; that’s a cool place. I’ve been there a few times. There’s a club down there where me and my girlfriends used to go to. Have you ever been to a nightclub? Joe I’m not old enough. I’m only a teenager. Toots Really, you look older. Joe I’m thirteen next month, July. Toots Wow, I thought you were at least sixteen. (She lied) Can you get served in pubs yet? Joe There’s a pub where we live that will serve me; when I’m with my dad. They’ll only let me drink shandy though. Toots Wow, what a man! Tell me, does your dad mind you being out so late?

Joe No, I go back at Ten PM sometimes, if there’s not school in the morning. I don’t like to stay out late in case my mum worries. (They reach the park gates and stand awkwardly) I guess I’ll be going home then… Toots Oh Joe, won’t you walk me home? This area can be dodgy this time of the evening. It’s not far from here. Joe I don’t know… Toots Oh Joe, please. It’s not far, promise. (He pauses for a moment and Toots gives him a broad smile.) Joe Okay then. (They begin walking towards toot’s house)] What’s that you’re holding? Toots Oh, it’s just a little hash pipe. (She stops and examines the bowl. Taking a lighter from her dress pocket she lights the end and sucks in a deep lungful before exhaling a cloud of sweet smelling smoke.) Oh, that’s the ticket. Joe

I’ve never seen a woman do that before; you know; smoke a pipe. I saw Bob Marley smoke a pipe like that on T.V once; but, well, he’s a rasta and that’s what they do. Are you a rasta? Toots Oh, you’re so cute.’ (She giggles.) Have I got dreads? Wanna puff? Joe No way. I like my sports too much and we get told at school what smoking does to your lungs. I can imagine what smoking one of those does. Doesn’t it make you cough? Toots Not when you get used to it. (He looks at her suspiciously before breaking into a confused smile.) Joe Hay, I thought you didn’t have a light. Toots ( She looks uncomfortable for a second) Caught me. (Smiles) I just wanted to speak to you. I saw you playing football and I thought, wow, that kid’s amazing. Joe It was probably the drugs. I’ve never seen anyone take drugs in the street before. Ain’t you afraid of getting in trouble with the police? Toots Only if they do it in front of a policeman. Beside they’ve got other things to keep them busy. I’m not hurting anyone, am I? Joe

Suppose not. Drugs are dangerous though. We get taught at school about what they do to you. Dope, heroin and all that. Do all American woman smoke pipes? Toots You bet. They like their coke though. That’s the really popular thing in New York, coke. Joe I prefer stuff without too much sugar, cola. Coke’s too sweet for me. Toots (Laughs) You bet it is. (They arrive at her house and she looks up and down the street making sure they are not observed.) You wanna come in for a drink before you go? There might be a burglar in there and I’m such a weak girly. Please? Joe Okay, but I’ll probably run if I see a burglar. Toots So will I. SCENE 13: INT: NIGHT (They enter the house and go into the lounge) Joe Wow, I’ve never seen a skull like that. Look at the horns; does that come from America? Toots

(She looks at the boy furtively. Wondering if he had what she thought she needed.) It’s a goat. I skinned it myself and dried it out. It came out okay didn’t it? Joe Did you say you killed the goat yourself, what, cut its head off? Toots It was already dead silly. I just had to dry it out. Joe. That’d weird. I’d better go now. SCENE 14: INT: NIGHT Joes House (Mother looks out the window and chews on a fingernail. The T.V is on in the background and her husband nods silently in front of the flickering screen. Mother It’s getting late. I hope Joe is Okay; he’s normally back by now. Father The boy’s probably enjoying himself. You’ll see, he’s at that age now where girls will be interesting him and he’s met up with one. Boys will be boys. SCENE 15 INT: NIGHT: Toots house (He follows her to the hall but before they reach the front door she stops at the door which leads to the cellar.) Toots We had better check down there. Joe I’m not sure about going down there. What is it, a cellar or something, I bet it’s really dark?

Toots Scared or something? Joe No, I just don’t like spooky places, that’s all. Toots I have a light down there, come on, you can’t go until we checked it. I’ll go down there too. After you… (She opens the door and he cautiously steps through it. The steps down are steep and he holds the rail to the bottom. Although it is lit the room is still cast in shadows. He is aware of the black rubber carpet and the strange wooden frames on the walls. Some of them are used as hooks to hang masks from. Other’s appeared to have belts attached to them.) Joe Is this stuff real, It’s pretty weird isn’t it? Toots They belong to a friend of mine. She liked the look of rubber, as you can see. It’s not weird, just freaky. Joe I think it’s weird, what are those chains for? Toots They’re for playing games. We like to play games in this house. Joe What sort of games. Toots Adult games.

Joe You’re kidding. Toots No, I’m deadly serious. Want me to show you? Hold out your arms and I’ll put this on. (She holds out a shiny metal clasp. It is attached to a chain, which is attached to a wooden frame) Come on; it’ll be fun. Joe You will let me out wont you? Toots Of course I will. Joe I don’t know. Toots Don’t be scared, I’ll take care of you. (He smiles and holds out his arms and she expertly attaches the clasps. They snap around his wrists and as he moves the sound of chains catching rattles through the cellar. She smiles and moves her head from side to side, like a snake who has just caught tonight’s dinner) That was easy. Joe Wow, they are really secure. What do I have to do now? Do you have to pull them to get out, or is there a secret lock? I’ll pretend to be Houdini, escape like…

Toots No, there’s no secret. Joe Okay, I get the idea. They’re really secure. You can let me out now. Toots Let you out. Not now babe, not after all the work I’ve had to do to get you there. No, I don’t think so, you are going to have to get used to the idea that you’re going nowhere. Joe Come on lady, Okay. I’m scared, you got me. (He smiles awkwardly) Toots That’s right. Joe This isn’t funny, come on, let me go please, (Joe’s expression changes as he realises that she isn’t kidding. Toots laughs and leaves the cellar, turning the light off as she goes. She closes the cellar door and stands outside to see if his voice carries into the hall. The sound is faint and hardly audible.) Please, misses, don’t turn the light off. Please, come back. Misses, please, my Mum’s going to be worrying. SCENE 16: INT NIGHT :THE CELLAR (The bare light bulb comes on and the boy squints as his eyes become accustomed to the light. Toots enters the cellar wearing a leather harness that crosses her bare breasts. Her

crotch is covered barely by a leather codpiece covered in studs. For the first time the boy can see that her body is covered in tattoos. Naked women on her arms and wild animals on her back, these are crossed with stars and planets. She stands in front of him and busts her pipe.) Toots What, you never seen a pair of tits before? Joe Are you going to let me go now? I need to use the toilet. Toots Let you go, who said anything about letting you go. Joe Oh come one misses, I won’t tell nobody. We can keep it our secret. Toots Yha, I like that, our secret. But baby boy, I can’t let you go yet, I need you for something. Joe Are you going to kill me? Toots Maybe, if I have to. It all depends on you. Joe Well, tell me what you want me to do and I’ll do it. Toots Well, I need you to give me something. If you don’t give them to me I’m afraid I’m going to have to take them.

Joe What? ( He looks confused)I haven’t got anything. Toots You’ve got what I need. Joe What? Toots I want the contents of your sack. Joe My what? Toots Your sack, your bollock bag, your nuts, you know the thing between your legs. I want your hormones. Joe I haven’t got any hormones; honest. Toots Yes you have Baby-boy, you have more then most and I want some. Joe I haven’t, you can look in my pockets if you want. (she walks over and grabs his crutch) Toots They’re not in your pockets sonny, they’re in your balls. I’m going to milk you like a cow.

(She pulls out a giant pair of scissors, which she uses to cut away his clothes, first his trousers and then his shirt until he is dressed only in a pair of shorts.) That’s better isn’t it. Joe Please don’t hurt me. I’ll do anything you want but don’t hurt me. Please. Toots (holding the scissors to his face) If I have to cut your peanuts off to get at your hormones I guess that’s going to hurt. If you want to avoid that you better give them to me voluntarily. Joe What do you mean? Toots I want you to give me a donation, then you can go. If you don’t give me one I will have to use these on you and believe me, that won’t be a pretty sight. Joe Then you’ll let me go? Toots No problem. Joe Well, if you take off these cuffs I’ll do what you say. Toots Ha, that’s clever. But you’ll only need one hand free; which one do you wank with? Joe

What? Toots Which one do you use to pull your wire, spank the monkey, knock one out with, Toss off, which one do you use to masturbate.? Jay You wait till I tell my mom about you, she’ll be so mad… Toot’s Cut the crap and tell me which hand you use. Joe I don’t do that. Toots And the Queen don’t shit. Don’t fuck around Sonny because I am going to get your spunk if I have to cut your scrotum off to get to it, understand? I’ll cut it straight out of your dick if I have too but it would be a whole lot cleaner if you just made a donation in this jar. (She holds up a jam jar) If you want I’ll pose like Cleopatra. If it gets your dick hard, hence the fruity get up, but either way, you are going to fill this, before you leave. Joe Then you’ll let me go? Toots Sure, then I’ll let you go. Joe Okay.. I’ll do it. Toots Good boy, now what hand shall I set free?

Joe. Whatever, er, the right one. (She takes a key from the codpiece and unlocks his right hand) Toots Well, get on with it. I’ll hold the Jar. You get on with it. Joe I’m not going to do anything with you standing there. Can you unlock my other hand and I’ll hold the jar. Toots If I do that I want you to promise that you’ll get on with it. I’ll wait outside and you can call me when you’re finished. Joe Sure. (She unlocks his other hand, but to his dismay Toots locks the clasp around his ankle.) Don’t come back till I call you. Can you leave the light on? Toots Stop fretting and just get on with it. (He watches her climb the stairs and hears the door close. After she is gone he looks at the jar and frowns. Sucking in his lower lip he ponders what to do next. He pulls on the chain attached to his ankle and is angry when he finds he cannot open it.) You better be working it for me down there.

(He looks at the jar, puts it to his lips and spits into it. Leaning forwards he sees that the chain is attached to a pin in the wall, He tries to pull it free but is not able to budge it. He then tries to wobble it and finds that the pin moves from side to side) Are you ready for me yet? Joe No, nearly. Toots Well just hurry up, try to think of nice sexy things, you know, I’m sure you have something in your fucking brain you can use. Barbie dolls with huge knockers, French waitresses, nurses in suspenders, heck, I got a better imagination then most teenage boys. (The pin eventually comes loose from the wall and he pushes it back in hoping she will not notice.) Ready or not, I’m coming. (He hears the door opening and her footfalls on the steps, he clasps the jar to his chest and looks down at its contents, just then he sees a small pile of dust under the pin. He uses his free foot to disperse it quickly as she appears.) Toots I’ll have that thank you. (She begins to chain his hands again) There isn’t a lot here; I thought you lot were supposed to shoot ten cc’s. There’s not even one cc here is there. Joe It’s all I could manage, I’m sorry, can I go now? Toots

Not Just yet, I have to see it this is enough first. Joe What do you want it for? Toots Questions, questions. I’ll be back soon. Joe (As she turns and leaves the cellar) Leave the light on please, it’s scary down here on my own. Ha, misses, please leave the light on, I won’t try to escape. Toots That’s right, you won’t. Okay? SCENE 17 INTO NIGHT THE BEDROOM. (Toots is on her knees spoon-feeding the still body that is prone on the bed. The liquid appears to be entering the mouth and after pooling on the lips for a second disappears into the cavity.) Toots That’s right baby, take in the nourishment, I knew this is what your body needed. Take it in and let it set your soul on fire. Let it reach across the ether, into the abyss and grab your sparkling soul. Reaching across the void of dreams, into the world of angels. I can see you’re angel-wings but you only need them to fly back to me, just like Orphee, you are returning. Come on baby, return to me. (She spoons in the last drop and stands over the body. Catching a glimpse of herself in the mirror she smiles and tosses back her hair. )

SCENE 18 INT NIGHT CELLAR (Joe has managed to free himself but cannot open the cellar door. He goes back to where he is chained trying to find somewhere in the dark to get out but then is shocked to see her feet coming down the cellar steps. He quickly goes back and places the pin back in the hole.) Toots I’m coming for more. That wasn’t enough. Joe Just you wait till my Dad hears about this; you’ll be in serious trouble. When my Dad gets his hands on you, he’ll be so mad, once he bashed someone for spilling my mom’s drink in a pub and this is way more serious... (She smiles and begins to dance around him teasing him) He’s got a terrible temper my dad. Toots Phoo, Phoo, tit, tit, tit… Joe You think I’m joking but you’re wrong. My dad is a Karate expert; he was in the army and he plays rugby every weekend. He’s really fit and has great big arms like tree trunks. Toots Oh yha? And what are you going to say to this treetrunk of a man if ever you see him again, eh? That you got kidnapped by a sex goddess who spent a week milking the spunk from your balls, come on, he’ll probably give you a pat on the back and a cigar… Joe

That’s just not true, He’ll be so cross he’ll shout so loud that you’ll cry. (She unlocks one hand and gives him the jar) Toots Just stop whinging and get milking. Joe You’re not right in the head are you, if you were you wouldn’t be asking me to do that. You’ll go to hell one day. Just you see. Toots Oh yah, what does the bible say will happen if I do this. (She turns and bends putting a finger between her buttocks before turning, placing the finger between her lips and sucking it.) Joe You’re disgusting. Toots Did that upset you, my poor little baby boy, it didn’t get the blood throbbing through your little maggot down there; didn’t get any blood rushing through your big, blue vein. What’s the matter don’t you like women? Joe Not women like you I don’t. Toots What, isn’t all this female attention turning my little man on? Perhaps it’s not a firm pair of titties that you need to put a rock in your sock, perhaps you want something a bit closer to homo….

Joe Please, you said you’d let me go if I did what you asked and I did. Keep your side of the bargain. Toots I just want to go home. Pif, pif, pif, what a snooty, insipid little faggot voice you have Joe. Did anyone ever tell you that. Why you sound just like a fucking little, fucking queer. You really could do with a little toughening up; so you see this whole experience might have a real positive effect. You might even end up being a superdad like your old man, If you live long enough. Now get milking. SCENE 19 INT NIGHT JOES HOUSE (mother is sitting on a sofa next to her husband. The TV is on in the background) Mother If he’s not back in an hour I’m calling the police. Dad What are they going to do, they’ll just say that he’s out with his mates doing what teenagers do. Mother Let me see if I’ve got his mates phone number. Who was he at the park with? Dad You’ll only show him up, you’ll see. He’ll be back soon. I remember when I was his age I was out all night during the summer. We’d go down to the Old Chase and take some fishing gear. Never caught anything mind, but we’d have a go and someone would have nicked a few fags or a couple of cans of something. Or we’d chat up some girls and take them round the back of the old garages in the hope of seeing a bit of bra strap, or the top of their stockings; not a care in the world.

Mother Things were different back then. Dad No, that’s what the papers would have you believe, but really things were no different. It was probably more dangerous what with all the bombsites and buildings on the point of falling down. Mother I don’t know, perhaps you’re right; but I wouldn’t be a very good mother if I didn’t worry, would I. I’ll give him another couple of hours then.. SCENE 20: Int night, Toots bedroom (The room is bathed in a warm red glow from a small lamp beside the mattress. The windows are open and a breeze is blowing the curtains into willowy shapes that catch the light and dance in the shadows. Toots is lying on the mattress with hand over the body of her lover. There are insects crawling across her lover’s face, Toots flicks one away and whispers.) Toots Do you remember the night we met? It seems so long ago, years in fact. You were so special, I knew from the very moment we met that we were destined to be together. It was at the Clit Club on a Sunday evening… I was buzzing on some ‘E’ that Jay had sorted out and after dancing for a while I was sweaty and wet, the place was throbbing with half naked women, some drinking, some dancing, some making out; they were just dolls in the spotlights. Then I saw you.

The music faded away and all the people ceased to exist for a while. The room was empty except for you and me. I remember you were wearing a leather jump-suit with short sleeves. The zip went up the front and you had it undone to your navel. The music, which had been so loud just, seemed to stop and there we were; two stars destined to collide. Your blue eyes reached out for me and then we were back into the crashing thick of it. I was pushing through the sweaty bodies to get to you, edging through the crowd towards your white lips and green hair. When I touched your hands a shock of electricity shot up through my fingers and exploded in my brain like a firework going off in my head. We didn’t have to speak, I couldn’t even if I had wanted to as my eyes darted between your pupils and your tits. Those wonderful tits of yours. Then you were dragging me through the dikes towards the bogs, after a couple of steps you smiled at me. I quivered in your fingers. I could have fucked you there, in the middle of all those drug-fucked masses. I remember you licked my lips and your spittle tasted like lemons. Then we were in a cubicle and I unzipped that zip down to your cunt and sucked your clit right there, on that beer sodden floor, sweaty beads rolling down me face onto my lips and into your soft pubic hair. You pushed my face into your pussy and ordered me to eat it. Then I was sucking your lemon tongue into my mouth as your fingers explored the inner parts of me. It was passion, it was fire, and it was lust. Seedy, degenerate lust.

The lust that only star crossed lovers can experience. Heaven in an orgasm; and boy did I orgasm. I busted you a pipe and you slipped in a little rock of coke; so fucking cool. We still hadn’t spoken but instinctively we knew each other’s entire history; from birth until that moment; we knew everything we needed to know. This woman is sexy, she fucking strong and she super cool; boy, everything I ever wanted in a fuck buddy. That’s why you can’t leave me baby, why the heavens will not allow that to happen; a love like ours is forever and I will do whatever it takes to make you strong again; make you into that woman I knew and loved. That woman I know and love. (She lowered her voice into a whisper) I’ve got a boy in the cellar. In Jay’s old dungeon. I’ve chained him to a wall just for you. A part of me knows that it’s not right but a bigger part of me knows that he is the path to making you well again. He has the answer to your illness. They said that doctors are the answer but it was drugs that got you like this and I can’t risk them giving you more, or worse. They may say that they can’t do anything and then what. I’d be alone, here in the house; alone for the rest of my fucking, stupid life. Well I’d rather be fucking dead then be left with out you. I remember Pattie when she was going through her change. She was the weakest woman you’d ever seen. Always ill and in bed. Then when they gave her the hormones she came alive, I know she grew a beard and went bald but they woke her body up. Nowadays, she’s a fucking bricklayer. Shit man, they changed her whole life and they are going to do the same for you. You

always said that you wish you were a little more butch. Okay, you didn’t want a beard, but baldness and hairy chest, bring it on; you’d be a stronger woman. You’d be my stronger woman. Down in the cellar is the answer to our problems… (She stands and behind the buzz of blue-bottles, the distant wailing of police sirens and the noise of the wind blowing through empty streets, she can hear the sound of a voice. The voice is calling too her.. ) SCENE 21: INT DAY: THE CELLAR Joe Misses, please, Can you hear me, can anyone hear me? Let me go, please. HELP! (He hears the cellar door open and footfalls coming down the steps. Suddenly she is there. She is wearing a ridiculous maids uniform made of brightly coloured plastic, in her hand is a tray of food) Toots I hope you’ve filled my bottle this morning. (She picks it up and tuts under her breath seeing that it is empty) This will never do… Joe You’ve left me here all night. My mother is going to be so worried I bet she’s gone to the police by now. You’re going to be in so much trouble… Toots Oh stop whinging. Here, I’ve made you some breakfast.

(She unlocks a hand and places in it a spoon before setting up a small table and laying out what was on the tray upon it) There you are, porridge, sweet, bacon, sour and a hot cup of tea. I didn’t know if you took sugar in your tea so I didn’t bother. Well, go on. Start munching. Joe (He looks at the food and starts to eat the porridge) Don’t think that this is going to get around me, you’re still in trouble. Toots Story of my life kiddo. Just make sure you eat up and prepare yourself, I’m going to want a massive donation from you this morning. Joe You are sick. Why do you want me to do that anyway? Toots You wouldn’t understand, let’s just say that if you’re a good boy today I might think about letting you go. Joe You said that last night and I’m still here, you lied then, what makes you think I’m going to believe anything you say today? Toots Well Kiddo, if you don’t play ball I’m going to get a fucking big knife and cut off your little peanut bag and stuff it in a liquidizer. Joe Please don’t hurt me. I’ll do whatever you want as long as you promise to let me go…well? Toots

Well what? Joe Promise? Toots Okay, I promise. Is that good enough for you. Now drink your tea before it gets cold. What’s that horrible smell. (Joe stops eating and looks at the floor guiltily. She places a finger on his shorts and giggles) Oh, has boy wonder pissed his pants? Joe I told you last night that I needed to go to the toilet, what do you expect? You can’t keep someone locked up all night like this and not expect them to go to the toilet; I wouldn’t even treat a dog like that. (He screws his face up and shouts) I think you’re going to go to prison for a very long time when people find out about this. Toots So you do have some spunk in your balls. Shouting like that shows that you’re not a wimp after all; good for you. Joe JUST LET ME GO! (Just then a noise raps out throughout the house. Someone is banging on the street door. Toots looks at the boy and chains his hand back to the wall, she looks around for a reel of tape and tears of a strip and places it over his mouth.) Toots Just keep quiet.

(She leaves the cellar and closes the door before going down the hall to the street door.) Who is it? Liz Hi Toots, it’s Liz, Jay asked me to pop round and get some of her things.. (Toots opens the door and fakes a smile) Toots You’d better come in. Liz She told me where the bag was in the cellar. (She walks towards the cellar door and Toots blocks her way) Toots You can’t go down there I’m painting and, er, it looks a bit of a mess. Liz Hay, I like the get up babe. You look like a spaced out zippy. I know where the stuff is so I won’t touch anything.. Toots No! Just tell me what she wants and I’ll get it. Liz Okay babe. It’s a brown holdall. It was in the corner by the coal shuttle. Toots I’ll go and get it, I think I remember Jay brought it up anyway and put it in the kitchen.

(She walks to the kitchen and Liz follows her) Liz You all alone again? Toots Yha, but I don’t mind. Liz Well, I hope you don’t mind me saying babe but you should open a window; this place need s a good airing.. (In the cellar Joe reaches out towards the table that Toots had set the breakfast upon. His fingers wont reach but his knee just touches the side. He pushes with all his might before the table crashes over causing food and crockery to smash on the floor noisily. Then he tries to scream.) What was that noise babe, sounded like some shelves have collapsed. (She turns and steps towards the cellar. As she does so Toots spots the knife she had used on her last victim the previous week and her fingers reach out for it) You find the bag and I’ll just… Toots It’s okay, just the cat fucking around again. Here’s the holdall. (Toots holds up a leather holdall) Liz Oh yah, thanks babe. Now, do you need anything before I go? Toots No, I have everything I need.

Liz If you say so babe. I don’t suppose you’ve seen all the Old Bill out there have you. Police everywhere. Apparently a kid went missing from the park or something. They are stopping people and asking questions, like they do, I don’t remember seeing any kids in the park yesterday, do you? Toots No, I didn’t see anything. Here’s the holdall. Liz Thanks babe. (An awkward silence falls between them both and Liz becomes aware that she has overstayed) I’ll be off then. Toots Yha. (They look at each other and Liz looks at the cellar door.) See you later.. Liz Okay then. I’ll tell Jay to pop round next time she’s in the area.. Toots I may not be here. Liz Be at the hospital will you? I heard about your trouble. Toots Yha, I’ll be at the hospital. (She leads the way down to the front door and opens it, peering out down the street before letting Liz leave.)

See you then. Liz Shall I get Jay to… (Toots closes the door in her face) Phone? (Toots turns and storms towards the cellar door with a fierce look across her face. Opening it and clambering down the stairs angrily stomping towards the boy. She looks at the spilt food and the broken crockery ) Toots You fucking little shit. You think that was clever, you little fucker; look at this mess. (She goes over to the boy and is about to slap him when she sees a tear in his eye that bulges and then streams down his face. She reaches out and pulls off the tape.) Joe It was an accident, I was hungry and the sight of that food was too much, all I wanted was a piece of bacon but I knocked the table over. I didn’t mean to. Toots Really? Joe Yha, I’m sorry. I really am. If you let me eat again I’ll do what you wanted, then you can let me go. Toots You’ll do what I wanted? Joe Yha, all you have to do is let me eat and give me the jam jar. Toots

Let you eat? Joe Yha, that’s all. Toots Okay then. (She picks up the bacon from the floor and pushes it into his mouth.) Go on, eat. SCENE 22 INT: DAY: A HALL NEARBY (There is a table against a wall and draped over it is a poster advertising the local police station. Three chairs are arranged behind the table, in front of it are a group of people holding cameras and film equipment. A door to the left opens and flashbulbs light up the faces of the three people who enter. It is Joe’s mother, father and a police detective. They sit at the table and look towards the crowd.) Police officer As you are aware, the disappearance of this boy is causing everyone the greatest concern. We know that he was last seen in this park late yesterday afternoon. (He points to a map on the wall behind him) I believe we have a sighting of a boy similar to Joe, along this road at about seven PM although we are not sure if it is him. Press man 1 Was he with anyone? Officer I’d rather not say at this stage, enquiries are going on which will clear that up shortly. Press man 2 Are you saying that you have a lead into his disappearance? Officer

I am not going to be drawn into that just yet. The idea behind this meeting is to get the boy’s face out there in the media in the hope of getting more sightings. All I am prepared to say presently is that he is unlikely to have run away, there were no problems in his background and he comes from a very close family. His mother would like to say a few things. Mother Joe, if you are out there boy, if you can hear me, I want you to know that we love you very much. We want you to come home boy; if you can hear me and you are able to get to a telephone you can call home. If it would be easier, you can call the local police; even if all you want to say is that you are safe. If you want us to collect you all you have to do is call and we will come and get you. If someone has him, If you are holding my boy, please, let him come back to us. He is a good lad; he does well at school and is loved by his family, Joe. We love you Joe. Please don’t hurt my boy. If you are having problems, I understand, there are people here who want to help you. Just don’t hurt my son, Joe, please don’t hurt him… Press Man 1 Can you tell us if he has ever run away before? Mother He hasn’t run away. The last time he was seen he was heading home.. Press man 2 How does he get on with his father? Father Joe and me have a very good relationship.. Police officer

Thank you all for coming, photos of the lad are available from the back of the room and an incident room has been set up at East Ham Police Station, you can contact me there… Press man 2 Did you say you have a confirmed sighting of him? Police officer Thank you all for coming. SCENE 23 INT:DAY: THE CELLAR (Toots is standing with a jam-jar in her hand, the light is low and her makeup looks grotesque and in the shadows her plastic nurses uniform looks shiny. She has her hair pulled up into a high beehive and the nurse’s cap is perched up top at a jaunty angle.) Toots Here, fill it. (She unlocks his hand and gives him the jar) Joe I can’t do that and hold the jar at the same time. (She sighs and unlocks the other wrist, then bends and locks the clasps around his ankles) Toots No funny business. I’m going to go upstairs and give you half an hour, when I come back I expect to see a donation in that jar? Joe Okay.

SCENE 24: EXT DAY: The street (police officers are creeping along the road hiding behind hedges. Behind them a group of people stand behind a cordon at the end of the street. The officers are armed and wearing black. They get to a gate and one officer pushes it open with his gun. They check down the path and one quickly runs down it towards the street door at the end closely followed by another) SCENE 25: INT Day: THE CELLAR (Toot’s turns to leave and as she reaches the stairs she peers behind at the boy just in time to see him spit in the jar) Toots You fucking little shit. I saw that… (She runs at him and snatches the jar, looking at it intently before smashing it above his head. He trembles as she pulls the scissors out from her belt.) That’s it you fucking little cunt. I’m going to cut your balls off. You don’t think I would do it, do you, but I’ve done it before, yha, and that shit head is buried in the garden. It looks like you are going to end up there too. (She reaches out and grabs his crotch) Joe Sorry, I didn’t mean to… Toots Too late, you fucking little cunt. (Just then a loud knock reverberates through the house) Oh shit. Whatever now!

(She looks at the boy and then towards the stairs. Quickly she locks his wrists after putting the scissors on the floor by his feet. As Toots looks around for the tape he cautiously puts his foot over the scissors, she tears off a strip before putting it over his mouth. Toots then leaves the cellar and heads towards the knocking on the front door..) Okay, Okay I’m coming… SCENE 26: EXT DAY: THE STREET (The police man reaches out and bangs on the door again, just as it is pulled open he steps aside to allow a group of other officers running down the path behind him enter the house. Once inside they pin a thin looking man against a wall) Police officer Robert Nezbith, we have a warrant to search this property in relation the disappearance of a young boy… SCENE 27 INT THE HALL (Toots opens the front door and is surprised to find a uniformed policewoman standing on her porch. In her hand is a clipboard. The policewoman smiles) Policewoman Hello, we are making enquiries into the disappearance of a young boy, have you got a few minutes? Toots Er, yes, I suppose so. P.Woman The boy in question was last seen in the local park yesterday, about seven Pm, Here’s a photo of the boy, could you have a look at it?

Toots I’ve not seen him. P.woman Could you look at the photo please? Toots Oh yha. Nice looking boy. Does he live locally? P.Woman Not far from here. So? (She looks over Toot’s shoulder into the hall.) Toots What? P.Woman Have you seen him, He went missing yesterday? Toots No, I was in all day yesterday. P.Woman Have you got a shed in the back garden, we are asking all local residents to look in their sheds or out houses just in case the boy has got stuck somewhere. Toots (Opening the door slightly) I haven’t got a shed or an outhouse. P.Woman (Looking at Toots clothing) Nice get up; fancy dress is it? Toots

I’m a stripper and last night I was out working, got in late. You know, slept in my clothes when I got back. P.Woman T thought you said that you hadn’t been out? Toots Yesterday afternoon, I was in all afternoon, that’s what I meant. (The policewoman looks into Toot’s eyes and is alarmed by something. She purses her thin lips and steps closer.) P.Woman Could I come in and have a look around? Toots He’s not here. P.Woman I know, but just to make sure he hasn’t got stuck out back, in an old shed you might not be aware of. If you wouldn’t mind stepping aside? Toots I’m busy at the moment, could you come back? P.Woman It would only take a minute. Toots Don’t you need a search warrant or something? P.Woman Do I need a search warrent? (A thick silence falls between the two women.)

Toots I guess not, come in. (She furtively opens the door and allows the woman to enter. Before closing the front door Toots looks outside and sees the road is empty. Her expression turns into an angry sneer.) P.Woman There is quite a powerful smell in the house, don’t you think? Toots It’s the drains. P.Woman The drains? (She goes into the lounge and looks around, then she goes to the kitchen.) You have quite a lot of blue bottles. Do you think they’re caused by the drains? Toots I’m not sure… (The woman stops by the cellar door) P. Woman What’s this. Toots Just a cupboard, it’s where we keep our coats. P.woman I see, and how many bedrooms have you got? (She goes to the bottom of the stairs and looks up. Toots places herself in the way.)

Toots You can’t go up there. P.Woman Can you get out the way madam. Toots It’s a mess. Beside, I thought you wanted to check the garden, it’s this way. (She indicates the other direction.) P.Woman Please, out the way. (She pushes past Toots and makes her way up stairs. As she reaches the landing she has to cover her nose against the stench. Flicking blue bottles out the way she gingerly opens a door and peers inside. That room is empty. She the opens the second door and her face creases against the nauseating smell. She sees the shape in the bed and steps forwards. The fabric billows in the sudden breeze.) Hello, are you okay. (She comes beside the mattress and pulls back the cloth,) Oh my Jesus. (She recoils in horror seeing the frozen face upon the mattress, maggots are swarming throughout the soft tissues and empty eye sockets, the woman backs away just as Toots appears in the door way behind her. A flash of metal glints and Toots raises the knife striking downward into the woman’s back.

She gasps and shakes as the knife comes down again into the neck and again into the shoulder. The police woman looks up as the knife comes down again striking through her ribs into her heart.) Toots You stupid bitch, I told you not to come up here, now I got to dig another fucking hole; the garden’s never going to look good with all these stupid holes everywhere. (She grabs the woman’s legs and drags her into the spare bedroom) So fucking inconsiderate. How am I going to get nice beds and herbaceous borders with fucking great big holes everywhere? (Meanwhile Joe is pulling at the pin that is attaching his legs to the wall. He works it free before taking the scissors and tucking them into his shorts behind his back. Just then he hears the cellar door opening) Toots If only you knew the trouble you are causing me. Now, I have a new Jar, No funny business okay, I just want spunk, sperm, jizz, you know, the white stuff, okay. If I see you’ve given me phlegm again, I mean it, your balls are coming off. (She strips the tape from his lips) Joe What do you want it for, are you making a baby or something? Toots Mind your own business, I guess you need your hands free?

(She undoes his hands and kneels before him to lock his feet to the wall.) Are you going to play ball this time? No fucking around, I got enough to do, what with digging the garden, without playing silly buggers with you. Joe Sure. I won’t mess around. (He reaches for the scissors behind him and strikes down with all his might plunging them into her neck. Toots gasps and holds the wound, which has blood streaming from it through her fingers. Joe takes the moment and runs for the stairs dragging the chain behind him he is about to run up them when he stops dead in his tracks.) Toots You little fucker. (He turns and sees that she has hold of the chain, Toots pulls it towards her. Joe takes the jam jar she had given him and throws it with all his might at the mad woman, it crashes into her face and smashes into a million splinters allowing him seconds to get away. He runs up the stairs and towards the street door. It is locked.) Trying to open it he hears a noise behind him and turns to see Toots coming from the cellar, blood pouring from the wound in her neck, in her hand is a bloody pair of scissors.) Toots You’ve had it now sunshine. No more fucking around, those balls are going for the chop. They are going to come off, you little shit, you’ll be singing like a fucking soprano once I get those peanuts in my blender…

(Joe runs up the stairs towards the doors at the top, he slips on a pool of blood by the bedroom door and lands with his face pressed into the face of the dead policewoman. He stands unsteadily and backs towards the stairs. ) Suddenly hands go around his throat and Toots throttles him. Joe pushes with all his might backwards and they both tumble down the stairs. She stabs out and the scissors go through his leg. Joe screams but manages it stumble up, she follows him into the lounge. The boy backs towards the wall as her bloody fingers go around his throat again. Toots You fucking little cunt, you’re going to die now. (They look into each other’s eyes and the veins begin to swell on Joe’s forehead as the blood pressure builds up. He reaches out to grab anything that can stop her. Knocking pens and pipes off the fireplace he reaches up and then it is in his tiny fingers. The white skull of a goat. Joe pulls at it and then smashed it down into her face, the horn enters her eye socket and she screams in terror falling to her knees Joe pushes further as the horn enters her brain. She falls back dead. Joe coughs and splutters, He makes his way to the street door and manages to open it. Outside a group of people are gathered who have heard the noise.) Passer-by Look, it’s that kid they’re all looking for. Passer-by 2 Someone call the police…

THE END c: THE DOGBREATHSPUBLISHING 2002