 
134 The Rose Garden The Dogbreaths Publishing David William Kirby

# The Rose Garden

### Copyright: David William Kirby: 2014-07-17

### Smashwords Edition

ISBN:9781310539367:

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The rose garden,

### PROLOGUE

It is dark, two people wearing coats with hoods battle against the wind and rain. They are digging a hole.

Person 1

Shit, watch my foot with that spade.

Person 2

Nearly there.

Person 1

I knew I should never have worn these heels. They're ruined.

Person 1

Right, that should do it. Help me with the body.

They both pick up a large parcel wrapped in plastic bags and string and edge it towards the hole.

Drop your end.

Person 2

Okay.

Person 1

Be careful, you've splashed evidence all over me.

Person 2

Sorry, but this isn't really something I do often. Should we say a few words over the bugger?

Person 1

Let's just get it covered. We can do something later.

Person 2

Before or after we go to prison, for life?

Person 1

Just let me get it covered, we'll deal with everything else later...

### Scene 1. ext day

9 Months previously....

We find DANIAL CANE and his wife TERESA in their Rose Garden, it is the end of the year and the buds are wilting on their stems. Their small house sits behind them and a side gate opens. RUTH, a neighbour, enters.

#### Ruth

Hello people, you can tell winter is on the way, look how brown the leaves are turning. Still, the garden is well maintained and will survive until next year.

TERESA

Not without Dan looking after it; no. This time next year the soil will be desolate, desolate and bare. Each of these buds would have withered and died.

DAN

Surely not, it will bounce back. You wait and see, the garden will look great in six months; just like it always does.

RUTH

Are you going away then, Dan?

DAN

Not far.

TERESA

Far enough

RUTH

I'll help Teresa while you are gone. We'll be okay till he gets back, eh mate?

DAN

I might not be coming back. Not this time.

RUTH

Don't be silly, of course you'll be back. You must.

TERESA

I hate it when summer ends and there is only darkness to look forwards to. It's all so depressing, why must it end this way?

DAN

The year, like everything, must die; only to be reborn again

in the breath of a new year. let's look forwards to the birth of spring instead of mourning the end of summer.

RUTH

Yes, be positive...

(Teresa turns and runs towards the house)

Teresa come back.... Look Dan, you have upset her now. Go after her.

DAN

Not this time.

### Scene two: int, a class room, day

Daniel is at work. He is a tutor and a practicing psychotherapist. Today he is giving a seminar to a group of third year psychology students and is winding up the lesson.

#### DAN

So, let's recap. Transference is the manifestation, perhaps by the process of recapitulation, of an earlier event in a client's life. This dynamic is the result of historic stimuli. Or it could be said to be a reaction to a current set of transactions, something from the here and now, dependent on your theoretical framework.

These transactions may be archetypal or similar to transactions of significant others in the patient's life.

Counter-transference is a manifestation of the therapist's past-life, the result of stimuli in the here and now from the client, provoking a particular response. So Transference can play a vital role in the therapeutic process. Being a tool which can enable the client to understand why they may react in certain circumstances. Of course, counter-transference is of little value to the client but, as we have seen in our role-play, can be a useful tool for the therapist in his or her supervision sessions.

STUDENT

What happens when a therapist needs therapy?

DAN

Hmm, good question. I suppose within a work setting, providing adequate supervision, this should not become a problem. We must all accept that, like everybody else, professionals are prone to problems associated with stress and relationships and that we too may benefit from therapy from time to time.

I am very aware of this and make time to talk through my own life-problems with someone away from work at least once a month. It's good practice.

I guess we should wind up now. When we meet next week I expect to see examples of transference and your own counter transference in your journals. Yes, it's that time again...

( **Sigh from class who then get up to leave.)**

SCENE 2: THE HALL AT SCHOOL:DAY

DANIEL is leaving the building when the ADMINISTRATOR (FRANK) calls him over.

ADMINISTRATOR

I heard your students were all very impressed by the seminar, although some expressed confusion.

DAN

Oh, it'll sink in eventually. There's nothing like a bit of confusion to get the brain cells buzzing. I have no doubt that when I collect the journals again they'll all contain examples of the process.

ADMINISTRATOR

Excellent.

DAN

By the way Frank, did you know that I have moved address? I have a card here with my new contact details, here (Hands over card) perhaps you could adjust the details in my file.

ADMINISTRATOR

Thank you. Oh, East London, eh? I didn't think Teresa would ever move from the country; bored was she?

DAN

To be honest, Teresa is staying in Kent, we have decided to have a trial separation. I would appreciate you keeping this to yourself.

ADMINISTRATOR

That's sad. It's a bit sudden isn't it? After all you two have been together ages.

DAN

It's been building up for a long time. We have decided to do the adult thing and try it out on our own. I've rented a little flat and Teresa is staying in the house. We will continue to keep in touch, after all, you can't live with someone for twenty years and then just walk away.

ADMINISTRATOR

You've left it a little late to seek out other pastures haven't you Dan?

DAN

It's never too late to realise that things are not ideal.

ADMINISTRATOR

Well, rather you then me, old boy. Just let me know if this has any impact on your classes.

DAN

No problem, I have to dash as Teresa is visiting tonight.

ADMINISTRATOR

Give her my regards.

### SCENE 4: THE STREET DAY

DANIEL is walking along minding his own business, he has a train to catch. A young man walks towards him, they make eye contact and DAN looks away.

### SCENE 5: Int night, DAN's flat

DANIEL is preparing a meal. He has the table set and is making sauce to got with meat that's cooking in the oven. There's a knock on the door and when he opens it TERESA is waiting outside.

#### DAN

YOU found it alright?

TERESA

Yes, your directions were very good. So this is the new place, it's smaller then I expected but, after all, it's big enough for a love nest.

DAN

Don't start.

TERESA

Is that pasta I can smell?

DAN

I've done beef with a pasta side dish. Will that be okay?

TERESA

At least you wont starve, you always were a good cook. I'll just have a small portion if you don't mind and a glass of wine.

( **Some time later they are sitting with empty plates between them. TERESA lights a cigarette)**

That was lovely. I should have got you to cook more often.

DAN

The kitchen was always your domain wasn't it? Right from our first day together you made it clear that you cooked and I washed up.

TERESA

I suppose you're right.

DAN

You knew I liked cooking but only allowed me to have a go when you were fed up, but by then, you'd never be hungry.

TERESA

We both made mistakes. So, are you going to get someone to share or do you intend a life of celibacy?

DAN

Now, come on, you promised to keep it civil. We've had a nice evening and...

TERESA

You've had a nice evening. I've just sat here and watched you throw your life away.

DAN

Please, not now...

TERESA

Well it's not everyday that a married man, a married man of twenty years, a father to an eighteen-year-old daughter comes to the conclusion that it's all been a lie. Surprise, surprise, he discovers that he is a homosexual. After that little number nothing would surprise me again.

DAN

Teresa, we have been through this already. I didn't just wake up one day and decide, I've known for ages but let society dictate what my life should be. The decision was made after months of careful deliberation, it wasn't easy to consider.

TERESA

Consideration for whom Daniel? Certainly not for me and certainly not for your daughter. It would have been bad enough if you left me for another woman, but this, I just don't understand. I'll never understand.

DAN

That's right, you don't understand. I'm fed up with all this arguing; can't we just call a truce, for once?

TERESA

That would be nice wouldn't it? Just pretend that nothing has changed? If only it was that easy Dan, everyday I have to lie about our separation, everyday someone asks and what do I say?

That you have left your daughter and me because you woke up one day and decided that you wanted a cock up your arse?

DAN

Teresa. Please. Don't do this to yourself.

TERESA

...That Daniel, has not been easy to cover up. I must admit that without Ruth's support I would have killed myself.

DAN

You told Ruth.

TERESA

I had to tell someone! You have no idea what it has been like with this thing tearing me up inside, not able to share it with anyone.

DAN

Well?

TERESA

She doesn't understand it either. Neither does LUCY.

DAN

Did you have to? It was something I wanted to tell her in my own time.

TERESA

I told her because she asked and I didn't want to lie to our daughter. I haven't done it in the past and I don't intend to do so in future.

DAN

Right.

TERESA

So, have you got a fuck buddy yet?

DAN

Very droll. Teresa, please realise that this has been difficult for me as well.

TERESA

Good, I hope it is difficult.

DAN

I've been so busy with the flat I have no idea where to start, you know, bars and the like. It's all a little frightening.

TERESA

Well just don't get caught importuning, or get charged with an act of gross indecency in a public toilet. The shame would be too awful.

DAN

I had no intention of picking up someone in a public toilet. You should know I have never been sleazy, as they say. It isn't my style.

TERESA

Should I, who knows what you get up to when you are out of the house. You could be up to anything. All I am sure of is this Daniel, I have never really known you at all. On that note, I'm going.

DAN

Fine, I'll call you a taxi.

TERESA

Yes, well, happy cruising and try not to catch A.I.Ds dear, the neighbours would love that, and the scandal; I hate to imagine.

### SCENE 6: INT: THE OFFICE DAY

DANIEL is sitting at his desk. His colleague MIKE is seated at a nearby desk reading his computer screen.

#### MIKE

We had a call from Mrs. Bennet yesterday about her daughter. She thinks the daughter's boyfriend has been off his medication and she's worried about the baby. Any chance of you doing a home visit Dan, just to see if everything is okay?

DAN

Fine. I have a couple of calls to make this morning and I'll fit them in after. I've seen the boyfriend when he has come off the pills before, it's not a pretty sight.

It's inevitable I suppose when you have to take strong medication every day and you feel like there's nothing wrong with you. It's only when they stop using the pills that the symptoms begin to come back.

MIKE

Schizophrenia is it?

DAN

Yes.

MIKE

Well if you think a section is necessary give me a call and I'll do the assessment with you. We may have to cancel our dinner if it goes on too long.

DAN

Oh, I'd clean forgotten about that. I can't miss one of Meg's lovely dinners, can I, so I'll try to avoid a section if at all possible.

MIKE

Even if it does come to that I suppose we could always eat late, especially as you are living so close these days.

DAN

Okay.

MIKE

Seen Teresa recently have you?

DAN

Last night, actually.

MIKE

How did that go, pistols at dawn was it?

DAN

Not quite. Handbags at dawn would be a better description.

MIKE

So there's still some hope then?

DAN

Oh, things will work out in the end. Change is always difficult and I guess with time, things will be okay.

(The telephone rings on DAN'S desk,)

Hello, Mental Health? Ah, Lucy my love, how are you? Really, and I am missing you too. Yes, you can come to stay whenever you want I'll take the sofa and you can have the bedroom.

Collage is okay, is it? Good, yes I'll keep in touch and try to get down when ever work allows. I know it may be hard at present but Mummy and Daddy are being very adult about it all, yes, we'll talk about it when I see you next. Okay love, bye bye.

MIKE

Separation's always hard on the kids, no matter how old they are, it always causes problems.

DAN

Yes, still kids are resilient and she'll get used to it, in the end. I'm off on my visits, they're in the diary and I'll call should I need your help with the Bennets.

MIKE

If not, see you tonight about seven.

(DAN leaves)

###

### SCENE 7: Ext: The Street. Day

##### Dan is driving along when he sees a young couple, JOHN and MARY BENNET pushing a pram. He pulls up beside them and winds down his window.

##### DAN

John and Mary, I was just on my way to see you.

JOHN

( **Shuffling from one foot to the other** ) Hello Dan.

MARY

Mum said she'd called, it's John see...

JOHN

I'm alright, seriously, you ask the police or the council, they'll tell you.

DAN

Hmmm, why don't you put the baby in the back and I'll take you home.

JOHN

Lovely. Thanks Sir, very much.

MARY

Put the baby in the back John, Mr Dan's giving us a lift.

JOHN

Oh, the baby, right.

(They climb in leaving the pushchair on the pavement. DAN gets out the car and folds it down before putting it in the boot. He climbs back in and starts the car.)

Have you seen this Sir? The baby loves it.

( **Making a whooping sound John holds the baby up by it's feet.)**

Look at his face.

MARY

John, don't.

DAN

Put your seat belts on please. Mary, why don't you take the baby till we get home.

### SCENE 8: Int: MIKE'S house :Night

Mike, MEG, his wife and DANIEL have just cleared the dining table, they go to the lounge and relax with some coffee.

#### MIKE

#### How were the Bennets?

####

#### DAN

#### She's managing well considering she is mothering both the baby and her boyfriend. He was away with the fairies, as expected but I managed to convince him to start taking his tablets again.

####

#### I'm going to make a referral top Kidscape to get some help with the child. I think John needs to take his Stellazine intravenously, overseen by the CPN, of course, to avoid problems in future.

MIKE

Yes.

MEG

#### Dan, before we forget, Mike and I have got you a little something for your new flat. (She hands over a gift wrapped item.)

#### DAN

#### Oh, you shouldn't have, what is it?

MIKE

Go on, open it.

( **DAN opens the wrap and inside is a cuppachino maker)**

DAN

How delightful, it must have cost a fortune.

MIKE

We're glad you like it, it was a toss up between that and a cookbook. Now there's no excuse for not inviting us over for coffee.

DAN

Thank you.

MEG

I hope you don't mind me asking Dan, but what on earth is going on with you and Teresa. I always thought you two were made for each other, what went wrong?

DAN

Nothing went wrong with our relationship. It's just me I'm afraid.

MEG

Really, what about you?

DAN

Let's just say that we got married too early and that I should have played the field a little before hitching my wagon to Teresa's horse. I needed to spend some time alone before I got too old and ended up bitter and twisted.

MIKE

Surely you'll be more bitter and twisted old age creeps up, on your own? It seems like an awful risk.

DAN

It's something I have to do, I may return to Teresa in the end with my tail between my legs but only time will tell.

|MEG

She might not want you back, have you considered that, poor thing, I bet she's frantic. We have our ups and downs but I could never walk away from all we have built up in the hope that I'll meet someone better, not at our age. No, it's not a risk I could take.

DAN

It's complicated. One day, when I feel more comfortable talking about it I will tell you everything, until then just be aware that I am vulnerable too.

MIKE

You can rely on our support, Old Chap.

MEG

Perhaps you'd like to come to the Tate on Saturday? We have some extra tickets. It's a exhibition of surrealist art, from Dali to Esher, you might enjoy it.

DAN

Personally I feel that surrealism began and ended with the Flemish artists like Broigle. I've never been into the modern art scene, Dali is so predictable, and as for Esher, well, give me wallpaper any day. I hope you don't mind?

MEG

Well we love Esher, we'll be enjoying it without you then, you philistine.

DAN

You'll be saying Warhol is a proper artist next.

MIKE

Oh, that's below the belt. More drinks anyone?

### SCENE 9 INT: DAN'S FLAT: NIGHT

Dan is reading TIME OUT in bed. He flicks through the pages and examines the GAY section. He uses a biro pen to put a ring around the adverts for a couple of bars and clubs....

### SCENE 10: The Office: DAY

Dan is in an interview room with a client. She is crying.

#### CLIENT

They keep saying the dogs got fleas, but it's not true, I treat that dog better then a baby.

#### DAN

I know you are upset but are you sure these feelings are about the dog, you can be honest with me.

CLIENT

It's my mum, she's driving me nuts. I can't ever do anything right and because the dog itches it gives her an excuse to persecute me.

DAN

This pattern of behaviour with your mother seems to be repeating itself. The dependence you have upon her means that she exerts a powerful control over your emotional state. We've been here before haven't we?

CLIENT

#### Are you saying I mistreat my dog?

#### DAN

Forget the dog for a moment and think about the role you play in the relationship between you and your mother. Isn't this situation very similar to the one last month but then it was about washing up, remember?

CLIENT

I see, so the dog hasn't really got fleas?

DAN

The dog is fine, it's your mother who has the problem.

CLIENT

What, she's got fleas?

DAN

No, no. It's about dependence, well, over dependence.

CLIENT

You're saying I need to be more independent?

DAN

Very good.

CLIENT

Well, what about the dog? Shall I get a flea collar...

### SCENE 11, Central London: Night

Dan is wandering through the streets looking for a bar he saw listed in Time Out. He eventually finds it and waits outside for a moment observing the people who are coming and going. The security on the door eye him suspiciously. He takes a deep breath and enters the bar. The music is loud and the bar is full of men in various states of undress. DAN goes to the counter and orders a drink.

The barman smiles flirtatiously but is abrupt when returning the change. Dan is knocked when a big lump of a man, bare chested and wearing as leather harness, barges past. He moves away from the packed bar and finds an area where a group of men are eyeing each other. He tries to look comfortable but fails.

No one pays him any attention until a large man with a beer belly approaches and smiles. His teeth are rotten and stained. DAN looks away. He sees a young man standing nervously nearby and smiles

when the young man looks at him. The young man looks away and goes to stand elsewhere. Suddenly a man stands behind DAN and the stench of stale urine and tobacco fills his nostrils.

OLD MAN

I'd like to piss all over you.

DAN is startled and walks away. Gulping back his drink he leaves and finds himself back on the street panting.

DAN goes along the street towards the sound of another bar nearby. The crowd is younger here and everyone is very fashionably dressed. DAN goes to the bar and orders a drink, the barman takes his money after giving him the once over; smirking.

HE becomes aware that the other drinkers are looking at him with wry smiles and he feels that it may be because he is wearing shoes and a shirt where as everyone else has trainers and more casual clothing. Someone barges him and shrieks of laughter echo out. He knocks back his drink and stumbles back onto the street.

SCENE 12: Compton St: NIGHT

Although the street is still buzzing with people DAN feels desperately alone and out of his depth. He leaves the street and heads to a bus stop in Wardor St. He walks past a group of street artists who are busy painting the tourists likenesses and as he watches he notices a group of teenagers standing against a wall. One is talking very loudly to the others and turns to make eye contact with DAN.

DAN sits at the bus stop and the boy who was talking loudly, dressed in training shoes, skinny jeans and a baseball cap smiles at him. DAN smiles awkwardly back noticing the boy's long hair is dark brown and grown to his shoulders. He is about 18 years old and after a few moments he approaches the bus stop.

BOY

Have you got a light?

DAN

Yes, yes I have. (pulls out a lighter from his pocket.)

BOY

Have you got a cigarette?

DAN

No sorry, I just carry a lighter because most of the people I work with smoke.

BOY

Oh, My name is Eddy, That's Graham and the other boy is Jim.

Jim

Cold isn't it?

(Dan notices that he is wearing a thin tee shirt while the others have coats on.)

GRAHAM

Are you J.P.S?

DAN

I thought they were a brand of cigarettes.

JIM

No, Juvenile Protection, they're always giving us grief.

DAN

Why, what have you done?

EDDY  
Nothing, they just don't like us hanging about on the streets. If we get seen they take us to the nick and lock us up all night, don't ask me why, I suppose it looks good on their records. It isn't like they feed us or something.

JIM

Or find us somewhere to live.

GRAHAM

They just lock us up. I was banged up for three hours last night and when they did let me go it was pissing down with rain and they just slung me out in it. It didn't matter to them that I didn't have a pair of socks or any gloves.

JIM

Or a coat.

GRAHAM

I'd been out of me nut all day so I didn't mind.

EDDY

Tripping out of his head.

DAN

So, you three live round here do you?

EDDY

We just wait around trying to turn a trick, you know, to get some food or a bed for the night, how about you?

DAN

Oh, I've just broken up from a long relationship. I came up here hoping to meet someone, but I'm new to all this.

EDDY

Where did you go?

DAN

Oh, there was a pub on Crompton Street, but that was awful.

EDDY

Not the leather place.

GRAHAM

Next to the coffee shop?

DAN

Yes, do you know it?

EDDY

That place is full of leather queens and Mary's. You'd have to be pretty desperate to go in that meat market.

DAN

What's a Mary?

JIM

You know, a steroid junkie. He's funny eh?

EDDY

You must be new to the scene. Where else did you go?

DAN

I went to the bar at the end, the one in the little ally.

JIM

Shit, that place is full of Essex Hairdressers.

EDDY

Right lot of prissy queens..

DAN

I didn't know.

EDDY

I now all the bars up here and will show you places where you can go and meet people. There's a speakeasy that's open after hours and all the boys go there. It's quiet and there's The Piano bar, that's good.

JIM

Yha, we're going there later.

EDDY

You got any drugs at home?

DAN

Drugs? Not really, perhaps some valium.

EDDY

I love valium, shall we go?

DAN

What, back to my flat?

EDDY

(To JIM and GRAHAM) I'll see you tomorrow, same place as usual.

JIM

Bring some food.

GRAHAM

And some valium.

( **They both walk off. EDDY walks in the other direction and calls DAN)**

EDDY

You coming or what?

DAN

Oh, right. ( **He takes off his jacket and passes it to EDDY)** Put this on till we get home, you look freezing.

EDDY

Thank you, that's better.

(They walk further and EDDY whispers)

Let me make something clear before we get to the car , you're not going to fuck me okay. It's better to say now just in case you were expecting...

DAN

Oh, Christ I didn't have...

EDDY

It's best to make things clear, eh. Saves any confusion later.

### SCENE 13 EXT: DANIEL'S CARE: NIGHT

EDDY and DAN are in the car driving back to his flat.

EDDY

I could see you're not a regular punter. I've never seen you with any of the other boys.

DAN

I suppose there's a first time for everything. I didn't go up there with the intention of picking a boy up. I just wanted to see what the scene, as it were, was like. After my experience of those two bars I wish I'd not bothered; I felt like a fish out of water.

|EDDY

I could see that. Where do you come from, your accent isn't London is it?

DAN

I've lived in Kent with, well, with my other half for most of my adult life.

EDDY

Kent, that's where the rich people live, eh. So, you and your boyfriend, broken up have you?

DAN

Sort of, we're having a separation. From my wife, I am married with a daughter; she's at collage.

EDDY

That sounds complicated. What's your name?

DAN

Dan.

EDDY

Dan, the man. I don't supposed you noticed but my friends followed us and they clocked your car registration number. If I don't go back tomorrow night they'll think something bad has happened. We look out for each other like that. Do you understand?

DAN

Well, don't worry, I'm not a serial killer. I'm a tutor and therapist, the only thing you risk loosing with me is your lack of insight.

EDDY

I'd find that funny, if I knew what it was.

DAN

Insight, it's the...

EDDY

Hang on, slow down. I know this road. Yha, pull up here.

DAN

What here?

EDDY

Quick, give me ten quid.

DAN

What?

EDDY

Come on, I won't run off. I know a dealer who lives here, he used to be a regular punter but he got a boyfriend, a right arsehole; and we lost touch. Anyway, give me a tenner and I'll go and sort something out for us to take back.

DAN

Like what?

EDDY

Just draw, you know, puff, dope, cannabis.

DAN

Oh, I've not smoked dope since I was at collage in the seventies. Is it still popular?

EDDY

Are you having a laugh? Have you got ten quid or what?

DAN

Here you are, it's been nice knowing you.

EDDY

Don't drive off, I'm coming back, give me five minutes.

( **He opens the door and gets out the vehicle)**

Five minutes, okay?

DAN

Sure...

He waits in the car for ten minutes and then looks at his watch. Dan is about to start the car engine when he sees a shadow approaching and the passenger door opens. EDDY slips in and closes the door.

EDDY

Sorry I was so long but the old boy's on his own and felt like a bit of company. That's the thing in this game, you have sex with someone once and they think they own you.

DAN

Did you get what you wanted?

EDDY

Er, yes. Shall we get going.

DAN starts the car engine and they move off.

DAN

You say he's an old boy, is he retired or something?

EDDY

No, he's just really old.

DAN

Oh.

EDDY

About the same age as you.

DAN

Charming, I'm only forty.

EDDY

You know what I mean, anyway, we need some cigarettes and some papers, Rizla, If we stop at a petrol station you can get me a can of coke and some crisps, if that's okay?

DAN

Rizla, that'll take me back.

SCENE 15: INT: Daniel's flat: NIGHT

DANIEL and EDDY enter the flat and go to the lounge. EDDY takes his jacket off and pulls over the coffee table. He then puts a wrap containing a small lump of hash and the cigarette papers, the rizla, on the table.

EDDY

This is a nice place, a bit like the flat I had in Marble Arch but bigger. It wasn't my flat, it belonged to an Old Boy I met in a bar in Earls Court.

DAN

So, are you homeless or not?

EDDY

Yes, I'm homeless.

DAN

Why did you move from the flat in Marble Arch?

EDDY

The Old Boy got a bit too nosey. Dan, can you make a cup of tea and I'll get a spliff together.

DAN

How exciting. I will have a puff but I may not inhale, you know, like President Clinton.

EDDY

Who?

DAN

I'm not sure how it will affect me after all this time.

EDDY

Cool. Get the kettle on, man!

( **A few hours later they are both sprawled across the sofa with their feet on the coffee table. The television is on in the background but they are not paying particular attention to it)**

EDDY

That's nice hash man, I feel so stoned.

DAN

Yes, I'd forgotten how nice it is. All those years I'd been convincing myself that I hadn't really enjoyed smoking it at collage and that it was just a juvenile fad; what a waste. I don't feel poisoned like I would had we been boozing all night. The intoxication is euphoric, sublime and; what's the word I'm looking for?

EDDY

The dog's bollocks.

DAN

Yes, the dog's bollocks. Euphoric, sublime and the dog's bollocks. What a curious expression.

EDDY

Do all your mates use words like that?

DAN

Like what?

EDDY

Sublime, euphoric. What do they mean?

DAN

Well sublime is another word for beauty and euphoria is another way for saying high.

EDDY

Oh, so you could say that aeroplane is flying euphorically. Or cor blimey, what a sublime bacon sandwich.

(They both laugh out loud.)

That television is sublime, it's making me euphoric.

( **Laughs)**

DAN

Okay, I get the hint. Pretension is not attractive. I'll tone it down a bit.

EDDY

Dan?

DAN

Yes Eddy.

EDDY

I didn't understand anything you just said.

(Laughs)

DAN

That's hilarious.

EDDY

I can't help being thick, I come from a long line of dunces. Still, it's been a euphoric and sublime evening. Now I have to visit the lav, because I have a sublime shit up my arse and in a minute I'm going to have a euphoric crap.

( **Both fall about screaming with laughter.)**

DAN

Eddy, you are a very funny young man.

EDDY

When I was born the doctor told my mum that I looked funny, so he was right.

(|Both laugh)

DAN

What a superb sense of humour, considering...

EDDY

Considering what?

DAN

Well, considering you have been on the streets for some time. Some people would loose their sense of humour given those circumstances.

EDDY

You can't let that get to you. You need a sense of humour to survive on the streets.

DAN

I can imagine. Still, you can forget the streets tonight eh?

EDDY

How can I do that, Dan? I mean, I might have somewhere to stay tonight but tomorrow I'm back out there again, in the cold.

DAN

No, you can stay here if you are stuck. It's not a problem, I want you to make yourself at home.

EDDY

Really Dan?

DAN

Yes, really.

EDDY

Wow, I don't know what to say, no one's every been that nice before. Normally they want a fuck and then get rid of you.

DAN

Well not tonight.

EDDY

I'll have to go and let my friends know that I'm okay tomorrow but I'll come back; if that's okay?

DAN

Fine. Now, I guess we should discuss the sleeping arrangements.

EDDY

It's still early, we don't have to go to bed yet.

DAN

Really? I feel knackered myself and beside, I thought you'd be looking forwards to sleeping in a nice clean bed tonight?

EDDY

Dan?

DAN

Yes?

EDDY

I think you should know something, I have been meaning to tell you but haven't had the chance...

DAN

Really, what's this, a confession?

EDDY

Sort of, you need to know that I'm fifteen years old and that I've run away from a children's home. I should have told you earlier but I thought you'd not invite me back if you knew. I'm sorry.

DAN

Oh, I'm glad you told me. I knew you were young but I guessed about eighteen. So, as you are under the age of consent we should make sure there can be no hint of anything untoward.

EDDY

I know I look a little older but I'm glad you understand. I think you'll agree that any man who forces a fifteen-year-old boy to have sex with them isn't a very nice person.

DAN

I do agree. I'll get you a quilt so that you'll be comfortable here on the sofa.

EDDY

Cheers Dan, can I have a valium now?

### SCENE 16: Daniel's flat Day

DAN wakes as the alarm goes off and sleepily reaches over and turns it off. He gets up and goes to the bedroom to pee and after creeps to the lounge door to peer in. Eddy is sprawled uneasily on the sofa deep in sleep.

DAN dresses and then goes to the lounge inspecting the TV, the DVD player and his hi-fi equipment. He bites his lip anxiously, looks at EDDY and then picks the telephone up and dials.

DAN

Hello Mike, it's Dan here. Could you let Admin know that I won't be in today; I'll be working from home. Nothing serious but I have to sort some things out regarding the flat. My diary's on the desk, if anything important comes up let me know and I'll deal with it from here. Yes, I'll be on this number all day. Okay, see you in the morning.

(He hangs up and then approaches EDDY)

Hay you, wake up. I've made you some eggs and bacon and some tea.

EDDY

(Yawns) Thanks Dan, pass the tea please.

(He takes the steaming cup)

Make a joint mate...

DAN

It's a little early isn't it?

EDDY

Never to early for a spliff.

(Eddy flicks on the TV and DAN sits to make a joint.)

DAN

I used to smoke about half an ounce of this a week when I was younger. I could revise, write essays and do all my course-work without ever leaving my room; except for munchies.

It seemed to make me more focussed, better able to comprehend the complex issues I was trying to assimilate. I was able to totally immerse myself in the subject, deeply, creatively.

Summarization and precise were made easy. I remember that my tutors were sometime intrigued by my conclusions, they were a little off the wall sometimes, but they could follow the route I'd used to get to them. Little did they know that it was all down to social isolation and a lot of Moroccan Hashish. Those were the...

EDDY

Be quiet please, I'm watching this.

( **Dan looks up to see EDDY smiling at a Tom and Jerry cartoon. He sits back and lights the joint he has rolled.)**

Sorry, I didn't mean to be rude but first thing in the morning I hate a lot of noise, In my old children's home every morning the staff made loads of racket to get us out of bed. Now I can't stand it, it's just the way I am.

(DAN passes him the joint.)

DAN

Don't feel guilty, I was going on a bit. How long have you been smoking dope?

EDDY

As long as I can remember, my father smoked it and so did his father. In fact before I was taken into care the whole family smoked it.

DAN

Even the baby? (Laughs)

EDDY

Yha.

DAN

Nothing like a good old family tradition. My family never had the money to indulge in such extravagancies; I suppose your father did have to pay for it?

EDDY

No, dad was a dealer. I never had to pay for my drugs. I did it all when I lived at home, coke, smack, Charlie. I even used cocaine back then.

DAN

I thought Charlie was cocaine?

EDDY

Is it, well you know what I mean.

DAN

No wonder you were put in care. How old were you when your parents first gave you narcotics?

EDDY

Never had them, just coke and Charlie, pour me another cup of tea please.

DAN

I see. (long pause) What age were you when you left home?

EDDY

Sorry, I smoked all this joint.

DAN

Never mind.

EDDY

You'd better make another one.

### SCENE 17: Daniel's Flat; Night

Much later DAN and EDDY are at the street door.

DAN

Please take this coat with you, it's very cold tonight and I never wear it these days so you may as well have it.

EDDY

Thank you.

DAN

It's been nice having you around. I know you have to go but I want you to be aware that you'll always be welcome if you want to come back. I have enjoyed having a bit of company. Here's a note with my phone number and a small parcel for your friends.

EDDY

**(Takes the parcel and note.)** Cheers. What's in here?

DAN

Oh, just some sandwiches, nothing too fussy... So?

EDDY

I'll be off then.

( **He pauses and touches Dan's arm gently.)**

Thanks for all you have done for me, it's been appreciated.

DAN

It was nothing.

EDDY

I don't suppose you have a couple of quid I could nick; for the train fare?

DAN

Here's a fiver. I might see you later then?

EDDY

Perhaps.

They both smile wistfully and DAN feels himself becoming emotional. He nods as EDDY turns and walks away.

### SCENE 18: Daniel's flat: Night

DAN is watching the news at 6pm when a knock comes from the front door. He wonders whom it could be before thinking that perhaps EDDY'S returned. Dan stands and rushes to the door expectantly.

His smile changes slightly when he opens it to find LUCY standing outside with KATE. He lets them in and closes the door.

DAN

Lucy, what a surprise, and Kate too, I'm flabbergasted. (He kisses his daughter gently on the cheek before taking her coat.) Come in, come in...

LUCY

Kate had a job interview in the West End today and I came along to give her a bit of support. When we looked at the Tube map we saw your station was only a couple of stops away and decided to drop by before we headed back.

DAN

Well, well. Let me make you some coffee. So, Kate's looking for work?

KATE

That's right.

DAN

I keep forgetting that you're both about to leave collage. I imagined you'd both have pig-tails forever but I suppose you had to grow up eventually. What was the job for Kate?

KATE

Only a waitress in Covent Garden; pretty boring really.

DAN

Not at all. We have all been there. I suppose even graduates need some work experience before they can call themselves professionals. So, did they like you?

KATE

I think so, they want me to go back and do a shift in a couple of days. They said I should do that to see if I like the job and the job likes me.

DAN

Sounds like an excellent idea. It doesn't mean that you can't keep an eye out for something better or continue with Higher Education perhaps?

KATE

Oh, I thought you knew, I've been accepted for Greenwich University but the course doesn't start till next spring. I'm just filling my time until then.

DAN

Well done, what will you be doing at Uni?

KATE

Post Graduate Law...

LUCY

Kate wants to get called to the Bar. She has her B.A...

KATE

I need to do a M.A before starting formal Barrister training; I'll be really ancient by the time I've finished.

LUCY

How old were you when you got your M.A daddy?

(DAN joins the two girls in the lounge with a tray of steaming coffee cups and a plate of biscuits.)

DAN

It's only instant coffee I'm afraid. How old was I when I got my Masters, hmm, let me see. It was so long ago that I was in the same class as Aristotle.

LUCY

Who's he, a Greek oil tycoon?

KATE

Dah! It was a joke I think. You're father's displaying his sense of humour, I think.

LUCY

Just goes to show, four years at Uni and I'm still thick as a plank. Still, it's good you have a sense of humour considering...

KATE

Hmm! I need to use the loo, where is it Mr Kaine?

DAN

Just through the hall, Kate, first on the left.

(KATE leaves the room awkwardly.)

Do I detect a little dolefulness in your mood tonight darling, or are you just menstruating?

LUCY

I don't understand how you can be so cheerful when Mummy and me are so sad. Don't you care about how we feel?

DAN

Of course I care Darling.

( **He sits beside her and places his arm around her shoulder.)**

Why the tears, surely this flat isn't that depressing?

LUCY

Don't Daddy. It's because we miss you so much, I miss you. The house is so big and cold without you, the garden looks neglected since you have been gone. Mummy lays in bed a lot of the time crying.

When I look at the neglected roses I feel kind of neglected too. It's a consolation that you noticed my dolefulness as it means your heart has not completely turned to stone.

DAN

Oh, my little flower. I haven't meant to neglect you or the house or the garden. It's just that the house was our home. Your mother's, yours and mine. I spent sixteen years in that house and garden making it a place we three could be proud of. A place we could call home.

I tendered the soil and planted the seeds and watched them grow into beautifully matured plants; like you. Now that I am gone it is your turn to take responsibility for it; for them.

LUCY

So it's my fault that the garden looks neglected?

DAN

Of course not. I am guilty of walking away and giving you all that responsibility; especially as you were not ready for it. Although, if the truth was known, I should have done it years ago, when you were young enough to not have been affected by it.

Unfortunately I was bullied by my parents into education and then marriage before I had the courage to say stop, this is not what I want. Instead I tried to go with convention and hoped that time would bring me contentment.

I planted my seeds and watched them grow but as they did so I wondered what sort of flower I would have been. Weather I would have been happier if I'd led another life. Now as an adult I feel so confused about it all that finding the right words to explain it is difficult.

LUCY

All these analogies are like painting gloss over a wall saturated by mould. Lets just be honest about this Daddy, you have decided to turn queer and fuck everyone else.

DAN

I suppose your mother put it like that? She was always so tactful. Well, if only it was that simple. The truth is I haven't turned anything; I'm merely trying out a lifestyle that wasn't available when I was younger .

It's a different world today. People are free to be true to themselves without being ostracised or, at worst, locked up. It may be that I will find out that this life is not for me and then I'll come home knowing it is where I belong. Until then I have to be allowed to do this.

LUCY

I hope you realise the damage you have done. Anyway I don't think mummy would have you back again if you wanted to return.

KATE

**(Poking her head into the room.)** Everything okay?

LUCY

Not really! I think it's time we left.

KATE

Oh, if that's what you want to do?

LUCY

Before I forget Daddy, I have something in my bag for you.

(She reaches into her bag and takes out a framed photograph of herself and mother in happier days.)

DAN

Lucy, it's beautiful.

LUCY

You can bin it, if you want.

DAN

Never, I'll treasure it forever.

KATE

Right, ready when you are.

DANIEL hugs his daughter before leading them to the street door. The girls leave and he stands there watching them go with tears welling up in his eyes. DAN then closes the door and returns to the lounge sitting on the sofa he weeps gently.

### SCENE 19: INT: Daniel's flat: Night

DAN is curled up on the sofa asleep. The TV is on in the background and the News At Ten programme is just beginning. A faint tapping comes from the street door waking him abruptly. DAN rubs the sleep from his eyes and goes to the door. Outside EDDY is standing. He smiles and DAN allows him to enter.

EDDY

I said I'd be back.

(He gives his coat to DAN and goes into the lounge. Dan hangs the coat up and then finds EDDY on the sofa with the T.V remote control in his hand.)

I got some more hash, if you still have any cigarettes?

DAN

They're in the box by the sofa, help yourself.

EDDY

Cheers. You look a bit down, are you angry that I came back?

DAN

No, not at all Eddy. It's just that I had a visit from my daughter earlier and it struck me how little I'd taken her into consideration. I feel really guilty about that.

EDDY

She'll get over it. I'd forgotten that you were married and had a daughter, how old is she?

DAN

She's nearly nineteen. Although she is older then you she doesn't have your emotional maturity. I guess we over protected her; that happens a lot with single children?

EDDY

Probably. Why don't you make a cup of tea and I'll make a spliff?

DAN

I'll make some tea but I don't know about smoking dope at this time of night, I have to go to work in the morning...

EDDY

Blimey Dan, it's only ten o'clock. I think you shouldn't go to be until you feel happier. Make some tea and let me cheer you up a bit.

DAN

Why not!

SCENE 20: Daniel's bedroom: Night

DAN is sleeping soundly. The room is dark and shadows dance against the walls. A slight breeze makes the net curtains billow in and out seemingly glowing with silver moonlight.

Dan's face is pressed gently against the pillow as he becomes aware of another body slipping between the bed-sheets and joining him. He can feel the warm glow of EDDY's skin against his own and the gentle caress of cold fingers along his hips. Dan opens his eyes and looks through the twilight into Eddy's soft brown pupils. He is about to whisper furtively when a finger goes to his lips to silence him.

EDDY slips his arm around DAN's waist and both men fall into a deep, relaxed sleep.

### SCENE 21: INT Daniel's room DAY

DAN opens his eyes and sees EDDY asleep next to him. His expression is filled with anxiety and just as he is about to get up EDDY opens his eyes, leans forwards and kisses him gently on the lips.

EDDY

Good morning.

DAN

What's the time; Jesus, it's almost ten o'clock. I've got a class in five minutes I'd better call and let them know I'm going to be late.

He gets out of bed and heads towards the telephone.

EDDY

Can't you call in sick, go on, stay with me in bed.

DAN

Eddy, don't you see, I'm going to be called a child molester for this. Oh, Jesus, what have I done?

He pulls on a pair of trousers, picks up the telephone receiver and dials a number.

I am so sorry Eddy, I should have known better. I'm not a child abuser, I don't know why I let you stay in the bed with me, it was a moment of weakness. Please forgive me.

He hears someone answer at the end of the line and speaks to him.

Hello Mike? It's Daniel here, I'm still not any better and I took some medication from the doctor last night and it made me pass out, hence calling you so late. Please tell admin, tomorrow, yes I hope so. I will mate, thank you, you too. Take care, bye...

He hangs up the receiver and sits on the side of the bed with his head in his hands.

When I felt you get into bed with me last night I couldn't help myself. It's loneliness, the need for intimacy or something. I would never behave in such an impulsive way normally.

EDDY

Don't worry about it.

EDDY gets out of bed naked and goes to the toilet, the sound of his pee hitting the bowel echoes around the bedroom.

DAN

I like to think my decisions are balanced, adult and without risk. I don't understand how I could have been...

EDDY

It was me that started it.

DAN

...so foolish. I won't be able to live with myself....

EDDY

You were asleep, I came and woke you.

DAN

...That's not the point. I should have said no!

EDDY

Don't you fancy me or something?

DAN

That's irrelevant. The fact is I am a grown man, an adult, you are a child. A fifteen year old boy. The law forbids sexual relationships between people of our age and I should have said NO! I have broken the law.

EDDY

Well I'm not going to tell them. Are you?

DAN

No, but still. That doesn't prevent me from feeling guilty about it. I have acted in an immoral and irresponsible way, I _should_ feel guilty about it.

EDDY

Why's that?

EDDY dresses and goes into the lounge followed by DAN.

DAN

Because.

EDDY

Because what?

DAN

Well, I like to think of myself as a responsible and law abiding person. Taking your age into consideration I have no choice but to say our relationship is similar to a parental relationship. Responsible and moral parents do not have sex with their children.

EDDY

Stop talking such shit and put the kettle on. Where are the cigarettes and Rizla?

DAN

I could go to prison you know. They could lock me up for what happened last night. My God, Teresa would have a field day, she's never forgive me.

EDDY

Would it make you feel any better if I told you I was nineteen?

DAN

Let alone what Lucy would say.

EDDY

That I was under developed?

DAN

Stop messing around. This is serious. Child sex abuse is a serious subject.

EDDY

Oh fuck off.

DAN

Eddy, I've done a terrible thing, I am sorry.

EDDY

It's only child abuse if there was a child involved.

DAN

But you are a child. You're only fifteen.

EDDY

Der! (pulls a face) are you thick or something? I told you, I am nineteen so stop going on about it. Third of the forth nineteen seventy three, there you go, nineteen. I'm nearly twenty. So, no one is going to lock you up, persecute you or batter an eye-lid; so shut up and make a cup of tea.

DAN goes to the kitchen and makes them both some tea before returning and placing a mug beside EDDY on the sofa, the TV is on and EDDY is making a joint.

DAN

So, it's true. I thought you were a little long in the tooth for a fifteen year old. Why did you lie?

EDDY

I just say it so I don't have to have sex with everyone who puts me up. It's a habit I suppose. Sorry.

DAN

No, I understand. You are underdeveloped though aren't you?

EDDY

Yes, I don't know why but I didn't even get hair under my arms until last year. I suppose my diet has been crap.

DAN

It may have something to do with your drug usage. All sorts of things, nurturing, diet or the environment can affect endocrinology. The research into human development is quiet clear about the environment fostering appropriate development. It can be hindered by all sorts of things, hostility for instance, absent maternal figures...

EDDY

Do you mind if I watch this?

He passes Dan the joint he has been smoking.

DAN

I have read a lot of Klinian Theory. That just makes so much sense...

EDDY

Do all the people you know talk like that?

DAN

Like what?

EDDY

All that bollocks; I don't understand half of it.

DAN

Oh, sorry

EDDY

I like this cartoon, can you shut up now; please?

SCENE 22: Daniel's flat :Night

Both DAN and EDDY are watching the TV when a loud knock comes from the direction of the front door. DAN sits up sharply and looks at EDDY with a surprised look on his face. He then looks at the coffee table with is covered by torn up cigarettes and Rizla papers amid the dust and small lumps of the hash they have been smoking.

DAN

Shit, I wonder who that is?

EDDY

You wont know unless you answer it.

DAN

Shall I?

EDDY

You'd better, it may be important.

The knock comes again and DAN opens a small wooden box laying on the coffee table and scoops all the crumbs into it. Another, louder knock resounds around the flat. EDDY laughs out loud.

You'd better go and get it.

DAN goes to the door and pulls it opened. He is flustered to find MIKE standing outside. He steps into the hall and takes off his coat heading to the lounge.

DAN

Mike, what a surprise, what brings you over here?

MIKE

I wondered if you had everything you needed. I know what it's like to be ill and stuck in alone...Oh!

He sees EDDY on the sofa

...I didn't realise you had company. Is it a bad time?

DAN

Don't be silly, take a seat. Eddy, this is Mike, Mike, er, Eddy.

MIKE

We work together.

EDDY ignores MIKE and uses the TV remote control to turn up the volume of the television.

DAN

Eddy's my nephew. He's, erm, he's staying to look after me for a while.

MIKE

Oh, that's nice; nephew eh?

DAN

That's right, my sister's boy. Coffee?

MIKE

If you don't mind.

He follows DAN into the kitchen and watches while he puts on the kettle and ready the cups.

Meg will feel so much better knowing you have someone to do the errands. She suggested that you could stay with us if you were particularly unwell, being alone and all that.

DAN

No need for that, thank God.

MIKE

Oh.

DAN

No, (giggles) not that. Sorry, I meant there's no need for nursing as I am not that unwell.

MIKE

Oh, good.

DAN

Cuppachino?

MIKE

Very nice, thank you. How about...?

DAN

Eddy.

MIKE

How about Eddy?

EDDY

Do what? I can hear my name.

DAN

(Calling from the kitchen) Mike and his wife gave me a cuppachino maker as a moving in present. Would you like one?

EDDY

No, I'll just make another spliff....

DAN

(Coughs loudly and giggles awkwardly) Excuse me a moment...

He goes to EDDY in the lounge and shakes his head and makes gestures to him warning not to mention the contents of the box.

DAN then returns to the kitchen.

MIKE

I've never heard you mention your sister, or her children before.

DAN

I don't see them much. You know how it is with work commitments and all that.

He hands MIKE a coffee mug and they return to the lounge. MIKE sits opposite EDDY and looks at him suspiciously.

MIKE

Are you from Kent too Eddy?

EDDY

No, Peterborough.

MIKE

Oh, I thought your family came from Kent...

DAN

Erm, my sister moved...

MIKE

To Peterborough?

DAN

Yes, Peterborough. How's Meg?

MIKE

She's fine. So, are you at school young man or have you left yet?

EDDY

Whatever.

DAN

Not very talkative...

MIKE

I suppose you must have finished school otherwise you'd not be able to stay here. Couldn't commute to Peterborough everyday could you?

DAN

It's a bit far...

MIKE

So, what do you do with yourself?

EDDY

I like to get stoned....

MIKE

What. Not in the biblical sense I hope? (Giggles)

DAN

Stained, you know, wood staining. It's an apprentiship

MIKE

Splendid coffee Dan. Those machines are amazing aren't they?

DAN

I love fresh coffee.

MIKE

Why don't you and Eddy come for dinner on Saturday. Meg would love to meet your...

EDDY

That sounds good. Eh Dan?

DAN

I'm not sure...

MIKE

Come on, no point staying in alone. Both of you come and have some food with us.

EDDY

Great, Mark.

MIKE

Mike.

DAN

We might be going somewhere on Saturday.

EDDY

Are we?

MIKE

Are you?

DAN

I nearly forgot, you were going to show me that club Eddy, remember?

EDDY

What, oh. That was Friday wasn't it?

DAN

I thought you said Saturday. You remember don't you?

EDDY

What, that Gay club I was talking about Heaven, it's definitely Friday. Have you ever been to a gay club Mick?

MIKE

Mike!

EDDY

Why don't you come?

DAN

Dinner on Saturday sounds great. We'll be there...

MIKE

Oh, great. That's settled then.

EDDY

See you on Saturday then Mac.

MIKE

Mike.

EDDY

Mark.....

DAN

We'll look forwards to it...

MIKE

Well, I'll be off. Will you be back at work tomorrow Dan?

He gets up and collects his coat.

DAN

Yes, I'll be in tomorrow.

MIKE

Good, see you tomorrow. Good bye Ed...

EDDY

Yha, see you Mick.

MIKE

Mike. Oh, it doesn't matter. Bye then.

DAN goes to the street door with MIKE.

DAN

Sorry about that, you know what kids are like these days.

MIKE

No problem. I'm just glad that you're up and around okay. If you are off for the rest of the week I will see you on Saturday.

SCENE 23: ext: In the High Street: DAY

EDDY and DANIEL are outside the bank having been shopping.

DAN

Twenty quid should do, get yourself a nice shirt or something while I go in here to pay these bills, I hope Mike's not told Meg that we were going to a gay club...

EDDY

I thought he was going to choke on his coffee...

DAN

It was so funny...

EDDY

I was going to ask if he was gay, good job I didn't.

DAN

Just behave yourself tomorrow night when we are there, please. Anyway, is there a club or did you make it up?

EDDY

Of course there is. Friday at Heaven is a great club night, it's wicked.

DAN

Is it a disco?

EDDY

A what?

DAN

Never mind...

EDDY

You'd enjoy it, get an E down your throat and you'll be buzzing off your head.

DAN

A what?

EDDY

An E, haven't you ever heard of ecstasy?

DAN

That's dangerous, isn't it?

EDDY

You don't believe what they print in newspapers do you?

DAN

Well, not really.

EDDY

It's fucking brilliant. I'll look after you if we ever go.

DAN

We could, I guess I would have recovered by the following evening to be at Mike and Megs for dinner. If you want to go I'm up for it?

EDDY

What, are you serious?

DAN

I'd better take some more money out. How much will we need, thirty, forty quid or what?

EDDY

You'd better make if a hundred and fifty.

DAN

What?

EDDY

You've not been out in a while have you?

DAN

Apparently not...

SCENE 24 int: Daniel's Flat: day

Dan and Eddy are smoking joints watching Friday afternoon TV. Suddenly there is a loud rap on the door.

DAN

I wonder who that is?

EDDY smiles awkwardly and watches DAN go the door. He opens it and Teresa steps into the flat.

Teresa, what a pleasant surprise.

TERESA

Is it Daniel? I was in the West End having lunch with Meg. She wanted a second opinion on a coat and mentioned your cousin, Hello...

She looks at EDDY suspiciously.

You must be Eddy, I thought after we'd been married so long that I knew all your relatives, it seems I was mistaken.

DAN

Well, Eddy, this is Teresa my ex-wife.

TERESA

So I'm relegated to the ex now, oh, what is this?

She looks at the rizla and broken cigarettes on the coffee table and homes in on the piece of hash.

Drugs? You seem to be regressing darling.

DAN

That's Eddy's dope, would you like some Coffee?

TERESA

Café El Marrakech Is it? So, Cousin Eddy, although I'm his ex we're still married, aren't we darling, legally if not biblically. It appears we were quite happy till he got a ring on his finger but Dan's always liked to do things differently. Tell me has he put his ring on your finger yet?

DAN

Teresa, behave yourself.

TERESA

Has anyone ever mentioned that your cousin looks nothing like you; in fact he bares no family resemblance at all.

DAN

Would you like to drink this coffee I'm making, or wear it?

TERESA

It's hard to imagine that you share any genes at all, unless, of course they're Levis.

DAN

Let's not play this game please, (He enters with a trey of coffee and hands Eddy one and then Teresa.) You know very well that Eddy is no...

TERESA

...Relation to you whatsoever? Imagine what a fool I felt when Meg started to ask all those awkward questions. Why couldn't you just be honest with them and say you've developed an interest in young boys; I'm sure they would be delighted.

EDDY

Dan, if you and the old woman want to have a row could you take her in the kitchen; I'm trying to watch this programme.

TERESA

Old woman, am I?

DAN

It's a figure of speech.

TERESA

He's really got his hob-nailed boots under the table hasn't he. Excuse me love, why don't you just turn off the television and tell me all about how you were dragged up on a sink estate somewhere, I'm sure it's riveting.

EDDY

Dan!

TERESA

Ah, I always imagined you'd find someone who had more then just television to interest them, Dan, but I know you so little. In the days when you were interested in women you seemed to have a little more class.

EDDY

How can you say that; when he fancied _you_?

TERESA

How droll, Dan your little shit just made an attempt at bitchiness, you'd better tell him that he out of his depth.

DAN

Teresa, it's very unfair that you turn up here unannounced and start causing trouble as soon as you enter. I'm not having it, now either you stop this or I will have to ask you to leave.

TERESA

So your open door policy doesn't apply to women I take it; or is it just adults you object too?

EDDY

Dan, can't you get this fucking bird to shut up for a change. No wonder you left her I've only been in the room with her for five minutes and she's already doing my brain in.

TERESA

This fucking bird has a name, you little shit; and I'll have you know that we separated because of my husband's selfish hang ups. It had nothing to do with me. Even if it _were_ any of your business.

EDDY

Dan, please.

DAN

Yes, Teresa, I think it would be better if you left.

TERESA

I'll go when I'm good and ready thank you. Amazing isn't it, I come all the way up here to visit and you're pushing me out the door no sooner have I arrived; it's clear the you treat people you have only just met with more respect.

Oh, what's the use, I'm going, you and your cousin, fuck buddy, rent boy, whatever, are made for each other. Just get on with it but Daniel, don't expect me to lie about this if I am asked. Don't expect collusion because as far as I'm concerned you have made a rod for your back with this one. I am going to enjoy watching you beat yourself with it.

DAN

Teresa...

She puts down the coffee and storms out the door slamming it behind her. DAN slides on the sofa and looks glum.

EDDY

She's got some front hasn't she?

DAN

Hmm.

EDDY

How long were you married?

DAN

Too long.

EDDY

Tell me about it, She hates you, was it always like that?

DAN

My parents bullied both of us into marriage. It was a different time back then. You were expected to leave school, go to university, get married and have kids. It was the done thing.

EDDY

But you did love her?

DAN

I was in love with the idea of being in love. Does that make sense?

EDDY

Yha.

(He reaches out and plays with the back of Dan's hair.)

DAN

One day we were in a restaurant, nothing fancy, just a coffee house really. Teresa was going on about a Hermes handbag that she wanted to buy. I looked over her shoulder and saw a young man sitting at a table. He was reading a book and I found myself looking at his pale skin, at his red lips and his long eye lashes. I looked at his long fringe that just hung over his eyes and I heard myself saying...

EDDY

Yes?

DAN

I heard myself saying I think I love you. The words fell from my mouth as if someone else had said them. I think _I love you_ , I said it so _slowly_ , and I want to kiss those ruby lips of yours, feel your arms around my hips. The words just came out.

EDDY

Ha, what happened?

DAN

I looked up at Teresa and she was smiling, she thought, ha it's so funny really, she thought I had been speaking to her. Dan, she said...

EDDY

No?

DAN

Dan, she said, you are such a romantic. I guess I am, but a frustrated romantic. It was at that moment, sitting there in that coffee shop that I realised that I was a coward and that things had to change.

No matter how hard, how difficult or how many hearts go broken, things had to change or I had no reason to live any longer; it was that serious.

EDDY

That's not being a coward, Dan, that's having courage.

DAN

But I'd been a coward up till that moment. I didn't have the guts to say that the whole of my life up until then had been a sham, a fruitless, deceitful and wretched sham.

I had to walk away and try to make things right. Even if it made every one unhappy, every one even me. I had to do this, does that make me selfish

EDDY

No, it makes you reckless I suppose, reckless but very brave.

He leans over and they kiss.

SCENE 25 EXT: Daniel's car: NIGHT

DAN pulls his car to a halt outside a club that has a long queue of people lining the sidewalk. He looks out the side window and turns to EDDY

DAN

Quite a queue?

EDDY

Yha, it'll go down soon, they have just opened up and it's always like this just before the doors open. Have you got everything?

DAN

Cigarettes, lighter, money, that's everything isn't it?

EDDY

How much cash have you got/

DAN

You said seventy didn't you?

EDDY

At least.

DAN

It seems a lot of money for one night.

EDDY

Not between two people it isn't. If security stop you just let them know you're with me.

SCENE 26 INT: The Club: Night

EDDY leads DAN through a thick throng of people, mainly young men in various states of undress. A drag queen here and there make

Dan smile as he examines their costumes.

A smoke machine is billowing thick clouds of white mist over the heads of the dancers as a loud, bass heavy beat makes the walls throb. EDDY leads DAN to a part of the club that is less crowded but the music is still deafening. EDDY starts to shout and make hand signals to be understood.

EDDY

Give me some money and I'll sort some pills out.

DAN

What!

EDDY

MONEY!

DAN

How much?

DAN takes his wallet out and looks at EDDY expectantly. EDY just removes two twenty pound notes and disappears into the crowd. DAN looks about him. Everyone appears to be enjoying the music and some seem to be totally lost in the bead. No one is drinking alcohol and bright bottles of mineral water glow blue under the ultra violet light. EDDY appears from the crowd and pushes a pill into DAN'S mouth before passing him a bottle of water. Dan takes a swig.

That mint tasted horrible.

EDDY

It wasn't a mint.

DAN

What?

A man comes up behind EDDY and whispers in his ear. EDDY looks back and smiles as the man disappears into the throbbing crowd.

Who was that?

EDDY

Just a friend.

They wander about the club and stop occasionally to watch people dance and take in the strange sights. EDDY is known by people every where and he stops to chat once or twice. Someone passes him a spliff and EDDY smokes it in deep conversation with the man before passing it to DAN.

DAN

I'm feeling really hot.

EDDY

Yha?

DAN

Slightly strange...

EDDY

You're coming up on your E.

DAN

My what?

From DAN's perspective the club takes on a life of its own, distorted colours fade into patterns of colour and sound. He sees vision of a winged horse flying above the raised hands on the dance floor and it lands in front of him. DAN reaches out to stroke the Horses mane only to see it dissolve into the face of an unknown man.

Shit, sorry.

MAN

No problem.

EDDY is dancing wildly in a trance, he opens his eyes and stares blindly at DAN, EDDY'S pupils are flaming red and gold.

EDDY

How are you feeling?

DAN

It's beautiful, your hair, it's beautiful.

The image fades into a blur and in the next instant the house lights are coming on and a security guard is urging Dan to leave. He stumbles into the street outside the club and the birds are singing as the sun comes up. DAN looks around fro EDDY but cannot find him. He smokes a cigarette and waits but eventually goes to his car and drives home alone.

SCENE 27 INT: Daniel's flat: day

A telephone is ringing and DAN is sprawled across the bed. Sunlight is streaming into the room through the open blinds. Dan lifts his head and rubs his eyes he reaches for the alarm clock and sees it is 3.00pm. He gets of the bed and answers the telephone.

DAN

Hello, oh, Eddy. I did wait for you but... what, come and pick you up, where are you? Hampstead, how did you get...Okay, let me get a pen and some paper. Bishops Ave, what number? Okay, I'll see you in an hour beside the red phone box...

SCENE 28

Dan finds the phone box in Bishops Ave and is waiting beside

it in his car. After a few minutes a black BMW pulls up and EDDY exits from the passenger side door. He waves at the male driver before joining DAN.

DAN

Who was that?

EDDY

Just a friend.

DAN

Have you been with him all day?

EDDY

Don't get jealous, it doesn't suit you.

DAN

I think I have every right to ask questions, after all you left me on my own, drugged up and out of my head last night and then expect me to act as if nothing has happened.

EDDY

Nothing has happened. I didn't leave you, we got separated. That's all. I did try to find you but ended up catching a lift with those guys.

DAN

I waited until there was no one else in the club last night, I didn't see you.

EDDY

There are two exits, you must have been at the wrong one. Does it matter?

DAN

I guess not.

He starts the car and they begin the journey back to the flat.

EDDY

Can we stop and get some spliff on the way?

DAN

I'm sorry, I haven't got any more money. Well not to spend on that stuff anyway.

EDDY

I have some money.

DAN

Have you?

EDDY

Yes.

DAN

I wonder where that came from. When you called I assumed you hadn't money for a train.

EDDY

Look Dan, if you want an argument I will give you one. I have a little money but not enough for the train and taxi, okay?

DAN

Okay, calm down.

EDDY

You fucking started this.

DAN

Please, you don't have to use that sort of language...

EDDY

Whatever.

DAN

I want you to know that I don't care how you get your money as long as you don't put yourself at risk. Okay?

EDDY

Whatever Dan, just drive for fucks sake.

SCENE 29 INT: The classroom: DAY

Dan is back in class teaching a small group of students. They are listening and taking notes of everything he has to say.

DAN

How do we recognise when a client has reached a state of _Well-Formedness_? When we are aware, clearly and precisely aware of the value of simple deletions, comparative deletions and non-specific nouns. Mary, please give the class an example of a simple deletion and what the counsellor's response should be.

MARY

Er, well, the client could say, er, that she, er, he felt uncomfortable in the client-counsellor relationship.

DAN

Good, and?

MARY

The counsellor could test the value of this statement by asking, er, what specifically is making the client feel uncomfortable.

DAN

Yes, could you now give an example of a comparative deletion?

MARY

The client might say that she, er, he's heard of a better therapist. That a friend is doing better in therapy; you know. I could respond by asking specifically what was better? Wouldn't this lead the client towards a specific end though? I've always understood that we should not lead but allow ourselves to be led by the client, at the client's pace?

DAN

You're right to an extent. We should be led but to achieve a state of well-formedness we must question the client's statements so that they, and we, have total awareness of what those statements mean.

You don't like me, what specifically don't you like, how long have you thought this, how would you like me to change and so on and so forth. Test and re-test until a state of specific understanding had been achieved. When the client is specific about what they don't like, what they like, what holds them back and what can move them forwards we can say they are truly well-formed.

This is the holy-grail of therapy; the state of well-formedness. Any other questions?

STUDENT2

Would you say that Sharon Stone is well formed?

DAN

I would say she is probably formed better then your awareness of what women find offensive. If I were you I'd keep the sexist statements to myself and pay more attention to the content of your journal, if you want to finish this course that is.

On that note I think we should leave it there and I would like to see your journals next week prior to mediation, thank you.

The class pack and leave the room followed by DAN. In the hall he meets the administrator.

ADMINISTRATOR

Good to have you back Dan, I trust you are feeling better?

DAN

Much better Frank, thank you.

ADMINISTRATOR

So you'll be joining the bridge class tomorrow evening, Mike and Meg are coming along and we'll be having drinkipoos beforehand as usual. Bring a friend....

DAN

It may be a little....

ADMINISTRATOR

Good, good, see you there then.

DAN

Damn!

SCENE 30: The administrator's house: Night

Dan knocks on the door and Frank, the Administrator, greets his and EDDY before leading them into the lounge where his wife HILDA, MIKE and MEG are already seated.

HILDA

Daniel, how sweet of you to join us (she gives him a peck on the cheek) and who is this little one? (She holds her hand out to shake EDDY's but he just looks at it.)

DAN

This is Eddy, my cousin.

MIKE

Excellent, excellent, Eddy, this is my wife, Meg and our host Frank...

HILDA

I'm Frank's wife, Hilda.

FRANK

So you're stuck with the old Fogies tonight, young man, come in, come in.

HILDA

That's the formalities out of the way, who wants a drink?

DAN

I think I need one.

FRANK

Me too. Will a beer be alright for you and Eddy, Dan?

DAN

Beer's fine, thanks.

FRANK

How about you Mike?

MIKE

Beer would be lovely...

MEG

I'll have a white wine please.

HILDA

One white wine, coming up. You'd better give Eddy a shandy Frank.

EDDY

Beer will be okay for me.

HILDA

Is the boy old enough to drink Dan.

EDDY

I'm nineteen actually.

FRANK

Leave the boy alone dear, here you are Eddy, a nice cold beer.

EDDY

Thanks.

MEG

Do your parents know you are a drinker Eddy?

EDDY

They don't give a fu...

DAN

Oh, I love that picture. Is it new?

HILDA

Yes, it's only a print but you can't beat an impressionist

DAN

Monet?

HILDA

Clever you.

FRANK

There are some sandwiches in the kitchen, help yourself.

DAN

Thanks...

MEG

EDDY, are you staying with Dan for long?

EDDY

Well...

DAN

Yes, for a little while.

MIKE

Told you, didn't I.

MEG

Have you any brothers and sisters at home?

EDDY

A sister and a brother, beside my mum and dad.

FRANK

Oh, are you a close family or are you staying with Dan because you can't get along?

EDDY

I get on okay with my brother Eddy, but I row a lot with the Old man.

MEG

You're brother is called Eddy too, that must be confusing?

EDDY

My Dad's called Eddy too.

They all giggle.

HILDA

Do you mean to say you're father and your brother are called Eddy or have I missed something?

EDDY

Yha.

MEG

How bizarre, does your mother get confused?

EDDY

No, only my sister Edwina...

They all fall about laughing.

MEG

That's hilarious.

FRANK

Eddy, Ed, little Ed and Edwina, how amusing.

DAN

He's quite a little joker really.

HILDA

Is it true Dan or is he pulling our leg?

DAN

Ask Eddy.

MIKE

Which one?

They all laugh again...

A little later they are sitting around a table.

MIKE

You see it everyday in our working practice. The result of current government policy is at the root of untold personal crisis. It's a sin, homelessness, metal illness, drug addiction, the government is behind it all in some way.

HILDA

More wine Meg?

MEG

Yes please. Come now boys, you'll be saying terrorism is all down to the government next.

MIKE

It is, our policy's overseas directly affect people, no wonder they are angry at us as a nation.

HILDA

More beer Eddy?

EDDY

Please.

HILDA

Can't we talk a bit about something a little less depressing. After all we can't change government policy except at election time and even then we only get more of the same no matter who's elected.

MIKE

I know its boring but we must discuss these issues, after all, as part of the public sector we are all under attack, the government are worse then terrorists in a way.

HILDA

But you're ignoring our young guest.

EDDY

I'm okay.

MEG

Eddy, how do you earn a living, do you mind me asking?

DAN

He's at school...

HILDA

What, at nineteen?

EDDY

I was a student, I've left now.

MIKE

Didn't you say you were in the Theatre?

EDDY

No, to be honest I was a rent boy. I've stopped selling my arse while I'm living with Dan.

They all look stunned.

DAN

Oh, Eddy, you joker...

They start to laugh awkwardly.

MEG

Eddy, you had us there.

HILDA

He did, didn't he?

EDDY

It's not that bad on the rent scene, I mean, we all have to earn a living. I had a punter once who would give me seventy quid just to talk to him for a few hours. Most of the time they'd just want a quick hand job, where else can you earn fifty quid in five minutes?

They all laugh out loud,

MEG

Or two minutes in Mikes case.

HILDA

I really must, er, use the toilet, please excuse me.

EDDY

Occasionally you'd get a kinky one. Like the punter who wanted me to beat him with a cane. I couldn't handle that, I'd much rather do a quick wank or blow job, get paid and then go. I'll fuck them if they pay more but they never fuck me...

DAN

Eddy, please, the jokes gone too far. Please excuse his language...

MEG

I love the way you have decorated the bathroom Frank, it's been ages since Mike put a paintbrush around.

MIKE

Too busy with work I'm afraid.

HILDA

More food anyone?

MEG

I was just saying about the bathroom Hilda...

HILDA

Yes, Frank did it last week.

EDDY

I had a punter last week...

HILDA

Oh God! (Leaves the room again)

EDDY

...He thought I'd let him fuck me if he bought me a flash meal, no chance...

HILDA

(Shouts from kitchen) Frank, can I have a word please?

Frank gets up and leaves.

FRANK

Excuse me everyone.

EDDY

I'm just not interested in being fucked..

DAN

Eddy please.

Hilda shouting in the kitchen can be overheard.

HILDA

I don't care what you say, just get him out of my house.

DAN

I think we'd better be going.

MEG

What a shame, I was enjoying the conversation so much.

FRANK

(Entering) It's getting late boys.

DAN

Don't worry, we were going anyway. Eddy's had a little too much to drink

MEG

I was hoping to find out a little more about London's seedy side; let them stay Frank.

FRANK

It's Hilda I'm afraid.

MIKE

Meg, leave it please.

MEG

Oh you prudes.

DAN

Come on Eddy...

FRANK

Lovely, erm, to meet you, Eddy.

EDDY

Same here.

MEG

Yes, next time you can tell us all about the cost of anal sex; it must be so much dearer these days; what with the recession...(giggles)

DAN

Bye everyone.

MEG

Oh, do you have to bugger off?

MIKE

Meg, please.

MEG

Bugger me, I'm drunk.

EDDY

Silly cow.

The head to the hall and Eddy leaves as Dan is going through the door Frank leans towards him and whispers.

FRANK

Don't take this personally Dan, but it would be better if you didn't bring your cousin over here again.

DAN

Yes, I'm sorry. He doesn't seem to know when to stop, he's not always so shocking.

FRANK

You'd be well advised to get him out of your flat as soon as possible.

DAN

He's not that bad, just young and naive

FRANK

Well it depends on how much you value your social life, that boy is trouble.

DAN

Come on...

FRANK

It's entirely up to you Dan, but if you decide to keep him around you then do it elsewhere. We don't want people like that in our house; okay?

DAN

If that's how you feel

FRANK

It is. Goodnight.

SCENE 31 EXT: Dan's car:NIGHT

DAN and EDDY pull away from Franks house.

EDDY

I'm sorry if I embarrassed you in front of your friends.

DAN

They're a stuffy lot, they'll get over it.

EDDY

I should have shut up really. It was the drink. It makes me a little outrageous.

DAN

EDDY, be as outrageous as you like, if people can't handle you it's their problem. You told them that you were not on the rent scene any longer and it was clear that you were exploited when you were younger. I felt everything you said was rather endearing and considering my friend's profession they should have been a little more supportive,

It's not as if prostitution is unknown or particularly rare. It goes on in every town and city of this country and its roots lay in poverty and desperation. Since we were talking about how government cuts create poverty I felt it was a valid contribution to the conversation.

EDDY

I don't understand what you just said, but thanks.

DAN

I meant it, prostitution has been around ever since mammals evolved.

EDDY

Who is he?

DAN

Who?

EDDY

Mammals, who is he?

DAN

Not who, but what. Mammals, you know, Ha, human beings are mammals so are whales and seals. They're a species who's young do not come in eggs.

EDDY

Now I'm totally confused. Lets just go home and have a spliff.

SCENE 32:INT; Dan's bedroom:NIGHT

DAN and EDDY are in bed, the lights are low and they are sharing a pillow.

EDDY

I don't think your friends like me very much.

DAN

Don't worry about them, after all, they're old and set in their ways. Anything new is shocking. You're not the first person they have taken a dislike too and you won't be the last.

EDDY

Even your Ex hated my, she's only been here a couple of minutes before making that clear. I guess they can't handle the fact that you're in a relationship with someone younger then yourself.

DAN

Are we in a relationship?

EDDY

Der! I think so, after all, we're in bed together. I don't understand why your ex got so angry with me, she doesn't even know me.

DAN

That's Teresa; she's always had an aggressive side. We used to have some terrible arguments, it was hell at times.

EDDY

What did you argue about?

DAN

Anything and everything I suppose. We've had arguments over everything at one point or another. We'd argue a lot about sex.

She always wanted me to go down on her before the act of penetration. It was a bit of foreplay that she had come to expect. I did it a lot when we first got together but then she wanted me to do it every time to help bring her to a climax. In the end I found it too contrived.

You know, I didn't expect her to do the same thing to me every time, go through the same motions; I wanted it to be a little more spontaneous. This would lead to arguments, silly arguments.

EDDY

I wouldn't go down on her, yhk, disgusting.

DAN

It wasn't awful, I mean she's a very clean lady but it was the formality of it all, having to perform to a script.

EDDY

What else did you argue about?

DAN

Oh, I don't know. Having the light on was another thing. Teresa was a little afraid of the dark especially if there was a storm brewing.

She's always insist on having the hall light burning all night and I can only sleep soundly in total darkness. We'd argue about that; it got to the stage where I had to sleep with a mask over my eyes.

EDDY

A mask?

DAN

You know, those little things they give you on aircraft.

EDDY

That's funny, only being able to sleep with her if you had a blind fold on.

DAN

Well I'd rather that then have a huge row just before bedtime.

EDDY

I can't sleep if there's a light on. I guess we're similar like that.

DAN

I guess so. Goodnight.

EDDY

Goodnight Dan.

EDDY leans across and kisses Dan on the lips gently.

SCENE 33: INT: Daniel's office: DAY

DANIEL is sitting at his desk perusing a client file. MIKE sits at his desk playing thoughtfully with a pencil.

MIKE

Dan?

DAN

Yes?

MIKE

Your cousin?

DAN

Yes, what about my cousin?

MIKE

I was speaking to Meg...

DAN

Yes?

MIKE

Well, come on Old Chap. Let's not beat about the bush, he's not really your cousin, is he?

DAN

No, no he isn't.

MIKE

You said he was because you were afraid people might judge you negatively?

DAN

Something like that.

MIKE

Ahhh, it's a shame you could not have been more honest from the start. You see people are far more likely to be negative about a situation if you are dishonest about it. It was a mistake.

DAN

Have you made your point?

MIKE

Why don't you just let him go? I mean, you don't owe him anything and in the end he will just drag you down to his level. It's obvious that he's one of life's losers and has little potential for growth. You could be doing yourself some great disservice by cluttering your life up in that way. He may be preventing you from forming other, more valuable relationships.

DAN

Look, if I needed a sermon I'd have seen a priest. As for putting him on a lower level to yourself socially shows clearly that your ego is bigger then your ability to value others. Particularly as you have met him only twice I believe. It appears that you are basing your value judgements on the idle gossip of others.

As this is the case, Mike, I do not understand why you continue to do this type of work. Unless of course your work helps your ego maintain its loftier position. A case of I'm okay you're not okay, which as Bern says, is wholly unproductive for our clients.

MIKE

I do this work because I care about people. It doesn't mean I have to take them home with me at the end of the day or feel responsible in a parental way for them. Nurturing dependence is not a valid therapeutic goal so don't start quoting Eric Burn or any other theoretic bullshit, it doesn't wash. Er, like your cousin.

He sniggers.

DAN

Oh well if you are going to stoop to personal insults I'll treat your advice with the contempt it deserves. In future, Mike, what I choose to do in my private life has nothing to do with you whatsoever. Please mind your own business and if that is offensive, good, it was meant to be.

MIKE

As you wish. Just don't bring him to my house will you. I've heard Hilda will never recover from his choice of table conversation and it's not something I would like to endure again.

DAN

As you wish.

SCENE 34: INT Daniel's Flat: NIGHT

Dan arrives home to find EDDY entertaining two gentlemen and a young boy.

EDDY

Dan, you're home. I didn't think you'd be in until around six. Er, this is George and Lenny, two friends of mine and that's Gary.

DAN

Really?

GEORGE

Eddy wanted us to see his new flat.

DAN

Well you seem to have done that so if you don't mind, I have some work to do.

GARY

Don't mind us.

LENNY

We wont get in your way.

DAN

Look, I don't want to seem uncivilised but I would like you to leave. This is not Eddy's new flat it's my old one. Eddy should have asked me if he intended to invite people back here particularly during the week when I am at work. Shouldn't you Eddy?

EDDY

Should I?

DAN

Yes, now if you don't mind...

GEORGE

We were going anyway, come on lads.

They all rise and make their way to the door.

You have me number don't you Eddy?

EDDY

Yes.

GEORGE

Give me a call next time you're in the West End, me and Lenny will buy you a drink. Okay Pal?

The group leave without looking at DAN. As soon as the door closes behind them EDDY begins to shout.

EDDY

How dare you talk to my friends like that. These people have known me for a long time and have looked after me in the past, you had no right...

DAN

No right. That's nice isn't it? You've been here for two weeks and now I haven't got a say in what goes on under my own roof. You'll be having parties next and inviting every Tom Dick or Harry you've ever screwed to drop by. Perhaps you'll sub-let a room, who knows?

I've been out at work all day and when I get back there isn't a clean cup in the place, the bin is overflowing and all the ashtrays are full. What have you been doing all day beside entertaining old punters?

EDDY

They're not punters. Why should I clean your fucking flat, if you wanted a cleaner put an advert in the paper. Fucking cheek, where do you get off talking to me like that. So I'm not allowed to have friends now, you don't want me to speak to people and just sit around her on my own all day, well fuck you.

He picks up an ashtray and throws it.

DAN

Okay, calm down...

EDDY

Just because you've had a bad day at work doesn't mean you can come home and start pushing me around; making me look like a cunt in front of people I know and trust. What gives you the right?

DAN

Okay, you've made your point, please calm down. Perhaps I shouldn't have been so rude...

EDDY

Fucking right, you fucking arsehole.

DAN

You should have asked, or let me know at least.

EDDY

Oh yes? (Hysterically shouting) How the fuck can I do that, you were gone by the time I get up this morning and I don't have a fucking contact number. You stupid cunt, you're just like the rest of them, a fucking arsehole.

DAN

Okay, let's just calm down a little, this is getting us nowhere.

EDDY

I don't even know why I'm fucking staying here with you. You're a fucking boring cunt who's friends are all arseholes, I could walk out of here whenever I want. You'd be sorry then.

DAN

Please, stop shouting, I'm standing right next to you.

EDDY

You'd be sorry then wouldn't you, go on admit it.

DAN

Yes, I would.

EDDY

Well then.

He sits down and begins to cry.

You've really upset me you have.

DAN

I'm sorry Eddy, I really am. Please forgive me.

EDDY

Just make me a cup of tea.

DAN

If that's what you want?

EDDY

Please.

Dan goes to the kitchen and leans against the sink and sighs loudly.

SCENE 35: INT: Daniel's office: DAY

Dan is in an interview room with a client.

DAN

You say you were always made to feel responsible, can you tell me who made you feel this way and what you felt responsible for?

CLIENT

My father said that as the eldest girl I had to help my mother. That was the start of it, I had kid sisters and I had to baby-sit them a lot...

DAN

Hm, yes, carry on.

The client's voice fades and DAN stairs blankly at the clock situated above the client's head. He is miles away thinking about the row yesterday, he realises the client has stopped talking and is waiting for a response.

Yes, carry on.

CLIENT

Well should I or shouldn't I?

DAN

If you were me, what would you want me to say to you?

CLIENT

I suppose I would say go ahead, how's that?

DAN

So you have your answer.

CLIENT

Thank you, for the first time I understand what I have to do.

DAN

Good.

CLIENT

Yes, they all need a good punch.

DAN

Erm, let's recap. We can be assertive without resorting to violence, yes?

CLIENT

Assertiveness, it's back to that again.

DAN

That's right. Thank you for coming and I'll see you again in a week.

CLIENT

Thanks Dan.

The client leaves the room and as DAN collects his papers FRANK the Administrator looks in.

FRANK

Teresa called, could you give her a tinkle when you are free?

DAN

No problems, thank you.

DAN goes to his desk and picks up the telephone dialling a number.

Teresa you called?

TERESA

Thanks for calling Daniel, I'm coming up to London on Sunday and I need to collect the cook book you walked off with. I don't suppose you are using it and it was a gift from my mother.

I would ask you to pop it down to me in the post but I know how busy you are making a fool of yourself and you know me, never one to miss a good gloat.

I spoke to Meg yesterday, she told me all about the dinner party, I wish I'd been there it sounded a real hoot, I hadn't laughed so much in years.

They should make a film about your life Dan, it could be called 'Guess who's coming at dinner...' or perhaps 'I married a rent boy from outta space'. So, Sunday it is, about eleven. Bye now.

DAN

Teresa, please leave the broom stick at home darling.

TERESA

Oh, too cha`, I'll only be staying a short while. I can only hold my breath a few minutes.

DAN

Pity you can't hold your tongue longer.

He hangs up and looks across at Mike who is smiling.

SCENE 36 EXT: Daniel's car: NIGHT

DAN and EDDY are driving to a club in the West End

EDDY

Have you got the money?

DAN

I've withdrawn seventy pounds, it's a fortune to spend on one night out. I hope it's worth it.

EDDY

You'll be okay once you get a pill down your throat.

DAN

I don't want any drugs tonight, not after last time.

EDDY

Boring...

SCENE 37 INT: The club: NIGHT

It's hot and crowded. EDDY says hello to lots of men and all of them ignore DAN. They walk around until they find a spot that isn't too crowded.

EDDY

Give me some money so I can sort something out.

DAN

How much do you want?

EDDY

Give me forty five quid.

DAN

I don't want anything.

EDDY

Well I can't just buy one. Give me the money.

DAN

How much are they?

EDDY

I told you, give me forty five.

DAN looks at EDDY intensely and hands over the money.

Just wait here and I'll be back. Don't wander off this time or we'll get lost again.

DAN

I'll wait here.

He waits for an immeasurable time and keeps looking at his watch. After a while he realises that EDDY is not coming back so he goes to look for him. DAN becomes aware that some of the men EDDY spoke to earlier are looking at him with a smirk on their faces and he become s a little paranoid. After three hours he goes home, alone.

SCENE 38: INT: Daniel's bedroom: DAY

It is Sunday afternoon and Dan is laying in bed with the curtains drawn tight. The telephone is ringing. DAN wakes and looks at the time, it's nearly one pm he goes and answers the phone.

DAN

Yes Eddy?

EDDY

I'm at a friend's place, come and pick me up please.

DAN

You have to be joking, why don't you stay where you've been all night?

EDDY

So are you picking me up or not?

DAN

Not.

He hangs up and goes back to bed, the telephone rings again. DAN goes back and picks it up.

Look, what do you want?

EDDY

I want you to get me but if you won't I'll just have to get a train.

DAN

What makes you think I even want you back here after the way you behaved last night. I think you have a diabolical cheek taking my money and then fucking off. Then, then phoning me and expecting me to drop everything to collect you, where do you get off?

EDDY

Sorry, I know I fucked up, I'll get a taxi, see you in an hour.

The line goes dead.

The clock on the sideboard reads five o'clock when the telephone rings again. DAN is watching television and picks up the receiver.

DAN

Hello, what? I'm sorry but EDDY doesn't live here anymore. Please destroy this number and if you want to see him in future I suggest you go to Piccadilly Circus and hang around the public toilet. Good bye.

There's a knock at the door. DAN sighs and goes to answer it. EDDY walks in to the flat and takes his coat off.

EDDY

Make me a cup of tea please, I'm gasping.

DAN

I beg your pardon, what, I'm running a café now am I as well as a public cash dispenser? Just collect your stuff and leave, I've had enough.

EDDY

What, you can't just throw me out, I've got no where to go.

DAN

Go back to where you were last night. I believe these belong to you, take them and leave.

He holds up a bag.

EDDY

I'm going nowhere. Last week you said I could stay as long as I want and now you think you can just throw me out, like a bag of rubbish. You can't go back on your word.

DAN

Can't I.

He goes to the front door and opens it.

I want you to leave. NOW!

EDDY

Fuck you!

He picks up a vase and throws it across the room. DAN closes the front door and chases EDDY into the kitchen where he is throwing crockery around.

I'm not going until I smash everything in this flat.

DAN

That's enough, stop it.

EDDY

No, I'm fed up with you speaking to me like I'm shit, like I'm your fucking property. You're just like everyone else, get what you want and then throw me out into the street, well I'm not taking it...

DAN attempts to restrain EDDY and is punched in the face. The two struggle across the lounge floor and eventually Dan manages to push EDDY out the front door. He locks the chub and breaths heavily.

DAN

Now go, I don't care where but just get out of my life.

EDDY

I'm not going anywhere, if you don't let me in I'll start breaking windows.

DAN

There's no way I'm letting you back into this flat.

EDDY

Right!

EDDY walks to the front of the flat and picks up a rock. He is about to throw it when a car pulls up and TERESA looks at him through the driver's window for a few moments smiling, she winds down the window.

TERESA

Hello Eddy, trouble in paradise?

EDDY

What the fuck do you want?

TERESA

Getting out the car

I've come to visit my husband, if you don't mind.

EDDY

DAN, what is she doing here, you've planned this haven't you?

DAN opens the front door and runs out to meet her.

DAN

You've come at a bad time, could you come back later?

TERESA

What, and miss all the fun. No go ahead and I'll watch from the roadside, should be interesting.

EDDY

Just get in your car and fuck off you nosey bitch.

TERESA

How articulate. Dan, your rent boy looks a little peeved.

EDDY

This is our argument, it's got nothing to do with you.

TERESA

It has everything to do with me laddie, if my husband has seen you for what you are then I am very much involved; okay?

EDDY

He's not your husband anymore remember. He doesn't even fancy you. In fact he thinks you are disgusting that's why he would never eat your pussy. That's right, isn't it Dan?

TERESA

Dan, what have you been saying to him?

DAN

It's not like that.

EDDY

Yes it is, He said your stinking pussy made him feel sick.

TERESA

(Slaps Dan across the face)

How dare you discuss me like that with him.

DAN

Eddy, please.

EDDY

He said you were so ugly he could only sleep with you if he wore a blind fold; go on Dan, tell her.

TERESA

Punches Dan in the chest

You bastard, how dare you talk about me with that shit.

EDDY

Don't hit my boyfriend like that.

DAN

Calm down everyone, this is getting us no where.

EDDY

Yes, you disgusting old slag, with your sagging tits and make up like a fucking Halloween witch; fuck off and leave us alone.

TERESA

No you fuck off. Go back to the gutter where you belong you offensive little toe-rag. Don't you get the message? It's over between you and him, he's seen the light at last, you might as well go. Go on....

EDDY

It's you who should go.

TERESA

Dan, don't just stand there, tell the little shit that he's no longer welcome. Tell him!

DAN

Yes, Eddy, I want you to leave.

EDDY

I'll smash that fucking whore's car up before I do.

TERESA

If you touch my car I'll call the police.

EDDY

Go on then.

He uses the rock to scratch a long mark in the side of TERESA's car.

TERESA

Right, call the police Dan.

DAN opens the flat door and all three try to enter at once ending up in a big pile on the hall floor.

Get of me you brute.

EDDY breaks free and pulls the telephone cord from its socket. The telephone flies across the room and smashes into TERESA's head. She slaps DAN and Dan slaps EDDY. EDDY Slaps Dan and TERESA slaps EDDY, EDDY slaps TERESA and TERESA slaps DAN again

DAN

Would you both stop hitting me.

TERESA

This is al you fault Dan, you gutless little shit. I only came over for my mother's cookbook and now I've been assaulted by the rent boy from hell.

EDDY

No one asked you to come.

TERESA

He did.

She points at DAN

I've had enough of all this, I'm going.

EDDY

Good riddance.

DAN

Be quiet Eddy.

TERESA

I don't have to put up with this shit.

DAN

Teresa come back.

TERESA

If you want to speak to me you know where I am.

DAN

He runs into the street after her and stops her by the car. She is looking at the scratch.

I'm sorry, I'll pay for that.

TERESA

That's right, you will.

DAN

You should never have been pulled into our argument, it wasn't fair.

TERESA

I'm glad you realise that. Perhaps you'll post my book to me.

DAN

Of course.

She gets into the car and starts the engine.

TERESA

I told you he'd make a rod for your back and now look. He's upset you, me and all the neighbours, I hope you know what you are doing.

DAN

I'll sort it out

TERESA

Dan, I think it may be too late already.

She drives off.

SCENE 39 INT: The Administrator's office: DAY

DAN and FRANK are having supervision.

FRANK

Have you found this client somewhere else to live temporarily?

DAN

I've applied to a couple of long term hostels but no, they're still in the hotel.

FRANK

Well I congratulate you for getting this far, considering the pressures you have been under. Your honesty has been appreciated but I can only reiterate what I said before. The relationship you have with this boy must end, you can replace money but you cannot fix emotional damage that easily and it's your emotions that are at risk here, you understand that don't you?

DAN

Yes.

FRANK

Our next supervision is booked for next month, the second I believe.

DAN

I have it in my diary. You know he isn't that bad. If I look within myself I can recognise that I have very strong feelings for him. I keep thinking that if I persevere he might change.

FRANK

All that will happen Dan is that you'll be dragged to his level. I can see you are emotionally involved and so use your professional judgement and refer him onward, to an agency that has the resources to meet his needs. They are paid to do the job, you are not. Then perhaps you'll regain the integrity we all feel you have lost recently.

DAN

Is it that serious?

FRANK

You can never see these things when you are tied up in the centre of them. It takes an outsider to rationalise the situation. So, feel good about the decision to move him on.

DAN

Okay.

SCENE 40INT: Daniel's flat: NIGHT

Dan gets home after a long day at work.

DAN

Eddy, I'm back.

EDDY

Hello, I've made you some food.

DAN

I thought I could smell cooking, wow, the flat looks amazing, you have been busy.

EDDY

I wanted to make you happy.

DAN

Thank you Eddy, I really appreciate that. Where's the sheepskin rug?

EDDY

I put it in the washing machine.

DAN

Oh.

EDDY

It looked a little dusty.

DAN

Okay. What have you been cooking?

EDDY

Only eggs and chips, well I fried the eggs and bought the chips from the shop. They're warming in the oven.

DAN

Well, they smell delicious.

They sit at the table and Eddy brings in two plates of dried chips and overcooked eggs. Dan smiles and eats anyway.

EDDY

I called that dealer, you know, the old boy in Islington and said we'd be over later for some spliff.

DAN

Do you think that's wise?

EDDY

If you haven't got the money...

DAN

It's not about the money.

EDDY

What then.

DAN

Well, talking about drugs on the land line, you never know who might be listening.

EDDY

Don't be so paranoid.

DAN

How much money is this going to cost me?

EDDY

Thirty pounds should do.

DAN

Okay, just once more.

SCENE 41: ext: Daniel's Car: NIGHT

DAN is waiting in a dark back street for EDDY. Suddenly the passenger door opens and he slips in beside him. DAN starts the car.

DAN

|How did it go?

EDDY

Let's get out of here.

SCENE 42; INT Daniel's Flat NIGHT

They arrive back and enter the lounge.

DAN

Thank god we're back, I get so paranoid waiting in those dark, lonely streets for you. Imagine if I got arrested I'd never work again, well not in my current field. And for what, a piece of cannabis?

EDDY

He didn't have any dope, I should have said.

DAN

Really, all that for nothing then? Have you still got the money?

EDDY

Er, I bought something else, he'd just sold the last bit of hash so I thought rather then waste the trip.

DAN

How thoughtful, so, what did you waste my money on this time?

EDDY

Don't be like that, I got us a small stone.

DAN

A what?

EDDY

Don't worry, it's like dope but stronger.

DAN

Eddy?

EDDY

Get a drinks bottle, a biro pen and some foil and I'll make a pipe.

DAN

A pipe.

EDDY

To smoke it. There's a bottle in the fridge.#

DAN

Eddy, in future would you consult me before you waste my money on drugs. I mean, what the hell is a stone anyway?

EDDY

Get that bottle and I'll show you.

DAN does as he is asked and watches as |EDDY makes an impromptu pipe from the biro, water bottle and foil. He gingerly opens a cellophane wrapper and a white lump of solid material falls to the coffee table. EDDY breaks a small lump and places it on the pipe, lights a lighter and inhales the fumes that are released upon ignition. He sits back holding his breath and sighs while exhaling.

EDDY

That's really nice. Want some?

He places another small lump on the pipe and offers it.

DAN

No, I don't think so.

EDDY

Whatever.

He smokes again.

If you're sure, I'll do it all if you want even though you paid for it

.

It'll be okay, come, I'll show you.

DAN takes the pipe as EDDY balances a small lump on the top. He puts the tube in his mouth and EDDY ignites the lump. He exhales breathlessly.

DAN

Jesus, oh god, Jesus.

EDDY

Go with it...

DAN

Fucking hell, that's strong...

EDDY

Yha.

DAN

My mouth has gone numb, my ears are popping, Jesus, I feel really high. It's a bit like cocaine...

EDDY

It is just like cocaine, in fact, it is cocaine.

DAN

Cocaine's a powder.

EDDY

This is rock cocaine.

DAN

Is it new?

EDDY

Not really, you've heard of freebasing before haven't you?

DAN

Isn't that how the comedian in America blew himself up?

EDDY

I don't know about that.

DAN

It's all new to me, I'm happier smoking a joint.

EDDY

So you don't want another pipe?

DAN

Well, perhaps just one more.

EDDY

Then we can go and get some more, please?

SCENE 43 int The collage Hall: DAY

DAN is walking briskly into the collage when Frank meets him.

FRANK

Daniel, this is the third time this week.

DAN

I'm sorry, my car won't start in the morning.

FRANK

I'm not concerned with the excuses Dan, just get your act together. Go and relieve Mr Winger he has your class.

DAN

Thank you.

DAN rushes along the corridor and bursts into his class. The students look at him and Mr Winger shakes his head.

Sorry everyone. Can you all thank Mr Winger for taking the class until I could arrive.

MR WINGER

For the third time.

DAN

Sorry, it wont happen again.

WINGER

I sincerely hope not, I have my own work to do.

He leaves the room.

DAN

Can someone let me know what you have been doing this morning?

PUPIL

We split into groups and were exploring creative visualisations. Then, after break, we had a role-play and were just discussing it in out smaller groups.

DAN

I see. Well, carry on. There's half an hour left till lunch and I'd like you to reach a conclusion before we break. Please write it up in your journals and I'll review it soon.

PUPIL 2

Sir

DAN

Yes?

PUPIL

Can creative visualisation only become useful it the client believes it has a basis in psychological theoretical framework? Is it a question of faith and without faith is it useless?

DAN

An interesting question. Let's ask this group, what do you all think?

PUPIL 3

Surely it depends on the purpose of the visualisation?

DAN

There are variables in any intervention. One thing is important for a positive outcome and it has nothing to do with faith. One certainly needs a positive respect for therapeutic intervention but the most important aspect of any intervention is Congruence.

Congruence with the therapist will always lead to a positive outcome, with congruence the client will trust the therapist far enough to establish a well-formed position and this will facilitate the outcome of any visualised experience.

PUPIL 1

So congruence equals trust, if the client trusts what you are they will believe in the exercises you set for them?

DAN

Precisely.

SCENE 44INT: The staff room DAY

In the small staff room.

Mr WINGER and another TUTOR are having coffee and a cigarette

WINGER

He look bloody awful again. Have you noticed how much weight the man's lost?

TUTOR 2

I've heard he's spending all his money on a young lad. Apparently he looks like a kid that's run away from a children's home or something. It's amazing how someone you thought you knew could become such a stranger.

WINGER

You don't think he's got AIDs do you?

TUTOR 2

Well, he certainly batting from the other side of the field.

WINGER

His poor wife.

TUTOR 2

Look Old Boy, between you and me, the man should just go. There would be more hours available for people like us here if he did the right thing.

WINGER

I need more hours, after all Christmas is just around the corner.

TUTOR 2

Exactly, how about we have a quiet word with Frank?

WINGER

I'll support you right down the line. Perhaps if Frank found out that Dan's behaviour was reflecting on the school he might be more inclined to act.

TUTOR 2

He's thinking about it already, he just needs a push in the right direction.

WINGER

Ah,

SCENE 45:NIGHT Daniel's Flat:NIGHT

DAN

Eddy I'm home.

The lounge and kitchen is empty, Dan goes to the bedroom and finds EDDY in bed.

Hay, why aren't you up? If you're in bed all day you won't sleep at night and I have to get some rest. The people at work are noticing.

EDDY

Oh shit, sorry I didn't realise what the time was. Go and make me a drink, a tea please?

DAN

No I will not, it's about time you pulled your finger out.

EDDY

Don't wind me up because I swear...

DAN

What are you going to do Eddy, smash the flat again, scratch the car?

EDDY

You really take the piss Man, just fuck off and leave me alone.

Throws the lams at DAN

DAN jumps on him and they both struggle for a while before Eddy hits him with a large glass ashtray. Dan recoils and falls to the floor weeping softly.

Sorry, I didn't mean to do that.

DAN

Just stay away from me, I'm a fucking emotional wreck, can't you see that, can't you see what this is doing to me?

EDDY

I suppose a rock's out the question.

DAN

FUCK YOU AND FUCK YOUR DRUGS. If you want to go and score the money's in my wallet, just go and leave me alone.

EDDY

Don't you want me to bring it home?

DAN

SHUT UP EDDY! I mean, where is all this going to end, eh, where? With one of us dead, in prison. WHERE?

EDDY

Look I'll make you some tea and we can calm down and talk about it, okay. I'm sorry, it wont happen again.

Come on into the lounge.

He goes to the bedroom door and stands silhouetted by the light.

DAN

Just leave me alone for a moment, I'll come in soon.

EDDY

I'll call you when the teas ready.

DAN

Whatever.

EDDY

Then we'll go and get a rock.

He leaves and closes the door.

SCENE 46 INT: The Administrator's Office: DAY

Frank is looking glum behind his desk as Dan enters.

FRANK

Take a seat please Dan.

DAN

Oh, okay then.

FRANK

It is with great regret that I have asked you along today...

DAN

It's like that is it?

FRANK

I have been told by the board to give you your cards.

DAN

I see.

FRANK

This isn't my decision Dan, I have always had the highest regards for you and have valued your work. Unfortunately they have got wind of your living conditions and I've been forced to act.

DAN

Why, I'm not breaking any laws.

FRANK

That may be so Dan, but they have lost trust in your judgement. We work with young people here everyday and some of them are taking a psychological course because they have needs of their own. The board do not want to risk student exploitation, particularly as we are funded privately. You do understand?

DAN

No I do not.

FRANK

There's been talk. Talk about that infernal boy.

DAN

What, they think I'm exploiting a vulnerable young person do they?

FRANK

Sort of...

DAN

Well do they or not?

Well?

An awkward silence falls between the two men.

It's not the board is it Frank, this is you, isn't it?

FRANK

Dan, don't take this personally.

DAN

I thought so, it's just your petty prejudices, eh Frank. This has got nothing to do with professionalism has it? Go admit it.

FRANK

It's like this....

DAN

You fucking ignorant bastard.

FRANK

It isn't me who is in the wrong here....

DAN

In the wrong, according to who Frank, God?

FRANK

Yes, God, God and society. Your activities are wrong on many levels and to be quite honest, the thought of it makes me sick...

DAN

Oh, it's all coming out now eh Frank?

FRANK

...It's un-natural and....

DAN

(Standing)

Look, the thought of you and Hilda getting down to it doesn't really float my boat but it's not any of my business, is it?

FRANK

...Leave Hilda out of this...

DAN

...In the same way that my private life is none of yours. So before this argument descends into a slanging match I will go. Happy now are you?

FRANK

Goodbye Dan.

DAN

Fuck off.

SCENE 47: The Street: NIGHT

Daniel and EDDY are in a busy shopping street. People are milling about even though it has got dark and so the two of them do not stand out. They see a young black man standing in a small alley.

EDDY

There he is...

DAN

Are you sure?

EDDY

Yes, I've scored from him loads of times...

DAN

Fifty quid's a lot of money.

EDDY

Well it is half a sixteenth.

They go to the man casually, EDDY smiles.

MAN

Yes boys, it's rocking here.

EDDY

Cool brother...

MAN

What you want?

EDDY

You got half?

MAN

Sure I got half, you got money for half, brother?

EDDY

Nods toward DAN who has a folded note in his hand

See my friend there...

MAN

Put him there.

He gestures for the note to be placed cautiously in his hand which is at his side.

DAN

Give me the food first...

MAN

No brother, put him there first.

He gestures that he should get the note in his hand first.

DAN

Sorry friend, but I'm not handing over money till I know what I'm getting.

MAN

Stop fucking about man, either give me the money or fuck off. You'll get us both nicked if you're not careful...

EDDY

Go on, it's cool.

Daniel sighs and against his better judgement hands over the note discretely.

The man then spits a small wrap of something enclosed in cling-film onto the floor and walks away. EDDY bend and retrieves it immediately. They both walk to DAN's car.

SCENE 48 INT: Daniel's flat. NIGHT

They are both on the sofa and the TV is on in the background although both EDDY and DAN are fixated on the pipe they have manufactured and the large rock sitting next to it.

EDDY

Exhaling a cloud of smoke.

That's beautiful, really, really beautiful.

DAN

For fifty quid it should be.

EDDY

Here, I'll get a pipe for you together.

DAN

Now that I'm not working we are going to have to stop smoking this stuff. We can't afford it.

EDDY

I suppose you're right.

DAN

We've spent nearly a whole months pay in a week, my cards are maxed out and I've even started on my savings.

EDDY

Really?

DAN

We've gone a little crazy this week.

EDDY

Oh, it'll sort itself out in the end.

DAN

Hmm, I hope you don't mind...

EDDY

What?

DAN

I called my sister and asked if we could stay with her for a few days, you know, just so we're away from London for a while. I think it will be good for us both.

EDDY

Really?

DAN

Yes.

EDDY

Where does she live?

DAN

In the country, you'll like it.

EDDY

Boring....

SCENE 49 INT: In Dan's sister's house:DAY

DAN's sister, Paula invite them both into her house and close the door behind them. The house is very originally Tudor, with large black beams in every room and white lime plaster on the walls. Paula leads them into the kitchen and puts the kettle on, a small girl, CHARLIE, follows them

DAN

Hello Charlie, how's my favourite little girl then?

CHARLIE

Uncle Danny's here...

PAULA

Yes, it's uncle Danny.

Come in both of you, hell Eddy, it's nice to meet you.

EDDY

Yes, hello.

PAULA

Dan, you've lost a lot of weight, have you been ill or something?

DAN

No, it's not that noticeable is it?

PAULA

Yes it is, I don't think I've ever seen you so thin. I'd better make a point of fattening you up. Cup of tea?

DAN

Yes please.

PAULA

Eddy?

EDDY

Yes please, five sugars please.

PAULA

Sweet tooth eh? I suppose you've lost weight because you haven't got a woman cooking for you everyday.

EDDY

He doesn't need a woman....

PAULA

Do you cook then Eddy?

EDDY

Not really. I just meant that Dan's not on his own....

PAULA

I know that. Look, while the kettles boiling follow me and I'll show you your room. Come on, this way.

She walks to the door and beckons for them to follow, Upstairs a small landing has four door coming off from it.

This is my room, that one is Charlie's and this is for you and Eddy.

DAN

Thanks.

PAULA

That door is the bathroom Eddy, okay love?

EDDY

Thanks. I don't know how long we'll be staying, eh Dan?

DAN

It's taken us so long to get here I'm not going to even consider the drive back for a couple of days at least.

PAULA

I had the trees in the garden cut back last week so you have a lovely view of the village green and church steeple from your window...

CHARLIE

Are you staying with us now Uncle Danny?

DAN

For a while Darling...

CHARLIE

Can you play computers?

They all look towards EDDY who smirks with embarrassment

EDDY

Depends on what games you have.

PAULA

That's an idea. Play with Charlie on the computer Eddy please, Dan, unpack your case and then come to the kitchen. I'll have a drink made by then.

DAN

Okay.

She smiles and as Charlie leads EDDY into her room to play Paula goes back downstairs.

A few moments later Dan goes into the kitchen and sits at the bar next to a steaming cup of coffee.

PAULA

Did I tell you that George and I have finally thrown the towel in?

DAN

No...

PAULA

It's been on the cards for months.

DAN

You seem to be coping well.

PAULA

It's a case of having too I'm afraid. I'm still getting my allowance every week so it's only the company I miss. The little bugger...Oh I'm sorry I didn't think.

DAN

Shut up, (Laughs) Oh dear, so what happened with George?

PAULA

Probably found a newer model, you know how it is? You've had the same problem. Oh, er, I mean, similar, oh shit, I don't know what I mean really.

DAN

It was another woman?

PAULA

Yes, her name is Sunshine for God's sake. Who ever calls their child Sunshine, never heard of such a ridiculous thing.

DAN

Her parents were probably hippies or something.

PAULA

Nigerian.

DAN

Nigerian hippies?

PAULA

No, just Nigerian. It was one thing knowing he had a bit on the side but finding out she wasn't even white made me even more confused and angry.

DAN

Confused?

PAULA

Yes, the mans the biggest fucking racist I've ever know. It was niggers this, niggers that, bloody hypocrite. If only she'd heard him that night the car broke down in Brixton the last time we were in London, she wouldn't touch him with a stick.

So, have you seen Teresa recently?

DAN

Not recently. The last time we did meet we had a blazing row. It was awful.

PAULA

You poor thing. Was the young one involved in that?

DAN

Yes.

PAULA

Oh dear. I'm not going to get all judgemental Dan but I do want to know if you are happy?

DAN

Sort of...

PAULA

It's been worth all the heartache then?

DAN

Sort of...

PAULA

Oh, what are we like eh, me and you? I suppose everyone's told you that you're making a mistake eh?

DAN

That's right.

PAULA

I'll shut up in that case although I'm unsure how it will all turn out.

DAN

In more tears I suppose.

PAULA

You said it honey...

She puts some small plates on the table with food to nibble.

Call the kids please Dan, if you can get them off that bloody machine, lunch is ready...

A few moments later Charlie and Eddy join them.

PAULA

Help yourselves boys, there's plenty there.

EDDY

This is lovely, thanks.

DAN

Delicious.

PAULA

So Eddy, how long have to know that you were gay? You don't mind me asking, do you?

EDDY

I don't mind.

PAULA

So?

EDDY

Oh, I'm not gay.

PAULA

Really?

EDDY

No, not really, I'll sleep with punters if there's something in it for me but really I guess you could say I'm Bi. I've had more long-term girlfriends then boyfriends.

DAN

You've never told me that.

EDDY

You never asked. I prefer girls, unfortunately they don't prefer me.

DAN

Oh?

EDDY

If I could find a girlfriend I'd not be living with you, would I?

PAULA

So basically, you're saying you are just using Daniel?

EDDY

No I'm not.

PAULA

Yes you are, that's exactly what you just said.

EDDY

Oh, whatever.

DAN

I understand, that if you are young, admitting how you do actually feel can be very difficult. I don't think Eddy is quite there yet.

PAULA

Really? So you sleep together then?

DAN

Yes.

EDDY

Yes.

PAULA

Well that certainly makes you bi-sexual. Straight men wouldn't be able to perform, so to speak.

DAN

Precisely.

EDDY

Hm, I suppose you're right, I'm confused. I would like to have a relationship with another woman, if I could get one.

Paula smiles at him.

PAULA

Be careful what you wish for.

SCENE 50 INT: Paula's Bedroom: NIGHT

Paula is in bed, the room is dark and the curtains are billowing gently as a breeze blows into the room. She opens her eyes and looks towards the window before catching her breath as her covers are pulled back.

PAULA

What are you doing?

EDDY slips into the bed bedside her and places a finger to her lips.

Eddy?

He attempts to kiss her but she pushes him away.

Get off me, what do you think you are playing at?

EDDY

Come here, I know you want me.

PAULA

Get out of my room at once.

EDDY

Don't mess around.

PAULA

You've got a nerve. Get out of here before I do something I'll regret.

EDDY

Don't be like that, you want it, I want it.

PAULA

I do not want anything from you, GET OUT.

EDDY

Be quiet or you'll wake Dan up.

PAULA

You bastard. Get Out of my bedroom before I start screaming and wake the whole house.

EDDY

You fucking frigid bitch, I thought I was doing you a favour.

PAULA

OUT NOW!

.

EDDY shakes his head and leaves.

SCENE 51: INT: The kitchen: DAY

Dan goes into the kitchen and finds Paula giving Charlie her breakfast.

DAN

Morning Sis, hello Charlie. You okay, I went out like a light last night, best nights rest I've had for ages.

PAULA

I'm glad someone slept okay.

DAN

What's for breakfast?

PAULA

There's some coffee on the go, help yourself. Is the other one awake yet?

DAN

Not yet, he normally sleeps in but he did ask if we could go home today.

PAULA

I think that's a good idea.

DAN

Really?

PAULA

Dan, it's lovely to have you here and you're welcome whenever you want.

DAN

Yes?

PAULA

Yes, but...

DAN

What's wrong?

PAULA

Nothing. I just don't want you to bring Eddy here any more. I'm sorry Dan but I can't cope with him, not at the moment.

DAN

Has something happened?

PAULA

No.

CHARLIE

I don't want you to go Uncle Dan.

PAULA

He frightens me Dan, seriously.

DAN

Frightens you. That's a bit strong.

PAULA

Just trust me, I don't like him and I don't want him around Charlie. Please don't take it personally.

DAN

Of course not.

CHARLIE

I don't like Eddy either.

DAN

Sorry, I didn't realise.

PAULA

Let's not say anything further as you have decided to go. Just forget that I said anything...

DAN

Look if something has happened that I need to know about?

PAULA

Nothing has happened, you heard Charlie, that's good enough reason to ask that you get him out of my house. Isn't it?

DAN

Yes, you're right.

PAULA

Have some cornflakes, I'll get your bags from the shed.

SCENE 52: EXT: The Car going down the motorway:DAY

Dan and EDDY are driving at speed.

EDDY

Thank god we're going home.

DAN

Hm, I don't know why but Paula couldn't wait to get rid of us.

EDDY

The bitch.

DAN

Don't talk about my sister like that.

EDDY

Well she made it obvious that she didn't like me from the moment we got there. What with her and your wife no wonder you turned queer.

DAN

I think you upset her by implying that you were using me until something better turned up.

EDDY

Yes, sorry about that, it all came out wrong. You don't understand, being in a family situation always makes me feel wound up, it's because I was brought up in local authority care.

DAN

Really. When did you see your family last?

EDDY

A long time ago, I was pushed from pillar to post all the time because most foster families didn't know how to handle me.

I look at a kid like Charlie, with parents who love her and everything she needs and it makes me feel emotional...

DAN

I didn't realise.

EDDY

I've never felt loved by anyone. Even foster parents used to make it clear to me that they were just doing it for the money.

DAN

Have you tried to contact your birth parents?

EDDY

No, I don't even know where they live.

DAN

How about your sister, was she in care as well?

EDDY

Yes, we both were and my elder brother...

DAN

Big Ed?

EDDY

Yes.

Dan smiles and looks out the windscreen for a moment.

It isn't funny....

DAN

I know, sorry. Have you asked your social worker for your families contact number?

EDDY

Yes, she wouldn't tell me. She said that they didn't want to see me.

DAN

That's awful.

EDDY

That's why I appreciate what you have done for me Dan, you're the first person who ever did anything for me because you cared.

He begins to weep gently.

DAN

Don't cry...

EDDY

It's true, you wouldn't even have sex with me that first night I stayed. Most people would have thrown me out right then and there...

DAN

Eddy, I hope you know by now that I'm not like that.

EDDY

I do. I really do appreciate the way you look after me.

DAN

Well thank you, I'm glad you appreciate it.

EDDY

Can we get a rock on the way home?

DAN

Eddy, you're a bad influence.

EDDY

But you love me really, don't you?

DAN

I suppose I do...

SCENE 53INT: Dan's flat: NIGHT

Dan and Eddy are sitting on the sofa next to the coffee table, Eddy is smoking a long drag on a crack pipe. He holds it in before passing the pipe to Dan. Dan loads it with more of the small stone.

EDDY

Hurry up, I'm waiting.

DAN

Wait a moment, I'm having my go.

EDDY

Come on, come on...

Dan takes a deep inhalation and holds the fumes in before letting them out in a long stream.

DAN

That's really nice...

EDDY

Let me have some...

DAN

It's so morish this stuff. Isn't it?

EDDY

My turn.

DAN

Here you are...

He passes the pipe and Eddy loads it up and smokes.

I could smoke this all night, pity it's almost gone.

EDDY

Let's get another one.

DAN

Not tonight.

EDDY

Please Dan, just one more.

DAN

Look, we've spent fifty pounds already Eddy, I haven't got that sort of money anymore now I'm not working so let's try to control it.

EDDY

How much money have we got?

DAN

Please Eddy, stop it.

EDDY

How much?

DAN

No more, I said STOP!

EDDY

There's hardly any left, right, if you're not going to get any more, I'm having what's left.

DAN

You're not.

EDDY

Come on, please, just one more?

DAN

It's always one more, then there'll be another one and one after that, where is all this going to end Eddy, you're putting us in the fucking poor house.

EDDY

DON'T DO THIS TO ME!

DAN

What, what am I doing.

EDDY

You're torturing me...

Come on, what do you want me to do, I'll go and earn some money on the street if you want, I'll go and rob someone, I'll do anything, please, just one more.

DAN

I don't want you to do anything, GO ON, HAVE THE LAST PISSING PIPE! I'm not bothered anymore.

EDDY

PLEASE DAN!

DAN

I'm not budging, I've said what I want to do and you are just going to have top deal with it.

EDDY

Don't be like that.

DAN

Like what?

EDDY

Like a cunt.

He kicks the coffee table away and the gear, pipe and mirror smash to the floor.

DAN

Eddy, you've fucking cut me.

EDDY

Well, do what I want.

DAN

You bastard, look I'm fucking bleeding because of your fucking stupid strops. Why do you keep doing this?

EDDY

You're the counsellor, you tell me.

DAN

I hate you sometimes, do you know that?

EDDY

Give me some money and I'll go, come on, I'll go right now, IF YOU HATE ME SO MUCH.

EDDY stands and grabs a long sliver of glass from the floor, he holds it up like a knife.

Give me some money or I'm going to kill you.

DAN

Put that down Eddy.

EDDY

Give me some money Dan!

DAN

Look at what's going on here, we're both a little wired and it's getting out of hand.

EDDY

Give me some money!

DAN

Calm down before you do something you regret.

Put the glass down and look at what's going on here, please.

EDDY

Stop all the bullshit Dan! GIVE ME SOME MONEY, NOW!

There is a struggle and they both roll on the floor for a short moment. In another EDDY is pushing the glass blade towards DAN's neck. Then they turn and all is still.

DAN pushes EDDY off him and sees blood on his shirt.. The flat is quite.

DAN listens but the glass has penetrated EDDY's chest and there is no life left. He goes to the kitchen and stands there looking at the body before phoning Teresa.

TERESA

Hello

There is silence on the line

Hello, is anyone there?

Dan is that you?

Come on speak to me, what has happened.

DAN

Teresa?

TERESA

Dan, what on earth is wrong?

DAN

Please come over, don't tell anyone, come now.

The line goes dead.

SCENE 54 ext: The Rose Garden DAY

The sun is shining and the birds are singing. Daniel and Teresa are planting a new rose bush. Ruth comes through the gate and approaches them.

RUTH

Daniel, I thought I saw you. I hope you appreciate how nice the garden looks.

TERESA

I told you he'd come back one day, didn't I?

RUTH

I hope you're not thinking of leaving again?

TERESA

I shouldn't think so, he's had the shock of his life, haven't you?

DAN

Yes. It was a mistake I don't want to repeat.

RUTH

Men, they can never look after themselves properly.

That's a nice bush, have you just planted it?

TERESA

Me and Dan did it last night, after he got back.

RUTH

It's lovely isn't it, it'll make this corner of the garden really come to life.

You'll look at that in a few years and remember this day?

DAN

You can say that again.

TERESA

We're going to dedicate it to an old friend of Dan's...

DAN

Are we?

TERESA

Yes, we'll call it Eddy's bush.

RUTH

That's nice, you can remember him with it.

TERESA

We all can.

The sky is blue and the all appears good in their world, for the time being.....

The End

©David William Kirby

All rights reserved

C: THE DOGbREATHS PUBLISHING 2010

dwkthedogbreaths@gmail.com

