by Steve Mosby
Now, he was so deep in the industry that you’d probably never find his stuff. It was the real deal these days: each and every word was true. They sold it in shifting markets, sealed in polythene, and behind locked, guarded doors in dark halls, where strangers shuffled from stall to stall, and even in these places you had to search it out, listen for whispers. A stallholder’s friend would be able to provide you with kiddie fiction, say, or rape text, but if you wanted his stuff then you had to go to the stallholder’s friend’s friend, and you had to keep your mouth shut and know when to back off. Because these days, his writing was so far buried that only the truly fallen ever even caught a glimpse of it.
And it was there – as low as you could get – that he began to see a way out.
Steve Mosby lives and works in Leeds. His novels include Still Bleeding, Cry for Help, The 50/50 Killer, The Cutting Crew and The Third Person. Visit his website at:
www.theleftroom.co.uk
THE THIRD PERSON
STEVE MOSBY
Contents
Cover
Title
Copyright
Dedication
About the Author
Acknowledgements
Prologue
Chapter One
Chapter Two
Chapter Three
Chapter Four
Chapter Five
Chapter Six
Chapter Seven
Chapter Eight
Chapter Nine
Chapter Ten
Chapter Eleven
Chapter Twelve
Chapter Thirteen
Chapter Fourteen
Chapter Fifteen
Chapter Sixteen
Chapter Seventeen
Chapter Eighteen
Chapter Nineteen
Epilogue
AN ORION EBOOK
First published in Great Britain in 2003 by Orion Books.
This ebook first published in 2010 by Orion Books.
Copyright © Steve Mosby 2003
The right of Steve Mosby to be identified as the author of this work has been asserted by him in accordance with the copyright, designs and patents act 1988.
All characters and events in this publication are fictitious and any resemblance to real persons, living or dead, is purely coincidental.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior permission in writing of the publisher, nor be otherwise circulated in any form of binding or cover other than that in which it is published without a similar condition, including this condition, being imposed on the subsequent purchaser.
A CIP catalogue record for this book is available from the British Library.
ISBN: 978 1 4091 0626 5
This eBook produced by Jouve, France
Orion Books
The Orion Publishing Group Ltd
Orion House
5 Upper St Martin’s Lane
London WC2H 9EA
An Hachette UK Company
www.orionbooks.co.uk
For Mum and Dad, John and Roy
Thanks for some of the ideas in this book are due to Matt Ridley and Richard Dawkins. More personal thanks to: Suellen Luwish and Simon Logan for comments on early drafts, along with much online entertainment; Jonny, Tilly, Neil, Ken, Ben, Cassie, Tom, Gaz, Nicole, Keith, Steve and Simon for various friendships and encouragement over the years; Marie, Debbie, Carolyn, Keleigh, Sarah, Jodie, Liz and Nicola and everyone else in the sociology office for taking enormous amounts of piss but generally being excellent; a fair few teachers along the way, including Mr Walker, Ms Charles, Mr Horobin, Mrs Hadley and Sally Roberts; my agent, Carolyn Whitaker; Sarah Such, for helpful comments; Jon Wood, Nicky Jeanes and everyone else at Orion; Katrina and Sal and Emma, for being great; Becki, for aiding my commitment to editing with her atrocious choice of television programmes (and being really, really, great); Angela, for being my best friend in the whole world; and Mum, Dad, John and Roy for all of their encouragement and love over the years.
Most of all, thanks to Janny, who always had more faith in me than I ever did or deserved.
PROLOGUE
The writing is always done by hand.
There are a couple of things you need to know, and that’s the first.
He’s gently flexing his wrist as they bring the girl in: warming himself up. It should take about half an hour from start to finish, and that’s a long time to write for, so you need to be prepared. Loose and relaxed. He gives his shoulders a roll and watches the girl. The bed, covered in straight sheets of glinting polythene, is on the other side of the studio. When she sees it, her step falters, but they push her from behind and she starts moving towards it.
The door is locked behind them.
‘Fucking behave,’ Marley tells her. He’s the one that pushed her. She glances at him, scared, but he’s not even looking at her now: just grinding out the remains of his cigarette on the floor. The smell of the smoke drifts over, catching his attention just as the girl sees him.
He sees her right back.
For a moment, it’s as though she’s standing on her own, with all the other figures in the room fading into the background: Marley disappears; Long Tall Jack melts out of view; the others go; even the bed seems dim and far away. It’s like the girl is spot-lit: a fragile, scared thing illuminated to the exclusion of everything else.
He wants to smile at her and tell her that it will be okay, but it won’t. And he’s not here to make her feel comfortable, or help her.
So instead, he picks up his pen.
And without taking his eyes off her, he begins to write.
CHAPTER ONE
Did you know that it’s possible to watch rape, twenty-four hours a day, in the comfort of your own home? I bet you didn’t know that, but it’s true. You can just sit in front of your computer screen – with a cold beer in one hand, clicking a mouse with the other – and watch rape after rape after rape. The scenes vary, but the reality remains the same. And that’s what I was doing, on the evening when the end of it all began: I was watching rape, drinking a Bud.
There are certain ways to do it. I’ve found that the best is to abstract yourself from what you’re actually watching and listening to: you quit hearing screams and, instead, you hear pitches and tones; and you don’t so much see skin anymore, as you see pixels: patterns of colour that remind you of things. Pink flesh; a black open mouth.
It’s the best way, but still not good.
I’ve grown up in a generation where reality is constantly mediated, though, and so it’s really not that different. When you see a war on television, for example, you’re not actually watching a war. Get close to the screen and you can see the little blocks of colour shifting, and that’s really all it is: a lot of second-hand light. It’s not really people dying at all. Reality, mediated. You’re not seeing what happened, you’re just seeing an effect it had on film in a camera. In every way that matters, it’s no different to someone describing it to you afterwards: someone whose eye is a lens; someone whose memory is camera film. Purely and simply, what you are seeing is hearsay.
The hearsay on the internet varies, depending upon where you go to listen. If you enter the word rape or snuff into a search engine, you’ll find the tip of the iceberg. Seriously – it’s that easy. The first few porn sites you’ll visit will be mostly – if not totally – legit. They offer violent, hard-core porn for download, generally for money but there are ways around that, and you’ll know, from watching them, that they’re fakes. There’ll be a plot structure that gives the whole thing away. Sometimes, there are even credits at the end. These are stories: fantasie
s designed to give you a thrill, acted out by paid, willing models.
I had a few hours’ worth of this type of movie on my hard drive: some good quality and some bad. I’d seen enough to know I wasn’t interested. I wouldn’t find Amy here. These staged travesties weren’t an abyss, merely a gutter, and I knew from the beginning that I was going to have to look deeper to find her.
Here’s something else I’ll bet you didn’t know:
The deeper you look, the darker your house gets.
It’s a strange thing. You start to feel very lonely, sitting in front of the screen. The heating starts clicking; pipes creak. The ticking clock in the other room starts to sound like cover for movement downstairs. You feel things standing behind you. The shadows become gloomier and the light less sufficient. The first time I felt this – and it felt like cold breath on my neck – was when I was looking at the carcass of one of Jeffrey Dahmer’s kills: a medium-sized jpeg image of a corpse, resplendent in streaks of red and white, propped up beside a stained bath. And suddenly, I felt watched. The silence in my house – our house, I mean – started to ring, and I slept with the light on later, lucky to sleep at all.
The death sites and the rape sites go hand in hand. Do you want to see dead people? You can. More specifically, you can view them by category. Do you want to see burn victims or hanging victims? Do you want to see gunshot wounds and people smashed beneath fallen rubble? You can see all these and more: rotting corpses; naked women, murdered and in various states of dismemberment; rape victims, discarded like torn bags of old clothes beside forest paths; deformities, both congenital and deliberate. The sites are often white text on black, adorned with skulls and candles, and the tone is generally humorous and genial. If you don’t like it, you can leave. These sites are not illegal.
Some skirt close, though. I found one site which showed photographs taken by two killers as they raped, tortured and murdered a young girl. They had also audiotaped it, and the track was available at the site. I listened, deliberately hearing it as pitches and tones: fluctuations in sound. The site claimed, incorrectly, that it was the closest thing to snuff available on the internet. I’ve seen closer. Other sites are devoted to animals, both sexually and otherwise. A woman being raped by a horse (real). Cats being flayed alive, their skins coming off like sellotape unsticking from a parcel (real). During the time of the Waco siege in Texas, FBI agents played tapes of rabbits being tortured to death into Koresh’s compound in order to wear down those inside. I have that sound file, and it wears me down, too.
But like I said: none of this is actually real. It’s all just hearsay after the event, like a newspaper report, or the Bible. And that’s the best way to think of it: maybe the only sensible way, if you’re going to think of it at all.
Just dots of colour or beats of sound.
Just words on a page.
‘You have one message . . . Message One.’
Beep.
I recognised her voice straight away, and pictured her face as she started talking to me from the pocked, steel-grey grid of my answerphone.
‘Jason? It’s me. Charlie. I was just calling to find out how you are. I mean, I know that you’re not great, but . . . you know. Williams is going spare about you not turning in this week.’
Charlie had just turned eighteen and was cute as hell. Short blonde hair, trim figure, pretty face. She had a pierced nose: a little gold stud, as though someone had banged a painless nail into the perfect skin on the side of her nostril. Whenever she spoke, she didn’t seem to have a bad word to say about anyone. For me, for some reason, they were all good.
‘He’s tried to ring you a couple of times, but there was no answer. He’s left messages, though. Have you not got them?’
I nodded to myself, picturing Williams behind his desk. White shirt, dark tie. Neat hair and glasses. He always had little red flushes in his cheeks, as though he was constantly embarrassed about something. I think he was slightly paranoid that the other guys all took the piss out of him when they were out of ear-shot, but in reality they couldn’t give a shit about him, and I felt the same way. He was my direct superior, and he’d left increasingly angry messages on my answerphone for the last few days. I’d deleted them as soon as I heard the first few nasal notes. A lot of times, you don’t need to hear people to know what they’re saying.
‘Well, whatever. I mean, I know that you’re having a bad time, and you don’t have to talk to me if you don’t want. Obviously, but – you know. I just wanted you to know that I’m here for you. If you want to talk, that is. We can have a chat. Hey – I could buy you a coffee some time.’
She always made sure I had a coffee each morning at nine. Bless her. Over the weeks, she’d even kept track of my increasing lateness, with the coffee starting to arrive on my desk at nine-fifteen, and then nine-thirty.
I smiled, and clicked stop, but I didn’t delete it. Instead, I shrugged off my coat onto the chair and headed through to the kitchen.
There was beer in the fridge, as there should be in every decent, civilised home. I collected a bottle, and then went upstairs, to the study, clicking the computer on at the plug and settling in for the night.
The Melanie Room.
Not a room in the normal sense that you might think of a room, but I’d say it still had a good claim. It had two walls, a floor and a ceiling – of a kind, anyway – and rooms branching out in all directions that you created as you went. It was a Chat room: white space filled with text, divided into two vertical sections. The section on the right listed usernames; the larger section on the left was the chat space, steadily scrolling away upwards as users typed in messages that appeared at the bottom. The Room was named after Melanie Shaw, a five-year-old girl who had disappeared in Central England a few years ago. She was still alive somewhere. The Room had been named in her honour after a user named JACKJILL posted a picture of what was claimed to be her: a bound, naked girl, with her head wrapped entirely in black electrical tape, breathing through straws in her nostrils. That was two years ago, and he’d posted a picture a month ever since.
There were thirty-seven users in the Room that night, which was about average. Sometimes there were more and sometimes less, but it hardly mattered. As always, the main room was almost entirely empty. Little in the way of real conversation ever went on there – the real action took place privately. By double-clicking on someone’s username you could enter into a private room with them – just the two of you, unless you invited others – and chat one-on-one. You could cyber or discuss cases in the news, or exchange favourite photographs and links, all out of the way of prying eyes.
I’d logged on as Amy17, and it took all of thirty seconds for the first private message to come through:
HARD4U:
[u like it in ass bitch]
Invitations to ‘private’ – however primitive – almost always came up in a separate window, and you could choose to chat or cancel. I took the first sip of my beer and pressed cancel. That thing about my boss? It goes for perverts on the internet, too.
A few more windows flashed up over the next twenty seconds, but none of them were that much better than just plain annoying.
SEXXXYFUCK:
[i’ll tie you with ur panties]
M-BRACE:
[hi – asl?]
likeyoungirls:
[r u wet Amy?]
I pressed cancel on each of them in turn, all the time scrolling down the list of users until I found the one I wanted. I’d been talking to this guy for the last couple of weeks, hiding behind the Amy17 name, and trying to get a little closer to him. Recently, it felt as though I’d been succeeding. Now, I peered at the screen, moving my head closer and closer. His name – <~KaREEM~> – did not dissolve into dots the way the gifs he often sent me did: the lines remained solid and connected. It was just text on a screen, this man’s name, but you still couldn’t see through it; it didn’t break down. It gave me the sense that this really was happening now, and that – somewhere ne
arby – he was looking at his own screen, perhaps running a finger over the text I was hiding behind, and thinking something similar.
I took a sip of my beer, and waited for him to come to me.
A few facts about Amy17. She was seventeen years old, five feet and three inches tall in her bare feet. She had short, blonde hair, cut off in a line just before it touched her shoulders, blue-green eyes and clear skin – a pretty girl. Generally, she wore plain white tops, sometimes a skinny-rib, and a skirt to mid-thigh. Both items showed her off well, because she had tanned, toned legs from her thrice-weekly gym visits, and firm 34C breasts. Amy17 was sexually experienced, and had discovered the boys very young. Her favourite position was missionary, held down firmly by that lovely hair of hers, but she was always open to suggestions. Kareem generally had a few.
I sat and waited for him, wondering how long he could hold out. A few more revolting hopefuls approached me, and I cancelled them all. Mr Hard4U tried me again, and I responded by telling him to fuck himself in the ass, and try his mother out first for practice. I was beginning to despair until, after five minutes, I felt his breath on my neck and the room went that little bit darker. The window appeared.
<~KaREEM~>:
[(whispers) Where are you?]
Got you, I thought, taking another sip of my beer. As always, my heart was pounding and my palms felt sweaty: slightly shaky. That feeling of connecting with someone over the net has always made me feel strange. It’s a feeling that’s never gone away.
I clicked chat, which opened up a private window. When I typed in my reply, it appeared underneath his:
