Scene Six – a roundabout in Tring, 2010
Ellie walks across a deserted street where the dead body of a young man lies. The music stops abruptly.
Ellie Is there nobody here to help this boy?
(She takes out a mobile phone.)
I can’t get a signal.
(She makes to return home.)
Where’s my house gone? My street? Where am I?
Suddenly the body sits up. He gives her a start. There is blood all over his face.
Ellie Is it you?
Boy They came for me.
Ellie You look different.
Boy What time is it?
Ellie You sound different.
Boy Is it eight o’clock?
Ellie How many times have I told you?
Boy I’m meeting this lad at eight. Outside the station. This is a new top.
Ellie You should always wear your crash helmet.
Boy Will you help me get ready?
Ellie I’m not sure this is real time.
Boy All these bits. What are these bits?
Ellie Where’s your bike?
Boy Is it my brain?
Ellie Are we in Tring?
Boy Are you a nurse?
Ellie Are all the roads yellow in Tring?
Boy I need to go to the station.
Ellie Where’s your crash helmet?
She wanders to look for his crash helmet.
Boy (like his dying words) You’re not my Mum.
Ellie I can’t find it.
When she turns, he has gone.
Ellie Where did you go?
She looks around.
Ellie Which way do I go now?
She heads off.
Blackout.
Scene Seven – Robin’s house, 1982
Russell is in bed on a sofa bed, reading. Robin comes downstairs and watches him.
Robin Where’s Mickey? I thought he was out with you.
Russell Yeah he was. I lost him.
Robin D’you know what time it is?
Russell About two?
Robin What you reading?
Russell The Cherry Orchard. We’re doing it at drama school. Well one of the teachers has written a musical version of it. Cherries!
Robin sits on the sofa bed and suddenly weeps.
Robin He treats me like shit Russell.
Russell I know.
Robin Stop covering for him. I know you’re covering for him. Is he off with some fancy piece? I bet he’s with some bit of . . . rough trade from . . . Turnham Green or . . . He’ll tell me about it when he gets in. Oh he’s very generous like that. It has a certain boyish appeal. I’m just a bit sick of it, truth be told.
Russell Robin. It’s really kind of you to let us stay. I know we ain’t given you any money and that, but . . .
Robin I don’t need money. You think I need money? I had a rather marvellous aunt. Left me a fortune. I’ve got a very big heart you see Russell. Give give give.
Russell And we really appreciate it.
Robin See, why can’t he be like that? Why can’t he be like you? Manners of a Duchess. Did I tell you I met the Queen Mum once?
Russell You did.
Robin Fisted one of her footmen below stairs at Clarence House. Exquisite cornices. Am I ugly?
Russell No.
Robin I am.
Russell You’re really handsome.
Robin Would you think me terribly forward if I kissed you Russell?
Russell I’m straight.
Robin You’re studying musical theatre. You wear legwarmers through choice. I’ve seen you checking out my crotch. I’ll ask you again.
Russell I’m a bit scared.
Robin I’m not that intimidating am I?
Russell No.
Robin But you’re Mickey’s best friend. I understand.
Russell I don’t care about him.
He takes Robin’s hand and places it on his crotch. Robin lunges on him, undoing his jeans.
Robin Mickey’s so independent, prickly. Yet I see such innocence in your eyes. You want new shoes? I’ll take you to the Kings Road, buy you all the shoes you want. Trainers. Jeans. You want special treats? You wanna be my boy?
Russell I just want . . .
Robin Can’t afford much on your meagre grant.
Russell I just want someone to look after me.
Mickey I thought that was my job.
They both jump out of their skin. Mickey has come in silently. Russell starts to pull his jeans back up.
Russell All right Mick?
Robin Mickey. Darling. Come and join us.
Mickey No, you’re all right.
Russell Mickey.
Mickey You carry on. Don’t let me stop you.
Robin Where’ve you been?
Mickey Chatting to this bloke back at his squat.
Robin ’Til two in the morning?
Mickey He’s a Socialist Worker.
Robin And you’re a reprobate. A match made in heaven!
Mickey It’s a political thing. Not a job, knobhead.
Russell Mickey!
Mickey What?
Russell Robin’s been very generous to us.
Mickey Yeah and I worked bloody hard for it. Your turn now.
Russell Why are you being like this?
Mickey Why do you think Russell?
Russell Don’t tell me you’re in love with Robin!
Mickey How many times? How many times Russell? Have I had to . . . walk you to the toilets in a gay club in case there were blokes trying to look at your cock? How many times have I tried to coax it out of you? You’re gay! Like me! But oh no, says Russell. I’m just naturally shy. Not so shy now are you?
Robin Keep your voice down Mickey.
Russell I don’t know what came over me. I’m not actually . . .
Mickey See? Even when I find you having sex with a guy you deny it. Or do you only help out when they’re busy?
Russell I’m confused Mickey.
Mickey Are you darlin’? Well d’you know what Uncle Mickey’s going to do for you now?
Russell Patronise me?
Mickey He’s gonna pack his bags, get out of here and leave you two lovebirds to it. Then maybe you can figure out what you are for yourself.
Russell You’re being ridiculous now.
Mickey And you’re a shithouse. Dunno what you want from life apart from being the world’s greatest actor.
Russell And what’s wrong with that?
Mickey The one profession where it’s fine to be a screaming great Mary!
Russell But I’ll never be taken seriously as a leading man!
Mickey Stand up and be counted Russell! Fight the system. Change it not you.
Russell You don’t know me.
Mickey I know this much. You’re dishonest. About who you are, what you are. That’s why you can do this to me. Lying comes easy to you.
Mickey turns to get his guitar. Ellie suddenly runs through. She shrieks when she realises there are people there.
Ellie Aaaghh! Sorry. I’m looking for Tring town centre.
Russell Tring?
Ellie I’m so sorry!
And she is gone. Russell looks to Mickey.
Russell You didn’t see that? That woman?
Mickey Oh what, hallucinating now are you? (To Robin.) Have you given him drugs?
Russell Oh shut up, Mickey. I don’t need you.
Mickey Not as long as there’s a mirror in the room, eh darlin’? Nice knowing you Russell. You’re on your own now.
Mickey goes with his guitar. Russell stews.
Robin And then there were two. This is all my fault.
Russell I think it was about time I cut the apron strings anyway.
Robin He’s so angry all the time.
Russell Robin? Tell me. About these shoes you’re gonna buy me tomorrow. From the Kings Road.
Robin chuckles. And moves to him. He undoes Russell’s jeans.
Russell Tell me!
Blackout.
Scene Eight – Police station, 1962
Young Tom comes in and sits in front of his Father, the Superintendent. He sits at a desk, which has a wastepaper basket beside it. He is currently reading through Tom’s statement.
Tom Father I’m sorry.
Tom’s Father Tom, I’ve . . . not asked you here as my son, but as a fellow policeman.
Tom This has brought shame on Mother . . . You . . . The station.
Tom’s Father I’ve been reading through your statement. This boy. This Billy. One sort of wonders why he came over from Ireland. Maybe he’s been in trouble like this before.
Tom I don’t think so. But I promise Father, it’ll never happen again.
Tom’s Father It certainly won’t. Because we’ll make sure that bastard’s locked up.
Tom is thrown by this.
Tom But . . . sorry . . . If he’s locked up, I’ll be locked up. (Shrugs.) If that’s what you want . . .
Tom’s Father It absolutely isn’t what I want. You think I want that shame?
Tom But . . .
Tom’s Father There was a man once who did things like this. (He jabs the statement.) A scientist. Helped us beat Hitler with his clever brain. Took a bloke home he met in a picture house and was arrested for gross indecency. Ring any bells?
Tom is silent.
Tom’s Father He was chemically castrated. All the oestrogen they gave him meant he grew breasts. A while back he took a bite of an apple he’d dipped in cyanide. Do you want to end up like him?
Tom No, Father.
Tom’s Father No, Tom. You want a future with Ellie.
Tom I’m going to propose to her.
Tom’s Father A career in the force.
Tom Of course. Of course that’s what I want. I’m just not sure it’s possible now.
Tom’s Father In life Tom, you will soon begin to realise. Even the impossible can be possible.
Tom I don’t . . .
Tom’s Father Tom, what is the point in you going to prison for something you didn’t do? (Beat.) Might I trouble you for a light?
Tom nods and hands him a cigarette lighter.
Tom’s Father So.
He lights the lighter.
Tom’s Father We are going to take these notes. And do the only thing we can with them.
He sets fire to the papers. He drops them, alight, into the waste paper basket.
Tom’s Father A good fire will cleanse and purify. It will burn the waste away. Now.
He picks up a pen from his desk.
Tom’s Father We are going to take this pen. And start again.
Tom gulps as his father prepares to rewrite the statement.
Tom’s Father Tom. Be honest. What choice do you have?
Tom thinks, then nods.
Tom Yes Father.
Blackout.
Scene Nine – Miner’s house, 1984
Frank, a striking Yorkshire miner in his mid-twenties, sits nervously in his living room. Eventually the front door goes. He stands up and his wife Sue comes in with Mickey’s guitar case.
Frank Did you get one?
Sue He’s just coming.
Frank What’s he like?
Sue He’s got a cough.
Frank You’ve been ages.
Sue Bus broke down.
Frank Could you not walk?
Sue He’s got a big bag. And this thing here. (Indicates guitar.)
Mickey comes in with a big overnight bag.
Mickey All right?
Sue This is Frank.
Frank So you’re the bender.
Mickey Well I’m gay yeah. Nice to meet you mate, all right?
He makes to shake Frank’s hand but Frank looks to Sue instead.
Frank Have you seen the time?
Mickey I was the last one to be picked.
Sue It was like choosing evacuees up there.
Frank So why were you last?
Mickey Vegetarian. (Sneezes.)
Sue He dunt eat meat.
Frank What d’you eat?
Mickey Anything but meat. D’you mind if I park me ‘arris?
He sits.
Frank No wonder no-one wanted you.
Mickey Knackered, sorry.
Frank How comes you took him?
Sue I got gabbing to Peggy Ollerenshaw on t’way over, all right? So I got there late. After all the good ones had gone. No offence Mickey.
Mickey (To Frank.) That’s my name. Mickey.
Frank And you don’t eat meat?
Mickey Meat is murder. D’you know what I mean?
Frank This whole thing’s too frigging weird. We’ve never had owt like this in the village before.
Mickey What? Twenty seven lesbians and gay men arriving in convoy?
Mickey laughs, which brings on a cough.
Frank ‘Ere dunn’e talk funny Sue?
Mickey I always get ill when I go away. When I went on cub camp I got measles.
Frank Good miner’s cough that.
Sue D’you need a wash and brush up love?
Mickey I will before tonight.
Sue Oh we all will before tonight. Will fish fingers do you for your tea?
Mickey I don’t eat fish. Sorry.
Sue Only we’ve not got much in.
Mickey What were you gonna do them with?
Sue Peas. Tinned.
Mickey I’ll just have that.
Sue We ant got much more to offer.
Mickey S’all right. That’s why we’re here init.
Frank So you’re going to this disco then?
Mickey I helped organise it.
Frank Did you?
Mickey Yes.
Frank Why?
Mickey I was watching the news on the TV. About how the police were treating you all. And I thought there were similarities between. Well. Our community and your community.
Frank I don’t take it up t’shitter. No miner does.
Sue Fat Barry did. Well he tried to.
Mickey Margaret Thatcher. She’s bad news mate.
Frank Shake my hand pal.
He holds out his hand and they shake hands, finally.
Sue Oooh you touched him Frank! He said he want gonna touch you.
Mickey And when I saw how bad things were for you. I just started collecting money. Set up a group. Lesbians And Gay Men Support The Miners. I’ve collected over five grand. So I wanted to bring it up to you. In person. Then we had the idea of a disco. If there’s one thing us gay boys know. We know how to dance.
Sue They’ve got a big coach outside the community centre with that written on it. And a big pink triangle. Right comical it is. We’ve never seen the likes before in this village. (Beat.) I’ll put them peas on.
And she exits to the kitchen.
Frank She’s been saving them fish fingers. Wanted to show you this is a good house, with good people.
Mickey That’s my principles. And I won’t dilute ’em for anyone. Like you won’t.
Frank Don’t come in my house and make out you know me. You don’t know how hard this is.
Mickey I do.
Frank Fellas are starting to go back. Fed up of hearing their kiddies crying themselves to sleep every night with frigging hunger cramps. Sue spends all day outside the supermarket. Collecting food.
Sue (off) Good for me figure this strike!
Mickey You’ve got to keep the faith.
Frank Yeah? Well faith costs money. And that’s summat I’ve not got. Usually. You strike to make a stand. And to show folk what they’re missing. But no-one’s missing nowt right now what with Thatcher’s stockpiling. So the only folk what are suffering . . . is us.
Sue returns with a mug of tea for Mickey.
Sue I bet your Mam and Dad are proud. Peas are on.
Mickey They’re dead. Little orphan Annie. Don’t feel sorry for me. They never really got me.
Frank Coz you’re a bender, like?
Mickey I actually find that word off
ensive.
Frank What d’you want me to say then? Homosexual?
Mickey No. That’s so depoliticised. I’m gay.
Sue I’ll send a prayer up to them and tell them how helpful you’ve been to us.
Frank So you see you being a . . . gay. As a political thing?
Mickey We’re oppressed. Like you are. Like the working class are. There’s a lot of competition to be the nigger of the world right now.
Frank What have thee and me got in common?
Mickey I was in a club last night. Twenty coppers come in and just started arresting people or beating them up. No reason. They weren’t doing nothing. Dancing. Drinking. Just enjoying themselves. I managed to leg it, but . . .
He lets the words settle.
Frank You play guitar?
Mickey Yeah.
Frank Give us a song then.
Mickey I don’t usually have a go til I’ve had a drink.
Sue There’s a brew. Sing.
Mickey gets the guitar out and starts to pluck.
Frank You be all right kipping on t’couch?
Mickey Well if you can’t be arsed to give up your four poster for the likes of me . . .
Frank I don’t leave my bed for any bugger. Especially not a bugger like thee.
They share a smile. Eventually Mickey starts to sing.
Mickey (sings)
This government had an idea
And parliament made it law
It seems like it’s illegal
To fight for the union any more
Which side are you on, boys?
Which side are you on?
Which side are you on, boys?
Which side are you on?
We set out to join the picket line
For together we cannot fail
We got stopped by police at the county line
They said, “Go home boys or you’re going to jail”
Which side are you on, boys?
Which side are you on?
Which side are you on, boys?
Which side are you on?
It’s hard to explain to a crying child
Why her Daddy can’t go back
So the family suffer
But it hurts me more
To hear a scab say Sod you, Jack
Which side are you on, boys?
Which side are you on?
Which side are you on, boys
Which side are you on?
As he dissolves in a coughing fit.
Blackout.
Scene Ten – Courtroom, 1962
Billy is in the dock. The Judge is addressing him.
Judge William James Lynch. You have been found guilty of the most heinous of crimes. That on the afternoon of June 13th of this year you procured Thomas Ian Harris back to your bedsit on Addison Road, Wavertree, where you attacked him in the most lewd and offensive manner imaginable. This was a shocking case. At many points in the trial, as you know, I had to ask ladies to leave the court . . . fearful as I was for their constitution. Thomas Ian Harris is a young policeman of fine reputation, impeccable character, and with a great career ahead of him doing good for the people of Liverpool. On June the thirteenth you tried to put a stop to that by perverting him. By your own admission you are a homosexualist.
Canary Page 3
