by AB Morgan
‘That’s not the issue here, Mr Neale. She was very insistent.’
‘I don’t doubt that she was, Doctor. In fact, your reception staff go so far as to report that Anna Chamberlain was hostile, unpredictable, unkempt, distracted and I quote, “openly responding to voices”, whilst waiting to see you here in this very building. Did you know she frightened some of your other patients?’
Dr Dalby declined to answer.
‘Well she did, and later that day she went on to assault her mother-in-law who ended up hospitalised and suffers from short-term memory loss as a result. So tell me, if it wasn’t your job to refer her to mental health services, then whose was it?’
In the cosy lounge at Barney and Annette’s house, Gemma sat forward in her chair, dabbing at her eyes with a tissue.
‘I remember that GP. She was worse than useless.’
The documentary took a familiar road, showing interview footage from a representative of local mental health services who blamed the government for underfunding, in the same way that Dr Janice Dalby had blamed the mental health crisis team for not responding actively to her referral.
After the scene faded out, the camera focussed on a headshot of Konrad sitting in the film studio.
‘Is that the story? Dylan Fewtrell is serving time for a crime he did not commit and no one is to blame? Of course not. Let’s look again at the Fewtrell family.’
The portrait photographs of Carmel and Leo were shown on the screen as Konrad continued his narrative. ‘Here we see the lovely couple at the centre of slavery, people trafficking and a life of appalling morals. Take a good look at them. Why was Anna Chamberlain seeking them out in particular?’
Konrad paused as the camera zoomed closer.
‘Because she recognised him.’ Konrad aimed a hand at a screen to the rear of the small studio, where the photograph of Leonard Fewtrell was displayed. ‘As far as she was concerned, he held the key to why her parents abandoned her. She was a bright, intelligent young woman who had spent much of her adult life trying to make sense of why she was, in effect, adopted by her aunt and uncle, the Waterfords.
‘What she didn’t know was that her father, Scott Pardew, made an absolute fortune from the production and distribution of pornographic films and rather stupidly some of these were made on location at an exclusive girls’ boarding school where his wife was head teacher. In fact, they lived within the sumptuous grounds of that school, in a house provided with the job. He thought he was protected by the fact that the entertainment evenings they held there were advertised as charity galas.
‘Our investigation has uncovered that these lavish events were “men only” affairs attended by a few well-chosen rich parents, among others. Some of those parents were school governors, members of parliament, foreign diplomats and the like. They bought over-priced tickets and were entertained in ways that could not be found elsewhere in the whole country. We managed to interview a gentleman who attended one of these events. His features and voice have been altered to protect his identity.’
* * *
‘The whole evening was well thought out.’ A distorted, disembodied voice reverberated from the shadows of a backlit dark space. The mystery man was nothing more than a black silhouette. ‘There were hostesses waiting on tables bringing drinks, and we were told on the invitations that we would be wearing masks to protect our identities because a photographer would be present. They filmed the whole event - video filming. I’ve been to a couple of men only occasions before, and they are, without fail, raucous evenings with waitresses getting groped and strippers prancing about. Men behave appallingly when there are no wives to keep them on leashes. Sometimes you get a full-on sex show, but this one was a show like I’d never seen before and we were invited to bid for the privilege of participating. I can’t say more than that. We handed money over to the Pardews as if it were going out of fashion.
‘None of us had a hint that the same films were to be used in a sick and perverted pornographic version of the same Victorian freak show. By the time they had been sent out on sale to the public it was irrelevant. The scandal had broken and the Pardews had departed, taking all our money.’
Konrad allowed the facts to sink in. He cast his eyes downwards to notes placed on the desk he was sitting behind.
‘That explains why Anna’s parents left the country, but what happened to her? She wasn’t taken to Spain by her parents because the authorities intervened, alerted to a child protection issue. So why was Anna removed by Social Services and placed in the custody of her aunt and uncle? Let me show you.’
The camera shot picked out the title of a DVD that Konrad was showing to the audience.
‘The Circus Extraordinaire’.
Konrad stared into camera.
‘You are about to see a short clip of the film that was shot during one of the so-called charity events at the home of Scott and Joyce Pardew. Their daughter Anna was less than ten years old at the time. Because of its obscene nature, we have taken the precaution to pixelate the sexual organs on show but be warned the content remains explicit.’
The circus ringmaster, Scott Pardew, in red tailcoat and wearing a gold mask, cracked a long leather whip as he paced across the centre of a circus ring lined with AstroTurf.
* * *
‘Gentlemen, you’ve seen how very cruel and freakish Mother Nature can be. We’ve shown you the magnificent breasts of Triple-Titania, the bewildering Bendy Woman, the amazing Double Dick and many more fascinating performers. But what you are about to behold will confirm that nature can also be extremely generous. I give you, a man of extraordinary proportions, an organ of truly astounding length and girth, welcome to … The Python!’ Delighted roars of approval and gasps of disbelief were heard from the audience on screen.
Gemma sat back in her chair, both hands to her face. Barney choked, coughing and spluttering his mouthful of coffee over Annette who hardly flinched. ‘Strike a bloody light,’ he wheezed. ‘That’s a very young Leo Fewtrell swinging his todger. He wasn’t exaggerating after all. Blimey, he looks just like Wayne does now.’
‘At least he’s keeping time with the music,’ Annette commented glancing across at Gemma, gauging her reaction.
Barney was transfixed. ‘Bugger, he’ll take his own eye out if he’s not careful.’
41
Evil Anna
The film clip lasted for less than three minutes, after which, the documentary film transitioned to a still shot of the masked audience as Konrad commentated.
‘Now look closely as we highlight a person at the back of the room, who isn’t in a mask. It is the face of a small girl. The face is of little Anna Pardew, whose parents were so busy earning a fortune from ripping off the wealthy and from pornography that they failed to care for their child’s emotional wellbeing.
‘Their selfish lives came crashing down around them when Anna’s junior school alerted the local authority. Staff there became highly alarmed at the child’s sexualised behaviours and descriptions of dubious adult parties taking place in her home. You know the rest.’
He raised the DVD again flashing it to the viewers. ‘This is a copy of the full video film showing the circus masquerade entertainment which took place at her childhood home. Police found it alongside Anna Chamberlain’s laptop. It must have brought back those confusing childhood memories, the painful separation from her parents and from her home. From what we understand, Anna went on a personal and determined mission to find out the truth about her parents as a result of being sent this film. The only other person, apart from her parents, that she recognised on this disc was Leonard Fewtrell, and he wasn’t hard to find.
‘He became the focus of her investigations and the whole issue became a catalyst to another major psychotic episode as fact and delusion combined to make a dangerous cocktail.
‘This helps us to understand why Anna was in the right place to find Leonard Fewtrell, she was in his yard and what’s more she had put herself there. She hadn’t be
en abducted at all, and because of her acutely psychotic state we will never fully know what she was seeking to find, but whatever they were, her questions were never answered, and she died confused and petrified.’
There was another deliberate pause.
‘This little beauty …’ Konrad held the DVD cover up again. ‘ … was distributed widely in certain circles and a healthy financial return made its way into the bank account of Scott Pardew’s film company, Diversion Entertainments. A percentage of the profits went to the Fewtrells who, via Carmel’s canny organisation, became the UK distributors for all the top shelf offerings from Scott Pardew’s company. The scrapyard in Lower Marton was a lifestyle choice and a reasonable cover for their other shady business dealings.’
Barney realised that he was holding his breath as Konrad headed for the sad conclusion. He shifted uneasily in his seat, listening to Gemma next to him breathing in short bursts.
‘Police have confirmed that the DVD apparently sent in the post to Anna came from none other than Mrs Waterford, her aunt, the woman who brought her up as if she were her own child and the woman who was left to deal with an unruly and damaged niece. Anna’s aunt, Katrina Waterford, was the woman who accepted her as a child into the heart of her tightknit, loving family and who declined to be tainted by offers of money from her own sister, for the privilege.
‘Aunt Katrina sourced therapy for Anna and protected her by changing her surname so that she could hide behind the name Waterford and not be tarred with the sinful brush of her natural parents.’
Konrad stared deeply into the lens and left a long gap before he spoke again.
‘Let’s hear from Gemma Waterford, Anna’s cousin.’
The scene on the television showed Gemma sitting opposite Konrad in a hotel lounge. She was neatly dressed and manicured, earnest in her manner.
‘My mother felt saddened by Anna’s cruel thoughtlessness. She never called Mum anything other than Aunty Kat and, as she headed towards adolescence she became deceitful and manipulative. Rather sadly she inevitability became promiscuous. I don’t think it was her fault. She was a very damaged child.
‘Despite all Mum’s good intentions and mammoth efforts, she couldn’t save her from the disgrace of her appalling reputation with men; it was her marriage to Damien Chamberlain that gave her respectability and she didn’t even invite Mum to the wedding.
‘To be honest she wouldn’t have gone, even if she had been invited, because, after Dad died, Mum was in pieces. Her health nose-dived, and she was a broken woman. All those years wasted on an ungrateful human being.’
Konrad gave an understanding nod. ‘I know this is hard for you, but can you say how your father died?’
On screen Gemma took a second to compose herself. She gave the same account as she had to Rory. ‘Nothing was ever proven otherwise, but Mum blamed Anna. She never forgave her.’
The scene faded.
Konrad held up a sheet of paper from a desk in front of him in the studio. ‘Gemma must have been right because with the DVD that Katrina Waterford apparently sent to Anna, there was a handwritten and signed letter. It reads: “I haven’t long left to live. This is my last gift to you before I die. You killed the only man I ever loved, you stole my daughter’s future husband and you took away her affection for me. Here is the truth about why you grew up to be such an evil woman.”’
42
Revenge
Watching the screen intently, Annette held Barney’s hand as Konrad spoke to them through the television, and leaning into her husband she whispered softly, ‘here we go.’
‘I leave the final words to Rory Norton,’ Konrad announced through the speakers.
Annette noticed Gemma stiffen.
Rory appeared on the TV screen, sitting astride a motorbike outside Ribble’s Garage. The Ride-Right logo was seen emblazoned across a high-viz vest and he held a crash helmet on his right thigh, leather gloves tucked inside it.
‘Will you be bringing any legal action against the police?’ Konrad’s voice could be heard off screen.
Rory looked past the camera aiming his reply at the unseen interviewer. ‘No, I’m not sure that would achieve anything, although I will be continuing to fight for better mental health services in this area. I may have no sense of smell but the provision of services for those in a mental health crisis stinks. I don’t even have anything specific to say to Dr Dalby who should by now have realised that she can do much better for her patients and for the public. But I do have a few words for Gemma Waterford.’
Rory swung his leg over the back of the bike seat and walked towards the camera. He leant forward and tapped on the lens.
‘Hello, Gemma. Smile for the camera.’
* * *
As he said this, a small square appeared in the bottom left of the television screen being watched in the Ribble’s front room. Gemma’s face appeared there. Blank at first, then grinning at the surprise. On the screen in the lounge, Rory’s head and shoulders looked large and distorted until he backed away again. Gemma giggled nervously as she spied the small camera positioned on top of the TV, aimed solely at her.
‘What’s going on?’ she asked.
‘I have some bad news,’ Rory said walking back to his bike as the documentary continued. He laid his helmet down beside it. The camera pulled back, revealing Lorna smartly dressed, hair in a tight bun. Unusually for her, she had applied full make-up and bright lipstick, and sported a pair of dark rimmed glasses to enhance the image of a businesswoman wearing a neat trouser suit with a briefcase held at her side. Next to her stood Konrad in front of the large roller shutter doors that barred the way to Barney’s garage workshop.
Rory made his way to stand between them. ‘Hopefully you’ve been enjoying the screening of the documentary so far. Most of it is factually accurate … until we get the part about the DVD being sent by your mother to Anna, your cousin’s part in the death of your father, her underhand actions in stealing Damien Chamberlain’s affections and being an evil woman. That’s all a total fabrication on your part, isn’t it, Gemma?’
Slack-jawed, Gemma looked around her. Rory waved at the camera. ‘Watch the screen, Gemma, and listen carefully.’
* * *
Annette and Barney didn’t move and remained resolutely silent.
‘Gemma, your mother died of cancer not six months ago and yet you had the audacity to implicate her in your cousin’s death while she was still alive.’ Standing next to Rory was Konrad ripping up sheets of paper.
‘What you said in your interview was a pack of lies, so Konrad’s tearing up the script. We can’t allow this documentary to be shown. Not as it stands. What you told me about Anna and about Damien was also untrue, and what you told police was pure fiction too, so now we would like to reveal the real “Truth Behind the Lies”. Your lies.’
Konrad drew breath and took a pace forward. ‘Ladies and Gentlemen, Gemma Waterford is not the concerned cousin who was more like a sister to Anna Chamberlain. Not in the least. What gave you away, Gemma? Oh, a few things.
‘For a start your mother couldn’t have sent the DVD and the note when you said she did, because she was too ill and incapable. You left it for the police to find, didn’t you?’
‘My contacts were most helpful on that and several other matters, as it happens.’ Konrad said this taking one small step after another walking towards the camera.
‘The events leading to your father’s death were investigated at the time and your memory seems to have played tricks on you, Gemma. Anna was out that night with Damien and she had a few drinks probably because they were celebrating, but you were the one at home shouting and ranting in an inebriated state, and it was you who pushed your father in an explosion of jealous rage. Not Anna.
‘Goodness knows why. You weren’t the jilted lover. You hadn’t been wronged in an affair of the heart; Damien Chamberlain was never remotely interested in you. Not ever. That was complete fantasy.’
Konrad pointed at the ca
mera. ‘You were eaten up with envy because your parents had lavished such love and care on Anna that you felt rejected and you wanted to have what she had. Didn’t you? You despised your popular and fun-loving cousin. You hated her to the degree that you spread evil untruths about her wherever she and Damien were posted. What joy you must have experienced when he was killed!’
Behind Konrad, Rory held aloft a huge photograph of Damien and Anna’s wedding, there among the gleeful faces was that of Katrina Waterford showering the happy couple with confetti. ‘You may have convinced yourself that your mother didn’t go to Anna’s wedding, but evidently that is not the case.’
Gemma stood. ‘That’s not true. What you are saying is a trumped-up story.’
‘Sit down Gemma,’ Konrad instructed. Gemma looked about her. ‘Is this live? Are you recording this? What’s going on?’
‘I’ll tell you what’s going on if you sit and listen. When Anna became mentally unwell at Damien’s death, you had your opportunity. It was you who provided information to the hospital staff about her family history because your mother was too incapacitated to travel. You weren’t the ignorant, gullible one who’d been kept in the dark about Anna’s childhood. In fact, despite your feigned innocence, you knew all about the Pardews and their unsavoury lifestyle and eventually you used it to your own advantage. You set a plan in motion to have your revenge. I have someone here who’d like to speak with you. Remember this lady?’
43
The Root of All Evil
‘What’s she doing there? She’s the finance woman from the funeral directors,’ Gemma cried out, standing up flailing her arms at the television. ‘What the fuck have you done?’
