From a Night Bus 2

We continue.
If you keep walking up this street you eventually come to the docks, to more grim architecture, to a shiny multi-level shopping centre. But on the next corner the streetlights fail altogether, leaving us utterly in the dark.
And I begin to think, should I leave this girl behind?
Down in the crime-ridden streets, some cops bustle past, shine their powerful torches briefly over our faces and across the brickwork, snarling and impatient.
And I think or imagine the names and faces that are roaming the summit of this street. A paraplegic queen walks with a cane, who may link arms with his buddies, who may embrace them out of a feverish love, who may out of loneliness cry out and knead the bodies of his lovers. To avoid his desperate love you cross the street. When the lights fizz back on you see his body face down in the road, surrendered to oblivion, his cane beside him.
Now the non-commissioned officers drunken out on the town from the naval base, have come tearing down from the city centre. The leading officer, in a white suit covered with garrulous gold brocade, corners a victim. Very handsome but absolutely savage, red-mouthed and drunken, eyes deep and evilly gleaming.
The victim though is a standard soap opera villain. A grubby young man on the lam from prison, and therefore with nothing to lose, an unwashed hooded top, an unshaven chin. Without a moment's hesitation he picks up a length of scaffolding-pipe from an adjacent skip and begins fiercely to reign blows on the head and body of the non-commissioned officer, denting his pristine white suit. So the soap opera prison villain character is proved a hero.
Though the girl begins to emit a high-pitched shriek, which might attract the yellow-jacketed cops.
The soap opera revenge villain in this case is complex, he's in love with a certain girl which embittered him and made him a desperado, fighting on, with his heroic and villainous qualities, the clash of steel ringing in the street.