Six Little Lies – Part 6

©Zig Bingham

A Work in Progress.  First Draft Released as Written.

Part Six

READ FROM THE BEGINNING

 

INT. THE ROOM – MORNING

INTERVIEWER
And she told you nothing?

JACK
Not much. It’s in the report. She didn’t get a good look at him. She’s short sighted.

The Interviewer regards Jack sipping his coffee.

INTERVIEWER
Really?

JACK
Fat Arnold had smacked her about really good. Contacts were all fucked up. All she could tell us was that he was blonde.

INTERVIEWER
Really?

JACK
Really.

INTERVIEWER
You close to Shelly?

JACK
Just a friend.

INTERVIEWER
You had an affair. Right? Fucked with your marriage. Seemed like more than just a friend.

JACK
Friend with perks.

INTERVIEWER
I wouldn’t call a divorce a perk.

JACK
You haven’t met my ex.

INTERVIEWER
Actually. I have. You’ve been under investigation quite a while now.

Long cold silence.

INTERVIEWER (CONT’D)
So you found a witness… why didn’t you bring her in straight away?

JACK
It wasn’t safe.

INTERVIEWER
Safer than where you left her.

Jack plays with his coffee cup.

JACK
Can I get another? This one’s a little cold.

INTERVIEWER
So what did she tell you?

JACK
It’s in the report.

INTERVIEWER
What’s not in the report?

JACK
What do you want? She’s a tough cookie and we’ve got history. I figured that I’ll give her some time to cool off and figure out what to do next.

INTERVIEWER
And what did you do next?

JACK
Went back to my flat.

INTERVIEWER
How long?

JACK
Don’t remember. I must have dozed off.

INTERVIEWER
So you didn’t go back to the club?

JACK
Nope.

INTERVIEWER
You didn’t go back and remove evidence?

JACK
What evidence?

INTERVIEWER
The credit card.

JACK
The credit card?

INTERVIEWER
The one the gunman used to buy his drink.

Jack leans forward.

JACK
Really?

INTERVIEWER
Really.

Jack leans back into his chair.

JACK
Who are you?

INTERVIEWER
A cop. Like you.

JACK
Nah. Not like me.

INTERVIEWER
I supposed that much is true. Not like you, but a cop nonetheless.

Jack inspects the Interviewer.
Sharp suit.
Tidy, clipped nails.
Onyx ring. Nothing fancy.
Maybe a little out of place on a suit like that.

INTERVIEWER (CONT’D)
Jack. You didn’t go back to your flat all night. Didn’t arrive didn’t leave. All night.

JACK
Says who?

INTERVIEWER
Says the two officers I had watching your place.

JACK
I didn’t use the front.

INTERVIEWER
Or the back it would seem.

Jack reconsiders his position.

JACK
I didn’t remove any evidence. It was already gone.

INTERVIEWER
But he left it behind? The card?

JACK
According to the barman.

INTERVIEWER
Why would he do that?

JACK
I dunno. Maybe he was looking to get caught.

INTERVIEWER
You think he was stupid?

JACK
I didn’t say that. I said maybe he was looking to get caught.

INTERVIEWER
Why would he want to get caught?

Jack just stares back.

CUT TO:

EXT. XMAS STEPS – NIGHT
Blue Eyes hides in the shadows, shivering in the cold.
He sees Jack exhausted barely making it to the top of the steps. Jack looks around and sees nothing.
The cop looks around, peering into windows of bars and pubs and at one point through the grills that Blue Eyes now hides under.
Then he hobbles off and Blue Eyes lets out a long breath.
He exits the shadows and his phone rings.

THE VOICE
(on the phone O.S.)
Two down. Two to go.
BLUE EYES
I can’t…
THE VOICE
Two down. Two to go.

Then the voice hangs up.
Blue Eyes tries to regain his composure.
Then the phone vibrates.
A message.
A picture.
An address.
A taxi pulls up.

CABBIE
You John Smith?

Blue Eyes looks perplexed.

CABBIE
You going to 22a Lexington street?

Blue Eyes looks at his phone.
Yeah.
He is.
He climbs into the taxi and it speeds off.

CUT TO:

INT. THE CLUB – NIGHT
From the roof across the street. Jack watches the cops do their thing. The alley taped off. The club out of bounds.
He watches the BARMAN walk out of the club.
Watches him get stopped by the cops now standing at the entrance.
They let him go and walks over across the street and disappears out of view.
He sees Louis and his posse pull up and verbally fight with the police who refuse any of them entry into the club.
Louis and co storms off back to their cars. The GOON sicks behind and walks around the building.
…only to be foiled by a steel fence now blocking the other exit to alley.
The Goon tests it.
A smaller man might climb the fence but the Goon is no small man.
He Kicks it and walks back.
The Barman joins Jack on the roof.

BARMAN
It wasn’t there.

JACK
You sure?

BARMAN
Yeah. I left it in the usual place but it had gone. All of them had.

JACK
Shit!

Out of the front of the club we see the Interviewer leave and whisper something in the ear of one of the door cops.

BARMAN
But I brought the till roll.

JACK
Nice one. Fucking nice one. What time do you reckon old blondie ordered his drink?

Jack takes the roll and unspools it.

BARMAN
Hard to say. We get so many people come in it’s tough to remember all the faces, let alone the time.

JACK
You remember the shuffle on the floor though? With Shelly?

BARMAN
Yeah.

JACK
So…

BARMAN
It’s got to be about half an hour… fifteen minutes before that when he started hitting on her.

JACK
You sure about that?

BARMAN
Yeah of cause.

JACK
And the drink?

BARMAN
Top shelf whiskey.

JACK
You sure?

BARMAN
He gave me that “How much?” look.

JACK
What you give him?

BARMAN
Not quite top shelf.

JACK
(chuckling to himself)
Fucking Yokel. So we’re looking between 9.30 and 10:00?

BARMAN
I guess…

JACK
Here we are… (pointing to a section of TIL roll) This look like our guy?

BARMAN
Yeah. See two drinks. Top shelf.

JACK
Damn only a partial card number.

BARMAN
Sorry. It’s all obscured these days.

JACK
Shit!

BARMAN
But… The security cam above the bar records the transactions.. it’s linked to the til. You know in case there’s an argument about money.

JACK
… and so Petrov can skim a few card numbers…

BARMAN
I didn’t say that.

He didn’t have to.

JACK
The cops take the CCTV?.

BARMAN
It’s being processed.

Jack’s face swears.
The barman pulls out a USB stick.

BARMAN (CONT’D)
But they didn’t take the logs.

Jack takes out a wad of notes and folds them into the Barman’s hands.

JACK
Good work kid. Is this the only copy?

BARMAN
Of course not.

JACK
Take all of this to your line manager ok? But take the long way. I need a little time.

Jack hands the barman another wad of notes.

JACK (CONT’D)
Ok?

BARMAN
Sure thing.

JACK
Good lad.

Down below the Goon is looking around he looks up at the roof across the street but Jack is gone.

CUT TO:

EXT. THE PHONE SHOP – NIGHT
We watch from outside the shop as Jack hands the USB stick to the bleary eyed KID.
The Kid protests.
Looks like he doesn’t like being waked up.
Jack pushes a couple of folded notes in the kids dressing gown slaps the kid on the shoulder.
The Kid protests but he seems to be fine with the money and goes back into his shop.
The Kid disappears then returns with a burner phone. Jack thanks the kid and leaves him ripping the box open as he goes. Switching the phone on then presses a few buttons.
He heads to a food van and orders a burger whilst he waits for the phone to update.
The burger and the phone updates arrives about the same time.
Jack immediately dials.

JACK
Nick.

NICK
Hey man what’s up?

JACK
Need a favour. You remember that guy we busted a few years ago that killed a bunch of hoodlums? Claimed he had to. The man on the phone made me do it? Family turned…

NICK
(interrupting)
Yeah I know. Want do you want?

JACK
I’ve run into something here and it’s got me reminiscing.

NICK
I guess not in a good way.

JACK
Snub nose revolver, ex military, no knowns, acts like he’s new to the life and he was getting instructions via a burner.

NICK
That all? That could be anything. Too vague even for coincidence.

JACK
Could be. Can you send me the file on the case anyway?

NICK
I can’t do that.

JACK
Come on.

NICK
I can’t ‘cause it’s gone. The guy, the shooter, hung himself in suspicious circumstances and when I tried to reopen the file I found I couldn’t cause it wasn’t there anymore.

JACK
Hardcopy?

NICK
Everything. Hardcopy … softcopy even the evidence.

JACK
Who the fuck could do that?

NICK
Mate I stopped asking after I got a visit from infernal affairs. Seems I was the last person to visit him. I went on a tip from a C.I. Nothing came of it. That and the missing evidence … I was on the rack for a long while. Nearly cost me my job.

JACK
I didn’t know.

NICK
We ain’t spoke in a while.

JACK
What Happened?

NICK
Nothing… In the end. I guess someone was making a point. Nick listen to me, walk away. They nearly destroyed me and I’m practically a boy scout compared to you. You’re you. You understand?

JACK
I understand Nick. I’m just watching my back. You know me.

NICK
Yeah. Yeah I do. Watch yourself. Ok.

JACK
Always. Give Ginnie a kiss from me. and thanks fella.
Jack hangs up.

JACK (CONT’D)
Shit.

CUT TO:

EXT. 22A LEXINGTON STREET – NIGHT
The taxi pulls up and Blue Eyes exits.
He goes to pay and realises he’s lost his card.

CABBIE
It’s on account. Don’t worry.

And then he’s off.
Blue Eyes Looks at the big house and back to his phone.
The house is a Georgian mansion. Four stories. White imposing. Monolithic.
He looks around.
Unsure.
He steps forward and walks up to the massive front door and rings the bell.
Nothing.
He tries again.
This time harder.
This time an old lady comes to the door.
She’s a very gruff looking old lady. The lines on her face show a tough life.
Hot and sweaty from the kitchen she wipes her hands with a tea towel.
This is MUMMA.

MUMMA
(in Russian)
Yeah.

WE SEE subtitles.

BLUE EYES
Hi. Um.

MUMMA
(in Russian)
Hurry up I haven’t got all night.

BLUE EYES
I was looking for Peter? Is he here?

MUMMA
(in broken English)
He’s not here. Who are you?

BLUE EYES
A friend.

MUMMA
(in Russian)
You don’t look like a friend. (then in English) You come back. Tomorrow. Ok?

BLUE EYES
It’s real important. I’ve got to speak with him tonight.

MUMMA
(in Russian)
Bullshit! (then in English) You come back tomorrow. Now…

She closes the door on him.

MUMMA (CONT’D)
… Good night.

Door firmly closed.
He presses the doorbell again.

MUMMA (CONT’D)
What?

BLUE EYES
You know were he is?

Mumma looks at him at length.

MUMMA
No, good night.

Mumma’s granite stare is incredulous – This boy isn’t getting the hint.

BLUE EYES
It’s important.

MUMMA
Why don’t you call him?

BLUE EYES
I got to do this in person.

MUMMA
You fucked up?

BLUE EYES
Yeah I fucked up.

MUMMA
(in Russian)
Where does he find them? (then in English) ok you come in but you wait in kitchen and take your shoes off.

BLUE EYES
Thank you

Blue Eyes enters the mansion and Mumma closes the door.

NEXT INSTALMENT – COMING SOON

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