Read How a Gunman Says Goodbye Online

Authors: Malcolm Mackay

Tags: #Literature & Fiction, #Contemporary, #Contemporary Fiction

How a Gunman Says Goodbye (10 page)

BOOK: How a Gunman Says Goodbye
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18

Shaun Hutton’s pulling up outside the tower block. What an ugly-looking building it is. Ugly-looking area. It says two twenty on the clock in the car he’s using. Almost exactly an hour since Shug called him. Not so long that he can’t justify the time taken; long enough to keep his word to John Young. Timing’s important to any gunman.

No activity around the building, which is a good thing. If Young got a man to the scene first, he might be in there now. If he’s been and gone, then the police might not be far away. Don’t get caught at the scene with a gun in your pocket. Whatever else happens, don’t get caught at the scene by the police. He’s moving fast, into the building and along to the lifts. If Young’s man hasn’t been yet, then he might be here soon. Could be a nasty encounter. Get this done quick. No sign of anyone yet. Going up, not sure what he’s going to find ahead of him. Uncertainty is always an enemy. The lift’s opening and he’s stepping out into an empty corridor.

There’s no sign from the corridor of anything having happened. No doors open, nobody gathering round a doorway to gawp at a bloody body. He’s standing at the door to Scott’s flat, listening. No sounds coming from within. If he could hear Jamieson’s man in there, then he’d happily leave him to it. Shug’s not paying quite enough for him to barge in and take on someone else’s man. No sound from inside. He’s knocking on the door. Waiting; still no response. Knocking again, louder this time. Don’t wake the neighbours. He’s starting to get impatient. He’s starting to realize he’s probably not the first, or even second, armed man to turn up at this flat tonight. He’s had his gloves on since he picked up the car, so he has no qualms about handling the letter box. He’s lifting it up, peeking inside.

Jamieson’s man left the dim light on in the corridor when he made his escape. The two bodies are easy to see. Hutton doesn’t know which is which – just two nondescript young men. One of them is close to the door, slumped sideways against the wall. There’s blood visible on the wall beside him, although Hutton can’t see how high up it goes. There could be a lot more, he knows, if the boy was standing when the gunman shot him. The other body’s further away, lying on his back by the door at the other end of the corridor. He can’t see the wound from here, but he can see a gun lying by the body’s right hand. The gunman left a weapon behind. Interesting. Playing games with the police. Dangerous game to play. He doesn’t know which body belongs to which person, but he knows neither of them belongs to Frank MacLeod. Both look much too young for that.

He’s walking back to the lift. Moving more quickly now. There have been at least two gunshots, a real chance the police are close. Hutton can’t help but smile to himself. They actually sent someone to rescue old Frank. Or maybe Frank found his own way out. That would be impressive, would prove the old boy still has sparkle. Either way, Shug’s going to be pissed, and Hutton’s going to have to handle this the right way. First priority is to get some distance between him and the building. He’s in the lift and making his way down. Right now there’s only the rumble of the old lift, then the ping and the sliding doors. As soon as they’ve shut behind him, it’s silence. No sirens, no cars pulling up outside the building. He’s out and across to the car. There isn’t a person stirring in the world around him.

Hutton’s long clear of the building now; he’s been driving for more than ten minutes. The cops aren’t going to surround him any more; he can relax. Time to play a part. He’s thinking about Shug, what his reaction’s going to be. You never know with an inexperienced boss. They’ll often look for someone to blame. Anyone other than themselves. They like others to see them lash out, to punish people they think have let them down. There are two dead guys lying in a grotty flat, whom Hutton will make sure take more than their fair share of the blame. He’s driving back to his own car, climbing into it and getting back to his house. Shug must think the job’s been done by now. Nice and simple. Kill an old man, weaken Peter Jamieson. This isn’t going to be the phone call he’s expecting.

‘Hi, Shug, it’s me. I wake you?’

‘No, go on.’ He sounds guarded already. His gunman shouldn’t be calling him straight after doing a job. It was Hutton who told him so.

‘Look, I don’t know what the hell’s going on, but you have two dead bodies and no old man. I got there; there was no answer at the door. I looked in the letter box. Two dead guys in the corridor. Young guys. I’m guessing your guys. They ain’t Frank MacLeod anyway. He was nowhere. Must’ve got out. You got a problem.’

There’s silence on the other end. Shug’s nice and smiley, but he can be tough when he wants to be. Wouldn’t be here otherwise. ‘So they’re both dead?’

‘Looks a hell of a lot like it.’

Shug hasn’t said much, he’s thinking it all through. Hutton’s waiting, not going to press him.

‘What’s your opinion?’ Shug’s asking him. His tone is cold. It’s as if he’s telling him that he’s not beyond suspicion himself. Nobody should be. Fair enough.

‘I don’t know,’ Hutton’s saying with a sigh. ‘There was a gun still in there. Maybe Frank got the better of them. Unlikely, but not impossible. Not like your boys were the best in the business. Maybe he got a message out. Could have been a set-up from the start, but I doubt it, too much risk. My best guess? One of your men made a call or two to brag about their capture. Word got out. Peter Jamieson or one of his men found out and went straight round there. They did it in a hurry, left a gun behind. Wouldn’t be a surprise if the police find something interesting there. You do a job in a hurry, you make mistakes.’

More silence. Hutton can almost hear the wheels turning. ‘That would sound most likely,’ Shug’s saying now.

Hutton needs to go on the offensive, time it right. ‘Listen to me, Shug. You need to sort out who you have working for you. I went round there, put myself in the middle of it. I must have just missed the shooting. I mean, seriously, by a couple of fucking minutes. I get there after a shooting and the bloody cops could be there. I was lucky I didn’t walk into the middle of a dozen fucking detectives. Think about that. I turn up in that shit-storm with a gun in my pocket and I’m looking at twenty years, minimum. Seriously, I need to know you have reliable people working for you. I need to know that when I go to a job, you have good people there. I don’t know these kids, but they fucked up bad. Could’ve taken me down with them. Could’ve ended up taking you down too.’

‘I understand that,’ Shug’s saying. There’s sharpness in that voice. Sounds a little bitter, defensive. ‘You’re right; you shouldn’t have been put in that position. I’ll speak to you soon.’

Shug hangs up first. Hutton’s standing in his living room, in the darkness. He’s done his work for the night. Shug’s new, but he’s a smart one. People come into the business all the time, thinking they can get rich quick. People like Shug. They have legitimate money behind them, or they have some connection to the business that they think gives them a chance. Most don’t last. Some only do it because they’re in trouble. Get rich quick and get out. Doesn’t work that way. Most will lose more than they make.

Shug might be different. He’s not desperate, for a start. He seems to understand the business. He took on Peter Jamieson, and he hasn’t lost yet. That makes him dangerous. It takes a dangerous man to survive a battle with Jamieson this long. He may not win in the end, but he can cause a lot of damage before he departs. Damage to the people he thinks are against him. Hutton’s thinking about that as he undresses for bed.

19

‘I said to the other guy a wee minute ago. I heard them last night, thumping about. Not the first time. He’s not a bad lad, but sometimes they make a bit of a racket, so they do. Woke me up last night, so it did. It stopped, though, so I left it. Came up this morning to have a word. Not the worst kid, that boy. You can talk to him – not like some of them. Some of them treat you like crap. Real bastards. It’s the parents. Having them too young. So I come up. I knock on the door. Nothing. I think, uh-huh, what’s going on here? So I looked in the letter box. Wouldn’t normally, you understand. I was concerned. That’s when I saw them. Then I called your lot.’

Your lot.
Michael Fisher’s been a cop for twenty-three years; he loathes the dismissive description of the police. He’ll never get used to it now. So many people who can’t accept that the police are on their side. He’s long since decided to get on with helping people, whether they like it or not.

He got the call less than half an hour ago. In his house, all alone, getting ready for work. Possible murder-suicide, possible double murder. Two young men, found in the flat belonging to one of them. He’s there now because one of them has possible links to organized crime. Thomas Scott was once reported for dealing, but was only charged with possession. Even that charge went nowhere; he got away with a few hours’ community service that he probably never carried out. The other dead man, Andrew McClure, doesn’t seem to have any record. Only known as a friend of Scott’s. If they were friends, then McClure was almost certainly involved in the same life as Scott.

Fisher came straight here from home. He found a few cops here ahead of him, some plods and a couple of detectives. The scene wasn’t under control yet – people wandering around the corridor and using the lifts. That changed drastically two minutes after his angry arrival.

After a glance at the bodies, he had sought out the man living downstairs. He’s the one who reported it, the closest thing they have to a witness. The only one who seems to have anything to say for himself.

‘This noise they were making, can you describe it?’ Fisher’s asking him now.

‘Describe it? It was noise. Thumping about. Could have been music or anything, I don’t know – the things that pass for music. It was noise, so it was. I heard it, I was going to say something, but it stopped. I came up this morning to have a word. That’s it.’

It’s obvious to Fisher what’s happened. The man in the flat below heard the gunshots. He would have known they were gunshots. He thought about doing something, but didn’t want to get involved. Not yet, anyway. Wait until the danger has passed. Next morning he comes up to nosy about, sees the bodies. He calls the police and swears that he heard nothing sinister, just noise. He’s trying to keep himself out of it.

Fisher’s scowling at him now. Hard to respect someone who stands in the way of an investigation just because being a witness is inconvenient. Two men are dead.

‘So this noise. It was loud enough for you to notice. How long did it last?’

The man’s puffing out his cheeks. Colin Thomson, he introduced himself as, pointing out the lack of a p in his surname. Seems to matter to him. He liked being the centre of attention, until the questions got tough.

‘I don’t know,’ Thomson’s saying now. ‘Could’ve been for a short while. Maybe not. I noticed it once or twice, that’s all. Woke me up, you see, so it might have been going on a while before it woke me up, I don’t know. Bothered me, is all. Inconsiderate. I went up this morning to tell him so. I’m not young any more, and my health hasn’t been good, you see.’ He’s pausing for a few seconds, waiting for an expression of sympathy that isn’t coming. ‘They’re saying his wee mate killed him and then himself. Is that right?’

Fisher’s extricated himself from the pointless interview and gone back upstairs. Just standing in the doorway, looking at the two bodies, trying to take it all in. Work out the movements of a killer. If it was the boy with the gun beside him, then work out his movements. The first plods there reported it as a probable murder followed by suicide. It looked like two mates turned on each other. An argument over some stupid thing. There’s a gun in the flat. McClure pulls it out, waves it around. Scott says something provocative and McClure fires. Seeing that he’s killed his friend, and knowing he’s not capable of getting off with it, he turns the gun on himself. That’s the story the scene tells. The story it’s supposed to tell. It could be telling the truth. He’ll wait on the toxicology reports, to see if drugs were involved. If they were, then he might believe it. Otherwise, he’ll retain a healthy scepticism. When someone in that business dies, there are always other suspects worth looking at.

Fisher wants to get into the flat, have a good rummage around, but the forensic team is still on its way. Let them do their work, then have a free run at it. He’s seeing a plod he recognizes coming along the corridor. Higgins, a good young cop, lot of potential. In his mid-twenties now, been in the force a few years. He’s good enough to make progress, Fisher’s decided. Might push to get him out of uniform soon, make better use of him.

‘Any news?’ Fisher’s asking the younger man.

‘We’ve woken most of the building – anyone who’s likely to have heard or seen anything.’ Higgins is shrugging. ‘Not many of them. Most of these flats are empty now. Fellow down the corridor says he didn’t hear anything. Neither did anyone else, apparently. Not sure how much I believe them; I think they just want to avoid bother. Just the guy downstairs who’ll admit to hearing anything. Have you spoken to him?’

‘Yeah,’ Fisher’s nodding, ‘I had a word.’

Everyone goes deaf. Two gunshots at least. If the weapon on the floor is the killer, then it’s a standard handgun, no silencer. It’s not as if the walls in this damp-ridden dump are terribly thick. They must have heard it. That bastard downstairs knew exactly what it was. He didn’t report it until morning to make sure all danger had passed before he got involved. Other people get to pretend they heard nothing at all. It’s not just a fear of giving evidence against a killer. People fear being mixed up in organized crime, they fear that they’ll be forced to shut up. Fair enough. There have been plenty of cases where criminals have targeted witnesses; Fisher doesn’t blame them for their fear. Others just aren’t willing to get involved in any court case. Not just with organized crime, but with any case. They won’t suffer inconvenience for the sake of justice.

‘I want to find out everything there is to know about this pair,’ Fisher’s saying to Higgins. ‘I want to know who they were working with, if anyone. We know Scott was selling on the street. He has to have been getting his supply from somewhere. Let’s try to find out if there was a puppet-master behind these idiots. Find out who else was in their circle of friends, see if there’s anyone with more than a dozen brain cells. Find out about their families, any interesting connections.’

‘Yes, sir,’ Higgins is saying, and wandering off. He’s a good cop, but he’s not likely to find out much by himself.

Where the hell is that forensics team? Fisher wants in there and he can’t get past the body until forensics have worked their magic. A crappy little flat in a grotty tower block is a horrible place to have to do his job anyway.

BOOK: How a Gunman Says Goodbye
13.33Mb size Format: txt, pdf, ePub
ads

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