The Road to Nowhere Special - Chapter V (Part I of II)
By J. A. Stapleton
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V
The next two weeks were painful. I drowned my sorrows every night at this solemn piano bar west of Sunset. I showed up late every morning to work and on the thirteenth, without having shaved or washed for a week and stinking of booze, I was sent upstairs to the Chief of Police.
Horrall looked me up and down with his nose wrinkling. Captain Parker or Bill the Boy Scout, stood adjacent to him with his hands behind his back. Horrall started by saying: “Could you give us a moment Bill?”
He nodded and left.
“Jake, what’re you doing here?” Horrall smiled.
I shrugged.
“What’s happened to you? Since I put you on the Attwell detail all you’ve done is screw up.”
Dig the irony. Dig it – he also drinks like a fish.
“Chief?”
“You’ve been on this thing for nearly a fortnight. No leads. No connections. Only a hunch that Siegel’s behind it. Uniform checked Attwell’s address and found a dead prostitute…”
I flexed my knuckles.
“And that intuition is coming from uniform. I mean it Jake if you keep at this I will have to suspend you from duty, is that clear?”
“Yes, sir.”
His chubby smile turned to a frown. “Good, I’m removing you off the Attwell case and reassigning you to the Downtown Hopheads. We’re not expecting any miracles but it’s a start. Now do us both a favour and get the fuck out my office pronto.”
I nodded and turned on my heel. I eased the door open, let it close and marched down the corridor. Bill the Boy Scout was outside fiddling with his whistle. Prick. He shook his head at me and went back in, tongue at the ready to rim Horrall’s ass and steal his title. I rounded the corner and took a swig from my lunch bag. When I got downstairs I busied myself with the basics of policing, sharpening pencils and tossing scrunched case notes in the waste paper basket. Six hours later I found myself tossing bills at the bartender instead and blowing smoke rings in his face.
The old guy at the piano cracked his knuckles and took break. He flicked the wireless on his way out. I eyeballed two sailors fight over a brunette and laughed hard. She had cadged drinks off them both without giving up that ass, clever girl. Whoever wins gets to take her to the double C club.
Moonlight Serenade crackled on the wireless.
By five o’clock I was a widower, by seven o’clock I was a drunk and by ten I didn’t even know what the fuck I was. But a sensible cop wasn’t one of them. I tripped out the door, bounced from car bonnet to car bonnet and only once I spewed up the entire contents of my evening did I decide to hail a cab.
***
I fumbled with the lock and after a few moments opened the door. My apartment was dark and reeked of smoke as per. I pocketed my keys and leant on the light switch. Nothing. The table lamp flickered on instead. There were two guests on my couch and one was a .45. The grey guy wore grey slacks, suit and necktie with a hardened face with matching – you guessed it – cold grey eyes. He removed his hat and told me not to move.
“I wasn’t going to, pal.” I complied.
He screwed a silencer on. “You see this?” He twiddled it in his hand. “I’m not afraid to use it.”
“I can see that.”
“Good, now that we’re clear, I’d like you to take a seat.”
“In my own flat? How kind.”
He trained the pistol on my heart and held it there.
I took a seat opposite him and the table and took a look around the room while I was at it. The place had been turned over.
“Ever heard of a spring clean?” he said.
That confused me.
“It’s winter. Besides, I thought that was what I was paying you for?” I meant no offence to Mrs Sanchez across the hall.
Snarling - “Enough with the bullshit. Where’s the dope and money?”
I laughed hard at that: “It’s the fee for my services. I’m a classy girl you know.” He didn’t return the laugh. He pulled back on the hammer instead. I raised my hands in surrender. I was sobering up and wasn’t in the right frame of mind to die.
“Just kidding.” I looked at the open bottle of Scotch between us and thought screw it. “May I?”
He nodded and I went to work. I filled the glass and stole a mouthful from it. I sighed and offered my new pal a drink. No response. I shrugged and took another swig before talking. “To start, I have an idea what Attwell did with your dope. My bet is that it was a bad batch and that those boys downtown bore the grunt of Attwell’s greed.” I went light-headed and rubbed my brow.
“And the money?” he asked.
“From my findings, he blew it on the Cadillac, a watch and his mother.” I was slurring now.
“Then you’re of no use to me.” He said and flicked the safety up.
The colors of the room bled away. I tried to stand and went rubber-legged. I tumbled onto the floor. He stood over me about to take the shot. I drooled. There was a knocking at the door. He looked up and went to answer it. The curtains of my lids closed. The last I heard was a thump and I found myself beyond oblivion.
***
I awoke a few hours later to the telephone ringing. I grunted and slowly found my feet. I had passed out in a pool of my own sick, blood and piss. Cute. I raised the receiver to my head and answered:
“Yeah?”
“Nice surprise?” an animated voice said.
“What surprise?”
“The bitch in your bubble bath,” it said.
I rang off and sat on the couch for a few moments, wondering who the creep-o was and where Mr Grey had gone. I took a leaf out of the other guy’s book and checked the bathroom.
He was in there alright. His pale hands clenched the sides, battered kneecaps, his shattered balding head tilted upwards with a Glasgow smile imprinted on his face. Christ.
The phone rang again.
I backed out of the bathroom and emptied my guts. There goes the sheepskin rug I thought. I took a seat and lit a cigarette and shook.
The phone stopped ringing. Then shrieked back into life.
“What?”
“Like my handiwork?”
“Not Pablo Picasso but it’ll do.” I burped.
“I was thinking more the Man Who Laughs.”
“Well I’m not laughing.”
He laughed.
“Do you know what you just did?”
There was a titter.
“Yeah. I saved your life.”
“Maybe I didn’t want to be saved.” I said.
Snigger: “True. Either way you owe me.”
“Horseshit. What do you want?”
“I’ve already come half-way: I want your attention. I have a business proposition for you.”
“Wrong number. The funeral directors on a Pasadena extension.”
The fucker laughed again.
“No, I think I found the right number and… I think we’re not so different, you and I.”
“And how’s that?”
“Well, we both know what we both want. And I have the solution as to how we’re going to get it.”
“You’re introduction vibed a sleazy middle-aged psychotic salesman but now you do have my attention.”
“Good,” he said. “Benjamin Siegel. Be seeing you Detective.”
Then he rang off.
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Comments
Since I'm not that overly
Since I'm not that overly experienced in reading and writing the noire genre, I can't offer any pros or cons to the genre-following conduct of the story in that manner. I tend to focus a lot on the negative aspects of what I review in writing, so here are my notes on what to change:
Second sentence of first paragraph - cut it into two sentences, as it's too long.
Establish the faux-jolly smile Horrall has, rather than just say he's smiling. That way it won't seem out of place with his dialogue and the quickness with dropping it when he tells our hero that he's off the case.
"Dig the irony. Dig it - he also drinks like a fish." The fact that immediately after, you explain WHY it's ironic doesn't help when you don't establish here beforehand whether or not he's a bit of a booze-hound himself. It comes off as though Jake just thought to himself that it's ironic before remembering how it is. If you establish Horrall's drinking habits in some detail (but not too much that it puts a halt/derails the flow of the scene) RIGHT BEFORE the 'Dig it' moment, that would work.
Bill --> "Prick." Why? All he's done here so far is just fiddle with a whistle. You make it apparent that he's a suck-up to Horrall, but to make it work you have to SHOW he's a prick here, or else the claim will fall flat on its face. For instance, maybe he could shot Jake a very smug, self-satisfied grin right after getting thrown off the case, or something along that line. Kind of a show-don't-tell lesson.
Overall the Horrall scene right from the start feels WAY too short. I'm not saying it should be super long, but just enough so that it feels like this isn't just a 'Quick Hi-Bye' scene. You can add more detail to the area, make it feel like this is really happening; establish in some dialogue who is talking; use all five senses to help create a more grounded description of the scene.
"Six hours later..." - Don't feature it in the same paragraph as when he's just exited the office and eventually the building. Make it the start of a new one. Also, which exact bar is this...? Being in the same paragraph, you make it sound like there's a bar conveniantly in the police station.
Not sure about Moonlight Serenade being on a new line. Put it up with the previous paragraph, otherwise you make it feel as though it's incredibly important.
"By five o'clock I was a widower." What does that mean? If he's tipsy, make it apparent through a different word, otherwise it'll be confusing.
"The grey guy". How is he grey until you describe him - does he any grey skin perchance? Remove 'grey' from it.
With the 'grey clothes' bit, for the "you guessed it" bit to work, you'd have to repeat 'grey' in what clothes he has one, i.e. grey slacks, grey suit with necktie. Actually, have it as, "The guy had a grey suit, slacks and necktie, his hardened face possessing cold grey eyes."
How exactly does Jake feel upon discovering a man in his apartment with a gun aimed at him?
"I wasn't going to, pal." I complied. --> Comma after 'pal' --> "I wasn't going to, pal," I complied.
"He screwed a silencer on" - shouldn't he have done that beforehand? Also, given how he's applying this, Jake could easily have lunged at him or something to defend himself. I know he's drunk, but he would still have enough common sense to do SOMETHING.
"Good, now that we're clear..." - Indent.
"In my own flat?" --> Flat is a British description, whereas apartment is an Americanism.
"...took a look around the room while I was at it." --> "IN it"
"That confused me" and the sentence that follows from it should be one the same line, otherwise it gives the impression that Jake isn't the one talking. Also, indent.
"Snarling -" What does that even mean? That the gunman is snarling? Sounds like a movie script rather than prose.
"I laughed at that:" The colon isn't necessary - you make it look like Jake is LAUGHING through his dialogue, unless that is your intention. Just replace it with a full-stop. If he IS laughing through it, describe it, make it obvious: is he giggling, chuckling, laughing as hard as he can or weakly?
"thought screw it". Either have 'screw it' in a speech marks or in italics to make it stand out, since it's his thought.
Indent "May I?"
Okay so he knows this guy is involved with the dope and that it's connected with Atwell, but who is this guy? Also you could do with featuring a bit of Jake thinking over this connection to make it clear that he's thought this over before saying it.
Indent “From my findings, he blew it on the Cadillac, a watch and his mother.” I was slurring now."
Indent “Then you’re of no use to me.” He said and flicked the safety up." Remove the space between that and the paragraph after it.
"I raised the receiver to my head and answered:" Remove colon.
Indent all the dialogue in the phone conversation.
"There goes the sheepskin rug I thought" - Comma after 'rug'
"The phone stopped ringing. Then shrieked back to life." I don't think it would be THAT fast. Say that it shreiked back to life after a couple of moments.
"You're introduction..." Unless this guy's first name is literally Introduction, change it to 'Your'.
Remove the unnecesssary space between the last two lines.
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