Snow Hill. Mark Sanderson

exclusive had not stinted on the woman’s shock, anger and grief. He had captured in minute detail every aspect, right down to the dreary landscape reproductions on the wall of the spick-and-span parlour where she sat sobbing uncontrollably; the ember-burns on the hearth rug; and the half-excited, half-fearful reactions of the neighbours who, alerted by her cries, had gathered in glee by the railings, peering through the open door for a glimpse of whatever misfortune had befallen the Shaws.

      Part of Johnny admired Simkins’ skill and brass neck, but he’d vowed he would never stoop to such underhand methods. It wasn’t that he was a prig: he simply refused to inflict such pain on another human being—especially when it was for no better cause than the amusement of others. Bill’s motto when it came to composing a report was “titillation with tact”. Well, Simkins had no tact. If he had stopped for one moment to imagine how his mother might have felt if she’d found herself in Mrs Shaw’s position, then Johnny was sure his conscience, however atrophied, would have silenced him.

      Johnny had lost his own mother two years ago. Watching her die a long and painful death had knocked the stuffing out of him. An only child with no near relatives, he’d had no one to turn to but a few close friends, like Bill and Matt and Lizzie. It was only afterwards that he’d learned how much they’d been worried about him. Somehow, he’d bounced back. Instead of letting the bitterness overwhelm him, he’d managed to maintain his cheery outlook—in public, at any rate. He had learned how to conceal his emotions. Professional callousness, a prerequisite of the job, often clashed with personal compassion, but the two were not mutually exclusive. The best journalists were those who managed to bring both detachment and compassion into play when writing their copy.

      Wiping away the last crumbs of his lunch, Johnny shook off all thought of Simkins and returned to studying the typewritten note that had been delivered by the District Messenger Company soon after eight thirty that morning. He had no idea who had sent it. The thin white envelope was sealed and stamped with thick black letters: PRIVATE & CONFIDENTIAL. The tip-off inside could not have been more succinct:

       A SNOW HILL COP HAS SNUFFED IT.

      Johnny had checked all the news agencies for bulletins on a dead or missing policeman and drawn a blank. He’d tried calling the press bureau at Scotland Yard and the desk at Snow Hill but in both cases the response was the same: they had no idea what he was talking about. The messenger company claimed they had no record of who had paid for the message to be delivered. Now he pulled out his notepad and drew a line through Rotherforth and put a question mark next to Matt.

      He stared at the piece of paper. Those seven words hinted at so much and revealed so little. Mishap or murder? True or false? Could it be one of Simkins’ tricks? Johnny dismissed the idea; it wasn’t Simkins’ style. Besides, even though he had so little to go on, there was something about this tip-off that made his nerves tingle. Something told him this was genuine.

      “What you got there, Coppernob?”

      Startled, Johnny looked up. Bill was swaying down the aisle towards him.

      “Something or nothing. I can’t decide,” he said, handing over the flimsy slip of pink paper. “For your eyes only.”

      “Say no more,” said Bill. A blast of beery breath hit the back of Johnny’s neck. “Very interesting.”

      “I’ve just asked Inspector Rotherforth if he’s lost a man, but he said the suggestion was—and I quote—‘balderdash’.”

      “Well, he would, wouldn’t he?” said Bill.

      Johnny could almost hear the liquid lunch sloshing around in his stomach.

      Bill handed back the message. “I’ll make a couple of calls.”

      “Thank you.” Johnny checked his watch and began gathering up his things. “It’s time I got back to court.” His voice was heavy with resignation: the mere thought of sitting in those punishing pews made his backside ache.

      “Very well.” Bill dropped into his battered chair. As always, it rocked alarmingly, on the verge of tipping over backwards, then somehow defying gravity to remain upright. “Off you go then.” He sighed heavily. “You know where I am if you need me.”

      Putting his feet up on the desk, Bill watched as his protégé scurried out of the office. A frown spread across his crinkled face. As soon as Johnny was out of sight, he picked up the telephone receiver.

       THREE

       Monday, 7th December, 8.30 p.m.

      Lizzie was waiting on his doorstep. This was a pleasant surprise. His thoughts had been taken up with Daisy, wondering whether he should nip round to explain face to face that he’d arranged to spend tomorrow evening with Matt instead of taking her to the show, debating whether she could be persuaded to let him make it up to her tonight. Seeing Lizzie, he felt a stab of guilt and then mentally scolded himself: you could not be unfaithful to a fantasy. Mrs Matt Turner was, and always had been, strictly out of bounds.

      “Come on! Open the door,” she said, brushing off his attempt to kiss her. “I’m half-dead with cold, standing out here. Been at that flea-pit again?”

      She meant the Blue Hall Annexe on the corner of Packington Street. The cinema had started life as a district post office before being converted into the Coronet. Twenty-five years on, its four onion-domes remained but the blue-and-gold tiled façade had worn as thin as the velveteen covering the oversprung seats inside. The only thing the new owners had changed was the name.

      The little cinema was a favourite haunt of Johnny’s, his mother having introduced him to the delights of the silver screen back in the days when talkies were still a novelty. As a boy, he’d been fascinated by the actors who’d sometimes appear during screenings, striking up conversations with members of the audience. He remembered one paid stooge who always seemed to mangle his lines and would invariably end up being pelted with peanuts. It wasn’t until years later that Johnny learned the man had a habit of preparing for his appearances by nipping into the Queen’s Head next door for a quick one, or two, to steady his nerves.

      Lizzie made her way straight through to the kitchen and Johnny followed, turning on lights and through force of habit switching the wireless on. “The Way You Look Tonight” came warbling out. He filled the battered kettle, lit the gas and set it on the stove.

      “What did you see?” she asked, sitting down at the table with her coat still wrapped around her for warmth.

      “Bullets or Ballots. A gangster pic. Edward G. Robinson, Joan Blondell and Humphrey Bogart.”

      “Any good?” She was toying with her gloves. Johnny could see she was nervous. Why? Was it because she was uncomfortable being alone with him nowadays? She knew his feelings for her had not changed when she’d married Matt.

      “The action sequences were great: tommy-guns spitting fire everywhere. Robinson plays a detective called Johnny Blake who feigns dismissal from the force so that he can go undercover to smash a major crime ring.”

      Johnny had been a fan of Robinson’s ever since he’d seen him in Five Star Final, playing a ruthless editor whose investigation of a murder case drives two of those involved to suicide. Earlier that year he’d gone along to see the remake, Two Against the World, with Bogart in the starring role, but it wasn’t a patch on the original. The focus had been shifted to the goody-goodies who thought the story should not be published, and the worthy result had only provoked yawns.

      Hollywood had nurtured Johnny’s ambition to be a journalist. It set him dreaming of a global exclusive where he’d interview Al Capone through the bars of his tiny cell in Alcatraz. He did not care if cinema was “neither art nor smart”: it offered a picture window into other people’s lives. Movies could provide an escape from reality or turn powerful searchlights on it. The same could be said of the press—and