New to Brother’s Keeper? Read Episode 1
Jay takes a deep breath and walks away – it’s on now.
Jay softly lands in a dark corner of the safe house back garden after deftly scaling the wall and immediately notices a motion detector light above the back door. The light is off, but any sudden movement could switch it on. He slowly pulls out the M9 pistol – now with a suppressor attached – and carefully aims for the light bulb. He pulls the trigger and there is a sharp impact sound as the bulb shatters.
He waits motionless in the darkness for almost a minute before he stands and walks quietly, in a crouched position with his M9 raised, to the back door. He slowly attempts to open the door, but its locked. He steps back and scans the building – there is a slightly open upstairs window.
Jay slowly sticks his head through the window into an upstairs bedroom, which is dark and empty. He carefully climbs into the room through the window. He pulls out his M9 and walks quietly to the room door.
He pushes the door open very slightly and listens – loud noises from a television across the hall, with accompanying loud banter from male voices; two distinct male voices.
He steps out of the room and remains motionless in the hallway. Across from him are two doors. One leads to the toilet, which has its lights switched on, and the other leads to the room where the television noises and banter emanate.
He quietly walks to the room door. He swiftly opens the door and steps into the room with his M9 raised. Two uniformed London Metropolitan officers are sat on a sofa a short distance away from the door, jovially watching Top Gear on the large television hung on the wall, and with their assault rifles resting by their feet. They casually turn to Jay in the doorway and instantly become motionless as they stare nervously at him.
The older officer can’t stop glancing down to his rifle. Jay focuses on him and shakes his head. In the next moment, the younger officer reaches down for his rifle. Jay charges at the officer and viciously knees him in the head as the officer grabs the rifle. The officer collapses onto the floor, unconscious, as the older officer reaches for his rifle. Jay stumps on the rifle, trapping it underneath his feet, and smashes the butt of his M9 into the officer’s head. The officer slumps onto the sofa, unconscious.
Jay drags the younger officer to the column radiator attached to the wall. He pulls out the officer’s handcuffs and cuffs the officer’s wrists to the radiator. He then drags the older officer to the other end of the radiator and handcuffs him to it.
He pulls out their phones and radios and walks across the room to the television remote control. He increases the volume of the television to a deafening level and places the phone, radio, and remote on the sofa – far out of reach for the officers.
He walks out of the room to the toilet door and softly taps on the door.
‘Yes?’ comes a frightened whisper from inside the toilet.
Jay taps the door again and aims his M9 head height. The door slowly opens until the uniformed officer inside the toilet is staring down the barrel of the gun.
‘I’m the guy,’ the officer says frantically. ‘I’m …’
Jay swings the butt of the M9 into the back of the officer’s head. The officer loses consciousness on his feet and Jay catches him before he collapses.
Jay drags the officer into the room and to the radiator. He pulls out the officer’s cuffs and cuffs him to the radiator between the other officers. He takes the officer’s phone, radio, and shoes.
He places the shoes and radio on the sofa, slots the phone in his pocket, and walks out of the room. He shuts the door gently behind him and sneaks down the stairway.
He steps off the stairway into a small but brightly lit hallway and remains in a crouched position with his M9 raised as he turns to three doors – two open and one closed. The open door to his right leads to the living room, which is dimly lit with faint noises from a television; but there are no accompanying voices or sounds of movement. The other open door, which is in the middle of the doors, leads to a dark and evidently empty kitchen.
The closed door is closest to him on his left and he sneaks to it. He listens and the room sounds empty. He quietly opens the door and pushes it open to reveal a small toilet.
He quietly steps into the living room to see Cameron – looking extremely weary and almost unrecognisable from the picture he was shown – sat on a sofa, glumly watching the television, and her toddler is asleep on the sofa beside her with his head resting on her lap. There is a female officer sat on an armchair beside them, also watching the television but with far more enthusiasm than Cameron. An automatic shotgun leans on the wall beside the armchair.
They haven’t yet noticed him – this though is always the case; his target never sees him until its too late, unless he wants it; he’s a ghost in plain sight. He slowly advances towards them with his M9 aimed at the female officer’s head.
Cameron and the female officer see him approach at the same time. Cameron instantly reaches into her blouse to grab something as the female officer attempts to reach for the shotgun.
‘Don’t,’ he commands.
Cameron and the female officer stop; the female officer sits back comfortably in her chair, as if she’d rather die in a comfortable sitting position, but Cameron stares defiantly at him, still grabbing the item in her blouse in one hand and covering her sleeping son’s eyes with the other.
‘Pull it out slow and place it on the ground,’ he commands Cameron.
To the female officer’s utter surprise, Cameron slowly pulls a sawed off shotgun out from her blouse. Cameron wields the gun with ease; like she’s held one many times, and also looks like she’s fired one before and wont hesitate to fire it again. The wife of a Russian crime lord – a toddler in one hand and a sawed off in the other, par for the course, it seems. She fights her better instincts as she carefully places the shotgun on the floor by her feet.
‘Cuff yourself to the radiator,’ he says to the officer, and gestures to the column radiator a short distance away from her.
The female officer is reluctant to stand.
He lowers his gun and calmly says, ‘Do it.’
The officer walks to the radiator and cuffs her wrists to it, but the handcuffs are evidently loose. He stares at her expectantly, and she diligently fastens the cuffs.
He calmly walks to the officer, keeping an eye on Cameron, and the officer does her best to hide her fear as she stoically watches him approach. He swings the butt of his gun into the back of her head, and she falls to the ground, unconscious.
He takes her radio and her phone and walks back to Cameron.
As he approaches, she gestures to her son and passionately declares, ‘I wont let you take my son!’ She glances at the shotgun by her feet. ‘I’ll fight you to the death.’
He blankly stares at her for a long moment, before he places the phone and radio on the coffee table.
‘You don’t think I can?’ she angrily questions. ‘I’ll do …’
‘I’m not taking him,’ he says, and tucks his gun into his waistband.
She stares at him, deeply confused. ‘What do you want?’
‘I want three hours of your silence.’
‘Three hours,’ he says earnestly and pauses. ‘Without alerting anyone of what’s happened here.’
‘You’ll know. In time.’ He glances at the wedding ring on her finger. ‘I need the ring.’
She glances at the ring. ‘He sent you to kill me.’
He glances at the toddler. ‘He sent me to kill you all.’
She is aghast and turns to her son, and he watches as she lovingly caresses her son’s head. She turns back to him, pulls off the ring, and hands it to him.
There is a moment of silent acknowledgment between them.
‘The officers upstairs are unconscious,’ he says, and glances at the female officer. ‘They are also handcuffed to the radiator. The one without shoes let me in.’
‘You’ll see what I mean.’
She nods. ‘Thank …’
‘No,’ he says, and instinctively raises a hand to object. ‘Three hours.’ He gestures to the female officer. ‘They might wake up before then, but they can’t do anything without you.’
‘Okay. Three hours.’
He nods and pulls out the corrupt officer’s phone. He sends the blank text to the number Robert specified and offers her the phone.
‘You might need it. It belongs to the one without shoes.’
She takes the phone, and there is another quiet moment between them as she fights the urge to thank him.
He turns and walks away towards the back door.
He steps through the back door into the back garden and pulls out his M9. He aims for the grass a distance ahead of him and fires a shot into the ground. He repeatedly shoots into the grass.