then we'll have him."
"And then what?" Sandy said, alarmed. They were talking about the man who'd saved his life. "What'll you do to him?"
McCann squinted at him. "Probably nothing. A lot of people are gonna want to give him a ticker-tape parade—I know you and everyone else on that car sure as shit will—but plenty of others won't be so keen. He may have saved lives, but he's also probably some sort of gun nut, and as of tonight he's a killer. Not exactly the perfect poster boy for civic responsibility."
"You want to lock him up?" Sandy said.
McCann shook his head. "Not particularly. But I do want to know who he is. Anybody who wanders through my precinct carrying that kind of firepower and who's able to use it to such deadly effect, I want to know about."
"But you have no description beyond average-height-medium-built-brown-haired Caucasian, right?" Sandy asked. The answer was crucial.
"Don't even have his eye color," Rawlins said.
Sandy almost blurted brown before he caught himself in the nick of time.
"Think the survivors could be protecting him?" the uniform said.
McCann narrowed his eyes and scrutinized Sandy. "How about that, Mr. Newspaperman? You and your friends here wouldn't be obstructing justice now, would you?"
Sandy's tongue took on a leathery taste and texture. He swallowed and tried to muster some indignation.
"If you mean did we all get together and cook up a useless description, how could we? None of us was in any state of mind for that kind of thinking. If you want to see what I had for dinner, detective, check out the tracks over there. We were all too sick with relief at just being alive."
"Even if they'd wanted to," Rawlins said, "I doubt they'd 've had time. Let's face it: this second shooter was an average white male who hid his face and took off."
"Yeah, I guess so," McCann said. "Doesn't matter much anyway. Like I said: he'll turn up. Just a matter of time."
But I'm going to find him first, Sandy thought, as visions of talk shows and book contracts danced in his head.
The Savior… the second shooter… the GPM… whatever he was called, only one person in this whole city could identify him. And Sandy Palmer wasn't about to fritter that away. Simply having survived that death train would earn him a moment in the journalistic sun tomorrow. But what about the next day, and the day after that? He'd be—quite literally—yesterday's news.
But not if he held onto this ace in the hole… and played it right.
Mama Palmer didn't raise no dummy. A once-in-a-lifetime golden opportunity had been dropped into his lap, a chance to parlay his eyewitness status into an even bigger media coup: he'd find the Savior, wrangle an exclusive to his story, then bring him in.
He thought of reporters linked for all posterity with the sources of their greatest story: Jimmy Breslin and his Son of Sam letter, Woodward and Bernstein and their Deep Throat.
How about Sandy Palmer and the Savior?
5
Jack sat in the dark, sipping a Corona and watching his TV, terrified of what he might hear and see, but he couldn't turn it off. Started with Channel Five which kicked off its nightly news at ten, but tonight it didn't matter which New York station he chose; they'd all interrupted their regular lineups to cover the subway mass murder.
But the big hook, the story within the story that made this must-see TV, was the mystery man who had killed the killer and then faded away. Everyone wanted to know who he was.
Jack chewed his lip, waiting for the eyewitness description, the artist's sketch. Any moment now a likeness of his face would flash onto the screen. He cringed when he saw some of the survivors, people he recognized from the train, snagged by the cameras and microphones. Most hadn't much to say beyond how grateful they were to be alive and how they owed their lives to the mystery man, someone they'd labeled "the Savior." As to what this fellow looked like, none of those on camera had anything to add to the
Learning to Kill: Stories