Eye Of Vengeance Part 15

"So we have a serial sniper running around the city shooting ex-cons and bad men, right?"

Deirdre's language always got tougher as the excitement of a good story got up her nose. After all, she had been a reporter before she joined management.

She leaned over his part.i.tion and lowered her voice. "Nick, do we have some serial killer out there doing a Son of Sam thing to sc.u.mbags on the streets? Are you working that angle or what?"

Nick looked away and flipped through a couple of pages in his notebook like he was searching for an answer.

"We've both been at this game a long time, Deirdre. You never say never. But to tell you the truth, right now I'm not focused on speculation and screaming headlines," Nick said, getting hot. "I mean, s.h.i.+t, since when does two dead jump to serial killer? Christ, Son of Sam had five shooting scenes and a ballistics match in before they started calling Berkowitz a serial killer."

The heads of other reporters and editors started peeking up over their cubicles. Even with Nick's reputation the tension level of his voice was rising too high for the modern newsroom-as-insurance-office protocols. Nick went silent.

"Instead I'm looking into any connection between this guy and the one from last week, but as of this minute, I don't have anything," he began again, quietly. "Research is running some driver's license history to see if they ever even lived in the same area. And I'm trying to get the probable-cause affidavits from their prior arrests to see if they were ever listed as running together on any of their earlier crimes."

The investigative theory, Nick knew, was to find out if any of the victims had something in common that might be a motive for their killer, and by now Nick and Hargrave were both on that page.

"Alright, alright. Do what you're doing, Nick," Deirdre said and started to walk away, but stopped. "And hey, send some of your contact numbers with the Sheriff's Office over to the national desk so they can a.s.sign someone to that OAS security story."

Nick nodded and she spun on her heel again, but not all the way around.

"And hey, why not check the DOC files too. See if these guys ever spent prison time together, you know, for midweek. But not today. Today," she said, looking at her watch, "we got deadline."

As she left, Nick was cursing himself. OK, OK. I didn't tell her about the other sniper shootings out of our area, or my byline connections with these guys, five now, just like Berkowitz, smart-a.s.s. But you are not the story, Nick. You are not the story. Hargrave had already given him s.h.i.+t about that theory being an ego trip and he sure wasn't tossing that ammunition to Deirdre.

He turned back to his computer and started clicking keys. But that was good about the DOC files. Why didn't I think of that?

By seven o'clock Nick had finished the Michaels shooting story. He had not been able to track down the girlfriend that the ex-con had set aflame. His contact, a social worker in the hospital where the woman was treated, could only tell him that the burn victim and her daughter had moved out of state. The attorney who prosecuted Michaels would only say things like "What goes around, comes around" that were off the record. The public defender that represented Michaels had moved on to another lawyer job.

Nick ended up laying it out in simple news style:

A 43-year-old construction laborer was shot to death outside a Pompano Beach parole office early Monday morning, just as he was entering for a weekly appointment.Trace Michaels, who worked part-time with Hardmack Construction, was declared dead at the scene in the 100 block of McNab Road, police said. He was shot once in the head, police said.The shooting of Michaels, who had recently served five years in prison for attempted manslaughter after setting his girlfriend aflame during an argument, was the second time in two weeks that an ex-convict has been murdered in Broward County. But sheriff's detectives investigating the shootings say they have yet to find any evidence linking the two cases.

Nick had then run out the story with quotes from the office employees at the scene and from Joel Cameron, who had given the basics of the "ongoing investigation" to all the media. While he was constructing the piece he had typed into the file some of the linkages with the lists that Hargrave had given him from the Secret Service agent and his own research from the library but had then deleted the information off his screen. If the only thread in the cases was that he had written extensive stories about the shooting victims, he wasn't going to go there. A journalist wasn't supposed to be part of any story, and he sure as h.e.l.l wasn't going to go there without a lot more factual evidence.

Before he wrapped up the piece, he gave Hargrave a final call. He went through the basics of what the next morning's story would say. Hargrave only listened and gave an occasional grunt of a.s.sent, or maybe just of boredom.

"So what else do you want, Mr. Mullins?"

"It's the serial killer thing, Detective. You and I both know the other newspapers and TV are going to start pounding the h.e.l.l out of that line whether they have any facts or not," Nick said. "My editors are already on my a.s.s about it."

Hargrave again went quiet, deciding something.

"We've got a ballistics match on the bullets used in both Michaels and Ferris," he finally said. "But that's not a public fact yet, Mr. Mullins. And I don't want it to be public yet."

Nick had been in on such negotiations before. Official sources and reporters played the game every day.

"OK. Give me something else," he said. "Something that's going to benefit both of us, because you know and I know the stories I'm going to have to write if these names keep matching up."

Again silence. But this time Nick knew the detective was being thoughtful instead of uncooperative. They both knew what the accuracy, efficiency and technique of the shooter meant. Unlike the Beltway shooter, this wasn't some kid in a trunk shooting people for some insane reason. This shooter was a professional, either military- or law-enforcement-trained. Without either one of them naming it, or its purpose, they collaborated on a message in the form of a quote:

"We will investigate both shootings as we would any illegal killing. The victims' pasts don't open up an avenue for them to be gunned down in the streets. That's not how law enforcement works in a democracy. That's not how this country operates," said Broward sheriff's homicide detective Maurice Hargrave.

The quote went high in the story.

"Maurice?" Nick had said on the phone after asking for Hargrave's full name.

"Shut up," the detective had answered.

Chapter 20.

On the drive home Nick paid little attention to the traffic rules. He was in the pa.s.sing lane of 1-95 northbound doing well over the sixty-five limit. He had promised his daughter that he would no longer show up from work after her bedtime and that he would no longer be the father who was absent from his family's dinner table, even if it was just the two of them. And because he missed her. His wife was gone. Lindsay was gone. All Nick had left was this dry, doc.u.ment-chasing, linguistic-game-playing pursuit of the truth that he called work, and Carly. There was no compet.i.tion. Carly would win hands down, he told himself over and over and over again.

He skipped up the driveway and walked through the front door, dropping Margaria Cotton's box of letters on the couch out of sight. Elsa pa.s.sed him with a basket of laundry and said good evening in a professional manner and her strict avoidance of eye contact screamed that he had f.u.c.ked up again.

Carly was at the kitchen table doing homework. Dinner was done. The dishes cleared. Nick fought the mood with a chipper "Hi, sweetheart, whatcha' doin'?"

His daughter did not look up. He pulled out the chair next to her and sat. He studied her hair, the hues of blond the sun had put in it, the glisten, just like her mother's. She used her left hand to pull one long, loose strand and tucked it behind her ear and he still stared, now at the exposed profile.

"What," she finally said, without moving her eyes from the page, "are you looking at?"

"A pretty girl," he said. He got not a crinkle of response in the corner of her eye or flinch of a smile at the corner of her mouth.

"One that is trying trying to get her homework done?" she said instead and the exasperation in her voice was much too mature for a nine-year-old and even though it was a good approximation of a p.i.s.sed-off adult, it didn't quite work. to get her homework done?" she said instead and the exasperation in her voice was much too mature for a nine-year-old and even though it was a good approximation of a p.i.s.sed-off adult, it didn't quite work.

"No. One who cannot hide her wonderful heart," Nick said. "I'm sorry I'm late, babe. I got kinda caught up at the office."

"I know," she said, still not looking up. It had been his standard excuse for years.

"I know you know," he said, pus.h.i.+ng back his chair, the wooden legs screeching on the floor.

The noise seemed to startle the girl. She jumped, just slightly, and then she pushed her own chair back and rose as Nick pivoted and she climbed into his lap and he could feel the wetness from her eyes against his neck and he held her and could think of nothing to say but kept repeating, "I'm sorry, honey. I'm sorry, I'm sorry, I'm sorry ..."

After he had dried her tears, after they put the homework away, he waited for her to get ready for bed and this time laid down next to her and read some of her favorite Shel Silverstein poems from Where the Sidewalk Ends. Where the Sidewalk Ends. When her eyelids fluttered and she yawned, he stroked her hair and told her he promised never to come home late again and then stared up at the ceiling thinking how often he had made that same promise to his wife. Don't go there again, Nick, he told himself and then tried to block out everything but the sound of his daughter's breathing. When it became deep and rhythmic, Nick slipped out of the room and retrieved the box of letters and sat it on the kitchen table. When her eyelids fluttered and she yawned, he stroked her hair and told her he promised never to come home late again and then stared up at the ceiling thinking how often he had made that same promise to his wife. Don't go there again, Nick, he told himself and then tried to block out everything but the sound of his daughter's breathing. When it became deep and rhythmic, Nick slipped out of the room and retrieved the box of letters and sat it on the kitchen table.

He started randomly. The first letter was dated a week after the killings and was from another mother of two who scribbled condolences and then copied a psalm that included something about lambs and innocence and G.o.d's love. Nick slid it away.

Another was from a parent at the school where Ms. Cotton's girls had attended sporadically. She had known the children "both of them bright and beautiful and I cannot comprehend your anguish." No, you can't, Nick thought and flipped that one into a growing pile.

After a dozen, he started from the back of the box and became more systematic in his search, not knowing what he was searching for. He first concentrated on the place, the postmark and the date sent. Then he studied the name to see if it sparked even the slightest memory Then he scanned the contents, getting the gist of each letter without focusing on the words. The messages were familiar. He had thrown out a similar pile a month after the death of his wife and daughter without reading or even opening the majority of them.

He was more than halfway through the box when he picked up a long envelope, business-sized, with no return address. Ms. Cotton's address was typed on the face of it. Inside was a folded sheet of stiff stationery. No card. The message was also typed: Condolences on your loss ... a complete and utter lack of justice ... we failed you and your children ... something must be done, and will ... the elimination of those that threaten civil society Condolences on your loss ... a complete and utter lack of justice ... we failed you and your children ... something must be done, and will ... the elimination of those that threaten civil society ... ...

Nick jumped to the bottom of the page where the name of the writer was not signed, but simply typed, in an uncapitalized format:

yours, mike redman

The name was so out of place Nick recognized it immediately. Redman. The SWAT team member. Five killings in the line of duty. A professional with a sniper rifle.

Nick had written an extensive story about a SWAT shooting that took place in Deerfield Beach a few years ago. His editorial board had taken the opportunity to chastise this guy Redman for killing an armed man, one of a group of guys who were selling weapons out of some motel room and then tried to shoot their way out when the team busted them. Nick had been so incensed over the editorial, he'd gone out and interviewed every team member, including Steve Canfield. He was allowed to view the video- and audiotape of the bust and heard, with his own ears, the whumph whumph of the door breaking down, the shouts of "POLICE, POLICE, DON'T MOVE" and then the scuffling of feet and the sound of gunfire. He'd pulled schematics of the parking lot setup, measured the distances himself and sat in the room where this Redman guy had been acting as sharpshooter and cover man. He'd even gone out on a training day to see how the team was trained. He'd come away impressed and wrote a detailed Sunday story called a tick-tock that gave a second-by-second unfolding of the drama. He had not been allowed to interview Redman, who was still waiting to be cleared by a shooting board investigation. But Nick remembered him. Six-foot. Muscled. Close-cropped hair. And strange eyes, the kind that seemed to absorb everything around him and give nothing back. Nick had read somewhere that his partner had been killed in a SWAT operation years ago. When Redman was eventually cleared, Nick had felt a personal vindication. No one from the editorial board ever said a word to him. of the door breaking down, the shouts of "POLICE, POLICE, DON'T MOVE" and then the scuffling of feet and the sound of gunfire. He'd pulled schematics of the parking lot setup, measured the distances himself and sat in the room where this Redman guy had been acting as sharpshooter and cover man. He'd even gone out on a training day to see how the team was trained. He'd come away impressed and wrote a detailed Sunday story called a tick-tock that gave a second-by-second unfolding of the drama. He had not been allowed to interview Redman, who was still waiting to be cleared by a shooting board investigation. But Nick remembered him. Six-foot. Muscled. Close-cropped hair. And strange eyes, the kind that seemed to absorb everything around him and give nothing back. Nick had read somewhere that his partner had been killed in a SWAT operation years ago. When Redman was eventually cleared, Nick had felt a personal vindication. No one from the editorial board ever said a word to him.

He flipped over the envelope and checked the postal cancellation date. One week after the trial that found Ferris guilty of rape and murder, but long before his sentencing was overturned. Redman. h.e.l.l, when was the last time Nick had even heard the name? Last thing he could remember was the pressure of moving the guy off to another division in the Sheriff's Office after the newspaper's editorial board p.i.s.sed all over the guy.

He looked down at the letter again and first thought about copying it in his home office and then second-guessed himself. He took out a reporter's notebook and a pencil instead and then turned the page, using only the tip of the eraser to touch the paper. He then copied the message word for word into the notebook, and sat back, staring at the collection on the table in front of him. He was fighting an urge to call Hargrave and tell the detective to get the h.e.l.l over here. "Chill, Nick," he actually whispered out loud.

There was nothing in the letter that said the writer was intending a specific act or what form of "something" would be done. It was also some three years ago when the thing was written. Ferris had been in jail most of that time and Nick didn't even know where the h.e.l.l this Redman guy had been. He knew that a cop writing to the victim of a crime was unusual because of legal considerations. But after a case was adjudicated? He'd never heard of it, though that didn't mean anything. Coincidence again? Redman writes a vague letter to the mother of two dead girls. Their killer gets shot by a sniper three years later. Redman is a sniper. He must be the avenging shooter. It was the basic logic progression you used to construct in school, always of course in a vacuum. But Nick had learned long ago that logic rarely includes the spins that unpredictable humans can put on it.

He got up from the table and opened a kitchen drawer and took out a large plastic freezer bag from its carton. Then, using the eraser, he pushed both the letter and the envelope it came in into the bag and then sealed it. He'd watched CSI CSI too. He then put the bag aside and looked at the box of letters. Only halfway through. Be thorough, he told himself. Go through all of them. Don't jump to conclusions. But as he did, he only skimmed the rest of the notes with less and less interest and kept looking for another plain envelope lacking a return address. too. He then put the bag aside and looked at the box of letters. Only halfway through. Be thorough, he told himself. Go through all of them. Don't jump to conclusions. But as he did, he only skimmed the rest of the notes with less and less interest and kept looking for another plain envelope lacking a return address.

Chapter 21.

Elsa woke him in the morning, partially with the scent of fresh-brewing coffee, then fully with a careful pat on the shoulder. Nick had fallen asleep on the couch fully dressed and with a jumble of unanswered questions and barely connected trails of victims and prisoners and violence that spun him enough to twist his s.h.i.+rt around his middle and cause his pants to s.h.i.+ft a quarter turn around. When he finally stood, he had to adjust his clothes before he could walk to the kitchen counter and rescue his muddled brain with Elsa's Colombian coffee, black, no sugar.

It was nearly seven and he could hear Carly shuffling and moving in the girls' bathroom that she had taken over since the accident. She had insisted on saving Lindsay's bath oils and bottled fragrances, especially the ones they'd concocted together. And even two years later he couldn't bring himself to toss them. Even in the master bath Nick had not had the heart to put away the makeup tray where Julie had kept her perfumes. He used to foolishly pick up a spritzer and squirt a cloud of her scent into the air and just stand there, breathing it in. It used to make him cry. He'd tried to break the habit. Her side of the vanity remained spotless. He used the other sink and a small kit bag in the corner that had always held his shaving stuff, deodorant and a toothbrush. Julie had joked that he was always packed and ready to go. But it had not been funny near the end and they had both known it. Still, he never changed.

When Carly was ready for school she came out for breakfast and Nick moved his coffee to the table.

"Hey, suns.h.i.+ne," Nick said. His face was dark and slack with fatigue, but he was trying to cover it. "What's on the agenda for today?"

"Just stuff. But we are going to get to do some more clay sculpture in art and it's going to be way cool. I'm finally going to put the legs on that angel I told you I was working on. Then we might actually get them in the kiln this week. Do you think I should paint her, or just leave her with the clay color-I mean, you can see the details and stuff without the paint and that's what counts and it's kinda weird to paint them all white and silver and stuff when n.o.body really knows what angels wear anyway and so what, you can do what you want, right?"

Elsa came over and set a bowl of cream of wheat in front of the girl and smiled that smile at Nick that said, She is wound up this morning, eh? She is wound up this morning, eh?

"Absolutely," Nick said. "Art is in the eye of the beholder and you're the beholder. Do what you want, babe."

Carly rambled on about her teacher and how she'd already figured out how to manipulate her. "I can just play around with my own ideas and she'll still give me a good grade."

Nick listened, and thought, When did these kids get so smart?, and then they heard the car horn outside and his daughter jumped up, kissed him on the head, said, "'Bye, Dad," kissed Elsa and thanked her for the half eaten breakfast and then blew out through the front door, leaving a fragrance and an energy wafting behind.

Nick sat for a moment, sipping his coffee. When he finally rose, Elsa looked him in the face.

"You look like the sin, Mr. Mullins," she said with her thick accent and shaking her head as one might at a shameful sight.

"Thank you, Elsa," Nick said. "I'm going to shower and then I'm going to work. Please make me some more coffee."

He'd gone over the scenario too many times to count during the night and it was still in his head. Nick was trying to decide whether to turn the letters over to Hargrave, including the one with Michael Redman's name on it, still in the plastic bag, right on top. The box was sitting on the pa.s.senger seat next to him. He couldn't help glancing over at it, like some snake crate about to pop open and let loose a beast that would rise and start spitting venom in all directions. He knew it could be evidence, that wasn't in question, whether it could could be. But his reluctance through the night had been twofold. be. But his reluctance through the night had been twofold.

First, he'd called Lori in research before he left the house and she punched Redman's name into the local and national media database and came up with nothing. The last reference had been Nick's own story on the weapons-dealer shooting and the editorial before it. As far as he could tell, no media had any idea what the guy had been doing for the last few years or whether he was even still with the Sheriff's Office. In Nick's head, linking Redman to the recent shootings was premature.

Second, if he gave the letter to Hargrave, then it would be in their house. Could Hargrave keep it under his hat? Would he have to tell Canfield, who Nick knew was Redman's supervisor back in the day? Would anyone be able to contain it if it leaked? Tell two people and three will know. Once there are three, there will be four by the end of the day. Rumor was always exponential. He could see the Herald's Herald's headlines: headlines:

FORMER SWAT SNIPER INVESTIGATED FOR RECENT KILLINGS.

MODERN-DAY GUARDIAN ANGEL GUNS DOWN BAD GUYS.

IN THE STREETS.