I, Sniper

24

Nick resigned every day at 8:30 a.m., and every day at 8:30 a.m. the director turned him down.

“I am not going to let those bastards tell me how to run the Bureau,” he said. “Get back to work. Bust this thing for me, Nick. Now. Soon. Fast.”

“We’re trying.”

Nick gave him a daily summary after the resignation ritual, on any given day reporting the task force’s progress along its new lines of inquiry: of the ninety-seven new suspects, Task Force Sniper, with its additional manpower, had eliminated over forty-one. But there were sixteen of that first already-vetted group who demanded more careful attention-reinterviews, records checks, travel and time line indexing, overseas liaison-and there were still over fifty to go who hadn’t been looked at at all.

Meanwhile, the scandal refused to go away. Usually things in Washington blow over as new news cycles demand new material, but the reporter David Banjax was clearly on a hot streak as he chronicled the life and times of Special Agent Nicholas Memphis, the hero and goat of Tulsa, Oklahoma, who now ran the Bureau’s sniper investigation. Banjax was given a quarter of the Times’s front page to tell the story of Nick and his first wife, Myra, whom he’d paralyzed and married. While some saw it as a human interest story that made Nick look like a prince, many others saw it as another example of Nick’s misjudgment, of his emotional cloudiness on the issue of snipers and sniper victims and the discipline and potential tragedy of the figure of the law enforcement marksman.

Then there was the issue of Nick’s “breaking” of the Bristol, Tennessee, speedway armored car robbery a year ago, in which, allegedly, the special agent had penetrated a violent mob, interdicted and destroyed a robbery attempt in progress, kept civilian casualties to a minimum, and apprehended the bad guys, all of whom now languished either in prison or in the graveyard (six had been killed).

But even that heroism, in Banjax’s telling, had its downside. Some sources gave all the credit to an unidentified FBI undercover operative who had done the actual penetrating and gunfighting. Nick had come along late and taken that man’s credit-so unfair to the unknown hero, who couldn’t be ID’d even now as, quite possibly, he was undercover in another caper. And looked at carefully, the episode itself had a sloppiness to it that made its ultimately happy disposition seem somewhat arbitrary, if not out-and-out lucky. If the conspiracy had been penetrated, why did the feds wait until the robbery itself to spring the trap? There were hundreds of shots fired at the jam-packed Motor Speedway venue, and only by the grace of God did they not kill or maim anyone. The public safety emergency also cost local law enforcement millions of dollars (to say nothing of the trauma of the wounds to several of its officers, plus the cost in medical and recovery expenses); couldn’t that have been avoided? It was also alleged by some, bitter at the Bureau’s high-handed treatment of the locals, that the real object of the Bureau’s enterprise, a professional killer who used the automobile as his weapon of choice, had escaped and still roamed the world, free as a bird. And finally there was the issue of a helicopter, shot down by an FBI sniper under Nick’s command. Again, only luck, or so it was charged, prevented a catastrophe; that crippled aircraft could have fallen from the sky onto a home or a bus or a school or a hospital just as easily as it fell upon the empty seats of the Bristol Motor Speedway, resulting in the capture of the pilot and all the personnel of the Grumley gang. Why didn’t Nick have to answer that?

Still another day, Banjax reached and interviewed one Howard D. Utey, former agent in charge of the Bureau’s New Orleans office, who’d also been Nick’s supervisor during the bungled attempt in Tulsa. Utey, now a professor of public safety and police science at a community college in Ohio, told how Nick’s poor judgment resulted in the botched shot in Tulsa and the escape of a wanted fugitive later in New Orleans during the furor over the assassination of a Salvadoran bishop, an event never really satisfactorily explained and occasionally brought up by enterprising reporters in search of an easy, sensational feature.

In short, Nick was emerging as the kind of bad-penny agent who had had a hand in a lot of disasters and yet, somehow, kept his career marching ahead, as if supported by men in high places with a secret agenda.

It was on just such a day when Ron Fields, Nick’s ever-more-grumpy number two, sat alone in the Cosi’s on I street, just down from the Hoover fortress, nibbling disconsolately at some garish salad concoction, when he looked up to see someone vectoring in on him with a raptor’s hunger. It was the girl agent, Jean Chandler, his partner in the raid on Carl Hitchcock’s abode that had broken the case wide open, or so they’d thought, weeks ago. He didn’t want to talk to her. He was depressed, he had a headache and a long afternoon ahead, and Nick had seemed even more uncommunicative that morning. Plus, spontaneous meetings between old stars like him and newbies like her were to be avoided, for a lot of reasons: he didn’t want it said he was mentoring her, which would mean he was ignoring the other juniors; still worse, he didn’t want rumors of an extra-hours connection, much less a sexual liaison, which scuttled careers fast in the Bureau’s puritanical halls. But at the same time he couldn’t be rude.

“Starling,” he said, nodding, “imagine seeing you here.”

“Isn’t this a little low-rent for a hotshot like the great Fields?” she said, somewhat insouciantly, for the AIC/SA relationship was an extremely tricky one, part colonel/lieutenant, part Hemingway/Mailer, part Jeter/Cabrera, part Conan/Andy.

He smiled tightly.

“I usually eat in the cafeteria,” he said. “It keeps me humble, which is hard given my natural state of magnificence.”

“Look, Special-”

“You can call me Ron, Starling, at least out of the office. We raided together, we’ve sat twenty-five feet apart in the same office for the past six weeks, despite the glass wall between, and I mean that literally not metaphorically, as I’m sure I’ll be working for you shortly, and we’ve worked the same endless hours. So I won’t wreck my career if I’m seen talking to you.”

She slid in.

“It’s said you’ve already wrecked it by hanging on with Nick. You could have gone to the director and unloaded on Nick. You could have watched as they sacked him and, if you played your cards right, replaced him.”

“Anyone can succeed by betrayal,” said Fields. “It’s time-honored, a beloved Washington tradition. I’m trying to do it the old-fashioned way, through ass kissing and dumb obedience. I do tricks. I’m the Lassie of the FBI, haven’t you heard? Now, I have to say, I have a suspicion you didn’t follow me for the classy banter; you’re here for a purpose. I’m a detective; even I could figure that out.”

“I wanted to talk about Nick.”

“You mean ‘Poor Nick.’ ”

“He is getting royally screwed. They say he’s finished and he’ll take you with him. Maybe me. Now, I don’t matter, because nobody’s shot at me yet, but you and he have been shot at a lot, and it’s no good that you guys get taken down in some political influence shitstorm.”

Fields made a show of being not impressed by her passion.

“That’s the way it goes in this town. He’s fighting the power: you got lobbyists for big rich, you got three departments who want to hang a ‘case closed’ sign on it and walk away, and you got the press. Those are tough odds. And in the end, we serve at the whim of the director. So far, he’s holding fast, but yeah, the pressure is mounting. If he decides to cut us free, wave good-bye as we drift out to the horizon, that’s the town. You have to get used to it.”

“I wish I could.”

“Seriously, you’ve done good work. Let me look around and see if I can place you somewhere. Oh, I know-in Fairbanks, going after Sarah Palin’s daughter for breaking curfew. How about the pirate porno squad, you know, enforcing those ‘fines up to $250,000’ for illegal showings of Debbie Does Dallas 32?”

“No, I don’t want to leave. I want to get this guy, whoever he is, Carl Hitchcock or not. I want to put him away. Or kill him. Maybe he’s one of the names in the notebook we haven’t cleared yet. I’d like to be there when he goes down.”

“Me too. That’s why I’m sticking.”

“Here’s what I’m asking: why can’t we do something? Do we just have to take it? Can’t we find our reporter? Who’ll tell our side and make Nick look good?”

“You’re so young, Starling. You must actually believe in justice or something fantastic like that.”

“I do.”

“Let me tell you what’s going on, and why this one is so touchy. We are fighting the narrative. You do not fight the narrative. The narrative will destroy you. The narrative is all-powerful. The narrative rules. It rules us, it rules Washington, it rules everything. Now ask me, ‘What is the narrative?’ ”

“What is the narrative?”

“The narrative is the set of assumptions the press believes in, possibly without even knowing that it believes in them. It’s so powerful because it’s unconscious. It’s not like they get together every morning and decide ‘These are the lies we tell today.’ No, that would be too crude and honest. Rather, it’s a set of casual, nonrigorous assumptions about a reality they’ve never really experienced that’s arranged in such a way as to reinforce their best and most ideal presumptions about themselves and their importance to the system and the way they’ve chosen to live their lives. It’s a way of arranging things a certain way that they all believe in without ever really addressing carefully. It permeates their whole culture. They know, for example, that Bush is a moron and Obama a saint. They know communism was a phony threat cooked up by right-wing cranks as a way to leverage power to the executive. They know Saddam didn’t have weapons of mass destruction, the response to Katrina was fucked up, torture never works, and mad Vietnam sniper Carl Hitchcock killed the saintly peace demonstrators. Cheney’s a devil, Biden’s a genius. Soft power good, hard power bad. Forgiveness excellent, punishment counterproductive, capital punishment a sin. See, Nick’s fighting the narrative. He’s going against the story, and the story was somewhat suspiciously concocted exactly to their prejudices, just as Jayson Blair’s made-up stories and Dan Rather’s Air National Guard documents were. And the narrative is the bedrock of their culture, the keystone of their faith, the altar of their church. They don’t even know they’re true believers, because in theory they despise the true believer in anything. But they will absolutely de-frackin’-stroy anybody who makes them question all that, and Nick had the temerity to do so, even if he didn’t quite realize it at the time. That’s why, led by brother Banjax and whoever is slipping him data, they have to destroy Nick. I don’t know who or what’s behind it, but I do know this: they have all the cards, and if you play in that game, they will destroy you too.”

“Why can’t we simply destroy the narrative?”

“Starling, it’s everywhere. It’s all things. It’s permanent. It’s beyond. It’s beneath. It’s above. It’s in the air, the music, the furniture, the DNA, the blood, if these assholes had blood.”

“I say, ‘Destroy the narrative.’ ”

“I say, ‘You will yourself be destroyed.’ ”

She achieved a particularly cute and fetchingly petulant look, so totally charming that he fell in love with her until he remembered he had a wife and three kids.

“So you think it’s hopeless?” she asked.

“Starling-Agent Chandler, Jean, Jean, that’s it, right? Jean, listen, you do not want to get involved with these birds. They are smart and in their way they are ruthless; they will smile at you and charm you and look you in the eye, and for something they believe is the Truth, they will cut your heart out and let you bleed out in the sun. You do not need that. You have a bright future in a job you were meant to do, and if Nick gets the ax and if I get the second ax, that’s the way the ax falls. You go on with your career and put a lot of bad guys away and don’t get hung up in this stinking town. Nick’s gone, sad to say; I guess I am too, sad to say. You do not owe us a thing; you owe that cornball lady with the blindfold and the weighing pans in her mitt. She’s the one you owe, not us. I say again, old goat to young babe, do not get involved in this. It can only destroy you.”

“If we could somehow find its weaknesses. It must have weaknesses. In its very arrogance, there have to be weaknesses. We can’t just-”

“It can only destroy you. This is Dead Man Talking: it can only destroy you.”