“Anything?” I ask.
He shakes his head. “Not so far. But we’re just getting started.”
“This is bullshit,” the angry young white student whose locker is being searched says. “You have no reason to search me or my locker. You’re violating my civil rights.”
Merrill and I continue down the hallway and out the front door.
As we walk down the long covered corridor leading to the student parking lot, he looks at his watch and asks, “What time do most school shootings happen?”
“That’s a great question,” I say. “I’m not sure. It’s stupid of me not to know for sure, but my sense is that more happen in the mornings than any other time. Columbine started a little before eleven-thirty. What time is it?”
“Eight-thirty-nine,” he says.
We have approximately twenty minutes until the play starts in the commons.
When we reach the spotter at the end of the covered walkway near the flagpole I ask him how it’s going.
“It’s going. K-9 is almost finished with all the cars in both lots—staff and students,” he says.
He’s an older officer on loan from the Bay County sheriff’s department, gray-haired and a wrinkled, gridded face.
“Anything so far?”
He shakes his head, continuing to scan the school grounds instead of looking at me.
“Our prime suspects haven’t arrived yet,” I say. “Be on the lookout for an older model black Jeep Cherokee. Let us know when they arrive and tell everyone to use extreme caution.”
“Do I notify you when they’re here?” he says.
“Yeah.”
“They’re here,” he says.
I follow his gaze and see Mason’s faded black Cherokee slowly approaching the school from the quiet, empty street that leads to it.
“Thanks,” I say, but there’s not a lot of sincerity in it.
Merrill says, “Shall we?”
I nod and we begin to walk toward the lot that Mason is pulling into.
Lifting my radio, I depress the button and say, “Mason and Dakota have just arrived. Merrill and I are approaching them now.”
“How you wanna play it?” Merrill asks.
“Let’s hang back and see what they do,” I say. “Act like we’re looking at other vehicles, assisting the K-9 unit.”
Mason parks his Jeep in his assigned spot and he and Dakota get out.
They are wearing normal-for-them attire and are not armed.
Mason walks directly over to us. “Knew you smelled like bacon. Got a nose for that sort of thing.”
“Congratulations,” I say. “Your mom must be so proud.”
“What’s all this shit?” Dakota asks as he walks up.
“Just a little random drug search to celebrate four-twenty,” I say.
Dylan tosses his keys to me. “Feel free to go inside mine,” he says. “Just don’t plant anything or trash it in any way.”
“That’s very accommodating of you,” I say.
His dead eyes lock with mine and he gives me a wicked, knowing smile. “I have nothing to hide. Even if I was going to do anything with . . . drugs . . .”
His expression and emphasis on the word drugs make it clear he’s talking about something else.
“I’m not stupid enough to bring them to school on today of all days.”
“So you were expecting us?” I say.
“You boys have yourselves a good day,” he says, starting to walk away. “Just leave the keys in the front office with Miss Rose when you finish with her.”
Dakota, who follows Mason, shakes his head and says, “That’s some sad shit man. Dude who fought monsters in Atlanta is doin’ bullshit drug searches in a high school parking lot in Patheticville, Florida.”
19
I can’t prove it, but I’m convinced that kids are influenced by media coverage and especially social media attention that is given to school shooters. Well, I’m not going to prop up and promote the mentally ill and sociopathic any longer. I’ll never again use the name of a school shooter in any reporting I do. My focus will be exclusively on the victims and survivors.
Just before the student body begins to file into the commons for the play, Merrill, Tyrese, Kim, LeAnn, Ace Bowman, Chip Jeffers, and Hugh Glenn who just arrived are huddled together in the corner near the office to regroup.
Outside, the K-9 unit is thoroughly searching Mason’s Jeep at my request. Inside, everyone remains on high alert.
“I just knew it was going to be Mason and Dakota,” LeAnn says.
“Still could be,” I say. “We’ve got to be ready. Mason couldn’t’ve been more arrogant. Like he knew exactly what to expect.”
Merrill nods. “If they were tipped off the Jeep could be a ruse.”
“Did y’all locate Evan Fowler?” I ask.
Kim shakes her head. “He’s absent today.”
“We need to keep an eye out for him,” Ace says. “He could be planning to show up a little later and start shooting.”
“We need to watch everyone and everything just like we planned,” I say. “Nothing has changed. If anything . . . it’s more dangerous now. We’re going to be at our most vulnerable during the play. I was hoping we’d catch him before it.”
“Should we cancel it?” Tyrese says.
“I still think we have everything covered,” I say. “We just can’t let up, can’t relax for even a moment.”
“If there’s going to be an attack it’s going to be during the play,” Merrill says.
“It’ll be fish in a fuckin’ barrel,” Ace says. “We better stop him before he starts.”
A bell sounds and students begin to pour into the commons from several different directions—the gym, the back door, the two hallways that lead up to the library and classrooms.
“Here come the fish,” Chip says.
“Okay, everybody,” I say, “spread out. Look at everybody. Watch our suspects closely, but look at everyone in case we’re wrong about who it is.”
“Good work everyone,” Glenn says. “Keep it up.”
Dad and Reggie walk up.
Dad looks at Glenn. “Don’t want to step on anybody’s toes but I have to be here helping right now. We both do.”
Glenn graciously extends his hand. “Glad to have you sheriff. Both of you. Thanks for coming.”
“Thank you,” I say to them. “Okay let’s spread out.”
We disperse and disappear within the throng of caged teenagers.
As I’m making my way through the crowd toward the back of the stage, someone grabs my arm.
I turn to see DeShawn Holt and Sierra Baker standing there.
“Where is Miss LeAnn?” he asks.
“In here somewhere. Why?”
“There’s talk,” he says. “Lots of kids whispering about their being a big surprise at the end of the play.”
“Thought y’all weren’t coming today?” I ask.
“Had to be here to help if we could,” Sierra says.
“They say what kind of surprise?” I ask.
“Just a big one—something no one will ever forget.”
“Okay, thanks,” I say. “I’ll let Miss LeAnn know.”
When I reach the back of the stage, I look around, inspecting the actors and their props, then send a text to LeAnn, Kim, Tyrese, Ace, and Merrill to let them know what DeShawn and Sierra said.
Across the stage I see a Potter County deputy inspecting the gun props, ensuring they are all in fact props and have the small orange tips on the ends of the barrels. Denise and Tristan had argued to have the organ tips removed claiming they take away from the power of their production, but received a hard no from Tyrese.
I nod to the deputy, take one more look around then walk back out front.
As I’m about halfway up the side, the curtains open and the play begins. To my surprise, within a few minutes most of the students have stopped talking and are actually watching the play.
I pause and look arou
nd from this vantage point closer to the rows of seated students.
The play proceeds. If possible it’s even worse than it was in rehearsal. Bad writing. Overacting. Poor staging. Heavy-handed. Idiotic and incomprehensible. Yet the student body watching it is transfixed.
Among the kids strutting and fretting their hour upon the stage are the Dupree twins, their every movement an exercise in overdramatic, insincere, exaggerated effeteness.
Not far from me on a small portable riser, Zach Griffith is videoing the play with the same enthusiasm he had at the baseball game.
Eventually, I turn and continue toward the back, my eyes scanning the crowd, the room, the hallway, the teachers’ lounge.
Joining Tyrese at the center back, I turn to take in the entire area.
There are undercover cops everywhere—at every door, on each side of the stage, along the aisles, mixed in within the seated students.
“I can still stop it if you think I need to,” Tyrese says.
“It looks like we’ve got nearly as many cops as we do students,” I say. “I think we’re okay. I guess it’s possible we missed something, but . . .”
“Okay,” he says.
As I continue to look around the large open room, he seems to turn his attention to the play for a moment.
“Took a creative writing class in college,” he says. “We studied all forms of fiction—novels, screenplays, stage plays, short stories. This play reminds me of something the professor said. She said story’s not the place for making an overt point. The truths revealed in story are far more subtle than that. Said if you have a message to share send a telegram.”
I smile. “Hopefully, if he continues to pursue writing, Tristan will have that same professor someday.”
“Ironically,” he says, “this is a ripoff of a bad community college play his older brother was in last year. This is unabashed stage plagiarism.”
LeAnn rushes up to us, Kim not far behind her.
“I just spoke with Evan’s mom,” LeAnn says. “She’s at their house. He’s not there. She said she thought he went to school today. Doesn’t know where else he could be.”
Kim nods. “Two different kids said they saw him here this morning,” she says. “But we’ve looked everywhere and can’t find him.”
“Okay,” I say. “Let everyone you can know to be looking for him, but remind them not to so focus on him that they miss someone else.”
Tyrese says, “Remember. Just because his mama doesn’t know where he is and we can’t find him doesn’t mean he’s the shooter.”
“Exactly,” I say. “Has anyone checked the baseball field?”
“I’ll send someone now,” Tyrese says.
The tension in the commons is palpable. I can feel the high-strung energy of dread and expectation like an overtightened guitar string about to snap.
I scan the crowd again. Dad and Reggie are up near the front, one on each side, pretending to watch the play. Hugh Glenn has disappeared. He’s probably out in his vehicle or hiding somewhere else. DeShawn and Sierra in the back row on the left side give me a little wave as I look in their direction. Mason is glaring at me from where he sits on the opposite side toward the middle. When our eyes lock, he gives me a cold smile and forms a gun with his thumb and forefinger and pretends to shoot me.
Merrill walks up and shakes his head at Tyrese. “Look here, Cuz. I ain’t about tellin’ you how to do your damn job, but . . . this fuckin’ play man . . . They’s got to be a law against torturing kids with shit like this. It’s like you tryin’ to drive one of ’em to shoot up this bitch.”
As Merrill talks he continues to scan the commons.
Tyrese smiles. “It is bad,” he says. “But it could be worse.”
“How?” Merrill says, “If they’s in blackface?”
“I actually had to stop them from doing that,” he says. “No, it would be worse if they weren’t doing it at all. This shit’s givin’ marginalized kids a voice, a creative outlet. Might just change their lives. We can sit through an hour of almost anything for that.”
“Well, shit, Principal Joe Clark,” Merrill says, referring to the character Morgan Freeman played in Lean on Me, “my bad. Didn’t realize you’s changing lives up in here. Hats off.”
Tyrese shakes his head.
“Seriously,” Merrill says, his voice changing, softening, growing sincere, “that’s some of the most commendable shit I’ve heard in quite a while.”
“You think I’m gonna waste an opportunity like this?” Tyrese says. “First black principal in this little backwoods town? I’m doin’ my best to Obama this shit. No other principal I know would let the kids put on a production like this.”
Merrill nods. “You right about that. I’m very proud of you little cuz. Very proud.”
“You just help me keep any of these kids from gettin’ killed,” he says. His words and tone are meant to sound dismissive but his voice is thick with appreciation and pride.
The K-9 sergeant from Potter Correctional Institution walks in from out front with the FDLE bomb detection K-9 officer and motions me over.
I walk over to meet them near the front office.
“We did a thorough search of the Cherokee,” he says. “It’s clean. I mean real clean.”
“Like someone-just-cleaned-it clean?” I ask.
“Exactly like that,” he says.
I nod and think about it.
“But,” the FDLE officer says, “it hasn’t always been. At some point it’s had explosive material in it.”
The sergeant holds up the keys, but I’m so lost in thought already it takes a moment for me to take them.
“Hope that helps,” he says.
They turn to walk back outside.
They turn again and reach for their guns as the explosions and gunfire starts.
20
I realize on some level that some of the semiautomatic guns my company manufactures will be used in school shootings, but am I responsible for that? Are beer brewers and automakers responsible for the people drunk drivers kill? How you gonna put that on us?
As I turn back toward the commons I can see that most of the other law enforcement officers in the room are responding in a similar manner—jumping up, spinning around, reaching for their weapons.
“Wait,” I say. “Don’t shoot.”
I say it to the two men behind me and into my radio at the same time.
“They’re just sound effects from the play,” I say. “No one is really shooting. Don’t fire. I repeat don’t fire.”
On the stage, the teen gunman has started shooting his fellow classmates, each in turn confessing to his or her crime before falling to the floor dead—just like they had in rehearsal. Only now the sound effects are several decibels higher and sound even more authentic—an authenticity that’s going to get innocent kids shot and killed by the police there to protect them unless we’re very, very lucky.
I repeat what I said into the radio again. As soon as I’m finished I hear Tyrese and Kim yelling similar sentiments.
The teenage rampage killer on stage shoots himself in the head and falls dead not far from his victims, and I wonder why he didn’t make the suspect list.
For a few moments there is complete and utter silence.
If anyone is breathing it can’t be heard.
No movement. No sound. Nothing.
Then one by one the victims and eventually the gunman stand and walk to the front of the stage.
The first victim says, “We now invite you to join us and millions of other students around the world, including the survivors of the recent Parkland school shooting, to mark the nineteenth anniversary of the Columbine shooting, and walk out to protest the inaction of our leaders to protect us. All around the world right now students are participating in a walkout. Will you join us?”
She then steps off the stage and walks down the center aisle, followed by the other actors, then the crew.
“Whatta we do?” someone asks o
n the radio.
“Do we let them go?”another voice says.
“How do we proceed?” still another voice asks.
Tyrese says, “Let them go.”
I picture the students walking outside into an ambush—not unlike what Eric and Dylan planned to do.
“We need to look for shooters outside,” I say. “Everyone be alert. This isn’t over. If you’re guarding a door or a certain location stay in position. If you were sitting or standing near the student body go outside with them. Stay with them. Spotters, search the area for shooters, Check the roofs, the woods across the street, vehicles driving by. Everyone try to form a barrier around the kids.”
The cast and crew walk through the commons, down the hallway next to the main office, and out the front door.
Many of the students from the audience join them, but more than I expect remain behind.
Merrill and Tyrese run up to me.
Merrill says, “We just lost all control of this situation. If there’s a shooter waiting on them outside the casualties will be catastrophic.”
“Come on,” I say.
We run outside ahead of the students, searching for shooters.
I can feel the tension in my body as I expect to be shot at any moment.
Now in addition to the spotter, two other cops have binoculars and are scanning the parking lot and area around the school.
“Anything?” I ask the original spotter.
He’s the closest to us. The others are out in the parking lot.
“Nothing so far,” he says, continuing to look.
The rigid students are resigned and sincere, seeming to sense the import of both the moment and the movement they’re joining.
“Who has eyes on our suspects?” I ask.
“I’m right behind Mason and Dakota,” Kim says. “They’re just walking out like everyone else.”
“Tristan and Denise are still backstage,” LeAnn says. “I’m going to see why. I figured they’d be leading the procession.”
“Still no sign of Evan,” Chip says, “but Zach is videoing the walkout.”
“Chase has just stepped out the front door,” Ace says.
I turn and look back down the corridor.
Bloodshed (John Jordan Mysteries Book 19) Page 9