By Alan Glenn
A stable cop. a nasty selection. allow historical past be the judge.
In 1943, in Portsmouth, New Hampshire, Sam Miller is a cop assisting a relations and attempting to remain at the correct part of his boss, the legislation, and his judgment of right and wrong. Then a physique is located via the railroad tracks, a bunch tattooed at the victim’s wrist. it's a case Sam may perhaps stroll clear of. it's a case he'll be ordered to drop. And it's case that leads him right into a deadly vortex of politics, espionage, uprising, and foreign intrigue.
As battle rages in Europe, a brand new energy rises in the United States. And the folks Sam thinks he is familiar with best—his spouse, his brother, his colleagues—reveal new identities. In a previously close-knit urban through the ocean, the place nobody is above suspicion and nobody is secure, an international summit is ready to happen. On that day, historical past might be replaced. And thousands of individuals will reside or die, all simply because Sam Miller has been an excellent cop—faced with a truly undesirable selection.
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Lily Anne is here and I want to be different. I want to be better than what I have been. I want to hold her. I want to sit her on my lap and read her Christopher Robin and Dr. Seuss. I want to brush her hair and teach her about toothpaste and put Band-Aids on her knees. I want to hug her in the sunset in a room full of puppies while the band plays “Happy Birthday,” and watch her grow up into wonderful beautiful cancer-curing symphony-writing adulthood, and to do that I cannot be who I have always been—and that is fine with me, because I realize one more important thing.
I was scenery to her, part of what a crime scene looked like, Dexter as Background. Enough: It was time for me to leave, to go back to Lily Anne and Wonder. And so without lingering for any awkward farewells, I slid out the door and walked back to my car, where it still sat nestled in by the Dumpster. I drove to the hospital in the prelude to evening rush hour, a magical time when everyone on the road felt empowered and entitled to all the lanes at once because they had left work early, and in my past life I had taken great joy in the sight of so much naked contempt for life.
I turn and look to the right, down to where the hallway ends in a “T” that goes one way to a row of rooms and the other way to the elevators. And there it is, as plain as a blip on any radar screen, or what is left of the blip, because someone is going around the corner toward the elevators, and all I can see is half his back as he scuttles away. Tan pants, a greenish plaid shirt, and the bottom of one athletic shoe, and he is gone, and he does not leave any explanation at all of why he was watching me, but I know that he was, and this is confirmed by the cheesy smirk I feel oozing from the Passenger, as if to say, Oh, really, we’re leaving what behind?