About this Story
Yowsa, Michael is so kick-ass in this story. I seem to remember that as I was writing this installment, it was really hard to switch out of his headspace and work on the other story I was writing at the time, which was Zero Hour, with innocent and thoughtful Ernest as its protagonist. Here’s the thing with Michael: he doesn’t think he’s a murderer, let alone a serial killer. He thinks he’s a perfectly rational person who has dug down deep and come up with the fortitude it takes to do what needs to be done.
And then there is all the beautiful contrast around him. Michael, the crack-shot who can shoot someone without hesitation. (He’s from Indiana…of course he knows how to shoot!) Michael, the pre-med wannabe who’s done all the gross lab tech jobs, and can sever a spinal cord without thinking, “This is a person!”
Michael, the 21-year-old who’s mortified by his younger sister’s question about who is “the girl” in his relationship.
It’s probably sick of me, but I love it when Cindy’s begging him for mercy and he shoots her in the throat, because there’s something chilling and dark in him there, something calculating and ruthless, that’s so fun to explore.
I also love Wild Bill’s role in this story, and about how his relationship with his family compares and contrasts to Michael’s relationship with his family. Bill’s age and perspective are brought into play here. He gets to witness the melodramatic family meltdown, knowing that his own family, who he never made peace with, is long gone. Even so, he doesn’t get overly-mature or maudlin about the whole thing. He still camouflages his wisdom among innumerable wisecracks and sarcastic stories.
There are also delicious shades of things to come farther along in the series…and I won’t be too specific, since some of you are reading this for the first time. But Michael’s depression and Wild Bill’s reaction to it, which began in Payback, begin to really develop here. And you’ll see later that Wild Bill isn’t being nice to Michael ’cos he’s a caring partner and a good guy. (Because, really, he isn’t. He’s getting off on the melodrama.) Wild Bill and Michael form a sort of feedback loop, where Michael’s depression feeds Bill’s lust, and then Bill’s remorse lets the flames burn down a bit, until their need for connection draws them into a new conflagration, and everything begins again.