Gone Tomorrow - Lee Child [104]
I kept the phones in my pockets, but I got up off the bench and headed for the subway.
Which was a bad mistake to make.
Chapter 55
The Union Square subway station is a major hub. It has an entrance hall as big as an underground plaza. Multiple entrances, multiple exits, multiple lines, multiple tracks. Stairs, booths, long rows of turnstiles. Plus long banks of machines for refreshing Metrocards, or buying new ones. I used cash and bought a new card. I fed two twenty-dollar bills edge-first into the slot and was rewarded with twenty rides plus three free as a bonus. I collected my card and turned around and moved away. It was close to six o’clock in the morning. The station was filling up with people. The work day was starting. I passed a newsstand. It had a thousand different magazines. And squat bales of fresh tabloids ready for sale. Thick papers, piled high. Two separate titles. Both headlines were huge. One had three words, big letters, plenty of powdery black ink: FEDS SEEK TRIO. The other had three words too: FEDS HUNT TRIO. Practically a consensus. On balance I preferred seek to hunt. More passive, less committed. Almost benign. I figured anyone would prefer to be sought than hunted.
I turned away.
And saw two cops watching me carefully.
Two mistakes in one. First theirs, which was then compounded by mine. Their mistake was conventional. The federal agents at 22nd and Broadway had put the word out that I had escaped by subway. Whereupon law enforcement generally had assumed that I would escape by subway again. Because given the choice, law enforcement always fights the last battle one more time.
My mistake was to walk straight into their lazy trap.
Because there were booths, there were supervisors. Because there were supervisors, there were no high entry-exit turnstiles. Just regular thigh-high bars. I swiped my new card and pushed on through. The plaza changed shape to a long wide walkway. Arrows pointed left and right and up and down, for different lines and different directions. I passed by a guy playing a violin. He had positioned himself where the echoes would help him. He was pretty good. His instrument had a solid, gutty tone. He was playing a mournful old piece I recognized from a movie about the Vietnam War. Perhaps not an inspired choice for early commuters. His violin case was open at his feet and not very full of contributions. I turned casually as if I was checking him out and saw the two cops step over the turnstile behind me.
I turned a random corner and followed a narrower passageway and found myself on an uptown platform. It was crowded with people. And it was part of a symmetrical pair. Ahead of me was the platform edge, and then the line, and then a row of iron pillars holding up the street above, and then the downtown line, and then the downtown platform. Two sets of everything, including two sets of commuters. Tired people, facing each other numbly, waiting to head out in opposite directions.
The live rails were back to back either side of the central iron pillars. They were shrouded, like live rails are in stations. The shrouds were three-sided box sections, open on the sides that faced the trains.
Behind me and far to my left, the cops pushed their way onto the platform. I checked the other way. To my right. Two more cops pushed into the crowd. They were wide and bulky with equipment. They moved people gently out of their