Lethal Passage_ The Story of a Gun - Erik Larson [78]
“This guy,” Adams said, “was ready for war.”
Adams knew where Nicholas got the bullets. The fact his mother bought them was troubling enough. But where does a sixteen-year-old boy learn to modify bullets? Where does he learn to devise combat slings, silencers, and even brass catchers?
No one can know exactly how he learned it all because Nicholas won’t say. But the fact that a child can acquire so much lethal knowledge should surprise no one who is acquainted with America’s gun culture and the manufacturers, marketers, writers, and others in the so-called gun aftermarket who make knowledge about how to succeed at murder so readily available to anyone willing to thumb to the back of a gun magazine or take a weekend stroll through the nearest gun show.
Homicide, or rather the homicide fantasy, is the engine that drives America’s fascination with guns. Target shooters spend hour after hour firing into human silhouettes. Practical shooting competitions held nationwide test civilian competitors’ ability to hit targets after leaping from a car. Occasionally such meets conclude in an explosive finale, with entrants firing away at a distant target consisting of dynamite and a gasoline-filled barrel. In this milieu, guns used in grisly crimes actually wind up gaining popularity. After the assassination of John F. Kennedy, sales of the otherwise undistinguished Mannlicher-Carcano rifle used by Lee Harvey Oswald soared. Hundreds “were immediately bought by souvenir-seekers who wanted to get the feel of the weapon that had brought down the president,” wrote Robert Sherrill in The Saturday Night Special Even the murder of schoolchildren boosts sales. After Patrick Edward Purdy opened fire on a schoolyard in Stockton with his AKS, a semiautomatic version of the now-infamous AK-47, sales of the gun and its knockoffs boomed. Prices quadrupled, to $1,500. Guns Unlimited felt the surge in demand. “I didn’t sell an AK until Stockton in California; then everybody wanted one,” said James S. Dick, the owner of Guns Unlimited, in a deposition.
A New York Times reporter once asked the marketing director at Intratec, a Miami company that makes an assault pistol similar in spirit to the Cobray, how he felt about the widespread condemnation of his company’s weapons. Like the Cobray, the TEC 9 is a handgun of “dirty” design, meant to evoke a submachine gun. It has a perforated barrel sheath, akin to those that appear on full-scale machine guns. “I’m kind of flattered,” he replied. “It just has that advertising tingle to it. Hey, it’s talked about, it’s read about, the media write about it. That generates more sales for me. It might sound cold and cruel, but I’m sales oriented.”
Intratec was so oriented to sales that when California banned assault weapons and included the Intratec 9 on the list, Intratec sidestepped the law through the simple maneuver of changing the gun’s name to TEC-DC-9. Gian Luigi Ferri bought two in Las Vegas and, on July 1, 1993, took them to the thirty-fourth floor of a gleaming San Francisco office building. He killed eight people, wounded six, then shot himself to death. Like Nicholas, indeed, like so many of our very many spree shooters, he carried an excessive amount of ammunition, some six hundred rounds. He had acquired the guns legally. “Everything was by the book,” said a Las Vegas police officer.
The passion for lethality suffuses the process through which guns and ammunition are conceived and made. Manufacturers routinely test their prototypes not by firing them at tin cans, but by blasting away at blocks of Jell-O–like goo—ordnance gelatin—intended specifically to simulate human tissue. Their enthusiasm for gore can lead to some vivid advertising. In the March/April 1992 issue of American Handgunner, a magazine for the civilian firearms consumer, the Eldorado Cartridge Corp. ran a full-page ad for its Starfire cartridge under the bold headline “IF