The brakes on the train lock up, they sound like a giant dragging his fingernails across a city wide blackboard. The man sitting on the bridge leans forward, as if he is trying to get a better look. You decide you’ll save the children, one life sacrificed to save five others, that in itself is sufficient justification. You rush forward, and the man looks over at you.
“Oh, hello Sarah.” he says.
It’s your cousin, someone you haven’t seen in years, but your kin all the same. You should have recognized him, but you didn’t. You falter, tripping over your steps, but your momentum is determined. Your cousin puts up his hands, tries to swing his legs back over the bridge, but it’s too late. You connect with him, and he topples over the side. When the train comes to stop it is with your cousin’s body edging up against the first child. The children are saved, you saved them. You also murdered your cousin.
A flash of light blinds you, seems to take up the entire world, and then fades away. You are standing on top of the bridge again, your cousin sits on the edge of the bridge. The brakes have just begun to squeal.
(to be continued)
In your town a bridge crosses an expanse of railway tracks that lead to a terminating depot. Often people stand on the bridge, watching the trains roll into their final destination, or take off again. It is not the majestic scenery of the nearby mountains or lakes, but in the context of a city, for those appreciative of the massive capacity of humankind for producing infrastructure, it is nice to look at.
One day, early in the morning, you are walking across that bridge. It is nearly empty, a rare event, with the lone observer sitting upon the railing of the bridge, his feet dangling over the tracks. Not an entirely safe position, but the man is clearly an adult, an impressively sized adult at that. A giant almost. You edge over to the railing yourself, so as to see the tracks, and you stop. Your heart seems to skip a beat. Down there, as if in a Dudley Doright cartoon, are children tied to the train tracks. Five of them. Screaming for help.
“Holy shit!” you scream.
“I know.” says the other man.
A train is approaching, it’s horn blaring. At this stage it does not move quickly, but neither can it apply the brakes quickly enough to stop before hitting the children, and regardless of its speed the impact is going to end the lives of each child. In a blur of thoughts one seems to ring out a little more clearly. The man is sitting directly above the track, and the combination of the frantically screeching brakes of the train and the weight of the man might be sufficient to save them. Why is he sitting there anyway? Why didn’t he call for help right away? Did he tie them to the tracks? There isn’t time to ask, you either push the man, surely killing him but saving the lives of the children, or you don’t, and the children will die.
Tick tock, tick tock, tick tock.
(to be continued)