"So why did you need to send Amy out?" Clay asked.
"Clay, I don't see things I don't see, right? I mean, in all the time we've worked together, I haven't called something before the data backed it up, right?"
Clay looked up from his inventory to see the expression of consternation on his friend's face. "Look, Nate, if the kid bothers you that much, we can find someone else —»
"It's not the kid." Nate seemed to be weighing what he was going to say, not sure if he should say it, then blurted out, "Clay, I think I saw writing on the tail flukes of that singer this morning."
"What, like a pattern of scars that look like letters? I've seen that. I have a dolphin shot that shows tooth rakings on the animal's side that appear to spell out the word 'zap. »
"No it was different. Not scars. It said, 'Bite me. "
"Uh-huh," Clay said, trying not to make it sound as if he thought his friend was nuts. "Well, this break-in, Nate, it's shaken us all up."
"This was before that. Oh, I don't know. Look, I think it's on the film I shot. That's why I came in to take the film to the lab. Then I found this mess, so I sent the kid to the lab with my truck, even though I'm pretty sure he's a criminal. Let's table it until he gets back with the film, okay?" Nate turned and stared at the deskful of wires and parts, as if he'd quickly floated off into his own thoughts.
Clay nodded. He'd spent whole days in the same twenty-three-foot boat with the lanky scientist, and nothing more had passed between the two than the exchange of "Sandwich?" "Thanks."
When Nate was ready to tell him more, he would. In the meantime he would not press. You don't hurry a thinker, and you don't talk to him when he's thinking. It's just inconsiderate.
"What are you thinking?" Clay asked. Okay, he could be inconsiderate sometimes. His giant monitor was broken, and he was traumatized.
"I'm thinking that we're going to have to start over on a lot of these studies. Every piece of magnetic media in this place has been scrambled, but as far as I can tell, nothing is missing. Why would someone do that, Clay?"
"Kids," Clay said, inspecting a Nikon lens for damage. "None of my stuff is missing, and except for the monitor it seems okay."
"Right, your stuff."
"Yeah, my stuff."
"Your stuff is worth hundreds of thousands of dollars, Clay. Why wouldn't kids take your stuff? No one doesn't know that Nikon equipment is expensive, and no one on the island doesn't know that underwater housings are expensive, so who would just destroy the tapes and disks and leave everything?"
Clay put down the lens and stood up. "Wrong question."
"How is that the wrong question?"
"The question is, who could possibly care about our research other than us, the Old Broad, and a dozen or so biologists and whale huggers in the entire world? Face it, Nate, no one gives a damn about singing whales. There's no motive. The question is, who cares?"
Nate slumped in his chair. Clay was right. No one did care. People, the world, cared about the numbers of whales, so the survey guys, the whale counters, they actually collected data that people cared about. Why? Because if you knew how many whales you had, you knew how many you could or could not kill. People loved and understood and thought they could prove points and make money with the numbers. Behavior… well, behavior was squishy stuff used to entertain fourth-graders on Cable in the Classroom.
"We were really close, Clay," Nate said. "There's something in the song that we're missing. But without the tapes…"
Clay shrugged. "You heard one song, you heard 'em all." Which was also true. All the males sang the same song each season. The song might change from season to season, or even evolve through the season somewhat, but in any given population of humpbacks, they were all singing the same tune. No one had figured out exactly why.
"We'll get new samples."
"I'd already cleaned up the spectrographs, filtered them, analyzed them. It was all on the hard disks. That work was for specific samples."
"We'll do it again, Nate. We have time. No one is waiting. No one cares."
"You don't have to keep saying that."
"Well, it's starting to bother me, too, now," Clay said. "Who in the hell cares whether you figure out what's going on with humpback song?"
A kicked-off flip-flop flew into the room followed by the singsong Rastafarian-bruddah pomp of Kona returning, "Irie, Clay, me dready. I be bringing films and herb for the evening to welcome to Jah's mercy, mon. Peace."
Kona stood there, an envelope of negatives and contact sheet in one hand, a film can held high above his head in the other. He was looking up to it as if it held the elixir of life.
"You have any idea what he said?" Nate asked. He quickly crossed the room and snatched the negatives away from Kona.
"I think it's from the 'Jabberwocky, " Clay replied. "You gave him cash to get the film processed? You can't give him cash."
"And this lonely stash can to fill with the sacred herb," Kona said. "I'll find me papers, and we can take the ship home to Zion, mon."
"You can't give him money and an empty film can, Nate. He sees it as a religious duty to fill it up."
Nate had pulled the contact sheet out of the envelope and was examining it with a loupe. He checked it twice, counting each frame, checking the registry numbers along the edge. Frame twenty-six wasn't there. He held the plastic page of negatives up to the light, looked through the images twice and the registry numbers on the edges three times before he threw them down, checked the earlier frames that Amy had shot of the whale tail, then crossed the room and grabbed Kona by the shoulders. "Where's frame twenty-six, goddamn it? What did you do with it?"
"This just like I get it, mon. I didn't do nothing."
"He's a criminal, Clay," Nate said. Then he grabbed the phone and called the lab.
All they could tell him was that the film had been processed normally and picked up from the bin in front. A machine cut the negatives before they went into the sleeves — perhaps it had snipped off the frame. They'd be happy to give Nate a fresh roll of film for his trouble.
Two hours later Nate sat at the desk, holding a pen and looking at a sheet of paper. Just looking at it. The room was dark except for the desk lamp, which reached out just far enough to leave darkness in all the corners where the unknown could hide. There was a nightstand, the desk, the chair, and a single bed with a trunk set at its end, a blanket on top as a cushion. Nathan Quinn was a tall man, and his feet hung off the end of the bed. He found that if he removed the supporting trunk, he dreamed of foundering in blue-water ocean and woke up gasping. The trunk was full of books, journals, and blankets, none of which had ever been removed since he'd shipped them to the island nine years ago. A centipede the size of a Pontiac had once lived in the bottom-right corner of the trunk but had long since moved on once he realized that no one was ever going to bother him, so he could stand up on his hind hundred feet, hiss like a pissed cat, and deliver a deadly bite to a naked foot. There was a small television, a clock radio, a small kitchenette with two burners and a microwave, two full bookshelves under the window that looked out onto the compound, and a yellowed print of two of Gauguin's Tahitian girls between the windows over the bed. At one time, before the plantations had been automated, ten people probably slept in this room. In grad school at UC Santa Cruz, Nathan Quinn had lived in quarters about this same size. Progress.
The paper on Nate's desk was empty, the bottle of Myers's Dark Rum beside it half empty. The door and windows were open, and Nate could hear the warm trades rattling the fronds of two tall coconut palms out front. There was a tap on the door, and Nate looked up to see Amy silhouetted in the doorway. She stepped into the light.