The Last of the Winnebagos

by Connie Willis

On the way out to Tempe I saw a dead jackal in the road. I was in the far left lane of Van Buren, ten lanes away from it, and its long legs were facing away from me, the squarish muzzle flat against the pavement so it looked narrower than it really was, and for a minute I thought it was a dog.

I had not seen an animal in the road like that for fifteen years. They can't get onto the divideds, of course, and most of the multiways are fenced. And people are more careful of their animals.

The jackal was probably somebody's pet. This part of Phoenix was mostly residential, and after all this time, people still think they can turn the nasty, carrion-loving creatures into pets. Which was no reason to have hit it and, worse, left it there. It's a felony to strike an animal and another one to not report it, but whoever had hit it was long gone.

I pulled the Hitori over onto the center shoulder and sat there awhile, staring at the empty multiway. I wondered who had hit it and whether they had stopped to see if it was dead.

Katie had stopped. She had hit the brakes so hard she sent the jeep into a skid that brought it up against the ditch, and jumped out of the jeep. I was still running toward him, floundering in the snow. We made it to him almost at the same time. I knelt beside him, the camera dangling from my neck, its broken case hanging half open.

"I hit him," Katie had said. "I hit him with the jeep." I looked in the rearview mirror. I couldn't even see over the pile of camera equipment in the back seat with the eisenstadt balanced on top. I got out. I had come nearly a mile, and looking back, I couldn't see the jackal, though I knew now that's what it was.

"McCombe! David! Are you there yet?" Ramirez's voice said from inside the car.

I leaned in. "No," I shouted in the general direction of the phone's mike. "I'm still on the multiway."

"Mother of God, what's taking you so long? The governor's conference is at twelve, and I want you to go out to Scottsdale and do a layout on the closing of Taliesin West. The appointment's for ten. Listen, McCombe, I got the poop on the Amblers for you. They bill themselves as 'One Hundred Percent Authentic,' but they're not. Their RV isn't really a Winnebago, it's an Open Road. It is the last RV on the road, though, according to Highway Patrol. A man named Eldridge was touring with one, also not a Winnebago, a Shasta, until March, but he lost his license in Oklahoma for using a tanker lane, so this is it. Recreation vehicles are banned in all but four states. Texas has legislation in committee, and Utah has a full-divided bill coming up next month. Arizona will be next, so take lots of pictures, Davey boy. This may be your last chance. And get some of the zoo."

"What about the Amblers?" I said.

"Their name is Ambler, believe it or not. I ran a lifeline on them. He was a welder. She was a bank teller. No kids. They've been doing this since eighty-nine when he retired. Nineteen years. David, are you using the eisenstadt?"

We had been through this the last three times I'd been on a shoot. "I'm not there yet," I said.

"Well, I want you to use it at the governor's conference. Set it on his desk if you can."

I intended to set it on a desk, all right. One of the desks at the back, and let it get some nice shots of the rear ends of reporters as they reached wildly for a little clear air-space to shoot their pictures in, some of them holding their vidcams in their upstretched arms and aiming them in what they hope is the right direction because they can't see the governor at all, let it get a nice shot of one of the reporter's arms as he knocked it face-down on the desk.

"This one's a new model. It's got a trigger. It's set for faces, full-lengths, and vehicles."

So great. I come home with a hundred-frame cartridge full of passersby and tricycles. How the hell did it know when to click the shutter or which one the governor was in a press conference of eight hundred people, full-length or face? It was supposed to have all kinds of fancy light-metrics and computer-composition features, but all it could really do was mindlessly snap whatever passed in front of its idiot lens, just like the highway speed cameras.

It had probably been designed by the same government types who'd put the highway cameras along the road instead of overhead so that all it takes is a little speed to reduce the new side-license plates to a blur, and people go faster than ever. A great camera, the eisenstadt. I could hardly wait to use it.

"Sun-co's very interested in the eisenstadt," Ramirez said. She didn't say goodbye. She never does. She just stops talking and then starts up again later. I looked back in the direction of the jackal.

The multiway was completely deserted. New cars and singles don't use the undivided multiways much, even during rush hours. Too many of the little cars have been squashed by tankers. Usually there are at least a few obsoletes and renegade semis taking advantage of the Patrol's being on the divideds, but there wasn't anybody at all.

I got back in the car and backed up even with the jackal. I turned off the ignition but didn't get out. I could see the trickle of blood from its mouth from here. A tanker went roaring past out of nowhere, trying to beat the cameras, straddling the three middle lanes and crushing the jackal's rear half to a bloody mush. It was a good thing I hadn't been trying to cross the road. He never would have even seen me.

I started the car and drove to the nearest off-ramp to find a phone. There was one at an old 7-Eleven on McDowell.

"I'm calling to report a dead animal on the road," I told the woman who answered the Society's phone.

"Name and number?"

"It's a jackal," I said. "It's between Thirtieth and Thirty-Second on Van Buren. It's in the far right lane."

"Did you render emergency assistance?"

"There was no assistance to be rendered. It was dead."

"Did you move the animal to the side of the road?"


"Why not?" she said, her tone suddenly sharper, more alert.

Because I thought it was a dog. "I didn't have a shovel," I said, and hung up.

I got out to Tempe by eight-thirty, in spite of the fact that every tanker in the state suddenly decided to take Van Buren. I got pushed out onto the shoulder and drove on that most of the way.

The Winnebago was set up in the fairgrounds between Phoenix and Tempe, next to the old zoo. The flyer had said they would be open from nine to nine, and I had wanted to get most of my pictures before they opened, but it was already a quarter to nine, and even if there were no cars in the dusty parking lot, I was probably too late.

It's a tough job being a photographer. The minute most people see a camera, their real faces close like a shutter in too much light, and all that's left is their camera face, their public face. It's a smiling face, except in the case of Saudi terrorists or senators, but, smiling or not, it shows no real emotion. Actors, politicians, people who have their pictures taken all the time are the worst. The longer the person's been in the public eye, the easier it is for me to get great vidcam footage and the harder it is to get anything approaching a real photograph, and the Amblers had been at this for nearly twenty years. By a quarter to nine they would already have their camera faces on.

I parked down at the foot of the hill next to the clump of ocotillas and yucca where the zoo sign had been, pulled my Nikon longshot out of the mess in the back seat, and took some shots of the sign they'd set up by the multiway: "See a Genuine Winnebago. One Hundred Percent Authentic."

The Genuine Winnebago was parked longways against the stone banks of cacti and palms at the front of the zoo. Ramirez had said it wasn't a real Winnebago, but it had the identifying W with its extending stripes running the length of the RV, and it seemed to me to be the right shape, though I hadn't seen one in at least ten years.

I was probably the wrong person for this story. I had never had any great love for RV's, and my first thought when Ramirez called with the assignment was that there are some things that should be extinct, like mosquitoes and lane dividers, and RVs are right at the top of the list. They had been everywhere in the mountains when I'd lived in Colorado, crawling along in the left-hand lane, taking up two lanes even in the days when a lane was fifteen feet wide, with a train of cursing cars behind them.

I'd been behind one on Independence Pass that had stopped cold while a ten-year-old got out to take pictures of the scenery with an Instamatic, and one of them had tried to take the curve in front of my house and ended up in my ditch, looking like a beached whale. But that was always a bad curve.

An old man in an ironed short-sleeved shirt came out the side door and around to the front end and began washing the Winnebago with a sponge and a bucket. I wondered where he had gotten the water. According to Ramirez's advance work, which she'd sent me over the modem about the Winnebago, it had maybe a fifty-gallon water tank, tops, which is barely enough for drinking water, a shower, and maybe washing a dish or two, and there certainly weren't any hookups here at the zoo, but he was swilling water onto the front bumper and even over the tires as if he had more than enough.

I took a few shots of the RV standing in the huge expanse of parking lot and then hit the longshot to full for a picture of the old man working on the bumper. He had large reddish-brown freckles on his arms and the top of his bald head, and he scrubbed away at the bumper with a vengeance. After a minute he stopped and stepped back, and then called to his wife. He looked worried or maybe just crabby. I was too far away to tell if he had snapped out her name impatiently or simply called her to come and look, and I couldn't see his face. She opened the metal side door, with its narrow louvered window, and stepped down onto the metal step.

The old man asked her something, and she, still standing on the step, looked out toward the multiway and shook her head, and then came around to the front, wiping her hands on a dishtowel, and they both stood there looking at his handiwork.

They were One Hundred Percent Authentic, even if the Winnebago wasn't, down to her flowered blouse and polyester slacks, probably also one hundred percent, and the cross-stitched rooster on the dishtowel. She had on brown leather slip-ons like I remembered my grandmother wearing, and I was willing to bet she had set her thinning white hair on bobby pins. Their bio said they were in their eighties, but I would have put them in their nineties, although I wondered if they were too perfect and therefore fake, like the Winnebago. But she went on wiping her hands on the dishtowel the way my grandmother had when she was upset, even though I couldn't see if her face was showing any emotion, and that action at least was authentic.

She apparently told him the bumper looked fine because he dropped the dripping sponge into the bucket and went around behind the Winnebago. She went back inside, shutting the metal door behind her even though it had to be already at least a hundred and ten out, and they hadn't even bothered to park under what scanty shade the palms provided.

I put the longshot back in the car. The old man came around the front with a big plywood sign. He propped it against the vehicle's side. "The Last of the Winnebagos," the sign read in somebody's idea of what Indian writing should look like. "See a vanishing breed. Admission—Adults—$8.00, Children under twelve—$5.00 Open 9 A.M. to Sunset." He strung up a row of red and yellow flags, and then picked up the bucket and started toward the door, but halfway there he stopped and took a few steps down the parking lot to where I thought he probably had a good view of the road, and then went back, walking like an old man, and took another swipe at the bumper with the sponge.

"Are you done with the RV yet, McCombe?" Ramirez said on the car phone.

I slung the camera into the back. "I just got here. Every tanker in Arizona was on Van Buren this morning. Why the hell don't you have me do a piece on abuses of the multiway system by water-haulers?"

"Because I want you to get to Tempe alive. The governor's press conference has been moved to one, so you're okay. Have you used the eisenstadt yet?"

"I told you, I just got here. I haven't even turned the damned thing on."

"You don't turn it on. It self-activates when you set it bottom down on a level surface."

Great. It had probably already shot its 100-frame cartridge on the way here.

"Well, if you don't use it on the Winnebago, make sure you use it at the governor's conference," she said. "By the way, have you thought any more about moving to investigative?"

That was why Sun-co was really so interested in the eisenstadt. It had been easier to send a photographer who could write stories than it had to send a photographer and a reporter, especially in the little one-seater Hitoris they were ordering now, which was how I got to be a photojournalism And since that had worked out so well, why send either? Send an eisenstadt and a DAT deck and you won't need an Hitori and way-mile credits to get them there. You can send them through the mail. They can sit unnoticed on the old governor's desk, and after a while somebody in a one-seater who wouldn't have to be either a photographer or a reporter can sneak in to retrieve them and a dozen others.

"No," I said, glancing back up the hill. The old man gave one last swipe to the front bumper and then walked over to one of the zoo's old stone-edged planters and dumped the bucket in on a tangle of prickly pear, which would probably think it was a spring shower and bloom before I made it up the hill. "Look, if I'm going to get any pictures before the turistas arrive, I'd better go."

"I wish you'd think about it. And use the eisenstadt this time. You'll like it once you try it. Even you'll forget it's a camera."

"I'll bet," I said. I looked back down the multiway. Nobody at all was coming now. Maybe that was what all the Amblers' anxiety was about—I should have asked Ramirez what their average daily attendance was and what sort of people used up credits to come this far out and see an old beat-up RV. The curve into Tempe alone was three point two miles. Maybe nobody came at all. If that was the case, I might have a chance of getting some decent pictures. I got in the Hitori and drove up the steep drive.

"Howdy," the old man said, all smiles, holding out his reddish-brown freckled hand to shake mine. "Name's Jake Ambler. And this here's Winnie," he said, patting the metal side of the RV, "Last of the Winnebagos. Is there just the one of you?"

"David McCombe," I said, holding out my press pass. "I'm a photographer. Sun-co. Phoenix Sun, Tempe-Mesa Tribune, Glendale Star, and affiliated stations. I was wondering if I could take some pictures of your vehicle?" I touched my pocket and turned the taper on.

"You bet. We've always cooperated with the media, Mrs. Ambler and me. I was just cleaning old Winnie up," he said. "She got pretty dusty on the way down from Globe." He didn't make any attempt to tell his wife I was there, even though she could hardly avoid hearing us, and she didn't open the metal door again. "We been on the road now with Winnie for almost twenty years. Bought her in 1989 in Forest City, Iowa, where they were made. The wife didn't want to buy her, didn't know if she'd like traveling, but now she's the one wouldn't part with it."

He was well into his spiel now, an open, friendly, I-have-nothing-to-hide expression on his face that hid everything. There was no point in taking any stills, so I got out the vidcam and shot the TV footage while he led me around the RV.

"This up here," he said, standing with one foot on the flimsy metal ladder and patting the metal bar around the top, "is the luggage rack, and this is the holding tank. It'll hold thirty gallons and has an automatic electric pump that hooks up to any waste hookup. Empties in five minutes, and you don't even get your hands dirty." He held up his fat pink hands palms forward as if to show me. "Water tank," he said, slapping a silver metal tank next to it. "Holds forty gallons, which is plenty for just the two of us. Interior space is a hundred fifty cubic feet with six feet four of headroom. That's plenty even for a tall guy like yourself."

He gave me the whole tour. His manner was easy, just short of slap-on-the-back hearty, but he looked relieved when an ancient VW bug came chugging catty-cornered up through the parking lot. He must have thought they wouldn't have any customers either.

A family piled out, Japanese tourists, a woman with short black hair, a man in shorts, two kids. One of the kids had a ferret on a leash.

"I'll just look around while you tend to the paying customers," I told him.

I locked the vidcam in the car, took the longshot, and went up toward the zoo. I took a wide-angle of the zoo sign for Ramirez. I could see it now—she'd run a caption like, "The old zoo stands empty today. No sound of lion's roar, of elephant's trumpeting, or children's laughter, can be heard here. The old Phoenix Zoo, last of its kind, while just outside its gates stands yet another last of its kind. Story on page 10." Maybe it would be a good idea to let the eisenstadts and the computers take over.

I went inside. I hadn't been out here in years. In the late eighties there had been a big flap over zoo policy. I had taken the pictures, but I hadn't covered the story since there were still such things as reporters back then. I had photographed the cages in question and the new zoo director who had caused all the flap by stopping the zoo's renovation project cold and giving the money to a wildlife protection group.

"I refuse to spend money on cages when in a few years we'll have nothing to put in them. The timber wolf, the California condor, the grizzly bear, are in imminent danger of becoming extinct, and it's our responsibility to save them, not make a comfortable prison for the last survivors."

The Society had called him an alarmist, which just goes to show you how much things can change. Well, he was an alarmist, wasn't he? The grizzly bear isn't extinct in the wild—it's Colorado's biggest tourist draw, and there are so many whooping cranes Texas is talking about limited hunting.

In all the uproar, the zoo had ceased to exist, and the animals all went to an even more comfortable prison in Sun City—sixteen acres of savannah land for the zebras and lions, and snow manufactured daily for the polar bears.

They hadn't really been cages, in spite of what the zoo director said. The old capybara enclosure, which was the first thing inside the gate, was a nice little meadow with a low stone wall around it. A family of prairie dogs had taken up residence in the middle of it.

I went back to the gate and looked down at the Winnebago. The family circled the Winnebago, the man bending down to look underneath the body. One of the kids was hanging off the ladder at the back of the RV. The ferret was nosing around the front wheel Jake Ambler had so carefully scrubbed down, looking like it was about ready to lift its leg, if ferrets do that. The kid yanked on its leash and then picked it up in his arms. The mother said something to him. Her nose was sunburned.

Katie's nose had been sunburned. She had had that white cream on it, that skiers used to use. She was wearing a parka and jeans and bulky pink-and-white moon-boots that she couldn't run in, but she still made it to Aberfan before I did. I pushed past her and knelt over him.

"I hit him," she said bewilderedly. "I hit a dog."

"Get back in the jeep, damn it!" I shouted at her. I stripped off my sweater and tried to wrap him in it. "We've got to get him to the vet."

"Is he dead?" Katie said, her face as pale as the cream on her nose.

"No!" I had shouted. "No, he isn't dead."

The mother turned and looked up toward the zoo, her hand shading her face. She caught sight of the camera, dropped her hand, and smiled, a toothy, impossible smile. People in the public eye are the worst, but even people having a snapshot taken close down somehow, and it isn't just the phony smile. It's as if that old superstition is true, and cameras do really steal the soul.

I pretended to take her picture and then lowered the camera. The zoo director had put up a row of tombstone-shaped signs in front of the gate, one for each endangered species. They were covered with plastic, which hadn't helped much. I wiped the streaky dust off the one in front of me. "Canis latrans," it said, with two green stars after it. "Coyote. North American wild dog. Due to large-scale poisoning by ranchers, who saw it as a threat to cattle and sheep, the coyote is nearly extinct in the wild." Underneath there was a photograph of a ragged coyote sitting on its haunches and an explanation or the stars. Blue—endangered species. Yellow—endangered habitat. Red—extinct in the wild.

After Misha died, I had come out here to photograph the dingo and the coyotes and the wolves, but they were already in the process of moving the zoo, so I couldn't get any pictures, and it probably wouldn't have done any good. The coyote in the picture had faded to a greenish-yellow and its yellow eyes were almost white, but it stared out of the picture looking as hearty and unconcerned as Jake Ambler, wearing its camera face.

The mother had gone back to the bug and was herding the kids inside. Mr. Ambler walked the father back to the car, shaking his shining bald head, and the man talked some more, leaning on the open door, and then got in and drove off. I walked back down.

If he was bothered by the fact that they had only stayed ten minutes and that, as far as I had been able to see, no money had changed hands, it didn't show in his face. He led me around to the side of the RV and pointed to a chipped and faded collection of decals along the painted bar of the W. "These here are the states we've been in." He pointed to the one nearest the front. "Every state in the Union, plus Canada and Mexico. Last state we were in was Nevada."

Up this close it was easy to see where he had painted out the name of the original RV and covered it with the bar of red. The paint had the dull look of unauthenticity. He had covered up the "Open Road" with a burnt-wood plaque that read, "The Amblin' Amblers."

He pointed at a bumper sticker next to the door that said, "I got lucky in Vegas at Caesar's Palace," and had a picture of a naked showgirl. "We couldn't find a decal for Nevada. I don't think they make them anymore. And you know something else you can't find? Steering wheel covers. You know the kind. That keep the wheel from burning your hands when it gets hot?"

"Do you do all the driving?" I asked.

He hesitated before answering, and I wondered if one of them didn't have a license. I'd have to look it up in the lifeline. "Mrs. Ambler spells me sometimes, but I do most of it. Mrs. Ambler reads the map. Damn maps nowadays are so hard to read. Half the time you can't tell what kind of road it is. They don't make them like they used to."

We talked for a while more about all the things you couldn't find a decent one of anymore and the sad state things had gotten in generally, and then I announced I wanted to talk to Mrs. Ambler, got the vidcam and the eisenstadt out of the car, and went inside the Winnebago. She still had the dishtowel in her hand, even though there couldn't possibly be space for that many dishes in the tiny RV. The inside was even smaller than I had thought it would be, low enough that I had to duck and so narrow I had to hold the Nikon close to my body to keep from hitting the lens on the passenger seat, It felt like an oven inside, and it was only nine o'clock in the morning.

I set the eisenstadt down on the kitchen counter, making sure its concealed lens was facing out. If it would work anywhere, it would be here. There was basically nowhere for Mrs. Ambler to go that she could get out of range. There was nowhere I could go either, and sorry, Ramirez, there are just some things a live photographer can do better than a preprogrammed one, like stay out of the picture.

"This is the galley," Mrs. Ambler said, folding her dish-towel and hanging it from a plastic ring on the cupboard below the sink with the cross-stitch design showing. It wasn't a rooster after all. It was a poodle wearing a sunbonnet and carrying a basket. "Shop on Wednesday," the motto underneath said.

"As you can see, we have a double sink with a hand-pump faucet. The refrigerator is LP-electric and holds four cubic feet. Back here is the dinette area. The table folds up into the rear wall, and we have our bed. And this is our bathroom."

She was as bad as her husband. "How long have you had the Winnebago?" I said to stop the spiel. Sometimes, if you can get people talking about something besides what they intended to talk about, you can disarm them into something like a natural expression.

"Nineteen years," she said, lifting up the lid of the chemical toilet. "We bought it in 1989. I didn't want to buy it—I didn't like the idea of selling our house and going gallivanting off like a couple of hippies, but Jake went ahead and bought it, and now I wouldn't trade it for anything. The shower operates on a forty-gallon pressurized water system." She stood back so I could get a picture of the shower stall, so narrow you wouldn't have to worry about dropping the soap. I dutifully took some vidcam footage.

"You live here full-time then?" I said, trying not to let my voice convey how impossible that prospect sounded. Ramirez had said they were from Minnesota. I had assumed they had a house there and only went on the road for part of the year.

"Jake says the great outdoors is our home," she said. I gave up trying to get a picture of her and snapped a few high-quality detail stills for the papers: the "Pilot" sign taped on the dashboard in front of the driver's seat, the crocheted granny-square afghan on the uncomfortable-looking couch, a row of salt and pepper shakers in the back windows—Indian children, black scottie dogs, ears of corn.

"Sometimes we live on the open prairies and sometimes on the seashore," she said. She went over to the sink and hand-pumped a scant two cups of water into a little pan and set it on the two-burner stove. She took down two turquoise melmac cups and flowered saucers and a jar of freeze-dried and spooned a little into the cups. "Last year we were in the Colorado Rockies. We can have a house on a lake or in the desert, and when we get tired of it, we just move on. Oh, my, the things we've seen."

I didn't believe her. Colorado had been one of the first states to ban recreational vehicles, even before the gas crunch and the multiways. It had banned them on the passes first and then shut them out of the national forests, and by the time I left they weren't even allowed on the interstates.

Ramirez had said RV's were banned outright in forty-seven states. New Mexico was one, Utah had heavy re-stricks, and daytime travel was forbidden in all the western states. Whatever they'd seen, and it sure wasn't Colorado, they had seen it in the dark or on some unpatrolled multiway, going like sixty to outrun the cameras. Not exactly the footloose and fancy-free life they tried to paint.

The water boiled. Mrs. Ambler poured it into the cups, spilling a little on the turquoise saucers. She blotted it up with the dishtowel. "We came down here because of the snow. They get winter so early in Colorado."

"I know," I said. It had snowed two feet, and it was only the middle of September. Nobody even had their snow tires on. The aspens hadn't turned yet, and some of the branches broke under the weight of the snow. Katie's nose was still sunburned from the summer. "Where did you come from just now?" I asked her. "Globe," she said, and opened the door to yell to her husband. "Jake! Coffee!" She carried the cups to the table-that-converts-into-a-bed. "It has leaves that you can put in it so it seats six," she said.

I sat down at the table so she was on the side where the eisenstadt could catch her. The sun was coming in through the cranked-open back windows, already hot. Mrs. Ambler got onto her knees on the plaid cushions and let down a woven cloth shade, carefully, so it wouldn't knock the salt and pepper shakers off.

There were some snapshots stuck up between the ceramic ears of corn. I picked one up. It was a square Polaroid from the days when you had to peel off the print and glue it to a stiff card: The two of them, looking exactly the way they did now, with that friendly, impenetrable camera smile, were standing in front of a blur of orange rock—the Grand Canyon? Zion? Monument Valley? Polaroid had always chosen color over definition. Mrs. Ambler was holding a little yellow blur in her arms that could have been a cat but wasn't. It was a dog.

"That's Jake and me at Devil's Tower," she said, taking the picture away from me. "And Taco. You can't tell from this picture, but she was the cutest little thing. A chihuahua." She handed it back to me and rummaged behind the salt and pepper shakers. "Sweetest little dog you ever saw. This will give you a better idea."

The picture she handed me was considerably better, a matte print done with a decent camera. Mrs. Ambler was holding the chihuahua in this one, too, standing in front of the Winnebago.

"She used to sit on the arm of Jake's chair while he drove and when we came to a red light she'd look at it, and when it turned green she'd bark to tell him to go. She was the smartest little thing."

I looked at the dog's flaring, pointed ears, its bulging eyes and rat's snout. The dogs never come through. I took dozens of picture, there at the end, and they might as well have been calendar shots. Nothing of the real dog at all. I decided it was the lack of muscles in their faces—they could not smile, in spite of what their owners claimed. It is the muscles in the face that make people leap across the years in pictures. The expressions on dogs' faces were what breeding had fastened on them— the gloomy bloodhound, the alert collie, the rakish mutt—and anything else was wishful thinking on the part of the doting master, who would also swear that a colorblind chihuahua with a brain pan the size of a Mexican jumping bean could tell when the light changed.

My theory of the facial muscles doesn't really hold water, of course. Cats can't smile either, and they come through. Smugness, slyness, disdain—all of those expressions come through beautifully, and they don't have any muscles in their faces either, so maybe it's love that you can't capture in a picture because love was the only expression dogs were capable of.

I was still looking at the picture. "She is a cute little thing," I said and handed it back to her. "She wasn't very big, was she?"

"I could carry Taco in my jacket pocket. We didn't name her Taco. We got her from a man in California that named her that," she said, as if she could see herself that the dog didn't come through in the picture. As if, had she named the dog herself, it would have been different. Then the name would have been a more real name, and Taco would have, by default, become more real as well. As if a name could convey what the picture didn't—all the things the little dog did and was and meant to her.

Names don't do it either, of course. I had named Aberfan myself. The vet's assistant, when he heard it, typed it in as Abraham.

"Age?" he had said calmly, even though he had no business typing all this into a computer, he should have been in the operating room with the vet.

"You've got that in there, damn it," I shouted.

He looked calmly puzzled. "I don't know any Abraham ..."

"Aberfan, damn it. Aberfan!"

"Here it is," the assistant said imperturbably. Katie, standing across the desk, looked up from the screen. "He had the newparvo and lived through it?" she said bleakly.

"He had the newparvo and lived through it," I said, "until you came along."

"I had an Australian shepherd," I told Mrs. Ambler.

Jake came into the Winnebago, carrying the plastic bucket. "Well, it's about time," Mrs. Ambler said, "Your coffee's getting cold."

"I was just going to finish washing off Winnie," he said. He wedged the bucket into the tiny sink and began pumping vigorously with the heel of his hand. "She got mighty dusty coming down through all that sand."

"I was telling Mr. McCombe here about Taco," she said, getting up and taking him the cup and saucer. "Here, drink your coffee before it gets cold."

"I'll be in in a minute," he said. He stopped pumping and tugged the bucket out of the sink.

"Mr. McCombe had a dog," she said, still holding the cup out to him. "He had an Australian shepherd. I was telling him about Taco."

"He's not interested in that," Jake said. They exchanged one of those warning looks that married couples are so good at. "Tell him about the Winnebago. That's what he's here for."

Jake went back outside. I screwed the longshot's lens cap on and put the vidcam back in its case. She took the little pan off the miniature stove and poured the coffee back into it. "I think I've got all the pictures I need," I said to her back.

She didn't turn around. "He never liked Taco. He wouldn't even let her sleep on the bed with us. Said it made his legs cramp. A little dog like that that didn't weigh anything."

I took the longshot's lens cap back off.

"You know what we were doing the day she died? We were out shopping. I didn't want to leave her alone, but Jake said she'd be fine. It was ninety degrees that day, and he just kept on going from store to store, and when we got back she was dead." She set the pan on the stove and turned on the burner. "The vet said it was the newparvo, but it wasn't. She died from the heat, poor little thing."

I set the Nikon down gently on the formica table and estimated the settings.

"When did Taco die?" I asked her, to make her turn around.

"Ninety," she said. She turned back to me, and I let my hand come down on the button in an almost soundless click, but her public face was still in place: apologetic now, smiling, a little sheepish. "My, that was a long time ago."

I stood up and collected my cameras. "I think I've got all the pictures I need," I said again. "If I don't, I'll come back out."

"Don't forget your briefcase," she said, handing me the eisenstadt. "Did your dog die of the newparvo, too?"

"He died fifteen years ago," I said. "In ninety-three."

She nodded understandingly. "The third wave," she said.

I went outside. Jake was standing behind the Winnebago, under the back window, holding the bucket. He shifted it to his left hand and held out his right hand to me. "You get all the pictures you needed?" he asked.

"Yeah," I said. "I think your wife showed me about everything." I shook his hand.

"You come on back out if you need any more pictures," he said, and sounded, if possible, even more jovial, open-handed, friendly than he had before. "Mrs. Ambler and me, we always cooperate with the media."

"Your wife was telling me about your chihuahua," I said, more to see the effect on him than anything else.

"Yeah, the wife still misses that little dog after all these years," he said, and he looked the way she had, mildly apologetic, still smiling. "It died of the newparvo. I told her she ought to get it vaccinated, but she kept putting it off." He shook his head. "Of course, it wasn't really her fault. You know whose fault the newparvo really was, don't you?"

Yeah, I knew. It was the communists' fault, and it didn't matter that all their dogs had died, too, because he would say their chemical warfare had gotten out of hand or that everybody knows commies hate dogs. Or maybe it was the fault of the Japanese, though I doubted that. He was, after all, in a tourist business. Or the Democrats or the atheists or all of them put together, and even that was One Hundred Percent Authentic—portrait of the kind of man who drives a Winnebago—but I didn't want to hear it. I walked over to the Hitori and slung the eisenstadt in the back.

"You know who really killed your dog, don't you?" he called after me.

"Yes," I said, and got in the car.

I went home, fighting my way through a fleet of red-painted water tankers who weren't even bothering to try to outrun the cameras and thinking about Taco. My grandmother had had a chihuahua. Perdita. Meanest dog that ever lived. Used to lurk behind the door waiting to take Labrador-sized chunks out of my leg. And my grandmother's. It developed some lingering chihuahuan ailment that made it incontinent and even more ill-tempered, if that was possible.

Toward the end, it wouldn't even let my grandmother near it, but she refused to have it put to sleep and was unfailingly kind to it, even though I never saw any indication that the dog felt anything but unrelieved spite toward her. If the newparvo hadn't come along, it probably would still have been around making her life miserable.

I wondered what Taco, the wonder dog, able to distinguish red and green at a single intersection, had really been like, and if it had died of heat prostration. And what it had been like for the Amblers, living all that time in a hundred and fifty cubic feet together and blaming each other for their own guilt.

I called Ramirez as soon as I got home, breaking in without announcing myself, the way she always did. "I need a lifeline," I said.

"I'm glad you called," she said. "You got a call from the Society. And how's this as a slant for your story? 'The Winnebago and the Winnebagos.' They're an Indian tribe. In Minnesota, I think—why the hell aren't you at the governor's conference?"

"I came home," I said. "What did the Society want?"

"They didn't say. They asked for your schedule. I told them you were with the governor in Tempe. Is this about a story?"


"Well, you run a proposal past me before you write it. The last thing the paper needs is to get in trouble with the Society."

"The lifeline's for Katherine Powell." I spelled it.

She spelled it back to me. "Is she connected with the Society story?"


"Then what is she connected with? I've got to put something on the request-for-info."

"Put down background."

"For the Winnebago story?"

"Yes," I said. "For the Winnebago story. How long will it take?"

"That depends. When do you plan to tell me why you ditched the governor's conference? And Taliesin West. Jesus Maria, I'll have to call the Republic and s they'll trade footage. I'm sure they'll be thrilled to have shots of an extinct RV. That is, assuming you got any shots. You did make it out to the zoo, didn't you?"

"Yes. I got vidcam footage, stills, the works. I even used the eisenstadt."

"Mind sending your pictures in while I look up your old flame, or is that too much to ask? I don't know how long this will take. It took me two days to get clearance on the Amblers. Do you want the whole thing—pictures, documentation?"

"No. Just a resume. And a phone number."

She cut out, still not saying goodbye. If phones still had receivers, Ramirez would be a great one for hanging up on people. I highwired the vidcam footage and the eisenstadts in to the paper and then fed the eisenstadt cartridge into the developer. I was more than a little curious about what kind of pictures it would take, in spite of the fact that it was trying to do me out of a job.

At least it used high-res film and not some damn two hundred thousand-pixel TV substitute. I didn't believe it could compose, and I doubted if the eisenstadt would be able to do foreground-background either, but it might, under certain circumstances, get a picture I couldn't.

The doorbell rang. I answered the door. A lanky young man in a Hawaiian shirt and baggies was standing on the front step, and there was another man in a Society uniform out in the driveway.

"Mr. McCombe?" he said, extending a hand. "Jim Hunter. Humane Society."

I don't know what I'd expected—that they wouldn't bother to trace the call? That they'd let somebody get away with leaving a dead animal on the road?

"I just wanted to stop by and thank you on behalf of the Society for phoning in that report on the jackal. Can I come in?"

He smiled, an open, friendly, smug smile, as if he expected me to be stupid enough to say, "I don't know what you're talking about," and slam the screen door on his hand.

"Just doing my duty," I said, smiling back at him.

"Well, we really appreciate responsible citizens like you. It makes our job a whole lot easier." He pulled a folded readout from his shirt pocket. "I just need to double-check a couple of things. You're a reporter for Sun-co, is that right?"

"Photo-journalist," I said.

"And the Hitori you were driving belongs to the paper?"

I nodded.

"It has a phone. Why didn't you use it to make the call?

The uniform was bending over the Hitori.

"I didn't realize it had a phone. The paper just bought the Hitoris. This is only the second time I've had one out."

Since they knew the paper had had phones put in, they also knew what I'd just told them. I wondered where they'd gotten the info. Public phones were supposed to be tap-free, and if they'd read the license number off one of the cameras, they wouldn't know who'd had the car unless they'd talked to Ramirez, and if they'd talked to her, she wouldn't have been talking blithely about the last thing she needed being trouble with the Society.

"You didn't know the car had a phone," he said, "so you drove to—" He consulted the readout, somehow giving the impression he was taking notes. I'd have bet there was a taper in the pocket of that shirt. "—The 7-Eleven at McDowell and Fortieth Street, and made the call from there. Why didn't you give the Society rep your name and address?"

"I was in a hurry," I said. "I had two assignments to cover before noon, the second out in Scottsdale."

"Which is why you didn't render assistance to the animal either. Because you were in a hurry."

You bastard, I thought. "No," I said. "I didn't render assistance because there wasn't any assistance to be rendered. The—it was dead."

"And how did you know that, Mr. McCombe?"

"There was blood coming out of its mouth," I said.

I had thought that that was a good sign, that he wasn't bleeding anywhere else. The blood had come out of Aberfan's mouth when he tried to lift his head, just a little trickle, sinking into the hard-packed snow. It had stopped before we even got him into the 'car. "It's all right, boy," I told him. "We'll be there in a minute."

Katie started the jeep, killed it, started it again, backed it up to where she could turn around.

Aberfan lay limply across my lap, his tail against the rar shift. "Just lie still, boy," I said. I patted his neck, was wet, and I raised my hand and looked the palm, afraid it was blood. It was only water from the melted snow. I dried his neck and the top of his head with the sleeve of my sweater.

"How far is it?" Katie said. She was clutching the steering wheel with both hands and sitting stiffly forward in the seat. The windshield wipers flipped back and forth, trying to keep up with the snow.

"About five miles," I said, and she stepped on the gas pedal and then let up on it again as we began to skid. "On the right side of the highway."

Aberfan raised his head off my lap and looked at me. His gums were gray, and he was panting, but I couldn't see any more blood. He tried to lick my hand. "You'll make it, Aberfan," I said. "You made it before, remember?"

"But you didn't get out of the car and go check, to make sure it was dead?" Hunter said.


"And you don't have any idea who hit the jackal?" he said, and made it sound like the accusation it was.


He glanced back at the uniform, who had moved around the car to the other side. "Whew," Hunter said, shaking his Hawaiian collar, "it's like an oven out here. Mind if I come in?" which meant the uniform needed more privacy. Well, then, by all means, give him more privacy. The sooner he sprayed print-fix on the bumper and tires and peeled off the incriminating traces of jackal blood that weren't there and stuck them in the evidence bags he was carrying in the pockets of that uniform, the sooner they'd leave. I opened the screen door wider.

"Oh, this is great," Hunter said, still trying to generate a breeze with his collar. "These old adobe houses stay so cool." He glanced around the room at the developer and the enlarger, the couch, the dry-mounted photographs on the wall. "You don't have any idea who might nave hit the jackal?"

"I figure it was a tanker," I said. "What else would be on Van Buren that time of morning?"

I was almost sure it had been a car or a small truck. A tanker would have left the jackal a spot on the pavement. But a tanker would get a license suspension and two weeks of having to run water into Santa Fe instead of Phoenix, and probably not that. Rumor at the paper had it the Society was in the water board's pocket. If it was a car, on the other hand, the Society would take away the car and stick its driver with a prison sentence. "They're all trying to beat the cameras," I said. "The tanker probably didn't even know it'd hit it."

"What?" he said.

"I said, it had to be a tanker. There isn't anything else on Van Buren during rush hour."

I expected him to say, "Except for you," but he didn't. He wasn't even listening. "Is this your dog?" he said.

He was looking at the photograph of Perdita. "No," I said. "That was my grandmother's dog."

"What is it?"

A nasty little beast. And when it died of the newnarvo, my grandmother had cried like a baby. "A chihuahua." He looked around at the other walls. "Did you take all these pictures of dogs?" His whole manner had changed, taking on a politeness that made me realize just how insolent he had intended to be before. The one on the road wasn't the only jackal around.

"Some of them," I said. He was looking at the photograph next to it. "I didn't take that one."

"I know what this one is," he said, pointing at it. "It's a boxer, right?"

"An English bulldog," I said.

"Oh, right. Weren't those the ones that were exterminated? For being vicious?"

"No," I said.

He moved on to the picture over the developer, like a tourist in a museum. "I bet you didn't take this one either," he said, pointing at the high shoes, the old-fashioned hat on the stout old woman holding the dogs in her arms.

"That's a photograph of Beatrix Potter, the English children's author," I said. "She wrote Peter Rabbit."

He wasn't interested. "What kind of dogs are those?"


"It's a great picture of them." It is, in fact, a terrible picture of them. One of them has wrenched his face away from the camera, and the other sits grimly in her owner's hand, waiting for its chance. Obviously neither of them liked having its picture taken, though you can't tell that from their expressions. They reveal nothing in their little flat-nosed faces, in their black little eyes.

Beatrix Potter, on the other hand, comes through beautifully, in spite of the attempt to smile for the camera and the fact that she must have had to hold onto the Pekes for dear life, or maybe because of that. The fierce, humorous love she felt for her fierce, humorous little dogs is all there in her face. She must never, in spite of Peter Rabbit and its attendant fame, have developed a public face. Everything she felt was right there, unprotected, unshuttered. Like Katie.

"Are any of these your dog?" Hunter asked. He was standing looking at the picture of Misha that hung above the couch.

"No," I said.

"How come you don't have any pictures of your dog?" he asked, and I wondered how he knew I had had a dog and what else he knew.

"He didn't like having his picture taken."

He folded up the readout, stuck it in his pocket, and turned around to look at the photo of Perdita again. "He looks like he was a real nice little dog," he said.

The uniform was waiting on the front step, obviously finished with whatever he had done to the car.

"We'll let you know if we find out who's responsible," Hunter said, and they left. On the way out to the street the uniform tried to tell him what he'd found, but Hunter cut him off. The suspect has a house full of photographs of dogs, therefore he didn't run over a poor facsimile of one on Van Buren this morning. Case closed. I went back over to the developer and fed the eisenstadt film in. "Positives, one two three order, five seconds," I said, and watched as the pictures came up on the developer's screen. Ramirez had said the eisenstadt automatically turned on whenever it was set upright on a level surface. She was right. It had taken a half-dozen shots on the way out to Tempe. Two shots of the Hitori it must have taken when I set it down to load the car, open door of same with prickly pear in the foreground, a blurred shot of palm trees and buildings with a minuscule, sharp-focused glimpse of the traffic on the expressway. Vehicles and people. There was a great shot of the red tanker that had cupped the jackal and ten or so of the yucca I had parked next to at the foot of the hill.

It had gotten two nice shots of my forearm as I set it down on the kitchen counter of the Winnebago and some beautifully composed still lifes of Melmac with Spoons. Vehicles and people. The rest of the pictures were dead losses: my back, the open bathroom door, Jake's back, and Mrs. Ambler's public face.

Except the last one. She had been standing right in front of the eisenstadt, looking almost directly into the lens. "When I think of that poor thing, all alone," she had said, and by the time she turned around she had her public face back on, but for a minute there, looking at what she thought was a briefcase and remembering, there she was, the person I had tried all morning to get a picture of.

I took it into the living room and sat down and looked at it awhile.

"So you knew this Katherine Powell in Colorado," Ramirez said, breaking in without preamble, and the highwire slid silently forward and began to print out the lifeline. "I always suspected you of having some deep dark secret in your past. Is she the reason you moved to Phoenix?"

I was watching the highwire advance the paper. Katherine Powell, 4628 Dutchman Drive, Apache Junction. Forty miles away.

"Holy Mother, you were really cradle-robbing. According to my calculations, she was seventeen when you lived there."


"Are you the owner of the dog?" the vet had asked her, his face slackening into pity when he saw how young she was.

"No," she said. "I'm the one who hit him."

"My God," he said. "How old are you?"

"Sixteen," she said, and her face was wide open. "I just got my license."

"Aren't you even going to tell me what she has to do with this Winnebago thing?" Ramirez said.

"I moved down here to get away from the snow," I said, and cut out without saying goodbye.

The lifeline was still rolling silently forward. Hacker at Hewlett-Packard. Fired in ninety-nine, probably during the unionization. Divorced. Two kids. She had moved to Arizona five years after I did. Management programmer for Toshiba. Arizona driver's license.

I went back to the developer and looked at the picture of Mrs. Ambler. I had said dogs never came through. That wasn't true. Taco wasn't in the blurry snapshots Mrs. Ambler had been so anxious to show me, in the stories she had been so anxious to tell. But she was in this picture, reflected in the pain and love and loss on Mrs. Ambler's face. I could see her plain as day, perched on the arm of the driver's seat, barking impatiently when the light turned green.

I put a new cartridge in the eisenstadt and went out to see Katie.

I had to take Van Buren—it was almost four o'clock, and the rush hour would have started on the divideds— but the jackal was gone anyway. The Society is efficient. Like Hitler and his Nazis.

"Why don't you have any pictures of your dog?" Hunter had asked. The question could have been based on the assumption that anyone who would fill his living room with photographs of dogs must have had one of his own, but it wasn't. He had known about Aberfan, which meant he'd had access to my lifeline, which meant all lands of things. My lifeline was privacy-coded, so I had to be notified before anybody could get access, except, it appeared, the Society. A reporter I knew at the paper, Dolores Chiwere, had tried to do a story a while back claiming that the Society had an illegal fink to the lifeline banks, but she hadn't been able to come up with enough evidence to convince her editor. I wondered if this counted.

The lifeline would have told them about Aberfan but not about how he died. Killing a dog wasn't a crime in those days, and I hadn't pressed charges against Katie for reckless driving or even called the police.

"I think you should," the vet's assistant had said. "There are less than a hundred dogs left. People can't just go around killing them."

"My God, man, it was snowing and slick," the vet had said angrily, "and she's just a kid."

"She's old enough to have a license," I said, looking at Katie. She was rumbling in her purse for her driver's license. "She's old enough to have been on the roads." Katie found her license and gave it to me. It was so new it was still shiny. Katherine Powell. She had turned sixteen two weeks ago.

'This won't bring him back," the vet had said, and taken the license out of my hand and given it back to her. "You go on home now."

"I need her name for the records," the vet's assistant had said.

She had stepped forward. "Katie Powell," she had said.

"We'll do the paperwork later," the vet had said firmly.

They never did do the paperwork, though. The next week the third wave hit, and I suppose there hadn't seemed any point.

I slowed down at the zoo entrance and looked up into the parking lot as I went past. The Amblers were doing a booming business. There were at least five cars and twice as many kids clustered around the Winnebago.

"Where the hell are you?" Ramirez said. "And where the hell are your pictures? I talked the Republic into a trade, but they insisted on scoop rights. I need your stills now!"

"I'll send them in as soon as I get home," I said. "I'm on a story."

"The hell you are! You're on your way out to see your old girlfriend. Well, not on the paper's credits, you're not."

"Did you get the stuff on the Winnebago Indians?" I asked her.

"Yes. They were in Wisconsin, but they're not anymore. In the mid-seventies there were sixteen hundred of them on the reservation and about forty-five hundred altogether, but by 1990, the number was down to five hundred, and now they don't think there are any left, and nobody knows what happened to them."

I'll tell you what happened to them, I thought. Almost all of them were killed in the first wave, and people blamed the government and the Japanese and the ozone layer, and after the second wave hit, the Society passed all kinds of laws to protect the survivors, but it was too late, they were already below the minimum survival population limit, and then the third wave polished off the rest of them, and the last of the Winnebagos sat in a cage somewhere, and if I had been there I would probably have taken his picture.

"I called the Bureau of Indian Affairs," Ramirez said, "and they're supposed to call me back, and you don't give a damn about the Winnebagos. You just wanted to get me off the subject. What's this story you're on?" I looked around the dashboard for an exclusion button. "What the hell is going on, David? First you ditch two big stories, now you can't even get your pictures in. Jesus, if something's wrong, you can tell me. I want to help. It has something to do with Colorado, doesn't it?" I found the button and cut her off. Van Buren got crowded as the afternoon rush spilled over off the divideds. Out past the curve, where Van Buren turns into Apache Boulevard, they were putting in new lanes. The cement forms were already up on the eastbound side, and they were building the wooden forms up in two of the six lanes on my side.

The Amblers must have just beaten the workmen, though at the rate the men were working right now, leaning on their shovels in the hot afternoon sun and smoking stew, it had probably taken them six weeks to do this stretch.

Mesa was still open multiway, but as soon as I was through downtown, the construction started again, and this stretch was nearly done—forms up on both sides and most of the cement poured. The Amblers couldn't have come in from Globe on this road. The lanes were barely wide enough for the Hitori, and the tanker lanes were gated. Superstition is full-divided, and the old highway down from Roosevelt is, too, which meant they hadn't come in from Globe at all. I wondered how they had come in—probably in some tanker lane on a multiway.

"Oh, my, the things we've seen," Mrs. Ambler had said. I wondered how much they'd been able to see skittering across the dark desert like a couple of kangaroo mice, trying to beat the cameras.

The roadworkers didn't have the new exit signs up yet, and I missed the exit for Apache Junction and had to go halfway to Superior, trapped in my narrow, cement-sided lane, till I hit a change-lanes and could get turned around.

Katie's address was in Superstition Estates, a development pushed up as close to the base of Superstition Mountain as it could get. I thought about what I would say to Katie when I got there. I had said maybe ten sentences altogether to her, most of them shouted directions, in the two hours we had been together. In the jeep on the way to the vet's I had talked to Aberfan, and after we got there, sitting in the waiting room, we hadn't talked at all.

It occurred to me that I might not recognize her. I didn't really remember what she looked like—only the sunburned nose and that terrible openness, and now, fifteen years later, it seemed unlikely that she would have either of them. The Arizona sun would have taken care of the first, and she had gotten married and divorced, been fired, had who knows what else happen to her in fifteen years to close her face. In which case, there had been no-point in my driving all the way out here. But Mrs. Ambler had had an almost impenetrable public face, and you could still catch her off-guard. If you got her talking about the dogs. If she didn't know she was being photographed.

Katie's house was an old-style passive solar, with fat black panels on the roof. It looked presentable, but not compulsively neat. There wasn't any grass—tankers won't waste their credits coming this far out, and Apache Junction isn't big enough to match the bribes and incentives of Phoenix or Tempe—but the front yard was laid out with alternating patches of black lava chips and prickly pear. The side yard had a parched-looking palo verde tree, and there was a cat tied to it. A little girl was playing under the tree with toy cars.

I took the eisenstadt out of the back and went up to the front door and rang the bell. At the last moment, when it was too late to change my mind, walk away, because she was already opening the screen door, it occurred to me that she might not recognize me, that I might have to tell her who I was.

Her nose wasn't sunburned, and she had put on the weight a sixteen-year-old puts on to get to be thirty, but otherwise she looked the same as she had that day in front of my house. And her face hadn't completely closed. I could tell, looking at her, that she recognized me and that she had known I was coming. She must have put a notify on her lifeline to have them warn her if I asked her whereabouts. I thought about what that meant.

She opened the screen door a little, the way I had to the Humane Society. "What do you want?" she said.

I had never seen her angry, not even when I turned on her at the vet's. "I wanted to see you," I said.

I had thought I might tell her I had run across her name while I was working on a story and wondered if it was the same person or that I was doing a piece on the last of the passive solars. "I saw a dead jackal on the road this morning," I said.

"And you thought I killed it?" she said. She tried to shut the screen door.

I put out my hand without thinking to stop her. "No," I said. I took my hand off the door. "No, of course I don't think that. Can I come in? I just want to talk to you."

The little girl had come over, clutching her toy cars to her pink T-shirt, and was standing off to the side, watching curiously.

"Come on inside, Jana," Katie said, and opened the screen door a fraction wider. The little girl scooted through. "Go on in the kitchen," she said. "I'll fix you some Kool-Aid." She looked up at me. "I used to have nightmares about your coming. I'd dream that I'd go to the door and there you'd be."

"It's really hot out here," I said and knew I sounded like Hunter. "Can I come in?"

She opened the screen door all the way. "I've got to make my daughter something to drink," she said, and led the way into the kitchen, the little girl dancing in front of her.

"What land of Kool-Aid do you want?" Katie asked her, and she shouted, "Red!"

The kitchen counter faced the stove, refrigerator, and water cooler across a narrow aisle that opened out into an alcove with a table and chairs. I put the eisenstadt down on the table and then sat down myself so she wouldn't suggest moving into another room.

Katie reached a plastic pitcher down from one of the shelves and stuck it under the water tank to fill it. Jana dumped her cars on the counter, clambered up beside them, and began opening the cupboard doors. "How old's your little girl?" I asked. Katie got a wooden spoon out of the drawer next to the stove and brought it and the pitcher over to the table. "She's four," she said. "Did you find the Kool-Aid?" she asked the little girl.

"Yes," the little girl said, but it wasn't Kool-Aid. It was a pinkish cube she peeled a plastic wrapping off of. It fizzed and turned a thinnish red when she dropped it in the pitcher. Kool-Aid must have become extinct, too, along with Winnebagos and passive solar. Or else changed beyond recognition. Like the Humane Society. Katie poured the red stuff into a glass with a cartoon whale on it.

"Is she your only one?" I asked. "No, I have a little boy," she said, but warily, as if she wasn't sure she wanted to tell me, even though if I'd requested the lifeline I already had access to all this information. Jana asked if she could have a cookie and then took it and her Kool-Aid back down the hall and outside. I could hear the screen door slam.

Katie put the pitcher in the refrigerator and leaned against the kitchen counter, her arms folded across her chest. "What do you want?"

She was just out of range of the eisenstadt, her face in the shadow of the narrow aisle.

"There was a dead jackal on the road this morning," I said. I kept my voice low so she would lean forward into the light to try and hear me. "It'd been hit by a car, and it was lying funny, at an angle. It looked like a dog. I wanted to talk to somebody who remembered Aberfan, somebody who knew him."

"I didn't know him," she said. "I only killed him, remember? That's why you did this, isn't it, because I killed Aberfan?"

She didn't look at the eisenstadt, hadn't even glanced at it when I set it on the table, but I wondered suddenly if she knew what I was up to. She was still carefully out of range. And what if I said to her, "That's right. That's why I did this, because you killed him, and I didn't have any pictures of him. You owe me. If I can't have a picture of Aberfan, you at least owe me a picture of you remembering him."

Only she didn't remember him, didn't know anything about him except what she had seen on the way to the vet's, Aberfan lying on my lap and looking up at me, already dying. I had had no business coming here, dredging all this up again. No business.

"At first I thought you were going to have me arrested," Katie said, "and then after all the dogs died, I thought you were going to kill me."

The screen door banged. "Forgot my cars," the little girl said and scooped them into the tail of her T-shirt. Katie tousled her hair as she went past, and then folded her arms again.

" 'It wasn't my fault,' I was going to tell you when you came to kill me," she said. " 'It was snowy. He ran right in front of me. I didn't even see him.' I looked up everything I could find about newparvo. Preparing for the defense. How it mutated from parvovirus and from cat distemper before that and then kept on mutating, so they couldn't come up with a vaccine. How even before the third wave they were below the minimum survival population. How it was the fault of the people who owned the last survivors because they wouldn't risk their dogs to breed them. How the scientists didn't come up with a vaccine until only the jackals were left. 'You're wrong,' I was going to tell you. 'It was the puppy mill owners' fault that all the dogs died. If they hadn't kept their dogs in such unsanitary conditions, it never would have gotten out of control in the first place.' I had my defense all ready. But you'd moved away."

Jana banged in again, carrying the empty whale glass. She had a red smear across the whole lower half of her face. "I need some more," she said, making "some more" into one word. She held the glass in both hands while Katie opened the refrigerator and poured her another glassful.

"Wait a minute, honey," she said. "You've got Kool-Aid all over you," and bent to wipe Jana's face with a paper towel.

Katie hadn't said a word in her defense while we waited at the vet's, not, "It was snowy," or, "He ran right out in front of me," or, "I didn't even see him." She had sat silently beside me, twisting her mittens in her lap, until the vet came out and told me Aberfan was dead, and then she had said, "I didn't know there were any left in Colorado. I thought they were all dead."

And I had turned to her, to a sixteen-year-old not even old enough to know how to shut her face, and said, "Now they all are. Thanks to you."

"That kind of talk isn't necessary," the vet had said warningly.

I had wrenched away from the hand he tried to put on my shoulder. "How does it feel to have killed one of the last dogs in the world?" I had shouted at her. "How does it feel to be responsible for the extinction of an entire species?"

The screen door banged again. Katie was looking at me, still holding the reddened paper towel.

"You moved away," she said, "and I thought maybe that meant you'd forgiven me, but it didn't, did it?" She came over to the table and wiped at the red circle the glass had left. "Why did you do it? To punish me? Or did you think that's what I'd been doing the last fifteen years, roaring around the roads murdering animals?"

"What?" I said.

"The Society's already been here."

"The Society?" I said, not understanding.

"Yes," she said, still looking at the red-stained towel. "They said you had reported a dead animal on Van Buren. They wanted to know where I was this morning between eight and nine A.M."

I nearly ran down a roadworker on the way back into Phoenix. He leaped for the still-wet cement barrier, dropping the shovel he'd been leaning on all day, and I ran right over it.

The Society had already been there. They had left my house and gone straight to hers. Only that wasn't possible, because I hadn't even called Katie then. I hadn't even seen the picture of Mrs. Ambler yet. Which meant they had gone to see Ramirez after they left me, and the last thing Ramirez and the paper needed was trouble with the Society.

"I thought it was suspicious when he didn't go to the governor's conference," she had told them, "and just now he called and asked for a lifeline on this person here. Katherine Powell, 4628 Dutchman Drive. He knew her in Colorado."

"Ramirez!" I shouted at the car phone. "I want to talk to you!" There wasn't any answer.

I swore at her for a good ten miles before I remembered I had the exclusion button on. I punched it off. "Ramirez, where the hell are you?"

"I could ask you the same question," she said. She sounded even angrier than Katie, but not as angry as I was. "You cut me off, you won't tell me what's going on."

"So you decided you had it figured out for yourself, and you told your little theory to the Society."

"What?" she said, and I recognized that tone, too. I had heard it in my own voice when Katie told me the Society had been there. Ramirez hadn't told anybody anything, she didn't even know what I was talking about, but I was going too fast to stop.

"You told the Society I'd asked for Katie's lifeline, didn't you?" I shouted.

"No," she said. "I didn't. Don't you think it's time you told me what's going on?"

"Did the Society come see you this afternoon?"

"No. I told you. They called this morning and wanted to talk to you. I told them you were at the governor's conference."

"And they didn't call back later?"

"No. Are you in trouble?"

I hit the exclusion button. "Yes," I said. "Yes, I'm in trouble."

Ramirez hadn't told them. Maybe somebody else at the paper had, but I didn't think so. There had after all been Dolores Chiwere's story about them having illegal access to the lifelines. "How come you don't have any pictures of your dog?" Hunter had asked me, which meant they'd read my lifeline, too. So they knew we had both lived in Colorado, in the same town, when Aberfan died.

"What did you tell them?" I had demanded of Katie. She had been standing there in the kitchen still messing with the Kool-Aid-stained towel, and I had wanted to yank it out of her hands and make her look at me. "What did you tell the Society?"

She looked up at me. "I told them I was on Indian School Road, picking up the month's programming assignments from my company. Unfortunately, I could just as easily have driven in on Van Buren."

"About Aberfan!" I shouted. "What did you tell them about Aberfan?"

She looked steadily at me. "I didn't tell them anything. I assumed you'd already told them."

I had taken hold of her shoulders. "If they come back, don't tell them anything. Not even if they arrest you. I'll take care of this. I'll ..."

But I hadn't told her what I'd do because I didn't know. I had run out of her house, colliding with Jana in the hall on her way in for another refill, and roared off for home, even though I didn't have any idea what I would do when I got there.

Call the Society and tell them to leave Katie alone, that she had nothing to do with this? That would be even more suspicious than everything else I'd done so far, and you couldn't get much more suspicious than that.

I had seen a dead jackal on the road (or so I said), and instead of reporting it immediately on the phone right there in my car, I'd driven to a convenience store two miles away. I'd called the Society, but I'd refused to give them my name and number. And then I'd canceled two shoots without telling my boss and asked for the lifeline of one Katherine Powell, whom I had known fifteen years ago and who could have been on Van Buren at the time of the accident.

The connection was obvious, and how long would it take them to make the connection that fifteen years ago was when Aberfan had died?

Apache was beginning to fill up with rush hour overflow and a whole fleet of tankers. The overflow obviously spent all their time driving divideds—nobody bothered to signal that they were changing lanes. Nobody even gave an indication that they knew what a lane was. Going around the curve from Tempe and onto Van Buren they were all over the road. I moved over into the tanker lane. My lifeline didn't have the vet's name on it. They were just getting started in those days, and there was a lot of nervousness about invasion of privacy. Nothing went online without the person's permission, especially not medical and bank records, and the lifelines were little more than puff bios: family, occupation, hobbies, pets. The only things on the lifeline besides Aberfan's name were the date of his death and my address at the time, but that was probably enough. There were only two vets in town. The vet hadn't written Katie's name down on Aberfan's record. He had handed her driver's license back to her without even looking at it, but Katie had told her name to the vet's assistant. He might have written it down. There was no way I could find out. I couldn't ask for the vet's lifeline because the Society had access to the lifelines. They'd get to him before I could. I could maybe have the paper get the vet's records for me, but I'd have to tell Ramirez what was going on, and the phone was probably tapped, too. And if I showed up at the paper, Ramirez would confiscate the car. I couldn't go there.

Wherever the hell I was going, I was driving too fast to get there. When the tanker ahead of me slowed down to ninety, I practically climbed up his back bumper. I had gone past the place where the jackal had been hit without ever seeing it. Even without the traffic, there probably hadn't been anything to see. What the Society hadn't taken care of, the overflow probably had, and anyway, there hadn't been any evidence to begin with. If there had been, if the cameras had seen the car that hit it, they wouldn't have come after me. And Katie.

The Society couldn't charge her with Aberfan's death—killing an animal hadn't been a crime back then—but if they found out about Aberfan they would charge her with the jackal's death, and it wouldn't matter if a hundred witnesses, a hundred highway cameras had seen her on Indian School Road. It wouldn't matter if the print-fix on her car was clean. She had killed one of the last dogs, hadn't she? They would crucify her.

I should never have left Katie. "Don't tell them anything," I had told her, but she had never been afraid of admitting guilt. When the receptionist had asked her what had happened, she had said, "I hit him," just like that, no attempt to make excuses, to run off, to lay the blame on someone else.

I had run off to try to stop the Society from finding out that Katie had hit Aberfan, and meanwhile the Society was probably back at Katie's, asking her how she'd happened to know me in Colorado, asking her how Aberfan died.

I was wrong about the Society. They weren't at Katie's house. They were at mine, standing on the porch, waiting for me to let them in.

"You're a hard man to track down," Hunter said.

The uniform grinned. "Where you been?"

"Sorry," I said, fishing my keys out of my pocket. "I thought you were all done with me. I've already told you everything I know about the incident."

Hunter stepped back just far enough for me to get the screen door open and the key in the lock. "Officer Segura and I just need to ask you a couple more questions."

"Where'd you go this afternoon?" Segura asked.

"I went to see an old friend of mine."


"Come on, come on," Hunter said. "Let the guy get in his own front door before you start badgering him with a lot of questions."

I opened the door. "Did the cameras get a picture of the tanker that hit the jackal?" I asked.

"Tanker?" Segura said.

"I told you," I said, "I figure it had to be a tanker. The jackal was lying in the tanker lane." I led the way into the living room, depositing my keys on the computer and switching the phone to exclusion while I talked. The last thing I needed was Ramirez bursting in with, "What's going on? Are you in trouble?"

"It was probably a renegade that hit it, which would explain why he didn't stop." I gestured at them to sit down.

Hunter did. Segura started for the couch and then stopped, staring at the photos on the wall above it. "Jesus, will you look at all the dogs!" he said. "Did you take all these pictures?"

"I took some of them. That one in the middle is Misha."

"The last dog, right?"

"Yes," I said.

"No kidding. The very last one." No kidding. She was being kept in isolation at the Society's research facility in St. Louis when I saw her. I had talked them into letting me shoot her, but it had to be from outside the quarantine area. The picture had an unfocused look that came from shooting it through a wire mesh—reinforced window in the door, but I wouldn't have done any better if they'd let me inside. Misha was past having any expression to photograph. She hadn't eaten in a week at that point. She lay with her head on her paws, staring at the door, the whole time I was there.

"You wouldn't consider selling this picture to the Society, would you?"

"No, I wouldn't."

He nodded understandingly. "I guess people were pretty upset when she died."

Pretty upset. They had turned on anyone who had anything to do with it—the puppy mill owners, the scientists who hadn't come up with a vaccine, Misha's vet— and a lot of others who hadn't. And they had handed over their civil rights to a bunch of jackals who were able to grab them because everybody felt so guilty. Pretty upset.

"What's this one?" Segura asked. He had already moved on to the picture next to it. "It's General Patton's bull terrier Willie." They fed and cleaned up after Misha with those robot arms they used to use in the nuclear plants. Her owner, a tired-looking woman, was allowed to watch her through the wire-mesh window but had to stay off to the side because Misha flung herself barking against the door whenever she saw her.

"You should make them let you in," I had told her. "It's cruel to keep her locked up like that. You should make them let you take her back home."

"And let her get the newparvo?" she said. There was nobody left for Misha to get the newparvo from, but I didn't say that. I set the right readings on the camera, trying not to lean into Misha's line of vision. "You know what killed them, don't you?" she said. "The ozone layer. All those holes. The radiation got in and caused it."

It was the communists, it was the Mexicans, it was the government. And the only people who acknowledged their guilt weren't guilty at all.

"This one here looks kind of like a jackal," Segura said. He was looking at a picture I had taken of a German shepherd after Aberfan died. "Dogs were a lot like jackals, weren't they?"

"No," I said, and sat down on the shelf in front of the developer's screen, across from Hunter. "I already told you everything I know about the jackal. I saw it lying in the road, and I called you."

"You said when you saw the jackal it was in the far right lane," Hunter said.

"That's right."

"And you were in the far left lane?"

"I was in the far left lane."

They were going to take me over my story, point by point, and when I couldn't remember what I'd said before, they were going to say, "Are you sure that's what you saw, Mr. McCombe? Are you sure you didn't see the jackal get hit? Katherine Powell hit it, didn't she?" "You told us this morning you stopped, but the jackal was already dead. Is that right?" Hunter asked.

"No," I said.

Segura looked up. Hunter touched his hand casually to his pocket and then brought it back to his knee, turning on the taper.

"I didn't stop for about a mile. Then I backed up and looked at it, but it was dead. There was blood coming out of its mouth."

Hunter didn't say anything. He kept his hands on his knees and waited—an old journalist's trick, if you wait long enough, they'll say something they didn't intend to, just to fill the silence.

'The jackal's body was at a peculiar angle," I said, right on cue. "The way it was lying, it didn't look like a jackal. I thought it was a dog." I waited till the silence got uncomfortable again. "It brought back a lot of terrible memories," I said. "I wasn't even thinking. I just wanted to get away from it. After a few minutes I realized I should have called the Society, and I stopped at the 7-Eleven."

I waited again, till Segura began to shoot uncomfortable glances at Hunter, and then started in again. "I thought I'd be okay, that I could go ahead and work, but after I got to my first shoot, I knew I wasn't going to make it, so I came home." Candor. Openness. If the Amblers can do it, so can you. "I guess I was still in shock or something. I didn't even call my boss and have her get somebody to cover the governor's conference. All I could think about was—" I stopped and rubbed my hand across my face. "I needed to talk to somebody. I had the paper look up an old friend of mine, Katherine Powell." I stopped, I hoped this time for good. I had admitted lying to them and confessed to two crimes: leaving the scene of the accident and using press access to get a lifeline for personal use, and maybe that would be enough to satisfy them. I didn't want to say anything about going out to see Katie. They would know she would have told me about their visit and decide this confession was an attempt to get her off, and maybe they'd been watching the house and knew it anyway, and this was all wasted effort.

The silence dragged on. Hunter's hands tapped his knees twice and then subsided. The story didn't explain why I'd picked Katie, who I hadn't seen in fifteen years, who I knew in Colorado, to go see, but maybe, maybe they wouldn't make the connection.

"This Katherine Powell," Hunter said, "you knew her in Colorado, is that right?"

"We lived in the same little town." We waited.

"Isn't that when your dog died?" Segura said suddenly. Hunter shot him a glance of pure rage, and I thought, it isn't a taper he's got in that shirt pocket. It's the vet's records, and Katie's name is on them.

"Yes," I said. "He died in September of eighty-nine."

Segura opened his mouth.

"In the third wave?" Hunter asked before he could say anything.

"No," I said. "He was hit by a car." They both looked genuinely shocked. The Amblers could have taken lessons from them.

"Who hit it?" Segura asked, and Hunter leaned forward, his hand moving reflexively toward his pocket.

"I don't know," I said. "It was a hit and run. Whoever it was just left him lying there in the road. That's why when I saw the jackal, it ... that was how I met Katherine Powell. She stopped and helped me. She helped me get him into her car, and we took him to the vet's, but it was too late."

Hunter's public face was pretty indestructible, but Segura's wasn't. He looked surprised and enlightened and disappointed all at once.

"That's why I wanted to see her," I said unnecessarily.

"Your dog was hit on what day?" Hunter asked.

"September thirtieth."

"What was the vet's name?"

He hadn't changed his way of asking the questions, but he no longer cared what the answers were. He had thought he'd found a connection, a cover-up, but here we were, a couple of dog lovers, a couple of good Samaritans, and his theory had collapsed. He was done with the interview, he was just finishing up, and all I had to do was be careful not to relax too soon.

I frowned. "I don't remember his name. Cooper, I think."

"What kind of car did you say hit your dog?"

"I don't know," I said, thinking, not a jeep. Make it something besides a jeep. "I didn't see him get hit. The vet said it was something big, a pickup maybe. Or a Winnebago."

And I knew who had hit the jackal. It had all been right there in front of me—the old man using up their forty-gallon water supply to wash the bumper, the lies about their coming in from Globe—only I had been too intent on keeping them from finding out about Katie, on getting the picture of Aberfan, to see it. It was like the damned parvo. When you had it licked in one place, it broke out somewhere else.

"Were there any identifying tire tracks?" Hunter said.

"What?" I said. "No. It was snowing that day." It had to show in my face, and he hadn't missed anything yet. I passed my hand over my eyes. "I'm sorry. These questions are bringing it all back."

"Sorry," Hunter said.

"Can't we get this stuff from the police report?" Segura asked.

"There wasn't a police report," I said. "It wasn't a crime to kill a dog when Aberfan died."

It was the right thing to say. The look of shock on their faces was the real thing this time, and they looked at each other in disbelief instead of at me. They asked a few more questions and then stood up to leave. I walked them to the door.

"Thank you for your cooperation, Mr. McCombe," Hunter said. "We appreciate what a difficult experience this has been for you."

I shut the screen door between us. The Amblers would have been going too fast, trying to beat the cameras because they weren't even supposed to be on Van Buren. It was almost rush hour, and they were in the tanker lane, and they hadn't even seen the jackal till they hit it, and then it was too late. They had to know the penalty for hitting an animal was jail and confiscation of the vehicle, and there wasn't anybody else on the road.

"Oh, one more question," Hunter said from halfway down the walk. "You said you went to your first assignment this morning. What was it?"

Candid. Open. "It was out at the old zoo. A sideshow kind of thing."

I watched them all the way out to their car and down the street. Then I latched the screen, pulled the inside door shut, and locked it, too. It had been right there in front of methe ferret sniffing the wheel, the bumper, Jake anxiously watching the road. I had thought he was looking cusomers, but he wasn't. He was expecting to see the Society drive up. "He's not interested in that," he had said when Mrs. Ambler said she had been telling me about Taco. He had listened to our whole conversation, standing under the back window with his guilty bucket, ready to come back in and cut her off if she said too much, and I hadn't tumbled to any of it. I had been so intent on Aberfan I hadn't even seen it when I looked right through the lens at it. And what kind of an excuse was that? Katie hadn't even tried to use it, and she was learning to drive.

I went and got the Nikon and pulled the film out of it. It was too late to do anything about the eisenstadt pictures or the vidcam footage, but I didn't think there was anything in them. Jake had already washed the bumper by the time I'd taken those pictures.

I fed the longshot film into the developer. "Positives, one two three order, fifteen seconds," I said, and waited for the image to come on the screen.

I wondered who had been driving. Jake, probably. "He never liked Taco," she had said, and there was no mistaking the bitterness in her voice. "I didn't want to buy the Winnebago."

They would both lose their licenses, no matter who was driving, and the Society would confiscate the Winnebago. They would probably not send two octogenarian specimens of Americana like the Amblers to prison. They wouldn't have to. The trial would take six months, and Texas already had legislation in committee.

The first picture came up. A light-setting shot of an ocotillo.

Even if they got off, even if they didn't end up taking away the Winnebago for unauthorized use of a tanker lane or failure to purchase a sales tax permit, the Amblers had six months left at the outside. Utah was all ready to pass a full-divided bill, and Arizona would be next. In spite of the road crews' stew-slowed pace, Phoenix would be all-divided by the time the investigation was over, and they'd be completely boxed in. Permanent residents of the zoo. Like the coyote.

A shot of the zoo sign, half-hidden in the cactus. A close-up of the Amblers' balloon-trailing sign. The Winnebago in the parking lot.

"Hold," I said. "Crop." I indicated the areas with my finger. "Enlarge to full screen."

The longshot takes great pictures, sharp contrast, excellent detail. The developer only had a five hundred thousand-pixel screen, but the dark smear on the bumper was easy to see, and the developed picture would be much clearer. You'd be able to see every splatter, every grayish-yellow hair. The Society's computers would probably be able to type the blood from it.

"Continue," I said, and the next picture came on the screen. Artsy shot of the Winnebago and the zoo entrance. Jake washing the bumper. Red-handed.

Maybe Hunter had bought my story, but he didn't have any other suspects, and how long would it be before he decided to ask Katie a few more questions? If he thought it was the Amblers, he'd leave her alone.

The Japanese family clustered around the waste-disposal tank. Closeup of the decals on the side. Interiors—Mrs. Ambler in the gallery, the upright-coffin shower stall, Mrs. Ambler making coffee.

No wonder she had looked that way in the eisenstadt shot, her face full of memory and grief and loss. Maybe in the instant before they hit it, it had looked like a dog to her, too.

All I had to do was tell Hunter about the Amblers, and Katie was off the hook. It should be easy. I had done it before.

"Stop," I said to a shot of the salt-and-pepper collection. The black and white scottie dogs had painted, red-plaid bows and red tongues. "Expose," I said. "One through twenty-four."

The screen went to question marks and started beeping. I should have known better. The developer could handle a lot of orders, but asking it to expose perfectly good film went against its whole memory, and I didn't have time to give it the step-by-steps that would convince it I meant what I said.

"Eject," I said. The scotties blinked out. The developer spat out the film, rerolled into its protective case.

The doorbell rang. I switched on the overhead and pulled the film out to full length and held it directly under the light. I had told Hunter an RV hit Aberfan, and he had said on the way out, almost an afterthought, "That first shoot you went to, what was it?" And after he left, what had he done, gone out to check on the sideshow kind of thing, gotten Mrs. Ambler to spill her guts? There hadn't been time to do that and get back.

He must have called Ramirez. I was glad I had locked the door.

I turned off the overhead. I rerolled the film, fed it back into the developer, and gave it a direction it could handle. "Permanganate bath, full strength, one through twenty-four. Remove one hundred percent emulsion. No notify."

The screen went dark. It would take the developer at least fifteen minutes to run the film through the bleach bath, and the Society's computers could probably enhance a picture out of two crystals of silver and thin air, but at least the detail wouldn't be there. I unlocked the door.

It was Katie.

She held up the eisenstadt. "You forgot your briefcase," she said.

I stared blankly at it. I hadn't even realized I didn't have it. I must have left it on the kitchen table when I went tearing out, running down little girls and stewed roadworkers in my rush to keep Katie from getting involved. And here she was, and Hunter would be back any minute, saying, "That shoot you went on this morning, did you take any pictures?"

"It isn't a briefcase," I said.

"I wanted to tell you," she said, and stopped. "I shouldn't have accused you of telling the Society I'd killed the jackal. I don't know why you came to see me today, but I know you're not capable of—"

"You have no idea what I'm capable of," I said. I opened the door enough to reach for the eisenstadt. "Thanks for bringing it back. I'll get the paper to reimburse your way-mile credits."

Go home. Go home. If you're here when the Society comes back, they'll ask you how you met me, and I just destroyed the evidence that could shift the blame to the Amblers. I took hold of the eisenstadt's handle and started to shut the door.

She put her hand on the door. The screen door and the fading light made her look unfocused, like Misha. "Are you in trouble?"

"No," I said. "Look, I'm very busy."

"Why did you come to see me?" she asked. "Did you kill the jackal?"

"No," I said, but I opened the door and let her in. I went over to the developer and asked for a visual status. It was only on the sixth frame. "I'm destroying evidence," I said to Katie. "I took a picture this morning of the vehicle that hit it, only I didn't know it was the guilty party until a half an hour ago." I motioned for her to sit down on the couch. "They're in their eighties. They were driving on a road they weren't supposed to be on, in an obsolete recreation vehicle, worrying about the cameras and the tankers. There's no way they could have seen it in time to stop. The Society won't see it that way, though. They're determined to blame somebody, anybody, even though it won't bring them back."

She set her canvas carryit and the eisenstadt down on the table next to the couch. "The Society was here when I got home," I said. "They'd figured out we were both in Colorado when Aberfan died. I told them it was a hit and run, and you'd stopped to help me. They had the vet's records, and your name was on them."

I couldn't read her face. "If they come back, you tell them that you gave me a ride to the vet's." I went back to the developer. The longshot film was done. "Eject," I said, and the developer spit it into my hand. I fed it into the recycler.

"McCombe! Where the hell are you?" Ramirez's voice exploded into the room, and I jumped and started for the door, but she wasn't there. The phone was flashing. "McCombe! This is important!"

Ramirez was on the phone and using some override I didn't even know existed. I went over and pushed it back to access. The lights went out. "I'm here," I said.

"You won't believe what just happened!" She sounded outraged. "A couple of terrorist types from the Society just stormed in here and confiscated the stuff you sent me!"

All I'd sent her was the vidcam footage and the shots from the eisenstadt, and there shouldn't have been anything on those. Jake had already washed the bumper. "What stuff?" I said.

"The prints from the eisenstadt!" she said, still shouting. "Which I didn't have a chance to look at when they came in because I was too busy trying to work a trade on your governor's conference, not to mention trying to track you down! I had hardcopies made and sent the originals straight down to composing with your vidcam footage. I finally got to them half an hour ago, and while I'm sorting through them, this Society creep just grabs them away from me. No warrants, no 'would you mind?,' nothing. Right out of my hand. Like a bunch of—"

"Jackals," I said. "You're sure it wasn't the vidcam footage?" There wasn't anything in the eisenstadt shots except Mrs. Ambler and Taco, and even Hunter couldn't have put that together, could he?

"Of course I'm sure," Ramirez said, her voice bouncing off the walls. "It was one of the prints from the eisenstadt. I never even saw the vidcam stuff. I sent it straight to composing. I told you."

I went over to the developer and fed the cartridge in. The first dozen shots were nothing, stuff the eisenstadt had taken from the back seat of the car. "Start with frame ten," I said. "Positives. One two three order. Five seconds."

"What did you say?" Ramirez demanded.

"I said, did they say what they were looking for?"

"Are you kidding? I wasn't even there as far as they were concerned. They split up the pile and started through them on my desk."

The yucca at the foot of the hill. More yucca. My forearm as I set the eisenstadt down on the counter. My back.

"Whatever it was they were looking for, they found it," Ramirez said.

I glanced at Katie. She met my gaze steadily, unafraid. She had never been afraid, not even when I told her she had killed all the dogs, not even when I showed up on her doorstep after fifteen years.

"The one in the uniform showed it to the other one," Ramirez was saying, "and said, 'You were wrong about the woman doing it. Look at this.' "

"Did you get a look at the picture?" Still life of cups and spoons. Mrs. Ambler's arm. Mrs. Ambler's back.

"I tried. It was a truck of some kind."

"A truck? Are you sure? Not a Winnebago?"

"A truck. What the hell is going on over there?"

I didn't answer. Jake's back. Open shower door. Still life with Sanka. Mrs. Ambler remembering Taco.

"What woman are they talking about?" Ramirez said. "The one you wanted the lifeline on?"

"No," I said. The picture of Mrs. Ambler was the last one on the cartridge. The developer went back to the beginning. Bottom half of the Hitori. Open car door. Prickly pear. "Did they say anything else?"

"The one in the uniform pointed to something on the hardcopy and said, 'See. There's his number on the side. Can you make it out?' "

Blurred palm trees and the expressway. The tanker hitting the jackal.

"Stop," I said. The image froze.

"What?" Ramirez said.

It was a great action shot, the back wheels passing right over the mess that had been the jackal's hind legs. The jackal was already dead, of course, but you couldn't see that or the already drying blood coming out of its mouth because of the angle. You couldn't see the truck's license number either because of the speed the tanker was going, but the number was there, waiting for the Society's computers. It looked like the tanker had just hit it.

"What did they do with the picture?" I asked.

"They took it into the chief's office. I tried to call up the originals from composing, but the chief had already sent for them and your vidcam footage. Then I tried to get you, but I couldn't get past your damned exclusion."

"Are they still in there with the chief?"

"They just left. They're on their way over to your house. The chief told me to tell you he wants 'full cooperation,' which means hand over the negatives and any other film you just took this morning. He told me to keep my hands off. No story. Case closed."

"How long ago did they leave?"

"Five minutes. You've got plenty of time to make me a print. Don't highwire it. I'll come pick it up."

"What happened to, The last thing I need is trouble with the Society'?"

"It'll take them at least twenty minutes to get to your place. Hide it somewhere the Society won't find it."

"I can't," I said, and listened to her furious silence. "My developer's broken. It just ate my longshot film," I said, and hit the exclusion button again.

"You want to see who hit the jackal?" I said to Katie, and motioned her over to the developer. "One of Phoenix's finest."

She came and stood in front of the screen, looking at the picture. If the Society's computers were really good, they could probably prove the jackal was already dead, but the Society wouldn't keep the film long enough for that. Hunter and Segura had probably already destroyed the highwire copies. Maybe I should offer to run the cartridge sheet through the permanganate bath for them when they got here, just to save time.

I looked at Katie. "It looks guilty as hell, doesn't it?" I said. "Only it isn't." She didn't say anything, didn't move. "It would have killed the jackal if it had hit it. It was going at least ninety. But the jackal was already dead."

She looked across at me.

"The Society would have sent the Amblers to jail. It would have confiscated the house they've lived in for fifteen years for an accident that was nobody's fault. They didn't even see it coming. It just ran right out in front of them."

Katie put her hand up to the screen and touched the jackal's image.

"They've suffered enough," I said, looking at her. It was getting dark. I hadn't turned on any lights, and the red image of the tanker made her nose look sunburned. "All these years she's blamed him for her dog's death, and he didn't do it," I said. "A Winnebago's a hundred square feet on the inside. That's about as big as this developer, and they've lived inside it for fifteen years, while the lanes got narrower and the highways shut down, hardly enough room to breathe, let alone live, and her blaming him for something he didn't do."

In the ruddy light from the screen she looked sixteen. "They won't do anything to the driver, not with the tankers hauling thousands of gallons of water into Phoenix every day. Even the Society won't run the risk of a boycott. They'll destroy the negatives and call the case closed. And the Society won't go after the Amblers," I said. "Or you."

I turned back to the developer. "Go," I said, and the image changed. Yucca. Yucca. My forearm. My back. Cups and spoons.

"Besides," I said. "I'm an old hand at shifting the blame." Mrs. Ambler's arm. Mrs. Ambler's back. Open shower door. "Did I ever tell you about Aberfan?"

Katie was still watching the screen, her face pale now from the light blue one hundred percent formica shower stall.

"The Society already thinks the tanker did it. The only one I've got to convince is my editor." I reached across to the phone and took the exclusion off. "Ramirez," I said, "wanta go after the Society?"

Jake's back. Cups, spoons, and Sanka. "I did," Ramirez said in a voice that could have frozen the Salt River, "but your developer was broken, and you couldn't get me a picture."

Mrs. Ambler and Taco.

I hit the exclusion button again and left my hand on it. "Stop," I said. "Print." The screen went dark, and the print slid out into the tray. "Reduce frame. Permanganate bath by one percent. Follow on screen." I took my hand off. "What's Dolores Chiwere doing these days, Ramirez?"

"She's working investigative. Why?" I didn't answer. The picture of Mrs. Ambler faded a little, a little more.

"The Society does have a link to the lifelines!" Ramirez said, not quite as fast as Hunter, but almost. "That's why you requested your old girlfriend's line, isn't it? You're running a sting."

I had been wondering how to get Ramirez off Katie's trail, and she had done it herself, jumping to conclusions just like the Society. With a little effort, I could convince Katie, too: Do you know why I really came to see you today? To catch the Society. I had to pick somebody the Society couldn't possibly know about from my lifeline, somebody I didn't have any known connection with.

Katie watched the screen, looking like she already half-believed it. The picture of Mrs. Ambler faded some more. Any known connection. "Stop," I said.

"What about the truck?" Ramirez demanded. "What does it have to do with this sting of yours?"

"Nothing," I said. "And neither does the water board, which is an even bigger bully than the Society. So do what the chief says. Full cooperation. Case closed. We'll get them on lifeline tapping."

She digested that, or maybe she'd already hung up and was calling Dolores Chiwere. I looked at the image of Mrs. Ambler on the screen. It had faded enough to look slightly overexposed but not enough to look tampered with. And Taco was gone.

I looked at Katie. "The Society will be here in another fifteen minutes," I said, "which gives me just enough time to tell you about Aberfan." I gestured at the couch. "Sit down."

She came and sat down. "He was a great dog," I said "He loved the snow. He'd dig through it and toss it up with his muzzle and snap at the snowflakes, trying to catch them."

Ramirez had obviously hung up, but she would call back if she couldn't track down Chiwere. I put the exclusion back on and went over to the developer. The image of Mrs. Ambler was still on the screen. The bath hadn't affected the detail that much. You could still see the wrinkles, the thin white hair, but the guilt, or blame, the look of loss and love, was gone. She looked serene, almost happy.

"There are hardly any good pictures of dogs," I said. "They lack the necessary muscles to take good pictures, and Aberfan would lunge at you as soon as he saw the camera."

I turned the developer off. Without the light from the screen, it was almost dark in the room. I turned on the overhead.

"There were less than a hundred dogs left in the United States, and he'd already had the newparvo once and nearly died. The only pictures I had of him had been taken when he was asleep. I wanted a picture of Aberfan playing in the snow."

I leaned against the narrow shelf in front of the developer's screen. Katie looked the way she had at the vet's, sitting there with her hands clenched, waiting for me to tell her something terrible.

"I wanted a picture of him playing in the snow, but he always lunged at the camera," I said, "so I let him out in the front yard, and then I sneaked out the side door and went across the road to some pine trees where he wouldn't be able to see me. But he did."

"And he ran across the road," Katie said. "And I hit him."

She was looking down at her hands. I waited for her to look up, dreading what I would see in her face. Or not see.

"It took me a long time to find out where you'd gone," she said to her hands. "I was afraid you'd refuse me access to your lifeline. I finally saw one of your pictures in a newspaper, and I moved to Phoenix, but after I got here I was afraid to call you for fear you'd hang up on me."

She twisted her hands the way she had twisted her mittens at the vet's. "My husband said I was obsessed with it, that I should have gotten over it by now, everybody else had, that they were only dogs anyway." She looked up, and I braced my hands against the developer. "He said forgiveness wasn't something somebody else could give you, but I didn't want you to forgive me exactly. I just wanted to tell you I was sorry."

There hadn't been any reproach, any accusation in her face when I told her she was responsible for the extinction of a species that day at the vet's, and there wasn't now. Maybe she didn't have the facial muscles for it, I thought bitterly.

"Do you know why I came to see you today?" I said angrily. "My camera broke when I tried to catch Aberfan. I didn't get any pictures." I grabbed the picture of Mrs. Ambler out of the developer's tray and flung it at her. "Her dog died of newparvo. They left it in the Winnebago, and when they came back, it was dead."

"Poor thing," she said, but she wasn't looking at the picture. She was looking at me.

"She didn't know she was having her picture taken. I thought if I got you talking about Aberfan, I could get a picture like that of you."

And surely now I would see it, the look I had really wanted when I set the eisenstadt down on Katie's kitchen table, the look I still wanted, even though the eisenstadt was facing the wrong way, the look of betrayal the dogs had never given us. Not even Misha. Not even Aberfan. How does it feel to be responsible for the extinction of an entire species?

I pointed at the eisenstadt. "It's not a briefcase. It's a camera. I was going to take your picture without your even knowing it."

She had never known Aberfan. She had never known Mrs. Ambler either, but in that instant before she started to cry she looked like both of them. She put her hand up to her mouth. "Oh," she said, and the love, the loss was there in her voice, too. "If you'd had it then, it wouldn't have happened."

I looked at the eisenstadt. If I had had it, I could have set it on the porch and Aberfan would never have even noticed it. He would have burrowed through the snow and tossed it up with his nose, and I could have thrown snow up in big glittering sprays that he would have leaped at, and it never would have happened. Katie Powell would have driven past, and I would have stopped to wave at her, and she, sixteen years old and just learning to drive, would maybe even have risked taking a mittened hand off the steering wheel to wave back, and Aberfan would have wagged his tail into a buzzard and then barked at the snow he'd churned up.

He wouldn't have caught the third wave. He would have lived to be an old dog, fourteen or fifteen, too old to play in the snow anymore, and even if he had been the last dog in the world I would not have let them lock him up in a cage, I would not have let them take him away. If I had had the eisenstadt. No wonder I hated it.

It had been at least fifteen minutes since Ramirez called. The Society would be here any minute. "You shouldn't be here when the Society comes," I said, and Katie nodded and smudged the tears off her cheeks and stood up, reaching for her carryit.

"Do you ever take pictures?" she said, shouldering the carryit. "I mean, besides for the papers?"

"I don't know if I'll be taking pictures for them much longer. Photojournalists are becoming an extinct breed."

"Maybe you could come take some pictures of Jana and Kevin. Kids grow up so fast, they're gone before you know it."

"I'd like that," I said. I opened the screen door for her and looked both ways down the street at the darkness. "All clear," I said, and she went out. I shut the screen door between us.

She turned and looked at me one last time with her dear, open face that even I hadn't been able to close. "I miss them," she said.

I put my hand up to the screen. "I miss them, too."

I watched her to make sure she turned the corner and then went back in the living room and took down the picture of Misha. I propped it against the developer so Segura would be able to see it from the door. In a month or so, when the Amblers were safely in Texas and the Society had forgotten about Katie, I'd call Segura and tell him I might be willing to sell it to the Society, and then in a day or so I'd tell him I'd changed my mind. When he came out to try to talk me into it, I'd tell him about Perdita and Beatrix Potter, and he would tell me about the Society.

Chiwere and Ramirez would have to take the credit for the story—I didn't want Hunter putting anything else together—and it would take more than one story to break them, but it was a start.

Katie had left the print of Mrs. Ambler on the couch. I picked it up and looked at it a minute and then fed it into the developer. "Recycle," I said.

I picked up the eisenstadt from the table by the couch and took the film cartridge out. I started to pull the film out to expose it, and then shoved it into the developer instead and turned it on. "Positives, one two three order, five seconds."

I had apparently set the camera on its activator again— there were ten shots or so of the back seat of the Hitori. Vehicles and people. The pictures of Katie were all in shadow. There was a Still Life of Kool-Aid Pitcher with Whale Glass and another one of Jana's toy cars, and some near-black frames that meant Katie had laid the eisenstadt face-down when she brought it to me.

'Two seconds," I said, and waited for the developer to flash the last shots so I could make sure there wasn't anything else on the cartridge and then expose it before the Society got here. All but the last frame was of the darkness that was all the eisenstadt could see lying on its face. The last one was of me.

The trick in getting good pictures is to make people forget they're being photographed. Distract them. Get them talking about something they care about.

"Stop," I said, and the image froze.

Aberfan was a great dog. He loved to play in the snow, and after I had murdered him, he lifted his head off my lap and tried to lick my hand.

The Society would be here any minute to take the longshot film and destroy it, and this one would have to go, too, along with the rest of the cartridge. I couldn't risk Hunter's being reminded of Katie. Or Segura taking a notion to do a print-fix and peel on Jana's toy cars.

It was too bad. The eisenstadt takes great pictures. "Even you'll forget it's a camera," Ramirez had said in her spiel, and that was certainly true. I was looking straight into the lens.

And it was all there, Misha and Taco and Perdita and the look he gave me on the way to the vet's while I stroked his poor head and told him it would be all right, that look of love and pity I had been trying to capture all these years. The picture of Aberfan.

The Society would be here any minute. "Eject," I said, and cracked the cartridge open, and exposed it to the light.


48th Convention The Hague, Holland

The End