It was late but Chee decided to make the four-hour drive to Albuquerque, turning the new information over in his mind. First, there was the fact that Tagert had hired Pinto. Presumably he'd picked up Pinto at his hogan and taken him to the vicinity of whatever he was hunting. Pinto had taken along his crystals-the tools of his profession as a finder of the lost and seer of the unseen. Some white men around the Reservation used crystal gazers but Tagert didn't seem the sort. He guessed the historian was more interested in the old man's memory than in his shamanistic powers. Memory of what? Logically it would be connected to Tagert's interest in two white men who seemed to have died a long lifetime ago in a rock formation on the Navajo Reservation. Presumably Tagert would be hunting their bodies, for evidence that one of them was the notorious Butch Cassidy. Logic suggested that the rock formation would be somewhere fairly close to where he'd arrested Pinto. There were plenty of them around-the product of the same paroxysm of volcanic action that cracked the earth and formed the basaltic spires of Ship Rock. It might be the same formation into which he and Janet Pete had taken their stroll to study the work of Delbert Nez's nutty vandal. If all else failed, he might search that formation again. Given a day or two to cover it better and more daylight he might find something.
Or get snakebit. But Pinto's old tale suggested witches were involved. First he would see where that could lead him.
And then there was the business of Colonel Ji. Who? Why? Probably Ji had lied to protect his son, Chee guessed. What had his son done? Or was it just a father's concern that his kid might be involved in something dangerous?
He turned it over, and over, and over. And the thinking kept him awake while he drove the endless miles of N.M. 44 toward Albuquerque. He had relied on a translator's transcript of Hosteen Pinto's tale of horse theft and homicide. He wanted to hear it for himself in the old man's own voice.
Chapter 17
The yellow tape used to isolate the scene of a crime dangled loosely across Colonel Ji's front gate. Leaphorn detached it, ushered Professor Bourebonette through, and reconnected it behind them.
"You're sure this is all right?"
"The people from the Bureau are all finished in here," Leaphorn said. "But keeping your hands in your pockets, not moving anything-that's a good idea."
Actually, it wasn't exactly all right. It would be better if Bourebonette waited in the car. Better still if he had made this re-check of the colonel's darkroom before he picked her up at the library. But he hadn't thought of it until too late for that. And then the idea pressed on him. A feeling of urgency that he couldn't really understand.
He unlocked the door, felt the little sigh of cold air that empty houses release when he opened it. It was a familiar sensation to Leaphorn-one he felt each evening when he unlocked his own house in Window Rock.
Nothing had changed in the front room, except it was silent now and the sills and surfaces bore the faint gray stains of fingerprint powder. He noticed Professor Bourebonette looking at the chalk lines that marked where the colonel's body had been. He noticed the colonel's messages were still on the wall, looking blacker now under the artificial yellow glare of the ceiling bulb. He noticed the professor's expression. Strained? Sad? Mournful? Obviously this is unpleasant for her. Why was she here?
Everything in the darkroom was as he remembered it-a cramped, airless space, musty, nostrils filled with the acid smell of print-developing fluids. The prints were where he had seen them but now they also wore traces of gray powder. Would an FBI lab technician be sorting out Joe Leaphorn's fingerprints? He checked his memory. No, he had handled everything carefully, by the edges.
Now he spread the prints on the cabinet top in two neat rows and examined them methodically. They were all the standard eight by ten inches on black-and-white glossy paper. All seemed to be exposures of parts of the same dark basaltic outcrop. They seemed to have been shot from a considerable distance through a telescopic lens. Or perhaps they had been magnified in the enlarger. The same negative had been used to make several of the prints, each blown up to a different magnification. But the angle in all was almost exactly the same-as if all the negatives had been exposed from the same location, but had been made by using lenses of different focal lengths and by shifting the camera on the tripod. All included the same segment of that outcrop. Some more of it, some less, depending on the lens. But in all, the same features were near the center of the print.
Leaphorn showed them to Bourebonette and explained what he was thinking.
"Why telescopic?" she asked.
"Notice this juniper in the foreground here in this one? Here it is in this other one. Notice how the relationship in size has changed. A telescopic lens compresses the distance like that."
Bourebonette nodded. "Sure," she said. 'That's the way the optics would work."
"You know the Reservation pretty well. Does this look familiar?"
She studied the prints. "They're all the same place, obviously. But we don't get enough of it to put it in the landscape."
"Have you seen it?"
She laughed. "Probably. Or something like it. It could be about forty places in the malpais down around Grants. Or maybe out in the Bisti badlands, or in the Zuni Mountains, or on the Black Mesa side of Monument Valley, or down around the Hopi Buttes, or out here beyond Ship Rock toward Littlewater or Sanostee. Or one of those volcanic throats east of Mount Taylor, or-" She shook her head, and handed the prints to Leaphorn. "Hard to tell. Any place that lava bubbled up through the cracks during a volcanic period. And that happened a lot out here."
"It would be near here someplace, I think," Leaphorn said. "We can presume Ji or his son shot them. Do you have any idea why either one would do that? Or make all these prints?"
"No idea," she said. "But they certainly weren't taken for the beauty of the landscape. Could you call the boy and ask him?
Didn't you say he was staying with some friends here?"
"They decided against that. They're taking him to Albuquerque to stay with some relatives instead. He won't be there yet. But let's see if we can locate the negatives. Maybe they'll include enough background to tell us where this is."
They spent almost thirty minutes sorting negative files without finding anything useful.
Leaphorn pulled the wastebasket from under the sink, sorted through it, and extracted a crumpled sheet of photographic paper. It was part of the same scene, blown up larger on an eleven-by-fourteen-inch sheet. The print was much darker. Overexposed in the enlarger, Leaphorn guessed, and thrown away. He spread it on the cabinet, looked at Bourebonette, raised his eyebrows in a question.
"I don't know," she said. "Maybe big enough to work with." She looked at Leaphorn and grinned. "But work on what?"
"I think maybe we're just wasting our time," he said and put the picture back in the wastebasket.
"I'm thinking you're in a strange business," she said.
"Oh, not usually," he said. "All this is an oddity."
"A single-minded photographer," she said. "Rocks and this girl." She touched the portrait of the teenager Leaphorn had noticed earlier. "Several of these. Probably the boy's girlfriend, I'd guess."
"It looks like it's a photocopy," Leaphorn said. "Not very good."
"Out of this, maybe," she said. The Ship Rock High School yearbook was on the shelf behind the enlarger.
They found the girl's portrait among the cheerleaders. She was a junior. Jenifer Dineyahze.
"I think we should go find Jenifer Dineyahze," Leaphorn said. "Maybe she can tell us something useful." But even as he said it, he doubted it.
Jenifer Dineyahze proved to be a rider of the Ship Rock school bus.
"It's a little tough to tell you exactly where the Dineyahzes live," the acting assistant principal told them, and he dug a map out of his desk drawer and showed them which school bus she rode and just about where the bus picked her up. "Back in here," he said, putting the tip of his pencil on the slope of Beautiful Mountain. "Or here, maybe." And h
e moved it a little toward Sanostee. "You'll see the place where the track takes off to the left."
Before they left Ship Rock, Leaphorn filled the tank of his patrol car-as he always did on junkets that would take him onto the back roads. But at least this errand took them south and west, toward Window Rock and home. And it would take them past the place where Jim Chee had arrested Ashie Pinto. It would give him a look at the rock formation where the painter had done his vandalism.
"What do you think you're going to learn?" Bourebonette asked.
"Frankly, nothing," Leaphorn said. "I think tomorrow I'll get on the telephone and try to get hold of the boy in Albuquerque and I'll ask him about the pictures. But it's sort of on the way home-or back to your car. And you never know."
They turned west off Route 666 toward Red Rock on Navajo 33.
Bourebonette pointed south toward Rol Hai Rock and then toward Barber Peak across the highway. "Those pictures," she said. "It could be a little piece of either one of those."
"Or even of some of those rays that run out from Ship Rock," he said. "Any new ideas by now of why he took them?"
"No. Not even an old idea. How about you?"
"I have an old idea," Leaphorn said. "I'm thinking that when we get to that rock formation Nez's vandal was painting, maybe it will turn out to be the same formation Ji, or Ji's boy, was photographing."
Bourebonette thought about this. "Why?"
Leaphorn chuckled. "I was afraid you'd ask me that," he said. "I think it's because since my wife died I've started watching television. That's the way the plot ought to work out."
Bourebonette didn't comment for a while. And then she said: "Well, there had to be some reason for somebody to shoot Colonel Ji. He was up around where the painter was working the night Mr. Nez was killed. At least his car was. And he took pictures of the rocks. So maybe there's a connection."
Leaphorn glanced at her, caught her looking at him. She shrugged. "Sounds silly, but the same rocks-" she said,"-that would be some connection."
Leaphorn made a left turn off the asphalt onto a dirt road which hadn't been on this year's road grading schedule. They bumped down it, raising dust. "Well," he said. "We'll soon know."
Leaphorn parked at the place the car of Officer Nez had burned. It had been hauled away-an unusual fate for a derelict vehicle on a reservation where they commonly rusted away where they died-but the place was marked by the skeletons of partially burned junipers and scorched cactus.
"There it is," Bourebonette said, pointing. "See the painted places?"
The formation rose to the southeast, one of many old volcanic extrusions scattered along the flanks of the great upthrusts that form the multitude of mountain ridges of the southern Rockies. "Where?" Leaphorn asked and, as he said it, saw a stripe of white, and another, and another, where no white should be.
"Ah," he said, and reached behind the seat of his car for his binoculars. But before he used them, he studied the formation, looking for the same pattern of shapes he memorized from the photographs. He didn't see it.
The formation seemed to have been produced by a series of eruptions. In some places the basalt had been worn smooth by eons of time and softened by growths of lichens-its cracks sprouting buffalo and bunch grass, cactus, and even scraggly junipers. Elsewhere it was newer, still ragged and black. A couple of miles long, Leaphorn guessed, with a smaller formation beyond it extending perhaps another quarter of a mile.
Through the binoculars the formation seemed even rougher and more complex. In places the upthrust seemed to have forced overlying sandstone upward, producing broken walls and leaning slabs in a chaotic labyrinth. There, in the highest part of the ridge, the painting had been done.
Done carefully. Despite what Chee had told him, that surprised Leaphorn. At the point where the binoculars were focused, the black of the basaltic surface and the white of the paint formed a slight curve, not perfect but generally clean-cut. He shifted his vision to the next spot. The shape seemed irregular. Perhaps that was because of his perspective. But here, too, the margin was clean. He could see too little of the other painted surfaces to form a judgment.
He handed the binoculars to Professor Bourebonette. "Notice the edges. Notice how carefully done," he said. While she looked, he thought about what she was seeing. As he did he understood exactly where the photographs had been taken.
His uncle had been right. Things seem random only because we see them from the wrong perspective.
He told Bourebonette about it as they drove down the bumpy road toward the Dineyahze place.
"It still sounds crazy as hell," he said, "but I think either Ji or the boy took all those photographs and blew them up to plan where to put the paint."
Professor Bourebonette looked suitably surprised. She considered. Leaphorn slowed, let the car roll across the borrow ditch and onto a road, which quickly became simply two parallel tracks through the bunch grass and snakeweed.
"Okay," Bourebonette said finally. "If you wanted to paint something regular on a totally irregular surface, I guess that's how you could do it."
"I think so," Leaphorn said. "You'd pick the spot you wanted to see it from, and take the photographs, mark out the places where the paint had to go. Little bit here on this corner of this slab, and then back here, and up there and so forth."
"That leaves the really big question, though," she said. "The big question is why anybody sane would want to paint something out here. And what it would be." She looked at him. "You have that part of it figured out?"
"Afraid not," Leaphorn said.
"I think that would take some real genius."
The patrol car eased up a long slope, jolting over rocky places. The windshield was coated with dust, but the sun was low in the southwest now, out of their faces. Leaphorn shifted down, and up, and down again. And suddenly he found another answer. Or maybe he did.
"I have another thought," he said. "About 'what.' Or more about 'why.'"
Bourebonette looked at him, waiting.
Leaphorn considered whether he would look stupid if he was wrong. It occurred to him that he was showing off. And enjoying it. He considered that. Why would he be showing off? Why enjoying this?
"Are you going to tell me?" Bourebonette asked.
Leaphorn shifted up again as the tracks leveled off. "When we get to the top of this ridge here, we're going to be able to see that formation again. From a different perspective now. "I think we're going to see those painted spaces coming together. Forming a unity."
"Oh? Like what?"
"Something to do with this little girl we're going out to visit." And as he said it, realized that it sounded absurd. It would be wrong. The painting would remain, forever, a crazy jumble.
They reached the summit of the ridge. The shoulder was wide here, blocking their view of the formation. But they could see the Dineyahze place. It was built on the slope opposite them. The Dineyahze outfit included a small oblong of house with a tar-paper roof weighed down against windy weather by a scattering of old automobile tires, a hogan built of stone, a mobile home set on concrete blocks, and the usual brush arbors, corrals, and storage sheds.
"If I'm guessing right, the Ji boy took those photographs from the ridge above the house. He wanted the same view that Jenifer would have from her yard." He glanced at Bourebonette, who was looking impressed.
"If I am guessing wrong," he added, feeling sudden embarrassment, "then I have made myself look foolish."
"Right or wrong," Bourebonette said, "I'd say you have made yourself look like an innovative thinker. None of that occurred to me at all."
The rock formation emerged slowly into view as the car moved along the ridge. And then they could see the paint.
Leaphorn stopped the car. He pulled on the parking brake. He stared.
Jubilation!
It wasn't perfect from this perspective. But you could easily make it out. The white-against-black read:
i love jen
"Can you see it
?" he asked. "Can you read it?"
"How about that?" Professor Bourebonette said. "Congratulations to you, Lieutenant Leaphorn."
Her smile engulfed him with warm approval.
"I should have thought of it sooner," he said. "I had all the information I needed. As soon as I knew where the girl lived, I should have guessed."
"Modesty," Bourebonette said. "I think that was right out of Sherlock Holmes."
"To tell you the truth, I'm sort of proud of it myself," he said.
"I wonder what the girl thinks?" Bourebonette said. "I think I'll ask her."
"I don't see much need to bother her now," Leaphorn said. "We were going to ask her if she had any idea what would be going on with Taka. Now we know."
Tony Hillerman - Leaphorn & Chee 10 - Coyote Waits Page 17