Thunderhead Page 7

  Nora watched as the image on the screen disappeared. And then—as a new image scrolled down the screen with maddening slowness—she saw a long, faint, sinuous black line etch itself across the landscape: broken in countless spots, yet unmistakable.

  “There it is,” said Holroyd quietly, sitting back and looking at her, his face shining with triumph.

  “That’s my road to Quivira?” Nora asked, her voice trembling.

  “No. That’s our road to Quivira.”

  8

  * * *

  NORA WORKED HER WAY THROUGH THE early evening traffic, struggling to keep the highway ahead from blurring into parallel images. She was tired, more tired than she could remember being since her marathon study sessions of graduate school. Though Holroyd had offered to put her up in his apartment the night before, she had instead opted to drive straight back to Santa Fe and the Institute. She had arrived a little after ten in the morning. The day had dragged as Nora, exhausted and distracted, tried to wrap up the end-of-term business. Again and again, her mind had turned back to Quivira and what her next step should be. She sensed it was pointless to approach Blakewood again, even with this startling discovery; there was little chance of him changing his mind. She had passed him in a hallway shortly after noon, and his greeting was decidedly cool.

  She slowed, downshifting to second as she turned into Verde Estates, her townhouse development. The afternoon had ended on an unexpected note: a call from Ernest Goddard’s office, requesting a meeting the following morning. Nora had never even spoken to the Institute’s chairman of the board, and she could think of no reason—no good reason, anyway—why he would want to see her. She’d been absent from the Institute without notice for two days, and had made no headway on the Rio Puerco ceramics. Perhaps Blakewood had put a bug in his ear about the troublesome junior professor.

  Nora switched on her headlights as she navigated through the curving lanes. Verde Estates might be a development, but it was older and it lacked the ludicrous Santa Fe–style pretensions of the newer condo complexes. There had been time for a good growth of fruit and fir trees, softening the edges of the buildings. A calm warmth began to flow into her tired limbs as she maneuvered into her parking space. She’d take half an hour to relax, then fix a light meal, take a shower, and fall into bed. Her favorite way to unwind had always been to work on her oboe reeds. Most people found reed-making a tiresome, endless nuisance, but she had always enjoyed the challenge.

  Twisting the key out of the ignition, she grabbed her portfolio and bags and started across the blacktop toward her door. Already, she was mentally laying out the tools she’d need: jeweler’s loup; a piece of good French cane; silk thread; sheets of fish skin to plug leaks. Mr. Roehm, her high-school oboe teacher, had said that making double reeds was like fly-tying: an art and a science in which a thousand things could go wrong, and in which the tinkering was never done.

  She unlocked the front door and stepped inside. Dropping her things, she leaned back against the door and closed her eyes wearily, too exhausted for the moment to turn on the lights. She heard the low growl of the refrigerator, a dog barking hysterically in the distance. The place had a smell she didn’t remember. Odd, she thought, how things can grow unfamiliar in just two days.

  Something was missing: the familiar click-clack of nails on the linoleum, the friendly nuzzling of her ankles. Taking a deep breath, she pushed herself away from the door and snapped on the lights. Thurber, her ten-year-old basset hound, was nowhere in sight.

  “Thurber?” she called. She thought of going outside to call for him, but changed her mind immediately: Thurber was the most domesticated animal on the planet, for whom the great outdoors was something to be avoided at all costs.

  “Thurber?” she called again. Dropping her purse on the front table, her eyes fell on a note: Nora, please call. Skip. Reading this, Nora smirked. Must need money, she thought; Skip normally never used “please” in a sentence. And that explained Thurber’s absence. She’d asked Skip to feed Thurber while she was in California, and no doubt he’d taken the pooch back to his apartment to save himself time.

  Turning away, she started to take off her shoes, then changed her mind when she noticed a scattering of dust on the floor. Gotta clean this damn place, she thought as she headed for the stairs.

  In the bathroom she shrugged off her blouse, washed her face and hands, dampened her hair, and then pulled on her favorite reed-making sweatshirt, a ragged thing from the University of Nevada at Las Vegas. Walking into her bedroom, she stopped to look around a moment. She’d been so quick to judge Holroyd’s apartment, almost eccentric in its barrenness, its lack of personality. And yet, in its way, her own place was not that different. Somehow, she’d never had time to give much thought to decorating. If furnishings were a window into the soul, what did this jumble of rooms say about her? A woman who was too busy crawling around ruins to fix up her own place. Almost everything she had belonged to her parents; Skip had refused to take anything except her dad’s book collection and old pistol.

  With a smile and a shake of her head, she reached automatically for the brush on top of her dresser.

  And found it gone.

  She paused, hand outstretched, motionless with perplexity. Her brush was always in the same place: the archaeologist in her insisted on keeping her possessions in situ. Her damp hair felt cool on the back of her neck as she mentally went through the motions of three mornings before. She’d washed her hair as usual, dressed as usual, combed her hair as usual. And replaced the brush as usual.

  But now it was missing. Nora stared at the strange, inexplicable gap between the comb and the box of tissue. Goddamn Skip, she thought suddenly, irritation mingling with relief. His own bathroom was a solid mass of mildew, and he liked to sneak showers at her place when she was away. He’d probably dumped it someplace, and . . .

  Then she paused and took a breath. Something in her gut told her that this had nothing to do with Skip. The strange smell, the dust in the hall, the feeling that things were not right . . . She whirled around, searching for anything else that might be missing. But everything seemed to be in place.

  Then she heard a faint scratching sound coming from outside. She looked over, but the black windows only reflected the interior. She turned off the lights with a quick brush of her hand. It was a clear, moonless night, the desert stars spread out like diamonds across the velvet blackness beyond her window. The scratching came again, louder this time.

  With a surge of relief, she realized it must be Thurber, waiting at the back door. On top of everything else, Skip had managed to leave the dog outside. Shaking her head, Nora walked downstairs and through the kitchen. She twisted the deadbolt on the door and yanked it open, kneeling as she did so for the anticipated nuzzle.

  Thurber was nowhere to be seen. A skein of dust swirled on the concrete step, flaring into sharp relief as the headlights of a car approached along the back alley. The headlights swept across the grass, past a stand of pines, and silhouetted a large presence, furred and dark, springing back into the protective darkness. As she stared, Nora realized she had seen that movement before—a few nights before, when the same object had raced alongside her truck with horrifying unnatural speed.

  She stumbled backward into the kitchen in a rush of terror, face hot, gulping air. Then the moment of paralysis passed. Filled with sudden anger, she grabbed a heavy flashlight from the counter and dashed for the door. She stopped at the threshold, the flashlight revealing nothing but the peaceful desert night.

  “Leave me the hell alone!” she cried into the blackness. There was no dark figure, no prints in the damp earth beyond the door; only the lost sigh of the wind, the crazed barking of a distant dog, and the rattle of the flashlight in her shaking hand.

  9

  * * *

  NORA STOPPED OUTSIDE A CLOSED OAKEN door labeled CHAIRMAN OF THE BOARD, SANTA FE ARCHAEOLOGICAL INSTITUTE. Clutching more tightly to the portfolio that now never left her side, she loo
ked carefully down the hall in both directions. She was uncertain whether the nervousness she felt had to do with the events of the night before or with the impending meeting. Had word of her shenanigans at JPL somehow gotten out? No, that was impossible. But maybe this was going to be a dismissal anyway. Why else would Ernest Goddard want to see her? Her head ached from lack of sleep.

  All she knew about the chairman was what she had read, along with the rare newspaper photo and even rarer glimpse of his striking figure around campus. Although Dr. Blakewood might have been prime mover and chief architect of the Institute’s vision, Nora knew that Goddard was the real power and money behind Blakewood’s throne. And unlike Blakewood, Goddard had an almost supernatural ability to cultivate the press, managing to get the occasional tasteful and laudatory article placed in just the right venue. She had heard several explanations for the man’s tremendous wealth, from inheriting a motor oil fortune to discovering a submarine full of Nazi gold—none of which seemed credible.

  She took a deep breath and grasped the doorknob firmly. Maybe a dismissal would be a good thing at this point. It would free her to pursue Quivira unhindered. The Institute, in the person of Dr. Blakewood, had already passed judgment on her proposed expedition. Holroyd had given her the ammunition she needed to take the idea somewhere else. If the Institute wasn’t interested, she knew she would find a place that was.

  A small, nervous secretary ushered her through the reception area to the inner office. The space was as cool and spare as a church, with whitewashed adobe walls and a Mexican tiled floor. Instead of the imposing power desk Nora had expected, there was a huge wooden worktable, badly scuffed and dented. She looked around in surprise; it was the exact opposite of Dr. Blakewood’s office. Except for a row of pots on the worktable, lined up as if at attention, the room was devoid of ornamentation.

  Behind the worktable stood Ernest Goddard, longish white hair haloing his gaunt face, a salt-and-pepper beard below lively blue eyes. One hand held a pencil. A rumpled cotton handkerchief drooped from his jacket pocket. His body was thin and frail, and his gray suit hung loosely on his bony frame. Nora would have thought he was ill, except that his eyes were clear, bright, and full of fire.

  “Dr. Kelly,” he said, laying down the pencil and coming around the worktable to shake her hand. “So good to meet you at last.” His voice was unusual: low, dry, barely higher than a whisper. And yet it carried enormous authority.

  “Please call me Nora,” she replied guardedly. This cordial reception was the last thing she expected.

  “I believe I will,” Goddard paused to remove the handkerchief and cough into it with a delicate, almost feminine gesture. “Have a seat. Oh, but before you do, take a look at these ceramics, will you?” He poked the handkerchief back into his pocket.

  Nora approached the table. She counted a dozen painted bowls, all peerless examples of ancient pottery from the Mimbres valley of New Mexico. Three were pure geometrics with vibrant rhythms, and two contained abstract insect designs: a stinkbug and a cricket. The rest were covered with anthropomorphics—splendidly precise, geometric human figures. Each pot had a neat hole punched in the bottom.

  “They’re magnificent,” Nora said.

  Goddard seemed about to speak, then turned to cough. A buzzer sounded on the worktable. “Dr. Goddard, Mrs. Henigsbaugh to see you.”

  “Send her in,” Goddard said.

  Nora threw him a glance. “Shall I—”

  “You stay right here,” Goddard said, indicating the chair. “This will only take a minute.”

  The door opened and a woman of perhaps seventy swept into the room. Immediately, Nora recognized the type: Santa Fe society matron, rich, thin, tan, almost no makeup, in fabulous shape, wearing an exquisite but understated Navajo squash blossom necklace over a silk blouse, with a long velveteen skirt.

  “Ernest, how delightful,” she said.

  “Wonderful to see you, Lily,” Goddard replied. He waved a spotted hand at Nora. “This is Dr. Nora Kelly, an assistant professor here at the Institute.”

  The woman glanced from Nora to the worktable. “Ah, very good. These are the pots I told you about.”

  Goddard nodded.

  “My appraiser says they’re worth five hundred thousand if they’re worth a penny. Extremely rare, he said, and in perfect condition. Harry collected them, you know. He wanted the Institute to have them when he died.”

  “They’re very nice—”

  “I should say they are!” the woman interrupted, patting her impeccable hair. “Now about their display. I realize, of course, that the Institute doesn’t have a formal museum or anything of that sort. But in light of the value of these pots, obviously you’ll want to create something special. In the administration building, I imagine. I’ve spoken to Simmons, my architect, and he’s drawn up plans for something we’re calling the Henigsbaugh Alcove—”

  “Lily.” Goddard’s whispery voice assumed a very subtle edge of command. “As I was about to say, we’re deeply appreciative of your late husband’s bequest. But I’m afraid we can’t accept it.”

  There was a silence.

  “I beg your pardon?” Mrs. Henigsbaugh asked, her voice suddenly cold.

  Goddard waved his handkerchief at the worktable. “These bowls came from graves. We can’t take them.”

  “What do you mean, from graves? Harry bought the pots from reputable dealers. Didn’t you get the papers I sent along? There’s nothing about graves in them.”

  “The papers are irrelevant. Our policy is not to accept grave goods. Besides,” Goddard added more gently, “these are very beautiful, it’s true, and we’re honored by the gesture. But we have better examples in the collection.”

  Better examples? thought Nora. She had never seen finer Mimbres bowls, not even in the Smithsonian.

  But Mrs. Henigsbaugh was still digesting the grosser insult. “Grave goods! How dare you insinuate they were looted—”

  Goddard picked up a bowl and poked one finger through the hole in its bottom. “This pot has been killed.”

  “Killed?”

  “Yes. When the Mimbres buried a pot with their dead, they punched a hole in the bottom to release the spirit of the pot, so it could join the deceased in the underworld. Archaeologists call it killing the pot.” He replaced the bowl on the table. “All these pots have been killed. So you see they must have come from graves, no matter what the provenience says.”

  “You mean you’re going to turn down a half-million-dollar gift, just like that?” the woman cried.

  “I’m afraid so. I’ll have them carefully crated and returned to you.” He coughed into his handkerchief. “I’m very sorry, Lily.”

  “I’m sure you are.” The woman spun around and left the office abruptly, leaving a faint cloud of expensive perfume in her wake.

  In the silence that followed, Goddard settled onto the edge of the table, a thoughtful look on his face. “You’re familiar with Mimbres pottery?” he asked.

  “Yes,” Nora replied. She still could not believe he had turned down the gift.

  “What do you think?”

  “Other institutions have killed Mimbres pots in their collections.”

  “We are not other institutions,” Goddard replied in his soft whisper. “These pots were buried by people who respected their dead, and we have an obligation to continue that respect. I doubt Mrs. Henigsbaugh would approve of us digging up her dear departed Harry.” He settled into a chair behind the worktable. “I had a visit from Dr. Blakewood the other day, Nora.”

  She stiffened. This was it, then.

  “He mentioned that you were behind in your projects, and that he felt your tenure review might go poorly. Care to tell me about it?”

  “There’s nothing to tell,” Nora said. “I’ll submit my resignation whenever.”

  To her surprise, Goddard grinned at this. “Resignation?” he asked. “Why on earth would you want to resign?”

  She cleared her throat. “There’s no wa
y, in six months, I’m going to be able to write up the Rio Puerco and Gallegos Divide projects, and—” She stopped.

  “And what?” Goddard asked.

  “Do what I need to do,” she finished. “So I might as well resign now, and save you the trouble.”

  “I see.” Goddard’s glittering eyes never left hers. “Do what you need to do, you say. Might that be searching for the lost city of Quivira?”

  Nora looked sharply at him, and once again the chairman grinned. “Oh, yes. Blakewood mentioned that, too.”

  Nora remained silent.

  “He also mentioned your sudden absence from the Institute. Did it have something to do with this idea of yours, this search for Quivira?”

  “I was in California.”

  “I should have thought Quivira was somewhat east of there.”

  Nora sighed. “What I did was on my own time.”

  “Dr. Blakewood didn’t think so. Did you find Quivira?”

  “In a way, yes.”

  There was a silence in the room. Nora looked at Goddard’s face. The grin was suddenly gone.

  “Would you care to explain?”

  “No,” said Nora.

  Goddard’s surprise lasted only for a moment. “Why not?”

  “Because this is my project,” Nora said truculently.

  “I see.” Goddard eased himself off the table and leaned toward Nora. “The Institute might be able to help you and your project. Now tell me: what did you find in California?”

  Nora moved in her chair, considering. “I have some radar images that show an ancient Anasazi road leading to what I believe is Quivira.”

  “Do you indeed?” Goddard’s face expressed both astonishment and something else. “And just where did these images come from?”

  “I have a contact inside the Jet Propulsion Laboratory. He was able to digitally manipulate radar images of the area, canceling out the modern tracks and leaving the ancient road. It leads straight into the heart of the redrock country mentioned in the early Spanish accounts.”