But why imagine the worst? Maybe these people have been frightened off, maybe they'll have moved elsewhere. Maybe they're ill and dying.
Or maybe not.
Before he reconnoitres, before he sets out on what - he now sees - is a mission, he should make a speech of some kind to the Crakers. A sort of sermon. Lay down a few commandments, Crake's parting words to them. Except that they don't need commandments: no thou shalt nots would be any good to them, or even comprehensible, because it's all built in. No point in telling them not to lie, steal, commit adultery, or covet. They wouldn't grasp the concepts.
He should say something to them, though. Leave them with a few words to remember. Better, some practical advice. He should say he might not be coming back. He should say that the others, the ones with extra skins and feathers, are not from Crake. He should say their noisy stick should be taken away from them and thrown into the sea. He should say that if these people should become violent - Oh Snowman, please, what is violent? - or if they attempt to rape (What is rape?) the women, or molest (What?) the children, or if they try to force others to work for them ...
Hopeless, hopeless. What is work? Work is when you build things - What is build? - or grow things - What is grow? - either because people would hit and kill you if you didn't, or else because they would give you money if you did.
What is money?
No, he can't say any of that. Crake is watching over you, he'll say. Oryx loves you.
Then his eyes close and he feels himself being lifted gently, carried, lifted again, carried again, held.
15
~
Footprint
~
Snowman wakes before dawn. He lies unmoving, listening to the tide coming in, wish-wash, wish-wash, the rhythm of heartbeat. He would so like to believe he is still asleep.
On the eastern horizon there's a greyish haze, lit now with a rosy, deadly glow. Strange how that colour still seems tender. He gazes at it with rapture; there is no other word for it. Rapture. The heart seized, carried away, as if by some large bird of prey. After everything that's happened, how can the world still be so beautiful? Because it is. From the offshore towers come the avian shrieks and cries that sound like nothing human.
He takes a few deep breaths, scans the ground below for wildlife, makes his way down from the tree, setting his good foot on the ground first. He checks the inside of his hat, flicks out an ant. Can a single ant be said to be alive, in any meaningful sense of the word, or does it only have relevance in terms of its anthill? An old conundrum of Crake's.
He hobbles across the beach to the water's edge, washes his foot, feels the sting of salt: there must have been a boil, the thing must have ruptured overnight, the wound feels huge now. The flies buzz around him, waiting for a chance to settle.
Then he limps back up to the treeline, takes off his flowered bedsheet, hangs it on a branch: he doesn't want to be impeded. He'll wear nothing but his baseball cap, to keep the glare out of his eyes. He'll dispense with the sunglasses: it's early enough so they won't be needed. He needs to catch every nuance of movement.
He pees on the grasshoppers, watches with nostalgia as they whir away. Already this rout
ine of his is entering the past, like a lover seen from a train window, waving goodbye, pulled inexorably back, in space, in time, so quickly.
He goes to his cache, opens it, drinks some water. His foot hurts like shit, it's red around the wound again, his ankle's swollen: whatever's in there has overcome the cocktail from Paradice and the treatment of the Crakers as well. He rubs on some of the antibiotic gel, useless as mud. Luckily he's got aspirins; those will dull the pain. He swallows four, chews up half a Joltbar for the energy. Then he takes out his spraygun, checks the cellpack of virtual bullets.
He's not ready for this. He's not well. He's frightened.
He could choose to stay put, await developments.
Oh honey. You're my only hope.
He follows the beach northward, using his stick for balance, keeping to the shadow of the trees as much as possible. The sky's brightening, he needs to hurry. He can see the smoke now, rising in a thin column. It will take him an hour or more to get there. They don't know about him, those people; they know about the Crakers but not about him, they won't be expecting him. That's his best chance.
From tree to tree he limps, elusive, white, a rumour. In search of his own kind.
Here's a human footprint, in the sand. Then another one. They aren't sharp-edged, because the sand here is dry, but there's no mistaking them. And now here's a whole trail of them, leading down to the sea. Several different sizes. Where the sand turns damp he can see them better. What were these people doing? Swimming, fishing? Washing themselves?
They were wearing shoes, or sandals. Here's where they took them off, here's where they put them on again. He stamps his own good foot into the wet sand, beside the biggest footprint: a signature of a kind. As soon as he lifts his foot away the imprint fills with water.
He can smell the smoke, he can hear the voices now. Sneaking he goes, as if walking through an empty house in which there might yet be people. What if they should see him? A hairy naked maniac wearing nothing but a baseball cap and carrying a spraygun. What would they do? Scream and run? Attack? Open their arms to him with joy and brotherly love?
He peers out through the screen of leaves: there are only three of them, sitting around their fire. They've got a spraygun of their own, a CorpSeCorps daily special, but it's lying on the ground. They're thin, battered-looking. Two men, one brown, one white, a tea-coloured woman, the men in tropical khakis, standard issue but filthy, the woman in the remains of a uniform of some kind - nurse, guard? Must have been pretty once, before she lost all that weight; now she's stringy, her hair parched, broom-straw. All three of them look wasted.
They're roasting something - meat of some kind. A rakunk? Yes, there's the tail, over there on the ground. They must have shot it. The poor creature.