Orphan Train

other, its flippers extending in pointy arcs. “What’s this little guy’s name
     again?”
    “It doesn’t have a name.”
    Leaning down and kissing her hip, he says, “I’m going to call him Carlos.”
    “Why?”
    “He looks like a Carlos. Right? See his little head? He’s kind of wagging it, like
     ‘What’s up?’ Hey, Carlos,” he says in a Dominican-accented falsetto, tapping the turtle
     with his index finger. “What’s happening, man?”
    “It’s not a Carlos. It’s an Indian symbol,” she says, a little irritated, pushing
     his hand away.
    “Oh, come on, admit it—you were drunk and got this random-ass turtle. It could just
     as easily have been a heart dripping blood or some fake Chinese words.”
    “That’s not true! Turtles mean something very specific in my culture.”
    “Oh yeah, warrior princess?” he says. “Like what?”
    “Turtles carry their homes on their backs.” Running her finger over the tattoo, she
     tells him what her dad told her: “They’re exposed and hidden at the same time. They’re
     a symbol of strength and perseverance.”
    “That’s very deep.”
    “You know why? Because I’m very deep.”
    “Oh yeah?”
    “Yeah,” she says, kissing him on the mouth. “Actually, I did it because when we lived
     on Indian Island we had this turtle named Shelly.”
    “Hah, Shelly. I get it.”
    “Yup. Anyway, I don’t know what happened to it.”
    Jack curls his hand around her hip bone. “I’m sure it’s fine,” he says. “Don’t turtles
     live, like, a hundred years?”
    “Not in a tank with no one to feed them they don’t.”
    He doesn’t say anything, just puts his arm around her shoulder and kisses her hair.
    She settles in beside him on the bucket seat. The windshield is fogged and the night
     is dark, and in Jack’s hard-domed little Saturn she feels cocooned, protected. Yeah,
     that’s right. Like a turtle in a shell.

Spruce Harbor, Maine, 2011
    No one comes to the door when Molly rings the buzzer. The house is quiet. She looks at her phone: 9:45 A.M . It’s a teacher enrichment day and there’s no school, so she figured, why not knock
     out some hours?
    Molly rubs her arms and tries to decide what to do. It’s an unseasonably cool and
     misty morning, and she forgot to bring a sweater. She took the Island Explorer, the
     free bus that makes a continuous loop of the island, and got off at the closest stop
     to Vivian’s, about a ten-minute walk. If no one’s home, she’ll have to go back to
     the stop and wait for the next bus, which could take a while. But despite the goose
     bumps, Molly has always liked days like this. The stark gray sky and bare tree limbs
     feel more suited to her than the uncomplicated promise of sunny spring days.
    In the little notebook she carries around, Molly has carefully recorded her time:
     four hours one day, two the next. Twenty-three so far. She made an Excel spreadsheet
     on her laptop that lays it all out. Jack would laugh if he knew, but she’s been in
     the system long enough to understand that it all comes down to documentation. Get
     your papers in order, with the right signatures and record keeping, and the charges
     will be dropped, money released, whatever. If you’re disorganized, you risk losing
     everything.
    Molly figures she can kill at least five hours today. That’ll be twenty-eight, and
     she’ll be more than half finished.
    She rings the bell again, cups her hands against the glass to peer into the dim hallway.
     Trying the doorknob, she finds that it turns and the door opens.
    “Hello?” she says as she steps inside, and, when she gets no response, tries again,
     a bit louder, as she walks down the hall.
    Yesterday, before she left, Molly told Vivian that she’d be coming early today, but
     she hadn’t given a time. Now, standing in the living room with the shades drawn, she
     wonders if she should leave. The old house is full of noises. Its pine floors creak,
     windowpanes rattle, flies buzz near the ceiling, curtains flap. Without the distraction
     of human voices, Molly imagines she can hear sounds in other rooms: bedsprings groaning,
     faucets dripping, fluorescent lights humming, pull chains rattling.
    She takes a moment to look around—at the ornate mantelpiece above the fireplace, the
     decorated oak moldings and brass chandelier. Out of the four large windows facing
     the water she can see the sine curve of the coastline, the serrated firs in the distance,
     the