The first photograph is one of Herb Rawlings’s body, nude and horribly bloated, surrounded by hundreds of enormous, glistening silver codfish. Their bug-eyed expressions suggest they’re somewhat shocked to find Herb in their midst. The second is a snapshot of his corpse too, but in this one he’s been moved away from the rest of the catch, quarantined, and the handiwork of the bottom feeders can be seen on his extremities. The third and fourth shots are close-ups: one of Herb’s tightly tied wrists, the other of his similarly bound ankles.

Taylor shakes his head and chuckles a little. “Now there’s something you don’t see every day,” he says.

It occurs to me that I’m looking at something else you don’t see every day: Taylor Peterson sitting still. Taylor is one of the hardest-working commercial fishermen in town, always has been, even when we were in high school. He’s not staring at these pictures because he’s got nothing else to do.

“What is it?” I ask him.

“What’s what?”

I tap the fish-crate table near the photographs. “What bothers you?”

He lowers the front edge of his bucket chair, stares down at the Polaroids, and then looks back up at me, shaking his head. “I’m not a detective,” he says.

“I know that,” I tell him. “If you were, you wouldn’t be talking to me.”

He nods, acknowledging the point, and pulls the two close-up shots to the edge of the fish crate closest to us. “These,” he says. “These bother me.”

I wait. Taylor Peterson knows me well enough to know I won’t leave until he tells me why.

“The rope,” he says, pointing to the wrist shot. “It’s a six-thread sinking pot warp.”

“What’s it called in the English-speaking world?”

He laughs. “It’s a blend of polypropylene and Dacron,” he says, “so it’s also known as poly-dac.” He takes a knife and a roll of black electrical tape from the pocket of his oilskins, then reaches up to a coil of rope hanging from a nail overhead. He cuts off an eight-inch length and binds one end with the tape. “It’s this,” he says, handing it to me. “Fishermen’s rope. You’ll find it on every commercial boat in the harbor.”

The rope is a plait of three separate cords, woven together the way some women braid their hair. I unravel it and realize that each cord is actually a collection of dozens of finer strands, all but two of them white. A red and a black stand out in the middle section.

Taylor reaches over and fingers the innermost strands of the center cord. “Feel those,” he says, and I do. They’re white like most of the others, but the texture is different, coarser.

“That’s the polypropylene,” he says. “It floats.”

“It floats,” I repeat.

“Unless,” Taylor continues, reaching over to finger the ends of my unraveled rope, “it’s embedded in this much Dacron.”

“And then it doesn’t float,” I venture. “It sinks.”

He nods. “That’s why it’s the fishermen’s rope. It’s got the strength of the poly at its core, the abrasion resistance of the Dacron on its exterior, and the right ratio to allow the Dacron to override the buoyancy of the poly.”

“So it sinks,” I repeat. “And that’s why it’s called a sinking…”

“Pot warp,” he finishes for me.

“Are we talking about lobster pots?”

“Very good,” he says, looking every inch the distinguished professor.

“Well, that makes sense,” I tell him. “Herb Rawlings—the dead guy—probably had the rope on board. He had a few lobster pots out. Nothing commercial. A family license.”

Taylor snaps his fingers. That piece of information seems to be significant. “Okay,” he says, pointing at me, “then that explains the rope. And ten bucks says he kept his pots in the channel.”

He did. Louisa said so. “How did you know that?” I ask Taylor. Lobster pots are all over Cape Cod waters. Herb Rawlings’s pots could have been anywhere.

“This,” he says. He puts the other close-up shot, the one of the dead man’s ankles, on top of the wrists shot. “Look at the free end of the rope,” he tells me.

Herb Rawlings’s ankles are bound tightly in this photo with what I now know is poly-dac, just as his wrists were in the last one. The ankle poly-dac, though, has what appears to be a thin cable attached to its end. And something that looks like the eye portion of a hook and eye attached to that.

“What is it?” I ask Taylor.

“You can’t really tell from the photograph,” he says. “But I got a good look at the whole apparatus before they carted him away. This strip”—Taylor uses a chewed-up pencil to point at the narrow cable in the photo—“is a plastic-jacketed wire. It would have been used to attach the body to something heavy, to weigh it down.”

“Like what?”

He shrugs. “Tough to say. This harbor is full of equipment that could weigh a man’s body down for the next century. It could’ve been just about anything. A mushroom, a trawl anchor, hell, even a decent length of sweep chain would do it.”

“But I thought it was the Dacron that sank.”

He smiles and shakes his head. “The Dacron makes the rope sink,” he says. “It wouldn’t hold a body down.”

I should’ve figured that much out for myself, of course. I’m lost, so I decide to move on for a minute. Sometimes that helps. “And what’s this?” I ask, pointing to the little eyelet on the end.

“That’s a pop-up,” he says. “Or part of one anyhow.”

I’m in a vocabulary class, it seems. “Help me here,” I tell Taylor. “To me, a pop-up is one of the little creatures that jumped off the storybook page when Luke was a toddler.”

He laughs. “Well, to us,” he says, “us fisher types, a pop-up is a TFR—a timed float release.” He smiles at me and tugs at his short, dark beard. He knows I don’t know what the hell he’s talking about. He also knows I desperately want to.

“Spill,” I tell him, “or I’ll be unavailable the next time one of your crewmen calls from lockup after the barrooms close.”

He laughs again, harder. “Whoa,” he says, “take it easy. That’s my livelihood you’re talking about. Them’s fightin’ words.”

I rest my forearms on the fish tote and wait.

“TFRs,” he says, “are underwater timers. They have a lot of uses, but around here they’re most often used to hide gear.”

“Hide gear?”

“Right,” he says. “If you’ve got traps set in the channel, say, and you’re not going to check them for a few days, you can use TFRs to hold the buoys and the lines underwater for that long. From the surface, no one can tell where your traps are.”

“So no one can steal your catch?”

He shrugs. “Some guys use them for that reason,” he says. “Poaching happens. But the bigger concern—in the channel, anyhow—is traffic. The volume of boat traffic out there is so high that gear gets taken out by accident all the time. And when that happens, you lose more than your catch. You’ve got to replace the damned gear.”

I shake my head. “But if no one else can tell where your traps are, how can you?”

“You can’t,” he says, “until the TFRs let go and your buoys pop up.”

I’m still lost and the look on Taylor’s face tells me he knows it. “Stay with me,” he says. “I can explain.”

He grabs a coffee can from the shelf behind him and roots through it. “This,” he says, handing me a small metal gadget, “is a pop-up. Just like the poly-dac, you’ll find a bunch of those in a bunch of different sizes on just about every boat in the harbor.”

This one is a little bigger than my thumb, a pewter-colored barrel with an eyelet on either end.

“If I’m not going to check my traps for a week,” he says, “I can use one of these on each of them. I attach one end of it to the trap, the other to the buoy. The weight of the trap holds the buoy—and the lines—down. My gear sits on the ocean floor, out of traffic, for the week.”

“And then?”

“And then the pop-up releases,” he says. “It lets go in the middle and my buoy floats to the surface when I want it to.”