Scene 2
Odile Ferrant, a woman in her thirties with short dark hair and a wind-reddened face, in a deep olive field shell with a small pale collar tab and a separate plain plate on the chest, a pack on her back, reaching into the middle tier of a tall pale grey instrument post on flat frozen tundra under a pale sky.

Odile Ferrant (Human, Survey Corps boundary officer)

Time
2834 UCSD, the survey's fourth year on the ground, the shifts after the fourth summary was signed
Location
Fliade — the upper junction, the squeeze and the line, and the station on the roof

Ferrant had the gravimeter's handset on her knee and had not looked at it in some time.

"I read instruments," she said. "Here is what an instrument is entitled to. On, it is entitled to its envelope, its bearing and its time, and nothing past them, and your unit has been exact about that for two years. Off, it is entitled to nothing. Nothing is not a reading. A channel that is off has no grade, because there is nothing to grade. What it has instead is a person."

Nakagawa waited. Egede, for once, waited too.

"Every station I have ever served on goes dark for a calibration. The channel is off, by order, for a stated interval, and the order has a name on it, and I have countersigned a hundred of those and never lost a night's sleep over one. What I cannot sign is a gap nobody owns. A gap with no name on it looks, in eleven years, exactly like a fault." She let that sit, because everyone at the table had been trained on the same case and knew which one she meant. "Own it. Name on it, interval on it, every shift, as Egede says. Then I will countersign it, and the file will be better than it is tonight, because tonight it has a thing in it nobody asked for and not one line saying so."

"You'd sign a survey keeping less."

"I would sign a survey saying what it kept and what it chose not to. I have never once been offered the second half. It's a better file than most."

She went back to the handset, and then did not.

"One more thing, and it isn't advice. The one on the line has answered a stone every shift for two years into an instrument it doesn't know is there. I can't read that. I have no page for it and I'm not going to pretend one. But I know what the only thing is that a roof can do about an instrument someone doesn't know is there, because it's what I did with the third shelf the day I came. You stop it hearing. You don't get to undo the two years. You get to say when it stopped."

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