The Three-Body Problem

After reexamining the negatives, Wang discovered another strange thing about the numbers: They seemed to adapt to the background. If the background was black, the numbers were white, and vice versa. The shift seemed designed to maximize the numbers’ contrast for visibility. By the time Wang saw the sixteenth negative, his heart was beating faster, and a chill crept up his spine.

This shot was of a dead tree against an old wall. The wall was mottled, showing a pattern of alternating black and white patches on the negative. Given this background, either white or black numbers would have been hard to read. But in the picture, the numbers arranged themselves vertically to fit along the curve of the tree trunk, allowing the white numbers to show up against the dark coloring of the dead tree like a crawling snake.

Wang began to analyze the mathematical pattern in the numbers. At first he thought it was some kind of assigned numbering, but the difference between the numbers wasn’t constant. He then guessed that the numbers represented time in the form of hours, minutes, and seconds. He took out his shooting diary, in which he recorded the exact time he took each picture down to the minute, and discovered the difference between two successive numbers on the photographs corresponded to the difference in time between when they were taken.

A countdown.

The countdown began with 1,200 hours. And now there were about 1,194 hours left, just under 50 days.

Now? No, at the moment I took the last photograph. Is the countdown still proceeding?

Wang walked out of the darkroom, loaded a new roll of film in the Leica, and began to snap random shots. He even walked onto the balcony for a few outdoor shots. Afterward, he took out the film and went back into the darkroom. In the developed roll, the numbers again appeared on every negative like ghosts. The first one was marked 1187:27:39. The difference matched the passage of time between the last shot of the last roll and the first shot of this roll. After that, the number decreased by three or four seconds in each image: 1187:27:35, 1187:27:31, 1187:27:27, 1187:27:24 … just like the intervals between the quick shots he had taken.

The countdown continued.

Wang again loaded a new roll of film. He snapped off the shots rapidly, even taking a few with the lens cap on. As he took out the roll of film, his wife and son returned. Before he went into the darkroom to develop the film, he loaded another roll of film in the Leica and handed it to his wife. “Here, finish the roll for me.”

“What am I supposed to shoot?” His wife looked at him, amazed. He never allowed anyone to touch his camera, though she and their son had no interest in doing so either. In their eyes, it was a boring antique that cost more than twenty thousand yuan.

“Doesn’t matter. Just shoot whatever you want.” Wang stuffed the camera into her hands and ducked into the darkroom.

“All right. Dou Dou, why don’t I take some pictures of you?” His wife aimed the camera at their son.

Wang’s mind suddenly filled with the imagined sight of the ghostlike figures appearing over his son’s face like a hangman’s noose. He shuddered. “No, don’t do that. Shoot something else.”

The shutter clicked, and his wife had taken her first shot. “Why can’t I press it again?” she asked. Wang taught her how to wind the film to advance it. “Like that. You have to do it after every shot.” Then he ducked back into the darkroom.

“So complicated!” His wife, a doctor, couldn’t understand why anyone would use such expensive but outdated equipment when ten- or even twenty-megapixel digital cameras were common. And he even used black-and-white film.

After the third roll of film developed, Wang held it up against the red light. He saw that the ghostlike countdown continued. The numbers showed up clearly on every randomly shot picture, including the few he had taken with the lens cap on: 1187:19:06, 1187:19:03, 1187:18:59, 1187:18:56 …

His wife knocked on the darkroom door and told him she was finished with the roll. Wang opened the door and took the camera from her. As he took out the roll, his hands trembled. Ignoring his wife’s concerned look, he took the film back into the darkroom and shut the door. He worked fast and clumsily, spilling developer and fixer all over the ground. Soon the images were developed. He closed his eyes, silently praying, Please don’t appear. No matter what, please don’t appear now. Don’t make it my turn.…