Double Image

“I won’t let him down.”

“He didn’t think you would. You’d be surprised how close he was begi

“Tell me?”

“The camera is yours.”

“… What?”

“It’s not a loan. It’s a gift. I guess you could call it an inheritance.”

19

SO, WEIGHED DOWN WITH GRIEF, Coltrane brought Packard back to life. He couldn’t help thinking that way as he worked in the darkroom, a faint amber safelight over his head. Je

Je

Sorrow negated any tone of satisfaction that Coltrane might have felt. The odor of chemicals was bitter. “I took a dozen exposures, but this is the one I knew I wanted.”

The image showed Packard looking shrunken in his pajamas and his housecoat, sitting in his wheelchair, the fireplace in the background. The aperture setting Coltrane had used had allowed him to keep that background in focus, specifically part of a burnt-out log in the hearth, the kind of symbolic detail that Packard had liked to use in his early work.

“His eyes,” Je

Coltrane nodded. “The expression in them constantly changed – from arrogance to impatience to irony to amusement to calculation. But this particular expression was the one I wanted. Earlier, when he’d looked at the collection of his photos I brought for him to autograph, his eyes became sad. There wasn’t a hint of pride in his reaction to what he’d created. Instead, the only thing the photographs seemed to do was remind him of the passage of time.”

“Did you have any trouble getting him to hold the book in his lap?”

“Not at all. He told me, ‘I surrender myself.’”

“So now we have a photograph of a fragile old man who happens to be a genius, inspecting the contents of one of his books. A photograph about a photographer and his photographs.”

Coltrane’s voice was filled with melancholy. “His photos stayed the same, but he got older.”

“But now he stays the same in this photo.”

“I wonder what it’ll feel like, going where Packard did, doing what he did, trying to be him.”

THREE

1

APPROACHING THE BEVERLY HILLS HOTEL, Coltrane steered left off Sunset Boulevard and headed up Benedict Canyon Drive. It was a little after eight Wednesday morning, the day after Packard’s funeral. Determined to start the project, he and Je

“Don’t keep me in suspense. Which house is first on the list?” Je

“Falcon Lair.” Coltrane wore his typical work clothes: leather hiking boots, jeans, and a navy sweatshirt.

In contrast, Je

“The sheik himself.”

“I never understood why he called the place Falcon Lair.”

“In the mid-twenties, Valentino’s second wife was trying to get the studio to let her supervise the production of one of his movies. The picture was called The Hooded Falcon. But she ran up costs so much that the studio canceled it. To make her feel better, Valentino named the mansion they were building in honor of the aborted project. They got divorced shortly afterward.”

“And what happened to Valentino?”

“When his wife left him, he threatened to blow his brains out. Instead, he bought tons of antique furniture – suits of armor and Moorish screens, crap like that. It was more than Falcon Lair would hold, but he managed to cram it all in there. In the end, he almost spent himself into bankruptcy. He worried about his career until he died at the age of thirty-one from a bleeding ulcer.”

2

PACKARD’S MUCH- PRAISED PHOTOGRAPH OF FALCON LAIR had been taken from a neighboring hilltop. It showed the thirteen-room mansion tiny in the distance, surrounded by a high white wall, perched on a flattened ridge, looking so isolated that it bore an intriguing resemblance to a Spanish monastery. None of the many hills beyond it had any houses on it, but tentacle-like roads predicted the invasion about to take place. On the bottom left of the photograph, amid exposed earth on one of the slopes, a developer’s sign a

3

NEAR THE TOP OF BENEDICT CANYON DRIVE, Coltrane chose a secluded street to the left and headed higher into the wooded hills. The neighborhood became increasingly deserted the more the houses looked expensive.

“How do you know this is the way?” Je

“I don’t. Monday, I bought a contour map and tried to orient it with Packard’s photo and a Beverly Hills street guide. Falcon Lair is on one of those bluffs to the right, so we have to go in the opposite direction to find the spot where Packard took the photograph.”

Je

“And all these trees cut off the view, so we don’t know where we are in relation to Falcon Lair.”

Six hours later, dogged determination was all that kept them going. “This assignment needs an explorer, not a photographer,” Coltrane said as he steered onto yet another side street.

Je

“Maybe getting me to do this project was Packard’s idea of a practical joke.” Coltrane reached the crest of what seemed the hundredth side street and pointed toward a walled estate on the left. “Do you think this is where he took the photograph?”

Je

A breeze smelled sweet. Despite the recent rain, Coltrane heard a lawn sprinkler.

“Could be.” He studied the estate. It was higher than the street. In fact, it was on the highest spot around. “From inside, we might be able to see over the trees toward the opposite side of the canyon.”

Je

“Yeah, maybe the day won’t be a total waste. Maybe I can still get some shots.”

The rhododendron-lined driveway had a closed metal gate. A smaller closed gate had a sidewalk leading onto the property. An intercom was mounted on an ivy-covered wall.

Coltrane pushed the button.

“Hello?” A female voice, sounding ti