“Maybe you could come take some pictures of Jana and Kevin. Kids grow up so fast, they’re gone before you know it.”
“I’d like that,” I said. I opened the screen door for her and looked both ways down the street at the darkness. “All clear,” I said, and she went out. I shut the screen door between us.
She turned and looked at me one last time with her dear, open face that even I hadn’t been able to close. “I miss them,” she said.
I put my hand up to the screen. “I miss them, too.”
I watched her to make sure she turned the corner and then went back in the living room and took down the picture of Misha. I propped it against the developer so Segura would be able to see it from the door. In a month or so, when the Amblers were safely in Texas and the Society had forgotten about Katie, I’d call Segura and tell him I might be willing to sell it to the Society, and then in a day or so I’d tell him I’d changed my mind. When he came out to try to talk me into it, I’d tell him about Perdita and Beatrix Potter, and he would tell me about the Society.
Chiwere and Ramirez would have to take the credit for the story—I didn’t want Hunter putting anything else together—and it would take more than one story to break them, but it was a start.
Katie had left the print of Mrs. Ambler on the couch. I picked it up and looked at it a minute and then fed it into the developer. “Recycle,” I said.
I picked up the eisenstadt from the table by the couch and took the film cartridge out. I started to pull the film out to expose it, and then shoved it into the developer instead and turned it on. “Positives, one two three order, five seconds.”
I had apparently set the camera on its activator again— there were ten shots or so of the back seat of the Hitori. Vehicles and people. The pictures of Katie were all in shadow. There was a Still Life of Kool-Aid Pitcher with Whale Glass and another one of Jana’s toy cars, and some near-black frames that meant Katie had laid the eisenstadt face-down when she brought it to me.
’Two seconds,” I said, and waited for the developer to flash the last shots so I could make sure there wasn’t anything else on the cartridge and then expose it before the Society got here. All but the last frame was of the darkness that was all the eisenstadt could see lying on its face. The last one was of me.
The trick in getting good pictures is to make people forget they’re being photographed. Distract them. Get them talking about something they care about.
“Stop,” I said, and the image froze.
Aberfan was a great dog. He loved to play in the snow, and after I had murdered him, he lifted his head off my lap and tried to lick my hand.
The Society would be here any minute to take the longshot film and destroy it, and this one would have to go, too, along with the rest of the cartridge. I couldn’t risk Hunter’s being reminded of Katie. Or Segura taking a notion to do a print-fix and peel on Jana’s toy cars.
It was too bad. The eisenstadt takes great pictures. “Even you’ll forget it’s a camera,” Ramirez had said in her spiel, and that was certainly true. I was looking straight into the lens.
And it was all there, Misha and Taco and Perdita and the look he gave me on the way to the vet’s while I stroked his poor head and told him it would be all right, that look of love and pity I had been trying to capture all these years. The picture of Aberfan.
The Society would be here any minute. “Eject,” I said, and cracked the cartridge open, and exposed it to the light.
1990
48th Convention The Hague, Holland
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The Last of the Winnebagos Page 7
