False Memory

finance research he wished to conduct.
    Only child and sole heir, he killed his father with a massive dose of ultra short-acting thiobarbital combined with paraldehyde, injected into a pair of delicious chocolate-covered marzipan petits fours, for which the old man had a weakness. Before torching the house to destroy the mutilated body, the doctor performed a partial dissection of Dad’s face, searching for the source of his tears.
    Josh Ahriman was a spectacularly successful writer, director, and producer—a genuine triple threat—whose work ranged from simple love stories to patriotic tales of courage under fire. Diverse as these films were, they had one thing in common: Audiences the world over were reduced to tears by them. Some critics—though by no means all—labeled them sentimental hogwash, but the paying public flocked to the theaters, and Dad picked up two Oscars—one for directing, one for writing—before his untimely death at fifty-one.
    His movies were box-office gold because the sentiment in them was sincere. Although he had the requisite ruthlessness and duplicity to succeed big-time in Hollywood, Dad also possessed a sensitive soul and such a tender heart that he was one of the championship criers of his time. He wept at funerals even when the deceased was someone for whose death he had often and fervently prayed. He wept unashamedly at weddings, at anniversary celebrations, at divorce proceedings, at bar mitzvahs, at birthday parties, at political rallies, at cockfights, on Thanksgiving and Christmas and New Year’s Eve and the Fourth of July and Labor Day—and most copiously, bitterly, on the anniversary of his mother’s death, when he remembered it.
    Here was a man who knew all the secrets of tears. How to wring them from sweet grandmothers and labor racketeers alike. How to move beautiful women with them. How to use them to purge himself of grief, pain, disappointment, stress. Even his moments of joy were heightened and made more exquisite with the spice of tears.
    Thanks to a superb medical education, the doctor knew exactly how tears were manufactured, stored, and dispensed by the human body. Nevertheless, he expected to learn something from the dissection of his father’s lacrimal apparatus.
    In this he was to be disappointed. After trimming away Dad’s eyelids and then gently extracting his eyes, the doctor discovered each lacrimal gland where he expected it: in orbit, superior and lateral to the eyeball. The glands were of normal size, shape, and design. The superior and inferior lacrimal ducts serving each eye were likewise unremarkable. Each lacrimal sac—seated in a groove of lacrimal bone, behind the tarsal ligament and tricky to tease out intact—measured thirteen millimeters, which was the median size for an adult.
    Because the lacrimal apparatus was tiny, composed of very soft tissue, and damaged in the doctor’s limited autopsy, he had not been able to save any of it. He had only the eyeballs now, and in spite of his diligent preservation efforts—fixative, vacuum-packaging, regular maintenance—he could not entirely prevent their gradual deterioration.
    Shortly after his father’s death, Ahriman had carried the eyes with him to Santa Fe, New Mexico, where he believed that he would be better able to become his own man beyond the great director’s shadow, in which he would always stand if he remained in Los Angeles. Out there on the high desert, he achieved his initial successes and discovered his abiding passion for games of control.
    From Santa Fe to Scottsdale, Arizona, the eyes came with him, and most recently to Newport Beach. Here, little more than one hour south of Dad’s old stomping grounds, the passage of time and his own numerous accomplishments had brought the doctor forever out of that patriarchal shadow, and he felt as if he had come home.
    When Ahriman bumped the leg of the desk with his knee, the eyes rolled slowly in the formaldehyde and seemed to follow the progress of the last fried pecan as he conveyed it to his mouth.
    He left the dirty dishes on the desk but returned the jar to the safe.
    He dressed in a sartorial-cut, double-breasted, blue wool suit by Vestimenta, a custom-tailored white shirt with spread collar and French cuffs, and a figured silk tie with a plain but complimentary pocket square. From his father’s flair for period dramas, he had learned the value of costume.
    The morning was almost gone. He wanted to get to his office as much as two hours ahead