Greg Iles - Dead Sleep

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Dead Sleep: краткое содержание, описание и аннотация

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From Publishers Weekly
Iles continues to amaze with his incredible range, this time around crafting a complex serial killer novel with the intimacy of a smalltown cozy and the punch of a techno-thriller. As different from Spandau Phoenix and 24 Hours as possible, it scores with surefooted plotting, a diverse cast of characters and perfectly calibrated suspense. An anonymous painter's series of candidly posed nudes called The Sleeping Woman bursts on the art scene, each painting selling in the million-dollar range overnight amid rumors that the models are not sleeping but dead. Beautiful, burned-out war photographer Jordan Glass chances into a show and recognizes the subject of a painting as her identical twin, Jane, who was kidnapped near her New Orleans home and never found. Jordan contacts the FBI agent who handled her sister's case, thereby setting in motion a hunt that ties the paintings to the disappearance of at least 11 New Orleans women. Persuading the FBI task force to add her to the team, Jordan tags along to Tulane University, where evidence points to art department head Roger Wheaton, who has a peculiar terminal illness, and his brilliant but disturbed graduate students. Meanwhile, Jordan falls for damaged FBI agent John Kaiser, and together they link her sister's case to a French expat art collector from Vietnam who knew Jordan's war photographer father who disappeared in Cambodia. Are all the women really dead? Is Jordan's father alive and involved? Is there more than one killer? Iles keeps the reader guessing right up to the double surprise ending, delivering the perfect final payoff his readers expect.

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“Where will you be?” Kaiser asks in a taut voice.

“Surveillance van outside. Arthur’s going to wear a wire.”

Kaiser’s mouth falls open.

“It’s a major break with Bureau policy,” says Baxter, “but the Director has personally approved it. The police insisted on live transmission and tapes as a condition of letting us handle the interviews alone.”

“And Glass?” Kaiser says without looking at me.

“She’ll be in the van with me until Arthur cues her. The code phrase is, ‘I’m sorry, our photographer was supposed to be here ten minutes ago.’ That’s the story for the suspects: we’re not confiscating their paintings, just photographing them. Once we’ve finished, though, NOPD will be confiscating everything in sight. These suspects are going to be totally alienated after that, and there’s nothing we can do about it. We’ve got one shot at each of them. Wheaton we treat with kid gloves. Gaines is second, and we go in hard. John, you’ll take the lead with Gaines, because you have more experience with convicts. Smith and Laveau we play by ear. But in every case, when Ms. Glass comes in-”

“Please just call me Jordan,” I cut in. ‘“Ms. Glass’ is getting old.”

Baxter nods gratefully. “When Jordan comes in, she won’t look directly at the suspect. This will make someone who’s shocked by her appearance have to work harder to confirm what his eyes are telling him. The innocent people won’t look at her twice – though I’m sure Gaines will ogle her a little – but the guilty one should look like he’s seen a ghost. Which, in a sense, he will have.”

“Or she,” says Kaiser.

“Or she,” Baxter concedes.

“Gaines will ogle me a little?” I echo. “He looks like he’d walk up, lick my face, and dare me to slap him.”

“If he does,” says Bill Granger, the violent crimes supervisor, “kick him in the balls.”

Baxter frowns. “If Gaines does do something like that, don’t overreact. We have no idea what could happen when you walk into these situations. The painter could be the killer – if the women are being killed – and he could decide the game is up the moment he sees you. He could do something totally crazy. For this reason, John will be armed going in.” Baxter looks hard at his former protege. “Use your best judgment about force.”

This part of the plan clearly makes Lenz nervous. Even I see a mental image of Kaiser leaping over a metal prison table and trying to strangle the death-row inmate he told me about. But Baxter is showing clear support for Kaiser, and Lenz doesn’t question it. Not in front of him, anyway.

“If either of you comes out and says somebody’s dirty,” says Baxter, “we bring them in for interrogation before the police get in on the act.” He looks around the table. “Okay. We’ll have another strategy meeting tomorrow morning, here, seven a.m. From eight o’clock on, we’ll have police observers with us. Everybody good to go?”

Lenz sniffs and gives Baxter an ironic smile. I try to catch Kaiser’s eye, but he gives me nothing.

“I need a bite to eat and some sleep,” I tell them, rising from my chair.

“Take Agent Travis with you,” Baxter says, meaning Wendy.

“I will.”

“The Camellia Grill is still open,” Kaiser says in an offhand voice. “You know it?”

“I probably ate there a hundred times in my younger days.”

“What do you keep in that waist pack?” asks Lenz.

“It’s my genie’s lamp. I rub it, and whatever I need comes out.”

“It must weigh a lot,” SAC Bowles says dryly.

“It does. But aren’t you glad I had a camera in there during the gallery fire?”

“Yes, we are,” says Baxter. “Get some sleep, Jordan. Tomorrow’s a very big day.”

“I’ll see you here at seven.”

Kaiser gives me a wave as I depart, but Dr. Lenz only watches, his wise eyes missing nothing.

12

The Camellia Grill stands at the intersection of Carrollton and St. Charles, with the river rolling past just beyond the levee. Like many New Orleans institutions, it’s a modest place, an old-time grill with pink walls, aproned employees, and stools at the bar. Agent Wendy and I have been here long enough to get menus when John Kaiser walks through the door and scans the room. He comes straight to us and looks down at Wendy, whose expression quickly morphs from surprise to discomfort.

“Could I see you alone for a minute?” he asks.

She gets up without a word and follows him outside. Through the window, I see Kaiser speaking, Wendy listening attentively. When they come back in, Wendy goes to the far end of the bar while Kaiser takes her stool beside me.

“That didn’t look very smooth,” I tell him. “What did you say to her?”

“That I needed to talk to you without Lenz hearing.”

“I see. She’s got a terrible crush on you.”

“I never encouraged it.”

“You think that makes it any better for her?”

Kaiser picks up a menu. “She’s a good girl, and she’s tough. She can handle it.” He glances up at me, and his eyes seem to hold more understanding than his words. The skin around his eyes is dark with fatigue.

“Okay,” I say, looking at my own menu. “What are we doing here?”

“This is our first date, isn’t it?” He says it deadpan, and I laugh in spite of myself.

“Come on. What’s going on?”

“Just what I told Wendy. I want to talk to you without Lenz around. Or Baxter, for that matter. I have a certain amount of anxiety that we’re behind the curve. That whoever’s running this thing is ahead of us. Maybe way ahead.”

I sense the disquiet in him, in the way he holds himself. “Okay. Tell me about it.”

“I can’t explain it. It’s a feeling. I want to do something about it, though.”

“What?”

“We’ll get to it. Let’s order.”

Kaiser signals a waiter, and he comes almost immediately. We order omelets and orange juice, and I ask for cafe au lait as well. It’s nice to be in a place where they’d look at you like an idiot if you asked for some fancy latte or exotic extras. Glancing to my left, I catch Wendy watching us over her shoulder.

“What will Baxter say about you talking to me alone?”

“I don’t think Wendy will tell him. She’ll give us the benefit of the doubt this time.”

“But he wouldn’t like it, would he?”

“He trusts me, to a point. He wouldn’t like what I’m going to say.”

“Which is?”

Kaiser puts his elbows on the counter and rotates his stool so that he faces me more directly. “Have you ever fired a handgun?”

“Yes.”

“An automatic or a revolver?”

“Both.”

“If I got you one, would you carry it?”

“What would Baxter think about that?”

“He wouldn’t like it. And the Office of Professional Responsibility would probably fire me.”

“So why are you suggesting it?”

“Because I think you’re in danger. If the UNSUB wants you, he could shoot Wendy before either of you knew he was there. Then it would just be you and him. If you’re armed, you might have a chance to react in time.”

“You mean kill him?”

“Could you do it?”

“If he shot Wendy in front of me? You’re damn straight.”

“What if he just knocked her out and tried to pull you into a car? Would you shoot him then?”

A wave of discomfort rolls through me, flashes of memory that I thrust back into the dark. “I’ll do what I have to do to save myself.”

Kaiser’s eyes never leave my face. “Have you ever shot anybody before?”

“I’ve been shot before. Let’s leave it at that.”

“I get the feeling your life has been exciting even by the standard of war correspondents.”

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