Greg Iles - Dead Sleep

There is a map in The Mysterious Island. A hand-drawn topographic sort of thing, showing the island as it would appear from the air. The beach. The cove. The volcano with its hidden caves. A forest of palms, streams running through it. I could almost see the men down there, doing their best to get by, using their common sense, their natural gifts. I began to draw maps of my own. In the margins of my textbooks, on the backs of the mimeographed drawings they handed out at Thanksgiving: the Pilgrim or the Indian, which we colored with crayons only after hungrily sniffing the solvent on the purple mimeograph paper, still wet from the machine. When we finished coloring, the teacher would collect the pictures and tape them above the chalkboard in a long line. Mine never got the star for being the best. There was always someone who stayed completely within the lines, or had some fancy shading, or outlined their picture in heavy black crayon that they scraped flat with their fingernail. But I knew – even if the teacher didn’t notice – that on the back of my Pilgrim was a whole world, an island drawn with the finest detail a big red Eagle pencil could produce, a world I’d spent the last thirty minutes living in before hastily coloring in the lonely-looking Puritan with my Crayolas.

Without warning, my eyelids begin fluttering and my hands clench into fists. Something’s happening to my muscles. A voice tells me to keep my eyes closed until I know more about my situation, but the hunger for light is too strong.

Vision returns as swirling clouds, wisps of white on gray. Slowly, the clouds part to reveal the face of Thalia Laveau. The beautiful Sabine artist is sitting across from me, immersed to her breasts in a pool of yellowish water. Her head lolls against a rim of white enamel. Her eyes are closed, her skin pale to the point of blueness, and she is naked. I am naked too. Between us just an old-fashioned faucet. We’re in a bathtub.

I try to turn my head, but my neck muscles refuse to obey my brain. I must be content with what I can see from this position. The wall opposite me is made of glass. The roof above is also glass, long shining triangles of it, fanning out from a brace bolted to a redbrick wall above and to my left. Through the glass I see the sky, fading down to dusk. To my left, above the narrow ends of the fanning panes, the sky is blue; to my right, violet. I am facing north.

Moving only my eyes, I follow the glass down to within four feet of the ground, where it meets a brick wall. I’m in a conservatory of some type. A conservatory with a bathtub in it. Beyond the glass wall stand trees and tropical plants, beyond these a high brick wall. I’m almost convinced I’m dreaming when I hear the pad of feet.

“Welcome back,” says a male voice. “Add some hot water if you’re cold.”

The voice sounds familiar, but I can’t quite place it. It has the refinement of Frank Smith’s voice, but it’s pitched lower. With superhuman effort I turn my head to the left and find a scene so bizarre I am rendered speechless.

Roger Wheaton stands partly behind an artist’s easel, a paintbrush in his white-gloved hand, working feverishly on a large canvas that I cannot see. He is naked but for a white cloth tied around his waist and between his legs, like those that Renaissance artists used to cover the genitals of Jesus in crucifixion paintings. Wheaton’s body is surprisingly well muscled, but his torso is lined with bruises and hemorrhages, the kind I saw in Africa on pneumonia patients coughing themselves to death.

My first attempt to speak is only a rasp. But then saliva comes, and I get the words out. “Where am I?”

In one sense this is a rhetorical question. I’m in the place eleven other women occupied before me – twelve, including Thalia. I’m in the killing house. I am one of the Sleeping Women.

“You can’t move, can you?”

When I don’t answer, Wheaton walks over and turns the tap marked “H.” At first I shiver more, but then blessed heat begins to roll against my hip and stomach. He walks back to the painting, leaving me to push myself away from the steaming rush of water.

“Where am I?” I repeat.

“Where do you think you are?” Wheaton’s gaze moves from the canvas to me, then back again.

“The killing house,” I reply, using John Kaiser’s term.

He seems not to hear.

“Is Thalia dead?”

“Not clinically.”

I fight to keep my fear in check. “What does that mean? Is she sedated?”

“Permanently.”

“What?”

“Look at her.”

The surreal sense of horror that suffused me when I saw Wheaton is ratcheting down to pure animal fear, but I force myself to look at Thalia. The bathwater comes halfway up her breasts, which because they float seem more alive than their owner. I see no obvious wounds on her body. One arm hangs limp in the water, the hand wrinkled like the skin of a prune. Her other arm hangs outside the tub. Peering over the rim, I discover that my fear has barely begun to ascend the scale of terror. A white venous catheter enters her arm at the wrist, held in place by medical tape. From the catheter, a clear IV tube runs in a serpentine loop around the base of an aluminum stand and up to a bag hanging from an IV tree. The bag is empty, drained flat.

“What was in the bag?” I ask, trying to control my voice.

Wheaton holds the brush poised motionless in the air, then strikes the canvas quickly and repeatedly.

“Insulin.”

I shut my eyes, recalling Frank Smith’s description of Wheaton’s suicide plan: Insulin is painless, but sometimes it doesn’t bring death, just brain damage and coma…

“She’s in no pain,” he says, as though this mitigates the situation.

I try in vain to lift my right hand to turn off the faucet. “What’s wrong with my arms?”

Wheaton ignores me, flicking the brush over the canvas with remarkable speed. A belated impulse makes me turn over my own hand. The left one. It seems to take an eternity, but finally, on the outside of my wrist, I see a plastic tube running into one of my own veins. I try to yank it out but haven’t enough muscular control.

Wheaton admonishes me with an upraised finger. “Your bag is Valium. And a muscle relaxant. But that can easily change. So please, don’t bother the equipment.”

Valium? My second-favorite drug…

“I expected you to be unconscious for at least another hour.”

Wheaton suddenly straightens, then turns as though looking at himself in a mirror. Which is exactly what he is doing. To my right, propped between the bathtub and the wall, is a huge mirror like the ones used in ballet studios. Wheaton is not only painting Thalia and me – he’s painting himself.

“What are you painting?”

“My masterpiece. I call it Apotheosis.”

“I thought the circular painting back at the Newcomb gallery was your masterpiece.”

He laughs softly, as though at a private joke. “That was his masterpiece.”

My mind flashes back to the primitive, childlike images finger-painted on the floor beneath the drop cloth at the gallery. Then Wheaton carrying me, stepping over the stunned FBI man’s body. I’m not the man who painted that…

“This is my last,” he says.

“Last what?”

He gives me a sly look I could not have imagined on the Roger Wheaton I met a few days ago. “You know,” he says in a singsong voice.

“Thelast Sleeping Woman?”

“Yes. But this one’s different.”

“Because you’re in it?”

“Among other reasons.”

“You’re not wearing your bifocals,” I think aloud.

“Those weren’t mine.”

“Whose were they?”

He gives me a look I translate as Duh. Then he says, “They belonged to Roger. The weakling. The fag.”