Dead Sleep (3 page)

2

THIRTEEN MONTHS AGO, on a hot summer morning, my twin sister Jane stepped out of her town house on St. Charles Avenue in New Orleans to run her daily three-mile round of the Garden District. Her two young children waited inside with the maid, first contentedly, then anxiously as their mother's usual absence stretched beyond any they remembered. Jane's husband Marc was working in blissful ignorance at his downtown law firm. After ninety minutes, the maid called him.

Knowing you could walk one block out of the Garden District and be in a free-fire zone, Marc Lacour immediately left work and drove the streets of their neighborhood in search of his wife. He cut the Garden District into one-block grids from Jackson Avenue to Louisiana and methodically drove them a dozen times. Then he walked them. He left the Garden District and questioned every porch-sitter, shade-tree mechanic, can-kicker, crack dealer, and homeless person he could find on the adjoining streets. No one had heard or seen anything of Jane. A prominent attorney, Marc immediately called the police and used his influence to mount a massive search. The police found nothing.

I was in Sarajevo when Jane disappeared, shooting a series on the aftermath of the war. It took me seventy-two hours to get to New Orleans. By that time, the FBI had entered the picture and subsumed my sister's disappearance into a much larger case, designated NOKIDS in FBI-speak, for New Orleans Kidnappings. It turned out that Jane was fifth in a rapidly growing group of missing women, all from the New Orleans area. Not one corpse had been found, so all the women were classified as victims of what the FBI called a “serial kidnapper.” This was the worst sort of euphemism. Not one relative had received a ransom note, and in the eyes of every cop I spoke to, I saw the grim unspoken truth: every one of those women was presumed dead. With no crime-scene evidence, witnesses, or corpses to work with, even the Bureau's vaunted Investigative Support Unit was stumped by the cold trail. Though women continued to disappear and still do, neither the Bureau nor the New Orleans police have come close to discovering the fate of my sister or any of the others.

I should clarify something. Not once since my father vanished in Cambodia have I sensed that he was truly dead, gone from this world. Not even with the last frame of film he shot showing an executioner's pistol pointed at his face. Miracles happen, especially in war. For this reason I've spent thousands of dollars over the past twenty years trying to find him, piggybacking my money with that of the relatives of Vietnam-era MIAs, giving what would have been my retirement money to scam artists and outright thieves, all in the slender hope that one lead among the hundreds will turn out to be legitimate. On some level, my decision to take the advance for my book was probably a way to be paid to hunt for my father in person, to tramp across Asia with an eye to my camera and an ear to the ground.

With Jane it's different. By the time my agency tracked me down on a CNN satellite phone in Sarajevo, something had already changed irrevocably within me. As I crossed a street once infested with snipers, a nimbus of dread welled up in my chest—not the familiar dread of a bullet with my name on it, but something much deeper. Whatever energy animates my soul simply stopped flowing as I ran, and the street vanished. I kept running blindly into the dark tunnel before me, as though it were nine years before, during the worst of it, when the snipers shot anything that moved. A CNN cameraman yanked me behind a wall, thinking I'd seen the impact of a silenced bullet on the concrete. I hadn't, but a moment later, when the street returned, I felt as though a bullet
had
punched through me, taking with it something no doctor could ever put back or put right.

Quantum physics describes “twinned particles,” photons of energy that, even though separated by miles, behave identically when confronted with a choice of paths. It is now thought that some unseen connection binds them, defying known physical laws, acting instantaneously without reference to the speed of light or any other limit. Jane and I were joined in this way. And from the moment that dark current of dread pulsed through my heart, I felt that
my
twin was dead. Twelve hours later, I got the call.

Thirteen months after that—two hours ago—I walked into the museum in Hong Kong and saw her painted image, naked in death. I'm not sure what happened immediately after. The earth did not stop turning. The cesium atoms in the atomic clock at Boulder did not stop vibrating. But time in the subjective sense—
the time that is me
—simply ceased. I became a hole in the world.

The next thing I remember is sitting in this first-class seat on a Cathay Pacific 747 bound for New York, a Pacific Rim sunset flaring in my window as the four great engines thrum, their vibration causing a steady ripple in the scotch on the tray before me. That was two whiskeys ago, and I still have another nineteen hours in the air. My eyes are dry and grainy, stinging. I am cried out. My mind gropes backward toward the museum, but there is something in the way. A shadow. I know better than to try to force the memory. I was shot once in Africa, and from the moment the bullet ripped through my shoulder till the moment I came to my senses in the Colonial Hotel and found myself being patched up by an Australian reporter whose father was a doctor, everything was blank. The missing events—a hectic jeep ride down an embattled road, the bribing of a checkpoint guard (in which I participated)—only returned to me later. They had not disappeared, but merely fallen out of sequence.

So it was at the museum. But here, in the familiar environment of the plane, in the warm wake of my third scotch, things begin to return. Brief flashing images at first, then jerky sequences, like bad streaming video. I'm standing before the painting of a naked woman whose face is mine to the last detail, and my feet are rooted to the floor with the permanence of nightmares. The men crowding me from behind believe I'm the woman who modeled for the painting on the wall. They chatter incessantly and race around like ants after kerosene has been poured on their hill. They are puzzled that I am alive, angry that their fantasy of “Sleeping Women” seems to be a hoax. But I know things they don't. I see my sister stepping out onto St. Charles Avenue, the humidity condensing on her skin even before she begins to run. Three miles is her goal, but somewhere in the junglelike Garden District, she puts a foot wrong and falls into the hole my father fell into in 1972.

Now she stares back at me with vacant eyes, from a canvas as deep as a window into hell. Having accepted her death in my bones, having mourned and buried her in my mind, this unexpected resurrection triggers a storm of emotions. But somewhere in the chemical chaos of my brain, in the storm's dark eye, my rational mind continues to work. Whoever painted this picture has knowledge of my sister
beyond
the moment she vanished from the Garden District. He knows what no one else could: the story of Jane's last hours, or minutes, or seconds. He heard her last words. He—
He . . . ?
Why do I assume the painter is a man?

Because he almost certainly is. I have no patience with the Naomi Wolfs of the world, but there's no denying statistical fact. It is men who commit these obscene crimes: rape; stranger murder; and the
pièce de résistance,
serial murder. It's an exclusively male pathology: the hunting, the planning, the obsessively tended rage working itself out in complex rituals of violence. A man hovers like a specter behind these strange paintings, and he has knowledge that I need. He alone in the world can give me what has eluded me for the past year. Peace.

As I stare into my sister's painted eyes, a wild hope is born in my chest. Jane
looks
dead in the picture. And the audio tour announcer suggested that all the women in this series are. But there must be some chance, despite my premonition in Sarajevo, that she was merely unconscious while this work was done. Drugged maybe, or playing possum, as my mother called it when we were kids. How long would it take to paint something like this? A few hours? A day? A week?

A particularly loud burst of Chinese snaps the spell of the picture, waking me to the tears growing cold on my cheeks, the hand grasping my shoulder. That hand belongs to one of the bastards who came here today to ogle dead women. I have a wild urge to reach up and snatch the canvas from the wall, to cover my sister's nakedness from these prying eyes. But if I pull down a painting worth millions of dollars, I will find myself in the custody of the Chinese police—a disagreeable circumstance at best.

I run instead.

I run like hell, and I don't stop until I reach a dark room filled with documents under glass. It's ancient Chinese poetry, hand-painted on paper as fragile as moths' wings. The only light comes from the display cases, and they fluoresce only when I come near. My hands are shaking in the dark, and when I hug myself, I realize the rest of me is shaking too. In the blackness I see my mother, slowly drinking herself to death in Oxford, Mississippi. I see Jane's husband and children in New Orleans, trying their best to live without her and not doing terribly well at it. I see the FBI agents I met thirteen months ago, sober men with good intentions but no idea how to help.

I shot hundreds of crime-scene photos when I was starting my career, but I never quite realized how important a dead body is to a murder investigation. The corpse is ground zero. Without one, investigators face a wall as blank as unexposed film. The painting back in the exhibition room is not Jane's corpse, but it may be the closest thing anyone will ever find to it. It's a starting point. With this realization comes another: there are other paintings like Jane's. According to the audio tour, nineteen. Nineteen naked women posed in images of sleep or death. As far as I know, only eleven women have disappeared from New Orleans. Who are the other eight? Or are there only eleven, with some appearing in more than one painting? And what in God's name are they doing in Hong Kong, halfway around the world?

Stop!
snaps a voice in my head. My father's voice.
Forget your questions! What should you do NOW?

The audio tour said the paintings are sold through a U.S. dealer named Christopher something in New York. Windham? Winwood? Win
gate.
To be sure, I pull the Walkman off my belt and jam it into my crowded fanny pack. The movement triggers a display case light, and my eyes ache from the quick pupillary contraction. As I slide back into the shadows, the obvious comes clear: if Christopher Wingate is based in New York, that's where the answers are. Not in this museum. In the curator's office I will find only suspicious curiosity. I don't need police for this, especially communist Chinese police. I need the FBI. Specifically, the Investigative Support Unit. But they're ten thousand miles away. What would the boy ge niuses of Behavioral Science want from this place? The paintings, obviously. I can't take those with me. But the next-best thing is not impossible. In my fanny pack is a small, inexpensive point-and-shoot camera. It's the photojournalist's equivalent of a cop's throwdown gun, the tool you simply can't be without. The one day you're sure you won't need a camera, a world-class tragedy will explode right in front of you.

Move!
orders my father's voice.
While they're still confused.

Retracing my steps to the exhibition room is easy; I simply follow the babble of conversation echoing through the empty halls. The men are still milling around, talking about me, no doubt, the Sleeping Woman who isn't sleeping and certainly isn't dead. I feel no fear as I approach them. Somewhere between the document room and this place labeled “Nude Women in Repose,” I shoved my sister into a dark memory hole and became the woman who has covered wars on four continents—my father's daughter.

With my sudden reappearance, the Chinese draw together in excited knots. A museum guard is questioning two of them, trying to find out what happened. I walk brazenly past him and shoot two pictures of the woman in the bathtub. The flash of the little Canon sets off a blast of irate Chinese. Moving quickly through the room, I shoot two more paintings before the guard gets a hand on my arm. I turn to him and nod as though I understand, then break away toward the painting of Jane. I get off one shot before he blows his whistle for help and locks onto my arm again, this time with both hands.

Sometimes you can b.s. your way out of situations like this. This is not one of those times. If I'm still standing here when Someone In Authority arrives, I'll never get out of the museum with my film. I double the guard over with a well-placed knee and run like hell for the second time.

The police whistle sounds again, though this time with a faint bleat. I skid to a stop on the waxed floor, backpedal to a fire door, and crash through to the outside, leaving a wake of alarms behind me. For the first time I'm glad for the teeming crowds of Hong Kong; even a roundeye woman can disappear in less than a minute. Three hundred yards from the museum, I hail a taxi and order him not to the Star Ferry, which someone might remember me boarding, but through the tunnel that crosses beneath the harbor.

Back on the Hong Kong side, we race to my hotel. I'm staying at the Mandarin, which is too expensive for me but has great sentimental value. As a child, I received several letters from my father on its stationery. Inside my room, I throw my clothes into my suitcase, pack my cameras into their aluminum flight cases, and take a different cab to the new airport. I intend to be out of Chinese airspace before some enterprising cop figures out that, while they may not have my name, they have a perfect likeness of my face on their museum wall. They could have flyers at the airport and the hotels in less than an hour. I'm not sure why they would—I've committed no crime, other than stealing a Walkman—but I've been arrested for less before, and in the paranoid world of the Hong Kong Chinese, my behavior around multimillion-dollar paintings would make me an excellent candidate for “temporary detention.”