I was sure I didn't look that noble, happy, and savage, but perhaps that was what artistic license is all about. As I looked at the other drawings and began to get an idea what it was all leading up to, I was also quite sure that I didn't like this, no matter how flattering.

Not at all.

Many of the drawings showed ideas for ways to decorate anonymous bodies in the spirit of what Weiss had already done.

There was one that featured a woman with six breasts; where the extras would come from was not mentioned. She was wearing a flamboyant feathered hat and a thong, the kind of costume we had seen at Moulin Rouge in Paris. It hid almost nothing, but made everything seem so glamorous, and the effect of the sequined bras that barely covered all six breasts was absolutely riveting.

The next page had a letter-sized piece of paper wedged into the binding. I took it out and unfolded it. It was an airline schedule from Cubana Aviacion, printed from a computer and listing their flights from Havana to Mexico. It was tucked in with a drawing that depicted a man wearing a straw hat and holding an oar. A line had been drawn through it and next to it in bold and neat block letters was written, “REFUGEE!” I shoved the Aviacion printout back in and flipped the page. The next page showed a man with an opened body cavity stuffed with what appeared to be cigars and rum bottles.

He was propped up in a vintage convertible car with the top down.

But by far the more interesting drawings —at least to me —were the series featuring one strong central image of Dauntless Dimpled Dexter. It may not say a great deal about me that I found these pictures of myself so much more compelling than the ones that featured butchered strangers, but there is something endlessly fascinating about looking at drawings of yourself you've discovered in a homicidal psychopath's notebook. In any case, it was this final series that took my breath away. And if Weiss actually created his depictions, it would take my breath away literally and forever.

Because these, done in much more detail, were taken from the film loop that showed me working on Doncevic. They were accurately copied, showing almost exactly what I remembered from seeing that video so many times; almost. In several of the frames, Weiss had sketched in a slight change of angle so that the face showed.

My face.

Attached to the body doing all the chopping.