"Your husband is in Room 377. But you already know that, you've been there before," Dr. Lieberman is saying. He gestures toward the far end of the corridor. "Not often enough, perhaps, although I'm no one to talk. We're both busy professionals. "

Annie watches Lieberman turn in the opposite direction, her eyes following him as he starts up the hall. While his voice had remained neutral, that last remark had been superloaded with accusation, and she is unwilling to let it pass. He might think it is his God-given prerogative to relate his test results without climbing down off his perch to tell her what he means to do about them, but if there is some criticism he wants to level at her, then he damn well ought to be saying it in plain English.

She starts to call out to him, but before she can utter a sound, Lieberman pauses and looks back at her, giving her a thumbs-up.

"Turnips first and always," he says, and grins. "I'd advise you to hurry. "

Then he tips her a little salute and hustles up the hall, dwindling in perspective like a motion picture character about to vanish over the horizon.

I'd advise you to hurry.

Her heart stroking in her chest, she forgets about Lieberman and whirls toward the room in which her husband lies dying.

In instant later Annie is standing at its door. Breathless, she feels like she's come running over to it at full tilt, yet has no sense of her legs having carried her from the waiting room, of physically moving from point A to point B, of transition. It is as if she'd been staring at Lieberman's back one moment, and found herself here in front of the door the next, trying to stop herself from falling to pieces in spite of the death sentence that has been pronounced upon her husband.

For his sake, trying to hold up.

She takes a deep gulp of air, another. Then she reaches for the doorknob, turns it, and steps through into the room.

The light inside is all wrong.

Odd as it may be for her to register this before anything else, it is nevertheless what happens. The light is wrong. Not exactly dim, but diffuse enough to severely limit her vision. Although she can see the foot of her husband's bed without any problem, things start to blur immediately beyond it. As if through a layer of gauze, she sees the tubes, fluid drains, and monitor wires that run to the bed, sees the outline of Mark's legs under the blankets, sees that he is resting on his back, but his face...

She thinks suddenly of those televised news reports in which someone's features are concealed to protect his or her anonymity, the sort that might involve use of a hidden camera, or show crime suspects being led toward their arraignments by the police. Pictures in which it almost looks as if Vaseline has been dabbed over the part of the frame in which the person's face ought to appear.