Gately dreams Mrs. Waite and Death (p. 850)
Which is what makes it somehow worse that his next, even more unpleasant Joelle van Dyne pain-and-fever dream takes place in what is, unmistakably and unavoidably, Mrs. Waite’s kitchen, in great detail, right down to the ceiling’s light-fixture full of dried bugs, the brimming ashtrays, the bar-graph of stacked Globes, the maddening arrhythmic drip of the kitchen sink and the bad smell—a mixture of mildew and putrid fruit. […] Mrs. Waite is played by veiled U.H.I.D. House resident Joelle van D., except without her veil, and what’s more without any clothes, as in starkers, gorgeous, with that same incredible body as in the other one except here this time with the face not of a jowly British P.M. but of a total female angel, not sexy so much as angelic, like all the world’s light had gotten together and arranged itself into the shape of a face. Or something. […] Because in this dream, Mrs. Waite, who is Joelle, is Death. As in the figure of Death, Death incarnate.
Context
The second framed dream's staging. Between the two dreams sits the involuntary sober memory of Mrs. Waite — the shunned "witch" neighbor whose birthday cake got quarantined and trashed, who hanged herself weeks later — and the dream restages that guilt in her exact kitchen, with Joelle cast in her chair. The veil-logic inverts: where the first dream hid Churchill under the veil, this one removes the veil entirely and the face is unbearable the other way. Note the dream's casting language ("played by") — Gately dreams like a man watching a film.