FOUR

      Careening out of the mouth of the alley, I come face-to-face with a spectacle I covered dozens of times early in my career. The classic fire scene: engines with red lights flashing and hoses spraying; squad cars and EMS vehicles arriving; cops yelling; a crowd of spectators, the eternal crowd, spilling out of the bar and the video store, gaping, drinking, and shouting into cell phones. Most of them poured out of the bar after hearing “an explosion,” and the smell of liquor spices the air. The police are trying to herd them back behind a taped perimeter, to protect them from falling brick and flying glass, but they’re slow to move. I walk right past the biggest cop and point my camera at the fire.

      “Hey!” he yells. “Get back behind this tape!”

      “The Post,” I tell him, holding up my camera.

      “Let me see your card.”

      “I don’t have it. I was having a drink in the bar with some friends. That’s why all I have is this crappy point-and-shoot. Give me a break, man, I’m the first one here. I can scoop everybody.”

      As the cop deliberates, I turn back to the mouth of the alley, forty meters away, but no one comes running out of it. The corner wall blurs for a moment, though, the vertical line of brick seeming to wrinkle in the dark. Was that him? Is he trying to figure a way to get to me even now? A deep crack rumbles from the bowels of Wingate’s building, and masonry cascades into the street. The crowd gives its obligatory gasp.

      “Come on, man! I’m missing the show!”

      The cop jerks his head toward the building, and I’m past him in a flash, moving along the perimeter of the crowd, shooting as I go. No one seems to notice that I’m shooting the crowd and not the fire. Every now and then I point the camera up at the burning building, but I don’t waste any exposures on it.

      The expressions on the faces are all the same: primitive fascination bordering on glee. A couple of female faces show empathy, a sense that this destruction is a tragedy, but with no shrieking mothers with infants leaping from windows, no teenagers trying to climb down burning bedsheets, the mood is more like a party.

      If the guy in the alley didn’t set this fire, the person who did is probably in this crowd. Arsonists love to watch their fires burn, they almost have to do it. But what are the odds that this blaze was set by a firebug? Twenty-four hours after I discover a link between the Sleeping Women and the New Orleans victims, the only human connection to the artist is burned alive? The timing is too perfect. This fire was set to silence Christopher Wingate. And the man who did it could be standing within yards of me right now. I may already have his face on film.

      From the reading I did after Jane was taken, I learned that serial killers often return to the scenes of their crimes, to revel in their success, to relive their dreadful acts, even to masturbate where they listened to their victims’ pleas. Killing Wingate would be nothing like killing the women in the paintings; it would be a utilitarian crime, an act of survival. But the murderer might well wait to be sure he accomplished his goal. And who knows what twisted history the two men might have shared? What did Wingate say to me? You wouldn’t believe some of the things I’ve seen.

      As I turn back from the burning building, a furtive movement registers in my peripheral vision. Wide eyes dropping below the back edge of the crowd, off to my right. People are standing five deep at the tape now, and I can’t see the eyes anymore. But as I watch, a sock cap begins to move along the back of the crowd, coming in my direction. Throwing up my camera arm, I pop off a shot over the heads of the crowd. The head disappears, then reappears still closer. I squeeze the shutter release again, but it won’t depress, and then I feel the vibration of the rewind motor in my hand; the crowd noise prevented my hearing it.

      I’m out of film.

      The sock cap moves forward now, pushing slowly toward me through the crowd. I’m tempted to wait for a good look at his face, but what if he’s carrying a gun? Close enough to see is close enough to shoot, and I don’t want to die here. “Jordan Glass, Noted War Photographer, Shot Dead on Fifteenth Street in Chelsea.” That headline has the ironic ring of truth, and I’m not waiting for it to be borne out by events. Glancing around, I rush up to the fire captain, who’s standing by the one of the engines, talking to a cop.

      “Captain!”

      He gives me an annoyed look.

      “Jane Adams, from the Post. I was shooting the crowd back there, and I passed a guy who smelled like gasoline. When I said something about it, he started following me through the crowd. He was wearing a sock cap.”

      The fireman’s eyes go wide. “Where?”

      I turn and point back to the spot I left moments ago. There, for an instant, I see a pale bearded face and blazing eyes beneath the sock cap. It vanishes so quickly, I wonder if it was there at all.

       “There! Did you see him?”

      The fire captain races toward the tape, followed by the cop who was standing beside him.

      “What was that?” asks another cop who suddenly appears at my side.

      “I smelled gas on a guy over there. They went to check it out.”

      “No shit? Good work. You with the Times?”

      “The Post. I just hope they get him.” And what do I tell them if they do?

      “Yeah. This is one fucked-up crime scene. He could be the guy, though.”

      The cop is young and Italian, with a five-o’clock shadow that looks more like midnight. “What do you mean?”

      “They just found a guy in a car across the street. Dead as a hammer.”

      “What?” I whirl and try to see, but the crowd obscures my view. “How did he die?”

      “Somebody cut his throat. You believe that? Wearing a suit and tie. Looks like he hasn’t been dead an hour. Something strange going on here.”

      “Who was he?”

      “No wallet. Like a slaughterhouse in that car.”

      The fire captain is already pushing back toward us, the cop in tow.

      “See anything?” the Italian cop calls to them.

      The other cop shakes his head. “Crowd’s too big. Guy could be two feet away, we wouldn’t know except by the smell.”

      “I’ll make a pass,” says the Italian, tipping his cap to me as he walks toward the tape.

      The guy could be two feet away. And there isn’t any gasoline smell. He could kill me before I know he’s there. It’s time to go. But how? My cab is long gone, and walking isn’t an option. Neither is the subway.

      As I ponder my options, a yellow taxi pulls to the end of the block and disgorges a kid with two cameras hanging from his neck. The official press. Knowing he’ll ask for