Dead Sleep

I don’t much care if Wingate wants to commit suicide, but it suddenly strikes me that the painting in that frame is worth more than money. Women’s lives may depend on it. Dropping to my knees, I take a deep breath and crawl toward the coughing.

My head soon bumps something soft. It’s Wingate, gagging as he tries to draw oxygen from the smoke. The flames have reached the top of the stairs, and in their orange glow I see the painting, half out of the crate but stuck against the side panel Wingate only partially removed. Unzipping my fa

“YOU’RE GOING TO DIE IF YOU DON’T MOVE!”

His face is gray, his eyes nearly swollen shut. I grab his legs and try to drag him to the bedroom, but the exertion makes me dizzy, and for an instant my eyes go black. I’m near to fainting, and fainting here would mean death. Dropping his feet, I rush to the window, flip the catch, and shove it upward.

The outside air hits my face like a bucketful of cold water, filling my lungs with rich oxygen and clearing my head. I have a momentary fantasy of going back for Wingate, but survival instinct overrides that impulse. Below me is the iron framework of a fire escape. It’s the classic New York model; one floor down, a latched ladder awaits only my weight to send it to the pavement below. But when I crawl down to the platform and pull the latch, the ladder stays where it is. A wave of smoke billows from the window behind me. I pull down on a rung with all my strength, but nothing moves.

I lived in New York long enough to know how to work one of these things, and this one isn’t functioning. It’s fifteen feet to the cracked cement of the alley below, my best target a space between some garbage cans and a steam grate. A distant siren echoes up the chasm, but I don’t think the fire department will start their rescue work in this alley. I’ve got to get down, and there’s only one way to do it.

Crawling over the railing, I lower myself until I’m hanging by my hands from the edge of the platform. I’m five feet eight, which shortens the drop to about ten feet. No great shakes for a paratrooper, but I don’t happen to be one. I did drop from a helicopter once in North Carolina, photographing an Army training mission. It felt like fifty feet, though it was supposedly twelve.

What the hell. A broken ankle is nothing compared with Wingate’s fate. I open my hands and drop through the dark. My heels strike a glancing blow on the pavement and fly out from under me, leaving my right buttock and wrist to absorb the main force of the impact. I yell in pain, but the exhilaration of escape is a powerful anesthetic. Rolling to my left, I get to my feet and look back up at the platform. The window I crawled through moments ago is spouting fire.

Jesus.

My next instinct is to look down the alley, and what I see there sends a cold ripple along my flesh. There’s a man standing at the far end, watching me. I see him only in silhouette, because all the light is behind him. He looks big, though. Big enough to really mess me up. As I stare, he moves toward me, first uncertainly, then with a determined gait. He does not look like a fireman. My hand goes to my pocket, but the Mace is not there. I lost it upstairs. All I have is a camera, which is less than useless in this situation. I whirl and run toward the other end of the alley, toward the banshee wail of sirens.

4

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 ru

“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 co

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!”