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By Dana E Backman; Michael A Seeds

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Moussing his hair,” said Cindy, rolling her eyes. Kate unfolded her list of final questions for Boyd, whom she’d been interviewing for several weeks. This was the last day of filming and she wanted to make sure she had everything she needed for her show. This season, Kate’s series was simple: Each week a different artist was interviewed about the importance of color. Though the interviews came across as live, they were taped so that Kate could not only edit out the mistakes, but add relevant historical footage, like Kandinsky’s pure lyrically colored abstract Improvisations of the early 1900s, Josef Albers’s intensive color studies, close-ups of impressionist paintings (so she could point out how those painters had optically created color by placing, say, a red beside a yellow to create the sensation of orange in the eye of the beholder), as well as interviews with scientists and color theorists.

Next month. ” He forced a smile. “Don’t know what I’m gonna do with myself. ” He laughed, but there was no cheer in it. ” Brown took in his old chief’s blurred features—the effect of thirty-five years on the force. “Look, I’ll talk to Tapell, but I’m not even sure that the chief would want me interfering in another borough. But”—he pinched the bridge of his nose—“I’ll see, okay? ” * * * BAD PAINTER GOOD KILLER The NYPD has a new psycho on their hands with two murders reported in the Bronx now very possibly linked.

THREE A day off had done her good. Now Kate was anxious to get to Boyd Werther’s studio and complete the taped interview for the upcoming installment of Artists’ Lives. They would have to finish on time if she was to keep her appointment with Floyd Brown. Despite Clare Tapell’s assurance that all they wanted from her was an opinion on a couple of paintings, Kate was dreading it. Paintings in a gallery or museum were one thing, in a police station something else entirely. Kate pushed the thought from her mind and quickened her step.

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