to test its depth, to measure with her trembling finger how close it had come to his eye. âAt the refinery? I remember that the job was supposed to be dangerousâ¦.â
He smiled shallowly. âThey donât ordinarily give you hazard pay unless thereâs some hazard involved. And thatâs why I took the job, wasnât it? The idea, if I recall correctly, was to make my fortune as quicklyas possible so that I could get back home.â He shrugged. âIt seemed rather urgent at the time.â
She swallowed hard, remembering all too well. âBut an explosion⦠You could have beenââ
âWhat? Killed? Too messy for you, Mrs. Morgan? Perhaps you think I should have married my fortune instead.â His voice was low, his eyes speculative as he pretended to consider the idea. âI suppose that would have been simpler. But call me old-fashioned. Iâve always thought money you actually work for sits a little easier in your pocket.â
She felt herself flushing. âAdamâ¦â She couldnât meet his gaze. âAdam, donâtââ
He laughed softly. âPoor Lacy. You donât care for this subject, either? All right, then, letâs see⦠Weâve eliminated the topic of our clothes. The past is off-limits. The truth is forbidden.â He leaned against the teasing wall and scanned the small chute. âWell, I hear youâre an art expert. We could talk about this horrible painting.â
âAdam.â She was shaking her head, trying to take a deep, calming breath. She wanted desperately to leave the stall, but he was blocking her exit. The front of the chute had a panic clutch, but it was on the other side, where breeders could quickly release a mare that was in danger. Ironic, she thought, that an unhappy horse could escape this chute, but a trapped woman could not.
He had come up very close behind her, and was looking at the painting over her shoulder. â Half Past Paradise⦠Interesting title,â he said, putting his hands on her shoulders, turning her around to face thepicture as if she were a doll, his to pose at will. âDonât tell me you like it. I wonât believe you.â
She willed herself to go numb, to ignore his strong fingers against her bare shoulders. She was not going to make a fool of herself. And she wasnât going to let him presume to tell her what she thought, what she felt.
âItâs a very good painting, actually,â she heard herself say in her best art-school voice. She summoned the vocabulary of the tour guide. âItâs one of Franklinâs best works. The composition is sophisticated, with strong movement in the lines, the river running left to right, the bodies lined up at a forty-five-degree angle. The asymmetry suggests dissonance, confusion, danger.â
âBaloney. Pure textbook baloney,â he observed, calmly unimpressed. âIâm sorry, Lacy, but I know your taste too well. I know you too well. You hate this picture. It may have technical sophistication, but thatâs not what you look for in art, or in life. You want vitality, passion, heartâand this garbage has none of those things. Youâd never hang it where youâd actually have to look at it.â
Furious, she edged out of his grip, swiveled and met his smug gaze, lifting her chin. âPerhaps you donât know me as well as youâd like to believe, Adam. Things change a lot in ten years. People change.â
He shook his head. âNot that much.â
She laughed. âOh, yes, Adam, that much and more. You see, that painting belonged to my husband. It hung in my home, over our library mantel, in aplace of honor. Iâve looked at it every day since I was married. Every single day for ten years.â
For a moment he didnât respond, and she took advantage of his silent surprise to slip past him. She was almost free when his hand caught her