Free The Color Of Night by David Lindsey Page B

fixed her eyes on him. She felt near tears, but she fought it. “You tell me about Harry,” she said coldly.
    “What.”
    “Is he alive, Bill?”
    “How the hell do I know?” He started to say something else but stopped.
    Neither of them trusted the other, but Ariana was at a distinct disadvantage. They both knew it.
    “I need to know what I’m dealing with here, Ariana,” Howard said. “Give me some idea of where you’re going with this. I’ve got to know where this is headed before I can take it back to the guys who call the shots.”
    She really had no choice.
     
     
     

CHAPTER 10
     
     
ROME
     
     
    Mara’s home near the Piazza Sallustio was a lovely place with a garden surrounded by high walls and well-kept grounds. In the 1950s and 1960s, when the nearby Via Veneto was the center of European la dolce vita, the home was owned by a titled family from Monaco who put it to good use entertaining the glitterati of those heady days. Today the area had slipped into genteel quietude. The real estate was still choice and expensive.
    Mara seemed most comfortable here; she had scattered throughout the house the myriad small personal items that one kept around simply because one liked something’s shape or color or had fond remembrances associated with its acquisition.
    Here, too, Harry Strand saw for the first time some of Mara’s fully developed drawings, which she had framed and hung throughout the house. She had not told him that they were hers. They had been there nearly a week before he had enough leisure time to wander unhurriedly through the large rooms and examine all the paintings and drawings she had accumulated.
    She was a far better artist than she had allowed him to see from the sketching she had been doing in Houston, having implied that her work was little more than academic. She had a very fine hand, a sound grounding in draftsmanship, and a genuinely original eye. She had a few figure studies, but most were studies of Roman architecture and city scenes.
    When Strand looked at these pictures, Mara came into a clearer focus. It is inherent in an artist’s work to be revelatory, and Mara’s drawings were no exception. In the way she expressed the attitude of a seated nude, in the way she brought the light to a church or palazzo, or chose a perspective of one of Rome’s countless small, winding streets, she revealed, incrementally, ever more of her mind and personality and gave him access to other dimensions of understanding her. He saw nothing in these works to lessen his growing affection for her. He saw everything to enhance it.
    After he had finished the week-long process of acquiring the Fuseli drawings, he and Mara began showing each other “their” Rome. They were surprised to learn that in the past they had spent many months in Rome at the same time, and Mara found it intriguing to speculate that with their common interests they might very well have been in some of the same galleries or museums or restaurants at the same time. In reality, however, Strand knew that his Rome and Mara’s Rome, despite all their common interests, had never had the remotest chance of overlapping. They had been, in fact, worlds apart.
    None of that mattered, for in the Rome of the present they stopped pretending that the very thing each of them had desired, and each had believed was inevitable from their first meeting, was not going to happen.
    They had been dining late at Toula, which had become their favorite restaurant, an understated place at the throat of the tiny Via della Lupa in the center of the city. They lingered long over desserts and more wine, then walked awhile in the narrow streets near the Pantheon in the cool of an evening so rare that it seemed to have been conjured for them from antiquity. She leaned against him in the taxi, and he could smell her, not her perfume, but the fragrance of her skin, and the ride to Sallustiano took them through a Rome that had never seemed to Strand more