cans.â
âI donât know anything about that.â
âA rift between you, then. Was it ugly?â
Too much talking, too many questions. He was her captor, she wanted to remind him, not her confidant.
âAnd does he see the value in your art?â he continued, undeterred. âBeyond the commercial, that is?â
âExcuse me?â
âThe sketchbook. In the satchel. It fell out when you took your tumble, but I was too much of a gentleman to open it without asking permission first.â
âI donât thinkââ
âIf youâre too shy, I understand completely.â He gestured at his walls. âAs you can see, I have some dreadfully high standards.â
She retrieved the satchel from the bedside table, withdrew the sketchbook, and tossed it to him.
âMine are higher.â
âThatâs more like it!â he crowed.
And when he opened the book, she was surprised at her nervousness.
Heâs no one
, she told herself.
He
likes Renoir.
But her pulse disagreed, her heart hammering as he thumbed the pages with the same intense, almost hyperactive concentration he had lavished on the typewritten manuscript, lingering on each image for several seconds longer than seemed necessary. Many of the earliest sketches didnât warrant the scrutiny: a fly-haloed bowl of
pancit
, the head and torso of an emaciated water buffalo, the bloodied corpse of a fighting cock. Then there were a handful of which she was actually proud: a shiny-skinned
lechón
spinning on its milk-doused spit, trash fires burning in the alleyways, their well-contained heaps dotting the city with distant flares of orange heat. Her best work, however, took the form of two recent portraits, both of which had been completed on her last day in the Philippines. There was her father standing alone within the loamy wasteland of what should have been his tobacco fields. Then, on the very next page, there was one of Luzonâs millions of rural poor, a girl no older than herself, a newborn twin baby at each nipple, breasts swollen to the point of hard, shiny pain, the look on the young motherâs face that of suffering and startled ecstasy.
She glanced up from the sketchbook. He was frowning at theimage, just as he had frowned at her in the seconds before her accident.
âIâm sorry if itâs beneath your expectations,â she muttered.
âQuite the contrary. It vastly exceeds them.â
She didnât know what to say.
âAfter Sargent?â he asked.
âThat was the idea. Yes.â
âCan I have it?â
âWhat do you mean?â
âFor my collection.â
She looked at the wall. âI donât think thereâs room.â
âThen weâll send one packing. Your choice.â
âOne of the Renoirs.â
âWhich one?â
She pointed.
âI thought youâd say that.â
Smiling, he tore the page carefully from her sketchbook and stood. He unpinned the Renoir from the wall, shoved it in his pocket, and secured the nursing mother in its place, after which he didnât return to the crate. Instead, he sat alongside her on the bed, his hands behind his head, his legs just inches from hers. He was admiring the sketch as proudly as if he had drawn it himself.
âThe Philippines?â he asked.
âYes.â
âHmmm. A fellow from the bureau of fisheries was here afew months ago, direct from Manila. The way he talked about it made me want to do something irresponsible. Close up the lab. Scare up the steamship fare. Go over there for a while to collect.â
She nodded, lips between her teeth.
âDid you ever see one of those horse fights?â he asked, eyes sparkling. âRumor has it theyâre downright ghastly.â
âNo.â She thought he would accuse her of lying again, but he didnât.
âWell, Iâm sure youââ
âDoc!
Doc!
â Arthurâs voice, coming
Tim Lahaye, Jerry B. Jenkins