Chapters (70)
- PROLOGUE
- Chapter 1
- Chapter 2
- Chapter 3
- Chapter 4
- Chapter 5. Morgan
- Chapter 6. Anna
- Chapter 7. Morgan
- Chapter 8. Anna
- Chapter 9. Morgan
- Chapter 10. Anna
- Chapter 11. Morgan
- Chapter 12. Anna
- Chapter 13. Morgan
- Chapter 14. Anna
- Chapter 15. Morgan
- Chapter 16. Anna
- Chapter 17. Morgan
- Chapter 18. Anna
- Chapter 19. Morgan
- Chapter 20. Anna
- Chapter 21. Morgan
- Chapter 22. Anna
- Chapter 23. Morgan
- Chapter 24. Anna
- Chapter 25. Morgan
- Chapter 26. Anna
- Chapter 27. Morgan
- Chapter 28. Anna
- Chapter 29. Morgan
- Chapter 30. Anna
- Chapter 31. Morgan
- Chapter 32. Anna
- Chapter 33. Morgan
- Chapter 34. Anna
- Chapter 35. Morgan
- Chapter 36. Anna
- Chapter 37. Morgan
- Chapter 38. Anna
- Chapter 39. Morgan
- Chapter 40. Anna
- Chapter 41. Morgan
- Chapter 42. Anna
- Chapter 43. Morgan
- Chapter 44. Anna
- Chapter 45. Morgan
- Chapter 46. Anna
- Chapter 47. Morgan
- Chapter 48. Anna
- Chapter 49. Morgan
- Chapter 50. Anna
- Chapter 51. Morgan
- Chapter 52. Anna
- Chapter 53. Morgan
- Chapter 54. Anna
- Chapter 55. Morgan
- Chapter 56. Anna
- Chapter 57. Morgan
- Chapter 58. Anna
- Chapter 59. Morgan
- Chapter 60
- Chapter 61
- Chapter 62
- Chapter 63
- Chapter 64
- Chapter 65
- Chapter 66
- Chapter 67
- Epilogue: Morgan
- Acknowledgements
“Though her biography says she still has a studio,” I said. “An atelier.”
Lisa got to her feet. “All right,” she said. “I think Oliver should call her, though. You need to keep painting. And Oliver, remember you’re a representative of this gallery.”
“Got it,” Oliver said, but he was looking at me where I sat with my paintbrush in hand, distressed that I’d just had the opportunity to speak with … Anna? Judith?… snatched away from me.
“You’re going to fix that corner of the mural, Morgan, aren’t you?” Lisa asked from behind me, and I fought the urge to roll my eyes. “You know Andrea Fuller will be here when we open in the morning to make sure my father’s conditions have been—”
“Don’t worry,” I said. “It’ll be finished by tomorrow morning, no problem.” How I was going to make that happen, I didn’t know.
Five minutes after Lisa left, I was sitting at Oliver’s table as he read a New York phone number aloud to me and I punched the numbers on my cell phone. “You should be the one to make the call, not me,” he’d told me once Lisa was gone. “She’s your artist.”
The number rang for a very long time, and I pictured Judith Shipley hobbling into her kitchen to pick up the receiver of an old-fashioned wall phone. Or maybe she used a wheelchair. Or maybe she was in a nursing home and no one was going to answer this call at all.
Finally, though, I heard a click, and a moment later a curt female voice—decidedly not elderly—said, “Shipley residence.”
“Hello!” I said, quickly putting my phone on speaker so Oliver could hear. “My name is Morgan Christopher. May I speak to Ms. Shipley?”
The woman didn’t respond and I had a terrible feeling that “Ms. Shipley” might be dead. Finally, she spoke.
“Ms. Shipley is unable to come to the phone,” she said.
“Oh, well, I’m calling from the new Jesse Jameson Williams gallery in Edenton, North Carolina, and we’d invited her to be an honored guest at our opening tomorrow, since we have a couple of her paintings here, but—”
“I already sent our regrets,” the woman said coolly.
“Yes, we received them but I was hoping I could change her mind. Could I talk to her, please?”
“Ms. Shipley no longer travels,” the woman said, and I heard the click as she hung up the phone.
I made a face at Oliver. “Did I screw that up?” I asked, wondering if Oliver should have made the call. If he might have had some magical way of getting a different answer.
Oliver shook his head. “There was no way that icicle of a woman was going to come around,” he said. “Maybe when we get a definitive answer from the authenticator, we can try writing to Judith personally.”