Key of Light
Page 37

The house was always furnished, and made available to execs or visiting brass from the Vane corporation. Once it had been their home in the Valley, a place Flynn had known as well as his own.
The kitchen had been redone since the days when he’d begged cookies there, but the view out the windows, off the surrounding deck, was the same. Woods and water, and the rising hills beyond.
Some of the best parts of his childhood were tied up in this house. Just as they were tied up in the man who now owned it.
Brad poured coffee, then led Flynn out on the deck.
“How’s it feel to be back?” Flynn asked him.
“Don’t know yet. Odd, mostly.” He leaned on the rail, looked out beyond.
Everything was the same. Nothing was the same.
He turned back, a man comfortable in his frame. He had a layer or two of big city on him, and was comfortable with that as well.
His hair was blond that had darkened with the years, just as the dimples in his cheeks were closer to creases now. Much to his relief. His eyes were a stone gray under straight brows. They tended to look intense, even when the rest of his face smiled.
Flynn knew it wasn’t the mouth that showed Brad’s mood. It was the eyes. When they smiled, he meant it.
They did so now. “Son of a bitch. It’s good to see you.”
“I never figured you for coming back, not for any length of time.”
“Neither did I. Things change, Flynn. They’re meant to, I guess. I’ve been itchy the last few years. I finally figured out I was itchy for home. How are things with you, Mr. Editor in Chief?”
“They’re okay. I assume you’ll be subscribing to our paper. I’ll make arrangements for that,” he added with a grin. “We put up a nice red box next to the mailbox on the road. Morning delivery out here usually hits by seven.”
“Sign me up.”
“I will. And I’m going to want to interview Bradley Charles Vane IV at his earliest convenience.”
“Shit. Give me a while to settle in before I have to put on my corporate hat.”
“How about next Monday? I’ll come to you.”
“Christ, you’ve become Clark Kent. No, worse, Lois Lane—without the great legs. I don’t know what I’ve got going on Monday, but I’ll have my assistant set it up.”
“Great. How about we grab some beer and catch up tonight?”
“I can get behind that. How’s your family?”
“Mom and Joe are doing fine out in Phoenix.”
“Actually, I was thinking more about the delicious Dana.”
“You’re not going to start hitting on my sister again? It’s embarrassing.”
“She hooked up with anybody?”
“No, she’s not hooked up with anybody.”
“She still built?”
Flynn winced. “Shut up, Vane.”
“I love yanking your chain over that one.” And with a sigh, Brad was home. “Though it’s entertaining, that’s not why I asked you to come out. There’s something I think you’re going to want to see. I did some thinking when you told me about this deal Dana and her friends got themselves into.”
“You know something about these people up at Warrior’s Peak?”
“No. But I know something about art. Come on. I had them put it in the great room. I’d just finished uncrating it personally when I heard you drive up.”
He walked along the deck, around the corner of the house to the double glass doors bordered by etched panels.
The great room boasted a towering ceiling with a circling balcony, a generous fireplace with hearth and mantel of hunter-green granite framed in golden oak. There was space for two sofas, one in the center of the room, the other tucked into a cozy conversation area along the far wall.
More space spilled through a wide arch, where the piano stood and where Brad had spent countless tedious hours practicing.
There, propped against the hearth of a second fireplace, was the painting.
The muscles in Flynn’s belly went loose. “Jesus. Oh, Jesus.”
“It’s called After the Spell. I got it at an auction about three years ago. Do you remember I mentioned I’d bought a painting because one of the figures in it looked like Dana?”
“I didn’t pay any attention. You were always razzing me about Dana.” He crouched down now, stared hard at the painting. He didn’t know art, but even with his limited eye, he’d have bet the farm that the same hand had painted this that had created the painting at Warrior’s Peak.
There was no joy or innocence here, however. The tone was dark, a kind of grieving, with the only light, pale, pale light, glowing from the three glass coffins where three women seemed to sleep.
His sister’s face, and Malory’s, and Zoe’s.
“I have to make a phone call.” Flynn straightened and dug out his cell phone. “There’s someone who has to see this right away.”
Chapter Nine
 
SHE didn’t like to be told to hurry, especially when she wasn’t given a good reason why. So, on principle, Malory took her time driving to the Vane house.
She had a lot on her mind, and a little drive in the country was just the ticket, she decided, to line those thoughts up in some organized fashion.
And she liked tooling along in her little car over the windy road that followed the river, and the way the sun sprinkled through the leaves overhead to splatter patterns of light on the roadbed.
If she could paint, she would do a study of that—just the way light and shadow played on something as simple and ordinary as a country road. If she could paint, she thought again—which she couldn’t, despite all the desire, all the study, all the years of trying.
But someone sure as hell could.
She should’ve tried to track down Dana and Zoe before driving out here. Really, she was supposed to be working with them, not with Flynn. He was . . . like an accessory, she told herself. A really attractive, sexy, interesting accessory.
Boy, she loved accessories.
Not a productive train of thought.
She switched the car radio off, steeped herself in silence. What she needed to do was find Dana and Zoe, tell them what she’d discovered. Maybe if she said it all out loud she, or they, could decipher what it meant.
Because at the moment she didn’t have a clue.
All she knew, in her gut, was that it was important. Even vital. If not the answer, it was one of the bread crumbs that would lead to the answer.