The Night Mark. Tiffany Reisz

a priest and a painter?”

      The boy shrugged. “What else are you going to do if you’re a priest? Not like you can join Tinder. Maybe you can. I’m not Catholic.”

      “Is his number in the phone book?”

      “What’s the phone book?”

      Now he was just messing with her. She hoped.

      “His number’s in here. Hold on.” The boy waved her off and flipped through the binder again. Finally, he found the phone number and wrote it down for her.

      “Thank you,” she said.

      “You should buy the painting. Father Pat would really like that.”

      “I just got divorced. Took one week. Do you know how much money I had to give up to get my divorce finalized in one week?”

      “You can have it for twenty-five dollars. It says so in the book.”

      “Fine. Give it to me.”

      Faye wrote out her personal check to the Historical Society. At least it was a tax write-off. The boy offered to wrap up the painting for her in some newspaper—she was shocked he knew what a newspaper was—but she declined and carried it back to the Church Street house. Faye wondered if sweat could damage a watercolor before recalling how much she had paid for it. As she opened the gate, Ty opened the front door. He stopped, looked at her and at the painting.

      “Don’t ask,” she said.

      He held up his hands in mock surrender. “I’m not asking a thing,” he said before putting on his helmet and scootering away.

      Faye set the painting on her desk, propping it against the wall. Father Patrick Cahill might be an amateur, but he was a talented one. His work had a Degas flavor to it, blurry, shaky, giving the impression of the lighthouse and the outline of the woman without giving way the details. She wondered if he painted en plein air or if this had been a work of pure imagination. He could have seen the lighthouse from a boat like she had and then painted it at a different angle later. But what about the woman? What about the white bird on the pier? Either the universe was trying to tell her something, or...

      She was losing her mind. Faye thought she could put money on the second option.

      First, so as not to be intrusive, Faye attempted to send Patrick Cahill a text message. She composed it carefully, saying she had bought the painting of the lighthouse and the lady and admired it greatly, and if it wasn’t too much of a bother, she’d like to ask him a few questions about it. She signed her name and sent the message. She received an immediate error message.

      It was a landline.

      Fabulous. Father Cahill had a landline. How quaint. Now Faye understood why Hagen was so annoyed with her wanting to live in the past. She took a deep breath and dialed the number next. She hated cold-calling the man. Priests didn’t make her nervous, but she’d talked to very few of them in her time. Even when on assignment photographing the interiors of churches, she’d spent more time with the secretaries and deacons than the priests, who had more pressing matters to attend to. Father Cahill didn’t answer, but he did have an answering machine. Not voice mail. Answering machine. Would she need a time machine just to find the man?

      She relayed her message to his answering machine and thanked him profusely for his time, which he actually hadn’t given to her yet. Still, this was the South, and she knew it was best to play the honey card instead of the vinegar card if she wanted a man to do her bidding.

      After gathering her gear, she set out again to work. She had never accomplished anything by sitting and waiting for the phone to ring, so she drove out to Saint Helena Island. She preferred shooting her outdoor photography in the early-morning and late-evening hours, but she didn’t want to waste an entire day brooding and overthinking things. She’d done enough of that in her life.

      First stop, the Penn School. According to its historical marker, Northerners during the Civil War had come to the region to start a school for the people newly freed from slavery. Faye could imagine how well that went over with the local white population. But the school, with its cream-colored exterior and red tile roof, was lovely even in the vertical noon sunlight. Faye made a circuit of the school, shooting it at every angle, even climbing a tree to get a shot of it through the branches sagging with Spanish moss. A good picture, but not good enough. She would have to suck it up and come back tomorrow morning around dawn to get the shot the way she envisioned it.

      Next Faye drove down to the Chapel of Ease, or what was left of it. Four walls of tabby plaster, no roof and that was it. She took a few shots of the chapel but focused most of her pictures on the adjacent cemetery. A lovely, peaceful place until a bus arrived and belched tourists out onto the hallowed ground. Faye waited until they loaded up again and had driven off before taking the picture the way she wanted, with the chapel in the background and the cemetery in focus front and center.

      The chapel’s historical marker said the place had burned in the 1860s—a forest fire—and no one had bothered to rebuild it. Now it was a ruin, a beautiful relic, perhaps more loved in its wreckage and decay than it had been while intact. Were it still an active church, Faye would have driven past it like she’d driven past a dozen other churches on this stretch of road. Perhaps Ty was onto something with his sangfroid about the imminent destruction of the Sea Islands. Those people taking pictures of the Chapel of Ease wouldn’t have set foot inside it during a Sunday service. Maybe it was simply human nature to only love a thing after losing it. Maybe they should all lose more things so they could appreciate what they had. Faye could count her possessions now on her two hands—car, camera, laptop, suitcase of clothes and shoes, phone, her beloved grandmother’s necklace and an old ring she couldn’t wear because it was much too big for her hands. Yet she wouldn’t get rid of it. Not to her dying day.

      The shots of the cemetery turned out better than she’d anticipated. If they didn’t end up in the calendar, she could sell them to a stock-photo website. When she packed up her gear in the car, she had a missed call. The voice mail message said it was Pat Cahill calling and he was more than happy to hear someone had finally gotten suckered into buying one of his masterpieces. If she wanted to see him today, he’d be painting the marshlands on Federal Street, and she surely couldn’t miss him. He’d be the old man on the front lawn covered in paint.

      On the way to Federal Street, Faye’s phone rang again. She didn’t want to answer, not because she was driving, but because this time she knew who was calling.

      “Hello,” she said, keeping her voice even, flat, unemotional. It was easy for her to do, too easy.

      “That’s all I get? Hello?”

      “Hello there? That better?” she said.

      “You know I’m not the bad guy, remember? You can at least fake being polite to me.”

      “Hello there, Hagen. How are you?”

      “God, you are really something.”

      Faye heard his aggravated exhalation on the other end of the line.

      “What do you want?” she asked. “I’m driving and can’t really talk.”

      “I don’t want anything. I’m calling to see how you’re doing. Call it a bad habit.”

      “I’m fine. Just working. How are you?”

      “Working. Look, I found some stuff of yours in the guest room closet. Do you want it?”

      Faye should have known he wasn’t calling just out of the goodness of his heart.

      “What is it?”

      “I don’t know. Do you really want me digging through your stuff?”

      Faye sighed. Hagen had a gift for making things more difficult than they needed to be.

      “How am I supposed to tell you if I want it or not if you won’t tell me what it is?”

      “You could