The Art Of Deception. Nora Roberts

decided she wouldn’t be easy to deceive. However he handled Fairchild, he’d have to tread carefully with Fairchild’s daughter. He decided as well that he already wanted to make love to her. He’d have to tread very carefully.

      “Adam.” She spoke in a soft voice that nonetheless carried over her father’s shouting. “You seem to have found us. Come in, Papa’s nearly done.”

      “Done? I’m undone. And by my own child.” Fairchild moved toward Adam as he entered the room. “Cocky, she says. I ask you, is that a word for a daughter to use?”

      “An aperitif?” Kirby asked. She rose with a fluid motion that Adam had always associated with tall, willowy women.

      “Yes, thank you.”

      “Your room’s agreeable?” His face wreathed in smiles again, Fairchild plopped down on the sofa.

      “Very agreeable.” The best way to handle it, Adam decided, was to pretend everything was normal. Pretenses were, after all, part of the game. “You have an…exceptional house.”

      “I’m fond of it.” Content, Fairchild leaned back. “It was built near the turn of the century by a wealthy and insane English lord. You’ll take Adam on a tour tomorrow, won’t you, Kirby?”

      “Of course.” As she handed Adam a glass, she smiled into his eyes. Diamonds, cold as ice, glittered at her ears. He could feel the heat rise.

      “I’m looking forward to it.” Style, he concluded. Whether natural or developed, Miss Fairchild had style.

      She smiled over the rim of her own glass, thinking precisely the same thing about Adam. “We aim to please.”

      A cautious man, Adam turned to Fairchild again. “Your art collection rivals a museum’s. The Titian in my room is fabulous.”

      The Titian, Kirby thought in quick panic. How could she have forgotten it? What in God’s name could she do about it? No difference. It made no difference, she reassured herself. It couldn’t, because there was nothing to be done.

      “The Hudson scene on the west wall—” Adam turned to her just as Kirby was telling herself to relax “—is that your work?”

      “My… Oh, yes.” She smiled as she remembered. She’d deal with the Titian at the first opportunity. “I’d forgotten that. It’s sentimental, I’m afraid. I was home from school and had a crush on the chauffeur’s son. We used to neck down there.”

      “He had buck teeth,” Fairchild reminded her with a snort.

      “Love conquers all,” Kirby decided.

      “The Hudson River bank is a hell of a place to lose your virginity,” her father stated, suddenly severe. He swirled his drink, then downed it.

      Enjoying the abrupt paternal disapproval, she decided to poke at it. “I didn’t lose my virginity on the Hudson River bank.” Amusement glimmered in her eyes. “I lost it in a Renault in Paris.”

      Love conquers all, Adam repeated silently.

      “Dinner is served,” Cards announced with dignity from the doorway.

      “And about time, too.” Fairchild leaped up. “A man could starve in his own home.”

      With a smile at her father’s retreating back, Kirby offered Adam her hand. “Shall we go in?”

      In the dining room, Fairchild’s paintings dominated. An enormous Waterford chandelier showered light over mahogany and crystal. A massive stone fireplace thundered with flame and light. There were scents of burning wood, candles and roasted meat. There was Breton lace and silver. Still, his paintings dominated.

      It appeared he had no distinct style. Art was his style, whether he depicted a sprawling, light-filled landscape or a gentle, shadowy portrait. Bold brush strokes or delicate ones, oils streaked on with a pallet knife or misty watercolors, he’d done them all. Magnificently.

      As varied as his paintings were his opinions on other artists. While they sat at the long, laden table, Fairchild spoke of each artist personally, as if he’d been transported back in time and had developed relationships with Raphael, Goya, Manet.

      His theories were intriguing, his knowledge was impressive. The artist in Adam responded to him. The practical part, the part that had come to do a job, remained cautious. The opposing forces made him uncomfortable. His attraction to the woman across from him made him itchy.

      He cursed McIntyre.

      Adam decided the weeks with the Fairchilds might be interesting despite their eccentricities. He didn’t care for the complications, but he’d allowed himself to be pulled in. For now, he’d sit back and observe, waiting for the time to act.

      The information he had on them was sketchy. Fairchild was just past sixty, a widower of nearly twenty years. His art and his talent were no secrets, but his personal life was veiled. Perhaps due to temperament. Perhaps, Adam mused, due to necessity.

      About Kirby, he knew almost nothing. Professionally, she’d kept a low profile until her first showing the year before. Though it had been an unprecedented success, both she and her father rarely sought publicity for their work. Personally, she was often written up in the glossies and tabloids as she jetted to Saint Moritz with this year’s tennis champion or to Martinique with the current Hollywood golden boy. He knew she was twenty-seven and unmarried. Not for lack of opportunity, he concluded. She was the type of woman men would constantly pursue. In another century, duels would have been fought over her. Adam thought she’d have enjoyed the melodrama.

      From their viewpoint, the Fairchilds knew of Adam only what was public knowledge. He’d been born under comfortable circumstances, giving him both the time and means to develop his talent. At the age of twenty, his reputation as an artist had begun to take root. A dozen years later, he was well established. He’d lived in Paris, then in Switzerland, before settling back in the States.

      Still, during his twenties, he’d traveled often while painting. With Adam, his art had always come first. However, under the poised exterior, under the practicality and sophistication, there was a taste for adventure and a streak of cunning. So there had been McIntyre.

      He’d just have to learn control, Adam told himself as he thought of McIntyre. He’d just have to learn how to say no, absolutely no. The next time Mac had an inspiration, he could go to hell with it.

      When they settled back in the parlor with coffee and brandy, Adam calculated that he could finish the job in a couple of weeks. True, the place was immense, but there were only a handful of people in it. After his tour he’d know his way around well enough. Then it would be routine.

      Satisfied, he concentrated on Kirby. At the moment she was the perfect hostess—charming, personable. All class and sophistication. She was, momentarily, precisely the type of woman who’d always appealed to him—well-groomed, well-mannered, intelligent, lovely. The room smelled of hothouse roses, wood smoke and her own tenuous scent, which seemed to blend the two. Adam began to relax with it.

      “Why don’t you play, Kirby?” Fairchild poured a second brandy for himself and Adam. “It helps clear my mind.”

      “All right.” With a quick smile for Adam, Kirby moved to the far end of the room, running a finger over a wing-shaped instrument he’d taken for a small piano.

      It took only a few notes for him to realize he’d been wrong. A harpsichord, he thought, astonished. The tinny music floated up. Bach. Adam recognized the composer and wondered if he’d fallen down the rabbit hole. No one—no one normal—played Bach on a harpsichord in a castle in the twentieth century.

      Fairchild sat, his eyes half closed, one thin finger tapping, while Kirby continued to play. Her eyes were grave, her mouth was faintly moist and sober. Suddenly, without missing a note or moving another muscle, she sent Adam a slow wink. The notes flowed into Brahms. In that instant, Adam knew he was not only going to take her to bed. He was going to paint her.

      “I’ve