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Overview
After an assault at her family home in Maine, Dr. Miranda Jones is determined to put the experience behind her. Distraction comes when she is summoned to Italy—to verify the authenticity of a Renaissance bronze of a Medici courtesan known as The Dark Lady.
But instead of cementing Miranda’s reputation as the leading expert in the field, the job nearly destroys it when her professional judgment is called into question. Emotionally estranged from her mother, with a brother immersed in his own troubles, Miranda has no one to turn to...except Ryan Boldari, a seductive art thief whose own agenda forces them into a reluctant alliance.
Now it becomes clear that the incident in Maine was not a simple mugging—and that The Dark Lady may possess as many secrets as its beautiful namesake once did. For Miranda, forced to rely on herself—and a partner who offers her both unnerving suspicion and intoxicating passion—the only way home is filled with deception, treachery, and a danger that threatens them all.
Product Details
| ISBN-13: | 9780593333341 |
|---|---|
| Publisher: | Penguin Publishing Group |
| Publication date: | 08/31/2021 |
| Pages: | 432 |
| Sales rank: | 305,691 |
| Product dimensions: | 6.00(w) x 8.90(h) x 1.20(d) |
About the Author
Hometown:
Keedysville, MarylandDate of Birth:
1950Place of Birth:
Silver Spring, MarylandWebsite:
http://www.noraroberts.com/Read an Excerpt
Chapter One
The damp, snapping wind iced the bones through to the marrow. Snow from a storm earlier in the week was piled in irregular hills along the side of the road. The sky was bitter blue. Stern trees with black empty branches rose out of winter-browned grass and shook their limbs like fists against the cold.
That was March in Maine.
Miranda pumped the heater up to full, programmed her CD player to Puccini's La Bohème and drove with the music soaring.
She was coming home. After a ten-day lecture tour, bumping from hotel to college campus to airport and back to hotel, Miranda was more than ready for home.
Her relief might have had something to do with the fact that she hated giving lectures, suffered miserably every time she had to face those rows of eager faces. But shyness and stage fright weren't allowed to interfere with duty.
She was Dr. Miranda Jones, a Jones of Jones Point. And she was never permitted to forget it.
The city had been founded by the first Charles Jones to make his mark in the, New World. The Joneses, Miranda knew, were required to make their marks, to maintain their position as the leading family of the Point, to contribute to society, to behave as expected of the Joneses of Jones Point, Maine.
Thrilled to put distance between herself and the airport, she turned onto the coast road and hit the gas. Driving fast was one of her small pleasures. She liked to move quickly, to get from one point to the next with a minimum of fuss and time. A woman who stood nearly six foot in her bare feet and had hair the color of a Tonka toy fire engine rarely went unnoticed. Even when she wasn't in charge, she looked as if she were.
And when she moved with the precision and purpose of a heat-seeking missile, the road ahead generally cleared.
She had a voice one infatuated man had compared to velvet wrapped in sandpaper. She compensated for what she considered an accident of fate by cultivating a brisk, clipped delivery that often bordered on prim.
But it got the job done.
Her body might have come down from some Celtic warrior ancestor, but her face was pure New England. Narrow and cool with a long straight nose, slightly pointed chin, and cheekbones that could have chipped ice. Her mouth was wide and most often set in a serious line. Her eyes were Fourth of July blue, and most often sober.
But now as she entertained herself with the long, winding drive that hugged the snow-laced cliffs, both her mouth and her eyes smiled. Beyond the cliffs, the sea was choppy and steel gray. She loved the moods of it, its power to soothe or thrill. As the road bent like a crooked finger, she heard the thunderous crash of water slapping against rock, then drawing back like a fist to strike again.
The thin sunlight sparkled on the snow, the wind blew fitful streams of it into the air, across the road. On the bay side, the naked trees were bent like old men, twisted by year after year of storms. When she was a child, and still fanciful, she'd imagined those trees muttering complaints to each other as they huddled against the wind.
Though she considered herself fanciful no longer, she still loved the look of them, gnarled and knotted, but lined up like old soldiers on the bluff.
The road climbed as the land narrowed, with the water creeping in on both sides. Sea and sound, both moody, often bleak, nibbled away at the shores with a perpetual hunger. The crooked spit of land rose, its topmost point humped like an arthritic knuckle and graced by the old Victorian house that looked over sea and land. Beyond it, where the ground tumbled down again toward the water, was the white spear of the lighthouse that guarded the coast.
The house had been her refuge and her joy as a child because of the woman who lived in it. Amelia Jones had bucked the Jones tradition and had lived as she chose, had said what she thought, and had always, always had a place in her heart for her two grandchildren.
Miranda had adored her. The only true grief she'd ever known was when Amelia had died—with no fuss or warning, in her sleep eight winters before.
She'd left the house, the tidy portfolio she'd cleverly put together over the years, and her art collection to Miranda and her brother. To her son, Miranda's father, she left her wishes that he be half the man she'd hoped before they met again. To her daughter-in-law, she left a strand of pearls because they were the only thing she could think of that Elizabeth had ever fully approved of.
It had been so like her, Miranda thought now. Those pithy little comments in the will. She'd stayed in the big stone house for years, living alone, having survived her husband by more than a decade.
Miranda thought of her grandmother as she reached the end of the coast road and turned into the long, curving drive.
The house that topped it had survived years and gales, the merciless cold of winter, the shocking, and sudden heat of high summer. Now, Miranda thought with a little twist of guilt, it was surviving benign neglect.
Neither she nor Andrew seemed to find the time to arrange for painters or lawn care. The house that had been a showplace when she was a child now displayed its sags and scars. Still, she thought it lovely, rather like an old woman not afraid to act her age. Rather than rambling, it stood in straight, soldierly angles, its gray stone dignified, its gables and turrets distinguished.
On the sound side a pergola offered charm and fancy. Wisteria tangled up its sides, buried its roof in blossoms in the spring. Miranda always meant to make time to sit on one of the marble benches under that fragrant canopy, to enjoy the scents, the shade, the quiet. But somehow spring ran into summer and summer into fall, and she never remembered her vow until winter, when the thick vines were bare.
Perhaps some of the boards on the wide front perch of the house needed replacing. Certainly the trim and shutters, faded from blue to gray, needed to be scraped and painted, The wisteria on the pergola probably needed to be pruned or fed or whatever you did with such things.
She would get to it. Sooner or later.
But the windows glinted, and the ferocious faces of the gargoyles crouched on the eaves grinned. Long terraces and narrow balconies offered views in every direction. The chimneys would puff smoke—when someone took the time to light a fire. Grand old oaks rose high, and a thick stand of pines broke the wind on the north side.
She and her brother shared the space compatibly enough—or had until Andrew's drinking became more habitual. But she wasn't going to think about that. She enjoyed having him close, liked as well as loved him, so that working with him, sharing a house with him, was a pleasure.
The wind blew her hair into her eyes the minute she stepped out of the car. Vaguely annoyed, she dragged it back, then leaned in to retrieve her laptop and briefcase. Shouldering both, humming the final strains of Puccini, she walked back to the trunk and pepped it open.
Her hair blew into her face again, causing her to huff out an irritated breath. The half-sigh ended in a choked gasp as her hair was grabbed in one hard yank, used as a rope to snap her head back. Small white stars burst in front of her eyes as both pain and shock stabbed into her skull. And the point of a knife pressed cold and sharp against the pulse in her throat.
Fear screamed in her head, a primal burn that burst in the gut and shrieked toward the throat. Before she could release it, she was twisted around, shoved hard against the car so that the blossom of pain in her hip blurred her vision and turned her legs to jelly. The hand on her hair yanked again, jerking her head back like a doll's.
His face was hideous. Pasty white and scarred, its features blunted. It took her several seconds before the dry-mouthed terror allowed her to see it was a mask—rubber and paint twisted into deformity.
She didn't struggle, couldn't. There was nothing she feared as much as a knife with its deadly point, its smooth killing edge. The keen tip was pressed into the soft pad under her jaw so that each choked breath she took brought a searing jab of pain and terror.
He was big. Six-four or -five, she noted, struggling to pay attention, pay attention to details while her heart skittered into her throat where the blade pressed. Two hundred fifty or sixty pounds, wide at the shoulders, short at the neck.
Oh God
Brown eyes, muddy brown. It was all she could see through the slits in the rubber fright mask he wore. And the eyes were flat as a shark's and just as dispassionate as he tipped the point of the knife, slid it over her throat to delicately slice the skin.
A small fire burned there while a thin line of blood trickled down to the collar of her coat.
"Please." The word bubbled out as she instinctively shoved at the wrist of his knife hand. Every rational thought clicked off into cold dread as he used the point to jerk up her head and expose the vulnerable line of her throat.
In her mind flashed the image of the knife slashing once, fast and silent, severing carotid artery, a gush of hot blood. And she would die on her feet, slaughtered like a lamb.
"Please don't. I have three hundred and fifty dollars in cash." Please let it be money he wants, she thought frantically. Let it just be money. If it was rape, she prayed she had the courage to fight, even knowing she couldn't win.
If it was blood, she hoped it would be quick.
"I'll give you the money," she began, then gasped in shock as he tossed her aside like a bundle of rags.
She fell hard on her hands and knees on the gravel drive, felt the burn of small, nasty cuts on her palms. She could hear herself whimpering, hated the helpless, numbing fear that made it impossible to do more than stare at him out of blurred eyes.
To stare at the knife that glinted in the thin sunlight. Even as her mind screamed to run, to fight, she hunched into herself, paralyzed.
He picked, up her purse, her briefcase, turned the blade so that the sun shot off a spear of light, into her eyes. Then he leaned, down and jammed the point into the rear tire. When he yanked it free, took a step in her direction, she began to crawl toward the house.
She waited for him to strike again, to tear at her clothes, to plunge the knife into her back with the same careless force he'd used to stab it into the tire, but she kept crawling over the brittle winter grass.
When she reached the steps, she looked back with her eyes wheeling in her head, with small, hunted sounds bubbling through her lips.
And saw she was alone.
Short, rusty breaths scraped at her throat, burned in her lungs as she dragged herself up the steps. She had to get inside, get away. Lock the door. Before he came back, before he came back and used that knife on her.
Her hand slid off the knob once, twice before she managed to close her fingers around, it. Locked. Of course it was locked. No one was home. No one was there to help.
For a moment, she simply curled there, outside the door, shivering with shock and the wind that whipped over the hill.
Move, she ordered herself. You have to move. Get the key, get inside, call the police.
Her eyes darted left and right, like a rabbit watching for wolves, and her teeth started to chatter. Using the knob for support, she pulled herself to her feet. Her legs threatened to buckle, her left knee was screaming, but she darted off the porch in a kind of drunken lope, searched frantically for her purse before she remembered he'd taken it.
She babbled out words, prayers, curses, pleas as she yanked open the car door and fumbled with the glove compartment. Even as her fingers closed over her spare keys a sound had her whirling around wildly, her hands coming up defensively.
There was nothing there but the wind sweeping through the bare black branches of trees, through the thorny canes of the climbing roses, over the brittle grass.
Breath whistling, she took off for the house in a limping run, jabbing frantically with the key at the lock, all but wailing with relief when it slid home.
She stumbled inside, slammed the door, turned the locks. When her back was against that solid wood, the keys slipped out of her fingers, landed with a musical crash. Her vision grayed, so she closed her eyes. Everything was numb now, mind, body. She needed to take the next step, to act, to cope, but she couldn't remember what step to take.
Her cars were ringing and nausea rose up in one long greasy wave. Gritting her teeth, she took one step forward, then another as the foyer seemed to tilt gently right and left.
She was nearly to the base of the stairs when she realized it wasn't her ears ringing, but the telephone. Mechanically, she walked through the haze into the parlor, where everything was so normal, so familiar, and picked up the phone.
"Hello?" Her voice sounded far away, hollow like a single beat in a wooden drum. Swaying a bit, she stared at the pattern the sun made as it slipped through the windows and onto the wide planks of the pine floor. "Yes. Yes, I understand. I'll be there. I have ..." What? Shaking her head to clear it, Miranda struggled to remember what she needed to say. "I have some things ... things to take care of first. No, I'll leave as soon as I can."
Then something bubbled up inside her she was too dazed to recognize as hysteria. "I'm already packed," she said, and laughed.
She was still laughing when she hung up the phone. Laughing when she slid bonelessly into a chair, and didn't realize when she tucked herself into a small, defensive ball that the laughter had turned to sobs.
She had both hands wrapped tight around a cup of hot tea, but she didn't drink it. She knew the cup would shake, but it was a comfort to hold it, to feel the heat pass through the cup and into her chilled fingers, soothe the abraded skin of her palms.
She'd been coherent—it was imperative to be coherent, to be clear and precise and calm when reporting a crime to the police.
Once she was able to think again, she'd made the proper calls, she'd spoken to the officers who had come to the house. But now that it was done and she was alone again, she couldn't seem to keep a single solid thought in her mind for more than ten seconds.
"Miranda!" The shout was followed by the cannon bang of the front door slamming. Andrew rushed in, took one horrified study of his sister's face. "Oh Jesus." He hurried to her, crouched at her feet and began to play his long fingers over her pale cheeks. "Oh, honey."
"I'm all right. Just some bruises." But the control she'd managed to build back into place trembled. "I was more scared than hurt."
He saw the tears in the knees of her trousers, the dried blood on the wool. "The son of a bitch." His eyes, a quieter blue than his sister's, abruptly went dark with horror. "Did he ..." His hands lowered to hers so that they gripped the china cup together. "Did he rape you?"
"No. No. It was nothing like that. He just stole my purse. He just wanted money. I'm sorry I had the police call you. I should have done it myself."
"It's all right. Don't worry." He tightened his grip on her hands, then released them quickly when she winced. "Oh, baby." He took the cup from her hands, set it aside, then lifted her abraded palms. "I'm so sorry. Come on, I'll take you to the hospital."
"I don't need the hospital. It's just bumps and bruises." She drew a deep breath, finding it easier to do so now that he was here.
He could infuriate her, and he had disappointed her. But in all of her life, he'd been the only one to stick with her, to be there.
He picked up her cup of tea, pressed it into her hands again. "Drink a little," he ordered before he rose and paced off some of the fear and anger.
He had a thin, rather bony face that went well with the long, lanky build. His coloring was like his sister's, though his hair was a darker red, almost mahogany. Nerves had him patting his hand against his thigh as he moved.
"I wish I'd, been here. Damn it, Miranda. I should have been here,"
"You can't be everywhere, Andrew. No one could have predicted that I'd mugged in our own front yard. I think—and the police think—that he was probably going to break into the house, rob us, and my coming home surprised him, changed his plans."
"They said he had a knife."
"Yeah." Gingerly she lifted a hand to the shallow cut on her throat. "And I can report that I haven't outgrown my knife phobia. One look at it, and my mind just froze."
Andrew's eyes went grim, but he spoke gently as he came back to sit beside her. "What did he do? Can you tell me?"
"He just came out of nowhere. I was getting my things out of the trunk. He yanked me back by the hair, put the knife to my throat. I thought he was going to kill me, but he knocked me down, took my purse, my briefcase, slashed my tires, and left." She managed a wavering smile. "Not exactly the homecoming I was expecting."
"I should have been here," he said again."
"Andrew, don't." She leaned into him, closed her eyes.
"You're here now." And that, it seemed, was enough to steady her. "Mother called."
"What?" He started to drape an arm around her shoulders, and now sat forward to look at her face.
"The phone was ringing when I got into the house. God, my mind's still fogged," she complained, and rubbed at her temple. "I have to go to Florence tomorrow."
"Don't be ridiculous. You just got home and you're hurt, you're shaken. Christ, how can she ask you to get on a plane right after you've been mugged?"
"I didn't tell her." She only shrugged. "I wasn't thinking. In any case, the summons was loud and clear. I have to book a flight."
"Miranda, you're going to bed."
"Oh yeah." She smiled again. "Very soon now."
"I'll call her." He sucked in his breath as a man might when faced with an ugly chore. "I'll explain."
"My hero." Loving him, she kissed his cheek. "No, I'll go. A hot bath, some aspirin, and I'll be fine. And after this little adventure, I could use a distraction. It seems she has a bronze she wants me to test." Because it had gone cold, she set the tea down again. "She wouldn't summon me to Standjo if it wasn't important. She wants an archeometrist, and she wants one quickly."
"She's got archeometrists on staff at Standjo."
"Exactly." This time Miranda's smile was thin and bright. "Standjo" stood for Standford-Jones. Elizabeth had made certain that not only her name but everything else on her agenda came first in the Florence operation. "So if she's sending for me, it's big. She wants to keep it in the family. Elizabeth Standford-Jones, director of Standjo, Florence, is sending for an expert on Italian Renaissance bronzes, and she wants one with the Jones name. I don't intend to disappoint her."
She didn't have any luck booking a flight for the following morning and had to settle for a seat on the evening flight to Rome with a transfer to Florence.
Nearly a full day's delay.
There would be hell to pay.
As she tried to soak out the aches in a hot tub, Miranda calculated the time difference and decided there was no point in calling her mother. Elizabeth would be at home, very likely in bed by now.
Nothing to be done about it tonight, she told herself. In the morning, she'd call Standjo. One day couldn't make that much difference, even to Elizabeth.
She'd hire a car to take her to the airport, because the way her knee was throbbing, driving could be a problem even if she could, replace her tires quickly. All she had to do was ...
She sat straight up in the tub, sloshing water to the rim.
Her passport. Her passport, her driver's license, her company IDs. He'd taken her briefcase and her purse—he'd taken all her identification documents.
"Oh hell," was the best she could do as she rubbed her hands over her face. That just made it all perfect.
She yanked the old-fashioned chain plug out of the drain of the claw-foot tub. She was steaming now, and the burst of angry energy had her getting to her feet, reaching for a towel, before her wrenched knee buckled under her. Biting back a yelp, she braced a hand against the wall and sat on the lip of the tub, the towel dropping in to slop in the water.
The tears wanted to come, from frustration, from the pain, from the sudden sharp fear that came stabbing back. She sat naked and shivering, her breath trembling out on little hitching gasps until she'd controlled them.
Tears wouldn't help her get back he papers, or soothe her bruises or get her to Florence. She sniffled them back and wrung out the towel. Carefully now, she used her hands to lift her legs out of the tub, one at a time. She gained her feet as clammy sweat popped out on her skin, causing the tears to swim close again. But she stood, clutching the sink for support, and took stock of herself in the full-length mirror on the back of the door.
There were bruises on her arms. She didn't remember him grabbing her there, but the marks were dark gray, so logically he had. Her hip was black-and-blue and stunningly painful. That, she remembered, was a result of being rammed back against the car.
Her knees were scraped and raw, the left one unattractively red and swollen. She must have taken the worst of the fall on it, twisted it. The heels of her hands burned from their rude meeting with the gravel of the drive.
But it was the long, shallow slice on her throat that had her head going light, her stomach rolling with fresh nausea. Fascinated and appalled, she lifted her fingers to it. Just a breath from the jugular, she thought. Just a breath from death.
If he'd wanted her to die, she would have died.
And that was worse than the bruising, the sick throbbing aches. A stranger had held her life in his hands.
"Never again." She turned away from the mirror, hobbled over to take her robe from the brass hook by the door. "I'm never going to let it happen again."
She was freezing, and wrapped herself as quickly as she could in the robe. As she was struggling to belt it, a movement outside the window had her head jerking up, her heart thundering.
He'd come back.
She wanted to run, to hide, to scream for Andrew, to curl herself into a ball behind a locked door. And with her teeth gritted, she eased closer to the window, looked out.
It was Andrew, she saw with a dizzying wave of relief. He was wearing the plaid lumberman's jacket he used when he split wood or hiked on the cliffs. He'd turned the floodlights on, and she could see something glinting in his hand, something he swung as he strode along over the yard.
Puzzled, she pressed her face against the window.
A golf club? What in the world was he doing outside marching across the snowy lawn with a golf club?
Then she knew, and love flooded into her, soothing her more than any painkiller.
He was guarding her. The tears came back. One spilled over. Then she saw him stop, pull something from his pocket, lift it.
And she watched him take a long swig from a bottle.
Oh, Andrew, she thought, as her eyes closed and her heart sank. What a mess we are.
* * *
It was the pain that woke her, bright pops of it that banged out of her knee. Miranda fumbled on the light, shook out pills from the bottle she'd put on her bedside table. Even as she swallowed them she realized she should have taken Andrew's advice and gone to the hospital, where some sympathetic doctor would have written her a prescription for some good, potent drugs.
She glanced at the luminous dial of her clock, saw it was after three. At least the cocktail of ibuprofen and aspirin she'd taken at midnight had given her three hours of relief. But she was awake now, and chasing the pain. Might as well finish it off, she decided, and face the music.
With the time difference, Elizabeth would be at her desk. Miranda picked up the phone and put the call through. Moaning a bit, she shifted her pillows against the curvy wrought-iron headboard and eased back against them.
"Miranda, I was about to call to leave a message at your hotel for your arrival tomorrow."
"I'm going to be delayed. I—"
"Delayed?" The word was like a single ice chip, frigid and sharp.
"I'm sorry."
"I thought I made it clear this project is priority. I've guaranteed the government that we would begin tests today."
"I'm going to send John Carter. I—"
"I didn't send for John Carter, I sent for you. Whatever other work you have can be delegated. I believe I made that clear as well."
"Yes, you did." No, she thought, the pills weren't going to help this time. But the cold anger beginning to stir inside her was bound to outdistance a little pain. "I had every intention of being there, as instructed."
"Then why aren't you?"
"My passport and other identification were stolen yesterday. I'll arrange to have them replaced as soon as possible and rebook my flight. This being Friday, I doubt I can have new documents before sometime next week."
She knew how bureaucracies worked, Miranda thought grimly. She'd been raised in one.
"Even in a relatively quiet place like Jones Point, it's foolishly careless not to lock your car."
"The documents weren't in my car, they were on me. I'll let you know as soon as they're replaced and I've rescheduled. I apologize for the delay. The project will have my full time and attention as soon as I arrive. Goodbye, Mother."
It gave her perverse satisfaction to hang up before Elizabeth could say another word.
In her elegant and spacious office three thousand miles away, Elizabeth stared at the phone with a mixture of annoyance and confusion.
"Is there a problem?"
Distracted, Elizabeth glanced over at her former daughter-in-law. Elise Warfield sat, a clipboard resting on her knee, her big green eyes puzzled, her soft, lush mouth curved slightly in an attentive smile.
The marriage between Elise and Andrew hadn't worked, which was a disappointment to Elizabeth. But her professional and personal relationship with Elise hadn't been. damaged by the divorce.
"Yes. Miranda's been delayed."
"Delayed?" Elise lifted her brows so that they disappeared under the fringe of bangs that skimmed over her brow. "That's not like Miranda."
"Her passport and other identification were stolen."
"Oh, that's dreadful." Elise got to her feet. She stood just over five-two. Her body had lush feminine curves that managed to look delicate. With her sleek cap of ebony hair, her large, heavily lashed eyes and milky white skin, the deep red of her mouth, she resembled an efficient and sexy fairy. "She was robbed?"
"I didn't get the details." Elizabeth's lips tightened briefly. "She'll arrange to have them replaced and reschedule her flight. It may take several days."
Elise started to ask if Miranda had been hurt, then closed her mouth on the words. From the look in Elizabeth's eyes, either she didn't know, or it wasn't her major concern. "I know you want to begin testing today. It can certainly be arranged. I can shift some of my work and start them myself."
Considering, Elizabeth rose and turned to her window. She always thought more clearly when she looked out over the city. Florence was her home, had been her home since the first time she'd seen it. She'd been eighteen, a young college student with a desperate love for art and a secret thirst for adventure.
She'd fallen hopelessly in love with the city, with its red. rooftops and majestic domes, its twisting streets and bustling piazzas.
And she'd fallen in love with a young sculptor who had charmingly lured her to bed, fed her pasta, and shown her her own heart.
Of course, he'd been unsuitable. Completely unsuitable. Poor and wildly passionate. Her parents had snapped her back to Boston the moment they'd learned of the affair.
And that, of course, had been the end of that.
She shook herself, annoyed that her mind had drifted there. She'd made her own choices, and they had been excellent ones.
Now she was the head of one of the largest and most respected research facilities for art in the world. Standjo might have been one of the arms of the Jones organization, but it was hers. Her name came first, and here, so did she.
She stood framed in the window, a trim, attractive woman of fifty-eight. Her hair was a quiet ash blond discreetly tinted by one of the top salons in Florence. Her impeccable taste was reflected in the perfectly cut Valentino suit she wore, the color a rich eggplant, with hammered-gold buttons. Her leather pumps matched the tone exactly.
Her complexion was clear, with good New England bone structure overcoming the few lines that dared show themselves. Her eyes were a sharp and ruthlessly intelligent blue. The image was one of a cool, fashionable, professional woman of wealth and position.
She would never have settled for less.
No, she thought, she would never settle for less than the absolute best.
"We'll wait for her," she said, and turned back to Elise. "It's her field, her specialty. I'll contact the minister personally and explain the short delay."
Elise smiled at her. "No one understands delays like the Italians."
"True enough. We'll go over those reports later today, Elise. I want to make this call now."
"You're the boss."
"Yes, I am. Oh, John Carter will be coming in tomorrow. He'll be working on Miranda's team. Feel free to assign him another project in the meantime. There's no point in having him twiddle his thumbs."
"John's coming? It'll be good to see him. We can always use him in the lab. I'll take care of it."
"Thank you, Elise."
When she was alone, Elizabeth sat at her desk again, studied the safe across the room. Considered what was inside.
Miranda would head the project. Her decision had been made the moment she'd seen the bronze. It would be a Standjo operation, with a Jones at the helm. That was what she had planned, what she expected.
And it was what she would have.
Table of Contents
An Interview with Nora RobertsQ: What did you want to achieve with Homeport?A: A good story -- that's always the main goal -- a good, entertaining story. If you don't do that, then what's the point? I write popular fiction, so I want the reader to be entertained.
Q: Miranda travels all over and is involved in some interesting history and art -- what kind of research did you do before you wrote Homeport?
A: Oh, you always do a ton. I did a lot of it online. I found an archaeology site of all things -- who would have thought! And I have a friend who had friends at the Smithsonian who, through email, gave me an awful lot of information on the science end of it, which would have totally baffled me, so that was tremendously helpful. There were some books on sculpture and that sort of thing, but primarily my sources were online. You can find out almost anything on the Internet, so I used it a lot.
Q: You've been writing for several years. When your first book came out...was it 1981?
A: That's right.
Q: Have you noticed a change or development in your female characters since then?
A: Oh certainly, when I started writing in 1979 and was doing category romance, and at that time category was more limited than it is today, the heroine was young, probably no more than 20, tops; she was virginal, she was probably orphaned, and she was most likely in a female-type job -- secretary, nurse, that sort of thing. So I deviated from that by having my heroine be, well, in the first place she was Irish, and even then that was ethnic, and she trained horses and worked with a groom and that was not a usual female job. But I didn't know enough about the rules back then to know I was breaking any. And certainly over the years, category and mainstream romance has developed to where the women change, and we Americanized the book quite a bit so now you're dealing with older women, with career women. I always wrote strong and independent characters, male and female, that was always important to me, but I think now you see more of an equality and a partnership between the hero and heroine than you might have 15 or 20 years ago. I don't like physically or emotionally dominant men. I prefer the partnership, especially if I'm writing a relationship book. I want that relationship to have a basis in respect and affection before we get to the sex.
Q: When you write do you have a particular audience in mind?
A: No. I don't think about that at all. I think for me, and probably it's a general rule of thumb, you can't write with the reader over your shoulder, you can't write with an editor over your shoulder, because you can't please everyone. Who is the average reader? I don't know, so I just consider myself the average reader. I'm a huge reader, I know what I like, and I don't think you can write well what you wouldn't read for pleasure. So I have to please myself first and then hope that it works and pleases my editor and then trickles down and pleases the reader or as many readers as I can.
Q: It seems you've struck a vein of shared passion in American readers. What is it about your writing, do you think, that gives it such mass appeal?
A: I think from the feedback I get, and the way I approach a book, it's that they're character driven. The characters are key. If you have strong, appealing, accessible, interesting characters, then you work the plot around that. I think character is plot. For a different reader or a different writer's voice, the book may be very plot driven or action driven, but for me, they're character driven: What happens isn't nearly as important as who it happens to, or who drives the action.
Q: If you could come back in the next life as one of your characters, who would you be?
A: Oh, I intend to! Gosh, that's tough 'cause I've written a lot. I suppose since I write the continuing books as J. D. Robb and I visit those characters all the time, I really admire Eve Dallas. I would love to come back with her guts -- she's so strong and fearless.
Q: Do you most often write from experience or imagination?
A: If I wrote from experience I would have no time to write at all, I'd be too busy having all these experiences -- no, I've never been murdered, never murdered anyone, really don't have time for these wonderful love affairs, so they all come out of my head.
What People are Saying About This
“Vintage Roberts…taut…steamy.”—People
“Marvelous…gratifying from beginning to end.”—Rocky Mountain News
“Just the right combination of romance [and] humor…Sure to please Roberts’s legions of fans.”—Library Journal
“A satisfying read with strong characters and a cohesive plot.”—Booklist
Interviews
On Thursday, March 19, barnesandnoble.com welcomed Nora Roberts, author of HOMEPORT.
Moderator: Welcome, Ms. Roberts, we're pleased you could join us here tonight!
Nora Roberts: Thanks, it's great to be here. I'm going to get started on the questions -- and hope I do everything right!
Becky Watson from Shreveport, LA: Mrs. Roberts, I really love your books and characters. I even got my older sister into reading your books, over Steel, Brown, and Spencer. But my question is, I noticed most of the families portrayed in your books deal with three siblings. Is that a symbolic portrayal referring to your own life experience? Would you please autograph a copy for me? It would really mean a lot to me.
Nora Roberts: Becky, actually very often a story just lends itself to the trilogy form. And that's why I deal with friends or siblings in threes in a number of books. I have four older brothers, so there are just too many of us for most series. Nora Roberts: I love to write. I really love the entire writing process, and it helps -- certainly -- that I have a fast pace. I'm very disciplined, and I have a lot of drive when it comes to writing. One of the things that's pushing me into work every day is the wondering what's going to happen next. I really want to know. I overcome writer's block by not believing in it. Just pretend it doesn't exist. Writing's a habit, a discipline as well as a craft. If you write every day -- whether or not the writing's going well -- you're going to climb over that block. You can fix a poorly written page, but you can't fix a blank one. Walk away, and you've got a blank page. Nora Roberts: I'm always at work on the next project. ). What I'm working on now is too far down the road to talk about, as it takes a year, maybe two, between the time a manuscript's completed and publication. But you can look for HOMEPORT, a romantic suspense set primarily on the coast of Maine and dealing with art forgery, to hit the stands on Monday. Nora Roberts: I've written a lot of characters, so it's hard to pick one. The last time I was asked this, I decided it would probably be Eve Dallas from the In Death series I write as J. D. Robb. Because I get to visit with her so often, go back into her life, as it's a continuing series. And I admire her guts and her passion. Naturally, I'd want to step into her when Roarke walks into the room -- any time Roarke walks into the room. Nora Roberts: Thanks, Fonda. I can't ever say whether or not I'll go back to a certain subject and explore it in a different way. At this point, I don't have any particular idea in mind. I did nudge into the area of black magic, Satanism (again as the bad guys) in CEREMONY IN DEATH. Good versus evil, in all its forms, fascinates me. Nora Roberts: For the older books, you've just got to hunt in the used books stores. Silhouette does and is reissuing my books, but it's a gradual process. We'll be reissuing the MacGregor series starting this fall and redoing THE DONOVANS next year. My husband's bookstore carries everything he can still order, but the early categories are really hard to find. Nora Roberts: Depends on your definition of fanatical. LOL. I'm fortunate to have a wonderful reader base and have been able to meet or communicate with lots of them. I really enjoy it. The net's giving me the venue to interact with readers, and I have several folders on AOL. I'm about to go on a multicity tour for HOMEPORT and will be meeting several readers and pals along the way. Nora Roberts: I very often speak at conferences. I'm a charter member of RWA and have tremendous respect and affection for the organization. I believe strongly in the support and networking that conferences can offer. And Julie's a pal -- she's a terrific speaker and a delightful woman. I met her at a conference, as I met the majority of my writer friends. For that reason alone I don't know what I'd have done without writers' conferences. It's a very lonely business. It's lovely to get together, form friendships, and exchange experiences and information. Nora Roberts: I am on the net quite a bit. I do most of my research online now -- and I keep in touch with a lot of friends across the country through email. I'm also active in a number of areas on AOL and have several folders. Nora Roberts: Either a character's name will just be there, or you hunt. It might be the name of someone I've met. Or I might just drag out a baby book and start skimming through. The right name will usually pop out. Nora Roberts: Write what you read for pleasure. That's important, I think. If you worry about the market, you'll go crazy and you won't write a story from the heart. I got started during the Blizzard of '79 when I was snowed in with my two kids. Going crazy. I decided to put down on paper one of the stories that was in my head. I'd never thought of being a writer because I thought everyone made up stories. As soon as I started I was hooked. I started in category romance because I'd just discovered them and they were perfect for my lifestyle at that time -- only snatching time to read and finding in category romance a full, complete story told quickly. Nora Roberts: No, I don't want to write screenplays. It's not my form. I love movies, but I don't want to write them. I leave that to the experts. MONTANA SKY has been optioned by TriStar, and they're working on a script. I have no idea, really, if they'll ever pull it off. Nora Roberts: Other than the In Death series, I don't bring back previous characters except as sub-characters in subsequent books. Their story's told. I like the connecting books, which give me and the reader a chance to see how previous characters are doing. But as to taking a book like HOT ICE and crafting a story about the characters in it, no. Too many other stories to tell. Nora Roberts: HOLIDAY IN DEATH, the next J. D. Robb, will be on sale in May. Nora Roberts: "Writer" is a word without gender. I really don't think it's any more problematic to tell a story from a male or female viewpoint. In fact, most of my books contain both as their relationship models. I don't have to quiz my husband -- I live with him. And I grew up with four brothers -- no sisters. Had two sons -- no daughters. I know men as well as any woman's able. Nora Roberts: I am coming to Pennsylvania on tour. To Gene's Books in King of Prussia and to Chester County Bookstore in Westchester, both on Tuesday, March 31st. Movie plans are in the works -- we're hopeful. Nora Roberts: Relax -- let me think, I used to know what that meant. Well, I love to read -- nothing's better than falling into someone else's story. I love movies. And I love to garden. I'll be working on my flower beds in another month, I hope. Nora Roberts: Ideas are my business, just one of those things. And actually the idea is the easy part. It's making the idea work that's tough. My first book was IRISH THOROUGHBRED, a Silhouette Romance, published in 1981. Nora Roberts: I very rarely listen to anything when I work. I like silence -- and it helps me hear the characters, I think. Just one of those things. Other writers work best with music playing or the TV on in the background. How many pages just depends on how it's flowing. I don't really put a goal like that ahead of me. I just try to write about eight hours and hope I have a nice chunk of work done by end of day. Nora Roberts: I love telling stories. Writing's incredibly hard work. If you didn't love the process, you'd go crazy. I really love telling the story, working out the details, and seeing what happens at the end. Nora Roberts: The Robb name is marketing, basically. I write quickly, and the publisher was becoming concerned with how to publish me well. I resisted the a.k.a. for a couple years, then my agent said Nora, there's Pepsi, Diet Pepsi, Caffeine-Free Pepsi. I got it. LOL. So I agreed to take another name if I could write something a bit different than what I do under my own. The In Death series started as kind of a lark for me -- romantic suspense police procedurals with continuing characters set in the near future. And I really fell in love with Eve and Roarke. I'm having a terrific time writing them. Nora Roberts: If you want something badly enough, you find a way. I wrote around the kids, over the kids, through the kids. I wrote in a notebook because it was portable, and I could be there making sure my oldest son didn't kill his younger brother. I wrote when they were asleep. I think the only TV I watched for three years was "The Incredible Hulk," because my boys were nuts about it. Nora Roberts: No. I just don't have fascinating experiences. And if I did, I'd be too busy having them to write about them. Never based a character on a real person, though as most writers will, I've taken pieces of people and glumped them together to make my own. Nora Roberts: Oh, that's too hard. I love to read and have lots of favorites. Mary Stewart is one of my all-time favorite writers -- and really anything she's done is a joy to me. CATCH-22 is one of my favorites, as is TO KILL A MOCKINGBIRD. I like John Sandford's mysteries, Patricia Gaffney's books. I'm waiting like everyone else for Grafton's N IS FOR NOOSE. And I have Michael Connelly's TRUNK MUSIC on the top of my pile right now. Nora Roberts: You're welcome. Hope it helped. Nora Roberts: Hi, Theresa. After HOMEPORT, the paperback of SANCTUARY will come out in April -- as well as a hardcover reissue of GENUINE LIES. Then in May HOLIDAY IN DEATH. The second of the Eastern Shore trilogy, RISING TIDES, will be on sale in July. Nora Roberts: Thanks, Abi! You never know if humor comes through this way. LOL
Rory from Florida: Hey Nora, I have two questions for you 1)It is amazing that you now have 101 books out. What kept you doing this? What kind of momentum kept pushing you to keep writing? 2)How do you overcome writer's block?
Glen from Louisville, KY: Are you already at work on your next project? What should your fans expect? Thanks for taking my question!
John from Denver, CO: If you could be any character from your books, who would you be? And at what point in their story would you want to be them? Thank you.
Fonda from Ohio: Hi, Nora. I have read all your books, and my favorite is DIVINE EVIL. Are you ever going to write another book about the same topic as this one? This book was by far the best ever! I can't wait if you do.
Liz from Geneva, IL: I'm trying to complete my collection of Silhouette/Harlequin paperbacks written by you but am finding that many are hard to find or out of print. Any suggestions?
Linda from New Haven, CT: I think you are my favorite author out there...Do you have a lot of fanatical fans?
Michael Little from Honolulu, HI: Nora, do you speak at writers' conferences? I've made great contacts and learned much from the Maui Writers Conference (Julie Garwood spoke there last year and will return this year). I would enjoy hearing your thoughts on the value of writers' conferences, for established writers and beginning writers.
Brenda Malone from Hattiesburg, MS: I read somewhere that you are on the Internet quite a bit. Is this true? What do you do? Do you ever go to romance chat rooms?
Abi from Greenville, PA: Nora, you are one of my favorite authors. Thank you for so many hours of reading pleasure. I want to know where you get your characters' names. Do they just pop into your head, or do you disguise the names of people you know?
Cordie from Atlanta, GA: Dear Ms. Roberts,What advice would you give to a beginner who wants to write for a living? How did you get started?
Helena from East Hanover, NJ: You write so many books, I am curious to know if you have any intention of writing movies? Are there any plans for making your books into movies?
Barb from Geneva, IL: Have you ever considered bringing back Doug Lord and Whitney McAllester from HOT ICE in another novel?
Janet from Geneva, IL: When can I look for your next J. D. Robb paperback?
Cheryl Hindmon from Covington, GA: Is it harder to write when your leading character is a man and you tell the story from his perspective? Do you quiz your husband on how he'd react to such and such?
Robyn from Huntingdon, PA: My wife and I both enjoy your books. Will your tour include Pennsylvania, and are there any current TV or movie plans?
Theresa A. Fowler from Fort Pierce, FL: What do you do to relax?
Margo from Toronto, Canada: Mrs. Roberts, you are one of my fave authors. I love all of your books. How did you get started? What was your first book? Where do you come up with your ideas?
Patrick Henri from South Jersey: Mrs. Roberts, do you listen to any music when you write? How many pages a day do you write?Thanks.
Betty from Concord: What made you want to write so many books? Do you like telling stories?
Isa from Quebec, Canada: I love your books. Why do you write under the name J. D. Robb?
Patrick from South Jersey: I have two children, and I was wondering where you got the energy to write at the time you started. Were you writing in the morning or at night? Thanks.
Carter Booth from South Beach, FL: Have you ever written a book based on a real-life experience or based a character on a real person?
Annie from Savannah, GA: You're my favorite author. I can't wait to read your new book. Who is your favorite author? What is your favorite book? (Not one you've written.)
Patrick from South Jersey: Thank you Mrs Roberts, I really appreciate your advice....I wrote two books (suspense) in French but no luck so far. Thank you again.
Theresa from Fort Pierce, FL: What's next after HOMEPORT? By the way, all your fans on AOL appreciate the chance to get to converse with you day after day. Thanks so much.
Abi from Greenville, PA: Nora, you seem to have a fabulous sense of humor, just want to thank you for sharing it here tonight. Makes me like you even more!
