lovers—even with her foster family—there was always a struggle between her need for intimacy and her fear of it. Yet she was letting this stranger hold her hand.
“You just had a scare, but you’re okay now,” he added.
And somehow, she was.
“You’re sure you don’t know the guy who tried to break in here?” The detective’s mop of dark hair softened the intensity of his gaze. “You’ve no idea why anyone would break into your studio this hour of night?”
Renata shook her head again. If she’d testified before the war tribunals, someone might have had cause to try to shut her up, but that’s why Renata hadn’t testified. Why she would never testify.
The detective finally went to the windowsill to dust for fingerprints. Meanwhile, Renata searched for her pet python. As she checked all of Scylla’s usual hiding spots, she realized the detective was examining her work. “These are some powerful pieces,” he said of the statuary adorning her studio.
“Thank you,” Renata said politely. “They’re not to everyone’s taste. One of my critics said they were nightmares brought to life.”
The detective circled a black marble sculpture of a man with a gun strapped over his shoulder, his clenched fist pulled back to brutalize an unseen victim. “Not a nice guy, I’m guessing.”
“He was charged with crimes against humanity,” Renata said, feeling a well of rage rising as she remembered his deeds. “He died before they could convict him, though.” What she did not tell the detective was that the soldier had died the very night Renata finished his sculpture, and thus joined her collection of ghosts.
When she was a fledgling artist, Renata carved the faces of children felled by sniper fire outside Sarajevo. Even now, after years of experience, the only living person in her art collection was The War Criminal, so she watched warily as the detective approached the almost-finished statue and ran his hand over the stone. “This is the guy on trial at The Hague right now isn’t it?”
“Yes,” Renata replied, impressed. It seemed unlikely that an ordinary police detective would know anything about it; in Renata’s experience, most people chose to forget the war that had destroyed her childhood. That this man seemed to care made Renata willing to talk. “ The War Criminal was going to be the centerpiece of my exhibit at the gallery tomorrow to coincide with the expected verdict against him, but now I’m afraid I won’t finish in time.”
“But you must finish it,” he insisted, a ripple of anger passing across his shoulders beneath his leather jacket. His sudden vehemence startled Renata, and seeing this, he measured his tone. “I’m just saying that you can’t let anything stand in your way. An art exhibit is a huge deal, isn’t it? You’ve worked hard for it, haven’t you? You can’t let someone scare you from finishing important work like this.”
Renata was flattered that he thought her work was important, but she was terribly unsettled. She wished he would tell her that they had her would-be kidnapper in custody. She just wanted to feel safe—but then, hadn’t she always? Renata shrugged apologetically. “I can’t do the delicate finishing touches with shaking hands.”
“Look,” the detective said. “If it’ll make you feel better, I’ll keep my squad car parked right outside tonight and make sure nobody bothers you. Meanwhile, you should just take your fear from tonight, turn it to anger, and finish your sculpture.”
Renata tilted her head at the curious phrasing he used. “I don’t think you should be encouraging that. My therapist thinks I have anger issues.”
He gave a mirthless smile, a gleam of savagery in his eye. “No doubt. Sounds like you clocked the perp. Did you throw the hammer because you were scared or angry?”
“Both,” Renata admitted.
“Then it seems to me that your anger is what kept you from being kidnapped tonight and it’ll help
“You just had a scare, but you’re okay now,” he added.
And somehow, she was.
“You’re sure you don’t know the guy who tried to break in here?” The detective’s mop of dark hair softened the intensity of his gaze. “You’ve no idea why anyone would break into your studio this hour of night?”
Renata shook her head again. If she’d testified before the war tribunals, someone might have had cause to try to shut her up, but that’s why Renata hadn’t testified. Why she would never testify.
The detective finally went to the windowsill to dust for fingerprints. Meanwhile, Renata searched for her pet python. As she checked all of Scylla’s usual hiding spots, she realized the detective was examining her work. “These are some powerful pieces,” he said of the statuary adorning her studio.
“Thank you,” Renata said politely. “They’re not to everyone’s taste. One of my critics said they were nightmares brought to life.”
The detective circled a black marble sculpture of a man with a gun strapped over his shoulder, his clenched fist pulled back to brutalize an unseen victim. “Not a nice guy, I’m guessing.”
“He was charged with crimes against humanity,” Renata said, feeling a well of rage rising as she remembered his deeds. “He died before they could convict him, though.” What she did not tell the detective was that the soldier had died the very night Renata finished his sculpture, and thus joined her collection of ghosts.
When she was a fledgling artist, Renata carved the faces of children felled by sniper fire outside Sarajevo. Even now, after years of experience, the only living person in her art collection was The War Criminal, so she watched warily as the detective approached the almost-finished statue and ran his hand over the stone. “This is the guy on trial at The Hague right now isn’t it?”
“Yes,” Renata replied, impressed. It seemed unlikely that an ordinary police detective would know anything about it; in Renata’s experience, most people chose to forget the war that had destroyed her childhood. That this man seemed to care made Renata willing to talk. “ The War Criminal was going to be the centerpiece of my exhibit at the gallery tomorrow to coincide with the expected verdict against him, but now I’m afraid I won’t finish in time.”
“But you must finish it,” he insisted, a ripple of anger passing across his shoulders beneath his leather jacket. His sudden vehemence startled Renata, and seeing this, he measured his tone. “I’m just saying that you can’t let anything stand in your way. An art exhibit is a huge deal, isn’t it? You’ve worked hard for it, haven’t you? You can’t let someone scare you from finishing important work like this.”
Renata was flattered that he thought her work was important, but she was terribly unsettled. She wished he would tell her that they had her would-be kidnapper in custody. She just wanted to feel safe—but then, hadn’t she always? Renata shrugged apologetically. “I can’t do the delicate finishing touches with shaking hands.”
“Look,” the detective said. “If it’ll make you feel better, I’ll keep my squad car parked right outside tonight and make sure nobody bothers you. Meanwhile, you should just take your fear from tonight, turn it to anger, and finish your sculpture.”
Renata tilted her head at the curious phrasing he used. “I don’t think you should be encouraging that. My therapist thinks I have anger issues.”
He gave a mirthless smile, a gleam of savagery in his eye. “No doubt. Sounds like you clocked the perp. Did you throw the hammer because you were scared or angry?”
“Both,” Renata admitted.
“Then it seems to me that your anger is what kept you from being kidnapped tonight and it’ll help
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