Phones were a necessary nuisance, but a nuisance still. Who the hell would be calling her at—she checked the clock—seven-forty-three in the morning? Irritably, she set her cup down and walked over to snag the receiver off the wall.
“Candra here,” a warm voice replied to her cautious greeting. “I’m sorry to call you so early, but I don’t know your schedule and wanted to be certain I caught you.”
“You got me on the first cast,” Sweeney replied, her irritation fading. Candra Worth owned the gallery where Sweeney sold her work.
“Beg pardon?”
“Never mind. It’s a fishing term. I don’t suppose you’ve ever been fishing?”
“God, no.” Like her voice, Candra’s laugh was warm and intimate. “The reason I called was to ask if you could be here at about one to meet some potential clients. We were talking at a party last night and they mentioned they’re thinking of having their portraits done. I immediately thought of you, of course. Mrs. McMillan wanted to come by the gallery to look at a particular piece I’ve just gotten in, so I thought it would be convenient for them to meet you while they’re here.”
“I’ll be there,” Sweeney promised, though she had looked forward to a day of uninterrupted work.
“Good. See you then.”
Sweeney shivered as she hung up and hurried back to her coffee. She didn’t like meeting prospective clients, but she did like doing portraits—and she needed the work. About the time she had started seeing ghosts, her work had gone to hell in a handbasket. The trademark delicacy of her landscapes and still-life studies had given way to an uncharacteristic boisterousness, and she didn’t like it. Her colors had always been transparent, as if they were watercolors instead of oils, but now, no matter how hard she tried, she found herself gravitating toward deep, passionate, unrealistic shades. She hadn’t carried anything to Candra’s gallery in months, and though her old pieces were still selling, there couldn’t be many left.
She owed it to Candra to take the job, if the couple liked her work. Sweeney was aware that she was not now and probably would never be a hot commodity, because her art was considered too traditional, but nevertheless Candra had always steered her way those customers who preferred the traditional approach, thereby providing Sweeney with a fairly steady, moderately lucrative income. Above that, last year when Sweeney had announced her intention of leaving Clayton, it was Candra who had scouted out this apartment for her.
Not that New York City would have been Sweeney’s first choice; she had been thinking of someplace warmer. Of course, New York was warmer than Clayton, which sat on the St. Lawrence River, just east of Lake Ontario, and every winter was the recipient of lake-effect snows. New York City was coastal; it snowed during the winter, but not as often and not as much, and the temperatures were more moderate. Not moderate enough; Sweeney had been thinking more along the lines of Miami, but Candra had talked her into coming to the city and Sweeney didn’t regret it. There was always something going on, which provided her with plenty of distraction whenever she thought she was going to scream from frustration.
Above all, New York was big enough that she didn’t know any of the dead people, didn’t feel compelled by good manners to acknowledge them. The city also provided a steady supply of faces—live ones. She loved faces, loved studying them, which was why her portrait work was steadily increasing—thank God, because otherwise her bank account would have been in serious trouble, instead of just in trouble.
The city suited her, for now, and by New York standards the rent was reasonable. Candra had known about the apartment because her husband, Richard Worth, owned the building. He was some sort of Wall Street whiz, a self-made market millionaire; Sweeney had met him a couple of times, and tried to stay as far away from him as possible. He had an interesting but intimidating face, and she thought he must be the type of man who steamrollered over everyone in his path. She made it a point not to be in his way.
The neighborhood wasn’t the best, nor was the building, but the apartment was a corner one, with huge windows. She could happily have lived in a barn, if it had as good a light—and central heat.
The coffee had stopped her shivering. She always felt a little chilled now, but mornings were the worst. She would have gone to a doctor, but whenever she imagined talking to someone about what was going on, her common sense stopped her. “About a year ago I started seeing ghosts, Doctor, and that’s when I got cold. Oh, by the way, traffic signals turn green whenever I approach, too. And my plants bloom out of season. So what’s wrong with me?” Sure. Not in this lifetime. She’d been pointed at enough when she was a kid. Being an artist was uncommon enough; she wasn’t about to let herself be labeled as wacko, too.
The past year had been trying for more reasons than just seeing ghosts. Sweeney resisted change with a stubborn determination that was no less unyielding for its lack of ferocity. She wasn’t ferocious about anything but painting. Still, over the years those who knew her well had learned how tenacious she was. She liked routine, liked her life to have an even tenor. She could get along just fine without drama, despair, and excitement, having had a surfeit of it in her childhood. For her, sameness and normality equaled security. But how could she feel secure when she had changed, when she knew she was no longer normal, even if she had managed to hide it from the rest of the world? And now she seemed to have lost her direction, if not her talent; but what good was talent if she didn’t know what she was doing with it?