Page 47 (1/2)

The afternoon sun was directly on François Marois, forcing the dealer to squint But behind hi and definite shadow

"Why do you want both Morrows," Gamache asked, "when you obviously prefer Clara’s works? Do you even like Peter Morrow’s paintings?"

"No, I don’t I find theood artist, but I think he could be a great one, if he could use ood drafts the cold analysis all theAnd perhaps true

"You said you had only so y left," persisted Gamache "I can see why you’d choose Clara But why Peter, an artist you don’t even like?"

Marois hesitated "It’s just easier to e We can make career decisions for both of them I want Clara to be happy, and I think she’s happiest if Peter is also looked after"

Gamache looked at the art dealer It was an astute observation But it didn’t go far enough Marois hadthe question

Then the Chief Inspector remembered the story Marois told, of his first client The elderly artist whose wife overtook hio the woain

Was that what Marois was afraid of? Losing his final client, his final find, because Clara’s love for Peter was greater than her love for art?

Or was it, again, evento do with Clara, with Peter, with art? Was François Marois siuay owned art But François Marois owned the artists Who was the s couldn’t get up and leave But the artists could

What was François Marois afraid of? Gaain

"Why are you here?"

Marois looked surprised "I’ve already told you, Chief Inspector Twice I’n Peter and Clara Morrow"

"And yet you claiets there first"

"I can’t control other people’s stupidity," smiled Marois

Gamache considered the man, and as he did the art dealer’s smile wavered

"I’m late for drinks,"

He turned and walked toward the bistro