The article she'd read had included some details on his personal life. She knew he'd come to the Eastern Shore as a child, taken in by Ray Quinn before Ray died in a single-car accident. Some of the story was a little nebulous. There'd been no mention of parents, and Seth had been very closed-mouthed in the interview in that area. The facts given were that Ray Quinn had been his grandfather, and on his death, Seth had been raised by Quinn's three adopted sons. And their wives as they had come along.

Sisters, he'd said, thinking of the flowers he'd bought. Perhaps they had been for the women he considered his sisters.

It hardly mattered to her.

She'd been more interested in what the article had said about his work, and how his family had encouraged his early talent. How they had supported his desire to study in Europe.

It was a fortunate child, in Dru's opinion, who had a family who loved him enough to let him go—to let him discover, to fail or succeed on his own. And, she thought, who apparently welcomed him back just as unselfishly.

Still, it was difficult to imagine the man the Italians had dubbed il maestro giovane—the young master—settling down in St. Christopher to paint seascapes.

Just as she assumed it was difficult for many of her acquaintances to imagine Drusilla Whitcomb Banks, young socialite, contentedly selling flowers in a small waterfront shop.

It didn't matter to her what people thought or what they said—any more than she supposed such things mattered to Seth Quinn. She'd come here to get away from the demands and expectations, the sticky grip of family, and the unrelenting upheaval of being used as the fraying rope in the endless game of tug-of-war her parents played.

She'd come to St. Chris for peace, the peace that she'd yearned for most of her life.

She was finding it.

Though her mother would be thrilled—perhaps, stubbornly, because her mother would be thrilled at the prospect of her precious daughter capturing the interest of Seth Quinn—Dru had no intention of cultivating that interest. Neither the artistic interest, nor the more elemental and frankly sexual interest she'd seen in his eyes when he'd looked at her.

Or, if she was being honest, the frankly sexual interest she'd felt for him.

The Quinns were, by all reports, a large, complex and unwieldy family. God knew she'd had her fill of family.

A pity, she admitted, tapping the card on her palm before dropping it into a drawer. The young master was attractive, amusing and appealing. And any man who took the time to buy flowers for his sisters, and wanted to make sure each purchase suited the individual style of the recipient, earned major points.

"Too bad for both of us," she murmured, and shut the drawer with a final little snap.

HE WAS THINKING of Dru as she was thinking of him, and pondering just what angles, just what tones would work best on a portrait. He liked the idea of a three-quarter view of her face, with her head turned to the left, but her eyes looking back, out of the canvas.

That would suit the contrast of her cool attitude and sexy chic.

He never doubted she'd consent to pose. He had an entire arsenal of weapons to battle a model's reluctance. All he had to do was decide which one would work best on Drusilla.

Tapping his fingers on the wheel to the outlaw beat of Aero-smith that blasted out of his stereo, Seth considered her.

There was money in her background, he decided. Seth recognized designer cut and good fabric even if he was more interested in the form beneath the fashion. Then there was the cadence of her voice. It said high-class private school to him.

She'd tagged James McNeill Whistler for the name of her shop. Which meant, he thought, she'd had a very tony education, or someone pounding poetry and literature into her head as Phil had done with him.

Probably both.

She was comfortable with her looks and didn't fluster when a man made it clear she attracted him.

She wasn't married, and instinct told him she wasn't attached. A woman like Dru didn't relocate to tag along after a boyfriend or lover. She'd moved from Washington, started a business and run it solo because that's just the way she wanted it.

Then he remembered just how far off the mark he'd been regarding the fictional Widow Whitcomb Banks, and decided to hedge his bets by doing a little research before approaching her again.

Seth pulled into the parking lot of the old brick barn the Quinns had bought from Nancy Claremont when the woman's tight-fisted, tight-assed husband had keeled over dead of a heart attack while arguing with Cy Crawford over the price of a meatball sub.

Initially they'd rented the massive building, one that had been a tobacco, warehouse in the 1700s, a packinghouse in the 1800s and a glorified storage shed for much of the 1900s.

Then it had been a boatyard, transformed and outfitted by the brothers Quinn. For the last eight years, it had belonged to them.

Seth looked up at the roof as he climbed out of the car. He'd helped reshingle that roof, he remembered, and had nearly broken his neck doing it.

He'd smeared the hot fifty-fifty mix on seams, and burned his fingers. He'd learned to lap boards in the bottomless well of Ethan's patience. He'd sweated like a pig along with Cam repairing the dock. And had escaped by whatever means presented themselves every time Phil had tried to shoehorn him into learning to keep the books.

He walked to the front, stood with his hands on his hips studying the weathered sign. BOATS BY QUINN. And noted that another name had been added to the four that had been there since the beginning.

Aubrey Quinn.

Even as he grinned, she shoved out of the front door.

She had a tool belt slung at her hips and an Orioles fielder's cap low over her forehead. Her hair, the color of burnt honey, was pulled through the back loop to swing at her back.

Her scarred and stained work boots looked like a doll's.

She had such little feet.

And a very big voice, he thought when she let out a roaring whoop as she charged him.

She leaped, boosted herself with a bounce of her hands off his shoulders and wrapped her legs around his waist. The bill of her cap rapped him in the forehead when she pressed her mouth to his in a long, smacking kiss.

"My Seth." With a loud hooting laugh, she chained her arms around his neck. "Don't go away again. Damn it, don't you dare go away again."

"I can't. Too much happens around here when I'm gone. Tip back," he ordered, and dipped her away far enough to study her face.

At two, she'd been a tiny princess to him. At twenty, she was an athletic, appealing handful.

"Jeez, you got pretty," he said. "Yeah? You too."

"Why aren't you in college?"

"Don't start." She rolled her bright green eyes and hopped down. "I did two years, and I'd've been happier on a chain gang. This is what I want to do." She jerked a thumb toward the sign. "My name's up there to prove it."

"You always could wrap Ethan around your finger."

"Maybe. But I didn't have to. Dad got it, and after some initial fretting, so did Mom. I was never the student you were, Seth, and you were never the boatbuilder I am."

"Shit. I leave you alone for a few years, and you get delusions of grandeur. If you're going to insult me, I'm not going to give you your present."

"Where is it? What is it?" She attacked by poking her fingers in his ribs where she knew him to be the most vulnerable. "Gimme."

"Cut it out. Okay, okay. Man, you don't change."

"Why mess with perfection? Hand over the loot and nobody gets hurt."

"It's in the car." He pointed toward the lot and had the satisfaction of seeing her mouth drop open.

"A Jag? Oh baby." She darted over the stubble of lawn to the lot to run her fingers reverently over the shining silver hood. "Cam's going to cry when he sees this. He's just going to break down and cry. Let me have the keys so I can test her out."

"Sure, when we're slurping on Sno Kones in hell."

"Don't be mean. You can come with me. We'll buzz u

p to Crawford's and get some…" She trailed off as he got the long white box out of the trunk. She blinked at the box, blinked at him before her eyes went soft and dewy.

"You bought me flowers. You got me a girl present. Oh, let me see! What kind are they?" She pulled a work knife out of her belt, sliced the ribbon, then yanked up the lid. "Sunflowers. Look how happy they are."

"Reminded me of you."

"I really love you." She stared hard at the flowers. "I've been so mad at you for leaving." When her voice broke, he gave her an awkward pat on the shoulder. "I'm not going to cry," she muttered and sucked it in. "What am I, a sissy?"


"Okay, well, anyway, you're back." She turned to hug him again. "I really love the flowers."

"Good." He slapped a hand on the one that was trying to sneak into his pocket. "You're not getting the keys. I've got to take off anyway. I've got flowers for Grace. I want to swing by and see her on my way home."

"She's not there. This is her afternoon for running errands, then she'll pick Deke up from school and drop him off for his piano lesson and so on and so on. I don't know how she does it all. I'll take them to her," Aubrey added. "Flowers will take some of the sting out of missing you today."

"Tell her I'll try to get by tomorrow, otherwise I'll see her Sunday." He carted the box from his trunk to the snappy little blue pickup.

Aubrey laid her flowers in the cab with her mother's. "You've got some time now. Let's go get Cam and show off your car. I tell you, he's going to break down and sob like a baby. I can't wait."

"You've got a mean streak, Aub." Seth slung his arm around her shoulders. "I like that about you. Now, tell me what you know about the flower lady. Drusilla."

"Aha." Aubrey leered up at him as they walked toward the building. "So that's the way the garden grows."


"Tell you what. Meet me at Shiney's after dinner. Say about eight. Buy me a drink and I'll spill everything I know."

"You're underage."

"Yeah, like I've never sipped a beer before," she retorted. "A soft drink, Daddy. And remember, I'll be legal in less than six months."

"Until then, when I'm buying, you drink Coke." He tipped down the bill of her cap, then dragged open the door to the noise of power tools.

CAM DIDN'T break down and weep, Seth thought later, but he had drooled a little. Nearly genuflected. Right before, Seth mused as he parked in front of Shiney's Pub, Cam—being bigger and meaner than Aubrey—snagged the keys and peeled off to take it for a spin.

Then, of course, they spent a very satisfying hour standing around admiring the engine.

Seth glanced at the pickup beside his car. One thing about

Aubrey, she was always prompt.

Tags: Nora Roberts Chesapeake Bay Saga Romance