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Mills & Boon is proud to present a fabulous collection of fantastic novels by bestselling, much loved author
ANNE MATHER
Anne has a stellar record of achievement within the
publishing industry, having written over one hundred and sixty books, with worldwide sales of more than forty-eight MILLION copies in multiple languages.
This amazing collection of classic stories offers a chance
for readers to recapture the pleasure Anne’s powerful, passionate writing has given.
We are sure you will love them all!
I’ve always wanted to write—which is not to say I’ve always wanted to be a professional writer. On the contrary, for years I only wrote for my own pleasure and it wasn’t until my husband suggested sending one of my stories to a publisher that we put several publishers’ names into a hat and pulled one out. The rest, as they say, is history. And now, one hundred and sixty-two books later, I’m literally—excuse the pun—staggered by what’s happened.
I had written all through my infant and junior years and on into my teens, the stories changing from children’s adventures to torrid gypsy passions. My mother used to gather these manuscripts up from time to time, when my bedroom became too untidy, and dispose of them! In those days, I used not to finish any of the stories and Caroline, my first published novel, was the first I’d ever completed. I was newly married then and my daughter was just a baby, and it was quite a job juggling my household chores and scribbling away in exercise books every chance I got. Not very professional, as you can imagine, but that’s the way it was.
These days, I have a bit more time to devote to my work, but that first love of writing has never changed. I can’t imagine not having a current book on the typewriter—yes, it’s my husband who transcribes everything on to the computer. He’s my partner in both life and work and I depend on his good sense more than I care to admit.
We have two grown-up children, a son and a daughter, and two almost grown-up grandchildren, Abi and Ben. My e-mail address is [email protected] and I’d be happy to hear from any of my wonderful readers.
In the Italian’s Bed
Anne Mather
CONTENTS
CHAPTER ONE
CHAPTER TWO
CHAPTER THREE
CHAPTER FOUR
CHAPTER FIVE
CHAPTER SIX
CHAPTER SEVEN
CHAPTER EIGHT
CHAPTER NINE
CHAPTER TEN
CHAPTER ELEVEN
CHAPTER TWELVE
CHAPTER THIRTEEN
CHAPTER FOURTEEN
CHAPTER FIFTEEN
EPILOGUE
THE man was standing outside the Medici Gallery as Tess drove past. She only caught a brief glimpse of him, concentrating as she was on keeping Ashley’s car on the right side of the road. She saw him look after her as she turned into the parking lot behind the smart row of boutiques and cafés that faced the flower-fringed promenade of Porto San Michele. And wondered if she wasn’t being paranoid in imagining there had been a definite air of hostility in his gaze.
She shook off the thought impatiently. She was imagining things. He wasn’t waiting for her. Besides, she wasn’t late. Well, only a few minutes anyway. She doubted Ashley’s timekeeping was any better than hers.
There were few cars in the parking lot at this hour of the morning. Tess had discovered that Italian shops rarely opened before ten and were definitely disposed towards a leisurely schedule. Her neighbours on the parade—Ashley’s neighbours, actually—seldom kept to strict opening hours. But they were charming and helpful, and Tess had been grateful for their advice in the three days since she’d been standing in for Ashley.
She hoped she was mistaken about the man, she thought as she let herself into the gallery through the back entrance. She hurried along the connecting passage that led to the showroom at the front and deactivated the alarm. Perhaps he was a friend of Ashley’s. Perhaps he didn’t know she was away. She glanced towards the windows and saw his shadow on the blind. Whatever, she was evidently going to have to deal with him.
Deciding he could wait a few more minutes, Tess turned back into the passageway and entered the small office on the right. This was where Ashley did her paperwork and kept all her records. It was also where she took her breaks and Tess looked longingly at the empty coffee-pot, wishing she had time to fill it.
But Ashley’s boss wouldn’t be pleased if her tardiness turned a would-be patron away and, after examining her reflection in the small mirror by the door, she pulled a face and went to open the gallery.
The door was glass and, unlike the windows, inset with an iron grille. Taking the precaution of opening all the blinds before she tackled the door, Tess had time to assess her visitor.
He was taller than the average Italian, she saw at once, with dark arresting features. Not handsome, she acknowledged, but she doubted a woman would find that a disadvantage. His features had a dangerous appeal that was purely sexual, a sophisticated savagery that sent a shiver of awareness down her spine.
Oh, yes, she thought, he was exactly the kind of man Ashley would be attracted to, and she guessed his visit to the gallery was of a more personal nature than a commercial one. When she pulled the door wide and secured it in its open position, he arched a faintly mocking brow in recognition of her actions. It made Tess want to close the door again, just to show him how confident she was.
But, instead, she forced a slight smile and said, ‘Buongiorno. Posso aiutare?’ in her best schoolgirl Italian.
The man’s mouth twitched as if she had said the wrong thing, but he didn’t contradict her. Nor did he immediately respond. Pushing his hands into the pockets of his jacket, he swung round and surveyed the contents of the gallery, and Tess wondered if she was wrong about his association with Ashley and that he expected her to give him a guided tour.
Who on earth was he? she wondered, intensely aware of the ambivalence of his gaze. She was sure he wasn’t a tourist and it seemed far too early in the day for him to be a serious collector. Besides, the paintings they were exhibiting were hardly a collector’s choice.
Realising she was probably completely wrong, she nevertheless suspected he hadn’t come here to look at the paintings.