An insurance loss specialist and a lawyer work opposite sides of a case of potential art fraud, bringing danger into both of their lives.
Worlds collide when loss prevention specialist Jay Davidovich has to match wits with Cynthia Jakubek, an attorney with attitude. Both characters from Locke’s previous work (Jail Coach, 2012; But Remember Their Names, 2011), the two are set at odds by a complex plot involving Jay’s role at Transoxana Insurance Company and the overlapping interests of several of Cynthia’s clients. The plot vaguely connects some dark hints about the Catholic Church with the insurance for Eros Rising, a painting that may or may not have spawned a forged copy. Jay's role is to protect Transoxana from a potential $50 million fraud. Unfortunately, it’s a bit hard to tell just what’s going on beneath all the complexities of Cynthia's involvement with the case, though she's definitely in the business of tracking people connected to the painting, if not the work itself. One thing becomes clear, however, when an unknown man tries to steal an attaché case with information about the deal: Jay and Cynthia aren’t the only two in the hunt. They race to find out who knows what before either of them becomes the victim of a violent crime. Even though they’re adversaries, their best bet may be to work together—but at what cost?
Locke, who’s too clever for her own good, would have done better to unfold a more straightforward plot than to concentrate on nudging the reader with needlessly highbrow references. Readers enticed by Locke's title should prepare for some confusion.