The Doll House. Phoebe Morgan

and who is a great champion of all her HarperCollins books. Thank you to Victoria Oundjian and Lucy Gilmour at HQ for taking a chance on my book; I am so grateful. Thank you to Anna Sikorska for designing such a wonderfully creepy cover and for being the one to put my name onto a book jacket, which has always been my dream. Thank you to Alex Silcox for a great copy-edit and for catching all the things I missed, and thanks to all at HQ; you are all wonderful and I’m very proud to be published by you.

      I feel lucky to know such talented, creative publishing professionals, but even luckier to call these people friends: special thanks go to the brilliant Helena Sheffield for your work with the bloggers and your friendship – you always go above and beyond. Thank you to the beautiful Sabah Khan who organised publicity for the book, I owe you a LOT of rainbow coloured flowers. Thank you to Eloise Wood for reading a draft of this book and being a constant supporter and an excellent advice-giver too.

      Thank you to the Doomsday Writers – you know who you are and I couldn’t have done it without you, and I hope I never have to. Thank you to the kind authors who have read and quoted for my book, and to Kate Ellis, Kate Stephenson and Natasha Harding for your support too.

      Thank you to Donald Winchester, who was one of the first agents to show interest in my writing, and to all of Team Avon and Helen Huthwaite at HarperCollins, the best bunch of colleagues anyone could ask for who publish amazing books with incredible passion and make my day job such a pleasure.

      Thank you to my girlfriends for your encouragement and enthusiasm throughout this process; I promise never to put you in a crime book unless you come out on top.

      Thank you to Alex for being my voice of reason, and for keeping me calm when I think I can’t write at all. You are an amazing supporter and I love you.

      And finally, the biggest thank you to my family – to my brothers Owen and Fergus for reading countless drafts and answering all my incessant WhatsApps – you are my favourite people on the planet. Thank you to my dad for building me a doll house, then reliably informing me which parts of the book made no sense (especially geographically – not my strong point) and for putting me in touch with helpful people too who know more about architecture than I do. Thank you to my lovely grandma for digging out my old short stories, encouraging me and making me smile. And finally thank you to my mum; there are no words for how much you have championed me and this book and I love you so much and am so grateful. Thank you.

      To my family, for not being like this one.

Then

       ‘Can we go now?’

       I am tugging on Mummy’s coat, my fingers clutching the thin black fabric of it as though it is a life raft. Mummy’s eyes don’t move; her gaze doesn’t falter. It is as if I have not spoken at all.

       Minutes pass. I begin to cry, small, quiet sobs that choke in my throat, sting my cheeks in the wind. Mummy takes no notice. I push my palms into my eyes, blotting out the last remnants of light in the shadowy garden around us. The darkness continues to fall, but still Mummy stares, glassy-eyed. She doesn’t comfort me. She just stares. I bite down hard into the flesh of my cheek, harder and harder until I can taste a little bit of blood on my tongue.

       I’m trying to be quiet, trying not to make a sound. Mummy tells me that I shouldn’t complain, that we’re just playing the game. But it’s too cold tonight, and I’m hungry. The chocolate bar I had at school is swirling around in my stomach. I don’t think I’ll get anything else tonight, not if we don’t see them soon.

       In the winter time it’s always cold like this, but Mummy never lets us leave. In the summer time it’s better, sometimes the game is almost fun. The garden is the best part, I like the way the grass feels against my knees, and the way the hole in the fence fits me perfectly, like it’s been built just for me. I’m really good at getting through it now, I never even snag my clothes any more. I’m almost perfect.

       Now though it’s freezing and my hands are red, they burn like they’re set on fire. I squeeze my eyes tightly shut and pretend that it’s summer time, all nice and warm, and that I can feel the rays of sun on my back from where I’m hiding. In summer I get to see animals. They have rabbits in cages but I don’t go near those any more. One time I did, I crept right up to the cage and put my fingers through the gap, touched one of the bunnies on his little soft nose. But when Mummy realised, she got very angry, she said I had to stay back in the shadows. She says the bunnies don’t belong to us. So I don’t see them any more, but I do get to see the little hedgehog that lives near the fence, and all the creepy-crawlies; the worms and the beetles that Mummy says I oughtn’t to touch. I do touch, though. I push my fingers into the dirt and pick them up, lay the worms flat on my hand and watch them wriggle. I don’t think they mind. It’s nice to have things to play with. I’m usually by myself.

       Mummy suddenly leans forward, grabs my frozen hand in hers. I can feel the bones of her hand against mine, clutching me tight. It hurts.

       ‘Do you see them?’ she says, and I open up my eyes, blink in the darkness. It’s almost fully dark now but I look at the golden window, and I do see them. I see them all. My heart begins to thud.

1

       Now

       13 January 2017

       London

       Corinne

      The house is huge. It sits like a broken sandcastle in the middle of the lawn, strangely out of place amongst the remnants of construction, discarded hats and polystyrene cups left by over-caffeinated builders. I cling to Dominic’s hand as we pick our way through the site. Two fold-up chairs are positioned mid-way across the lawn, their silver legs wet with cold condensation.

      ‘Dominic? You’re here early!’ A man is striding towards us, hand outstretched. I let go of Dominic and step backwards, feel the immediate rush of anxiety as we disengage.

      ‘You must be Warren.’ Dom smiles, reaching out to grasp the bigger man’s hand in his own. ‘This is my girlfriend, Corinne Hawes.’ He propels me forward slightly with his left hand. ‘She’s got the day off work so I thought I’d bring her along with me. Got a keen eye for a story too, so she might be of use!’

      Neither of these things are exactly true. Dominic is a journalist; it’s easy to twist the truth, blur the lines. He’s good at it.

      ‘Thanks for coming down,’ Warren is saying, his voice loud and fast. ‘We really appreciate the coverage.’ Spittle connects the fleshy pouches of his lips, hangs horribly before separating itself into two sticky drops. He is moving as fast as he speaks, leading us both towards the house, raising a hand to builders as they walk past. The closer we get to the building, the worse I feel. It looms over us, white in the winter sun. There is something strange about it, something sad. It looks ruined. Forgotten.

      ‘So, Dominic, Dom, can I call you Dom?’ Warren continues without bothering to wait for an answer. ‘Dom, the thing is, this building is going to be a beauty by the time we’re finished with it. Yeah, it needs a bit of TLC, but that’s what we’re here for.’ He looks at me suddenly and winks. I recoil. He reminds me of Dom’s colleague Andy, the one who spent the entire Christmas party staring down my blouse, his eyes finding the gaps between the buttons on my chest. The memory makes me shudder. That man has never liked me since.

      ‘Shall we start off with a few questions, I’ll tell you what you need to know? Then you can take a few snaps, I know what you paparazzi are like!’ Warren laughs. I want to catch Dominic’s eye, share the horror of Warren together, but he’s scribbling in his notebook, little squiggles of grey against the white page.

      We sit down at the chairs, I feel the wetness