Kate Morton - The Distant Hours

‘He’s my sister’s, Juniper’s. Even as a small girl she loved animals specially; they seemed to love her too. We’ve always kept a dog for her, certainly since the trauma. They say everyone needs something to love.’

As if he knew and resented being made the topic of discussion, Bruno continued on his way. In his wake, the rustling came again faintly, only to be drowned out when a nearby phone began to ring.

Percy stood very still, listening the way people do when they’re awaiting confirmation that someone else has picked up.

The ringing continued until disconsolate silence closed around its final echo.

‘Come along,’ said Percy, a note of agitation clipping her voice. ‘There’s a shortcut through here.’

The corridor was dim, but no more so than the others; indeed, now that we’d emerged from the basement, a few diffuse ribbons of light had appeared, threading their way through the castle knots to spill across the flagstones. We were two-thirds of the way along when the phone began again.

This time Percy didn’t wait. ‘I’m sorry,’ she said, clearly flustered. ‘I can’t think where Saffy is. I’m expecting an important telephone call. Will you excuse me? I shan’t be a moment.’

‘Of course.’

And with a nod she disappeared, turning at the end of the corridor and leaving me stranded.

I blame what happened next on the door. The one right across the hall from me, a mere three feet away. I love doors. All of them, without exception. Doors lead to things and I’ve never met one I haven’t wanted to open. All the same, if that door hadn’t been so old and decorative, so decidedly closed, if a thread of light hadn’t positioned itself with such wretched temptation across its middle, highlighting the keyhole and its intriguing key, perhaps I might have stood a chance; remained, twiddling my thumbs, until Percy came to collect me. But it was and I didn’t; I maintain that I simply couldn’t. Sometimes you can tell just by looking at a door that there’s something interesting behind it.

The handle was black and smooth, shaped like a shin bone and cool beneath my palm. Indeed, a general coldness seemed to leach from the other side of the door; though how, I couldn’t tell.

My fingers tightened around the handle, I started to twist, then-

‘We don’t go in there.’

My stomach, I don’t mind saying, just about shot through the roof of my mouth.

I spun on my heel, scanned the gloomy space behind. I could see nothing, yet clearly I wasn’t alone. Someone, the owner of the voice, was in the corridor with me. Even if she hadn’t spoken I’d have known: I could feel another presence, something moving and hiding in the drawing shadows. The rustling was back now, too: louder, closer, definitely not in my head, definitely not mice.

‘I’m sorry,’ I said to the cloaked passage. ‘I-’

‘We don’t go in there.’

I smothered the panicky surge in my throat. ‘I didn’t know-’

‘That’s the good parlour.’

I saw her then, Juniper Blythe, as she stepped from the chill darkness and slowly crossed the corridor towards me.

Say You’ll Come Dancing

Her dress was incredible, the sort you expect to see in films about wealthy debutantes before the war, or hidden on the racks of upmarket charity shops. It was organza, the palest of pink, or it had been once, before time and grime had got busy, laying their fingers all over it. Sheets of tulle supported the full skirt, pushing it out as it fell away from her tiny waist, wide enough for the netted hemline to rustle against the walls when she moved.

We stood facing one another across the dull corridor for what felt like a very long time. Finally, she moved. Slightly. Her arms had been hanging by her sides, resting on her skirt, and she lifted one a little, leading from the palm, a graceful movement as if an unseen thread stitched to her inner wrist had been plucked from the ceiling behind me.

‘Hello,’ I said, with what I hoped was warmth. ‘I’m Edie. Edie Burchill. We met earlier, in the yellow parlour.’

She blinked at me and tilted her head sideways. Silvered hair draped over her shoulder, long and lank; the front strands had been pinned rather haphazardly with a pair of baroque combs. The unexpected translucence of her skin, the rake-like figure, the fancy frock: all combined to create the illusion of a teenager, a young girl with gangly limbs and a self-conscious way of holding them. Not shy, though, certainly not that: her expression was quizzical, curious, as she took a small step closer into a stray patch of light.

And then it was my turn for curiosity, for Juniper must have been seventy years old and yet her face was miraculously unlined. Impossible, of course; ladies of seventy do not have unlined faces, and she was no exception – in our later meetings I would see that for myself – but in that light, in that dress, through some trick of circumstance, some strange charm, it was how she appeared. Pale and smooth, iridescent like the inside of a pearl shell, as if the same passing years that had so busily engraved deep imprints on her sisters had somehow preserved her. And yet she wasn’t timeless; there was something unmistakably olden days about her, an aspect that was utterly fixed in the past, like an old photograph viewed through protective tissue in one of those albums with the sepia-clouded pages. The image came to me again of the spring flowers pressed by Victorian ladies in their scrapbooks. Beautiful things, killed in the kindest of ways, carried forward into a time and place, a season, no longer their own.

The chimera spoke then, and the sensation was compounded: ‘I’m going in to dinner now.’ A high, ethereal voice that made the hair on my neck stand to attention. ‘Would you like to come too?’

I shook my head, coughed to clear a tickle from my throat. ‘No. No, thank you. I have to go home soon.’ My voice was not itself and I realized I was standing very rigidly, as if I was afraid. Which, I suppose, I was, though of what I couldn’t say.

Juniper didn’t seem to notice my discomfort: ‘I have a new dress to wear,’ she said, plucking at her skirts so that the top layer of organza pulled up a little at each side, like the wings of a moth, white and powdery with dust. ‘Not new exactly, no, that isn’t right, but altered. It belonged to my mother once.’

‘It’s beautiful.’

‘I don’t think you ever met her.’

‘Your mother? No.’

‘Oh, she was lovely, so lovely. Just a girl when she died, just a girl. This was her pretty dress.’ She swirled coyly this way and that, peered up at me from beneath her lashes. The glassy gaze of earlier was gone, replaced by keen blue eyes, knowing somehow, the eyes of that bright child I’d seen in the photograph, disturbed while she was playing alone on the garden steps. ‘Do you like it?’

‘I do. Very much.’

‘Saffy altered it for me. She’s a wonder with a sewing machine. If you show her any picture you fancy she can work out how it’s made, even the newest Parisian designs, the pictures in Vogue . She’s been working on my dress for weeks but it’s a secret. Percy wouldn’t approve, on account of the war, and on account of her being Percy, but I know you won’t tell.’ She smiled then, and it was so enigmatic that my breath caught.

‘I won’t say a word.’

We stood for a moment, each observing the other. My earlier fear had dissipated now, and for that I was glad. The reaction had been unfounded, an instinct only, and I was embarrassed by its memory. What was there to fear, after all? This lost woman in the lonely corridor was Juniper Blythe, the same person who had once upon a time chosen my mother from a clutch of frightened children, who had given her a home when the bombs were falling on London, who had never stopped waiting and hoping for a long-ago sweetheart to arrive.