She's the most famous murder victim in America. What if she's not dead?
Pushed to the breaking point, Cara Burrows flees her home and family and escapes to a five-star spa resort she can't afford. Late at night, exhausted and desperate, she lets herself into her hotel room and is shocked to find it already occupied - by a man and a teenage girl.
A simple mistake at the front desk... but soon Cara realizes that the girl she saw alive and well in the hotel room is someone she can't possibly have seen: the most famous murder victim in the country, Melody Chapa, whose parents are serving natural life sentences for her murder.
Cara doesn't know what to trust - everything she's read and heard about the case, or the evidence of her own eyes. Did she really see Melody? And is she prepared to ask herself that question and answer it honestly if it means risking her own life?
"Starred Review. Hannah (Closed Casket, 2016, etc.) continues her quest to identify all the reassuring certitudes mystery novels take for granted and demonstrate how much fun it is to toss them overboard. There's no point in objecting to the coincidences and implausibilities required to launch this brilliant nightmare: resistance is futile." - Kirkus
"The present-day plot devolves into a kidnapping free-for-all, with Cara inexplicably at the center. Hannah, known for her labyrinthine plots, loses her way early on." - Publishers Weekly
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Any "Author Information" displayed below reflects the author's biography at the time this particular book was published.
Sophie Hannah is the New York Times bestselling author of numerous psychological thrillers, which have been published in 51 countries and adapted for television, as well as The Monogram Murders, the first Hercule Poirot novel authorized by the estate of Agatha Christie, and its sequels Closed Casket, The Mystery of Three Quarters, and The Killings at Kingfisher Hill. Sophie is also the author of a self-help book, How to Hold a Grudge, and hosts the podcast of the same name. She lives in Cambridge, UK.
The good writer, the great writer, has what I have called the three S's: The power to see, to sense, and to say. ...
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