The Shifting Fog Read online

  PRAISE FORTHE SHIFTING FOG

  ‘. . . an extraordinary debut . . . a sweeping saga, a period piece, a romance, and a mystery . . . written with a lovely turn of phrase by someone who knows how to eke out tantalising secrets and drama . . .’—Sunday Telegraph

  ‘Full of lovely writing, grand houses, snobbery, cruelty and passion, this compelling mystery-cum-love story . . . is utterly addictive . . . A brilliant Australian debut.’—Australian Women’s Weekly

  ‘. . . captures the atmosphere and ambience of the time and place, the melancholy and wistfulness as well as the glittering moments . . . [A] haunting and enthralling book, exquisite not only in the writing but also in the structure.’—Good Reading

  ‘. . . you get a sense of stepping back in time, and feeling the heartache and thrills of love. A beautifully-told, engrossing tale.’—New Idea

  ‘. . . one of those rare books you can immerse yourself in, sharing the joys and heartaches of the characters and willing them to find happiness.’—Sunshine Coast Daily

  ‘. . . a thoroughly engrossing read, beautifully written with the occasional flash of humour. It is some time since I found a novel so satisfying.’—SA Life

  ‘. . . both an atmospheric murder mystery and a family saga that beautifully evokes a past era . . . This is an enthralling tale about the extremes people go to in the name of love and duty.’—Next

  ‘. . . the most enjoyable novel I have read for many years . . . If you don’t read any other book this year, don’t miss this one.’—South Coast Register

  ‘A stunning must-read story that’s set for stardom.’—Time Out

  ‘. . . compulsively readable . . . a rich engrossing story of love, passion, secrets and lies.’—Northern Daily Leader

  ‘ . . . one of those novels which act on the reader somewhat like Pringles crisps. You may not intend to stay up until 3 am, but there you are, turning the pages faster and faster, pretending the alarm clock isn’t set for 7 am.’—Irish Times

  PRAISE FOR THE DISTANT HOURS

  ‘The Distant Hours demonstrates a new leap in Morton’s authorial choreography . . . [She] sustains an atmosphere of quiet dread rivaling that developed by Sarah Waters in The Little Stranger . . . A rich treat for fans of historical fiction.’—Washington Post

  ‘The Distant Hours draws readers into a fantastical world that will feel like home to those who grew up with Enid Blyton and Lewis Carroll, and later progressed to the Brontës and Ian McEwan . . . The Distant Hours is an engrossing tale full of secrets waiting to be told.’—Bookseller & Publisher, 4 stars

  ‘Kate Morton’s clever and compelling new novel is yet more evidence of her place in both the bestseller charts and the hearts of her readers. In this atmospheric and evocative tale of a daughter’s journey into her mother’s past, a long-lost letter leads Edie Burchill to Milderhurst Castle in Kent and a forgotten world . . . An intriguing and beautifully observed story.’—Lancashire Evening Post

  ‘Morton skilfully creates such a strong sense of place, you will feel everything that the castle walls have seen. The atmosphere that she conjures up is so strong that it’s hard to believe these rooms don’t live and breathe . . . The suspense will have you turning the pages long into the night.’—Good Reading, 4 stars

  ‘Morton deploys all the devices in the Gothic arsenal to peer deep into the legacy of World War II, its enduring shadow of grief and loss and beyond into the nature of dark domestic secrets, love and betrayal, jealousy and possession. Layered like a Chinese puzzle and with the lavish details and leisurely pace of a Victorian novel, The Distant Hours takes you by stealth. Morton’s instinctive feel for the deep emotional well of the past, her sensitive portrayal of her elderly characters and of those preceding generations of spinsters minted by war, lend an added poignancy to this beguiling and surprisingly dark mystery.’—Courier Mail

  ‘Kate Morton weaves a mesmerising tale of great loves and the power of the imagination, drawing readers into the castle’s veins as the mystery unravels.’—Notebook, Book of the Month

  ‘Don’t miss this imaginative and romantic story. Its subtle surprising twists are superb.’—Woman’s Day

  ‘. . . enthralling romantic thriller . . . will stun readers.’—Publishers Weekly, starred review (US)

  ‘Expertly plotted and paced, The Distant Hours moves between past and present and emerges as further confirmation Kate Morton is a special talent.’—Weekend Gold Coast Bulletin

  ‘It’s a bewitching brew, encompassing illicit affairs, madness and concealed crime, that builds in intensity as the story twists and turns to a satisfying conclusion. If you like Mary Stewart’s gently old–fashioned but perfectly plotted confections, you’ll love this.’—Who Weekly, 4 stars

  ‘Rewarding, bittersweet . . . the author’s most gothic tale yet.’—Kirkus Reviews (US)

  ‘A cleverly crafted and beautifully descriptive novel.’—Choice Magazine

  ‘Morton’s writing has enough atmosphere, intrigue and intelligence for The Distant Hours to wheedle its way into the most cynical of hearts.’—Metro, 4 stars (UK)

  ‘An absorbing and haunting read’—Woman & Home (UK)

  ‘A bewitching tale of family secrets and betrayal’—Good Housekeeping (UK)

  ‘Featuring a fresh and thrilling gothic mystery, cinematic storytelling, and fully developed characters who possess layers of deliciously surprising secrets, this complex story is developed at a leisurely but compelling pace that keeps readers hooked’—Library Journal, starred review (US)

  ‘In this, her third book, Morton writes in her usual engaging style, taking the reader to the heart of the Blythe family, so that from wartime evacuations through to the machinations of modern–day publishing, you live through every twist and turn.’—Waterstones Books Quarterly (UK)

  ‘Kate Morton’s stunning new novel will not disappoint . . .’—Best Magazine (UK)

  ‘A nuanced exploration of family secrets and betrayal, Morton’s latest is captivating.’—People Magazine (US)

  PRAISE FOR THE FORGOTTEN GARDEN

  ‘. . . a dark, suspenseful feast for history-lovers.’—Sunday Telegraph

  ‘. . . immediately captivating and atmospheric . . .’—Bookseller & Publisher

  ‘. . . a sense of mystery and adventure that generations of childhood Enid Blyton readers will identify with.’—The Courier Mail

  ‘. . . a delicious book to get lost in.’—Sunday Telegraph

  ‘A foundling, a book of dark fairytales, a secret garden, an aristocratic family, a love denied—are all elements pulled together to build a tale that is compulsively readable.’—Good Reading

  ‘. . . a magical book.’—Newcastle Herald

  ‘A tale of gentle mystery and quiet adventure . . . It is the stuff of fairytales mixed with the reality of the present day.’—SA Life

  ‘. . . a captivating tale of century-old secrets, family and memory . . . Beautifully written and plotted.’—Weekend Gold Coast Bulletin

  ‘Wonderfully written, this is one of the best reads this year.’—Woman’s Day

  ‘. . . [an] addictive blend of mystery, romance and suspense.’—Illawarra Mercury

  ‘A compelling, richly layered mystery . . .’—Australian Women’s Weekly

  ‘. . . once in a while [a] book comes along that you can’t put down, you even put off going to work so you can finish it. You also know that at least once in your life, you will pick it up to reread. This is such a book . . .’—Armidale Express

  ‘The story is full of twists and turns that kept hold of me all the way through—and kept me guessing until the final chapters.’—Evening Gazette (UK)

  ‘Morton gracefully weaves three narratives . . . The resolution to the mystery tantalizes throu
ghout . . . a long, lush, perfectly escapist read.’ —New York Daily News

  The Shifting Fog

  Kate Morton grew up in the mountains of south-east Queensland and lives now with her husband and young sons in Brisbane. She has degrees in dramatic art and English literature, specialising in nineteenth-century tragedy and contemporary gothic novels.

  With just three novels published, Kate Morton has sold over 7 million copies in 26 languages, across 38 countries. The Shifting Fog, published internationally as The House at Riverton, The Forgotten Garden and The Distant Hours have all been number one bestsellers around the world. Each novel won the Australian Book Industry award for General Fiction Book of the Year.

  You can find more information about Kate Morton and her books at www.katemorton.com or www.facebook.com/KateMortonAuthor

  KATE

  MORTON

  The Shifting Fog

  This is a work of fiction. Names, characters, organisations, places and incidents either are the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business establishments, events or locales is entirely coincidental.

  This edition published in 2012

  First published in 2006

  Copyright © Kate Morton 2006

  All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the publisher. The Australian Copyright Act 1968 (the Act) allows a maximum of one chapter or 10 per cent of this book, whichever is the greater, to be photocopied by any educational institution for its educational purposes provided that the educational institution (or body that administers it) has given a remuneration notice to Copyright Agency Limited (CAL) under the Act.

  Allen & Unwin

  Sydney, Melbourne, Auckland, London

  83 Alexander Street

  Crows Nest NSW 2065

  Australia

  Phone: (61 2) 8425 0100

  Email: [email protected]

  Web: www.allenandunwin.com

  Cataloguing-in-Publication details are available

  from the National Library of Australia

  www.trove.nla.gov.au

  ISBN 978 1 74237 970 8

  Set in 10.5/12.9 pt Minion by Bookhouse, Sydney

  Printed in Australia by McPherson’s Printing Group

  10 9 8 7 6 5 4 3 2 1

  For Davin,

  who holds my hand on the roller-coaster

  CONTENTS

  PART 1

  Film Script, Part I

  The Letter

  Ghosts Stir

  The Drawing Room

  The Braintree Daily Herald

  The Nursery

  Waiting for the Recital

  All Good Things

  Mystery Maker Trade Magazine

  Saffron High Street

  In the West

  The Times

  Until We Meet Again

  PART 2

  English Heritage Brochure

  The Twelfth of July

  The Fall of Icarus

  Film Script, Part II

  Full Report

  The Photograph

  Bankers

  The Dinner

  A Suitable Husband

  The Ball and After

  PART 3

  The Times

  Catching Butterflies

  Down the Rabbit Hole

  In the Depths

  Resurrection

  The Choice

  PART 4

  Hannah’s Story

  The Beginning of the End

  Riverton Revisited

  Slipping Out of Time

  The End

  The Tape

  The Letter

  Acknowledgements

  Author’s Note

  Preview Chapter: The Forgotten Garden

  PART 1

  Film Script

  Final draft, November 1998, pp. 1–4

  THE SHIFTING FOG

  Written and directed by Ursula Ryan ©1998

  MUSIC: Theme song. Nostalgic music of the type popular during and immediately following the First World War. Though romantic, the music has an ominous edge.

  1. EXT. A COUNTRY ROAD—DUSK’S FINAL MOMENT

  A country road flanked by green fields that stretch forever. It is 8.00 pm. The summer sun still lingers on the distant horizon, loath to slip, finally, beyond. A 1920s motor car winds, like a shiny black beetle, along the narrow road. It whizzes between ancient brambly hedgerows blue in the dusk, crowned with arching canes that weep toward the road.

  The glowing headlights shake as the motor car speeds across the bumpy surface. We draw slowly closer until we are tracking right alongside. The final glow of sun has disappeared and night is upon us. The early moon is full, casting ribbons of white light across the dark, glistening car bonnet.

  We glimpse, inside the dim interior, the shadowy profile of its passengers: a MAN and WOMAN in evening dress. The man is driving. Sequins on the woman’s dress shimmer when they catch the moonlight. Both are smoking, the orange tips of cigarettes mirroring the motor car’s headlights. The WOMAN laughs at something the MAN has said, tips her head back and exposes beneath her feather boa a pale, thin neck.

  They arrive at a large set of iron gates, the entrance to a tunnel of tall, dusky trees. The motor car turns into the driveway and makes its way through the dark, leafy corridor. We watch through the windscreen, until suddenly we break through the dense foliage and our destination is upon us.

  A grand English manor looms on the hill: twelve gleaming windows across, three high, dormer windows and chimneys punctuating the slate roof. In the foreground, the centrepiece of a broad manicured lawn, sits a grand marble fountain lit with glowing lanterns: giant ants, eagles and enormous fire-breathing dragons, with jets shooting water one-hundred feet into the air.

  We maintain our position, watching as the car continues without us around the turning circle. It stops at the entrance to the house and a young FOOTMAN opens the door and extends his arm to help the WOMAN from her seat.

  SUBTITLE: Riverton Manor, England. Summer, 1924.

  2. INT. SERVANTS’ HALL—EVENING

  The warm, dim servants’ hall of Riverton Manor. The atmosphere is one of excited preparation. We are at ankle level as busy servants traverse the grey-stone floor in all directions. In the background we hear champagne corks popping, orders being given, lower servants being scolded. A service bell rings. Still at ankle level, we follow a female HOUSEMAID as she heads toward the stairs.

  3. INT. STAIRWELL—EVENING

  We climb the dim stairs behind the HOUSEMAID; clinking sounds tell us that her tray is loaded with champagne flutes. With each step our view lifts—from her narrow ankles to her black skirt hem, the white tips then pert bow of her apron ribbon, blonde curls at the nape of her neck—until, finally, our view is hers.

  The sounds from the servants’ hall fade as music and laughter from the party grow louder. At the top of the stairs the door opens before us.

  4. INT. ENTRANCE HALL—EVENING

  A burst of light as we enter the grand marble entrance hall. A glittering crystal chandelier suspends from the high ceiling. The BUTLER opens the front door to greet the well-dressed man and woman from the car. We do not pause but cross to the back of the entrance hall and the broad French doors that lead to the back terrace.

  5. EXT. BACK TERRACE—EVENING

  The doors sweep open. Music and laughter crescendo: we are in the midst of a glittering party. The atmosphere is one of postwar extravagance. Sequins, feathers, silks as far as the eye can see. Coloured Chinese paper lanterns strung above the lawn flutter in the light summer’s breeze. A JAZZ BAND plays and women dance the charleston. We weave through the crowd of assorted laughing faces. They turn toward us, accepting champagne from the servant’s tray: a woman with bright red lipstic
k, a fat man made pink by excitement and alcohol, a thin old lady dripping in jewels and holding aloft a long, tapered cigarette-holder emitting a lazy curlicue of smoke.

  There is a tremendous BANG and people gaze above as glittering fireworks tear open the night sky. There are squeals of pleasure and some applause. Reflections of Catherine wheels colour upturned faces, the band spins on and women dance, faster and faster.

  CUT TO:

  6. EXT. LAKE—EVENING

  A quarter-mile away, a YOUNG MAN stands on the dark edge of the Riverton lake. Party noise swirls in the background. He glances toward the sky. We draw closer, watching as reflected fireworks shimmer red across his beautiful face. Though elegantly dressed, there is a wildness about him. His brown hair is dishevelled, sweeping his forehead, threatening to obscure dark eyes that madly scan the night sky. He lowers his gaze and looks beyond us to someone else, obscured by shadow. His eyes are damp, his manner suddenly focused. His lips part as if to speak, but he does not. He sighs.

  There is a CLICK. Our gaze drops. He clutches a gun in his trembling hand. Lifts it out of shot. The hand remaining by his side twitches then stiffens. The gun discharges and drops to the muddy earth. A woman screams, and the party music reels on.

  FADE TO BLACK

  CREDIT SEQUENCE: ‘THE SHIFTING FOG’

  The Letter

  Ursula Ryan

  Focus Film Productions

  1264 N. Sierra Bonita Ave #32

  West Hollywood, CA

  90046 USA

  Mrs Grace Bradley

  Heathview Nursing Home

  64 Willow Road

  Saffron Green

  Essex, CB10 1HQ UK

  27 January 1999

  Dear Mrs Bradley,

  I hope you will excuse my writing to you again; however, I have not received a reply to my last letter outlining the film project on which I am working: The Shifting Fog.

  The film is a love story: an account of the poet RS Hunter’s relationship with the Hartford sisters and his suicide of 1924. Though we have been granted permission to film external scenes on location at Riverton Manor, we will be using studio sets for interior scenes.