The #1 New York Times–bestselling author delivers a chilling thriller “that spares no punches . . . Fast-paced, and full of mystery” (Murder & Mayhem).
The Hotel Danvers looms high above the narrow streets of Portland, Oregon. Imposing and ornate, the Victorian building hides its share of dark secrets—as does the family who owns it . . .
London Danvers disappeared almost twenty years ago. The youngest child of hotel tycoon Witt Danve...
The #1 New York Times–bestselling author delivers a chilling thriller “that spares no punches . . . Fast-paced, and full of mystery” (Murder & Mayhem).
The Hotel Danvers looms high above the narrow streets of Portland, Oregon. Imposing and ornate, the Victorian building hides its share of dark secrets—as does the family who owns it . . .
London Danvers disappeared almost twenty years ago. The youngest child of hotel tycoon Witt Danvers—and the only child with his second wife—London hasn’t been seen since. Over time, many women have claimed to be the long-lost heiress. Adria Nash is the latest. But from the moment Zachary Danvers sees her, he believes Adria is different. For one thing, Adria looks just like Zachary’s former stepmother. For another, Adria knows personal details only London could have known.
Just four years old at the time of the kidnapping, Adria has no memory of the abduction, and confronting Zach is the only way to get answers. Yet she feels a deep sense of dread. If Adria really is London, she stands to inherit a fortune—but will she also become a target?
Adria is right to be afraid. Because someone does believe her. Someone who has killed before and is watching her every move, waiting for the right moment to see how she runs . . . See how she screams . . . See how she dies . . .
Praise for the writing of Lisa Jackson
“One of the best at romantic suspense.” —Harlan Coben
“Shiveringly good suspense!” —Lisa Gardner
Adria is right to be afraid. Because someone does believe her. Someone who has killed before and is watching her every move, waiting for the right moment to see how she runs . . . see how she screams . . . see how she dies . . .
