Sophie Gee

And at a crucial turning point in the novel, she makes brilliant use of the gut Renault.

So Meg, the sort of put upon heroine and her great friend, who is Campion's wife, Lady Amanda.

go together in the dead of night at 11 o'clock at night.

And Allium has quite a fun, playful explanation of why they're doing it at 11 o'clock at night to visit the house that she was going to live in.

And they're, they're hiding in this house.

And the thing about the house is it's just had a gut reno.

So it's, you know, it's, it's completely new, good to go, but not quite finished.

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And the whole scene, which is about female bravery and these two women taking control of the situation, not allowing the men to kind of control their lives and destinies, they are making an attempt to capture Jack Havoc.

It doesn't quite succeed, but they're incredibly brave in doing it.

And the way that they do it is by using the terrain of the gut-renovated house where the floorboards don't creak, the stair newels are all cleanly sanded and polished, the lights work really well.

You know, it's this fantastic interior landscape and it's this mash-up with female bravery so that these two women are kind of

quite playfully, but rather brilliantly, taking their identities back from the sort of the scene of the domestic woman, the housewife, the person who only chooses kind of fabric samples and carpet.

And they're back in their domestic setting, but they're completely taking control of it.

So Amanda and Meg are in this house.

Meg sneaks down the fire escape to alert the police that Jack Havoc is there.

Amanda stays in the house.

She considered the fire escape but changed her mind.

The police would respond to Meg's call immediately, but the fog was very thick and it might delay them.

It seemed a pity that the burglar should get away without being seen.