The Word Is Murder
Anthony Horowitz
About the Book
A WOMAN CROSSES A LONDON STREET.
It is just after 11am on a bright spring morning, and Diana Cowper is going into a funeral parlour to organise her own service.
A mere six hours later she is dead, strangled with a crimson curtain cord in her own home.
Did she know she was going to die?
Did she recognise her killer?
Are the two events even related? Because nobody arranges their own funeral, and then gets killed the same day – do they?
Enter Daniel Hawthorne, a detective with a genius for solving crimes and an ability to hold his secrets very close.
With him is his writing partner, Anthony Horowitz. Together they will set out to solve this most puzzling of mysteries.
What neither of them know is that they are about to embark on a dark and dangerous journey where the twists and turns are as unexpected as they are bloody…
About the Author
The author of the bestselling teen spy series, Alex Rider, Anthony Horowitz is also responsible for creating and writing some of the UK’s most loved and successful TV series, including Midsomer Murders and Foyle’s War.
He has also written two highly acclaimed Sherlock Holmes novels, The House of Silk and Moriarty; a James Bond novel, Trigger Mortis; and his most recent stand-alone novel, Magpie Murders, was a Top Five Sunday Times bestseller.
He is on the board of the Old Vic Theatre, and regularly contributes to a wide variety of national newspapers and magazines on subjects ranging from politics to education. He was awarded an OBE for his services to literature in January 2014.
The Word is Murder is the first in a series of crime novels starring Detective Daniel Hawthorne and the author Anthony Horowitz.
One
Funeral Plans
Just after eleven o’clock on a bright spring morning, the sort of day when the sunshine is almost white and promises a warmth that it doesn’t quite deliver, Diana Cowper crossed the Fulham Road and went into a funeral parlour.
She was a short, very business-like woman: there was a sense of determination in her eyes, her sharply cut hair, the very way she walked. If you saw her coming, your first instinct would be to step aside and let her pass. And yet there was nothing unkind about her. She was in her sixties with a pleasant, round face. She was expensively dressed, her pale raincoat hanging open to reveal a pink jersey and grey skirt. She wore a heavy bead and stone necklace which might or might not have been expensive and a number of diamond rings that most certainly were. There were plenty of women like her in the streets of Fulham and South Kensington. She might have been on her way to lunch or to an art gallery.
The funeral parlour was called Cornwallis and Sons. It stood at the end of a terrace, with the name painted in a classical font both on the front of the building and down the side so that you would notice it from whichever direction you were coming. The two inscriptions were prevented from meeting in the middle by a Victorian clock which was mounted above the front door and which had come to a stop, perhaps appropriately, at 11.59. One minute to midnight. Beneath the name, again printed twice, was the legend: Independent Funeral Directors: A Family Business since 1820. There were three windows looking out over the street, two of them curtained, the third empty but for an open book made of marble, engraved with a quotation: When sorrows come, they come not single spies, but in battalions. All the wood – the window frames, the frontage, the main door – was painted a dark blue, nudging black.
As Mrs Cowper opened the door, a bell on an old-fashioned spring mechanism sounded loudly, once. She found herself in a small reception area with two sofas, a low table, and a few shelves with books that had that peculiar sense of sadness that comes with being unread. A staircase led up to the other floors. A narrow corridor stretched ahead.
Almost at once, a woman appeared, stout, with thick legs and heavy, black leather shoes, coming down the stairs. She was smiling pleasantly, politely. The smile acknowledged that this was a delicate, painful business but that it would be expedited with calm and efficiency. Her name was Irene Laws. She was the personal assistant to Robert Cornwallis, the funeral director, and also acted as his receptionist.
‘Good morning. Can I help you?’ she asked.
‘Yes. I would like to arrange a funeral.’
‘Are you here on behalf of someone who has died recently?’ The word ‘died’ was instructive. Not ‘passed away’. Not ‘deceased’. She had made it her business practice to speak plainly, recognising that, at the end of the day, it was less painful for all concerned.
‘No,’ Mrs Cowper replied. ‘It’s for myself.’
‘I see.’ Irene Laws didn’t blink – and why should she? It was not at all uncommon for people to arrange their own funerals. ‘Do you have an appointment?’ she asked.
‘No. I didn’t know I’d need one.’
‘I’ll see if Mr Cornwallis is free. Please take a seat. Would you like a cup of tea or coffee?’
‘No, thank you.’
Diana Cowper sat down. Irene Laws disappeared down the corridor, reappearing a few minutes later behind a man who so exactly suited the image of the funeral director that he could have been playing the part. There was, of course, the obligatory dark suit and sombre tie. But the very way he stood seemed to suggest that he was apologising for having to be there. His hands were clasped together in a gesture of profound regret. His face was crumpled, mournful, not helped by hair that had thinned to the edge of baldness and a beard that had the look of a failed experiment. He wore tinted spectacles that were sinking into the bridge of his nose, not just framing his eyes but masking them. He was about forty years old. He too was smiling.