A. J Finn - The Woman in the Window: A Novel

for George

I have a feeling that inside you somewhere,

theres something nobody knows about.

Shadow of a Doubt (1943)

Her husbands almost home. Hell catch her this time.

There isnt a scrap of curtain, not a blade of blind, in number 212the rust-red townhome that once housed the newlywed Motts, until recently, until they un-wed. I never met either Mott, but occasionally I check in online: his LinkedIn profile, her Facebook page. Their wedding registry lives on at Macys. I could still buy them flatware.

As I was saying: not even a window dressing. So number 212 gazes blankly across the street, ruddy and raw, and I gaze right back, watching the mistress of the manor lead her contractor into the guest bedroom. What is it about that house? Its where love goes to die.

Shes lovely, a genuine redhead, with grass-green eyes and an archipelago of tiny moles trailing across her back. Much prettier than her husband, a Dr. John Miller, psychotherapistyes, he offers couples counselingand one of 436,000 John Millers online. This particular specimen works near Gramercy Park and does not accept insurance. According to the deed of sale, he paid $3.6 million for his house. Business must be good.

I know both more and less about the wife. Not much of a homemaker, clearly; the Millers moved in eight weeks ago, yet still those windows are bare, tsk-tsk. She practices yoga three times a week, tripping down the steps with her magic-carpet mat rolled beneath one arm, legs shrink-wrapped in Lululemon. And she must volunteer someplaceshe leaves the house a little past eleven on Mondays and Fridays, around the time I get up, and returns between five and five thirty, just as Im settling in for my nightly film. (This evenings selection: The Man Who Knew Too Much, for the umpteenth time. I am the woman who viewed too much.)

Ive noticed she likes a drink in the afternoon, as do I. Does she also like a drink in the morning? As do I?

But her age is a mystery, although shes certainly younger than Dr. Miller, and younger than me (nimbler, too); her name I can only guess at. I think of her as Rita, because she looks like Hayworth in Gilda. Im not in the least interestedlove that line.

I myself am very much interested. Not in her bodythe pale ridge of her spine, her shoulder blades like stunted wings, the baby-blue bra clasping her breasts: whenever these loom within my lens, any of them, I look awaybut in the life she leads. The lives. Two more than Ive got.

Her husband rounded the corner a moment ago, just past noon, not long after his wife pressed the front door shut, contractor in tow. This is an aberration: On Sundays, Dr. Miller returns to the house at quarter past three, without fail.

Yet now the good doctor strides down the sidewalk, breath chugging from his mouth, briefcase swinging from one hand, wedding band winking. I zoom in on his feet: oxblood oxfords, slick with polish, collecting the autumn sunlight, kicking it off with each step.

I lift the camera to his head. My Nikon D5500 doesnt miss much, not with that Opteka lens: unruly marled hair, glasses spindly and cheap, islets of stubble in the shallow ponds of his cheeks. He takes better care of his shoes than his face.

Back to number 212, where Rita and the contractor are speedily disrobing. I could dial directory assistance, call the house, warn her. I wont. Watching is like nature photography: You dont interfere with the wildlife.

Dr. Miller is maybe half a minute away from the front door. His wifes mouth glosses the contractors neck. Off with her blouse.

Four more steps. Five, six, seven. Twenty seconds now, at most.

She seizes his tie between her teeth, grins at him. Her hands fumble with his shirt. He grazes on her ear.

Her husband hops over a buckled slab of sidewalk. Fifteen seconds.

I can almost hear the tie slithering out of his collar. She whips it across the room.

Ten seconds. I zoom in again, the snout of the camera practically twitching. His hand dives into his pocket, surfaces with a haul of keys. Seven seconds.

She unlooses her ponytail, hair swinging onto her shoulders.

Three seconds. He mounts the steps.

She folds her arms around his back, kisses him deep.

He stabs the key into the lock. Twists.

I zoom in on her face, the eyes sprung wide. Shes heard.

I snap a photo.

And then his briefcase flops open.

A flock of papers bursts from it, scatters in the wind. I jolt the camera back to Dr. Miller, to the crisp Shoot his mouth shapes; he sets the briefcase on the stoop, stamps a few sheets beneath those glinting shoes, scoops others into his arms. One tearaway scrap has snagged in the fingers of a tree. He doesnt notice.

Rita again, plunging her arms into her sleeves, pushing her hair back. She speeds from the room. The contractor, marooned, hops off the bed and retrieves his tie, stuffs it into his pocket.

I exhale, air hissing out of a balloon. I hadnt realized I was holding my breath.

The front door opens: Rita surges down the steps, calling to her husband. He turns; I expect he smilesI cant see. She stoops, peels some papers from the sidewalk.

The contractor appears at the door, one hand sunk in his pocket, the other raised in greeting. Dr. Miller waves back. He ascends to the landing, lifts his briefcase, and the two men shake. They walk inside, trailed by Rita.

Well. Maybe next time.

The car droned past a moment ago, slow and somber, like a hearse, taillights sparking in the dark. New neighbors, I tell my daughter.

Which house?

Across the park. Two-oh-seven. Theyre out there now, dim as ghosts in the dusk, exhuming boxes from the trunk.

She slurps.

What are you eating? I ask. Its Chinese night, of course; shes eating lo mein.

Lo mein.

Not while youre talking to Mommy, youre not.

She slurps again, chews. Mo-om. This is a tug-of-war between us; shes whittled Mommy down, against my wishes, to something blunt and stumpy. Let it go, Ed advisesbut then hes still Daddy.

You should go say hi, Olivia suggests.

Id like to, pumpkin. I drift upstairs, to the second floor, where the views better. Oh: There are pumpkins everywhere. All the neighbors have one. The Grays have four. Ive reached the landing, glass in hand, wine lapping at my lip. I wish I could pick out a pumpkin for you. Tell Daddy to get you one. I sip, swallow. Tell him to get you two, one for you and one for me.

Okay.

I glimpse myself in the dark mirror of the half bath. Are you happy, sweetheart?

Yes.

Not lonely? She never had real friends in New York; she was too shy, too small.

Nope.

I peer into the dark at the top of the stairs, into the gloom above. During the day, sun drops through the domed skylight overhead; at night, its a wide-open eye gazing into the depths of the stairwell. Do you miss Punch?

Nope. She didnt get along with the cat, either. He scratched her one Christmas morning, flashed his claws across her wrist, two quick rakes north-south east-west; a bright grid of blood sprang to the skin, tic-tac-toe, and Ed nearly pitched him out the window. I look for him now, find him swirled on the library sofa, watching me.

Let me talk to Daddy, pumpkin. I mount the next flight, the runner coarse against my soles. Rattan. What were we thinking? It stains so easily.

Hey there, slugger, he greets me. New neighbors?

Yes.

Didnt you just get new neighbors?

That was two months ago. Two-twelve. The Millers. I pivot, descending the stairs.

Where are these other people?

Two-oh-seven. Across the park.