Soon to be a major motion picture produced by 20th Century Studios, starring Amy Adams, Gary Oldman and Julianne Moore OVER 3 MILLION COPIES SOLD! THE NUMBER ONE SUNDAY TIMES BESTSELLER ‘Astounding. Thrilling. Amazing’ Gillian Flynn ‘One of those rare books that really is unputdownable’ Stephen King 'Twisted to the power of max' Val McDermid ‘A dark, twisty confection’ Ruth Ware What did she see? It’s been ten months since Anna Fox last left her home. Ten months during which she has haunted the rooms of her old New York house, lost in her memories, too terrified to step outside. Anna’s lifeline to the real world is her window, where she sits, watching her neighbours. When the Russells move in, Anna is instantly drawn to them. A picture-perfect family, they are an echo of the life that was once hers. But one evening, a scream rips across the silence, and Anna witnesses something horrifying. Now she must uncover the truth about what really happened. But if she does, will anyone believe her? And can she even trust herself?
Her husband's almost home. He'll catch her this time.There isn't a scrap of curtain, not a blade of blind, in number 212 the 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 Macy's. 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? It's where love goes to die.She's 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, psychotherapist yes, he offers couples counseling and 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 someplace she 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 I'm settling in for my nightly film. (This evening's selection: The Man Who Knew Too Much, for the umpteenth time. I am the woman who viewed too much.)I've 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 she's 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. I'm not in the least interested love that line.I myself am very much interested. Not in her body the 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 away but in the life she leads. The lives. Two more than I've 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 doesn't 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 won't. Watching is like nature photography: You don't interfere with the wildlife.Dr. Miller is maybe half a minute away from the front door. His wife's mouth glosses the contractor's neck. Off with her blouse.
Description:
Soon to be a major motion picture produced by 20th Century Studios, starring Amy Adams, Gary Oldman and Julianne Moore OVER 3 MILLION COPIES SOLD! THE NUMBER ONE SUNDAY TIMES BESTSELLER ‘Astounding. Thrilling. Amazing’ Gillian Flynn ‘One of those rare books that really is unputdownable’ Stephen King 'Twisted to the power of max' Val McDermid ‘A dark, twisty confection’ Ruth Ware What did she see? It’s been ten months since Anna Fox last left her home. Ten months during which she has haunted the rooms of her old New York house, lost in her memories, too terrified to step outside. Anna’s lifeline to the real world is her window, where she sits, watching her neighbours. When the Russells move in, Anna is instantly drawn to them. A picture-perfect family, they are an echo of the life that was once hers. But one evening, a scream rips across the silence, and Anna witnesses something horrifying. Now she must uncover the truth about what really happened. But if she does, will anyone believe her? And can she even trust herself?
Her husband's almost home. He'll catch her this time.There isn't a scrap of curtain, not a blade of blind, in number 212 the 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 Macy's. 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? It's where love goes to die.She's 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, psychotherapist yes, he offers couples counseling and 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 someplace she 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 I'm settling in for my nightly film. (This evening's selection: The Man Who Knew Too Much, for the umpteenth time. I am the woman who viewed too much.)I've 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 she's 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. I'm not in the least interested love that line.I myself am very much interested. Not in her body the 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 away but in the life she leads. The lives. Two more than I've 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 doesn't 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 won't. Watching is like nature photography: You don't interfere with the wildlife.Dr. Miller is maybe half a minute away from the front door. His wife's mouth glosses the contractor's neck. Off with her blouse.