Gone Girl(12)

So I know I am right not to settle, but it doesn’t make me feel better as my friends pair off and I stay home on Friday night with a bottle of wine and make myself an extravagant meal and tell myself, This is perfect, as if I’m the one dating me. As I go to endless rounds of parties and bar nights, perfumed and sprayed and hopeful, rotating myself around the room like some dubious dessert. I go on dates with men who are nice and good-looking and smart—perfect-on-paper men who make me feel like I’m in a foreign land, trying to explain myself, trying to make myself known. Because isn’t that the point of every relationship: to be known by someone else, to be understood? He gets me. She gets me. Isn’t that the simple magic phrase?

So you suffer through the night with the perfect-on-paper man—the stutter of jokes misunderstood, the witty remarks lobbed and missed. Or maybe he understands that you’ve made a witty remark but, unsure of what to do with it, he holds it in his hand like some bit of conversational phlegm he will wipe away later. You spend another hour trying to find each other, to recognize each other, and you drink a little too much and try a little too hard. And you go home to a cold bed and think, That was fine. And your life is a long line of fine.

And then you run into Nick Dunne on Seventh Avenue as you’re buying diced cantaloupe, and pow, you are known, you are recognized, the both of you. You both find the exact same things worth remembering. (Just one olive, though.) You have the same rhythm. Click. You just know each other. All of a sudden you see reading in bed and waffles on Sunday and laughing at nothing and his mouth on yours. And it’s so far beyond fine that you know you can never go back to fine. That fast. You think: Oh, here is the rest of my life. It’s finally arrived.





NICK DUNNE

THE DAY OF


I waited for the police first in the kitchen, but the acrid smell of the burnt teakettle was curling up in the back of my throat, underscoring my need to retch, so I drifted out on the front porch, sat on the top stair, and willed myself to be calm. I kept trying Amy’s cell, and it kept going to voice mail, that quick-clip cadence swearing she’d phone right back. Amy always phoned right back. It had been three hours, and I’d left five messages, and Amy had not phoned back.

I didn’t expect her to. I’d tell the police: Amy would never have left the house with the teakettle on. Or the door open. Or anything waiting to be ironed. The woman got shit done, and she was not one to abandon a project (say, her fixer-upper husband, for instance), even if she decided she didn’t like it. She’d made a grim figure on the Fiji beach during our two-week honeymoon, battling her way through a million mystical pages of The Wind-Up Bird Chronicle, casting pissy glances at me as I devoured thriller after thriller. Since our move back to Missouri, the loss of her job, her life had revolved (devolved?) around the completion of endless tiny, inconsequential projects. The dress would have been ironed.

And there was the living room, signs pointing to a struggle. I already knew Amy wasn’t phoning back. I wanted the next part to start.

It was the best time of day, the July sky cloudless, the slowly setting sun a spotlight on the east, turning everything golden and lush, a Flemish painting. The police rolled up. It felt casual, me sitting on the steps, an evening bird singing in the tree, these two cops getting out of their car at a leisurely pace, as if they were dropping by a neighborhood picnic. Kid cops, mid-twenties, confident and uninspired, accustomed to soothing worried parents of curfew-busting teens. A Hispanic girl, her hair in a long dark braid, and a black guy with a marine’s stance. Carthage had become a bit (a very tiny bit) less Caucasian while I was away, but it was still so severely segregated that the only people of color I saw in my daily routine tended to be occupational roamers: delivery men, medics, postal workers. Cops. (“This place is so white, it’s disturbing,” said Amy, who, back in the melting pot of Manhattan, counted a single African-American among her friends. I accused her of craving ethnic window dressing, minorities as backdrops. It did not go well.)

“Mr. Dunne? I’m Officer Velásquez,” said the woman, “and this is Officer Riordan. We understand you’re concerned about your wife?”

Riordan looked down the road, sucking on a piece of candy. I could see his eyes follow a darting bird out over the river. Then he snapped his gaze back toward me, his curled lips telling me he saw what everyone else did. I have a face you want to punch: I’m a working-class Irish kid trapped in the body of a total trust-fund douchebag. I smile a lot to make up for my face, but this only sometimes works. In college, I even wore glasses for a bit, fake spectacles with clear lenses that I thought would lend me an affable, unthreatening vibe. “You do realize that makes you even more of a dick?” Go reasoned. I threw them out and smiled harder.