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After His Affair with Her, I Planned My Revenge Novel Cover

After His Affair with Her, I Planned My Revenge

The earring rolled somewhere I couldn't see. It was a pearl drop my mother had given me before she died. I was on my hands and knees in our bedroom on a Tuesday afternoon, still in the cream silk blouse I'd worn to pitch a skincare brand in Tribeca. My phone said 2:47. The client meeting had ended early. I'd come home humming. I swept my hand under the dresser. My fingers found something cold and rectangular. Not the earring. A voice recorder.
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Chapter 4

Eleanor handed me the note on a Monday.

She didn't look at me when she did it. Just set a folded square of paper on the kitchen counter beside my coffee and kept moving, her cart of cleaning supplies rolling ahead of her down the hall. I picked it up and read it once.

Tuesday. 10 to 2. Staff rotates at noon. Mr. Collins has the Pellegrino lunch every week. Never misses it.

I folded it back along its original creases and slipped it into my jacket pocket.

There are things that don't get said between two women who understand each other. Eleanor had worked in this house for eleven years. She had laundered the sheets. She had polished the headboard. She knew exactly what she was giving me, and she never asked me to explain why I needed it.

I almost said thank you.

But that would have meant making her look at me. So I didn't.

***

The fake London trip had a return flight booked on British Airways, a room confirmation at Claridge's, and a WhatsApp message to Damian sent from a VPN routed through Paddington. I sent it at 8 a.m. Tuesday from Paige's guest bathroom.

*Rainy here. Meetings went long. Miss you and Biscuit. Kiss him for me.*

Three dots. Then: *He misses you too. So do I. How's the baby feeling today?*

I turned off the screen and drove to the house.

***

Four cameras. Each one the size of a shirt button.

I'd spent a weekend in early October learning to install them from a YouTube tutorial uploaded by a security contractor in Phoenix who had no idea he was educating a Manhattan woman in the careful art of evidence collection. The 4K resolution was the important part. In court, grainy is deniable. Grainy is a shadow of a doubt.

The first went behind the air purifier on Damian's side of the bed. The second into the spine of a decorative book in the study—thick enough to house the lens without splitting. The third above the hallway mirror, angled down. The fourth on the mantel shelf, tucked between two ceramic vessels I'd bought at a Brooklyn flea market in 2020, back when I still thought things like that mattered.

I worked in under forty minutes.

Eleanor had given me two hours. I didn't need them all.

On my way out, I stopped in the kitchen. Biscuit's water bowl was freshly filled. I stood there for a second, looking at nothing. Then I picked up my bag and left.

***

Forty-eight hours later, I sat on Paige's couch with Biscuit warm against my left thigh and my laptop open on the coffee table.

Paige stayed in the kitchen. She made toast she didn't eat. She was giving me the room, the way she always knows to.

I pressed play.

The footage was 4K. I hadn't been prepared for how much I could see.

Damian had drawn the curtains, but a stripe of afternoon light cut across the bed anyway—across the sheets I had bought, the pillows I had arranged. Sabrina was laughing at something he'd said. Her laugh was different in private than the one she used when she was performing. Lower. More careless. She reached over and knocked a stack of papers off the nightstand—didn't even glance at them. Just let them fall.

At some point they moved to the study. Damian had his financial files spread across the desk. He was showing her something. His tone had shifted to the voice he used when he wanted to sound like the smartest person in the room.

I turned up the volume.

*She wouldn't notice a freight train,* he said, *if it had good branding.*

Sabrina laughed. The camera caught her face. She wasn't laughing at the joke. She was laughing because she believed it.

I watched the full recording. Every minute.

Then I closed the laptop.

Biscuit pressed his nose into my knee. I scratched him behind his left ear—the spot that makes his back leg kick.

"Paige," I called.

She appeared in the doorway.

"Can you pour me a glass of water?"

She didn't ask anything. She came back with the water and sat beside me and we watched nothing together for a while. The room was quiet. Outside, a truck went by. The building settled.

I drank the water.

Then I opened my drive, created a folder, and typed the password. Fourteen characters, one symbol, one number.

I copied the footage to three encrypted drives. One stayed with me. One went into a safety deposit box at a Chase branch on Fulton. One went into a fireproof box in Paige's storage unit in Red Hook.

I labeled each drive the same thing.

BISCUIT.

***

The Calvin Klein concept came to me on a Wednesday morning over eggs.

That's what I told Damian, anyway. I said I'd been half-asleep on the fake flight home and the idea had arrived fully formed—the way good ones always do—and I'd sketched it out on the hotel notepad with a complimentary pen.

I slid the notepad across the breakfast table.

He looked at it for thirty seconds without touching it. Then he picked it up slowly, the way he does when something is getting him excited and he doesn't want to show it too fast.

"Cinematic," he said, mostly to himself.

"Black and white," I said. "High contrast. Minimal copy. Evoke the original era—the Avedon era—but push it somewhere modern."

"The deconstructed silhouette thing here—" He tapped the sketch. "That's the idea. That's the whole campaign right there."

"I thought so."

He looked up at me, and his eyes had that lit quality I remembered from six years ago, back when I thought it was love and was not yet sure it was mostly ego.

"This is brilliant, Gabby."

"It came fast," I said. "It usually does when it's right."

What I didn't tell him: the three visual elements I'd woven into the concept—the fractured mirror motif, the specific silhouette geometry, the tonal gradient system—were not mine. They belonged to Luca Ferri. An Italian visual artist. Published in a critically recognized but commercially invisible catalog that Damian had never looked at and never would.

I had confirmed this by spending two hours in his browser history.

Ferri's copyright was registered and active. I had verified it with my attorney two weeks earlier without explaining why.

Damian pitched the concept within the week. He framed it the way he always frames things: as though the idea had emerged fully formed from his own brain, a gift the universe delivered specifically to him.

The contract was signed ten days later.

I logged the date in the BISCUIT folder, in a subfolder labeled: *FERRI.*

Then I closed my laptop and went to get Biscuit's leash.

We had a walk to take. The morning was cold and bright. The city was loud the way I needed it to be.

I let him set the pace, which he always does—nose down, tail up, the whole world apparently dense with information only he can access.

Maybe that's the difference between us, I thought, watching him. He reads everything as it is. I read everything as it will be.

Three moves left.

I pulled my scarf tighter and followed him into the light.

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