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Content Warning: This section of the guide includes discussion of mental illness, emotional and physical abuse, sexual content, and illness or death.
Startled after finding a revolver in Charles Bonafante’s car, Marjorie Lennox quickly returns it, leaves her gift for him, and hurries back to the building. She runs into Dock, the stern manager, who gives her a second demerit for being outside and questions her commitment. Marjorie stands up to him, requesting a copy of the lease and asking for greater clarity about its rules instead of receiving demerits. Dock softens slightly but warns of “opportunity consequences” for disobedience. He denies her request for an alarm clock but agrees to consider her request for more fabric.
Later, Ivy, another resident, knocks on Marjorie’s door wearing a sheer negligee. After hearing at least part of Marjorie’s exchange with Dock, Ivy gives Marjorie an alarm clock and dismisses Dock’s strictness. She tells Marjorie that her own chore is sweeping the front stoop and Bernice’s is sweeping the back, and praises her for confronting Dock. After Ivy leaves, Marjorie accidentally knocks a globe finial off her bedpost and discovers it is stuffed with “hundred-dollar bills.”
The perspective shifts to Marjorie’s siblings, Graham and Chet Lennox. Their father, Duncan, who is ill, expresses relief that Marjorie is gone, calling her “bad for business” (105). In the car, Chet stews over their father’s cruelty and his refusal to discuss their mother, whose death, she recalls, Officer Foot described as a “tragic puzzler.” As a child, Chet was the one who found their mother’s body by the side of the road.
Graham and Chet are driving to a family cottage to intercept a telegram Lilah sent to Marjorie there, and to reply on Marjorie’s behalf, concealing her true whereabouts. They discuss the upcoming housewarming party for their sister Cecile, with Graham suspecting that their father is plotting something connected with Cecile and Lou’s move and the party. Worried, Chet jerks the steering wheel, causing Graham to skid to a stop. She accuses their father of running over their mother, claiming there was blood on the car’s windshield and vowing that the truth of her death will not be buried. Graham responds that this is Chet’s theory and that she has no proof.
In her apartment, Marjorie reflects on having inspected the bed’s globe finials and finds that all of them are filled with cash, totaling over $400. She worries when the morning papers are late, but the delivery boy, Hank, eventually arrives, apologizing for oversleeping. Hank begins asking probing questions about the building and its owner, Bonafante, leading Marjorie to conclude that he is the reporter her brother warned her about.
To deflect, Marjorie lies, claiming to be a seamstress from Perrysburg, near Toledo, who is only staying temporarily before moving to Paris. Hank persists, asking about the previous resident of her apartment and stating that the woman “disappeared.” Marjorie falsely tells him the woman got married and moved to Canada. After he leaves, Marjorie is unnerved by his claim.
Two days later, while delivering newspapers, Marjorie learns from Dock that the playwright in the red-doored apartment is gone because her lease has ended. After Dock descends to his basement apartment, Ivy suggests they explore the empty room. Though Dock locked the door, Ivy reveals that their silver keys open one another’s apartments. Bernice tries her silver key and opens the playwright’s door.
Inside, they find a spartan room with a large wall display of notecards connected by red yarn, which the playwright used to track characters and plot. Some of the cards contain details from Marjorie and Bernice’s private conversation about Bonafante. Realizing the playwright had been eavesdropping on them, Marjorie breaks into laughter with Bernice. Ivy finds a book identifying the playwright as Georgina Godlin and suggests they take some of her belongings.
Days pass, and Marjorie still has not seen Bonafante. Her brother Graham has visited her window to report that he and Chet drove to the cottage to intercept a telegram Lilah sent there for Marjorie and replied on her behalf. Marjorie invites Ivy and Bernice over to try on clothing samples she has made, while working with her new mannequin, whom she has named Miss Johnson.
Dock arrives with an unexpected delivery of white roses and a bottle of champagne. He questions Marjorie about who has her address, and she mentions Graham and Hank. When Marjorie explains that she believes Hank is a reporter posing as a newspaper delivery boy and that he has been asking about Bonafante, Dock becomes concerned and tells her, “You won’t be troubled by that anymore” (119). Marjorie finds a card with the gift, but its contents are not revealed. When Dock asks if it is from her sister, Marjorie pauses before quietly agreeing.
At Granny and Gramps’s home, the family gathers for a garden cocktail hour. Graham notices that Lilah has a large bruise on her forehead, which she claims is from a tennis accident. He speaks privately with Gramps, who confirms that the reporter, Hank, is the son of the newspaper’s chief editor and is determined to make a name for himself. Gramps advises caution, but Graham suggests that maintaining his connection to the newspaper could give them an inside track on information, an idea his grandfather agrees to consider. The chapter ends with Lilah slumping over and falling headfirst into the grass.
Marjorie examines the anonymous gift. The expensive Pol Roger champagne and the simple “THANK YOU” note lead her to suspect that it may be from Bonafante, though she remains uncertain. Her friends Bernice and Ivy soon arrive for their fitting. Ivy appears completely naked, carrying her own glass and announcing she has come as a “blank canvas.” As Marjorie opens the champagne, Ivy reads an article from the newspaper about the exclusive housewarming party being thrown by Marjorie’s sister, Cecile. Ivy and Bernice are thrilled and propose that they attend the party. Marjorie hesitates, worried about violating the rules of her lease.
While a doctor tends to Lilah, tensions flare among the Lennox siblings. Cecile, stressed about her party, slaps Chet, who quietly vows retaliation. Dr. Boyce reports that Lilah is stable but needs rest. Cecile insists the party must proceed to avoid gossip. After the doctor leaves, Graham learns that Lilah is concerned about Marjorie, worrying him that she may question the story about Marjorie being at the cottage and that this could complicate an undisclosed plan he and Chet have been making. He enters Lilah’s room and offers to fetch Marjorie, but Lilah forbids it, not wanting to worry her daughter or draw attention to her injury. She asks Graham to help her make a brief appearance at the party, leaving him relieved that Marjorie can remain away.
Marjorie sketches a headpiece for a dress, still torn about attending the party. She recalls Ivy admitting to sneaking out of the building through Bernice’s back window. The reporter, Hank, calls to her from outside, revealing that someone from the building tried to have him fired. He invites her to the party, then asks if she is going with Bonafante and questions why women are “disappearing” from the building.
Marjorie decides to tell Dock everything. She finds him in his small, dusty basement sitting room, looking flustered with what appears to be blood on his arm. She reports Hank’s questions, the money she found, and her desire to go to the party. Dock reacts strongly to the news about Hank, then dismissively tells her, “You may go” (136), and waves her off before locking himself in a back room. Marjorie chooses to interpret this as permission to attend the party.
When Duncan mentions Lilah’s injury, Graham challenges him for having been absent while she was unwell, but Duncan is preoccupied with Cecile’s party. He reveals that reporters will be present and plans for the family to arrive in a procession of cars to showcase their company’s windshields. He has arranged for Slorah and Atchison to dress in party clothes, pretend to be a couple, and watch Lilah, ready to usher her out to Freddie and a car if she looks unwell. When his children suggest postponing, Duncan erupts, insisting the party is too important and launching into a tirade against Marjorie, calling her a “liability.”
Lilah overhears and confronts Duncan, telling him not to blame their daughter. After Duncan dismisses Graham’s business sense and rushes off feeling ill, Graham asks Chet if they were convincing; Chet replies, “Very. It all felt pretty perfect” (140), confirming their behavior was a deliberate performance. Graham expresses his relief that Marjorie will not be at the party.
In Bernice’s apartment, Marjorie helps Bernice prepare for the party, dressing her in one of her custom designs. Bernice, moved to tears by her reflection in a gold dress, confesses she is familiar with Pol Roger champagne but never felt worthy of it. Marjorie tells Bernice about the money hidden in her bed frame, while Bernice reveals that she has noticed strange sounds and smells in the building. Marjorie, in turn, admits her feelings for Bonafante are more than a crush. Ivy arrives in a dramatic green gown.
Dock knocks on the door and asks to speak privately with Marjorie. He explains that he had neglected to thank Marjorie for a bow tie she made him. He warns her not to deliver the newspaper to the basement again, as the stairways are off-limits per the lease. Believing the women are holding a fashion show, he wishes them a fun evening “playing dress-up.” As soon as he leaves, the women proceed with their escape, and Ivy begins climbing out the window.
Duncan Lennox’s tirade against his daughter Marjorie, whom he calls a “liability and an embarrassment” (138), reveals how closely he links family reputation to business interests. His assertion that she is “bad for business” frames her artistic, whimsical nature as a threat to the public image he wants the family to maintain (105). His description of Marjorie as behaving “like she’s got a screw loose” develops The Use of Psychiatric Diagnoses to Control Women by showing how the language of mental instability can be used to dismiss unconventional female behavior (138). His dismissive cruelty also develops The Corruption Behind Wealth and Respectability; Graham explicitly recognizes the irony of Duncan condemning Marjorie as “bad for business” when Duncan himself “lies, cheats, steals, uses violence, and extorts others” (105). This contrast exposes the gap between the respectability Duncan wants the Lennox name to project and his own conduct.
The Nightingale building and the Lennox family home are both structured around secrets, a condition highlighted by the recurring motif of keys and locked doors. Ivy’s revelation that the residents’ silver keys can open one another’s apartments complicates the association between locks and security established earlier in the novel, since the same system that restricts access also allows residents to enter one another’s rooms. This uncertainty about privacy and access is reinforced by other unexplained details at the Nightingale, including the globe finials stuffed with cash, the playwright’s departure, and Dock’s unusual behavior in his basement, where he appears to have blood on his arm before locking himself away. These unresolved details sustain the novel’s suspense by requiring Marjorie to interpret information whose significance she does not yet know. A similar uncertainty surrounds the Lennox family’s past when Chet accuses Duncan of having run over their mother. Graham immediately reminds her that she has no proof, leaving the allegation unresolved while revealing the depth of Chet’s distrust of her father. Her insistence that although their mother died, “the truth doesn’t have to” introduces another unanswered question that the narrative carries forward (108).
As Marjorie, Bernice, and Ivy prepare for Cecile’s party, their shared creative activity develops Art as a Source of Identity and Independence. Marjorie’s craft allows her to translate what she knows about her friends into clothing that reflects their individual tastes and interests. For Bernice, who confesses she never felt she “deserved” fine things like Pol Roger champagne, the custom-designed golden gown prompts her to see herself differently in this moment, with her emotional response to her reflection revealing a confidence she does not usually express. For Ivy, her dramatic green dress incorporates her established fascination with Christmas imagery, a “hidden Christmas tree” that Marjorie designs specifically around her personality (143). These dresses also develop the motif of Clothing and Costumes by showing how Marjorie uses clothing to shape outward presentation while responding to the individuality of the wearer. Dock’s response further validates Marjorie’s developing artistic confidence: Before referring to the evening as “playing dress-up,” he describes Bernice’s dress as “impressive,” “inventive,” and “transformative.” His reaction shows that Marjorie’s work is increasingly being recognized as serious creative practice within the residency.
The Nightingale is increasingly depicted as a place where artistic opportunity coexists with unexplained restrictions and growing uncertainty. Hank, the reporter who questions Marjorie from outside the building, asks why women are “disappearing from this building” (134), casting doubt on Marjorie’s understanding of why previous residents have left. The Nightingale symbol develops through the tension between the creative opportunities it provides and the rules and unexplained details that increasingly trouble Marjorie. This uncertainty also contributes to Marjorie’s developing independence. Earlier, she is concerned with fulfilling the terms of the lease and avoiding demerits; in these chapters, she begins questioning Dock directly and making her own decisions about how its rules should be interpreted.
The narrative establishes a structural parallel between the concealment practiced by Graham and Chet and the deception Marjorie begins to employ at the Nightingale. Graham and Chet’s efforts to maintain Marjorie’s cover show how secrecy allows them to protect her from their father’s interference. Simultaneously, Marjorie constructs her own false identity for Hank, claiming to be a seamstress from near Toledo on her way to Paris. The narration emphasizes how readily Marjorie adapts to this strategy, observing that “[t]he lie comes out so easily this time” (111). The parallel marks a change in Marjorie as she begins adopting the same strategy Graham and Chet have been using to protect her, concealing information when she believes disclosure could threaten her residency.



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