59 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of child endangerment, graphic violence, and death.
On Sunday morning, Jenny and Richie discuss their childcare plans as Jenny needs to return to work full-time.
Jenny goes to Jacob’s bedroom. She reads again the list of names Jacob has written on his chalkboard. She recognizes one: “Dani Von,” the child’s rendering of “Danny Vaughn.” Jenny asks Jacob who Danny Vaughn is. Jacob says Danny is Carrie’s friend. Jenny calls Detective McConville with the information.
Marissa is still on edge. She decides to take Milo for a walk to Brian’s house at the bottom of the garden. When they arrive, Marissa realizes she has not been inside Brian’s house in a long time. She is struck by how sparse it is. After they leave, Marissa realizes she cannot smell paint at all. She wonders why he would lie about having his house painted.
That evening in the main house, Lia tells Marissa that she finds Kerryglen very boring. When she sees old schoolfriends on Facebook, “they’re all having babies, and all the babies look the same” (255). She has no interest in domestic life. Lia mocks the moms for their pathetic nights out and shows Marissa a photo from Facebook of a friend on a night out at a bar as an example. Lia notices Colin in the background of the photograph. Marissa looks more closely at the photograph. She sees that Colin is clearly on a date with Carrie at the bar.
Marissa is stunned at the realization that Colin knew Carrie. She shows Peter the photograph. Peter tells them he just received a phone call from “an older lady” telling him that a man “close to us” had conspired with Carrie (259). They speculate that Colin’s bumbling demeanor was an act to cover up his true intelligence. Marissa calls Colin, but it goes to voicemail. Lia suggests they make margaritas to relax. Peter agrees to go out to buy tequila and burritos. Marissa feels betrayed by her friend and business partner of 20 years, Colin.
A month before Milo’s kidnapping, Carrie does her makeup before meeting Colin on their date. She borrows Jenny’s sparkly top for the occasion. She is going by the name of “Lena.” In her glam getup, she is unrecognizable as the mousy nanny Carrie. She goes to the bar to meet Colin for their date.
On Monday morning, Marissa calls Colin again but gets no response. She learns from her secretary, Shauna, that Colin called in sick to work. Marissa drives Milo to school. He is eager to return. After dropping Milo off, Marissa goes to the office. She quizzes Shauna about Colin’s activities while she was out of the office. Shauna reports that Colin has been seeing someone. Occasionally, he brings the woman back to the office. After their conversation, Marissa calls Detective McConville to report what she has learned about Colin and Carrie.
That afternoon, Marissa asks Shauna what Colin did with the Downey and Fenelon files. Shauna says Colin never collected them from the office. Before Marissa can review the files herself, she gets a call from the school. Mr. Williams says Milo got upset during “yard-time,” and Marissa needs to pick him up. Marissa wonders what has triggered Milo’s panic.
Sergeant Sheridan returns to the house to interview Milo. Milo tells Sheridan Carrie dyed his hair brown, dressed him in a red coat, and said he was now “a proper robin” (273). He reports that he could hear the sound of a schoolyard coming through the window where he was being held. When he heard it that afternoon at school, he was triggered.
That evening, Detective McConville arrives at the home to report that Danny Vaughn, the man murdered in north Dublin, is actually Kyle Byrde. Byrde’s body had been badly mutilated to hinder their attempts at identifying him. McConville says it is unlikely Carrie would have been capable of this, and there is therefore a third person involved in the plot.
In these chapters, Colin’s possible complicity in Milo’s kidnapping is introduced as another red herring and plot twist, once more invoking The Tension Between Public Personas and Private Realities. However, unlike the suspicions of Brian and Richie generated by a misunderstanding of their behavior, this red herring is, in part, created deliberately by the real culprit of certain crimes. Marissa and Lia grow suspicious of Colin, Marissa’s business partner, when they realize he has been on several dates with Carrie and has never informed them or the police of the relationship. Peter contributes to their suspicions by claiming he received a phone call from an unknown “older lady” making a vague claim that someone “close to” the family is responsible for what happened to Milo.
At this point in the narrative, none of the characters has any reason to suspect Peter is fabricating this claim. It is only when the final plot twist is revealed—that Peter murdered Carrie and was attempting to frame Colin for aspects of the crime—that his claim can be understood in a new light. In retrospect, he is overly performative on the call. Marissa notes, “he hadn’t said anything since the initial hello” (255), and his face is inscrutable. He does not attempt to ascertain the identity of the alleged caller, dismissing her as a “crank.” While this is never confirmed in the text, it is highly likely that Peter made up this phone call to convince others of Colin’s guilt, illustrating his highly manipulative character.
In Chapter 52, Carrie’s transformation into Lena is highly symbolic of the idea of persona and public performance. Carrie uses makeup and clothes to create a new public persona for herself, one more closely aligned to her true character. The language is highly detailed, showing how she uses makeup and clothes to create a new image, one that Colin would be unlikely to question. As she gets ready, she reflects, “she’d spent so long as pale, watery Carrie Finch, she’d almost forgotten how satisfying it felt to put on a new face” (263, emphasis added). This glam new persona “felt good.” It is illustrative of how successful Carrie has been in disguising her appearance that Colin later credibly claims that he “didn’t realize it was her—I knew her as Lena, and she looked nothing like herself in that photo that was on TV” (297).
While Carrie’s transformation is the most dramatic, it is echoed in the way other characters present a different public persona from their true selves, such as how Colin pretends to be a kind, bumbling oaf but is actually quite a ruthless, intelligent, and calculating person, or how Jenny and Richie’s marriage is shakier behind the scenes than it may appear to others, with Richie’s unspoken concerns about a possible affair between Mark and Jenny. This pervasive sense of private lives being at odds with public personas plays to the common domestic thriller trope of seemingly stable lives hiding many dark secrets, building a general atmosphere of mistrust and instability to sustain narrative tension.



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