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Content Warning: This section of the guide includes discussion of gender discrimination, graphic violence, alcohol use, and death.
Back at home, Lottie inventories her belongings and makes a spreadsheet of the cost of each home. She remembers killing a man named Chuck Warwick in 2003. She considers asking Archie to help her move closer to him but finds real estate near him unaffordable. A knock interrupts her: Norma Dixon is at the door.
Norma arrives with dinner and wine as a peace offering. As they eat, Lottie pockets a paring knife. Norma confronts Lottie about her past murder accusations. When Lottie hesitates, considering how to respond, Norma laughs and apologizes for being rude. She tells her about the anonymous calls and notes, explaining how she is convinced either Tula or Cole is lying. When Lottie excuses herself to the kitchen, she collapses, realizing that Norma has drugged her.
Lottie awakens tied to a chair. Norma confirms she drugged Lottie and accuses her of being connected to Plum’s disappearance. She produces Plum’s case file, which she found in the house, and reads aloud from old newspaper articles about Lottie. As Lottie inches toward the hidden paring knife, Norma reveals she already took it.
Lottie fakes respiratory distress and persuades Norma to loosen the ropes by claiming she hid more of Plum’s things upstairs. She sends Norma on a false errand and uses nail clippers from Norma’s purse to free herself. She slips into her study and locks the door as Norma returns. Enraged, Norma attacks the door with a fireplace poker. Using the house’s circular floor plan, Lottie exits through a second door and arms herself with a cane and a kitchen knife.
Lottie lures Norma into an ambush and kills her with the cane. Exhausted, she rests, then cleans the blood. She checks Norma’s phone but finds the battery dead. Disguised in Norma’s clothes, she inspects Norma’s room at the Harmony Hotel. She rules out a staged overdose and notes the reservation runs three more days, giving her time to plan.
The next morning, Lottie dismembers Norma’s frozen body. She checks voicemail and finds a message from Morgan. At the Harmony Hotel, Lottie stages Norma’s room and places a room service order to make it look occupied. Using Norma’s severed finger to unlock her phone, she begins a digital impersonation, texting Norma’s coworker and rescheduling a dental appointment.
Back home, Lottie reviews data from Norma’s phone and confirms Cole informed Norma about Plum’s disappearance. She also finds a record of a call to the Spokane Police Department. She flashes back to her difficult pregnancy and killing Gary, Archie’s father. A knock at the door comes just as Morgan texts, announcing her arrival.
Lottie greets Morgan, who apologizes that Archie forgot to mention her visit. Lottie insists she stay the night. Morgan explains she is in town to finalize wedding venues. Archie calls, and Morgan puts him on speaker while she admonishes him. Lottie prepares a guest room far from her own, noting the creaky floors. Before bed, Morgan gives Lottie a stun gun.
After a restless night, Lottie joins Morgan to tour wedding venues. Over lunch, Morgan confesses she often feels like an outcast, which helps them bond. Once Morgan leaves for her hotel, Lottie returns to the Harmony Hotel to keep Norma’s digital presence active. A text arrives on Norma’s phone from a man named Burke.
Lottie discovers Detective Kenneth Burke, who investigated her murders in Spokane, has been secretly communicating with Norma through an encrypted app. Realizing he orchestrated Norma’s investigation, Lottie takes control of the exchange. Posing as Norma, she texts a fabricated account of an encounter with Lottie, then calls the hotel to extend Norma’s reservation.
That evening, Lottie returns home to find Morgan waiting. Morgan cooks dinner and clarifies how she met Archie, and the two build rapport. When Morgan goes to the kitchen for dessert, she screams. Lottie rushes in to see a small container on the floor that fell from the freezer; inside lies Norma’s severed finger.
Lottie snatches the container and claims the finger is a prop for a church play about an Old Testament figure. Although shaken, Morgan appears to accept the explanation but remains unsettled. Lottie, aware of her carelessness, resolves that Morgan must leave soon.
The next day, while continuing to text Burke as Norma, Lottie destroys the finger by smashing it with a hammer and hiding the remains with the rest of Norma’s body. That evening at church bingo, she is surprised to find Morgan there with Pastor Doug.
Morgan claims her dinner plans fell through and, in front of Pastor Doug, Sheila, and Bonnie, brings up the finger prop. Lottie spills her drink to divert attention. Later, Morgan confronts her about the lie, and Lottie claims the play is at another church. Morgan assumes Lottie just wants to hide the fact that she is attending a second church from her friends, and they part on good terms. Back home, Lottie burns Norma’s remains in her fireplace.
The following day, Lottie airs out the smoke smell and flashes back to murdering Walter Simmons, a little league umpire who had humiliated Archie. Texting as Norma, she tells Burke that Detective Tula contacted her and wants to meet.. To her church friends, she claims the finger was a prop for her granddaughter Olive’s school play.
The next morning, a real estate agent tours the house and quotes a price far below Lottie’s hopes, dashing her plans for an upscale retirement community. Later, Jax calls her again. Initially, he apologizes for calling her old and insulting her during their last conversation. However, after Lottie hears someone leave the room in the background of his call, Jax then whispers that he wishes she would die, calling her an “old hag.” The conversation amuses Lottie, the triviality of it making her long to move past all the current stress in her life.
Determined to neutralize Burke, Lottie breaks her own rule by scripting her messages, then burns the notes. Posing as Norma, she tells him about her meeting with Tula. She claims that Tula believes Lottie is innocent, as she is too old to have committed murder. She then tells him that she is having dinner with Lottie. Burke is adamant that Tula is wrong. He urges Lottie (as Norma) to follow their “plan” and to be sure she “hides it” carefully.
Lottie searches Norma’s luggage and finds a tiny cellular camera inside a cigarette box. After researching how it works, she decides to turn it to her advantage. She stages the dining room to appear as if she and Norma just shared a meal, then activates the device. From beyond the camera’s view, she acts out a one-sided farewell to a departing “Norma,” creating false video evidence for Burke.
These chapters intensify the novel’s exploration of The Performance of Identity as a Tool for Survival, moving Lottie’s deceptions from the physical realm into the complex digital landscape. Her impersonation of Norma Dixon requires not just a change in persona but a deep understanding of another person’s voice, relationships, and digital habits, conveying Lottie’s intelligence and her adaptation to modern technology. This performance is necessitated by the arrival of Kenneth Burke, an antagonist from Lottie’s past who forces her to adapt her survival tactics. The act of using Norma’s severed finger to unlock her phone is a grotesque fusion of the physical and digital, highlighting the brutal measures required to control one’s identity in an age of biometric security.
Lottie’s lies to Morgan about the finger—first fabricating a church play and then inventing another lie about a different church—demonstrate the compounding nature of these performances. When Morgan challenges her directly, asking, “There isn’t really a play here, is there?” (262), the exchange reveals the increasing precariousness of Lottie’s constructed realities and her ability to improvise new layers of deception under pressure. This constant performance extends to her past, as a flashback reveals she fabricated the entire identity of Archie’s father to protect him, a foundational deception that has informed her entire adult life.
The metaphorical representation of Lottie’s house as Lottie herself is further developed in this section of the text through the confrontation between Lottie and Norma. Norma’s use of drugged wine inverts the recurring motif of food and tea as a façade, turning Lottie’s own tool of disarming hospitality against her. However, just as Norma underestimates Lottie, she underestimates her home, allowing Lottie to use the old-fashioned circular design of the house to trick and ambush Norma. Just as Lottie is pushed into new territory through her exploration and manipulation of technology, she is also forced to reimagine the safety of her home as a weapon of defense. When the real estate agent judges Lottie’s home, noting its lack of renovations and making a low offer, it is a reflection of how Lottie herself is viewed by those around her. The agent’s description of the house as a “time capsule” (272) functions as a judgment on Lottie herself: Both are seen as relics of a bygone era, their underlying strengths and histories ignored in favor of a superficial assessment of their aged exteriors.
Lottie’s internal conflict between her deteriorating body and formidable intellect reaches a critical point, amplifying the theme of The Frailty of the Body Versus the Resilience of the Will. The physical toll of murdering and dismembering Norma is explicitly detailed; Lottie acknowledges that “the worrying and the list have been joined by fatigue” (215), a stark admission of her age-related limitations immediately following the adrenaline of the kill. This physical decline is juxtaposed with the heightened mental acuity required to manage her increasingly complex cover-ups, including the meticulous digital impersonation of Norma.
The narrative structure in this section utilizes flashbacks not for exposition, but to strategically reframe Lottie’s motivations and underscore the theme of The Perils of Ageism and Gender Discrimination. The memory of killing Walter Simmons, the Little League umpire who humiliated Archie, is not presented as a simple act of revenge but as a response to a public judgment against her perceived failings as a single mother. Similarly, the flashback to Chuck Warwick’s murder in a grocery store parking lot is triggered by his dismissive mutter of “[s]tupid cow,” a culmination of the daily invisibility she experiences. These curated memories reveal a consistent pattern: Lottie’s violence is a direct, albeit extreme, reaction to being socially marginalized or underestimated. Her later bonding with Morgan over their shared experience as judged outsiders further complicates her character, suggesting a capacity for empathy rooted in this same sensitivity to societal condemnation. By juxtaposing these past triggers with her current battle against Burke—a man whose entire career has been a 40-year judgment of her—the narrative posits her elaborate schemes not merely as the actions of a psychopath, but as the sustained strategy of a woman refusing to be defined or destroyed by the narratives others impose upon her.



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