51 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of sexual violence, rape, physical abuse, emotional abuse, death, graphic violence, and animal cruelty.
Lydia avoids Delphine’s suggestion to visit the vital records office by revealing she has a job with the Colettos. Delphine has been especially nice to Lydia, and Lydia feels a bit guilty for giving her nothing in return.
Later, Merritt takes Lydia to dessert at Coletto’s by the Sea, calling it “sea bats” (for CBTS). As they talk, Lydia realizes the Colettos are struggling financially. Luca appears, surprised to see them together. Lydia announces he has hired her as an assistant manager, shocking Merritt. Luca lies, claiming he was waiting for the right time to tell her. After Lydia leaves, she sees Merritt heading to Luca’s office to confront him.
Merritt storms into Luca’s office, confronting him for hiring Lydia without her knowledge. He claims he was following her suggestion to help Lydia move on. When Merritt questions the expense, Luca admits they cannot afford a new employee. As their argument escalates, Merritt has a Braxton-Hicks contraction, and Luca’s demeanor shifts to concern. He helps her calm down before she drives home, but she is convinced she is losing her husband.
On her first day at work, Lydia meets Luca in her new office, where he gives her an envelope of cash. She tells him it is not enough and demands he arrange a new, fake identity for her so she can open a bank account. She justifies the request by recounting her difficult months of survival after her escape. Privately, Lydia is only using the demand as a tactic to buy time and extort more money.
The next afternoon, Merritt brings lunch to Lydia’s office to build a connection with her. Merritt shares details about her difficult relationship with her mother, and Lydia reveals her own mother died when she was young. Merritt then describes Luca’s abusive childhood—his parents were “a narcissist and an alcoholic” (139)—to build sympathy for him. Merritt’s baby is due in a week, and her goal is to assess if Lydia is a threat to her family.
That evening, Lydia brings takeout from the restaurant home for Delphine. She lies to Delphine about her job, saying it’s mostly office work. Really, she browses the internet all day. When Lydia offers to pay rent, Delphine tells her to wait for a formal paycheck. Alone, Lydia inventories the $3,000 in cash hidden in her backpack and reaffirms her commitment to her plan, vowing not to let sympathy for Merritt or Luca deter her.
A week before her scheduled C-section, Merritt packs a hospital bag and confronts Luca about his emotional distance. He seems like a different person, a “secretive doppelgänger” (142). He avoids a direct confrontation, offering only a vague promise that things will return to normal, which temporarily placates her.
On Thursday, Lydia finds Luca’s office locked. She then overhears staff gossiping about the Colettos’ financial troubles and that Merritt had her baby the previous night. Lydia returns to her apartment to find Delphine with the stacks of cash from her room. Prompted by the discovery, Lydia tells Delphine the truth: her identity, her abduction by The Monster, the nine years of captivity, and his murder attempt. She reveals that her abductor was Luca, and he had her declared legally dead. She shows Delphine scars on her body, including Luca’s name carved into her skin.
Lydia thought Luca was shy and misunderstood when they first met though she sometimes feared his “dark,” cold personality. On their first date, he was surprisingly charming and talkative. She figures the abduction was Luca’s “sick sexual fantasy” of control (150). Luca must have lied to Merritt about his parents. They were “militaristic” with “OCD” standards for him to live up to (151). Marrying Lydia was his form of rebellion.
As a child, Luca tortured animals, and Lydia doesn’t think he’s redeemable. She wants to bankrupt him and ruin his life but doesn’t plan to hurt Merritt or their children.
In the hospital, Merritt and Luca welcome their son, “Everett John,” named after Luca’s paternal grandfather, who took Luca in when he was 17. Merritt asks Luca whether he texted her sister, Adair, to let her know the baby was born, and if checked up on Elsie, who is with the nanny Annette. He answers both questions, but she worries she’s micromanaging him.
When his phone chimes, he hides the screen. Merritt confronts him about Lydia and his secrecy, but he tearfully begs her to just “let [him] have this day” (160). He avoids more questions by turning away with the baby.
Delphine insists Lydia go to the police, but Lydia refuses, arguing Luca would manipulate the system and leave her unsafe. Delphine cautions her not to “fight evil with evil” (161), but Lydia denies having bad intentions.
Lydia receives a text from Merritt with a picture of the new baby. She shows it to Delphine, who voices that Merritt might know about Luca’s dark side. Even so, Delphine says it’s okay if Lydia wants to be Merritt’s friend. Delphine gives Lydia a beaded necklace for protection, warning her that she may only think she has the upper hand because Luca is allowing it. Then Delphine prays silently for a moment, as she often does. The warning unnerves Lydia.
Two nights later at the hospital, Merritt struggles as her newborn refuses to breastfeed. A nurse takes the baby to the nursery to give him formula, and Merritt feels a mix of guilt and relief. Everett is much fussier than Elsie was, and Luca doesn’t seem as excited about Everett’s birth as was about Elsie’s. For the last few days, he’s been gentle but distant. Merritt also worries because Lydia hasn’t responded to her text. She watches Luca asleep on the hospital room couch, dreading their return home.
On Monday, Lydia collects more money from Luca at the restaurant. She plans to leave soon, get her own apartment, and go to the police. Luca’s nervousness around her is uncharacteristic, and she wonders whether he’s playing her, as Delphine suggested. He’s wearing rumpled clothes now, not his usual expensive ones. He says he is taking two weeks off for the new baby and begs Lydia to leave them alone. He promises her a car and new identity upon his return.
After he leaves his office, he puts the key in the lock but doesn’t turn it, leaving it unlocked. Lydia slips inside, searches the office, and uses a paper clip to unlock the file cabinet. In a file marked “estate,” she finds her old marriage certificate, which she takes, planning to destroy it. She then finds several life insurance policies with Luca as the sole beneficiary: a $2 million policy on her, a $4 million policy on Merritt, and a $1 million policy on their daughter, Elsie. Lydia now understands how Luca funded his restaurants, why he abducted her, and what he plans to do with Merritt.
When Luca returns home from the restaurant, he proposes a sudden two-week family trip to their remote farmhouse in Willow Branch, Oregon, framing it as a way to get away from Lydia and spend time together. Merritt is exhausted and in pain from C-section; going on a trip with a newborn is the last thing she wants.
Though suspicious of Luca’s motives, Merritt is desperate to repair their relationship. She agrees, seeing it as a sign of his renewed commitment. As she packs, she notes Luca’s forgetfulness of small items: He sees the big picture but doesn’t pay attention to details like Merritt does.
Lydia visits an insurance agent who confirms her multi-million-dollar policy existed but can’t tell her whether it’s been cashed out. He explains how a marital relationship can override an insurer’s red flags, like someone on a low salary taking out a $2 million policy on a waitress. The plan had cost $3,000, but Luca couldn’t have afforded that—unless he had saved up for years. Lydia realizes Luca must have been planning her murder for years.
On her way home, she receives a cryptic text from Luca with geographic coordinates, “For your fresh start” (184). She assumes he wants to give her the fake ID but still doesn’t trust him. Aware of the other life insurance policies, Lydia knows Merritt and Elsie are in danger and begins to formulate a new plan.
The Colettos arrive at the remote farmhouse, which Merritt finds isolating and depressing. Luca convinced her that eventually, it would be peaceful summer getaway for their children, with its greenery and fishpond. Merritt envisions a happy future there with her family.
The next morning, Merritt, who is still in pain, discovers their bank accounts are empty. She confronts Luca, who admits to their financial collapse. Merritt was the “brains” of their restaurant business, designing everything from scratch. She’s offended that the buyers passed.
Merritt is tired of role-playing the innocent, submissive wife and breaks their 10-year silence about Lydia. She demands to know why Lydia is still alive, and Luca confesses that he shot her but failed to confirm her death.
Furious, Merritt thinks back to how she invented the entire scheme, manipulating Luca—her grimy, suggestable neighbor who collected “torture porn”—into kidnapping and murdering Lydia for insurance money. With no family, Lydia was the perfect mark: If not her, Luca would likely rape and torture another girl. Merritt used his tendencies to her advantage. She didn’t expect Luca to keep Lydia alive for nine years and regrets letting him do so. After becoming pregnant with Everett, she told him to end it.
Contemptuous of Luca’s failure, Merritt tells him to go pick up the groceries while she decides what to do next.
This section of the novel methodically deconstructs the Colettos’ world, exploring The Destructive Pursuit of a Perfect Facade. The failing restaurant empire parallels the collapse of Luca and Merritt’s marriage, which is based on deceit. Merritt’s description of their flagship restaurant, Coletto’s by the Sea, highlights this tension; she boasts of its ocean views and vintage crystal chandeliers, yet the business is facing layoffs.
Lydia’s demand of a salary of $1,000 per day in cash, accelerates this collapse, acting as a form of financial karma that drains the Colettos’ resources gained from her supposed death. The contrast between Lydia’s former destitution—how she survived by “grifting and working under-the-table jobs for pennies on the dollar” (135)—and the Colettos’ lavish lifestyle underscores the inequality that underpins the narrative’s central crimes. In society’s eyes, wealth confers moral uprightness while poverty is seen as a result of moral failure. By taking Luca’s money, Lydia is symbolically stripping him of his perceived morality and reinstating her own.
The narrative structure, which alternates between the first-person perspectives of Lydia and Merritt, is a crucial craft element that manipulates reader perception and reinforces Deception as Self-Preservation. Merritt’s chapters, in particular, are an exercise in deception, presenting her as a reasonable, anxious, and protective pregnant wife. Her internal monologue is meticulously constructed to elicit sympathy and align the reader with her perspective as a victim of circumstance. During her lunch with Lydia, she performs vulnerability by sharing stories of her difficult mother, all while internally assessing Lydia as a threat to her family. Similarly, her tearful confrontations with Luca are framed as the pleas of a devoted wife desperate to save her marriage, when in fact they are the frustrated expressions of a criminal losing control of her accomplice.
These scenes turn on dramatic irony; Lydia pities Merritt, reflecting, “I’m sorry she’s in the middle of this. It isn’t her fault she got the older, wiser, more successful version of the man I married” (130), a statement that completely misreads the power dynamic and Merritt’s true nature. It is only in the final chapter of this section that the mask fully slips. Merritt’s internal admission that Luca is a man she created reveals her as the motivator behind their lives and crimes. This choice allows the reader to experience the novel’s central deception firsthand, making the final revelation a fundamental reordering of the narrative’s perceived reality.
These chapters also subvert conventional archetypes to explore the theme of Redefining Victimhood and Agency. Lydia’s evolution from captive to aggressor demonstrates a complex reclamation of power that blurs moral lines. Her scheme to extort Luca turns her trauma into a strength. By demanding a fake identity and a non-existent job, she forces Luca into a position of psychological captivity that echoes the power he had over her.
It’s not a foolproof plan, and Lydia’s agency is shown to be precarious. Delphine’s warning—“You might think you have the upper hand in this situation, but it’s only because he’s letting you think that” (166)—introduces a critical layer of doubt and deception, suggesting that Luca still has control over the situation.
On the other hand, Luca seems to be at Merritt’s mercy. His moments of emotional distress, such as when he tearfully begs Merritt to let them have “this one good day” (160) in the hospital, complicate his position of control. The request hints at shifting power dynamics at play long before Merritt confesses to the kidnapping. These dichotomies challenge the reader to move beyond simple labels of victim and perpetrator and instead consider a more nuanced reality where agency is a fluid and contested force, wielded by characters desperate for survival and control.
The discovery of the life insurance policies (See: Symbols and Motifs) in Luca’s office marks a crucial turning point, transforming the symbol from a mere plot device into the thematic core of the narrative. The policies—$2 million on Lydia, $4 million on Merritt, and $1 million on Elsie—reveal that the novel’s central horror is not rooted in psychosexual pathology but in the commodification of human life. This discovery reframes Lydia’s abduction and torture not as an act of obsession but as a long-term financial investment. The insurance agent’s explanation that a marital relationship can override an insurer’s red flags confirms that the marriage to Lydia was a prerequisite for the murder plot, designed to legitimize the eventual payout.
The existence of policies on Merritt and her daughter exposes Luca’s—and by extension, Merritt’s—willingness to liquidate their own family for profit, making the facade of domestic bliss a grotesque lie. The policies function as the ultimate symbol of betrayal, reducing love, marriage, and parenthood to their monetary value. This revelation shifts the genre conventions from a psychological thriller about a deranged captor to a story of greed, demonstrating that the most terrifying evil is not born of madness but of a rational decision to treat human beings as assets.
Finally, the introduction of the farmhouse in Willow Branch establishes a setting that functions as a symbol of deceptive sanctuary and the inescapable nature of the characters’ pasts. Presented by Luca as a safe retreat from Lydia and embraced by Merritt as a chance to repair their fractured family, the farmhouse initially appears to be a haven of rustic simplicity. Merritt fantasizes about a peaceful future there, far from the pressures of the coast. This idyllic vision, however, sets up a classic Gothic reversal of domestic space.
The isolated location directly mirrors the cabin where Lydia was held captive, transforming the supposed sanctuary into a container for the narrative’s climax. The move to the farmhouse is Luca’s last attempt to escape justice. Instead of providing escape, the farmhouse becomes a crucible where the family’s lies are stripped away and their carefully constructed facade is destroyed. It represents the ultimate failure of their pursuit of a perfect life, proving that no location can offer refuge from the cruelty that fueled their crimes.



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