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Through text messages, Rowan gloats about winning the first round of the competition. Rowan and Sloane talk most days, and Sloane enjoys it. She was disturbed by Rowan’s raw rage as he killed Francis, but she also regards him as a “knight” because she senses that he was angry at Francis for targeting Sloane. Sloane has taken Francis’s cat, Winston, to live with her.
Sloane and Lark watch Constantine and chat. Lark, who is a musician, has been on tour for a while but is now back in town. Sloane feels bad for considering leaving after Rowan killed Francis, but Lark reminds her that she did not actually leave. Lark is proud of Sloane for making a new friend. Lark suggests Sloane pursue Rowan as a boyfriend, but Sloane demurs. Lark can tell Sloane is afraid of intimacy, but she reminds Sloane that she deserves happiness, love, acceptance, and to be seen.
Three months later, Sloane makes an impromptu visit to Boston to see Rowan, although she does not notify him that she is coming. She goes to his restaurant, gets seated at a table, and considers running away, but a server comes to take her order, so she stays. To calm her nerves, she sketches a picture of a raven in her notebook. She gets spooked when Lachlan comes in with a group of friends, so she asks for her dessert to go. She pays her bill, leaves the raven picture on the table, and is about to leave, but is intercepted by Rowan. He scolds the hostess for not telling him that Sloane was there as she was instructed to do if someone meeting her description ever visited the restaurant.
Sloane claims she is in Boston for a work meeting, and Rowan asks Sloane to stay longer at the restaurant with him. However, a group of Rowan’s friends come in, including a pretty woman named Anna, who hugs Rowan, and Sloane says she has to leave. Rowan texts her, but she does not give much of a response until days later when she is back home in Raleigh. Rowan wishes Sloane would have told him she was in Boston and stayed longer, but Sloane finds emotional vulnerability difficult.
Rowan goes to Raleigh without telling Sloane and pays a child $100 to deliver groceries to Sloane’s house without revealing who they are from. Rowan watches her house from across the street. Sloane texts Rowan to confirm that the groceries were from him. He says he wants to cook with her like he should have done at the restaurant. On the phone, Rowan gives her instructions on how to prepare the orzo pasta and vegetables.
Rowan asks why Sloane works for a medical company instead of being an artist. She says art would not generate enough money, plus it has been ruined for her. She still sketches in black and white, but she does not paint, sculpt, or do anything with color. However, the webs she makes to hang her victims’ bodies in are like art to her.
Rowan wanted to be a chef since childhood, when he used to cook meals for his brothers. Cooking provided Rowan with an escape from his abusive household and made life better for his brothers. Sometimes, his father would refrain from abusing him if he cooked, so cooking was also like “armor” to Rowan. Rowan considers cooking his art and wonders what happened to ruin Sloane’s art for her.
Rowan pays the same child to deliver groceries for two more meals to Sloane, then walks her through the cooking steps on the phone again. He gives the child extra money when he learns he is saving to buy a PlayStation. Sloane does not talk to her parents much and has no siblings or other close family. Rowan returns to Boston and looks forward to seeing Sloane for their annual competition in less than a month.
Sloane chats with their serial killer target, Thorsten Harris, in a fancy bar in California. Rowan appears and crashes their conversation, which annoys Sloane. Although they have both discovered who their target is, Sloane knows more about him. For example, she knows he practices cannibalism, but Rowan does not seem to. Rowan easily charms Thorsten, who invites both Rowan and Sloane to his house for dinner the following evening.
Thorsten’s house is upscale, with an extensive collection of famous artworks, most of which are creepy or ominous. A man named David Miller serves them appetizers. David does not speak, has a vacant stare in his eyes, and seems to have trouble comprehending words, often needing to have things repeated multiple times. Thorsten claims that David was recently in an accident, so Thorsten employed him out of the goodness of his heart. Sloane assumes that Thorsten actually lobotomized David and then forced him to become a servant/prisoner.
David continues bringing more courses. Sloane mouths the word “lobotomy” to Rowan, but he does not understand what she is trying to say. Sloane does not drink her wine because she suspects it is drugged, but she pretends to take sips to appease Thorsten. Rowan drinks it and becomes increasingly intoxicated. He admits he thinks Sloane is the world’s most beautiful woman and that he has been abstinent since he met her because he is waiting for her. David brings the main course, which looks like beef but is actually human flesh, although Thorsten does not reveal this. Sloane does not eat it but Rowan eats some, then passes out.
When Rowan comes to, Sloane has Thorsten tied up and is cutting off bits of his skin and gouging out his eyeballs to make her web. Rowan now realizes that Thorsten drugged him with the wine and food. Sloane gives him a bowl to vomit into. Meanwhile, David is eating human flesh in the kitchen; Rowan and Sloane assume he does not realize what it is. Rowan discovers that he also ate human flesh and vomits more. Rowan claims not to remember what he said about Sloane and abstinence, even though he does. He worries Sloane does not like him the way he likes her, but he does not want to give up pursuing her because he thinks she is the only person who knows the real him and is capable of accepting him. Sloane continues making her web, which Rowan regards as a “masterpiece” and “art.” As with her other victims, she is creating a map of the locations where Thorsten killed or kidnapped his latest victims.
Sloane tells Thorsten, whose real name is Jeremy Carmichael, that he reminds her of the first person she killed, who would charm people to lure them in and then hurt them. Thorsten calls for help from David, but David ignores him. The first man Sloane killed was an art teacher from a program she attended with Lark when they were teenagers. The teacher promised to help the students get into good colleges, but when Sloane discovered he was sexually abusing Lark, she killed him and vowed to kill other monstrous people like him in the future. Sloane kills Thorsten, then dissociates for a while until Rowan snaps her out of it with a joke.
Sloane and Rowan find David in the kitchen, eating ice cream as if in a trance. Sloane takes the ice cream away from him and reads the handwritten label, which reveals that it contains semen. Rowan vomits again. Sloane does not want to abandon David, who seems helpless, so she asks Rowan to give him a job at his restaurant. Rowan protests but Sloane insists. There are no missing person records for anybody matching David’s description, and Sloane assumes that if Thorsten picked David, David probably does not have family or friends who are worried about his disappearance. Sloane instructs David to wash dishes, which he does easily, so Sloane argues that David could be a dishwasher at the restaurant. Rowan agrees to give David a job if Sloane will do an unspecified favor for him in the future. They clean up, and then Sloane admits that when she came to Boston, she was not there for a work meeting.
This section, like the previous one, solidifies the novel’s position in the Dark Romance genre and develops the related theme of The Complexities of Love in Dark Circumstances. Since the romance plot concerns two serial killers who specialize in killing other serial killers, the protagonists experience romantic complications beyond what would be typical in a regular Romance novel. Still, the novel also includes some typical Romance conventions such as a slow-burn love story, and Sloane confiding in her friend Lark for romantic advice. Romance novels often feature protagonists who are unsure whether their romantic feelings are mutual or unrequited, but in this Dark Romance, these feelings are exacerbated because both Sloane and Rowan have additional romantic anxieties due to their violent hobbies. Sloane, for instance, expresses her worry that she is too “monstrous” to be loved to her best friend Lark. The rotating narration creates dramatic irony: the reader knows that both protagonists have feelings with each other, but because the protagonists are not yet as honest with each other as they are with the reader, the characters continue to wonder if the other character could ever love them in return. The romance plot therefore turns not on whether the characters will fall in love but how they will overcome their internal obstacles to discover the feelings they share.
The dramatic irony resulting from the rotating narration also creates a different sort of tension and suspense that develops some aspects of the thriller genre in the novel. For example, Sloane knows that Thorsten practices cannibalism and likes to drug or poison his victims, which she reveals to the reader, but cannot reveal to Rowan while they are with Thorsten. This creates tension because Rowan’s ignorance of Thorsten’s habits puts him in danger of falling prey to them. Unbeknownst to her, Sloane’s knowledge is incomplete, setting up situational irony that pays off later when Sloane and Rowan both discover that David has not been lobotomized and is not mentally compromised in the ways he pretends to be. The protagonists’ limited knowledge and false knowledge of the serial killers they encounter raises suspense and terror because the less they truly know, the more danger they are in. Their misunderstanding of David also reinforces the theme of The Nuances of Identity. Though Sloane and Rowan conceal important aspects of their identities from others, they still misjudge David based on the persona he performs around them, emphasizing the difficulty of assessing any individual’s identity. David, like Rowan and Sloane, is not the same person in all places at all times.
This section explores The Ethics of Vigilante Justice, especially when Rowan and Sloane each describe the first people they killed and what their motivations were. Neither of their first kills were serial killers, but they were both adults who abused children or teenagers who were Sloane and Rowan’s loved ones. Sloane and Rowan killed them out of loyalty and a desire to protect their loved ones. This same motivation is still at play when Sloane and Rowan kill serial killers or child abusers. Although the novel sometimes questions whether the extent of the torture and theatrics Sloane and Rowan go to are necessary, the novel still suggests that Sloane and Rowan’s motivations for killing their specific victims render their murderous activities into a kind of justice. At the very least, the novel puts Sloane and Rowan in a different category than the people they kill. Although Sloane and Rowan are complex and somewhat monstrous, they are not entirely evil like their victims are. The way Sloane incorporates her artistic expression into her murders further complicates the issue. Sloane creates beautiful art while (in her eyes) ridding the world of a person who causes pain, but she also finds pleasure in the process of killing, just as her victims do. The altruistic and murderous aspects of her personality cannot be extricated from each other.
The same can be said for Rowan. Rowan’s character continues to develop in this section, and his multifaceted nature illustrates the nuances of identity. Despite being a killer who is capable of extreme violence, he also practices great tenderness when he delivers food to Sloane and cooks with her, demonstrating that two extremes can exist within one person. Rowan also shows his charitable, caring nature when he pays the child who delivers Sloane’s groceries extra money so he can buy a PlayStation. The latter in particular is an act of true empathy, and therefore not something that a wholly evil person would be likely to do. At the same time, these actions do not erase or negate the monstrous parts of Rowan. Instead, the novel suggests that Rowan and Sloane are neither entirely good nor entirely evil, but morally complex.