Chapter 33: Melissa – Summary and Analysis

⚠️ Spoiler Warning: This guide contains detailed spoilers for the entire novel. Proceed only if you've finished reading or are comfortable knowing the plot.

Summary

On the morning of Thursday 22nd December, Harriet wakes to find that Edward has already left for work. She lingers in bed, aware that she is now twelve weeks pregnant, a fact she hopes might offer some protection against the Holbeck family. With only one day left to uncover the connection between the women on Robert's list, she decides to visit Melissa Brown's apartment, hoping to find her alive or at least gather more information.

Harriet takes a taxi to the address, careful to avoid being followed. She buzzes the intercom and speaks to a woman named Nina, who initially seems confused about who Melissa is. Nina explains that Melissa is subletting the apartment to her and others, and that Melissa is not currently there. She suggests that Karen might have Melissa's phone number. Harriet asks whether Melissa's belongings are still in the apartment, and Nina reveals that they have been moved into a small storage room. This detail strikes Harriet as significant: someone is maintaining the appearance of Melissa's life—paying rent, responding to emails, and keeping her possessions—even though she is absent.

Harriet concludes that Melissa has effectively "faded away," and she becomes convinced that every woman on Robert's list is dead: Bobby's girlfriend, Edward's girlfriend, Matilda's girlfriend, Stuart's assistant, and a girl caught in the crossfire. Sitting in a park across from the apartment, she reflects on the puzzle Robert has presented her with. She realizes that Oliver Holbeck is the only sibling who hasn't lost someone close to him. Fiona is alive and well, and Oliver took over the company after both Bobby and Edward stepped aside. Harriet wonders if Oliver could be the key to understanding Robert's motives.

With time running out, Harriet calls her editor, Deonte, framing her situation as a plot discussion for a novel. She describes a character who has a taped confession and a secret of her own, and who is being blackmailed by the man who gave her the tape. Deonte suggests that the character might be asked to kill someone, and that she could edit the confession tape to remove her own crime, or even kill the tape maker and hand in the edited tape to the police. Harriet realizes that Robert may indeed want her to kill for him—that her only value to him is the fact that she has killed before. She hangs up, aware that she is leaving a trail of evidence that could protect her, but also incriminate her.

Key Events

Harriet wakes on 22 December, twelve weeks pregnant, with one day left to solve the mystery.
She takes a taxi to Melissa Brown's apartment and speaks to Nina via intercom.
Nina reveals Melissa is subletting and not present; Karen might have her number.
Harriet learns Melissa's belongings are stored in a small room, suggesting someone is maintaining her life.
Harriet concludes Melissa is a ghost and that all women on Robert's list are dead.
In the park, she considers Oliver Holbeck as the only sibling unaffected by loss and the one who took over the company.
She calls her editor Deonte, disguising her real situation as a plot discussion.
Deonte suggests the character might be asked to kill someone, and proposes editing the confession tape or killing the tape maker.
Harriet realizes Robert may want her to kill for him, and she hangs up, aware she is leaving a trail.

Character Development

Harriet's character undergoes a significant shift in this chapter. She moves from a state of anxious uncertainty to a grim acceptance of the danger she faces. Her pregnancy becomes a recurring thought—she wonders if the life growing inside her might offer any protection against Robert, though she quickly dismisses the idea as unreliable. This shows her pragmatism and her awareness that she cannot rely on sentimentality in the face of the Holbeck family's ruthlessness.

Her interaction with Nina reveals Harriet's resourcefulness and her ability to think on her feet. She improvises a cover story as a friend from England, and she carefully extracts information without revealing her true purpose. This demonstrates her growing competence as an investigator, even as she feels overwhelmed by the scale of the mystery.

The phone call with Deonte is particularly revealing. Harriet uses her editor as a sounding board, but she is also testing her own fears. Deonte's casual suggestion that the character might be asked to kill someone forces Harriet to confront the possibility that Robert sees her as a potential assassin. Her reaction—a dry mouth and a sinking feeling—shows her horror at this realization. Yet she also begins to strategize, considering how she might leave a trail to protect herself. This marks a turning point in her character: she is no longer merely a victim trying to survive, but someone who is actively planning her next move.

Nina, though a minor character, serves as a contrast to Harriet. She is carefree and unconcerned about Melissa's absence, more worried about how she will come out of the interaction than about the mystery. This highlights how easily people can be replaced and how the Holbeck family's influence can erase a person's existence.

Themes, Symbols, and Motifs

Fading away: The concept of "fading away" is central to this chapter. Melissa's apartment is being maintained by others, her belongings stored, and her life continues without her. This symbolizes how the Holbeck family can erase people from existence, leaving only a ghostly trace. Harriet's realization that all the women on Robert's list are dead reinforces this theme.
Blackmail and moral grey area: The conversation with Deonte explores the idea of blackmail and the moral compromises characters make. Harriet's own situation mirrors the fictional plot she describes, and she is forced to consider whether she is capable of killing again to protect herself. The chapter raises questions about what is justifiable when one is trapped.
Likability as protection: Deonte's comment that "people can get away with almost anything if they're likable" resonates with Harriet. She hopes that her likability—as a protagonist and as a person—might shield her from Robert's intentions. This theme suggests that perception and narrative can be as powerful as truth.
Pregnancy as protection: Harriet's pregnancy is a recurring motif. She wonders if it might grant her immunity, but she also recognizes that Robert has given his word only because he needs her to do something. The pregnancy symbolizes both vulnerability and potential hope, but it is not a guaranteed safeguard.
Family baton: Robert's earlier mention of passing on the "family baton" is recalled by Harriet. She now interprets this as a request for her to kill someone, continuing the family's legacy of violence. This motif ties the chapter to the larger theme of inheritance and the cyclical nature of the Holbeck family's crimes.
Leaving a trail: Harriet's decision to leave a trail—by calling Deonte and discussing her situation—is a deliberate act of self-protection. It reflects her understanding that she needs evidence to survive, even if that evidence could also incriminate her. This motif underscores the theme of surveillance and the power of information.

Why This Chapter Matters

This chapter is a pivotal turning point in The Family Game. Harriet's visit to Melissa's apartment confirms that the women on Robert's list are all dead, eliminating any hope that she might find a living witness. More importantly, the phone call with Deonte forces Harriet to confront the true nature of Robert's request: he may want her to kill for him. This realization raises the stakes dramatically and sets up the central conflict for the remainder of the novel. Harriet's decision to leave a trail—by discussing her situation with Deonte—establishes a strategy that will likely be crucial in the climax. The chapter also introduces Oliver Holbeck as a potential key to the mystery, adding a new layer of intrigue. Overall, this chapter transforms Harriet from a passive observer into an active player in the dangerous game Robert has set in motion.

Study Questions and Answers

1. What does Harriet's visit to Melissa's apartment reveal about the fate of the women on Robert's list?

Harriet's visit reveals that Melissa's life is being artificially maintained—her apartment is sublet, her belongings are stored, and someone is handling her affairs. This indicates that Melissa has "faded away" and is likely dead. Harriet concludes that all the women on Robert's list have met the same fate, which deepens her sense of danger.

2. How does Deonte's advice influence Harriet's understanding of Robert's intentions?

Deonte suggests that the character in Harriet's fictional plot might be asked to kill someone, and that she could edit the confession tape or kill the tape maker. This leads Harriet to realize that Robert may want her to kill for him, since her only unique value is that she has killed before. Deonte's advice also plants the idea of leaving a trail, which Harriet begins to act on.

3. What role does Oliver Holbeck play in Harriet's investigation?

Oliver is the only Holbeck sibling who hasn't lost someone close to him, and he took over the company after Bobby and Edward stepped aside. Harriet wonders if Oliver could be the key to understanding Robert's list, though she hasn't yet figured out how. This suggests that Oliver may hold crucial information or be connected to the mystery in a way that will be revealed later.