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Lemony Snicket apologizes to the reader for ending Chapter 2 on a cliffhanger and uses a dinner engagement as an excuse.
Sunny doesn’t mind the bite at all, which is more of a playful nip, and she begins to play with the Incredibly Deadly Viper. Uncle Monty explains that the name is a misnomer—the snake is actually harmless and friendly. He chose the name for his newly discovered snake because he hopes to pull a prank on his Herpetological Society colleagues, who have made fun of his own double-name for years.
Uncle Monty warns the Baudelaires that there are snakes in the room that are actually deadly. However, these snakes have better cages with locks. He says as long as the children learn facts and follow rules, they won’t be harmed in his Reptile Room. Lemony Snicket notes that this statement is dramatic irony because even though the Baudelaires aren’t going to die, Uncle Monty is.
The Baudelaires and Uncle Monty spend the following days working in the Reptile Room, preparing for the upcoming trip. Each evening after dinner, they go to the movie theater to see a film. In Klaus’s bedroom, he creates a reading nook with a large lamp. Violet tacks paper all over her walls so she can sketch inventions. Sunny picks a room in between her siblings and puts a lot of hard objects in it so she can bite them.
The day before they’ll board a ship to Peru, the children wake up to a note from Uncle Monty explaining that he has gone shopping for final supplies and will be back around dinnertime. His new assistant Stephano will be arriving in a taxi, so Uncle Monty asks the children to welcome him. A few hours later, Stephano arrives, and all three children notice something about him that seems familiar: his voice, eyes, and most importantly, the tattoo of an eye on his ankle. The children all conclude that Stephano is really Count Olaf in disguise. He’s simply shaved his eyebrows off and has a beard now.
Lemony Snicket notes that regret is difficult and that for years Klaus will regret not calling out for the taxi driver to stop and take Count Olaf away. However, the children were too stunned to act quickly, and the cab was gone before they could even speak. Stephano/Count Olaf asks the children to carry his suitcase inside. The children announce that they know he’s Count Olaf, so they will not help him, let alone allow him inside the house. Count Olaf’s façade cracks, and he threatens to hurt the children, which he’s proven before he is capable of doing, if they don’t obey him. Fearing for their safety, the children carry the suitcase inside. After Count Olaf extracts a knife from his pocket and threatens to cut off one of Sunny’s toes, the children then retreat to the Reptile Room. They’re not sure how he found them, but they’re also not exactly surprised.
Violet wants to call Mr. Poe, but Klaus points out that Mr. Poe didn’t believe them last time about Count Olaf being dangerous until it was almost too late, so he probably won’t believe them now if they claim that Count Olaf has reappeared in disguise. Klaus suggests they run away, but Violet points out they have no money (at least not that’s accessible to them for four years). Plus, Count Olaf and his theater minions will probably find them again somehow if they run off. She thinks they should just tell Uncle Monty when he gets home, who is more likely to believe them than Mr. Poe.
Uncle Monty arrives home with a car full of supplies for the trip. Stephano offers to carry the canoe inside, and Uncle Monty orders Klaus to help Stephano. Klaus protests and tries to explain who Stephano really is, but Uncle Monty insists and is too distracted to listen to Klaus. Klaus goes to help Stephano, and Violet nearly seizes the opportunity to tell Uncle Monty who Stephano really is. However, she notices Stephano wielding the knife, silently threatening to harm her brother if she says anything. Therefore, she says nothing.
Count Olaf/Stephano continues to threaten the Baudelaires for the entire night, keeping watch outside his bedroom door so they can’t sneak past to talk to Uncle Monty. The children feel lonely sleeping in separate rooms and wish they could talk to each other.
In the morning, Uncle Monty notes how early Stephano was awake and how much work he is already getting done. The children attempt again to discuss Stephano, and Uncle Monty agrees that Stephano is suspicious, indicating they should talk outside. Once they’re alone, Uncle Monty reveals that he is one of the top herpetologists in the world, and many people envy him. He relates a story about how, once when he discovered a new species in college, his roommate was so envious that he ate the specimen. Stephano seems overly eager and asks a lot of questions, so Uncle Monty assumes he’s really a spy from the Herpetological Society, here to steal his work and take credit for it. For this reason, Stephano should not be allowed to come on the trip. Klaus says again that Stephano is Count Olaf, but Monty thinks Klaus means this as a metaphor. Monty destroys Stephano’s boat ticket, but only because of his own concerns. Klaus again tries to explain the reality, but Monty won’t let him interrupt. Suddenly, a lamp flies out of a window and strikes Uncle Monty on the shoulder, throwing the conversation off.
Uncle Monty recognizes the lamp fell out of Klaus’s room, and he assumes that Klaus’s irresponsible placement of the lamp is at fault. Klaus insists he keeps the lamp far from the window, but Monty doesn’t believe him, ordering Klaus to put the lamp back in his room in a safer location. Violet leads her siblings away to do this. On the way, the children encounter Count Olaf in the hallway. The children inform him that he won’t be coming to Peru with them. Count Olaf, angered, responds that he will be because accidents can change circumstances. The children don’t know what Count Olaf plans to do, but they pick up on a sinister vibe.
The narrator, Lemony Snicket, is a character in his own right, in part because he interrupts the story to talk about events in his own life, however unimportant they may be. He also explicates themes in a way that may be helpful to some readers.
Although telling a story in the present tense usually lends more of a sense of immediacy and higher stakes than using the past tense, Handler uses the past tense for good reason. Because Snicket already knows how all the stories end, the narrator can use more foreshadowing and even interject spoilers that paradoxically enhance suspense and intrigue rather than hindering it. The narrator also appears to be an adult, seemingly the only one who really believes the Baudelaires and takes them seriously. His faith in the children allows him to earn a high degree of trust from the reader despite being a quirky speaker whose connection to the Baudelaires and their story is never entirely clear throughout the series.
These chapters highlight the theme of The Vulnerability of Children, especially those who have lost their parents, as have the Baudelaires. Evidently, not enough vetting was done of Count Olaf as a potential guardian in the first novel, and he escaped at the end, diminishing the children’s faith in institutions like the fictional versions of Child Protective Services and the police. In these chapters of The Reptile Room, even individual adults who are otherwise intelligent and not part of such institutions, such as Uncle Monty, fail to help the children because they can’t understand the children’s attempts to communicate with them. Whereas adults normally don’t understand Sunny’s words at all because she speaks in babble, in this part of the story, Uncle Monty doesn’t even understand Klaus’s literal words, assuming instead that Klaus means to compare Stephano to Count Olaf metaphorically given Stephano’s allegedly reprehensible behavior.
Snicket’s multiple reminders throughout the text that Uncle Monty is doomed make it slightly more tolerable when Uncle Monty does die. However, these reminders also build suspense, as it remains unclear when and how this death will come to pass. The effect is somewhat painful, with the reader knowing in advance that kind Uncle Monty is going to die and that the children’s attempts to save him aren’t going to work. The “pain” of his death is therefore spread across the text, instead of beginning only at one later moment. This mimics how real grief works, a topic that is explored further in the novel after Monty really does die.
Uncle Monty’s character illustrates how even the smartest of people can still be tricked if they fail to recognize reality, relying only on their own immediate perceptions without listening to those around them—even if the other voices are those of children. When the lamp strikes Uncle Monty, barely missing his head, he chooses to blame Klaus rather than patiently listen to the children; because Uncle Monty didn’t see Count Olaf push the lamp out the window, he trusts a fellow adult over the children. This moment also foreshadows how Stephano will be the one to kill Uncle Monty, although nobody knows how yet and thus they don’t know how to prevent it.
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By Lemony Snicket
Action & Adventure
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Good & Evil
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Power
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