54 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of substance use, addiction, graphic violence, death, death by suicide, child sexual abuse, physical abuse, child abuse, and sexual content.
Jade apologizes for her vague warning to Meg, explaining that rehab has made her paranoid. She claims that the patients all look out for each other and promises to take care of Meg. Meg falls asleep but is later violently woken by Madeline Murphy, who claims that Meg is in her bed. Meg tries to fight back but is too weak.
Cara realizes that Dr. Lutz did not send Haley’s complete file to Captain Hanson. When nurses sedate Meg after her fight with Madeline, Max expresses concern to Cara about Lutz’s methods. Cara asks about Haley’s records, and Max dismisses her. However, he then sneaks her a note asking her to meet him in the library.
Meg wakes in Max’s office and has a hallucination of the man with playing card eyes. She grows emotional reading cards from Max’s former patients, which he has framed. Max explains that the hallucinations are not caused by medicine but by withdrawal, though Meg denies having an alcohol addiction. Max explains that half of addiction therapy is working through trauma.
Meg avoids sharing details of her childhood, thus disguising her relationship with Haley. She reveals to Max that Saint-Cloud’s men tied her up in a warehouse and attempted to light her on fire; she barely escaped with her life. Max suggests that her addiction is rooted in trauma, but Meg insists that she has no negative feelings about her life. As she leaves, she has another memory of the man with playing card eyes, who she now recalls was named Matthew Priest.
Max finds a spot in the library without cameras and explains that Lutz withheld forms because he wanted to keep the accountancy of Haley’s tests private. Cara realizes that Max wants her to investigate this. They discuss current theories of trauma and addiction, which Cara has read about.
Over lunch, Jade explains that she is a new patient, too, but progressing quickly. Dex grows angry when Meg asks about Haley, causing Meg to lash out. When Dex suddenly freezes and then leaves the table, Jade dismisses it as standard behavior for Lutz’s patients. As she’s leaving, Meg finds another note from Haley warning her to leave.
Hanson and Meyers return with photos from Haley’s autopsy and suggest that someone else injected her with heroin on the night she died. Lutz arrives and kicks out the police, insisting that they cannot return without a warrant. Privately, Hanson warns Cara not to defend and protect Lutz reflexively. As the police leave, Cara receives a page from Lutz scheduling a meeting to discuss her future.
Meg uses smuggled powder to produce fake urine for a drug test. She calls Harry and reveals her new theory: that Haley faked her death and is still alive. Harry accuses her of sneaking in oxycodone and asks her to take treatment seriously. He also suggests that she try to pull a fingerprint off the note she received.
Over lunch, Lutz offers Cara a promotion to a clinical role. He serves fugu, a Japanese fish that can be fatally poisonous if not prepared correctly. He explains that he and Max are developing a sedative derived from fugu that can help patients relax enough to uncover traumatic memories. He urges Cara not to disclose this to the police, as doing so could jeopardize their patent goals.
Meg overhears a conversation between Madeline and Dex about uncovering the truth behind Haley’s death. It ends abruptly when Dex freezes and then walks away in confusion. Later, Dex reveals that part of Lutz’s treatment involved paralyzing patients. In art therapy, Sierra produces an art piece made of headlines about herself.
Max pointedly suggests that everyone who works at the Clinic shares similar traits. He insists that Haley was making progress before her death and implies that he does not believe she died by suicide. Cara reveals that her brother died from a methamphetamine overdose. Max notes that a man named Matthew Priest is coming to pick up Haley’s belongings.
Sierra explains that she and Haley worked through their feud in rehab and became good friends. Madeline warns Meg to stop asking about Haley. When Meg notices that Dex’s painting includes an image of Haley, Madeline accuses Dex of wanting Haley dead. Dex storms off. As Meg leaves to follow Dex, she realizes that the woman she was drawing appeared in her childhood nightmares alongside Matthew Priest.
Cara transcribes therapy sessions in which Dex reveals he was sexually abused by his stepmother. Hanson and Meyers call to ask again for the missing test results, but Cara delays. She breaks into the system and sees that Haley tested positive for benzodiazepines while in rehab. Cara decides not to send the results, fearing the Clinic would be shut down if they were known.
Meg takes more oxycodone. She sees Dex try and fail to enter Haley’s room. After he leaves, Meg uses her lockpicking kit to break into the room herself. However, she becomes overwhelmed with sadness and finds nothing that helps her understand Haley’s death. Suddenly, she hears footsteps approaching, and someone enters the room.
Dex enters and begins sobbing on the bed. He searches under the mattress for something but stops when he hears Meg, who is hiding in the bathroom. He explains to Meg that he loved Haley and that they planned to be together after rehab. Meg insists that Haley would never leave Hollywood. Meg and Dex then share a passionate kiss, which Dex afterward dismisses as rehab romance. They are interrupted by knocking at the door.
Cara decides to confront Max about Haley’s positive drug tests after his therapy sessions. In the meantime, she receives an email with a photo of the missing pages from Haley’s journal and forwards this to Officer Meyers. The pages suggest that Haley was having an affair with Tom. Cara listens to a recorded therapy session in which Tom admits to physically abusing his third wife.
Dex realizes that Madeline is behind the door and tells Meg to hide. Entering, Madeline explains that she is looking for Tom, who ran off with Jade during group therapy. Madeline flirts with Dex, who rejects her. When Madeline leaves, Dex tries to kiss Meg again, claiming that her eyes are as seductive as Haley’s. Later, Meg drafts but does not send a text to Harry saying that she’s in love with him. Harry, who noticed her typing, sends a text saying that he misses her, too.
Meg returns to the art therapy room to steal charcoal and a brush to find fingerprints on the notes. She is studying the other patients’ artworks when Jade finds her. Jade explains that her painting depicts her mother forcing her to work to fund her addiction. Meg discovers that someone has drawn Matthew Priest on her own painting. Jade insists Meg left the painting that way.
Cara confronts Max about Haley’s drug tests. Max explains that all patients are prescribed benzodiazepines to help them sleep. He also reveals that Lutz intentionally hired staff with traumatic pasts. He shows Cara brain scans suggesting that Lutz’s treatment was truly helping patients to recover emotionally. However, Haley’s scan shows no emotional activity.
During an inner-child workshop, Meg reveals that her actress mother neglected her and her sister, leaving them to fend for themselves. She leaves the workshop before she becomes too emotional, reasoning that she needs to search for fingerprints while the others are distracted.
Max tells Cara that Haley’s therapy surfaced memories of an old family friend, Matthew Priest, whom she wanted to reach out to. He suggests that Meg’s most recent brain scan looks like Haley’s. When Max mentions Lutz’s time in Florida, Cara realizes that the drug testing facility the Clinic uses is also in Florida.
While trying to uncover fingerprints, Meg overhears a conversation between Jade and Tom implying that they’re in a sexual relationship. Tom lashes out angrily at Jade, who fights back. They are interrupted by Cara, who warns them to stay away from each other. Alone, Meg realizes that she has found three prints.
Meg sends a photo of the fingerprints to Harry, who promises to get back to her in a few hours. Harry also again urges her to take her treatment seriously and tells her to find someone she can trust in the rehab center. When she hangs up, she receives a call from Haley’s phone number.
Meg answers the call, but no one responds. When Meg calls back, she is sent to voicemail. However, she then receives a text from Haley’s number addressing her directly and telling her to stop investigating before they’re both killed. She tries to guess Haley’s password to find the location of the phone but fails. When she tries to call again, the phone number has been disconnected.
Cara researches Florida Pro Lab, the laboratory responsible for the Clinic’s drug testing. She learns that it is implicated in the Florida shuffle, a ring of drug rehab facilities that prey on desperate families, promising treatment while enabling addiction in order to make more money. Hanson and Meyers arrive with news that someone has been making calls from Haley’s phone from within the Clinic.
Meyers tells Cara that she researched her and congratulates her on revitalizing the last hotel she managed, which she was sent to as a punishment for an affair with her boss. Police search the spa but find nothing. Hanson reveals to Cara that all of the staff, with the exception of Cara and Max, have criminal histories. They also came to the Clinic with Lutz after his Florida clinic was shut down.
Lutz cancels Meg’s therapy session, explaining that Max has been detained. Instead, Lutz begins his signature treatment, which involves paralyzing the body so that the unconscious mind can come forward. Meg feels herself being transported into the home of the man with playing-card eyes and describes a woman dressed in underwear who refuses to let her or Haley leave.
In this section of the novel, both Meg and Cara dig deeper into the Clinic’s therapeutic philosophy, resulting in an extended discussion of The Lasting Effects of Trauma. In particular, the novel demonstrates an interest in how trauma manifests in the body. Chapter 29 reveals that Cara has been researching the origins of addiction to understand more about Max’s work. Cara argues, and Max agrees, that “trauma is a memory, trapped in a primitive part of the brain” that cannot process it (127). These memories trigger intense emotions like anxiety and depression, which people struggling with drug addiction try to “deaden” through their use of substances. Words like “primitive” and “trapped” suggest that trauma is a visceral, bodily response to violent memories. The corollary is that the most effective treatments for trauma would similarly involve the body; Cara proposes “calm[ing] the body, while calling to mind very stressful events” (127). This foreshadows the experimental drug that Lutz is developing, but that drug represents a dark twist on the basic idea. As an ostensibly therapeutic idea that is ultimately revealed to have been turned to criminal and exploitative ends, that treatment encapsulates the novel’s broader point about how the profit motive leads to Problems in the Addiction Treatment Industry.
In this section of the novel, Meg and Cara’s storylines take contrasting turns. Meg, who began the novel confident and seemingly in control of her emotions, experiences alcohol withdrawal, leading to intense physical, mental, and emotional turmoil. Meg complains, for instance, that her “feet don’t seem to keep step with where [she’s] putting them” (110). She also experiences “hourly shaking episodes” in which “[her] whole body routinely erupts in head-to-toe shaking” (148). These passages suggest that Meg’s withdrawal is causing her to lose control of her body and thus threatening her sense of identity, as her physicality is essential to her work in undercover security. Simultaneously, Meg experiences debilitating mental fog and emotional turmoil, which make it difficult for her to pursue her investigation into Haley’s death. When an image known only to her and Haley appears on Meg’s art project, Meg begins to question Jade but is interrupted by “a bubble of alcohol deprivation” that “surges through [her], shredding [her] thoughts” (181). As a result of this mental fog, Meg not only fails to pursue leads but also doubts her intuitions, noting with concern that she “can’t be sure of anything at all” (181).
Meg’s alcohol withdrawal also forces her to confront traumatic memories, which she imagines as a physical presence. In one instance, she describes how therapy with Max “levers up a memory” (121); in another, she describes a memory as a “clunk […] sliding back” into her body (124). Another memory “prods” at Meg, and she responds by “pushing it back” (190). The use of physical terms like “lever,” “sliding,” “prod,” and “push” reinforces the overall portrayal of trauma as embedded in the body, but it also connects Meg’s memories to her physical experience of alcohol withdrawal, underscoring her sense of losing control of her body and mind.
By contrast, Cara here begins to take a more active role in the mystery surrounding the Clinic, revealing her intelligence and intuition. Although Max provides the initial nudge that leads her to investigate, the novel is clear that Cara is following her own instincts. Cara initially accepts Lutz’s explanation about his refusal to work with the police but eventually finds herself questioning this: Her remark, “[W]hy do I feel like there’s more to it?” (158), emphasizes her strong investigative instincts. Cara’s decision to break the rules and access patient records is a crucial moment in her character development, as she begins to trust those instincts.
Cara also demonstrates a keen understanding of the work done at the Clinic in Chapter 29, marking a clear departure from her self-deprecating tone in the first section of the novel. When Max asks Cara about theories of trauma and addiction, Cara refuses to be intimidated, noting, “I don’t usually showboat my knowledge, but something about Max’s supercilious manner goads me” (127). The use of the word “supercilious” in this passage mirrors Cara’s sudden willingness to demonstrate her knowledge.
As more information about Cara’s past affair with her prior employer emerges, the reasons for both her insecurity and resentment become clearer; the hotel chain punished her with an effective demotion, and the sense that she was doing work that was beneath her is a continued source of shame. That disastrous workplace romance also implicitly shapes her relationship with Max, as she fears repeating the experience, including the abusive social media fallout (part of the novel’s broader interest in the privileges and pitfalls of celebrity). Cara, too, is thus revealed to act in ways shaped by unresolved trauma.



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