The Mindf*ck Series

S. T. Abby

The Mindf*ck Series

S. T. Abby
72 pages2-hour read
Fiction
Novel
Adult
Published in 2019

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Part 2Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of graphic violence, rape, sexual violence, sexual harassment, sexual content, physical abuse, child abuse, death by suicide, antigay bias, and death.

Part 2: “Sidetracked”

Part 2, Synopsis 2 Summary

The synopsis opens with an unnamed voice declaring they are too strong to be broken—until “her.” Logan then reflects separately that his life was narrowly focused until he met Lana. He is falling in love with her but is aware that she hides parts of herself from him. When his job as an FBI agent puts Lana at risk, he is surprised by her fierce nature. He feels he should leave to protect her but cannot bring himself to, instead seeking other ways to keep her safe. Despite her strength, he worries that she is still fragile. The synopsis is followed by a list of men’s names—Tim Hoover, Chuck Cosby, Nathan Malone, Jeremy Hoyt, Ben Harris, Tyler Shane, and Lawrence Martin—and the words “Getting closer…”

Part 2, Chapter 17 Summary

Hadley Grace, an FBI agent from Logan’s team, arrives at Lana’s home and confronts her for stealing the identity of Kennedy Carlyle, a girl who supposedly died in a car accident 10 years prior. Maintaining her composure, Lana delivers a rehearsed story: She is Kennedy, but after surviving the crash, she got sober, legally changed her name, and underwent extensive facial reconstruction surgery, which explains her different appearance. She challenges Hadley’s motives, dismissing her as a jealous colleague trying to interfere in her relationship with Logan. Hadley threatens to expose her to Logan, but Lana calls her bluff, stating she will show Logan her surgery records and then end the relationship herself if he makes her feel as violated as Hadley has. After Hadley leaves, Lana reflects internally on her multiple identities—Victoria Evans, Kennedy Carlyle, and Lana Myers—before calling her best friend, Jake, to tell him that Hadley has become a problem.

Part 2, Chapter 18 Summary

At a new crime scene, Logan is enraged to find that the serial killer known as the Boogeyman has left another body with Logan’s name carved into it. He realizes the killer is now personally taunting him, which puts Lana in grave danger. His colleague Donny agrees that Lana will be the killer’s primary focus. Another team member and Logan’s ex-girlfriend, Lisa, asks who Lana is. Logan orders protective detail for Lana and the other female agents on the team. They receive a lead that the suspect, Gerald Plemmons, has been spotted downtown, and the director issues a shoot-to-kill order.

Part 2, Chapter 19 Summary

Two police officers are now stationed outside Lana’s house, which she finds annoying as their presence complicates her plans to target her next victim. From her hidden “murder room,” concealed behind a bookcase, she watches them on surveillance cameras. Logan soon arrives with two colleagues—an unnamed male and a hostile Lisa. Logan kisses Lana passionately in front of them before taking her to the bedroom to talk. He tries to convince her to let an officer stay inside the house for her safety. She initially refuses, openly revealing a deep distrust of law enforcement that contradicts Logan’s initial profile of her. However, to appease his worry, she eventually agrees to let someone he trusts stay inside. After he leaves, Lana returns to her murder room and studies a wax apple pierced with seven nails, with many more still to go.

Part 2, Chapter 20 Summary

Two days later, Logan learns from Donny that two men from Delaney Grove, Lawrence Martin and Tyler Shane, have been reported missing. The cases are unusual as the men don’t fit the established victim profile of single males living alone in isolated homes. Logan calls Lana, who says she is working out with Detective John Duke, the officer assigned to her house. Logan is surprised and jealous; he had arranged for an older officer, but Duke is a young, ambitious, and single homicide detective. Annoyed, Logan decides to drive to Lana’s. On the way, his colleague Hadley calls with a potential lead, but Logan, wanting to see Lana and needing rest, tells her to give the information to Donny.

Part 2, Chapter 21 Summary

Lana spars with Detective Duke, easily feigning weakness while assessing his amateurish fighting style. Duke demonstrates a chokehold against a wall and tightens his grip just as Logan arrives. Lana’s reflexes take over, and she strikes Duke in the throat. After a tense exchange between the two men, Logan, clearly exhausted, falls asleep in Lana’s bed. Lana asks him about Hadley, and he explains that she is like a sister to him and is gay. Hours later, Logan’s alarm wakes him; the Boogeyman has left another body with the words “You can’t” carved into it. As he showers, he discusses the case with Lana, who offers sharp insights into the killer’s mindset. After he leaves, Lana has a vivid flashback of the brutal assault she endured, reinforcing her commitment to her mission of revenge.

Part 2, Chapter 22 Summary

Two days later, Hadley provides a forensic lead pointing to the Boogeyman’s hideout in an abandoned factory. Logan, Donny, Lisa, and Elise race to the location. Lisa and Elise take the lead in their SUVs while Logan and Donny fall behind after stopping for gas; Logan calls Elise to hold until they arrive. A short time later, they discover the women’s overturned SUV, which has been T-boned by a large truck. Both women are injured but alive. A panicked Lisa explains that the Boogeyman hit them, came to her side with a gun, then broke her window and used the glass to carve the word “KEEP” into her arm; she grabbed her spare gun when he dropped her arm to retrieve his own and shot him twice, grazing him. She adds that he had a girl with him. Logan realizes a truck that passed them minutes earlier was the killer’s and that someone must have tipped him off about the raid.

Part 2, Chapter 23 Summary

At the hospital, the team learns that Lisa and Elise will recover from their injuries. Lana arrives with Duke trailing behind her, frantic with worry for Logan. She rushes into his arms, but Logan, furious that she has exposed herself to danger, drops her to the ground and pushes her away. He yells at her for coming to a place where the killer might be watching and directs much of his anger at Duke for being unable to “restrain” her, accusing him of seeking a high-profile arrest. Hurt and angry, Lana responds with unexpected calm, reminding Logan of every precaution she has taken for his sake: “You told me to have a protective detail, and I agreed […] I’ve sat in a protective bubble, answering all your calls and texts promptly so you don’t worry about me” (157). She reminds him that he failed to offer her the same courtesy by letting her know he was safe. She leaves, telling him he has no right to talk down to her. Logan realizes that he “fucked up.”

Part 2, Chapter 24 Summary

Infuriated by Logan’s behavior, Lana leaves the hospital and orders the police detail off her property. She drives to a secure warehouse, switches to a different car, and calls Jake on a burner phone to tell him her relationship with Logan is over. Jake provides the information she requested about Hadley, revealing that Hadley’s stepfather, Kenneth Ferguson, likely molested her as a child. Ferguson is now a social worker with access to vulnerable children. Jake initially refuses to help, insisting they stick to their specific list. After Lana argues at length that Ferguson is an active danger to children, Jake relents and texts her Ferguson’s address.

Part 2, Chapter 25 Summary

Logan interrogates Lee Norris, the local SWAT commander, who confesses to leaking the raid plans to the Boogeyman, Gerald Plemmons. Plemmons kidnapped Norris’s 20-year-old daughter, Erica, and was holding her hostage. Meanwhile, Craig, a senior agent, informs Logan that the local police chief intentionally alerted Duke about the attack on the agents, knowing Lana would rush to the hospital and expose herself as a potential target for Plemmons. The team is unable to locate Lana, who has disabled her car’s GPS and removed her phone battery. Craig notes explicitly that these privacy measures resemble patterns a sex-crimes colleague associates with abuse victims, though Logan internally dismisses the parallel. They realize they are being manipulated by a highly intelligent killer.

Part 2, Chapter 26 Summary

Lana tortures a confession out of Kenneth Ferguson before killing him and disposing of his body in a nearby body of water. She discovers his collection of Polaroids depicting dozens of child victims. To spare Hadley the public humiliation of the photos being discovered, Lana takes the one of Hadley as a child. She also takes a nail from Ferguson’s house as a trophy, noting it is out of her usual routine since he was not on her list. Following information from the confession, Lana finds a young girl named Laurel, another of Ferguson’s victims, locked in a shed. She takes Laurel to the home of Lindy May, a woman from Delaney Grove who tried to help Lana and her brother years ago. Lindy is shocked to see Lana is alive and agrees to care for Laurel. Lana instructs Lindy to come forward and reveal Ferguson’s name so police can find the buried children without Lana identifying herself. Laurel, feeling safe, asks her “angel” to kill all the other monsters.

Part 2, Chapter 27 Summary

After Jake drops her off near her home, Lana returns to find Logan waiting for her. He apologizes for his behavior at the hospital, and she forgives him. They have passionate sex, during which Lana reveals a partial truth about the cause of her scars and her inability to have children. Afterward, while Lana listens through the bathroom door, Logan receives a call that Kenneth Ferguson’s body has been found and that the police want to question Hadley. Protective of his colleague, Logan states he is glad Ferguson is dead. He asks Lana to accompany him to FBI headquarters, as he must deal with the situation but plans to return quickly.

Part 2, Chapter 28 Summary

At FBI headquarters, Logan learns from Detective Duke that Ferguson was a serial child abuser who had dozens of victims. One of them, a girl named Laurel, has been brought in by a woman named Lindy May. Craig, a senior agent, reveals to Logan that Lindy is from Delaney Grove, which confirms a link between the town and the vigilante killer they have been hunting. They conclude the killer is not a sadist but is on a methodical revenge mission. Lindy provides a map to a burial ground where Ferguson buried his victims, information she leverages to secure custody of Laurel. Logan infers that the killer orchestrated this outcome and, noticing Hadley’s photo is absent from the collection, deduces that the killer spared her that indignity.

Part 2, Chapter 29 Summary

While waiting for Logan in the breakroom, Lana sees Lindy and Laurel and exchanges a secret, reassuring signal with them. Hadley observes the interaction with suspicion. Logan soon returns to tell Lana he has to stay at work and gives her his car keys. As Lana drives home, Jake calls with an update: The Boogeyman has released his hostage, Erica Norris, who is now demanding to speak only with Logan. Arriving at her house, Lana hears music playing inside. She enters and is immediately attacked by a man hiding in the dark. As he strangles her, he identifies himself as the Boogeyman and asks if she is afraid of him.

Part 2 Analysis

When confronted by FBI agent Hadley Grace for identity theft, Lana maintains her composure and delivers a rehearsed cover story before reflecting internally, “Victoria Evans and Kennedy both died, and Lana was born” (119). This moment reveals that Lana’s entire existence is a performance, a conscious layering of fabricated selves over a shattered core. Her confrontation with Hadley shows that this performance is a fundamental aspect of her new reality, illustrating how Extreme Trauma Rewrites Identity. To execute her mission, she had to become Kennedy Carlyle, the car crash survivor, and then Lana Myers, the enigmatic girlfriend, all while hiding Victoria Evans, the original victim. The psychological weight of maintaining these personas creates a constant, underlying tension; Lana’s cool composure in the face of exposure is a sign of intense, practiced discipline. This layered identity also shapes Lana’s relationship with Logan. Although she withholds the truth about her past, she is remarkably honest in other ways, repeatedly expressing her fears, desires, and affection. Logan recognizes, “I don’t know a lot of things about her,” yet concludes, “I enjoy just getting to know who you are now” (145). His willingness to wait for her trust reflects genuine patience, but it also reveals the limits of his perception. Believing he understands the nature of the secret she carries, he mistakes a carefully constructed identity for ordinary emotional guardedness, allowing Lana’s greatest deception to remain hidden in plain sight. This fracturing is further explored through the symbol of the wax apple and nails in her hidden murder room. The apple, an object often associated with innocence, is pierced with nails representing her victims. It is a tangible record of her grim work, a private altar to the vengeful identity she has constructed in order to survive.


Lana’s decision to kill Kenneth Ferguson, a child molester (and Hadley’s former stepfather) not on her original list, expands her mission beyond personal revenge into a broader, more complex crusade. When Jake objects, Lana insists that inaction would make them complicit, just like the town that failed to protect her. This argument recasts her violence as a moral imperative, a clear instance of Vigilantism as a Response to Injustice. By rescuing Ferguson’s young victim, Laurel, and delivering her to Lindy May—another survivor from her past—Lana assumes the role of a vigilante who acts where official systems like law enforcement and social services have failed. Her decision to spare Hadley additional trauma by removing the childhood Polaroid before police discover Ferguson’s collection further distinguishes Lana’s violence from simple revenge. Although Hadley has threatened to expose her identity and remains an obstacle to her mission, Lana chooses compassion, recognizing Hadley as another survivor. Laurel’s plea for her “angel” to “kill all the monsters” offers a new way of viewing Lana (182), framing her brutality as a necessary service. The chapter’s closing scene reinforces this connection when Lana silently exchanges a reassuring signal with Lindy and Laurel inside FBI headquarters while Hadley watches with growing suspicion. Unknown to Hadley, the woman she increasingly distrusts has just avenged her childhood abuse and deliberately protected her from further humiliation, foreshadowing the complicated relationship the two women will develop. This narrative choice also aligns Lana with the contemporary “female rage” archetype, portraying a figure who rejects passive victimhood to deliver violent retribution against abusers, particularly those who prey on women and children. Her actions are presented as the only effective form of justice in a world where formal institutions are inert or corrupt.


The narrative reinforces Lana’s worldview through repeated examples of law enforcement’s failures and manipulations. The local SWAT commander, Lee Norris, betrays his duty by leaking information to the Boogeyman to save his daughter, while the local police chief intentionally endangers Lana by using her as bait for a high-profile arrest. These actions demonstrate how Institutional Corruption Protects Abusers, as the systems designed for justice are compromised by personal fear, ego, and ambition. The chief’s willingness to treat Lana as a disposable pawn for career glory proves that the corruption is not just an individual failing but a systemic issue. This reality validates Lana’s cynical belief, formed from her own trauma, that “badges just meant people got away with more” (128). Yet the novel complicates this distrust through Logan himself. While Lana remains deeply suspicious of institutions, she increasingly distinguishes between the failures of the system and the character of the man who serves it. Even after ordering the officers off her property, she admits that her anger stems from “giving up too much by playing by his rules” (160). This tension creates one of the novel’s central emotional conflicts: She falls in love with someone who represents the institution she distrusts while simultaneously recognizing that he is fundamentally different from the people who failed her. By consistently portraying general law enforcement as self-serving and ineffective, the novel constructs a world where Lana’s extralegal violence is framed as an increasingly viable alternative to institutional justice, reinforcing the moral logic that underpins her vigilante mission.


The central dramatic irony of the narrative intensifies as Logan, the expert profiler, brings Lana into the heart of FBI headquarters. While he investigates the Ferguson murder—a crime she just committed—he sees her only as a helpless female civilian in need of protection. This inability to fully read Lana emphasizes the limitations of the classic profiler trope prominent in crime fiction; Logan’s emotional investment in Lana renders his professional expertise useless, preventing him from seeing the very person he is supposed to hunt. Craig explicitly notes that Lana’s extensive privacy measures resemble behavioral patterns common among survivors of sexual abuse, but Logan instinctively dismisses the comparison, unable to imagine Lana in pain. Ironically, his desire to protect Lana prevents him from fully seeing her, causing him to overlook evidence that points to the depth of her trauma. 


The tension peaks when Lana, sitting in the breakroom, exchanges a secret, reassuring signal with Lindy and Laurel under the suspicious gaze of Hadley. Lana operates with impunity within the very walls of the institution dedicated to her capture, a high-stakes performance that forces her to balance genuine feelings for Logan with the ruthless calculation of her mission. The novel’s dual narration heightens this dramatic irony by allowing readers to occupy both perspectives simultaneously. Logan interprets Lana’s actions through the lens of protection and romance, while readers understand that many of those same actions are driven by her secret revenge campaign. At the same time, Lana increasingly makes decisions that privilege innocent victims, such as Hadley and Laurel, over the efficiency of her mission, suggesting that her growing emotional attachments are beginning to reshape her priorities. This duality offers a psychological exploration of how she compartmentalizes love and violence, embodying both a vulnerable woman and an unstoppable killer.


Part 2 significantly develops Lana and Logan’s romance by emphasizing both its intimacy and its fundamental imbalance. Although the pair initially connect through playful banter and psychological sparring, their relationship increasingly relies on physical intimacy as a way of repairing emotional distance after periods of separation. Following their reconciliation after the hospital confrontation, Lana reveals a partial truth about her scars and infertility immediately after they have sex, illustrating how vulnerability emerges more easily through physical closeness than direct conversation. At the same time, mutual jealousy exposes how deeply invested they have become in one another: Logan reacts possessively to Lana’s growing friendship with Detective Duke, while Lana questions him about Lisa and Hadley. Despite these insecurities, the relationship is built on remarkable trust. Logan patiently waits for Lana to reveal her past rather than forcing disclosure, while Lana consistently complies with his requests for her safety. Their greatest conflict occurs because Logan mistakes protection for understanding. By treating Lana as someone who must simply be kept safe, he fails to recognize her autonomy and the sacrifices she has already made on his behalf, exposing the limits of his otherwise exceptional ability to read people.


Throughout these chapters, the Boogeyman is a dark foil to Lana, with both serial killers operating in the same city but driven by starkly different motives. The Boogeyman, Gerald Plemmons, is a “sexual sadist” who craves attention and chaos, killing for narcissistic pleasure and taunting the FBI directly. Lana, in contrast, is a mission-oriented killer who avoids public notice and sees her violence as a form of justice. The juxtaposition forces a comparison between their actions, positioning Lana as a morally gray antiheroine rather than a conventional villain. The Boogeyman’s attack on Lisa and Elise is particularly significant; he uses a piece of broken glass to carve his message, introducing the symbol of mirrors and glass, which is thematically linked to shattered identities and the weapons used in Lana’s own assault. This shared imagery suggests a common origin in trauma, even if their responses diverge. By presenting a killer who embodies pure sadism, the narrative highlights the specific, justice-driven nature of Lana’s violence, and the final cliffhanger—in which the Boogeyman captures Lana—forces these two parallel forces into a direct and violent collision.

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