64 pages • 2-hour read
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Court adjourns, and Paul considers whether to confront the Perezes. Detective York leaves Paul a message with Raya Singh’s work address. Paul finds a manila envelope in his locked car with a picture of his father and an index card reading, “The First Skeleton” (87) inside. Paul thinks about his father’s struggles after emigrating and the constant fights between his parents.
Lucy leaves the university to visit her father, Ira, at an expensive rehab facility. She parks next to her father’s old VW Beetle, which he hasn’t used much since his admittance to the facility. Lucy signs in and walks to her father’s room, where he’s listening to old songs. Ira has mild dementia, so the doctors allow him to believe he’s living in the 1960s for his comfort. Lucy knows that the murders at his camp—and the ensuing lawsuit—contributed to Ira’s mental decline. Ira, a lifelong hippie, bought the property to run as a commune before converting it into a youth camp.
Lucy greets her father and recalls her happy childhood. Ira alternates between crying and laughing, and when Nurse Rebecca checks in, Lucy takes the opportunity to leave. Rebecca tells Lucy that Ira has been more agitated recently and ranting about the woods. When Lucy signs out, she sees that Manolo Santiago recently visited Ira.
Paul calls his Uncle Sosh, one of his father’s close friends from the Soviet Union. Sosh asks Paul to meet at his penthouse to talk in person. Sosh’s underling, Alexei, escorts Paul up to the apartment, where Sosh greets Paul with a huge hug. Sosh came to the US shortly after the Copelands and worked at a Soviet travel agency before earning his fortune in importing and exporting.
Sosh tells Paul that Americans in Russia are paying large sums for information about Vladimir and his rumored KGB connections. An American synagogue thought they sponsored the Copelands’ immigration after the Soviet government took away Vladimir’s medical license for being Jewish, but Sosh reveals that Vladimir escaped the country by promising to spy for the government. Sosh was also a spy through the tourism agency. Sosh claims that Vladimir had no choice, since the government was already threatening the family. Paul’s Popi and Noni—Natasha’s parents—were trying to expose human rights abuses when a traitor turned them in to the authorities. Popi died from a lack of medicine, and Noni died by suicide shortly after. Natasha never moved on. Sosh reveals that she went back to Russia when she abandoned Paul, but he doesn’t know where she is now. He urges Paul not to seek her out.
Paul leaves and tries to refocus. As he drives to the Indian restaurant where Raya works, he wonders what else Jenrette will find. Paul calls Muse and asks her to find out which private investigative firm is investigating him. In the restaurant, Paul asks to talk to Raya, a new employee. He’s struck by the young Indian woman’s beauty. Outside, he asks Raya about her relationship with Manolo Santiago. She claims that Santiago approached her on the street and asked her out, and that their relationship was still platonic when he died. Paul asks what drew Raya to Santiago, but she plays coy. Raya offers Santiago’s old phone number that she remembers, and Paul gives her his number for further information.
Raya suddenly asks Paul about his relationship status. When Raya moved to the US from India, she planned to find a good man and make him happy. She says she thought Santiago was that man, but she suspects Paul could make her happier. As Paul tries to leave, Raya asks why he’s looking into the murder. She asks if Paul killed Santiago, which he denies.
When Lucy returns to the university, Lonnie shares that he found the journal’s author, Sylvia Potter, through the library’s computer sign-in sheets. Lucy asks Sylvia to meet, and Sylvia promises to stop by the office after her next class. Meanwhile, Paul asks Muse to get information on the phone number Raya gave him, but the phone was a throwaway with no records. In addition, Muse discovered that Most Valuable Detection (MVD) has a “seek-n’-destroy” (117) investigation out for Paul. Paul asks Muse to have a photo of Gil Perez age-progressed by 20 years.
Chamique takes the stand for cross-examination. Flair walks through her criminal record before asking whether she smoked or drank at the party. Chamique says she drank the nonalcoholic punch, but Flair claims it was spiked. Flair badgers her about when she last did illegal drugs because the defense’s theory is that she was high at the party. Chamique admits that she has done drugs since her baby was born, but not the night of the party. She also claims that she knows other women who have been raped. Flair acts confused when Chamique asserts that her attackers didn’t conceal their appearances.
Flair changes gears and asks Chamique if she knows any rapists, like Jim Broodway, who is in prison. Chamique confirms that she has slept with the man, whom she knows as James. Chamique admits that sometimes she was high when she slept with James, and that sometimes he let a friend watch them. Flair suggests that Chamique had consensual sex with Edward and Barry, but she flashed back to her traumatic time with Jim.
While Lucy waits for Sylvia, she unfruitfully googles Manolo Santiago. After several hours, Sylvia still doesn’t show and isn’t answering her phone. Lucy finds Sylvia’s dorm, but no one answers the door. However, Lucy runs into Sylvia as she leaves the building. Sylvia claims that her class ran late and she lost track of time. Lucy asks to talk quickly about her journal, which infuriates Sylvia. Sylvia threatens to have Lucy fired for breaching the assignment’s anonymity and then runs away.
Paul and Muse lament Flair’s effective cross-examination. Paul urges Muse to keep looking into Cal and Jim because he doesn’t want to give up. Raya calls Paul and tells him that Santiago once mentioned Paul’s name. Raya didn’t tell Paul this before because she didn’t know if she could trust him. She offers to show Santiago’s apartment to Paul.
Lonnie brings the newly submitted journal pages to Lucy’s office for her to read. In the journal, P follows the screaming and separates from the girl. The girl follows him, and when he reappears, P is covered in blood. He tells the girl to lie about being in the woods. Lonnie suspects that the story is about Lucy, since it’s making her so upset. He researched Lucy and learned about the Summer Slasher and Paul Copeland. Lonnie offers to help Lucy by getting Sylvia to talk.
On his way to Raya’s work, Paul visits Jane’s grave. The cheerful flowers upset him. He recalls how hard it was to listen to Jane’s pain, and how cowardly he was compared to her. He remembers happier times, when Jane promised never to abandon him, though he can’t help but feel like she did. Paul wonders if, despite his beliefs, Jane is with Camille in the afterlife. He calls Uncle Sosh and asks him to find his mother. He tells his wife he misses her and leaves the cemetery.
Paul picks Raya up, and she directs him to Santiago’s apartment. Raya restates that Santiago said Paul and Lucy lied about what happened in the woods. The mention of Lucy’s name floods Paul’s mind with memories. Paul and Raya arrive at Santiago’s apartment, which Raya claims was recently cleared of his personal belongings. She’s reluctant to share her information because she doesn’t know if she can trust Paul, since Santiago obviously had issues with him.
Paul, wanting to build trust, reveals his theory about Santiago being Gil Perez and how this makes him believe Camille is alive. He explains that Lucy’s father owned the camp and Lucy was his girlfriend that summer. Raya wonders if Gil was the real killer that night. Muse’s call interrupts the conversation: She asks Paul to return to the office quickly.
Paul meets with Chamique and her lawyer, Horace Foley. Chamique wants to recant her accusations because Edward and Barry’s families are offering her a huge settlement. Paul urges her to reconsider and threatens to charge her with perjury, but Chamique holds firm. Chamique thanks Paul as she leaves. At home, Paul helps Cara with an art project, and as she sings a song, Paul has an epiphany about Cal and Jim. He calls Muse and asks her to pull an all-nighter digging into the frat house’s records.
Paul calls Foley early and asks him to delay signing the retraction papers. Foley agrees and shares how he had to push Chamique to take the money, since she was more interested in getting justice. Meanwhile, Lucy sits alone in her faculty housing listening to depressing music and drinking vodka. She feels like her past has finally caught up with her and wonders how Sylvia could know about that night 20 years ago.
Lucy’s thoughts turn to the Copelands. Ira hired Vladimir as the camp doctor because he was moved by his story. When Paul first arrived at camp, he and Lucy locked eyes, and Lucy has been chasing the high of that intense connection ever since. Six years ago, Lucy got drunk and looked Paul up on the internet, and she learned about his family and career. Lucy considers whether Paul would want to know about the journal.
Lucy is about to search for Paul’s phone number when Sylvia knocks on her door. Sylvia tumbles into the room and starts talking about her journal, but when Lucy asks about P, Sylvia doesn’t know what she means. Sylvia explains that her journal was about her father molesting her. As Sylvia sobs, Lucy realizes that Lonnie found the wrong author.
After not sleeping all night, Paul calls a surprise witness, Jerry Flynn. Muse sits in the back row near Chamique and Foley. Jerry explains how he first met Chamique at the fraternity when the brothers hired her and two other strippers. Jerry admits that he spoke with Chamique at length. Paul asks about Chamique’s alleged sex work that night, but the judge tells Paul to keep his questions on topic.
Jerry describes how he called Chamique later to invite her to a party as his date. At the party, Jerry offered Chamique some punch and told her it was spiked, though Paul knows this is a lie. Jerry tells his version of events: Chamique became drunk and flirted with Edward, and after she disappeared into Edward’s room, Jerry dejectedly walked her to the bus stop. Paul asks about Cal and Jim, but Jerry claims that he has never heard the names used together before. Paul sees Muse typing ferociously on her BlackBerry, so he asks for a lunch recess. Muse informs Paul that a critical fax came into the office.
This section introduces the theme of The Unresolved Past Haunting the Present through Lucy’s struggles with her history. At this point in the text, an ambiguous tension lingers between Lucy and her past that is powerful enough to make her live in constant fear:
Lucy had spent her entire adult life running away from those damn woods at her father’s camp. She had fled across the country, all the way to California, and she had fled all the way back again. She had changed her name and hair color. But the past always followed (156).
Lucy turns to vodka to numb these thoughts of the past. With the emergence of the journal about the night of the murders (which exposes how close Lucy was when the teens screamed in pain), Lucy feels like her past is threatening her anew. Lucy isn’t only still saddened by her choice to ignore the screams, but she’s deeply regretful about her relationship with Paul. The tumult of the murders and the lawsuit tore them apart, but Lucy still can’t shake the memories of their meeting: a “boom, crack, thunderbolt” (157) of attraction. Lucy can’t emotionally or mentally escape Camp PLUS and the what-ifs of her relationship with Paul, and considers her current life pathetic because she’s still dealing with the echoes of that night.
The motif of music appears in these chapters to illuminate how the characters deal with trauma. For Ira, the owner of Camp PLUS, who was held liable for the murders, the crime and the ensuing lawsuit were so traumatic that his mental health deteriorated rapidly. Therefore, he mentally regressed to the 1960s, a decade when he was a carefree hippie, before he owned the camp. Ira consistently plays music from the 1960s to protect his mind from further pain: “The doctor had explained that this sort of dementia did not improve with age, so you want […] to be as happy and stress-free as possible, even if that means living something of a lie. […] Ira wanted it to be 1968. That’s where he was happiest” (89).
Conversely, Lucy listens to depressing and heartbreaking music in her alone time because she feels emotionally stunted. She has a low self-image and almost no deep connections with others, so she listens to songs that express what she can’t say or feel. For example, the text describes Lucy’s reaction to Joseph Arthur’s “Honey and the Moon”: “He sang to his true love that if she weren’t real, he would make her up. […] Lucy tried to imagine a man, a worthy man, saying that to her. It made her shake her head in wonder” (156). In future chapters, Lucy uses songs and their lyrics to explain her complicated emotions to others, since she has difficulty speaking about them.
This section heavily expands on the theme of Negotiating Justice and Truth in two significant ways. First, these chapters explore Paul’s dilemma about whether to seek legal justice regardless of Chamique’s wishes or allow her to settle out of court. Paul understands why Chamique wants to end the trial after her disastrous cross-examination, but he doesn’t want Edward and Barry to get away with burying the truth. Paul even threatens to arrest Chamique to prevent her from recanting, and his threat exemplifies his reverence for truth: “If you recant now, that means your testimony today and yesterday was a lie. It means you committed perjury. […] That’s a crime. You’ll go to jail” (150). Paul feels bad for “[lecturing] her on values and justice” (151) but doesn’t want her to make a decision she’ll regret. When he learns that Foley had to pressure Chamique into settling because she wanted justice more than money, Paul’s motivation returns, and he works feverishly to solve the case. Paul and Muse’s intense efforts in this section essentially guarantee that Chamique gets both justice and the monetary compensation she deserves to rebuild her life in future chapters.
The second way that these chapters explore the truth and justice theme is through the characters’ personal lives. For example, Paul learns from Uncle Sosh that the rumors about his father’s KGB connections are true, and this information makes Paul question what he thinks he knows about his family: “Did I really remember them, or has that old photo I still keep out come to life? Was it a real memory or something I’d created from my mother’s stories?” (99). Sosh tries to warn Paul against digging further into his past, since everything happened “so long ago” (103), worrying that if Paul learns the whole truth about his family, it may endanger the comfortable life he enjoys with his daughter, Cara. Similarly, Lucy seeks out the journal’s author to get answers about who is threatening her. Lucy ignores her ethical obligations as she pursues the truth, potentially threatening her career in the process. She harasses Sylvia into coming forward, only to find out that the girl wrote a different journal about a deeply traumatic incident. In this instance, Lucy appears no different than the mysterious entity that is trying to extort her into admitting to her history. These situations demonstrate the potential negative outcomes of searching for the truth, especially based on bad or minimal information.



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