53 pages 1-hour read

These Summer Storms

Fiction | Novel | Adult | Published in 2025

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Chapters 14-18Chapter Summaries & Analyses

Chapter 14 Summary

Alice and Gabi go for a walk alone, and Alice explains the rules of the inheritance game to her. Gabi is a supportive friend and fully supports Alice in leaving and starting a life apart from her family’s wealth. However, she also suggests that staying for a few more days is worth it to secure the money. Gabi instinctively knows that something’s going on between Alice and Jack, and she uses her lawyer skills to extract the truth from her. Alice admits that she wants to sleep with Jack again, but notes that he’s a “bad decision.” Roxanne and Claudia join them and discuss the eccentric billionaires in attendance.


The four women walk toward the house and hear Elisabeth having a heated conversation with a man in the sunroom, but Alice can’t decipher the voice. Elisabeth is demanding that this man leave “her” island, but he refuses, saying that “she” deserves to know the truth. Elisabeth mentions making a mistake one night, and the man insists that Franklin wanted him there and left him a letter as well. Claudia suggests that they get Tony, but he’s in the fog bell tower with Greta. Alice says they need to call Jack.

Chapter 15 Summary

Alone in the sunroom with her mother, Alice confronts her about avoiding her grief, but Elisabeth insists that she’s “fine.” Alice wants her to admit that she’s grieving and that they’ve all lost something, but Elisabeth won’t. Jack arrives, but Elisabeth waves him off, saying they don’t need his help. Elisabeth exits, leaving Jack and Alice alone. Alice tries to tell Jack what she overheard, but can’t find the words. Jack understands her grief, as he lost his father eight years ago, and they had a similarly complicated relationship. Alice makes it clear that she wants to be with Jack, and he tells her that he wants the same thing, but it’s not the right time. They kiss passionately, but Jack pulls away, and she agrees that it’s too dangerous.


As they exit the sunroom, they see Elisabeth arguing with Greta and Tony. Elisabeth rarely makes a scene, and her behavior concerns Alice. Elisabeth scolds them for leaving the celebration, as the guests surely noticed. She focuses her ire on Tony, calling him foolish for his behavior, and fires him. Astonished, Alice begs Jack to intervene, but he can’t. Alice shouts at Greta to stand up for herself and Tony, but she remains silent, tacitly admitting that she’s choosing her mother over Tony, who adores her. Tony says Elisabeth can’t fire him since he quit on Thursday. He says he already knew the terms of the game and only stayed on the island to protect Greta. Alice is dumbfounded as Greta watches him walk away.


Elisabeth says that everyone has fulfilled their tasks except Alice. Jack corrects her, saying that she hasn’t told the children everything and hasn’t completed her daily task of complimenting Franklin. Elisabeth smirks at Alice and says her father would be proud of her. Elisabeth rejoins the guests, who have been staring at the scene. Alice thanks Jack, as hearing those words meant a lot to her. She wishes they could escape somewhere and be together. Suddenly, Gabi runs to her, saying that Griffin has arrived.

Chapter 16 Summary

Alice is furious at Griffin’s arrival since he walked out on her, leaving only a note to break off their engagement. When she was dating him, Alice missed all the signs that he was only after her family’s money, but she knows that’s why he’s here. Gabi and Roxanne remain by her side for support, and Emily and Claudie walk up; Alice knows Emily invited him. Gabi and Roxanne see the truth, but Alice reveals to Emily that she and Griffin are no longer together because he left her. Griffin asks to talk to her, but she asserts that their relationship is over. When Griffin roughly grabs her arm, Jack swiftly moves in and punches him in the nose. Tony restrains Griffin. When Griffin refers to Jack by his full name, Alice realizes that they know each other. She asks Tony to release Griffin so that he can explain.


Griffin reveals that Jack came to him in July, offering him money from Franklin if he would end things with Alice. Alice begins to put the pieces together and is angry with Jack for the deception. Jack insists that Franklin was “testing” her and that she should focus on the fact that Griffin gave her up for the money easily. Jack says she deserves better, “someone who would have taken a swing at me for even suggesting he didn’t love you with everything he had” (266). Alice asks Tony to remove Griffin from the island, and she walks away from Jack even as he pleads with her to listen to him. Gabi offers for Alice to leave the island with them, and she considers it.


Alice runs into Mike Haskins as he’s leaving. He tells her that her father knew about her art and tried to get him to fund one of her pieces. Mike laments her and her father’s rift but says she “did the right thing” (270). Alice realizes that Mike was the man her mother was arguing with in the sunroom. Instead of bringing it up, she asks if she can leave with him and Twyla. As they go out to the helipad, Saoirse stops Alice and confesses that she and Oliver took her clothes and locked her in the pantry to prevent her from leaving. Alice says she’s going now, but assures her niece that they’ll be fine because she assumes Sam will be CEO. Sam walks in and shoos Saoirse away. He reveals to Alice that Franklin fired him on the 4th of July, so he won’t be CEO. He emphatically refuses to let her leave, and when she resists, he grabs her and drags her back into the house.

Chapter 17 Summary

Sam locks Alice in a closet in Franklin’s office, where he stores rare books. Inside, she finds one of her paintings that Franklin purchased, and she’s sickened by “another in a long line of controlling events designed to keep her from making her own decisions and keep her under his thumb” (276). Jack, summoned by Saoirse, lets her out, and they’re alone in the office. Alice is angry with him for thinking he must “save” her once again. She demands to know how much he paid Griffin to break up with her. Jack says it wasn’t enough, but he would gladly do it again if it meant they could be together. Alice admits that she wasn’t in love with Griffin but loved that he made her feel “ordinary,” different from her family. Jack says she should never again settle for someone who makes her feel “ordinary.” He kisses her, and Alice says she’s still angry with him but needs him to be her hero now. Jack locks them inside the office, closing the shades, and they have sex. Despite still feeling like Jack isn’t safe, Alice feels secure with him.

Chapter 18 Summary

As Alice and Jack cuddle together on the couch, she asks him about his sextant tattoo. He avoids the question by asking her how she became an artist. She shares that she has been painting since she was 13. The painting her father purchased is titled In Progress, and it depicts the ocean view from the island. It’s one of her favorite works, but her father’s treachery taints it. Though the painting is in the vault, Jack says it hung in Franklin’s office in the city. Alice removes the Picasso from above the mantel and replaces it with her painting.


Jack grew up on the water and helped his father run the family crabbing business. His mother died when he was young, and he has no memory of her. It was a tough life, and his relationship with his father was strained at times, but Jack was still sad when he died. He got the tattoo as a memorial for his father. Jack asks Alice if she’s with him to spite her father, but she admits that her attraction is genuine. Jack says she can define their relationship however she wants, a promise that she finds “gorgeous.” Alice asks what’s the worst thing Jack has ever done, and he says he hasn’t “done it yet” (247). He threatened Griffin to stay away from Alice. Jack offers to help Alice leave the island the next day if she wants. He takes her to his room above the boathouse for the night just as a storm approaches.

Chapters 14-18 Analysis

The memorial service triggers a family reckoning, heightening the unspoken resentments, fractured loyalties, and conflicting narratives that have simmered beneath the surface. Elisabeth, holding tightly to her reputation and control, expects the day to be a dignified tribute to Franklin, aimed at reinforcing the version of the family she has long tried to maintain. Alice observes, “[L]oss did strange things, made people cling to what remained” (248). For the siblings, the event becomes an emotionally charged space where grief collides with unresolved anger and long-hidden secrets. Each sibling faces Franklin’s death from a different emotional distance. Some feel rage at his manipulations, others have a hollow sense of loss, and some feel nothing at all. Elisabeth views it as their duty to keep up appearances, but her children increasingly demand honesty. The memorial doesn’t unify them in grief; instead, it reveals just how far apart they’ve grown, not only from their father but from each other, thematically foregrounding The Need to Reckon With Family History. The day destroys any illusion of a cohesive family unit. By forcing everyone into the same space under the pretense of remembrance, Elisabeth unintentionally invites confrontation, which results in Greta leaving Tony and in Alice’s attempt to leave the island after learning the truth of Griffin’s abandonment.


Alice’s discovery that Griffin was paid to leave her is a devastating betrayal, not only from Griffin, but more painfully, from her father. With Franklin gone, her grief and rage have no direct outlet, so she redirects them toward Jack, the closest living symbol of her father’s manipulative actions. Jack’s role as someone Franklin planted in her life to shape her decisions becomes, in Alice’s eyes, a continuation of the same paternal interference that stole her agency and rewrote her past, thematically underscoring The Effects of Control and Manipulation. By turning her anger on Jack, Alice is confronting the broader system of control that her father wielded over her life. Her pain is sharpened by the realization that Franklin’s machinations curated and compromised even her most intimate relationships. Jack’s betrayal feels like a repetition of the same wound, another false version of love. Alice tells him, “You’ve been pulling the strings of my life since before I even knew you existed” (266). This moment fractures whatever tentative trust they were building and forces her to question whether any of her choices were ever truly her own.


Deepening Alice’s sense of betrayal, she discovers the painting her father purchased, a work she created and believed was sold as a valuable piece of art. Its presence, carefully hidden among his possessions, reveals that Franklin had been quietly supporting her all along, but on his terms and in secret. Rather than offering her open or public affirmation, he hoarded his approval, curating her path from the shadows. The painting symbolizes the complex relationship between Alice and her father. He loved her, but his love was conditional, his manipulation was disguised as care, and his legacy of control left her unsure of what parts of her life were genuinely hers. This betrayal solidifies her decision to sever ties with her family and the inheritance she might receive.


However, Alice’s growing feelings for Jack complicate her desire to separate herself from her family because Jack is, in many ways, entangled in the very legacy she’s trying to escape, confusing her effort to assert agency and thematically highlighting Familial Identity Versus Personal Autonomy. As Franklin’s protégé, Jack represents the world that Alice resents, where men make decisions behind closed doors and her autonomy is consistently undermined. Falling for him threatens her efforts to assert her agency, especially after discovering that he was complicit in the plan to pay Griffin to leave her. Even when Jack seems to genuinely care for her, Alice questions his motives, unsure whether he sees her as an individual or merely as Franklin’s daughter. This duality destabilizes her sense of self, making it harder for her to break away cleanly from the family’s influence. Alice’s feelings for Jack force her to confront a more complicated truth: that love, like family, is messy and riddled with contradictions. When they have sex in Franklin’s office, the setting is symbolic. The office is a space of power, control, and legacy, and was her father’s domain, so by choosing to be physically intimate there, Alice is both claiming and desecrating it. It’s an act of rebellion and defiance punctuated by her replacing the Picasso with her painting. She’s challenging the ghost of her father’s influence, symbolically repurposing a space where decisions about her life were made without her.

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