55 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of sexual content, emotional abuse, and cursing.
Two days later, Petra has not heard from Saint. She is unconcerned, however, as she has spent both days writing nonstop.
Just after lunch, someone knocks on Petra’s door. When she looks outside, she is shocked to see her family there—her husband, Shephard, and her two daughters, Andi and Chloe. (This is the first time they are mentioned in the novel.) She feels a mix of both guilt and fear upon seeing them, and she frantically looks around the cabin to make sure there is no sign of Saint. She has never done this before—she is usually writing in solitude on her trips, like she tells Shepherd she is.
Petra’s daughters excitedly greet her as they open the door. Shephard enters with a bag of groceries, apologizing for interrupting her retreat. He is planning on cooking dinner for her. Petra excuses herself to the bedroom to change her clothes.
Petra grabs her phone and texts Saint, telling him to stay away from the cabin. When he asks if everything is alright, she hesitates. She initially feels guilty for not telling him she is married, but she reasons that he might be relieved that she, too, is betraying someone. She tells him the truth.
As Shephard makes dinner, Petra tells herself that she can act normally through the night. She views her life as a series of performances, always being what the public needs her to be. However, Shephard suddenly pauses and looks out the window. Without even looking, Petra knows that Saint’s car is there.
As Saint walks up the driveway, slowly and deliberately, Petra thinks of how he knows that he is causing chaos by coming there. She is overwhelmed with fear and anxiety over what he might do.
Shephard opens the door and greets Saint. Saint tells him that he needs a visitor tag on his vehicle to be on the lake. It is an obvious lie, one that Petra is sure Shephard won’t believe. However, when Shephard asks her about it, she lies and says that she knew but forgot to tell him. Saint stares at Petra, his gaze penetrating. Shephard laughs about the new law and apologizes to Saint. He asks if he can stay the night without one, as he is leaving the next morning. Saint responds that he will check back in the morning to make sure his car is gone, which Petra takes as both a warning and a promise.
At that moment, Mari walks up the driveway. She greets Saint, then Petra introduces Shephard. Mari pointedly looks between the three of them, causing Saint to smile. He leaves, then Petra dismisses Mari, apologizing for the fact that they need to eat dinner.
Back inside, Petra struggles to calm down. Shephard comes up behind her and wraps his arms around her, his embrace “comforting” her. Despite it, Petra feels as though her life could collapse at any moment.
Petra spends the rest of the night acting as if things are normal, but she is overwhelmed by both guilt and fear. After dinner, she and Shephard sit on the couch. He broaches the subject of their finances, asking her to look at their budget. She responds with annoyance, pointing out that he is disrupting her ability to write. He becomes accusatory, asking if she is even working while he is at home, caring for their family. She points out how much she’s written, frustrated that he doesn’t understand how difficult her job is.
As they sit in silence, Petra reflects on their marriage. Things were fine when she was making money. He was able to take an easier, lower-paying position at work, but now she can tell that he regrets it. Things have become increasingly more strained between them since she has not been able to produce another book.
Shephard pulls Petra to him and apologizes. He tells her that he didn’t expect her to be upset that they came; he didn’t even consider that they were interrupting her solitude. He notes that each time she takes a retreat like this, she produces good work, so he should have respected her space. Petra appreciates his apology but feels as though it’s hollow. As they start to kiss, all Petra can think about is what happened on the same couch with Saint.
When Shephard tells her she is going to shower and invites her into the bedroom, Petra quickly goes outside to call Saint. He angrily accuses her of lying about her marriage, while she insists that she just omitted the truth. When Saint asks if she is going to have sex with Shephard, and his tone turns more playful, she realizes that he is just performing, responding how he thinks Cam would have responded. He tells her he can stop playing whenever she wants, but she realizes that she doesn’t want him to. He makes a joke about being on top and imagining him when she’s with her husband, then hangs up. Petra feels both disrespected and intrigued.
Petra goes to the bedroom and waits for Shephard. She knows the night will go exactly how it always does: He will get into the bed, they will use their phones for a while, then he will take hers and put it aside, and they will have sex. She thinks of the entire thing as boring and predictable but feels guilty for thinking so.
Things progress as Petra expects. However, when Shephard kisses her and initiates sex, she decides to follow Saint’s command. She climbs on top of Shephard as they begin having sex. As she imagines that her husband is Saint, she looks out the window and sees Saint standing there between the curtains. His shadow falls over Shephard, who doesn’t notice. Saint grins at her.
After the shock of seeing him wears off, Petra continues to have sex with Shephard. She moves his hands off her, completely devoting her thoughts to Saint. She is bothered by how Saint’s presence makes her feel so aroused but also so violated. She likes the “power” that he has over her while noting that it feels “perverse and wrong” (194). After she orgasms, she sees that Saint is gone and becomes overwhelmed with guilt.
The next morning, Petra says goodbye to her family. She promises her daughters that she will come home next week for Andi’s birthday, and then she is going to spend one more week in the cabin. She is optimistic that she will finish her book, but she knows that the week will drag on as she continues this game with Saint. Her husband tells her goodbye, clearly happy with their relationship after the night before. Petra only feels guilt.
When Petra turns to go back inside, convinced that she needs to call Saint, she is shocked that Saint is already standing in the doorway to the cabin. She brushes past him, and he closes and locks the door behind her, emphasizing the power that he has over her. He commands her to go shower to “wash” Shephard off her. He follows her to the bathroom and demands that she get in, using her real name. She is happy that they are not in character. As he joins her in the shower, he is all she can think about.
A few days later, Petra and Saint take a boat onto the lake. She tries to read but is distracted by the sight of him driving the boat without a shirt on. She is overwhelmed by the urge to know more about him, so she asks if he has children. He initially refuses to answer, insisting that he won’t cross that line.
A few moments later, Saint begins speaking, surprising Petra. He tells her that he and his wife tried several times to have kids. They went through several different avenues before he learned that he was incapable of producing them. It destroyed their marriage, mostly because he felt guilty that he was holding his wife back from being truly happy with children. Six months ago, they separated. Although they no longer live together, they still talk every day.
Petra is shocked by the information. Part of her is angry, as she was led to believe his marriage was happy. However, Saint explains that after he found out about her book in their first meeting, he wanted to mimic Cam as best he could, so he never told her otherwise. Petra feels both “dread” and “dark understanding” at his explanation (210).
When they return to the cabin and finish tying up at the dock, Saint suddenly moves toward the lake. Petra sees Mari’s orange hair in the water, with her face down. Saint jumps and pulls her from the water. However, instead of drowning, Mari was simply swimming. She jokingly scolds Saint, insisting that he should’ve seen the snorkel sticking out of the water. Petra laughs, while at the same time thinking about the “weight” of returning to Shephard.
That Friday, Petra sits in her backyard with Nora, watching her husband play football and celebrating her daughter’s birthday. She is content with the safety of it all, feeling as though this comfort is the reason she is with Shephard. She wishes that she could have this and Saint, but she knows that she will lose everything if she tries.
At that moment, Petra looks up the street and spots Saint’s car sitting at the end of the road. Overwhelmed with anger, she finds an excuse to slip away from the party and walks up to it. He unlocks the passenger door, letting her inside. She yells at him for intruding on her personal life. He responds, calling her “Reya,” and insisting that he needs to protect her from the death threats she has been receiving over her job. She deliberately calls him “Saint,” insisting that he has crossed a line. He questions what she is afraid of, and she admits that she has no idea what he is capable of. The admission makes him stop pretending, and he insists that he would never do anything to harm or endanger her. He tries to stop her, but she gets out of the car, demanding that he leave.
This section of the novel escalates the tension by further collapsing the separation between Petra’s professional ambition and her personal life, developing the theme of The Ties Between Ambition and Moral Erosion. The sudden arrival of Shephard and her daughters at the cabin interrupts the illusion of isolation that has allowed Petra to compartmentalize her actions with Saint. The fact that this arrival is a surprise to Petra is reflected in its effect on the narrative: Just as Petra has refused to acknowledge her family to Saint or even alluded to it in her thoughts, she has hidden it from the reader entirely. Although she has spent the previous days writing productively, her immediate reaction to her family is fear and annoyance rather than relief. She scans the cabin for signs of Saint, instinctively protecting the lie she has created. Petra’s devotion to her writing and to Saint as her inspiration has reached the point where her family now represents a threat to her secrecy rather than a source of safety and comfort.
At the same time, Petra’s inability to be present with Shephard—fixating instead on memories of Saint—emphasizes her growing obsession with both literary success and Saint himself, directly linking the two. Even when Saint is not physically present, he dominates Petra’s inner life. Her phone call with him outside the cabin emphasizes this imbalance, as she cannot fully admit to herself whether she wants him to stop. She notes, “The audacity. The disrespect. I like it. I can’t ignore the heat in my stomach. Hearing him talk like that—just like Cam would talk to Reya—makes me want to go straight to my laptop and write another scene” (190). In this moment, Petra’s fixation on Saint and her need to write a successful novel, one that pleases her fans and converts to financial success, converge. The fact that this conversation occurs just after her argument with Shephard about finances underscores why Petra is so willing to quickly abandon her roles within the family: She is overwhelmed by the stress of her real life, which has now intruded, and seeks refuge in the feelings of freedom and excitement that Saint offers.
When Petra and Shephard have sex, the intentionally disturbing elements of the scene serve to underscore The Blurred Line Between Fantasy and Reality while, at the same time, highlighting the complexities of Petra’s situation. Saint’s presence outside the window overtakes Petra’s ability to be with her husband, presenting her with a solution to the mundanity of her marriage, which she had just been considering. Seeing Saint watching through the window marks a critical psychological shift for her character. Petra’s simultaneous arousal and feelings of violation emphasize the psychological danger that she is in. Saint’s power over her has nothing to do with his physical prowess; instead, he relies on Petra’s internalization of her desire for him. The scene exemplifies how Petra’s fixation on Saint has rewired her desires, aligning control and transgression with intimacy. She has fully internalized the fantasy of Cam and Reya, which she conflates with her relationship with Saint, allowing it to overtake even the most intimate moments with her husband. The narrative creates an unsettling scene through Petra’s awareness that this loss of control is self-inflicted, complicating any clear distinction regarding consent. She notes to herself, “[T]his is so fucked up. That was probably the most fucked-up thing I’ve ever done in my entire life, crossing so many lines” (197), even as she lies in Shephard’s arms after they finish. Despite this acknowledgment, she again reverts to how the situation fuels her creative ambitions, framing the moment in terms of how it will serve her book, which allows her to ignore its emotional cost.
The scene at the lake with Mari functions as a brief tonal shift that nonetheless reinforces the novel’s reliance on appearance versus reality. On the surface, Mari’s apparent drowning provides momentary humor and relief, undercutting the sustained tension and danger of Petra’s relationship with Saint. Metaphorically, however, the moment reflects Petra’s psychological state. Like Mari, Petra appears to be drowning—overwhelmed by guilt, fear, and obsession—yet insists that she is fine. Mari’s snorkel, at first unnoticed, mirrors the warning signs Petra continually overlooks in Saint and her own behavior. This scene encapsulates the blurred line between fantasy and reality, as danger is perceived where there is none, while real threats remain unacknowledged. Even this brief moment of levity reinforces the unsettling reality that Petra no longer trusts her own perception, underscoring the psychological thriller genre elements of the novel.
Together, these chapters depict Petra’s ambition, obsession, and performative identity converging to destabilize her sense of self. Petra continues to prioritize inspiration and writing over her integrity and moral boundaries. Saint’s appearance at her home underscores the growing danger and tension that continue to build, leading into the final part of the novel. He has inserted himself into her life, first at the cabin and now at home, extending his influence beyond her writing and encouraging her to replace her comfortable life with the thrill of being with him. The greatest danger that Petra faces is no longer external but internal, as she is presented with a reality that she is increasingly unable, or unwilling, to acknowledge and escape.



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