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Alex FinlayA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Keller learns that the custodian that Mr. Steadman fired for “lewd conduct with a minor” (68) had gotten his 16-year-old girlfriend pregnant when he was 18. The man now shares custody of their child, who is now 17 and has autism. Local police tell Keller that when they approached the man at home, he barricaded himself inside. The SWAT team is now searching the house. Keller realizes that it is not the custodian barricaded inside, but his son. She intervenes to explain that the young man is disabled and might not understand what is happening. She makes the police uncuff him.
Chris attends a party with his girlfriend, Clare, who is a lawyer at a prestigious firm in Manhattan. He observes nothing but hypocrisy and condescension from her corporate lawyer colleagues, but he does bond with the bartender at the party, who also follows Mr. Nirvana’s vlog.
Ella meets with Agent Keller to talk about the case. (Ella has told the lead detective, Joe Arpeggio, that the killer said, “Good night, pretty girl” [77] to Jesse—the exact phrase that the Blockbuster killer said to her years ago.) Now, Keller says that Arpeggio never relayed this information to her, despite the fact that it connects the two cases. The file on the Blockbuster case also has not information on this point. Ella explains that she did not report this detail at the time because she did not remember it until later.
Ella stays at the bar after Keller leaves. She is drunk and is about to leave with a man she has just met when Jesse calls and says that she needs Ella’s help. Jesse has just been caught shoplifting at Target. The security guard explains the situation to Ella, and Jesse asserts her innocence with childish fury. Ella privately tells the guard about Jesse’s ordeal as the only survivor of the Creamery attacks, and he lets Jesse go without punishment.
Unable to sleep, Keller reviews the details of the case with her husband, Bob. They consider the possibility that Ella did tell someone about what the killer said, but does not remember doing so. If this is the case, they reason that she would have told a police officer or an investigator.
Ella offers Jesse a ride home after they leave Target. Jesse declines, then leads Ella through a hole in a fence and through a field to a train platform. Jesse stands at the very edge of the platform as the train approaches, making Ella fear that she will jump in front of it.
After the party, Chris contemplates his relationship with Clare. He believes that she is too good for him, and he wonders why she is still involved with him. For the first time, he tells her about his past and admits that his brother has been accused of murder and has been on the run for 15 years.
A YouTube excerpt describes one of Mr. Nirvana’s vlogs, in which he visits Chernobyl and is chased and cornered by a wolf.
To Ella’s relief, Jesse does not jump onto the train tracks; she just gets an adrenaline rush from standing so close to the train as it rushes by. She calls this activity “catching a train” (95). Afterward, Jesse tells Ella that she lied the night before about what really happened at the Dairy Creamery.
Before Jesse can tell Ella what she lied about, they see police cars approaching. Jesse runs and Ella follows. They end up at an abandoned warehouse, where two teenagers accuse Jesse of breaking their friend’s nose. Ella realizes that Jesse has a violent side. They stay at the house of Ella’s mother for the night—a mansion with tennis courts and stables. Jesse admits to lying about going to the Creamery to use the bathroom. In reality, she went there to confront Madison Sawyer. She hated Madison for gossiping about her.
On the second day after the murders, Keller learns the custodian has an airtight alibi and has been cleared of suspicion. She receives information from the Secret Service about Rusty Whitaker, Chris and Vince’s father. He is involved in a counterfeit cigarette ring, and a raid of his operation is planned for that night. Keller wants to use that bust as leverage to make Rusty reveal what he knows about the Blockbuster killings.
Chris’s client notices a scar on his hand. He got it when his father, Rusty, pressed his hand onto a burner because he drank the last Coke in the fridge. Chris remembers another incident when he was nine; that time, Rusty burned him with a cigar in punishment for Chris’s attempt to shield his mother from Rusty’s violence. Being a victim of abuse helps Chris to sympathize with people who have drug addictions, for he also sees them as victims.
A new vlog post indicates that Mr. Nirvana is in New York City.
Keller and Atticus try to interview Walter Young about the Blockbuster case, in which his daughter, Mandy, was killed. He refuses to talk to them. Keller and Atticus are scheduled to meet with Candy’s mother at 2:00 pm, and in the meantime, Keller wants to talk to Tony Grosso, the lead investigator from the Blockbuster case.
Ella explains why she went to public school and had a job in high school despite her parents’ wealth. Her older brother died of a drug overdose, and her dad thought that his death was the result of being spoiled by the family over the years. Ella’s father died when she was in college. Now, her mother, Phyllis, meets with Ella and Jesse over breakfast. After years of avoiding any discussion about Ella’s experience during the Blockbuster murders, now she tells Ella that it is time to move on.
In a flashback scene from December 5, 1999, the young Ella is working at Blockbuster. Mandy and Candy, who are both seniors in high school, do not care about the work and are irresponsible. Ella and Katie are both juniors and are the more reliable employees. Katie is from a very religious family. The four girls attend a party together after work, where they meet Vince. Katie is mesmerized by the handsome young man.
Keller and Atticus prepare to meet Tony Grosso, who retired shortly after the Blockbuster case. Atticus says that the case file implies that Grosso was overly eager to accept Vince’s guilt, despite discrepancies in the evidence.
In these chapters, Finlay uses misdirection to cultivate suspicion of several different characters. Some details support the idea that Vince is not the Blockbuster killer, such as Atticus’s comment about the lead investigator’s decision to ignore discrepancies in the evidence. However, other details are deliberately designed to implicate Vince, such as the vivid flashback scene in which Katie meets Vince at a party. These red herrings act to sow uncertainty and create a framework in which the “evidence” of the case is on full display, inviting speculation and amateur sleuthing on the part of Finlay’s readers. Significantly, Finlay grants equal attention to both the investigators and the people involved in the case, for Jesse’s problematic behavior is also designed to complicate the narrative surrounding the Creamery murders. When she reveals her hatred for one of the victims and proves herself to be physically and emotionally volatile, this information combines to paint her in a more suspicious light, and Ella’s observations about Jesse reinforce this suspicion. When Ella sees how Jesse interacts with other teens at the abandoned warehouse, she reflects that Jesse is “tough. Brave. And has a violent side” (101). Ella also sees Jesse shoplifting, lying, getting angry when accused, and thrill-seeking on the train platform—behavior that could be indicative of more dangerous personality traits. These details deliberately reinforce the unfavorable impression that Jesse creates in Chapter 12 when she displays a knack for probing into Ella’s personal life and provoking her. However, from a more compassionate angle, Jesse’s character development also stands as another example of The Struggle to Heal from the Legacy of Trauma. Her trauma comes not only from the Creamery murders, but also from being in foster care, enduring the bullying of her peers, and recovering from an unknown incident that occurred at her prior high school. Thus, the narrative implies that her anger, shoplifting, fighting, and thrill-seeking can be interpreted as manifestations of trauma rather than signs of psychopathy.
The author’s compassionate approach to the myriad manifestations of trauma reappears in multiple contexts, and Chris’s work with clients who are addicted to drugs also demonstrates this narrative tendency. Chris’s views about addiction imbue his scenes with a sympathetic tone and offer a broader social commentary about the ways in which society stigmatizes addiction. As Chris observes, the uncritical condemnation of those who abuse drugs is “really just a war on broken people, many who’ve suffered childhood trauma” (112). Finlay further reinforces the idea of “broken people” when Chris’s client offers him a sexual favor in exchange for a soda; the incongruous nature of this interaction stands as an indirect commentary on the ravages of addiction, for the client’s offer reflects a tone of desperation and implies that the person has received little to no support with their troubles. For Chris, this interaction evokes memories of abuse from his father, and his reflections reveal that his own past experience with trauma and abuse helps him to sympathize with drug users, whom he also sees as victims of cruel circumstances. Likewise, Ella’s relationship with her mother also showcases The Various Forms and Effects of Abuse. While Ella has been deeply traumatized by the Blockbuster murders, her mother’s lack of emotional support in the wake of her trauma is also a form of abuse. Ella bitterly recalls “every single fucking night that [she] woke up in a cold sweat and wanted her mom there to rub her back and tell her everything would be ok” (124), and she deeply resents her mother for not being there for her and for refusing to talk about what happened, essentially forcing Ella to deal with her trauma on her own.
These broader conflicts are punctuated by brief portrayals of Mr. Nirvana, the travel vlogger, and these cameos serve to develop the character’s symbolic role. Chris believes that the vlogger could be Vince because “Nirvana” used to be Vince’s term for the idea of a better life as he and Chris endured the ravages of an abusive home. In Chapter 24, Chris wonders why Vince, as Mr. Nirvana, would take the risk of posting live feeds and challenging fans to find him, and although this discrepancy does not dissuade him from the hope that Mr. Nirvana is indeed Vince, the detail nonetheless injects a tone of doubt in to Chris’s assumptions, for there is no logical reason for a fugitive of 15 years to provide law enforcement with a way to find him after 15 years on the run. Chris’s steadfast faith in his irrational theory indicates his desperate need to believe that his brother is alive and well. Because Chris believes that his mother has already abandoned him, the idea that he has forever lost his older brother is too painful to consider. In this context, Mr. Nirvana, symbolizes the fact that hope is crucial to someone who is recovering from trauma.