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Shay runs until she finds a road, and an older couple pulls over to help her. The couple provide a phone so she can call Jamie, who arrives shortly. Shay reports what happened, and she notes that Jamie does not seem shocked that Laurel is alive.
The next day, Jamie explains that Greg E. left finance for politics, noting that he is a campaign manager for Governor Barry. The governor is rolling out a new series of policies to reform almost every aspect of the New York government, and he is announcing his reforms at a party held at Nico Stagiritis’s home. Shay pieces together that Nico Stagiritis is a name derived from Aristotle’s birthplace, Stagira, and his father, Nicomachus. Shay and Jamie agree that Governor Barry is likely also a Pater, and Shay identifies a series of men that Jamie’s coworker found in connection with the event, connecting their real names to their Pater identities. Shay and Jamie both start to lose hope, as they had planned to deliver the evidence to Governor Barry, but Shay proposes that she return to Hilltop, where the party is likely to be held, to save Laurel. Jamie thinks this is ridiculous, but Shay insists that she has a responsibility to save Laurel from Don. The two plan to release the evidence and news through an emergency episode of Jamie’s podcast, urging listeners to get involved via the internet or by contacting the FBI directly.
Shay addresses the reader directly, noting that she does not know exactly when the seed that grew into the following events developed. She says it might have been in the shower with Jamie that night, or as early in her life as when her father left her.
Shay and Jamie, posing as journalists, get into the party at Hilltop. Jamie plans to release the podcast and send evidence to the FBI as soon as Shay finds Laurel. Shay notes multiple Paters in the crowd, and she sneaks through the mansion to find Laurel, thinking she may be in a bedroom getting ready. Shay stops when she finds a painting of a man with skeletal hands circling a woman’s waist, and she hears Don’s voice behind her. She struggles to resist the magnetic effect Don has on her, and Don kisses her. She turns away, and Don acts hurt, telling her he is glad she came home. Shay reveals that she knows about his alternate identities and the Pater Society, and Don becomes anxious. Shay tells Don that he cannot hurt her without people finding out, but he lunges, strangling her in the hallway. A man passes, but he simply nods to Don and continues walking away. Don drags Shay to a stairwell and throws her down headfirst.
Shay wakes up buried under dirt, and she panics, clawing her way to the surface. When she emerges, she is in the garden of Hilltop where the other missing women are buried, and Don sits watching her and sipping a drink. When she tries to run, he jumps up and hits her in the head with his glass, knocking her unconscious. Shay reawakens in the same chair she was tied to by the Lieutenant previously, and Don pulls a Roman pugio from a drawer. He cuts Shay’s chest, tearing some of her clothing, and Shay berates him for being a predator. Laurel enters, and she is upset that Don is with Shay. Shay manages to pull out an axe from a drawer, telling Laurel that she needs to escape. Don hands Laurel the pugio and tells her to kill herself unless Shay drops the axe. Shay tells them that the Pater Society is about to be unveiled, and everyone will know who Don is and what the Paters have done. Laurel worries that people will find out that she killed Rachel, and Don tells her to kill herself. Shay drops the axe, and she begs Laurel to ignore Don and come with her. Don tells Laurel to kill herself anyway, and Shay sees that Laurel is torn, but she ultimately kills herself by slitting her throat.
Don is amazed that Laurel killed herself, and Shay is dismayed, holding Laurel’s body as she bleeds to death. They hear a commotion upstairs as people scream and run. Shay hopes that Jamie’s plan worked, and she tries to sprint away. Don catches her, insisting that she will not leave the basement alive, but Shay grabs a chair and smashes it over Don’s head. Injured, Don recoils, and Shay throws the remaining leg of the chair at his face before sprinting back toward the stairs. Don catches her again, slamming her face into the stairs, then he starts strangling her. Someone outside the door shouts, and Don pauses to look up as the door to the basement opens. Shay takes a chance and bites into Don’s cheek, causing him to release her and roll to his side. Shay runs back into the basement and grabs the axe, kicking Don in the stomach and genitals when he tries to pursue her. Straddling him on the floor, Shay holds the axe to Don’s neck and realizes that she can see fear in his eyes.
Jamie comes into the basement to find Shay on top of Don, and he urges her to put the axe down. He says the FBI are there, and Don will be arrested and go to jail. Shay doesn’t trust him, and she reflects on how rich and powerful men are rarely punished for their crimes. Memories of her childhood, her friends, and the Pater Society mix with her anger, and she tells Jamie that she cannot let Don leave, even with the FBI. FBI agents come into the basement with their weapons drawn, ordering Shay to drop the axe, and Jamie tells them that Don killed Laurel. In a flash of rage, Shay chops into Don’s neck with the axe, even as the FBI agents fire shots at her, one hitting her in the shoulder. When Don is dead, the agents rush Shay, handcuffing her, and Jamie asks her why she is smiling. Shay responds with a single word, “Free.”
This chapter is a transcript of Jamie’s podcast, Transgressions, episode 705, in which he introduces the episode and Shay. Jamie presents an overview of the Pater Society, detailing how the FBI raided Hilltop and arrested the prominent members of the society, including Alec Barry, who has since resigned; Adam Dorsey, whose entire department is under investigation; and Reginald Carruthers, whose removal from Whitney College prompted a total reorganization of the administration of the school. Multiple women who were kept as “daughters” by the society have come forward to reveal evidence, and the FBI have located the bodies of five missing women, including Laurel Hargrove. Jamie thanks the audience for their participation in the raid, and he asks them to help Shay, as well, now using her maiden name, Evans. Jamie says that he understands how listeners may be confused that he is asking them to help a murderer, but he says that people need to hear the whole story to understand why Shay is innocent. Jamie notes that Shay will co-host three episodes of Transgressions with him, including readings from her book, The Last Housewife, which tells the story of Shay’s life and involvement in the investigation. When Shay introduces herself, she begins by saying that she does not regret killing Don, and she begins to read from her book.
Shay addresses the women reading her book, urging them to live for themselves and to ignore the opinions of others. She encourages her “dear sisters” to share parts of themselves and their experiences, and she says she will tell them her story from the beginning, noting that this is the story she tells to save her life.
The development of Jamie and Shay’s investigation reveals the allegorical nature of the Pater Society within the novel, following the theme of The Complexities of Gender Roles and Submission. Shay recognizes that “The Paters act like they’re victims, but really, they’re in the majority” (347), as she and Jamie find that the governor is also a Pater. However, Shay is not referring to the cult called the Pater Society but the social structure of patriarchy. The Paters are the “majority” because society, itself, is soaked in patriarchal values, teaching men and women from a young age what behaviors, feelings, and choices are available to them based on their gender. Shay notes that “they don’t say it out loud” (347), as gender norms are rarely discussed openly, but they nonetheless pervade society, and Shay is recognizing how she has been influenced by the patriarchy for her entire life. In Shay’s life, the Paters are not the first to lay out gendered expectations of her—Mr. Matthews pushes Shay to join pageants, Mr. Trevors shows how men are not punished for hurting women, and Don, before becoming the Philosopher, showers her with the words of Aristotle and other philosophers who espoused misogynistic views. As Shay continues to fight to change the cycle of abuse that she has been caught in for most of her life, she implicitly acknowledges The Impact of Past Trauma on the Present. For example, when she begins exploring Hilltop, she notes how “[she] was Sleeping Beauty, moving by instinct, hand outstretched toward the spindle” (353), referencing the fairy tale about a woman who was doomed by a curse to fall into a sleep like death. Like Sleeping Beauty in the enchanted castle, Shay has no agency at Hilltop. The traumatic influence of Don’s behavior, compounded with the traumas that predate it, create a pattern of behavior that Shay slips into easily, even though she understands the dangers involved.
Shay’s and Laurel’s differing fates reflect the power of Manipulation and Control in Relationships. Laurel’s suicide by cutting her own throat with the Roman pugio—a symbol of the misogynistic tradition Don espouses—reflects how the values of masculine dominance and feminine submission are a pervasive form of manipulation. Don has convinced Laurel that she cannot exist without him and his power, telling her, “I made you a good woman” (364). Don’s definition of “good woman” is what he uses to manipulate the women into obeying him, implying that being a “bad woman” is not just spiritually unfulfilling, but dangerous, opening them up to attacks from men. In this sense, Don is implying that Laurel is at fault for her own sexual assault because she was not sufficiently submissive to men. This same theme emphasizes the reason for Laurel’s suicide, which, in part, is because of her fear that people will find out that she killed Rachel. Shay ultimately blames Don for Rachel’s death, but Don, who has a pattern of blaming women for men’s actions, frames Rachel’s murder as a crime that will put Laurel in prison. When Shay kills Don, she thinks of quotes from all the women she interacted with throughout the novel, ending with Laurel, then herself, and this conflation of women’s perspectives pushes her to kill Don regardless of the consequences. Shay’s decision to kill Don not only allows her to avenge the women Don has hurt but also represents a strike against the patriarchy itself.
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