52 pages • 1 hour read
Jennifer HillierA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Ruby Reyes, about to be paroled, contemplates what she knows that no one else knows: Her daughter, Joey, faked her death in that fire and assumed a new identity (Paris Aquino), and now Paris/Joey is about to go on trial for killing her husband. Ruby wants money to keep quiet. She believes that she has the upper hand with her daughter.
Paris and Jimmy Peralta first met at Paris’s yoga studio. Jimmy immediately remembered Paris from her days at the strip club back in Toronto; he had caught her show, where she performed under the stage name Ruby. Her past did not bother Jimmy. He lavished gifts on Paris, and the two became a couple.
Meanwhile, after making bail, Paris is allowed at last to return to her home. The house, surrounded by media trucks and camera crews, has been cleaned by a professional service. Paris lingers on her memories. She realizes then how much she misses Jimmy. She puts on a cassette of Lynyrd Skynyrd’s “Free Bird” and quietly, softly cries.
Zoe, Jimmy’s longtime assistant, stops by the house. In their conversation, Paris realizes that Zoe knew that Jimmy had started using cocaine again, feeling the pressure from his comeback. Zoe tells Paris that she is quitting Jimmy’s team for good.
Paris remembers her first days stripping at the Golden Cherry. The only way that she could get herself onstage with the music pulsing and drunk men leering at her was to pretend to be someone else, so she took a stage name, Ruby. She knew the reality: “The Cherry was where you landed when life didn’t go as planned” (191). She worried about Betty Savage—Betty was stealing cocaine from her boyfriend’s street operations and was also using. She liked Betty. They looked like twins: same age, same hair, and they were both Filipina. They even got matching butterfly tattoos. Then came the disastrous New Year’s Eve bachelor party.
In the present, Elsie arrives at Paris and Jimmy’s house. Paris is well aware of how Elsie must be grieving because she and Jimmy had been a couple before Jimmy met Paris. Elsie confides in her that she and Jimmy had gone to the same high school and had nearly gone to the prom together except that Jimmy had flirted with another girl. She observes, “The loss must be unbearable” (197). Elsie tells Paris that she is handing her case over to another lawyer, Sonny Everly, because she does not have the experience in criminal law to give Paris her best chance at acquittal.
When Elsie leaves, Paris sorts through the mail and finds another blackmail letter from Ruby Reyes—Ruby has upped the price to $10 million for her silence on whose ashes are in the urn marked Joey Reyes. Paris burns the letter.
On New Year’s Eve 1998 at the Golden Cherry, Betty did not show up for work. Her boyfriend, Vinny, came in and told Joey that he needed to talk to Betty because she had something that he asked her to keep for him. Joey assumed that it was drugs or money or both.
The bachelor party was in full swing when Joey, working the party, recognized Drew as the groom-to-be—“unmistakably, undeniably” (211). Drew recognized her, and his face dropped. As part of the gig, she agreed to go to a back room with one of the groomsmen.
Paris meets her new lawyer. Sonny is gruff and without polish. He does not care whether she is guilty. His job is to package her as not guilty. Sonny compels her to look at the grisly autopsy photo and the small, neat incision in Jimmy’s thigh. Sonny tells Paris that the prosecution will want to know why, if she was so worried about Sonny’s tremors, she would have a set of straight razors in the bathroom. He tells her that customs is having trouble with their surveillance equipment and that they cannot confirm when she returned from Vancouver that night.
Sonny raises the possibility that Zoe might have had more reason to kill Jimmy. Then Sonny questions Paris’s Vancouver alibi. No one at the yoga convention seems to have actually seen her that weekend. A cab company confirmed that Paris had been taken to the airport on the first night of the convention. Sonny notes, “I have a feeling you’re the kind of woman with a lot of secrets” (221).
The truth is that Paris flew out of Vancouver that Friday. She headed to Toronto on a mission to steal the urn with Joey Reyes’s name on it, fearing that ashes could somehow be tested for DNA. She knows who is in the urn. The ashes were at her uncle’s house in Maple Sound—an easy drive from Toronto. When she got to the house, it was deserted because the family was at a wedding. She had not been there since the day of her high school graduation, when she had swiped all the money her uncle and aunt had in the house and headed out to Toronto. She entered the house and began searching for the urn. She got spooked when she thought that she saw her uncle and bolted from the house.
After the disastrous drive back to her apartment with Drew that New Year’s Eve, Joey entered her apartment. She was still upset that Drew was marrying a woman whom he did not love. Then she froze—the apartment had been ransacked. She knew where Betty kept the drugs and money that she stole from her boyfriend: in a fake drawer in her bedside table. Joey took what was there—close to $100,000 and several bound bundles of cocaine—then heard a muffled sound coming from the basement. She found Betty there, blood everywhere, her stomach and breasts sliced open. “This was the work of a sociopath” (233). Panicking, Joey told her friend to be calm, took her limp and cold hand, and told her that she would go for help. Betty moaned and died.
Joey knew what to do. She removed Betty’s navel ring and placed her own necklace on the body. It was time for her to start over. She would take her chances and run. But first, she had to get rid of the body. She scattered books and newspapers, doused them with nail polish, and tossed a lighted match into the mess. As the fire gained momentum, Joey bolted. At a hotel near the strip club, Joey called a friend and offered the stolen drugs and money in exchange for new identification papers. Three days later, he showed up with a driver’s license and birth certificate for Paris Aquino: “Joey was Paris now” (243).
In Part 3, Joey Reyes becomes Paris Peralta. Hillier juxtaposes three key scenes to reveal The Resiliency of Love even as events compel Joey to stage her own death as a way to survive: Paris returning to the home that she and Jimmy shared, Elsie grieving over Jimmy, and Drew and Joey reuniting at the strip club.
In this section, Hillier juxtaposes Joey’s descent into fabricated personas and false identities with the resiliency of love. Nevertheless, the novel does not offer a fairy-tale simplification of love. Instead, love is tricky and unpredictable. When Paris returns home, even though the house is now ringed by media trucks and has been sanitized and smells like a hospital, Paris for the first time since her arrest realizes that “Jimmy isn’t here. Jimmy will never be here again” (180). The simple language of the statements reflects the emptiness of the house. “When she looks out the kitchen window into the backyard, she half expects to see Jimmy there, fiddling with his tomato plants or fishing leaves out of the pool with his net” (180). The tender image of domesticity heightens the pathos in this moment.
The scene reaches its emotional climax through the song that Paris plays on Jimmy’s vintage tape recorder—the very tape recorder that within days will reveal his murderer. The Lynyrd Skynyrd anthem “Free Bird” speaks to the loneliness of freedom and the ache of a heart once touched by love but still experiencing its comfort. For the first time since she stumbled on the bloody corpse of her husband, Paris cries, a “sob of grief wells up in her throat” (181). It is this resilient love that provides a woman adept at performance a moment when her guard drops, her mask slips, and the terrified and lonely woman is permitted to feel.
Chapter 27, however, introduces an antagonistic story of love’s resilience. The visit from Elsie Dixon during which Paris comforts her is ironic, though neither Paris nor the reader realize that Paris is talking to the woman who killed her husband. At this point in the novel, Elsie embodies the kind of love that survives across decades. Although she is the tough-as-nails lawyer, Elsie cries, “though it’s not a full-body thunderstorm like Paris had when she first got home” (196). Here Paris assumes that the tears reveal the depth of Elsie’s friendship with Jimmy; she even finds it touching that Elsie confides in her. Paris realizes that “Elsie had history with Jimmy. She’s only known her husband for three years. Elsie had known Jimmy for five decades” (197). However, Elsie’s remembrance of Jimmy’s past indiscretions and careless self-absorption provides a clue that Elsie is the murderer, which is obscured by the emotional depth of the scene; this scene is in fact a tortured confession of the cost of carrying a torch for 50 years for a man who took her love for granted.
Finally, Hillier explores the resiliency of love during the disastrous bachelor party in the VIP Room at the Golden Cherry on New Year’s Eve 1998. When she arrives at the bachelor party, she “plasters her smile in place” (208) and begins her dance routine. When she recognizes Drew, she sees herself as he must see her, his unconditional love for her unmasking the reality of her secret life. “All she could do was stand there, naked, her breasts still moist from whiskey kisses, utterly frozen” (211). Her nakedness reflects her emotional vulnerability. Suddenly, Joey cannot not be Joey. Drew, for his part, sees but does not want to see. The fight they have that night reflects the tension of fantasy and reality colliding: Joey accuses Drew of marrying for all the wrong reasons and Drew accuses Joey of running from herself. Love seems far from resilient at this point, establishing a major conflict in the novel. As Joey, now Paris Aquino, checks out of her seedy dive in Toronto and prepares to start a new life, she hears playing at the radio at the front desk the 1999 song “Bobcaygeon,” recorded by the Canadian indie-alt rock band the Tragically Hip. The song’s lyrics warn about the consequences of revelation and the price paid for honesty as “the constellations reveal themselves / One star at a time” (243). The conflict as Part 3 closes revolves around the question of whether love can survive reality.
During Joey’s transformation to Paris, Hillier explores The Traumatic Impact of Abuse. Joey decides in just seconds to use the bloody murder of her only friend as an opportunity to shed Joey Reyes. In deciding to swap identities, Joey again separates “her brain and physical form” (6). As she tells herself when she first strips at the Cherry, “the trick was not to be Joey” (187). Hillier suggests that this is the legacy of years of abuse: retreating into a world of her imagination, leaving her body to be used and abused. When using the stage name Ruby, Joey initiates the strategy for survival that will sustain her for more than 19 years: “It’s easy, Joey thought. Makeup finished, she shimmied into her gold dress costume and strapped on her stilettos. She stared at herself in the full-length mirror. Ruby stared back” (194). Ruby is a prototype for Paris.
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