60 pages • 2 hours read
Penelope DouglasA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section contains scenes of dubious sexual consent.
The narrative flashes back three years and returns to Rika’s point of view.
As Rika waits for the guys in the car, she gets more enraged at Miles and Astrid’s actions. When the guys return, Will instructs Rika to hold out her hand and deposits one of Miles’s teeth and a long chunk of Astrid’s hair into her palm. The guys promise Rika that Miles and Astrid will never bother her again. As they go in search of more food, Will instructs them to stop when they pass the town square. Will walks swiftly to a recently built gazebo and begins to burn it down. Michael explains that it’s because he’s in love with the person who built it, but she is not interested in him. Rika goes back to the car and considers calling the police when suddenly a patrol officer arrives. He begins to arrest the guys and instructs them to remove the masks they are wearing to obscure their identities. Realizing that Michael’s future will be ruined if his identity is revealed, Rika grabs a crowbar from the car and runs up to her family’s jewelry store. She breaks the window, steals the jewelry displayed, and runs off in the hopes the patrol officer will chase her.
She runs for a while, and, eventually, Michael catches up with her in his car after fleeing the police. She jumps into the car, where the guys are elated at her boldness. They decide to go to the warehouse to celebrate.
The narration returns to the present.
Rika speeds down the highway back to Thunder Bay while frantically calling her mother. She is unable to get reach anyone on the phone. Security called her an hour earlier to alert her about the fire. When she arrives at her house, she is devastated to see how much of it has burned down. She begins to try to run into the house, but Michael holds her back. She breaks past him and goes into her room. She looks for her prized possession—a box of various matchboxes her father gave her before his death—and is heartbroken to see that it has sustained water damage. Michael comes into the room, and Rika asks him where her mother is. He tells her they have to leave the building until the fire department has deemed it safe and says they’ll stay at his parents’ house that night.
They go to a diner, where Rika explains the importance of the box: It connects her to her father and the memories she associates with him. She becomes frustrated when Michael doesn’t understand why she’s so upset, so Rika goes to put some music on the jukebox. A former girlfriend of Michael’s comes to the table and begins flirting with him. Rika becomes jealous and is harsh with her when she returns to the table.
At the table, Rika asks Michael why he’s always teasing her, and he says it is because he finds it fun. They joke about music, and then Rika reveals her feelings for Michael. Rika then announces that she is tired and gets up to leave, knowing that Michael will follow her.
Rika reflects on the fact that the Crist house has always frightened her at night. Michael and Rika make a snack and then decide to watch Alien vs. Predator, which is one of Rika’s favorite movies. During the movie, Rika catches Michael watching her instead of the movie. When the movie is over, Michael asks Rika if she likes being scared because it’s her “kink” (237). He assumes that she used to be sexually aroused when the Four Horsemen wore their masks. Rika doesn’t answer. Michael tries to get Rika to admit it and begins kissing her. Mrs. Crist calls, and Rika answers while Michael begins to digitally penetrate her. Rika struggles to talk to Mrs. Crist and quickly hangs up. However, Michael stops digitally penetrating her before she orgasms and says he won’t let her orgasm until she admits she enjoys being scared. When she refuses, he orders her to go to bed.
In her bedroom, she is furious. As she considers the game she and Michael are playing, she notices that the power has gone out. She goes out into the hall and calls for Michael. Suddenly, a dark figure appears and picks her up. She recognizes Michael’s mask from three years ago. She feels fear wash over her, and she admits that it turns her on. They begin to kiss and have sex.
The narration switches to Michael’s point of view.
Michael feels that he has messed up by having sex with Rika, but enjoys it too much to stop. Michael asks Rika to put on her old school uniform and takes her to the cathedral. He takes her down into the catacombs. In the catacombs, he lights some candles and then binds Rika’s wrists. While Rika protests, he begins performing oral sex on her. They begin having intercourse.
The next day, Michael watches Rika sleep in his bed. He contemplates the fact that he’s never been with any woman who satisfied him the way Rika does, but he feels that they cannot be together because of his friends’ desire to ruin her life. As he looks at Rika, he sends Kai an ominous text that reads, “Finish it” (262).
The narration flashes back to three years earlier.
Michael drives up to the warehouse, thinking about how impressed he is with Rika. He reflects on the fact that he’s always watched her but assumed they could not be together.
As everyone gets out of the car, Will paints Rika’s face with shoe polish so that she has a mask as well. They go inside and begin to drink. Rika goes to dance with some of her friends, and the guys watch her from a booth. Rika leaves the dancefloor, and Michael follows her.
Upstairs, Rika thanks Michael for including her and admits that she feels “powerful” (271) after the night’s events. Unable to control himself, Michael begins kissing Rika. Rika asks to go to the car so that they can have sex, but Michael refuses. He tells her they need to wait until she is 18. Additionally, he insists that they don’t tell his family about their burgeoning relationship. Rika is hesitant because she doesn’t want to hide her feelings from anyone. Michael then tells her to stop sleeping at the Crist home when he’s not there, so Trevor won’t have easy access to her. Frustrated at all of his rules, Rika snaps at him, telling him his demands have made her feel “dirty” (278) and not like his equal. Angry and hurt, Michael calls her a “kid” (278) and begins squeezing her arms forcefully. He lets go when she complains, and he angrily tells her that she is not important to him and is only useful for sexual gratification. Michael leaves before he can see how badly he’s hurt Rika, telling his friends to make sure she gets home before he leaves the warehouse.
The narration returns to the present and to Rika’s point of view.
Following her night with Michael, Rika woke up alone and drove back to the city. She has not heard from Michael.
Several days later, she goes to a used bookstore. She runs into Alex, and they briefly talk. Rika finds some books and goes to buy them; however, her credit card is declined. She tries another card, which is also declined. The cashier directs her to an ATM, and when she puts in her PIN, she sees that her account has no money in it. All of her accounts are empty. She begins to panic and calls her accountant, but cannot reach him.
Back at home, Rika calls Mr. Crist’s office. When she tells his secretary what’s going on, she suggests Rika talk to Michael since he’s in charge of her estate now. Rika hangs up and screams in frustration. She learns that he’s at the gentleman’s club for dinner, and she rushes there.
At the club, she marches to Michael and his friends’ table and pulls the tablecloth and the dishes off the table. When she asks where her money is, each guy responds one by one that it’s in his account. As she tries to push back, Michael reminds her she has nothing and that her mother is not actually on vacation. He says she belongs to them now. Not wanting to draw any attention, Michael tells her to be at his parents’ house in Thunder Bay in an hour. Rika doesn’t want to go but realizes she has no choice, because no one can help her.
After the fire at the Fane residence, the boxes of matches Rika received from her father emerge as a symbol of Overcoming Fear and Victimhood to Find Empowerment: “Most of the matchbooks and little boxes were made of paper, and even if the matches dried out, the containers were split, torn, and shriveled. The damp cardboard dripped with water, discolored and broken” (223). Despite Rika’s wealth, this box of matches was one of her most valued possessions because it symbolized her connection to her father. Following her father’s death, most people treated her as a victim, especially because her scar visually reminded them of the accident. The box of matches emphasizes Rika’s father’s love for her. He is the only man in the novel who never sexualized her. The destruction of the matches highlights that Rika is truly alone and without a protector; she will have to fend for herself. However, by connecting with Michael and being vulnerable enough to explain the importance of the matches to him, Rika opens the door for a new protector to enter her life. This protector will be somewhat destructive—like a fire—but will give her the freedom she deserves.
Michael’s callous reaction to the destroyed box of matches causes Rika to lash out at him:
Yeah, they’re just matches…And memories and smells and sounds and butterflies in my stomach every time I heard the car door slam outside, telling me that he was home. A thousand dreams of all the places I’d have adventures someday…They’re hopes and wishes and reminders and all the times I smiled, knowing he’d remembered me while he was gone…You have money and girls, cars and clothes, but I still have more than you in this little box (224).
This moment highlights a shift in the power dynamics between Rika and Michael. By calling out Michael’s insensitivity, she encourages him to become more vulnerable with her, which ultimately allows the couple to find the freedom to be themselves. She accuses him of overvaluing material luxuries, though ironically she is far wealthier than he is. Even when Michael and his friends drain her bank accounts later in the novel, she will still maintain the moral high ground and the power that comes alongside that, which ultimately forces Michael to reconsider whether he should continue seeking revenge against Rika.
When Rika and Michael have sex for the first time, the scene highlights the theme of Freedom Through Performativity. They only end up having sex because Michael wears his Devil’s Night mask:
I stared wide-eyed, coming face-to-face with a vicious red mask. Michael. The dark, violent gouges sent shivers down my spine, and his eyes stared out through the small holes like a chained monster. I stopped breathing. Fear swirled in my gut, warming my insides and making every muscle clench. I tightened my thighs around his waist, feeling the slickness between my legs and my nipples chafe against my tank top (245-46).
Rika describes a physical reaction to fear that quickly merges with sexual arousal. The pretend danger represented by the mask allows her a safe space in which to work through her reactions to the threat of sexual violence. Games of power, dominance, and submission become a core part of Rika and Michael’s sex life, but they are always games, allowing Rika to explore the erotics of fear while knowing that her consent will be respected. Rika is able to perform the role of prey or victim in this scenario while still having complete control over the sexual encounter. This ultimately builds her confidence and allows her to feel freedom in more aspects of her life. For Michael, the mask offers another kind of freedom: It temporarily allows him to perform as another person, a person who doesn’t carry the weight of his friends’ quest for revenge or his family’s expectations. As a result, he is finally able to embrace his desire for Rika and consummate his relationship.
By Penelope Douglas