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Content Warning: This section of the guide includes discussion of rape, pedophilia, graphic violence, and emotional abuse.
Hazel goes to an expensive midtown bar for a date with Andrew. She is dazzled by how handsome and charming he is and the luxury of his surroundings. During the date they talk about their families. Andrew tells her his mother died from a self-administered drug overdose. Hazel tells him she was raised in a strict Korean family that does not approve of her job as a private investigator. She reveals that she was given a drugged drink during a party while attending law school and raped. Afterward, her mother and sister insinuated it was her fault for accepting a drink from a stranger and the police barely investigated. A private investigator named Perry tracked down the rapist, which led to his arrest and imprisonment. Following this, Hazel became a private investigator and Perry was her mentor. She hoped to help others the way Perry had helped her. Andrew asks, “[Others] like Mia?” (232).
Hazel asks Andrew why his father’s donations to Saint Agnes increased 25 years ago and if they could be connected to the girls’ disappearances. He tells her that his father began to increase his donations after his stingy grandfather died and full control of the family trust fund passed to his father, Preston DuPont. Andrew says his father was in Paris the night Mia disappeared. Hazel texts Bobby, who confirms Preston’s alibi.
Hazel feels relieved the DuPonts are not involved, because she has a growing affection for Andrew.
Hazel goes back to Andrew’s apartment. They drink some wine and go to bed. After Andrew falls asleep, Hazel snoops around Andrew’s office and computer. She finds no evidence he is connected to the Dionysus Theater. She chastises herself for her suspicions of such an “incredible guy” and goes back to bed.
The next morning, Andrew makes them breakfast. It looks delicious but actually tastes terrible because Andrew is not a very good cook. Andrew asks what Hazel was doing in his office last night, and Hazel lies that she was just working. She tells Andrew she is investigating the Dionysus Theater. Andrew says he has heard it is “one of those pop-up clubs that finance douchebags and gold diggers go to” (245) and arranges for them to go the following night. Hazel is thrilled.
Hazel meets Madeline at her office. She confronts Madeline about the possibility that she killed Mia for the inheritance. Madeline tells her that Mia’s trust fund was to be donated to Saint Agnes in the event of Mia’s death and provides legal documentation proving it. This means Madeline did not have a motive to kill Mia. Hazel tells Madeline she will be going to the Dionysus Theater the following night. Hazel has one more day to find Mia to earn Madeline’s reward.
The next night, Hazel prepares to go to the Dionysius Theater. Kenny is worried about her safety. She tells him to call in an hour. If she doesn’t answer the phone, he should call the police. She takes her switchblade and Taser with her.
Andrew picks her up at her apartment to take her to the Dionysus Theater. She is struck by how handsome he looks. They go to a run-down warehouse. A bouncer outside does not let Hazel take her Taser or cell phone inside. They enter the warehouse and go down a set of stairs. As they descend, Hazel hears Mia singing “Time After Time.” She opens the door and is shocked by what she sees.
The Dionysus Theater looks like a club lounge. The customers are all older men and there are very young girls dressed in lingerie “drifting among” them. Onstage, Mia is dressed in underwear and a corset and seems drugged and abused. She is singing “Time After Time” while the men grope the girls circulating.
Shocked, Hazel turns to Andrew and tells him they need to call the police. However, Andrew seems delighted at the scene. He tells her he “designed” the place himself. Hazel is stunned to realize Andrew is behind Mia’s kidnapping and perhaps the disappearances of the other girls from Saint Agnes. Andrew tells Hazel it is “a family tradition” (262).
Suddenly, the police officers DeGrom and Hanley appear. Along with Andrew, they force Hazel to walk to a room at the end of a hallway. Andrew walks her into the room and closes the door while DeGrom and Hanley wait outside.
In the room there is a bed and very little else. Manacles hang from the headboard. Andrew takes Hazel’s purse and throws it against the wall. Andrew tells her she is in the dungeon room. Hazel insists, “Andrew, this isn’t you” (265), but Andrew tells her the version of him she saw—who made her dinner and complimented her—was the “fake” version of himself. She realizes he orchestrated their meeting at the gala because she had been learning too much from her investigation. He had just wanted to find out what she knew, but when he realized at breakfast that she knew about the Dionysus Theater, he decided to kill her.
Andrew tells her that he attends the school concerts at Saint Agnes to select girls for the Dionysus Theater. After the show, he would approach girls and tell them he has an underground theater for the rich and famous where he can give them a chance to perform, but because it is so exclusive, they cannot tell anyone about it. Then he picks them up in his boat from the lakeshore and takes them back to his lake house, where he holds them for a few months to “break them down into compliance” (267) before bringing them to the theater.
Then, Andrew pushes Hazel down onto the bed intending to rape her. While she fights him off, Sonia opens the door and walks in. Andrew leaps off of Hazel.
At first, Hazel is hopeful Sonia will help her. Then, she realizes that Sonia is involved in the plot to kidnap girls from Saint Agnes. Sonia tells Andrew he was supposed to kill Hazel, not rape her. They argue about what to do. Sonia says she should not have let Preston DuPont talk her into letting Andrew become part of their trafficking ring. While they are distracted, Hazel grabs her switchblade that fell to the floor when Andrew threw her purse and hides it under her leg. Sonia says Andrew can have five minutes to rape Hazel, but then he has to kill her, and she leaves.
Andrew locks the door behind Sonia and gets on top of Hazel. While he struggles with his zipper, Hazel grabs her switchblade. She stabs him in the neck and kills him. DeGrom and Hanley pound on the door outside in concern.
DeGrom and Hanley break down the door, followed by Sonia. Hazel is held at gunpoint. Sonia makes Hazel drop her knife and get on the bed. Hanley handcuffs Hazel. Hazel asks Sonia why she participates in the sex trafficking. Sonia tells her she did it because she resented having to clean up after and look after the girls at Saint Agnes and because Dr. Mackenzie treated her “like his glorified assistant” (278). Sonia insists the girls weren’t kidnapped, but “chose to be here” (278) because they followed “the path of Dionysus” (279) instead of the path of Apollo. The girls wanted to be rich and famous and paid the price.
Then, Sonia begins to torture Hazel with the knife to find out who Hazel has told about their “operation.” Hazel refuses to talk. Suddenly, the SWAT team bursts in and arrests Sonia, DeGrom, and Hanley. Kenny runs in after them. He tells Hazel he called the cops after she didn’t respond to his call, and he found her location by tracking her phone using the “Find My Friends” app. He knew from his training that if he told the police there was an active shooter in progress they would respond quickly.
Hazel is determined to locate Mia before she leaves the scene. She realizes it is 11:30 PM. She has made the deadline to receive the award from Madeline.
Outside the warehouse, Hazel sees the club members and Sonia being loaded into a police wagon. Mia and some of the other girls are standing together nearby. Hazel introduces herself to Mia and gives the girl a hug. She tells Mia that Mia has done nothing wrong and that they will find somewhere safe for her to live. Hazel gives Mia her business card and tells her to call if she needs anything. Then, Hazel compliments Mia’s voice, which makes Mia smile despite the circumstances.
Two weeks later, Hazel sits on a bench in Washington Square Park. She reflects on how she is a survivor and on everything that has happened since the night at the Dionysus Theater. Mia now lives with Madeline, who is doing her best to be a good mom. Mia is recovering and has reconnected with her classmates from Saint Agnes. The Manhattan District Attorney has opened an investigation into the sex trafficking ring. They learned that Sonia murdered Mr. Goolsbee because he had grown suspicious of Sonia’s involvement in the disappearances and to “set him up as the fall guy” (289). They have also reopened the cases of Andrew’s mother’s death by suicide and the other girls missing from Saint Agnes.
Bobby Riether asked Hazel out, but she declined because of how traumatized she was after her experience with Andrew. The state took over management of Saint Agnes and Dr. Mackenzie retired. Kenny arrives with bagels. He asks her if she would be willing to take him on as an assistant. He points out that she cannot handle all of the job offers she has had since news broke out that she brought down a sex trafficking ring. Hazel agrees and they toast “to Cho and Shum” (291). Hazel feels that with Kenny at her side, she is “ready to face whatever comes next” (292).
In Chapter 36 of The Orphanage by the Lake, the final plot twist is revealed. Hazel realizes that Andrew is a criminal who is deeply involved in trafficking girls from Saint Agnes into his sex club. Like any plot twist, this revelation dramatically changes the expected trajectory of the plotline. This reveal, along with the reveal that Sonia is likewise involved, is the ultimate example of the theme of Appearance Versus Reality in the novel. Hazel’s shock in this moment is described thus: “The truth hits [her] like a sledgehammer” (261); she is entirely bowled over by the revelation because it does not conform with Andrew’s outward appearance.
Up until this moment, Hazel has only ever seen Andrew as strikingly handsome, compassionate, and kind. However, when he confesses to Hazel about his misdeeds, “the twinkle in his eyes [morphs] into a demonic glare” (260). The presentation he put forward is radically different from his true character. Andrew is explicit about the difference between his appearance and reality in his final monologue to Hazel. He tells her, “That guy out there in the real world—polite, simpering Andrew? That’s the fake me” (264).
Similarly, Sonia’s beautiful and caring appearance is revealed to be at odds with her true character. It takes Hazel a moment to understand that Sonia is involved in the scheme. In that moment when Sonia appears, Hazel “expect[s] to see kind eyes,” but instead she sees “disgust and irritation” (270). When the truth finally dawns upon her, Hazel feels as if she’s “seeing [Sonia] for the first time” (270). In effect, this is true. Although Sonia outwardly looks the same, “her typically elegant self,” Hazel now understands that her appearance is one of a “madam” (270), or a woman who runs a brothel.
Like the overall text, The Orphanage by the Lake both conforms to, and breaks from, traditional tropes of a mystery thriller. This is well illustrated by the climax of the book when the police arrive at the club to save Hazel and the girls and arrest the antagonists. In keeping with stereotypes of the genre, the police save the day. All of the characters get an ending that satisfies a sense of poetic justice: Most critically, Sonia and Andrew are arrested and Mia is returned to her mother. However, Hazel is not a typical “damsel in distress” who is saved by a man, in this case Kenny. She demonstrates her agency by using lateral thinking to secure her switchblade and kill Andrew. She also refuses to give in to Sonia’s torture. In this way, Hazel shows she is a strong woman in a way that defies the tropes of the genre.
The final scenes further explore the theme of Conforming to or Defying Parental Expectations and emphasize the dangers of conforming and the benefits of defying these expectations. Andrew conformed to the lifestyle modeled by his father, with tragic consequences. Hazel realizes Preston DuPont “probably raised Andrew into this pedophiliac cult” (271), a role that Andrew embraced with gusto as an adult. Like his father, he lives a debauched, criminal life that ultimately leads to his death by Hazel’s hand. In contrast, Hazel reveals how she broke from her mother’s and sister’s assessment of her rape, which led her to a rewarding career as a private investigator. When she told them about her drugging and rape, they acted “as though rape was just the punishment you get for a social faux pas” (231). In essence, they blamed her for what happened. In response, Hazel took matters into her own hands and, with the support of a private investigator, brought the perpetrator to justice.
In Hazel’s final scene with Mia, Hazel shares this lesson about culpability and guilt after a sexual assault with the young girl. She reassures Mia that she “did nothing wrong” (286). Hazel recognizes that she “knows what it’s like to be in her shoes: to be victimized yet made to feel you deserved it” (286). In reassuring and comforting Mia in this way, Hazel demonstrates the benefits of defying parental expectations. Hazel does not repeat the toxic, victim-blaming messaging that she received from her own mother to Mia. Instead, she breaks that cycle and asserts her own assessment of rape and culpability that focuses on the horrific actions of the rapist rather than on the actions of the victim.