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56 pages 1 hour read

Alex Finlay

The Night Shift

Fiction | Novel | Adult | Published in 2022

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Part 3, Chapter 59-EpilogueChapter Summaries & Analyses

Part 3: “Day 3”

Part 3, Chapter 59 Summary: “Chris”

Chris leaves the hospital and goes to Clyde’s bar for a drink. Ella finds him there, and Chris tells her about the inconsistencies in the evidence against Vince, explaining why he believes Vince to be innocent. He tells her about the evening of the murders. On that day, Vince told him about a girl whom he was romantically interested in and had gone to Blockbuster earlier to see.

Suddenly, Mr. Nirvana begins live streaming. Chris decides to find him and confront him. He agrees to let Ella come along.

Part 3, Chapter 60 Summary: “Keller”

Rusty Whitaker promises to tell Keller where to find Vince in return for a deal on the murder charge against him. Keller discusses this with the lead prosecutor and investigator, who seem likely to agree to a deal. However, she suddenly recalls something that Chris said about the last time he saw Vince. She wants to check her hunch before agreeing to Rusty’s deal.

Part 3, Chapter 61 Summary

Atticus has been looking through the evidence on Madison and Hannah Sawyer’s phones. He tells Keller that he hasn’t yet found any connection to Arpeggio, but that the sisters were fighting about something. They texted about it in code, and one of them threatened to tell their mom. Keller goes to interview someone that she doesn’t identify, except to say that he refused to talk to her earlier. She tells the man that Rusty is about to talk, so if he wants a deal, he has to talk first.

Part 3, Chapter 62 Summary: “Ella”

Ella and Chris head to Central Park once Mr. Nirvana’s live stream reveals his location. They use visual clues from the live stream to catch up to him. As they approach Mr. Nirvana, both are nervous about the prospect of confronting Vince.

Part 3, Chapter 63 Summary: “Chris”

When Chris and Ella are near enough to Mr. Nirvana, Chris calls out to him. When the man turns around, Chris realizes that Mr. Nirvana isn’t Vince.

Part 3, Chapter 64 Summary

Ella’s mother calls her in a panic and tells her to come home. Chris goes with her. When they arrive, they find police surrounding the mansion, executing a search warrant of the exterior property. While Ella talks alone with her mother, Phyllis’s lawyers tell Chris—who has introduced himself as Ella’s attorney—that the police are likely to find what they are looking for.

Part 3, Chapter 65 Summary: “Ella”

Phyllis explains that Ella’s father couldn’t handle Vince’s release from jail on a technicality. Katie’s father got him and Mandy’s father riled up, and the three men killed Vince. They buried Vince’s body in the garden, where the police are now searching. Later overcome by guilt, Ella’s father wanted to turn himself in. To protect Ella from learning of his crime, he died by suicide instead. Now, Keller enters with the news that they have found Vince’s body.

Part 3, Chapter 66 Summary: “Keller”

Because Mandy’s father led Keller to Vince’s body, Rusty will not get a deal from the prosecutor. Keller learned that the three fathers abducted Vince from his home on the night he was released from jail. Although Vince never confessed to the murders, they killed him, and they each shot him once so that they would all share the guilt equally. They also had to pay off Rusty, who knew that they had taken Vince.

Now, Keller confronts Arpeggio about his friendship with the McKenzie family. He insists that he was just a family friend who was trying to help a sweet kid who’d made a mistake. Keller believes him.

Part 3, Chapter 67 Summary: “Ella”

With Chris in the passenger seat, Ella drives around aimlessly, trying to process everything. She decides to see Mr. Steadman at his home. Chris waits in the car. When Mr. Steadman opens the door to Ella, a man staggers from behind him, covered in blood, and tells her to run. Mr. Steadman turns and stabs the man again, then grabs Ella and pulls her inside.

Part 3, Chapter 68 Summary: “Keller”

Atticus isn’t responding to Keller’s texts or calls. She looks through the evidence that he has left on his desk. Yearbooks from last year and from 1999 are both open to an advertisement page featuring an ad for “Steady As They Go Driving School.” She zooms in on a photo of the Blockbuster parking lot from 1999 and realizes that one of the cars has a bumper sticker from that driving school. Keller has Arpeggio call Madison and Hannah’s mother, who says that the sisters did attend that driving school. It is run by Mr. Steadman.

Part 3, Chapter 69 Summary

Keller finds Atticus’s car in Mr. Steadman’s driveway. She confronts Mr. Steadman in his garage, but he flees into the house. Keller sees Ella tied up in his trunk and frees her. Ella says that Chris and another man are inside, then follows Keller’s order to run.

Keller realizes that Mr. Steadman planted the knife in Vince’s locker, just as he planted the Creamery victim’s phone in Jesse’s hospital room. He probably also impregnated Katie and had a sexual relationship with Hannah. As soon as Keller enters the house, Mr. Steadman shoots an arrow into her chest, and the lights go out.

Part 3, Chapter 70 Summary: “Katie”

The narrative shifts back to December 31, 1999. Katie knows that the couple who adopted her baby has named the girl Jesse. They agreed to give Jesse a note from Katie once she turns 18. Katie is now talking to Mr. Steadman outside Blockbuster, though she calls him Dale. She notices that he is erratic, and he vacillates between penitent and aggressive moods. He is paranoid about Vince and pressures Katie to stay with him. Katie tells him to leave her alone. Candy and Mandy come outside and reiterate the message, threatening consequences if he doesn’t listen.

Part 3, Chapter 71 Summary: “Keller”

The narrative returns to the present moment. Mr. Steadman knocks Keller to the ground, and she feels Atticus’s stiff body in the dark. Mr. Steadman is about to stab her again when Chris tackles him. Mr. Steadman stabs Chris in the chest, then attacks Keller again. She pulls the arrow from her own chest and rams it into his head from beneath his chin. They are both bleeding heavily, but he still has the strength to choke her. When Ella stabs him from behind with a spear, he lets go of Keller and crumples to the floor. Reinforcements arrive and carry Keller out on a stretcher. She sees Atticus, Chris, and Ella, but they aren’t moving.

Epilogue Summary

A year later, Keller and her twins are alive and well. She and Bob have given them the middle names Atticus and Attica in honor of Keller’s fallen partner.

Jesse has written a piece about the case; it was published in the New Yorker. Now, she is doing an interview on Good Morning America. She reveals that after her piece was published, other victims of Chad Parke came forward, and he was arrested and pled guilty. Jesse says that she doesn’t think Dale Steadman knew that she is his daughter.

A YouTube video from The Night Shift Travel Vlog shows two vloggers called Traveler 1 and Traveler 2 as they travel on the Amazon river. They are bringing supplies and toys to an orphanage. At the end of the video, they identify themselves as Chris and Ella. Chris signs off by saying, “Do justice today” (308).

Part 3, Chapter 59-Epilogue Analysis

The events of these chapters use action, suspense, and quick temporal shifts to create an intense conclusion to the novel’s primary conflict. The conventions of the mystery genre usually focus on identifying who committed a crime that has already occurred, while thrillers often require the protagonist to prevent a future crime. The Night Shift easily fits both categories, for just as Mr. Steadman committed the previous murders, he also proves himself willing to kill again to protect his secret, and the suspense-filled climax pits all three protagonists against the killer on his own territory. While such novels traditionally depict law enforcement prevailing in the central conflict, Finlay adds a level of melancholic nuance to the denouement with the revelation that Atticus—a wholly sympathetic, if somewhat flat, character—loses his life to this conflict. Thus, the outcome proves to be more complex than a one-sided win, and the message that the protagonists are not invulnerable imbues the plot with an element of realism.

Because Finlay’s narrative is dedicated to creating a compassionate portrayal of The Struggle to Heal the Legacy of Trauma, he also indicates his respect for the fact that such trauma cannot be resolved by a single breakthrough. Thus, there is minimal overt resolution to Ella’s internal conflict with personal trauma, and her resolution is mostly implied. Finlay never specifies whether Ella overcomes her addiction to Xanax or her other compulsions, but in her heroic decision to return to Mr. Steadman’s house after summoning help, she risks her own safety to save the lives of Keller and Chris, and the narrative implies that this choice may help to alleviate her survivor’s guilt from the Blockbuster killings. Finally, joining Chris for the Night Shift Travel Vlog adventures and giving back to those in need is portrayed as a positive source of meaning for her future.

Finlay continues his portrayal of the complexity of trauma with Chris’s character, for although Chris must come to terms with the knowledge that both his mother and his brother are long dead and therefore lost to him forever, he does gain a measure of healing from the realization that they didn’t abandon him. Additionally, the fact that Chris’s abusive father will go to prison and will finally pay for the damage he did to his family adds another layer onto Chris’s search for resolution. The symbolic role of Mr. Nirvana allowed Chris to maintain hope for Vince in the meantime, until he was ready to confront the truth and the past. The travel vlogger symbolized the brother who kept Chris safe and “insisted that Chris work hard to find a way out, to find nirvana” (271). In the end, he does indeed find his nirvana by doing his own travel vlog, adventuring around the world and helping those less fortunate, with Ella by his side.

Finlay’s own outlook as a lawyer shines through in his characterization of Chris, who is also involved in a second important conflict: his battle against injustice. Representing clients with addictions against drug charges has largely contributed to the apathy that he feels for his work as a public defender, for as he notes, “Locking them up does nothing. Plenty of people in the system want to help. But his clients are like an army from a zombie movie. Help one, and a hundred more appear” (111). Despite his growing cynicism, however, Chris shows that he still cares about fighting for justice, and his underlying belief in Vince’s innocence and his desire to represent Jesse are manifestations of this desire. Thus, Finlay relays the complexities of working in the legal system and grappling with the philosophical crises that result. When both Vince and Jesse are proven innocent, this outcome helps to renew Chris’s belief in the merits of fighting injustice. He honors that belief and the work of the public defender’s office by ending his vlogs with his former boss’s favorite mantra: “Do justice today” (309).

While all of the protagonists have their own trauma to process, Jesse’s transformation during The Struggle to Heal the Legacy of Trauma is perhaps the most complete. Given that Katie was her birth mother, Jesse has more reason than anyone to find the truth of the Blockbuster case. She tells Ella that she was researching the case because she wants to be a journalist, adding, “The prior reporting was crap and I wanted to find out…everything” (226). However, failing to learn more about her mother’s murder from the available reports becomes an additional source of trauma for Jesse, and it is only through the story’s resolution that she finally learns who her father was and why he killed her mother. As with all of the novel’s trauma-based conflicts, closure provides a way to begin healing. Significantly, Finlay does not leave Jesse’s resolution to the imagination, as he does with Ella’s; by creating a conclusion in which Chad Parke, the teacher who abused Jesse, is arrested for his crimes against her and others, Finlay comes as close as he can to a positive ending for such a deeply traumatized character. Jesse gets to leave the foster system, another implicit source of trauma, and she realizes her goal of starting a career in journalism by having her story published in the New Yorker. Thus, she alone of all the characters is portrayed as having truly transcended the many injustices of her early life.

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