The Diamond Eye

The narrative resumes from Mila’s perspective as she, Kostia, and Eleanor ride in a secure limousine to Chicago. Mila is concerned because the threatening letters continue to appear wherever she goes. In Russian, she asks Kostia if he went to New York to meet his family. He confirms that he did, but he says little else. When Eleanor points out the beauty of the plains and the Great Lakes, Mila points to American social problems, such as racial segregation and poverty. Eleanor agrees that there is much to be done to improve the country. Mila jokes that Eleanor is unusually industrious for a woman of her class, and Eleanor responds, teasingly, that Mila’s humor also runs counter to stereotypes about Russians.

The narrative resumes from the anonymous American sniper’s point of view. He is irritable and tired from following the motorcade. His biggest grievance, however, is that Mila is growing comfortable with her new role and environment, and his plot has dragged on due to changes in the tour schedule. He hopes his mission will end in Los Angeles.

The narrative returns to Mila’s point of view at an event with the Chicago Sharpshooter’s Association. She takes in the weapons on display, fending off the advances of the American sniper’s alter ego, Mr. Jonson. The men at the event ask Mila to demonstrate her skills, and she finally agrees, judging that a group of fellow experts are sincerely interested and not merely seeking a sensational headline. To Mila’s surprise, Kostia agrees to join the contest and suggests Alexei participate. Mila wins the contest handily and then asks Kostia why he included Alexei. He tells her that he wanted her to win and knew a contest with Alexei would guarantee her competitive side could conquer her anxiety.

Back in the car, Eleanor is bemused that Mila is overjoyed at her latest gift: a pair of Colt pistols. Mila arrives for her speech in Chicago, sensing that the audience doubts her skills and credentials, unlike the men at the shooting club. She deviates from her script and reminds the audience of her kill record, saying, “Don’t you think, gentlemen, that you have been hiding for too long behind my back?” (345). Mila imagines that Lyonya is next to Kostia, approving of her new fervor.

The American sniper watches and is shocked that Mila actually is a match for his own skills, and he feels a new, urgent desire to ruin her life.

At the tour’s stop in Los Angeles, Mila is resigned to another meeting with Mr. Jonson, who proposes again. As she listens to him, Mila senses danger. Eleanor gently suggests that marrying a millionaire would be one way for Mila to secure her future. Mila rejects the idea, saying that her place is in the war and in the country that believes her a worthy soldier.

The narrative switches to the anonymous sniper, thwarted once more as the president has canceled his California trip. He watches Mila open a threatening missive from him; he is furious when she does not react and instead throws it away. He decides he will end the mission in Washington, now determined that “getting Lyudmila Pavlichenko now seemed just as important as getting FDR” (352).

At a Hollywood party at the home of Charlie Chaplin, Mila is unimpressed by the luxury. After fending off amorous advances from actor Laurence Olivier, she escapes to the grounds and finds Kostia doing the same. They find the estate’s pool and take a swim together. As Mila inventories his new scars, Kostia says, “Those are just the scars we can see” (357). She tells him that he means more to her than anyone, and they passionately kiss. They leave the pool when they hear the others approaching. Before they part, Mila whispers the number of her hotel room, knowing he will find her there later. Kostia and Mila spend the entire evening and night in bed. They reflect on Lyonya, their shared loss, and whether he would approve of their new relationship. They agree that he would not begrudge them their newfound joy.

Mila is torn between the elation of her new relationship and the disappointing news that the tour is continuing to Canada and Britain. She is eager to return to the front but must accept the directive. In bed with Kostia, as Mila waxes poetic about Russia and her love of its history, she notices Kostia does not share her enthusiasm. He suddenly turns up the radio and whispers directly in her ear, clearly in need of total privacy. He explains that his American family welcomed him in New York and might help him make a home in the country. Mila is stunned, although she knows that her reasons for returning to Russia are stronger than his—she cannot leave Slavka. Before they can speak more, Alexei enters the room, his arms full of flowers. He explains he bribed the staff to get a key.

Kostia is ready to pounce, but Mila stays him with a silent gesture. She goes for a robe and says, “Don’t pretend you’re jealous, Alexei. This grown woman’s body of mine is ten or twelve years too old to arouse you” (364). Mila grows increasingly angry as Alexei once more asserts his claims of ownership. She tells Alexei that due to her new fame, she will secure a divorce as soon as they return to Russia. Before Alexei can approach her, Kostia grabs him and holds a knife to his throat. When Kostia makes a shallow cut, Alexei concedes, saying, “Take her and choke on her” (365). Mila relaxes only slightly, knowing that her larger problem—whether Kostia will defect—is unresolved.

The perspective shifts to the American sniper now disguised as a journalist in the hotel bar. There, he meets an angry Alexei, who recognizes him as Jonson. He reflects, privately, that his new drive to kill Mila is a departure from his usual detachment. When Alexei expresses interest in helping him damage Mila’s reputation, he feels newly certain his mission will succeed.