58 pages • 1 hour read
Lucy FoleyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Nick and his siblings are gathered in Sophie’s apartment for a family meeting. Sophie seems older and frailer, even though she still looks impeccable. When Antoine tells Nick that Jess is at the club, the meeting immediately descends into resentments. Antoine never accepted Sophie as his stepmother after the death of his mother, and he insults both her role as trophy wife and Mimi’s adoption. Sophie points out that Antoine also lives off of his father’s money. Antoine declares that Sophie’s origins are suspect. He goes into Jacques’s study to retrieve the photograph of the nude woman, revealing that Sophie is the subject of the picture. Sophie points out that the real issue at hand is Jess—that she mustn’t find out anything more than she already has. Mimi tells them she saw Jess talking with the concierge for a long time, hidden away in the concierge’s cabin.
The show ends, and while others file out of the club, Jess and Theo sneak into the door they saw many men go through. They go downstairs and run into one of the dancers, who looks alarmed and tells them they can’t be there. They keep going, but before they pass through another door, the doorman stops them and brings them back up to the bar where the show took place. A tall, dark figure stares at them from a corner, but before Jess can get a better look, the doorman throws them out of the club. As Theo and Jess leave the alley, they are followed by the tall brunette dancer.
The concierge notices that the Meunier family are meeting and knows they are likely discussing the issue of Jess. The concierge feels defensive over Jess, who reminds her of her daughter. The concierge tried to warn Jess privately by slipping a note under her door, but when Jess opened the door and caught her, the concierge got nervous.
The concierge enjoyed Ben’s company. One time, over tea, he asked again about her daughter. The concierge revealed that she’s from Albania and had moved to Paris when her daughter, who had moved to Paris to pursue a career as a dancer, called her in tears because her job ended up being scandalous and she got pregnant. By the time the concierge could arrange a visa and the money to get to France, her daughter had already had the baby. The concierge went to her club to track her down, and the other dancers told the concierge that her daughter died in childbirth. She revealed to Ben that the reason she stayed was for her granddaughter, who lives in the apartment building.
Mimi escapes the fighting of her family and takes a break in her apartment. Camille comes into her room and asks her if she’s been acting strangely lately because of the mysterious boy she was interested in. Mimi curses at her. Camille packs her bags and reveals that she has been sleeping with Antoine’s ex-wife, Dominique. Now that Dominique moved out, Camille can leave too and be with her.
Mimi recalls how, one day while Ben was out, she snuck into his apartment and disrobed, keeping on the new lingerie she bought with Camille. She wanted to surprise Ben in bed, but he was taking a while, so she started looking around his apartment. She found his journal and started reading, discovering that he was writing about her. Wanting to know more, she broke into his laptop by guessing the password, taking her successful guess as a sign that she and Ben were meant to be. A computer document was labeled with her family’s name. After reading the document, she immediately regretted it.
The dancer leads Theo and Jess out of the wealthy neighborhood and into a less touristy, more private all-night kebab place. Settled in, she introduces herself as Irina, a name Jess recognizes from Ben’s journal. Theo agrees to pay her for information. Irina tells them that she moved to Paris for a dance job but discovered what happens after the show, in the room where the men were sneaking off to. Because sex work is illegal in France, wealthy and powerful men come to the club to abuse trafficked women. In the back room, these club members use wine purchases as code: Each wine brand and date is a code for a certain “type” of woman. Many of the women don’t have the legal paperwork to be in France, and their traffickers possess their passports, entrapping them in a cycle of commercialized sexual assault.
Though she doesn’t know the names of the men, Irina knows that they are high up in French society and government, even within the police department. Ben provided her with a camera, which she’s been using to take photos of the men. Irina gives the photographs to Jess. She insists that some of the women are happier at the club than in their previous homes, and that there’s a story circulating that one of the women married the club owner. But many of the women get pregnant or sick. One had her baby in the club and died during childbirth; it was all easily swept under the rug because she lacked documented citizenship. Irina confides that she’s sick from an STI and wants out. Ben promised to get her out of her situation in exchange for information.
Ben had been writing an exposé on Mimi’s father and his sex-trafficking club; this was the document Mimi read on his computer. When she realized that she was somehow connected to this horrible place, it shook her already fragile sense of self. Before she could finish reading, she heard Ben coming back into the apartment, so she hid in the closet. There was a knock at the apartment door, and Ben let in her mother, Sophie; Mimi saw them have sex. When Mimi finally left, she angrily cut apart her paintings of Ben. She was pleased with her private act of violence but knew it wasn’t enough.
As Jess and Theo leave Irina, Theo expresses excitement that Ben was onto such a huge story. Angry with Theo for thinking only of this possible scoop, Jess runs away from him, crying, but she gets lost and finds herself in the thick of a major protest. The protest descends into violence when armed police arrive and attack the protestors. Caught in the chaos, Jess bumps into Theo, and they escape by finding a nearby bar bathroom. Theo admits that he’s excited about the story but insists that he’s worried about Ben. Theo helps Jess ease the pain of the tear gas in her eyes, and they kiss and have sex in the bathroom.
After the family meeting ends, Antoine stays back. He reveals himself to be Sophie’s extortionist. Though his father always kept Sophie’s background a secret, Antoine always had his suspicions. He searched through his father’s records and discovered the truth about how Sophie and Jacques met: Sophie used to be trapped at the trafficking club—and Jacques, the owner, married her. Antoine has been extorting her because Dominique plans on walking away from the marriage with a large chunk of his money.
As Jess and Theo walk to the metro, he insists that she stay with him and not go back to Meuniers’ building. Jess hears the sounds of footsteps running toward them, and Theo is tackled by four police officers who search his pockets and find a baggie of cocaine. He accuses them of planting the drugs on him, and Jess recognizes Commissaire Blanchot, the same police officer to whom she and Nick gave their statement about Ben. Jess gets on the metro just before the police officers reach for her.
Antoine demands his money and implies that he knows about Sophie’s affair with Ben. He pulls out his phone and threatens to call Jacques, but Sophie calls him on his bluff and dares him to make the call. She told Ben her real identity but noticed that his questions had the tone of a journalist. Ashamed that she opened up to someone who wanted to use her story, Sophie regrets the affair but knows that Jacques is more concerned about appearances than anything else.
Jess is aware of the danger that awaits her in the apartment building, but she has a gut feeling that she needs to return. It reminds her of the day from her childhood when she had the intuition that she should stay home from school to be with her mother. She ignored that feeling and went to school, but when she came home, she discovered that her mother had died of an overdose. Now as Jess looks back on it, she resolves to never again ignore her instincts.
When Jess enters the apartment building, she sees the concierge collapsed at the bottom of the stairs. She finds a pulse but senses that this wasn’t an accident.
Jess reaches for her phone to call for an ambulance but remembers that she gave her phone to the doorman to enter La Petite Mort. She tries to leave for help but discovers that she’s been locked into the building. The concierge starts to move, and she sits up, begging Jess not to call an ambulance or the police. Nick appears on the stairwell, inviting Jess for a talk.
Jess accuses Nick of hurting the concierge, but he insists it wasn’t him. Privately, he knows it must have been Antoine. Nick tries to assure Jess that he wants to help her.
Three days earlier, Mimi told Nick about what she’d read on Ben’s computer, about how their family’s wealth isn’t from wine but from sex trafficking. Mimi worries that she’s not actually biologically related to her brothers, a suspicion Antoine and Nick have always harbored. Nick found out about the trafficking on his 16th birthday when Jacques gave him a “sex worker,” who was actually a woman whom Jacques was trafficking. Ben knew about this birthday trauma, which explains why he later reached out to Nick in Paris. From the very beginning, Ben was using Nick for a story.
The first-floor apartment door opens, and Antoine enters the stairwell. Jess manages to get into the lift and tries to beat Nick to the third floor. She gets into Ben’s apartment but hears someone unlocking the door. She rushes toward the maids’ staircase, but Nick stops her. She demands to know what happened to Ben, and Nick insists that he had nothing to do with it. Ben’s cat lunges at Nick, giving Jess the opportunity to grab a knife from the kitchen and run out the door. In the hallway, she runs into Antoine. She rushes at him with the knife, taking him by surprise and making him fall down the stairs. She has no way to escape but by ascending toward the penthouse.
Mimi hides in her apartment while the commotion in the building begins. Sophie comes in to comfort her and coaxes her to stay in the apartment while Sophie goes out to help. Mimi is afraid of being left alone with her thoughts and feelings.
Jess runs up the stairs toward the penthouse, continuing her upward spiral by using the ladder that leads to the maids’ quarters. Once inside, she notices the dank smell of the attic. She sees a body on a mattress and screams.
Mimi hears Jess’s screams that they’ve killed Ben. Mimi has memories of blood and a knife in her hand; she remembers Sophie dragging her into the shower to wash the blood off and promising to keep her safe. When Jess arrived and said her brother was missing, Mimi realized that these memories might be real and that she might have killed Ben.
Sophie, too, hears the screams about Ben having been killed. She remembers when she and the concierge found Mimi in Ben’s apartment, leaning over a dead body and screaming about the club. They helped clean Mimi and get rid of the evidence, wrapping the corpse in a sheet. Antoine and Nick walked in as Sophie was cleaning the blood off the floor with bleach. She told them that Ben had found out about the club and that Jacques had him killed.
Jess screams over Ben’s body but suddenly sees his hand twitch and his eyes open. Sophie and Nick enter the attic.
Nick dealt with the guilt of Ben’s death for days, but he notices that Sophie doesn’t seem shocked to see Ben in the attic. Nick and Antoine dug a grave in the courtyard garden and buried the dead body, which they’d believed was Ben.
Mimi remembers watching Ben from her window after she tore up the paintings. She saw her father walk into the apartment and attack Ben repeatedly with a bottle of wine. Certain that her father was trying to kill Ben, Mimi ran over to the apartment with her knife. Despite Ben’s betrayal, she loved him. And she now realized her father was a very bad man, so she attacked him to save Ben.
Nick was the one to tell his father about Ben’s investigation into the trafficking. He remembers feeling both pleased and guilty that he betrayed Ben, and he took several pills to lull himself to sleep. He heard the commotion upstairs through a haze. When he and Antoine got to Ben’s apartment, they found Sophie cleaning up blood. She told them there had been an accident. He and Antoine buried the shrouded body without looking at the face.
Sophie remembers how, to protect her daughter, she used Jacques’s phone to text her stepsons as though she were Jacques. She hid Ben in the attic, keeping him alive over the last three days but not knowing what to do with him. She had implied to Antoine and Nick that their father needed to distance himself from the situation, telling them to keep his presence in Paris that night a secret.
Sophie reveals the truth of what happened that night. Jess begs her to let them go and promises that when she brings Ben to the hospital, she’ll make up a story and tell no one about the Meuniers.
Jess assures Sophie that she won’t go to the police; her father was a well-respected police officer but was abusive to her mother, so from the very beginning, Jess has never trusted the police. Sophie decides she has no other choice but to trust Jess.
Nick is reeling with the news of his father’s death. They had a difficult relationship, but Jacques was still his father. Nick helps Jess get Ben down the stairs.
Ben is in recovery at the hospital. Though the doctors seemed skeptical of Jess’s story that he fell off his moped, they treated him without further questions. Ben confesses to Jess that he was attracted to the family because they had everything he didn’t, but that he also resented them for it. He apologizes for not having been there for her in the past. Theo visits, and Jess shares a plan for releasing Ben’s story without getting the undocumented women in the club deported.
Sophie receives a letter from Jess, who tells her that though Jess hasn’t gone to the police, Ben’s article will be published in two weeks. Depending on Sophie’s cooperation, she and Mimi can either be unnamed or take on starring roles. Mimi is away in the South of France to paint and rest. Nick has also left, but Antoine is still in the building, dealing with his father’s death. Jess’s letter proposes that Sophie sell off her jewelry, art, and wine, giving the proceeds to the trafficked women so they can get away before the news story brings the police to their doors. Sophie looks around her apartment. The concierge has slipped away, even with her injuries, and taken with her some of Sophie’s valuables and her dog, Benoit.
After Ben’s story is released weeks later, a news report reveals that Antoine has died by suicide and that an anonymous website has published the records and photographs of the club’s traffickers. The police are searching for Jacques, who remains at large. The investigation is made more difficult by the fact that all of the women at the club have disappeared.
Ben is staying in Paris to pursue his now-burgeoning career. Jess accepted a cut of Sophie’s pay-off money to rent a studio in Italy. At the train station, she notices the familiar gait of the concierge with a silver whippet resembling Benoit, boarding a train for the South of France.
These chapters reveal the core reasons for the novel’s conflicts and resolve the mystery of Ben’s disappearance, cultivating messages on the importance of family and a social criticism of power. Each character offers a different angle on these themes.
The concierge is the consummate outsider and thus provides a unique and subversive commentary on class power dynamics and family loyalty. A character always lurking in the shadows, she turns out to be trying to help Jess, revealing that appearances are not always what they seem. Her character is a mystery-thriller trope because she is not the uninvolved employee she appears to be. She knows the secrets of the building and its family but is overlooked because of her class status and the defined relationship between employer and employed. This, ironically, affords her a certain amount of power. Undetected and ignored, she is free to observe and calculate when to step in and when to stay away. For many chapters, Foley hints at the concierge’s connection to something dangerous, but ultimately that connection is her own battle with the Meunier family—and the concierge gets the happy ending, reuniting with Mimi, her biological granddaughter. The concierge is ultimately rewarded for her years of silent guardianship when she escapes with the Meuniers’ expensive possessions, stealing from those who have stolen from others, like Robin Hood. She boards a train to visit Mimi in the South of France, foreshadowing a new chapter in their lives, one in which they can meet again with a new context and understanding of the past. This will bring the concierge peace, but it will also help Mimi confront and heal from her identity crisis.
Jacques is a different image of power and (corrupt) family influence. His control over his family demonstrates his domineering nature, and each Meunier is scared of Jacques in their own way. Jacques’s domestic power parallels that in his business life of sex trafficking, though his trafficking tactics are more overtly manipulative. Just as Jacques gets away with emotionally abusing his family, for years he gets away with abusing young women. The trafficking club is only for the wealthiest elite men of Paris, involving a larger conspiracy of people who abuse their power and hide their wrongdoings with a veneer of wealth and prestige. All the while, the trafficked women themselves are stuck in a web of dehumanization, loss of autonomy, and fear for the future. Sexually transmitted infections and fatal pregnancies are all real threats to the young women. The wealth of Jacques, his family, and his clients contrasts with the dejection and disempowerment of the enslaved women, and the juxtaposition emphasizes Foley’s message about classism and the abuse of socioeconomic power.
This classism—and Foley’s critique of it—even finds symbolic expression in the very infrastructure of the Parisian apartment building. The uncomfortably tight maids’ staircase and attic rooms imply that maids were to be used but not seen, dehumanizing them at the same time they were employed to take care of a family. What used to be acknowledged as good and normal (a class-based social division between wealthy people and their servants) was hidden away instead of reformed when cultural norms changed. Similarly, in contemporary Paris, this tension still exists: The dancers are mostly from other countries, and many are in France without documentation. They are kept in a secret club, hidden underground, close enough for when the wealthy want to use them, but sequestered away. While these women have little option but to stay in their situation, Jacques and his wealthy clients live raucously and without fear of repercussion. The novel calls attention to these disparities to criticize how society treats the wealthy (as irreproachable) versus the impoverished (as unworthy of concern). Because powerful men like Jacques have created these sinister systems of power, they are able to manage them without impunity. This changes when Ben arrives and threatens their power.
Ben is a middle ground in the class dichotomy. He is neither rich nor impoverished, neither powerful nor without autonomy. He walks a fine line between both worlds, fitting in with the Meunier family but forging equally successful relationships with working-class people like Theo and even the trafficked Irina. Ben is the ultimate chameleon, making journalism an ideal career path. Ben can convince people that he is comfortable in their presence, breaking through their walls and integrating himself into their lives and communities. At the end of the novel, Ben reveals that he pursued the Meunier family partly for their seductive, opulent lifestyle. He fits in with the Meunier family, but betrayals and skewed motivations endanger him. Though Ben occupies a social threshold between wealth and poverty, that threshold is fraught with violence, symbolically emphasizing the society’s unwillingness to address harmful class divisions.
The final chapters escalate tension through narrative structure. Foley ramps up the pacing, shortening chapters and volleying more often between characters’ perspectives. The transition between Sophie’s and Jess’s narrative points of view is an important build-up that leads to the climax. The final volley between Sophie and Jess reveals parallels in the two women: It is revealed that they both have reservoirs of strength, street savvy, and love, qualities unmatched in those around them. The tension also escalates though layers of the unfurling mystery. For example, when Nick finds Ben alive, Foley reveals that Nick believed himself to have buried Ben’s body, and the narrative creates yet another mystery to unfold after the central mystery, Ben’s disappearance, is resolved. By the final fight to find Ben, there remains no pretense of the building’s spookiness. It is clear that the menace in the house exists in the lies and secrets of the Meunier family. With a clearer idea of the real enemy, Jess can finally act. As she runs up the different floors of the apartment building, each floor symbolizes yet another layer of the hurt that the residents’ have endured. When she finds Ben alive in the attic, the plot twist is the beginning of the happy ending.
In addition to Jess, most of the novel’s main female characters become heroines in their own ways. This pattern emphasizes the novel’s focus on societal power dynamics. The women have all been disadvantaged from the beginning due to sexist influences, yet they emerge victorious—or at least more liberated. Crucial to the happy ending is Sophie’s intelligence, which facilitates a satisfactory resolution of conflict. Though Sophie is cold and manipulative, she is not a killer, and she is redeemed through the harsh reality of her own story of being trafficked and her genuine love for her adopted daughter. Sophie and Jess forge an alliance to take down a mutual enemy: Jacques, the other representative of the patriarchal powers that be. The story’s conflict further resolves through the poetic justice of Mimi killing Jacques. Jacques is the reason Mimi feels out of place in her life—and it is ultimately his cruelty and abusive business that led to Mimi’s biological mother dying in childbirth, leaving Mimi without knowledge of her real family. In killing Jacques, Mimi avenges the lives of all the women like her—Sophie, the concierge, Irina and the other trafficked women—who live in constant fear and intimidation at the hands of powerful men.
By Lucy Foley