65 pages • 2 hours read
John Dudley BallA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Sam walks through the police station. He’s free to go, but he feels stuck—Enrico’s murderer is still at large. He goes to a café for dinner, where the manager says that working with a Black man must be difficult. Quickly, Sam defends Virgil and feels satisfied for sticking up for his colleague: “‘He’s smart as hell and he got me out of a jam.’ Sam was instantly proud of himself for standing up for the man who had stood up for him” (138). The manager calls Virgil the n-word, and Sam does not let this pass, insisting that Virgil is smarter than a lot of white men. Sam contemplates the case, hoping Virgil is right and that they’ll catch the killer tonight.
Night approaches. Sam and Virgil meet to go on their patrol. Sam wonders how Virgil can be confident that they’ll catch the killer, but Virgil remains tightlipped. He wants to let the night play out, rather than risk ruining anything. They talk about boxing and how painful it is, even for Black men, despite what Sam thought earlier. Virgil reveals that the men who attacked him were released without being charged thanks to the help of a councilman. They stop at a pharmacy. Bill comes out of the shadows and asks to join them on their patrol. The three men set out together to catch the murderer. Sam feels unexpected joy seeing Virgil sitting beside him: “The realization had just come that for the first time in his police career he had a partner. And despite his color, Sam felt he could rely on him” (141).
The three men agree there is a strange feeling in the air. They stop at the diner for food. Coincidentally, Eric Kaufman pulls up at the same time. He’s just come back from Atlanta where he found a notable conductor to replace Enrico, and he’s happy that ticket sales are strong. Virgil waits in the car while the other men go into the diner, and Sam wonders if they’ll catch Enrico’s murderer. They order food, and while they wait, Virgil walks in. Ralph immediately yells at Virgil, demanding he leave because he’s Black. Virgil refuses, and Ralph pushes him. Virgil aptly defends himself, subduing Ralph with an arm lock. Virgil announces that Ralph is the murderer.
Dawn breaks—another hot day in Wells. Virgil waits for Bill outside of his office. After Bill interrogates Ralph for hours, Ralph confesses to murdering Enrico. Virgil is pleased. He admits he was pursuing the wrong person for days, and he recommends Sam be promoted to sergeant for his work on the case. Mr. Endicott calls and invites Bill, Virgil, and Sam to Enrico’s memorial service later that day. While speaking to Mr. Endicott, Bill credits Sam and Virgil for solving the case, and he doesn’t feel as much shame as he expected. Bill shakes Virgil’s hand and earnestly thanks him for his help. Virgil is visibly moved and thanks Bill in return, and Bill humbly replies: “‘Thank you, Virgil […] You’re a credit to your race.’ He paused. ‘I mean, of course, the human race’” (147).
Virgil, Sam, and Bill attend Enrico’s memorial service. Mr. Endicott and the others decide to name the music festival the Mantoli Bowl, in honor of Enrico. Everyone is curious about the case and its conclusion. Bill realizes he shouldn’t take credit for solving the case: The murderer was caught because of Sam and Virgil. But Virgil confesses he almost ruined the case—he thought the murderer was Eric, who had the most to gain from Enrico’s death. However, after Ralph accused Mr. Gottschalk with no evidence, Virgil became suspicious. He figured out that Ralph and Delores had been intimate. When Delores thought she was pregnant, Ralph panicked, desperate to get money for an abortion. One night, after Enrico offered to show Ralph the site for the music festival, Ralph struck Enrico on the head, only intending to hurt him, but accidently killing him. Ralph panicked. He took the money he needed for the abortion, and then left Enrico’s body on the side of the road, hoping it’d look like a hit-and-run. Because of the heat of the night, Enrico’s body stayed warm, obscuring the time of his death.
After the service, Bill drives Virgil to the railroad station. Bill offers to carry Virgil’s bags, and Virgil allows him to perform this friendly gesture: “After he parked the car in front of the platform, he got out and picked up Virgil’s suitcase. Tibbs understood and let him do it” (157). They walk to a bench together. Bill is tired, and Virgil is okay to wait for his train alone, since it’s a pleasant evening. Virgil motions to a bench and asks Bill if it’d be okay if he sat there. Bill knows, without looking, that the bench is marked for white people only, but he tells Virgil to sit down. If anyone bothers him, Bill will vouch for Virgil. Bill wants to say more, but doesn’t, settling for a short goodbye. He considers shaking Virgil’s hand again, but hesitates. Bill heads back to his car while Virgil waits for his train out of Wells.
The final two chapters resolve the murder investigation, complete the main characters’ story arcs, and finalize the novel’s themes. Multiple situations test Sam’s resolve to stand against racism. At the café, Sam not only stands up for Virgil, but he also repeats his earlier point that Virgil is smarter than a lot of white men he’s met. Sam was skeptical of Virgil before, but at the story’s conclusion, he’s come to see the man’s excellence, and he proudly defends his colleague. Sam has expanded his worldview, humanizing people of different races. Sam finishes the story as a hero, with a strong chance of being promoted to sergeant, showing that Sam’s character arc—from racism to tolerance—is admirable and rewarding. Bill changes drastically as well. He shakes Virgil’s hand, credits his professional excellence, and carries Virgil’s bags. Most significantly, he encourages Virgil to sit at the bench reserved for white people. As one of the leading authority figures of Wells, Bill has the power to start breaking down the segregated structure of the city, showing that individuals can transform systemic racist structures. Bill also becomes more team-oriented, crediting Sam and Virgil for Ralph’s arrest. Earlier, Bill saw Virgil as a useful scapegoat and Sam as an incompetent subordinate, but now Bill changes how he treats others. Though Bill ends the story with his job safe and his professional relationships improved, he isn’t an entirely different person. He doesn’t shake Virgil’s hand a second time, and he doesn’t wait with Virgil for the train. His hesitation shows that erasing one’s prejudices is a long and difficult task.
Themes of class and institutional racism recur in the final chapters. Economic standing serves as an important motivator. Ralph kills Enrico because he is driven by a desperate need for money: “All he thought he needed to escape from his predicament was money, but he had no savings and his salary was totally inadequate. He was cornered, or thought he was” (154). Ralph’s job doesn’t provide him with the resources to pay for an abortion, so he resorts to violence. His story is a cautionary example that people in low-paying jobs with no social services might resort to violence out of desperation. Virgil suffers from other flaws in the town’s structure. Because racists run Wells, Virgil can’t get justice after two white men attack him. Instead, he’s told not to press charges: “Watkins, a councilman, got them off. He told me if I knew what was good for me I’d shut up about it, otherwise I would be booked for breaking the man’s arm” while defending himself (139).
Established symbols and motifs enhance the drama of the story’s final chapters. The climax takes place at night. The night comes to represent a time of mystery, but also a time of revelation and the darkness makes the officers’ search cinematic: “In a little while the daylight would come and when it did the mystery of the night would evaporate. Somehow it seemed to Sam that it would be too late then. The murder had struck by night; it would have to be at night, or so it seemed, that he would be captured” (143). A murky gloom heightens the darkness even more, giving the mystery of the night another physical manifestation, hovering over the characters, and giving the case more weight: “‘There’s an odd feeling to this time of night,’ Gillespie said. Sam nodded his agreement. ‘I always notice it,’ he answered. ‘It’s a miasma in the air’” (141). Heat continues to be relentless, bleaching life out of the town as Ralph’s capture has not yet dispelled the tension around Virgil: “It was a dirty, hot dawn which streaked the sky. What colors there were were smoky and the beauty that often comes with the first light of day was not there” (145). The lingering heat indicates that although the case has been solved, there are still more problems to address in Wells. Only at the very end, when Bill tells Virgil to sit on the whites-only bench, does Virgil remark that it’s a pleasant evening. Once the racist barriers in the South break down, the heat wanes.