# Chapter 15: The Interview That Turned Into a Trap
Hello everyone, it's me again! How are you all doing? Today I will continue to walk with you and review Chapter 15 of "Forget You Saw Her free digital audiobook." This is a chapter that begins with a name and ends with a sprint for survival. It is June 2007, and Isabel Palphreyman is about to discover how a room can feel holy one moment and predatory the next.
The chapter opens with Isabel explaining the strange burden of her name. In The Book of Mormon, only six women are mentioned by name: Mary, Abish, Sarah, Sariah, Eve, and Isabel. Isabel got the "harlot." That cruel coincidence follows her like a shadow. At Sunday school, other kids tease her mercilessly. Her mother tells her not to be crass, insisting Isabel is a pretty name. But Isabel eventually understands the real reason: her parents were determined to keep their Book-of-Mormon naming theme, hoping a boy would eventually arrive. They already had Mary, Sariah, Abish, and Eve. Sarah was too close to Sariah. No boys came. So Isabel became Isabel.
There is one small mercy in her childhood. When she is eleven, her Sunday school teacher, Brother Beaumont, shuts down the teasing so sternly that one boy cries. Isabel feels grateful enough to forgive every ugly thought she ever had about him—his greasy combover, his soft wheezing breath. Back then, he is just another suit-wearing church man with a wife and a little girl named Andrea. He is ordinary. He is safe. That is the memory the chapter quietly builds before it begins to rot.
By the summer Isabel turns sixteen, Brother Beaumont is no longer her Sunday school teacher. He is the first counselor in the bishopric, which means he is in charge of interviewing the incoming Laurels—the sixteen-year-old girls who meet for Young Women's during the third hour of church. The interview is supposed to be a check-in. A spiritual progress report. A test of purity and obedience. Isabel is nervous, but not only because of the interview itself. She has her first boyfriend, Archer, a senior, the most beautiful boy she has ever seen. They have not gone "all the way," but their makeout sessions have crossed lines she now recognizes from a chastity lesson. Sister Klein had read from Alma Chapter 39 with misty eyes, warning that necking and petting are an abomination in the sight of the Lord, second only to shedding innocent blood or denying the Holy Ghost.
That scripture lodges itself in Isabel's mind. She remembers Archer's hand slipping under her bra behind the school portables. She remembers kissing him harder instead of pushing him away. Now, walking to the church, she tries to cool the sweat and red splotches on her skin in the bathroom. She is not afraid of Brother Beaumont exactly. She is afraid of what she might have to confess.
When she finally enters the church foyer, Brother Beaumont is standing in his office doorway. The hallway lights are off. It is Tuesday night. The bishop's door is closed across the hall. They are alone except for the bishop, and the bishop is busy. Brother Beaumont says, "Sister Palphreyman, you've certainly grown up over the last three years." He gestures her inside. The office is tiny, about the size of her bathroom at home. She sits in a green-cushioned chair facing his desk. The walls are covered in scratchy, textured wallpaper full of coarse little hairs. Her hands shake, so she clasps them together.
She knows the interview questions. First, tithing. That is easy. She always pays ten percent of her babysitting money. Then comes the one she dreads: Are there any sins you haven't repented of that need to be confessed? Brother Beaumont remarks that he barely recognizes her from the gangly girl in his Sunday school class. She tries to laugh, but only a painful squeak comes out. He asks if she is nervous. She nods, afraid that speaking will make her cry.
Then he wheels his chair out from behind the desk and stops close enough that their knees are only inches apart. In a soft voice that makes the hair on her neck bristle, he asks, "Sister Palphreyman, do you trust your church leaders?" She answers yes without hesitation. He nods approvingly. Then he asks if she trusts her church leaders enough to give him a kiss.
Her stomach clenches. Is this a test? She cannot find her voice, so she gives a tiny nod. He grins and pulls something small and silver from his desk: a Hershey's Kiss. He hands it to her and says, "Very good." Relief floods through her. It was a test, and she passed. For one second, she forgets Archer. But the relief does not last.
Brother Beaumont leans forward. His breath is sour. He says the Spirit is prompting him to jump right into the difficult questions. Then he asks if she masturbates. She shakes her head no. He asks if she has ever had romantic or sexual feelings for someone of the same gender. She says no firmly, cheeks burning, wishing he would move his chair back. The smell of fish and the wheeze in his voice make her want to bury her nose in her sleeve. Then he asks the question she cannot dodge: Has she engaged in necking, heavy petting, or inappropriate touching?
Her mouth goes dry. The Hershey's Kiss melts in her clenched hand. The taunting voices from Sunday school whisper that Isabel means "harlot." She whispers, "Yes."
And that is when Brother Beaumont slowly reaches out and puts a hand on her knee. He tells her he is proud of her for being brave. He asks if it happened with Archer, the older boy. She wonders how he knows. Did Sister Klein tell him? Another girl? Her parents? She wants to ask him to move his hand. She wants to take back her confession. Instead, she nods and fixes her eyes on the frosted-glass window above his shoulder, telling herself this is a test, it will be over soon.
He presses for details. He says she must make a full accounting of her sins for repentance to work. Her lungs burn. Tears pour down her cheeks. She manages to say they have been kissing, that Archer touched her—but she cannot finish the sentence. She gestures to her chest. Brother Beaumont's eyes stay fixed on the front of her dress. Then, slowly, as if hoping she might not notice, he slides one hand from her knee to the middle of her thigh.
Isabel recoils against the chair. She finally looks him in the face. What she sees terrifies her more than any confession ever could. His eyes are different now—emptier, darker, wider, as if each iris has fallen into its own black hole. She turns her head slightly, gauging the distance to the office door. Is the bishop still next door? If she screams, will he hear her through the wall?
Brother Beaumont grips her leg tighter and leans closer. He starts to say something about trust and the repentance process. But Isabel is done with trust. Her legs are spring-loaded. She leaps to her feet in one quick motion, arching her body away from both of his hands as they try to grab her dress. Her mind screams: Run, run, run. Run, Isabel, run.
And she does.
This chapter is a masterclass in dread. It begins with the quiet cruelty of a name and builds into something far more intimate and dangerous. The horror does not come from a monster in the shadows. It comes from a man in a suit, in a church office, using faith, shame, and a silver-wrapped candy as tools of control. Isabel's flight at the end is not just a physical escape. It is the moment she stops trusting the system that was supposed to protect her.
## Reader's Impressions & Star Rating This chapter hit me like a punch to the chest. The way it weaves together childhood teasing, religious shame, and the slow realization of abuse is devastating and precise. Isabel's voice is so honest that every moment feels lived-in. The Hershey's Kiss detail is especially chilling—it turns a childish treat into a trap. I felt her fear, her confusion, and finally her instinct to survive. This is painful, necessary storytelling.
⭐⭐⭐⭐⭐ Rating: 4.9 / 5 Stars
## Next Chapter Prediction Isabel has just fled Brother Beaumont's office, but the aftermath will not be simple. I predict the next chapter will follow her immediate escape—perhaps she runs into the bishop, a family member, or no one at all, which might be even worse. She may struggle with whether to tell her parents, especially her mother, and she may fear that no one will believe her against a church leader. Brother Beaumont might try to twist the story, painting her as hysterical or sinful. Archer could reappear as a source of comfort or further complication. The central question will be whether Isabel can hold onto the truth of what happened, or whether shame and silence will swallow her.
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