53 pages • 1 hour read
Stephen KingA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Billy and Alice plan to go back to Bucky. They research Roger Klerke online. He is a hugely powerful media mogul who owns Trump’s favorite news network, WWE. He also owns Channel 6 in Red Bluff, the only TV station to get footage of the Allen shooting. Billy realizes that this explains why Channel 6 was at the courthouse and not at the fire. Klerke wanted footage of the murder.
Billy tells Alice what Nick told him about Klerke and why he wanted Allen killed. Klerke had his son, Patrick Klerke, killed by Joel Allen. Nick brokered that job. There had been a power struggle between Klerke’s two sons, and Patrick had attempted to blackmail his father with photographic evidence that he had raped young girls in Mexico. When he murdered Patrick, Joel Allen discovered this evidence. This was the information he was willing to trade in his plea deal.
Before returning to her own room for the night, Alice tells Billy how to remove his fake tan and that she loves him. He responds that he loves her too because he does not want to lie to her.
Billy calls Nick, who confirms that the hunt has been called off and says that he will transfer $300,000 to Billy immediately, with the rest to follow. Nick says that Georgie always told him that Billy was smarter than he seemed, but that he didn’t believed him until now. Billy asks Nick for Georgie’s telephone number.
As he tries to sleep, Billy realizes that he left Shanice’s drawing of her flamingo in the truck he abandoned. He remembers the baby shoe he lost before the Funhouse attack and feels that he has now lost another lucky charm. In the morning, he and Alice drive to Bucky’s house.
Billy and Alice stay at Bucky’s cabin for some time—longer than Billy intended. He continues to write in the small wooden cabin and finds that someone has put the picture of the hedge animals back on the wall. He thinks that the animals have moved again and that the lions with red eyes have come closer to the front of the picture. He dismisses this thought as fantasy. As his writing progresses, he begins to think of it as a book. The plot catches up to the present, and Billy starts using aliases for his characters again.
When he has finished writing—concluding with the arrival at Bucky’s hideaway—Billy calls Georgie. He has a plan for Klerke and needs Giorgio’s information and connections. He intends to use Klerke’s sexual interest in young girls and Giorgio’s connections to people who have procured girls for him in the past. Giorgio insists that he had nothing to do with the little girl Klerke raped in Tijuana, but he also makes it clear that he worked for Klerke in full knowledge of his crimes.
Billy, Bucky, and Alice work on making Alice look as young as possible so that she can act as bait. They go shopping for new clothes and get her hair cut to resemble a high school girl. Bucky take photos of Alice, which Giorgio previously agreed to send to Klerke. They don’t send them until later when they are on their way to Klerke’s, but they hear quickly back that Klerke is interested.
While in touch with Giorgio, Billy asks about Frank’s injuries and is told that he is in a palliative care facility with an irrecoverable brain injury. His mother, Marge, is with him. Billy calls Nick and asks him to send money to Marge, letting her know that it is for Frank’s care. He tells Nick that it is Nick, not Billy, who is responsible for Frank’s injuries and that Billy did only what he had to.
Bucky gives Alice a small handgun and asks her to promise she will use it if she needs to.
This chapter is written as a chapter in Billy’s book. It opens with Alice reading the rest of what he has written while driving to Klerke’s. They talk about the future, and Alice suggests that she might go to college—not business school—when this is finished. Billy says he might try his hand at writing.
They check into a hotel, where Billy receives a package from Georgie containing a cannister of Carfentanil, a potent sleeping gas.
As arranged, on November 4, they drive to Klerke’s estate. Billy wears a disguise and introduces himself as Steve Byrne, cousin of an associate of Klerke’s. Klerke’s security notices a slight bulge in Billy’s jacket, and he is forced to leave his gun outside. The canister of sleeping gas is small enough to avoid detection.
As they approach the house, Billy tells Alice to stay behind him. He demands the money in advance and takes time to count it, beginning again when he is interrupted. Alice slips up and calls him Billy, at which point Klerke’s assistant, Peterson, draws his gun. Billy hits Peterson and sprays him with the sleeping gas. His drops his gun, which goes off as it hits the ground, alerting Klerke that something is wrong. He comes to the door. When he realizes what is happening, he retreats into the house, but Billy follows. While Billy confronts him, Alice appears and shoots Klerke. Afterward, she says it wasn’t her who did it, and Billy understands that she pulled the trigger in an uncontrollable rage.
Billy stops at the gate to collect his gun. Marge appears and shoots him. Billy shoots back. Marge dies and Billy is wounded. Billy and Alice leave the scene. They buy supplies and she helps him to clean his wound.
In a hotel that night, Billy writes a letter to Alice and leaves. In the letter, he says that he and Bucky are “bad men” and that she shouldn’t live with them. He tells her to go back to Bucky for help but not to stay. He gives her details of bank accounts she can use. He leaves her the thumb drive with his story on it but takes his laptop.
Alice is at Bucky’s house. Bucky has read the end of Billy’s story. He points out some logical problems—for example, if Billy took his laptop, then why does Alice still have it? If he wrote the letter before leaving for good, how is it included in the final chapter of this book? Nevertheless, he thinks it’s good. He says he can’t tell where Alice took over from Billy. He asks her to tell him what really happened.
It transpires that Billy’s wound was more serious than in Alice’s story. They drove together toward Bucky’s house; Billy wouldn’t seek medical help on the way because he didn’t want to risk linking Alice to Klerke’s murder. He rambled and raved, seeming to talk to people from his past, like Robin, a girl he was close to in foster care. He also seemed to think he was playing Monopoly on Evergreen Street again, and he talked to two boys called Derek and Danny. Derek was one of the children he knew when he was in Red Bluff, but Danny was not. This seems a possible reference to Danny Torrance, the boy in The Shining, who died as an adult at the Overlook in Doctor Sleep (2013). Billy knows he is going to die and tells Alice what her story framed as the contents of the letter. Bucky asks if Billy really said he (Bucky) was a bad man; Alice says that he did.
Billy is buried near Bucky’s house. Alice visits his grave and tells him that she is going to college to study English. She says that she didn’t tell him before because it felt beyond her, but Billy has given her the confidence to become a writer.
This section of the novel focuses on the hunting of the novel’s unambiguously evil antagonist, Roger Klerke. Klerke embodies many of the themes and traits that have emerged throughout the novel. He is the owner of the news network that most closely supports Trump’s presidency; he has no “honor” and instead of paying Billy, orders his murder; he is a rapist and pedophile; he has no familial loyalty and has his own son killed. While the lines between “good” and “bad” guys become slightly less simplistic as the novel progresses, Klerke returns readers to a world of clear moral judgment: He deserves to be assassinated, the novel suggests. It is telling that Klerke is absent from most of the novel, a shadowy figure controlling events from behind the scenes. This mysteriousness allows him to function as a larger-than-life embodiment of evil.
That Alice is the one who kills him is significant; he is punished for his crimes by a victim of sexual violence. Alice is explicitly and vocally liberated at the end of this novel. She had been controlled by her mother’s expectations and abused by men, but now she makes the positive choice to become a writer. Authorship is conceived as freedom and the ability to shape the world as it could be, rather than being constrained by how it is. Authorship gives Alice the authority and control that was taken from her. While Billy Summers dies, his legacy is Alice’s liberation.
Despite Klerke’s larger-than-life villainy, questions about moral culpability remain. For instance, Billy is confronted with the consequences of his attack on Frank, who is in palliative care with a brain injury that leaves him in pain and suffering seizures. His mother, Marge, is heartbroken and distraught. Billy evidently feels guilty and asks Nick to send $200,000 to Marge to help pay for Frank’s care. Nevertheless, he also attempts to share or shirk responsibility, telling Nick, “You could also tell her that what happened to him ultimately comes back to you, not me, but I don’t really expect that” (388). Billy ultimately dies at Marge’s hands in revenge for what she perceives as his crime, and his crime alone. That this happens immediately after Billy and Alice have exacted revenge on Klerke, creates an echo in the plot that is difficult to reconcile. Klerke might “deserve” his fate in the logic of the plot, but it is less clear that Billy does. The ambiguity is part of the point, with questions of culpability and justice often being more complexly intertwined than people (or literary plots) allow. For example, Giorgio worked for Klerke knowing his crimes but tells Billy “I hope you get the child-molesting perv” and helps plan his punishment (380). However, Billy thinks to himself that there can be no absolution for Giorgio, who has a place waiting for him in hell. These contradictions between the moral absolutes of a simple revenge plot and the complications created by shared responsibilities and complex histories raise more questions than they answer.
The connections with King’s other work in this section of the novel are striking, not least because the most explicit references are not to other thrillers, but to horror novels like The Shining (1977) and Doctor Sleep (2013). This reference to “real” haunting in a novel haunted by trauma blends genre conventions and plays with the expectations. It also raises the specter of evil as it is treated in King’s other novels, where it often features as a supernatural manifestation of repressed trauma or unpunished crimes. For example, in Bag of Bones, the ghost of a woman who was raped and murdered claims the descendants of her attackers. Similar themes have been treated here, but within the conventions of a thriller; as the novel ends, these distinctions break down.
By Stephen King