52 pages • 1 hour read
Grady HendrixA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Lynnette wakes up at Dr. Carol’s house. Eight-year-old Pax comments, “Nice rack,” and he and his brother Skye laugh at a T-shirt featuring Lynnette’s story, which they’ve found while researching who she is online. Lynnette offers to show Skye her scars, and he asks her what the pain of getting them was like.
Dr. Carol gets a call that Dani is in custody; the police reopened her case and told her to come in for questioning because someone had confessed to the crime in her story, but she refused to leave her dying wife Michelle. When the officers wouldn’t leave, Dani shot into the air, so they tasered her and took her to jail. Then they moved Michelle to hospice.
In the 1980s, Dani’s older brother Nick enjoyed killing animals and other things that were smaller than him. When Dani was seven, he hurt their babysitter badly enough that he got sent to a facility. Her parents took her to visit him a few years later, but it was so upsetting for Dani to see Nick so incapacitated by anti-psychotic medication that she never went back, which she regrets. When she was 17, a Halloween storm allowed facility inmates to escape. A man wearing a mask and wielding a knife attacked Dani; she assumed it was Nick coming back to see the sister who had abandoned him. She stabbed the attacker with his own knife, and the police shot him many times, but they couldn’t find his body. Later that night, after killing many more people, Nick found Dani at the hospital where they’d taken her, and she beat him to death with a tire iron. Nick’s fans spread rumors that the masked man was probably Harry Peter Warden, another escaped inmate. This terrified Dani, who was afraid she’d killed her brother for no reason—maybe he was just coming to check on her as her brother, and was still woozy from the antipsychotics.
Lynnette wonders whether someone knew that mistakenly killing Nick was Dani’s biggest fear from a book like the one Julia had suggested was out there.
Lynnette goes to Skye’s room, catching him masturbating. He’s embarrassed, but agrees to go with her to her apartment to get a hard drive from her computer. She looks through some files in Dr. Carol’s office and finds one on Stephanie Fugate. Stephanie was at Camp Red Lake because a few years earlier her tennis coach had been poisoning players, and Stephanie survived the murder spree. Lynnette resolves not to let another individual being attacked go unprotected. Before Lynnette and Skye leave, Lynnette bribes Pax not to tell his mother about it by giving Pax a hundred dollars for a comic book he drew.
On the way to her apartment, Lynnette tells Skye about how people worship monsters. They collect “murderabilia,” which includes the killers’ belongings or mementos from their killings. When Skye suggests she’s stuck in her past, Lynnette responds:
None of us have to be defined by the worst thing that happened to her. Unfortunately, those things have a bad habit of coming back and trying to kill us again. After a while, you start to realize that your life isn’t the thing that happens between the monsters, your life is the monsters” (89).
There is no escape from the past for her because there is always threat of the monsters coming back. She has to live this way if she wants to stay alive.
They sneak past the media and law enforcement parked outside her apartment. Inside, she finds Fine, the plant, and then opens a hidden panel in the wall where her real computer is—the one the cops got is a dummy. Skye determines someone installed software that allows them to remotely operate her computer. Lynnette is upset with herself for having been careless, especially because her computer has her book on it. She has Skye take her to Bel Air and promise not to tell his mother. On the way there, Lynnette notices that Skye looks like Tommy; she feels sorrow about Tommy and what might have been.
A little while ago, journalist Russell Thorn tried to blackmail Lynnette when he discovered that she writes romance novels under a pseudonym: To prevent him from going public with this information, he demanded she co-author a book about the Final Girls, a book she imagined titling The Final Girl Support Group. Refusing to go along, Lynnette instead wrote the whole book herself, but realized she couldn’t publish it because it would betray the women in the group. She didn’t want to throw it out, though, so she simply left it on her computer.
Lynnette approaches Marilyn’s house and puts Fine in the bushes. There is extra security. She realizes Marilyn is having a party.
Years earlier, when Marilyn, her brother, and three friends went to make sure Marilyn’s grandfather’s grave hadn’t been dug up—something that was rumored to be happening in the place where he was buried—they ran into a backwoods family of former slaughterhouse owners, the Hansens, who turned out to be murderous cannibals. The Hansens brutally murdered everyone except Marilyn. A year later, the surviving Hansens showed up at a radio station where Marilyn had a DJ job. She once again survived.
Lynnette tries to get into the party, but a security guard stops her and wrestles her to the ground when she tries to fight back. Security gets Marilyn, who is annoyed to see Lynnette there. Lynnette screams, so Marilyn has no choice but to send Lynnette to the guest cottage and to promise she’ll arrive later to talk. The guards take Lynnette to the cottage, where she finds Heather.
Heather doesn’t want Lynnette there—she’s worried Lynnette will ruin Heather’s new luxurious hiding spot. When Lynnette warns that something dangerous is happening to the Final Girls, Heather tells Lynnette everyone pities her because she’s so disordered: “[Y]ou can barely walk through a door without having a nervous breakdown and you’re going to help anyone? […] Out of everyone, you are the absolute fucking worst at letting go of the past” (116). Lynnette retorts that they all have to look out for each other.
Suddenly, Lynnette’s story is on the news. Officer Garrett P. Cannon announces on TV that the police have new information on the Silent Night Slayings.
Heather tries to escape, but the security guards hold her back. Marilyn arrives, tells the women to stay put, and has food delivered to the room. Marilyn explains that paparazzi followed Lynnette to her party. Lynnette tries to get Marilyn to believe that killers are coming for the Final Girls, but Marilyn believes everyone else is safe—Dani is protected in jail and Julia has security posted in the hospital. Meanwhile, Heather and Lynnette both have warrants out for their arrest. Lynnette asks about Michelle in hospice. She convinces the other women that they need to make sure she’s safe.
The three women spring the dying Michelle from hospice, relying on Marilyn’s savviness and a small taser to a guard’s crotch. Their plan is to take Michelle to Dani’s ranch, but in the car, they realize they don’t know where the ranch is, and Michelle is too far gone to tell them. Marilyn drives to a park, where they wheel Michelle onto the grass so she can die outside in nature. Michelle dies. They ask an old man to stay with her body.
As they are leaving, Garret and other cops show up. Heather called him to arrest Lynnette—both Lynnette and Heather have warrants out, and this would give Heather a way to escape. Shrugging about the betrayal, Heather says, “The rest of us are survivors […] You were always just a victim” (144). Lynnette sees that Heather offered up Lynnette to save herself, just like Lynnette did to Julia during the shooting.
Like the backstories of all the Final Girls, Dani and Marilyn’s traumatic events mimic classic horror movie franchises: Dani’s refers to the Halloween movies and Marilyn’s riffs on the Texas Chainsaw Massacre. These constant allusions to famous horror series allow Hendrix to keep playing with the line between reality and fiction. Adding to the novel’s metafictional approach to the horror genre, the plot introduces another account of the lives of the Final Girls: the book Lynnette has written, which both in title and in its contents is meant to be a stand-in for Hendrix’s actual novel—an account of what has happened to the women who survived their nightmarish ordeals.
Lynnette’s book brings up the recurring motif of betrayal. After writing the book, Lynnette decided not to publish it, knowing that to do so would be disloyal to the other women, who guard their privacy from the crazed fans who worship, or even want justice for, their killers. All of the group’s members are constantly wary of being betrayed—they kicked Chrissy out of the group for an as yet unspecified transgression. At the same time, they are willing to turn on each other to protect themselves: sometimes unwillingly, as Lynnette did when she fled while Julia was shot, and sometimes on purpose, as Heather does when she calls the police on Lynnette to escape her own warrant.
The group’s internal fighting allows external forces to be more threatening. Not only are the Final Girls in danger from their ever-returning monsters, but now someone has gotten a hold of Lynnette’s book. Even those who could ostensibly help the women are more interested in profiting from their stories: journalist Russell Thorn tried to blackmail Lynnette into collaborating with him, while police officer Garrett is still trying to commodify his past as Lynnette’s rescuer.
Finally, the novel raises questions about what victimizes its protagonist most. While the killers Lynnette faced were real, she lives in a prison of her past. The other women’s comments about her declining mental health suggest that her trauma might be more damaging to her now than the monsters. Whatever happened to Lynnette is her greatest trauma, and she doesn’t know how to leave that trauma behind, becoming paranoid and hypervigilant as a coping strategy. Lynnette can’t help but compare everything that happens to her in the present to her regrets about the past. She is tormented that she couldn’t save the people she loved—Tommy and Gillian especially—so having left Julia at her apartment brings her similar shame.
By Grady Hendrix
Fear
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Feminist Reads
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Good & Evil
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Horror, Thrillers, & Suspense
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Mental Illness
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Mortality & Death
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Mystery & Crime
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Pride & Shame
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Safety & Danger
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Sexual Harassment & Violence
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Teams & Gangs
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The Past
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